365 Days Of Creativity - Month 7 | Martin Perhiniak | Skillshare

365 Days Of Creativity - Month 7

Martin Perhiniak, Design Your Career

365 Days Of Creativity - Month 7

Martin Perhiniak, Design Your Career

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38 Lessons (3h 19m)
    • 1. Welcome

    • 2. About the course

    • 3. Day 1 - Sliced Typography (Id) #182/365

    • 4. Day 2 - Image into Text (Id) #183/365

    • 5. Day 3 - Draw Behind (Ai) #184/365

    • 6. Day 4 - Perspective Retouching (Ps) #185/365

    • 7. Day 5 - Retro Text (Ai) #186/365

    • 8. Day 6 - Curvature Tool (Ai) #187/365

    • 9. Day 7 - Working with Shapes (Theory) #188/365

    • 10. Day 8 - Photo Pattern (Ps) #189/365

    • 11. Day 9 - Icon Set (Ai) #190/365

    • 12. Day 10 - Picture Frame (Ps) #191/365

    • 13. Day 11 Anchored & Inline Images (Id) #192/365

    • 14. Day 12 - Speed Effect (Ps) #193/365

    • 15. Day 13 - Noise Texture (Ps) #194/365

    • 16. 365 07 july livestream 13

    • 17. Day 14 - Selecting Fur (Ps) #195/365

    • 18. Day 15 - Cut Up Effect (Ps) #196/365

    • 19. Day 16 - Wavy Lines (Ai) #197/365

    • 20. Day 17 - Gap Tool (Id) #198/365

    • 21. Day 18 - Raise Awareness (Ai) #199/365

    • 22. Day 19 - Rotate Canvas (Ps) #200/365

    • 23. Day 19 EXTRA

    • 24. Day 20 - Thin Line Typography (Ai) #201/365

    • 25. Day 21 - Radial Distortion (Ps) #202/365

    • 26. Day 22 - Corner Effect Typography (Ps) #203/365

    • 27. Day 22 EXTRA

    • 28. Day 23 - Colour Blind Designs (Ps) #204/365

    • 29. Day 24 - Gradient Feather (Id) #205/365

    • 30. Day 25 - Mindbender (Ai) #206/365

    • 31. Day 25 EXTRA

    • 32. Day 26 - Spherical (Ps) #207/365

    • 33. Day 27 - Render Trees (Ps) #208/365

    • 34. Day 28 - Mandala (Ai) #209/365

    • 35. Day 29 - Swirl Text (Ai) #210/365

    • 36. Day 30 - Geometric Layout (Id) #211/365

    • 37. Day 31 - Depth on Text (Ai) #212/365

    • 38. Conclusion

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About This Class

Welcome to Your Biggest Creative challenge!

This course will teach you something new every single day for an entire year! The format will provide you with the ultimate creative challenge and a different kind of learning experience. This course is split into 12 months, each available as a separate course here on SkillShare. All videos are in numerical sequence, however you can watch them in any order you like! 

Each day you will take part in graphic design and illustration projects mainly using Adobe Photoshop, Illustrator and InDesign. We will also teach you drawing, mixed media techniques, design theory and mobile apps such as Procreate!

Each video is divided into two sections, starting with a one minute tutorial, that explains the techniques needed, which seamlessly leads into a commentary style video providing further insight into the topic.

Many of these tutorials are accompanied by a downloadable working file. Feel free to download these and practice the techniques you learnt.

Sign up to all the other months and complete the whole series:

  1. Month 01
  2. Month 02
  3. Month 03
  4. Month 04
  5. Month 05
  6. Month 06
  7. Month 07
  8. Month 08
  9. Month 09
  10. Month 10
  11. Month 11
  12. Month 12

So what are you waiting for? Let's start your creative journey today! 

Meet Your Teacher

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Martin Perhiniak

Design Your Career


Martin is a Certified Adobe Design Master and Instructor. He has worked as a designer with companies like Disney, Warner Brothers, Cartoon Network, Sony Pictures, Mattel, and DC Comics. He is currently working in London as a designer and instructor as well as providing a range of services from live online training to consultancy work to individuals worldwide.

Martin's Motto

"Do not compare yourself to your role models. Work hard and wait for the moment when others will compare them to you"

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1. Welcome: are you looking for a course that is guaranteed to help you develop your graphic design and illustration skills using Adobe Photo Shop illustrator in design and creative Absa like procreate, a course that gives you creative projects and assignments to work on every single day for an entire year and helps you to build a killer portfolio? Well, look no further. This is the one for you. I am Martin per maniac, certified adobe expert and instructor. Besides working as a professional graphic designer and illustrator for over a decade, I have filled thousands of people in classrooms, webinars, online tutorials, courses, life streams and conferences like that will be Max. Thanks for being truly passionate about both using and teaching design applications. I am proud to say that I was officially voted as one off the top 10 Adobe instructors. Having worked as a designer for clients like Disney, Mattel, Cartoon Network, Nickelodeon and BBC, I have ensured this course will help you start using for the Shope illustrator and in design like a creative professional. This course is perfect for you if you are just starting out or if yourself the wood and aiming to get confident working on graphic design and illustration projects. This is the largest online course on the platform, with over 700 video lessons and creative exercises that will motivate you to study and work on exciting and entertaining projects every day for an entire year. Studying from this course will also help you to accumulate hundreds of designs and illustrations you will be proud to include in your portfolio. If a full year off studying sounds taunting and you prefer to speed up your landing progress, you can easily cover more than one project a day and even skip a few. That doesn't fit your side. This way you can potentially finish discourse within a couple of weeks. It's a unique learning experience that you can adapt to your learning style and lifestyle so you can shape your own path, the words becoming a creative professional. Throughout this course, she will learn from me and two other designers, which ensures you will learn a variety of design administration. Stine's. We have carefully selected each example to make sure you get clear explanations without wasting time, even while we explore complex techniques. Take the next step in your career and roll on this score snail and make today the first day of your 365 days off creativity 2. About the course: through this video, I'm going to walk you through a bit more in detail. How this course is structured each day will have a project. Now, these with yours were very in content. Some off them will be actual technical exercises that you will be able to follow while others might be more theory based. What's common in all of these videos is that they will all start with a one minute introduction. This is just to get you in the mood and to understand what that topic is about. And then the video will move on to the second part where we will be going through the whole process. So it becomes more like a commentary. So you will see us talking through the techniques. What? The theory that we are covering that day, once you watch the video, was you will also be able to download the exercise files. Not all of the videos will have files, only those ones where we are going through creative projects. We recommend that you watch the full video, including the introduction and the commentary, and then download the file. You can follow along and use the same exact file. So you can practice what you've seen in the video if you have time, and if you feel like you want to practice even more, be advised that you also trying out the techniques with your own file. So whether it's an illustration or a photo you took, you can practice the same things that you've learned on those for discourse. It is recommended to have at least a basic understanding off one of the adobe applications . Don't forget to do the creative project at the end of the course. So once you've seen everything, you will find a brief that you can follow along. And based on this, you can work on a more complex project and the final result you can upload, and we will be able to give you a feedback on that so you can improve The very you are working. We have actually 11 other parts off the series so you can find them here on skier share and you can follow the same structure, work through the videos, which you can do daily or even faster if you want. And of course, each of these courses will have a creative project at the end where you can really practice everything that you've learned. This course is based on a YouTube series that we were running for a whole entire year, and we use that Siri's to get feedback from the viewers and see what they think and how each of these projects can be improved. So this course is based on that Siri's. But it's an improved and refined version off that, and obviously we cover a lot more. So while there we were only going through one minute videos. Here you have for each day, the longer extended videos and tutorials, plus including all the exercise files for some off the bays each month we even have extended version videos. So for those more complex techniques, we decided to go into even more death. So I hope this course will be inspiring and you will learn a lot from it. Make sure you go through all the creative projects and assignments to really take the most out of this course. 3. Day 1 - Sliced Typography (Id) #182/365: - so I've decided to create a composition using type as a main focal point. As you can see from these examples, you don't always have to use images on the composition. Andi, I thought, Well, try an experiment in design Most of the type effects of you've done Armenian illustrator. So this was a good example of how you can create simple comps using a type said such things in design. On all I simply did Waas used a slight scissors tool on text. Fame option. It's pretty simple. If you wanted to learn more about, Do check out the step by step video. Well, yeah, I think that that's pretty self explanatory. You can create quick create really cool layouts that can be used for fashion editorial over type places on the starting. Yeah, I think it's are not really nicely. And obviously, because you do this, did you do the actual composition in India's? I did everything in design. I didn't touch anything else. I used a Sarah front for the main slice in effect on for the body copy. I used San Serif for nothing that creates a really good balance between life type sets. Yeah, yeah, on. I think the serifis actually are important in this case because they add that shape makes it more recognizable. Because any time you cut even a bit out of a fund or like a letter form, it's very easy to lose the sense of what letter it is. Yeah, So by having the Serifis hanging in midair East, you can connect the two parts of plentiful. So it's a good idea to use serif fonts, as you said for the actual characters. And within that, do you create some contrast to use to say that some safe? Yeah. And I also just to make sure airlines the shape of the letters I did use leading Onda sweets. And I think I use justified Tex. Yeah, just to have a really good solid edges, you know, the text brain. And I like the way you have some space between the paragraphs as well. So again, it doesn't have to be completely filled. Look like in the 1st 1 we have completely solid block, but then you can even have multiple paragraphs and it still looks good. Yeah, What's cool about this is you can still read it as as copy it's no entirely an image like you could still physically use it in a magazine on Did Have People read It, which is really cool, and I like the position that you put like the parts of the letters you've taken out just in the right places. If he tried to go lower on the why, it just wouldn't work like mechanization works because you chose the right part of the letter forms. Looks really cool. You left in just enough to make you eligible. Unreadable. We can see that having thes created a stacks frames. If it's a continuous story, it could even continue. So you couldn't even threat the copy from one texting to the next, meaning that if I start making changes within this group or they're the one, we can still have connection between him. So even though it doesn't look like a continuous story in design, can still connected together yet So that's also just a useful addition that 4. Day 2 - Image into Text (Id) #183/365: - I wanted to make this tutorial may need to demonstrate how you can use like text as a container for an image, so it doesn't necessarily just have to be a color like if I wanted to use it as a title fun . I don't necessarily just have to change the color. I can actually create outlines for the typeface itself. So the software stops treating it as a text and starts treating it as an image which you couldn't put things into or a frame you can put things into which I think is really cool, especially in editorial or kind of projects Where is useful to have imagery? But you also need a really obvious kind of title, like Here's a really good example. Like they've managed. Teoh used the first word of the title or the first letter of the title as kind of also the image. So they've managed to make a really interesting composition with only a few elements, really, that it is not too much to the poster, Um, but yeah, and then if you move forward yet, I feel like this is really this is really interesting as well. I've wanted to include it because I just wanted to make the point that it doesn't necessarily just have to be a photograph use. I decided to use one, but if I had a A file at J. Peg, the administration's and stuff in, I could drop in and it would work as well. It might be a little bit. This is This is a very good example of it. It might be a little bit more tricky to get right, but as you can see that it works really well and it's very beautiful. So So yeah, really, I just kind of wanted to make the point that but first what? I wanted to demonstrate the technique the technical term used, but also I just wanted to kind of like, I suppose, get people thinking about how you can use image and text together in one design asset. I think it's probably would be useful to just very quickly go through this three applications and show the same technique because each like photo shop in these administrative H does it slightly differently the same thing. So if we create a new document in photo shop, so let's just get started with standard document we just put our copy in here. Wait times going to meet Big. If we want to add anything on double this, I'm just going to use a stock for two. Maybe this one here in full to show what you do is you press command old G to create a clipping mask and then the taxes at the bottom and the images on top on. We can move them completely independently from each other. But having the copy selected, I can stay and make changes to it so I can rewrite it. I can move the text on an image stays in place. But of course, I can select two together as well. And move them around is this is called a clipping group, which is completely edita ble nondestructive. The only thing you need to pay attention to is when you are changing the size off the two together. The tax obviously is reactor base, so it's not going to lose quality. But if your image is not set a smart object, it's going to start lose its quality even when it's rotated around. So as long as it's a smart, objected to look fine and the same technique in in design. We will just do it hearing in shimmies layout. So if we create any page on, then we put our texting here. What? This phone be good for this type of technique. Do you guys think it's to think? Yeah. Yeah. So we need to have something bold. Something like that would be, I think. All right. All right. So what you explaining in your technique is that we're seeing in design? We can't really cut images into tax without first outlining it like so we will have to go to type, create outlines of command shift all on. Once we do that, what we what we get is a group within which we will be able to select these items individually. So it's actually a compound path that's again different from illustrator, so illustrate that you have to outline as well. But then, illustrator, you will get a group here you get a compound path, which means that if I place in image in here, So if I bring in an image places over this one, what we need to do is to cut the image and then paste into which is edit paste into a command option V and then we basically have the same thing. And using the content grabber, we can move this around within the copy. But the thing here in in design is that we won't be able to change the text anymore. So we can still use things like direct selection tool and select certain points to move them around and mess around with the copy. But it's not irritable text anymore. An illustrator is again very similar to in design. So reading Illustrator, if we just create a new document, let's just start with the landscape on. Then again, if we hear through the same thing typing and copy on used this have you formed? Get Yeah. If we want to have this place inside, the copy will have to turn that into a clipping mosque. So now if this is on top and that is below, can I just create the clipping months like this, do you think? Is this how you normally do it? I can do. Come on, seven. Yes, you can. So if command seven is the short cut for object Creeping mosque, where is it? Never come to the many make um, which creates a group similar to photo shop where you have your text and the image. But illustrator is a bit smarter than in design because we can still at it yet the coffee. So I would say it is more similar to foot the shop, actually, the way it works here, so in design has to outline the copy for this technique to work illustrating. And Photoshopped can keep the tax creditable create using clipping instead off place into yet as any design. But it still doesn't mean that you shouldn't do this stack making in design. It is just a little bit more non destructive, using the other two applications. 5. Day 3 - Draw Behind (Ai) #184/365: - creating this little icon sack, which was just that simple technique off draw behind. I don't think it's that interesting to go into much detail. The only thing I would say here is that when you want to switch between these, you can use this level total here on the left in illustrator. So by default you are going to draw normally. But then you can switch either using that Togo or shift the on the keyboard. Or is it thinking shift? The yes is changing, its just hardly visible. A little icon there is changing. So when I'm using the draw behind by default, anything that I'm going to draw even rectangle will automatically go behind the current existing objects by day 40 would always do. On top of the things you have, this reverses the method. So again, if I do another shape just like this and we drew on a lips on, I'm just going to change the color so you can see drawing that by the Ford goes behind or the existing ones. And then the other method that you can use is once you have an object selected, you can actually do inside that. But This only works when you have something selected and this automatically were created clipping mosque. So if I again you shift the I can get to this draw inside. And the visual indication that you are in this movie is that your current selection will get the little dash line around yet, so it knows that's the actual area in which you will be working in. So if I switch to another tool like the blow brush, even when these selecting the object, it still has the outline on. And I can draw maybe with Black in this case with strokes on and we'll see. Once I let go. It stays reading the shape, so that's draw inside. And, of course, if I press shift, the it goes back to normal again. Now, if I start drawing, there's no restrictions anymore. So this is a clipping group again. Draw inside does the same thing what we've done with come on seven. But we just get to it in a different way. Okay? 6. Day 4 - Perspective Retouching (Ps) #185/365: - So this one waas the the perspective in photo shop, relying on the Vanishing point filter. And it's just something that I wanted to showcase because not many people know about this technique that you actually have the clone stamp tool available within this filter. So if I open on this file, this is actually the final result. But that part there is completely retouched. And without me adjusting any off the scale, it's already can create it like this. I mean, for the shop can created like that, just going to turn off the adjustment layer on and just put the new layer in here. So if I go to the filter menu and choose Vanishing Point, this greed is already here because foot shop remembers. Whenever you use this filter and you lay out a great in this case, I set off this create or plain on the front off these buildings I didn't really need any more, but you can actually have multiple planes as well at it. If you're than Commander Control key, you can drag out additional planes, and in then you can also, of course, move these around so I can adjust the plane when it gets a red. That means it cannot understand what what you are about to big. So it becomes like just something you can't use when it's yellow or blue. It's fine. Blue is the best. Yellow is like it's getting getting too confusing. Yeah, where's like No working as a plane? Yeah, but the blue lines means that it works fine and it's a healthy plane so we can use the clones timeto once you have a plane. And with this, all you have to do is to sample from any detail. Let's say I'm sampling from this corner here so we can see it's there. And then if I increase the brush size with the square brackets, I can align it on. Then start painting and what you will see. It's already in the proportions, so it's and adjusting it as if the street is getting for their away from us. So very quick, very quick and easy. So obviously we could sample, maybe like another window as well, even further out from here. So if I use old click, actually might only be able to sample from the plane. Yeah, I think I think what you need to do is to drag it out. If you use the selection tool drag further now, this shouldn't destroy your perspective. It's just extends the area you can work with. And if I sample a different window like this one here and I cant come over this side, you can see that it can still use that. But it's already going to adjust the size according a so you can see how much smaller it got as it gets further away from us. So very smart way of using the concept, which you can only through this filter. So this is something that you won't be able to access any better housing for the shop, no bits. 7. Day 5 - Retro Text (Ai) #186/365: - for this one. All you have to do is Moss in the appearance panel on Distort on Transform Effect in Illustrator at which basically creates multiple strokes on. Then you can distribute them on, send them behind or change the angle on. If you want to know more on the technique, do what watch the one minute video as I explain the step by step process. But yes, retro trot type is really popular is still used Andi in a bit more off a complex format. Again, this is using transform on transform and distort effect. I think this is glad. Similar. This is quite similar to create the retro style using multiple strokes Onda Again, this is a really cool chocolate packaging. I love this effect. It's not really retro, but again shows that you can create really complex composition using the transform option. Andi. I love the way they put in a little illustration to give every of a story to the composition. Their parents panel is quite difficult to figure out, but once you get into it, once you start understanding here, there's a lot off design that you can apply to opens up just isn't it Yeah, I really like this style of typography. You see, it used quite a lot in, like in destruction and projects where people write more personality injected into it and more like, maybe even know starledger. Like you're saying with the chocolate packaging, See it crop up quite a lot, especially in it, weirdly in modern design, where people trying to stand out like a little bit different, that's really cool. So if we have the appearance panel open what you just mentioned, there's actually a very important thing that it's worth considering. So if we if we work with a tax that still creditable, the appearance panel can still be a mom just turning this because it must do close old left and right there was quickly turning letters can be useful. So if I add any effect here, maybe even just a simple feel call up, what we can do is once it's a separate attribute or appearance, having that one selected, going into the effect many and choosing something like transform. So if we're going, Teoh distort and transform, transform turning preview or we will see what happens. I can start moving this around and what happens here is that it's still one object. But we are just transforming the field attributes that we added on top of the tax itself. We could even do crazy things like reflecting this around up and down. We can rotate it, and it's still the same object. So this really something that a lot of users don't realize that you can add as many of these as you want. You can even duplicate this. Now I have to off them or click and drag. And then I can see that the transformer fact is actually aligned with that attributes get. So I find going through that again and I did a bit more printer rotation, for example. Now we have two attributes that slightly change from the basic shape, and each of them can the individual turn on and off. So that's basically in a nutshell. How appearance pedal works. Yeah, yeah, and it's so much quicker than I used to when I first started using this software. Yeah, just duplicated and send it behind you, send it behind and then create a group in the end, and it's just I mean it. Still, it still works. Yeah, this is a much like more streamline vegetable and professional way of working. And it's quicker. Yeah, I think you're right. I also do the same thing and I'm still I think when I'm having a very lazy day, I is just a lot easier to create a drop shadow effect by duplicating type. But I think it's really good to gain too. Happy off using the periods panel there is so much opportunity is an option you can create and we've covered more tutorials on that. You will see more coming up. Yeah, the that. The same thing goes with strokes as well. You can have a stroke and while I you see instead of Transformers offset path, which is another cool live a fact that can, like change the outline, make it either smaller, like the shrink it in in the middle or expanded and make it blow it up on get further. Every and with the appearance panel, you have the same thing as with layers, whatever it is that the bottom is the furthest away from you and then why Berries on top is the closest to you, so you can drag up and down these effects as well, frieze on. Another thing I think I used in the video is I applied on the field. I applied a patents watch. So instead of having to clip it on like we had previously, you can simply on the field option at a pattern. There's one existence from Illustrator. Yeah, with year after at the front. Uh, yeah, I think it's in the front. Why isn't showing? Because I don't have the objects acted. That's something that I know a lot of people have issues with. So when you have a comp especially complex appearance put together, you see that you have your tax selected here. You see here it says type. If you don't accidentally click of a He was Did you see the same appearance? But it was ST no selection on the top, so just keep an eye on that. So if they are changing something and you don't see affecting your object, that's because you'd be selected it. Okay, so you have to go back selected, and then if we go into this field, which is the one on top, if we know, change it. Beautiful patterns. Very nice vegetable yet ex great. Almost as good as one together. That's a tutorial, right? Yes. I think this is like I loathe 8. Day 6 - Curvature Tool (Ai) #187/365: - That was another illustrator tutorial, and it's actually a clipping mask, one as well. I'm just going to open up the working file so we can see how it looks. I highly recommend to check them out, opened them up and try to understand how he built them. Sometimes the best way of learning is to like reverse engineer at file that has already been created, like one of the biggest or most valuable resources for me. Someone who is a little bit more had in the career is when I see someone's working file, they don't even have to tell me anything. I just go through the layers and I can learn from how they created that work. It's applies to illustrate their foot. The show in design. Simply looking at someone's working file can teach you so much. Eso highly recommend these are valuable stuff, so we don't just give it to anyone. Make sure you use them on, open them up and play around with them. So in this case, we can see that each of these elements were created, they bigger than the actual circle, so that allows me to move them around and really come up with different ways of using the same shape. So again, I wanted to make sure it's no destructive, can easily come up with different compositions. And the whole thing is that the clipping group. So what we have here is that the circle itself is the holding device, which, if I turn off, we can see the shapes without the frame. And then once I turn it back on them, we'll see them all closed inside it. How do I know which shape is the clipping mosque itself? What's the visual indication in the Layers panel here in Illustrator is the top object it could be actually at the bottom doesn't make any difference. It automatically puts it on the top created, but it doesn't matter where it is, but there is a simple visual independent. Yes, they underline, and that's actually the same in in 40 Shop as well. It gets an underline. Whatever is the shape that is used as the mosque makes a good question. And if you have a clipping mosque, is it possible? Teoh completely get rid off the clipping and turn it back into a normal object? I'm in this circle. If I decided that I don't need it to be a clipping. Ask anymore. Can I release it? Yes, yeah, so we can by right clicking industries released, clipping mask or from the object manure. So many other places. This is probably easier this way. We get back the original appearance off that shape. So if this shape wasa different color, or maybe like a Grady, and it would still work if I put it back into the clipping mask when you turn it into clipping mosque by default, it loses its visual appearance. But we can always add that visual appearance back on it, vile steel being a clipping mosque. So it's also just an interesting aspect off working with clipping mask shapes in Illustrator. 9. Day 7 - Working with Shapes (Theory) #188/365: - e probably be good to start with this one. So this is just a basic kind of light left and right of organic versus geometric shapes s Oh, yeah, I explained in the tutorial, the geometric shapes very proportionate off their funding, mathematics and, um, and that kind of thing. And where is organic shapes of mawr fluid Natural? Andi usually found in nature things that leaves trees any kind of shape. There's got imperfection or yeah, just isn't what these look like. They've been made in, well, four through where is the organic shapes and look more natural wonders and they usually are more complex as well. Tend to get more complex instead of just straight lines. It would have curved lines and so on. So forth. Yeah, exactly these two different types of shapes. They lend themselves to different types of projects, like, naturally, eso Here, for example. I've got some these things or business cards, and usually I find that geometric shapes are used in very modern looking designs or things here that can be built or constructed. It's really interesting, isn't it? And they're usually combined together here into like a larger composition because they're very simple on their own. And potentially people could think, Oh, it's, you know, it's just a boring circle. If you look at how you can, like, use it in a larger design context in kind of late, that lay up and make it into a real composition. And again that it creates like a very modern, simple, minimalist approach again with, I think that Memphis patterns and that kind of thing, that's where they were born from just using geometric shapes. Having a play with these kind of shapes can really like. Bring your bring your designs to life. And they also lend themselves to using very simple color combinations. So you can really start to experiment with your color palette as well in like quite a safe way because you haven't got two complex shapes, so your color palette could be quite yeah, you could just have fun with it. Se Moving on. Using organic shapes creates much more of like a guy was saying about leaves and stuff gets you. They tend tiu. You tend to see them in a much more natural looking pattern or anything to do it like nature or being outdoors, and usually they look good with likes and texture added to them, which we have your the tutorial on yet again, I like here. These this is all made up of, like, natural and organic shapes. And it just has, like, they have a very different feel to them compared Teoh the geometric shapes. So, yeah, I really just wanted to point out that there's different types of shapes that you're gonna use as a designer or an illustrator, and they have different quality ations attached to them. So just really think about the message you wanted to put out the viewer. Is that an organic product project or is it more of like a streamline? Very modern structure? Yeah, So yeah, I just think about it. Yeah, and then and then like, putting these things next to each other and use them together is also a great way to show contrast yet. So you don't. Sometimes you don't need to have a big contrasting colors. If you have a huge contrast in the type of shapes you are working, respect you so you can have a very like strong structure, geometric element and then behind it or in front of it, you can't something very fluid on then It works really nicely 10. Day 8 - Photo Pattern (Ps) #189/365: - how to create a repeatable pattern in photo shop from a photograph. So the technique is a little bit complex, considering how quickly and easily you can create a pattern in Illustrator for the Shop is not a straightforward. So this is how it looks the end product. Yet the pattern that I created from this but we can go in here and we can see that it is actually turned into a pattern that I can scale up and down. So that's all what we end up it at the end. But the way we get to it is actually covered in the video itself. And hopefully it's something you can follow If you have a texture that you want to turn into repeatable pattern, I'd say something like that there, or you have to do is track the image size. So this case is 3 6000 my 4000. So it's huge. That's the actual pixel size. It's amazing. So if we're going to feel to Miami and choose other offset, you have to typing half off that. So it will need to be 3000 by 2000 and you see what we get is like an open like the pope, opposing or not opposing like it's it flipped inside out. So whatever was on the top left now is on the bottom, right? Whatever Waas and my tour survival this was originally on the bottom right now is a top left. So it's like moves everything on the opposite science on. That's really all you have to do Once you click OK, as long as you can match these edges to each other, you will get the repeatable pattern. You just have to make sure you avoid touching the edges off the image here, because what that means is that if you can get these edges seamlessly connected, then the outline off the images. Actually, originally waas connected already, so it's like working inside out on the image, and what I would normally use is on a separately, you're the sport hearing brush tool, which most of the time that's quite a good job at trying to blend things together so you can see already not touching the edge. But already I can create a much better composition here, can do the same thing here, and it it tries to blend them together, but always you can go over them a couple of times until you get a better bland. Then again, you do it on the other side just to make it look less blocking. Exactly. So we want to break it up, make it look a bit more connected. I would even going here just a bit further blend. There was details together, maybe here in the middle as well, Something like that. And then, of course, we can also use the normal healing brush and sample maybe from another detail there. Make sure you use all the years for all the healing brush is for sampling. That way you can have all your retouching on a separately. But if I use a detail from here, let's say we can caught into this section there, maybe create another line here looking that I mean, not so much. Yeah, looking natural. And it is important as well. Teoh like like boys. What just happened? I just really like play with that and trying get it looking right. It might take a little bit of time, and it might feel a little bit frustrating, but just if something doesn't look right, don't just leave it could you annoyed with that? Just keep going. Yeah. Yeah. So you have to experiment. But you You see, what I'm doing here is like trying to sample from different points off the images. So it doesn't look, repeat it too much and start to build up something there in the middle that obviously wasn't there. But now it's starting to look. Okay, so this was without. And this is with the effect. But now, if I said like these two and merging together, I mean, you can create a smart object is probably more safe, right? Click covert, smart object, and then select all. Yeah. I'm just going to manage in finance. Select all edit. Defined pattern is what you need on. Then we can call it dry month. What is this? Yeah, on then, if we select the background layer and and a pattern overly on it, we can select a latest saved option on. Then we can scale up and down and then overhasty The colors need to be matched as well, because we can still see the repeat. But that's there's the technique itself in more complex your pattern, the more work you need to do around the edges to make sure it's going to work nicely as a time. So you have Teoh. You have to do a couple of tests like if I get to this point, I would go back and refine it further until, like it the colors right as well. That's why I like those leaves work quite well because they were like consistent color. So going back to that one you don't really see much repeating here maybe apart from this dark a bit there, which again would be a good idea to get rid off and just cover it up with a little bit brighter details. So the last visible the repeat, the better Cool. 11. Day 9 - Icon Set (Ai) #190/365: - Yes . So this you tour was really about highlighting the importance of having consistent icons there something that used a lot within, um Awad kind of areas of design. Really? So I think this these are the three that I ended up creating on in the tutorial. I just kind of demonstrate how it's if you've already created. If you've already created elements within and within an icons, sometimes it's good. Instead of creating another element for another icon to duplicate it to just use it again and you recycle it. And sometimes that that might seem like as it's a bad practices the designer. But actually, when you're when you're creating a consistent set, you want to repeat your elements to keep them cohesive, behaving like a set. Yeah, exactly. So I think I've gathered some examples here to show how they're used in different contacts . So you guys can just see how often icons do actually crop up. So here this is actually when it's this is a a flat plan, but it's piece of packaging. On the main premise of it is a group of icons, so you can see that they're not necessarily just for infographics and they're actually, they're used a lot in illustration and being able to develop a consistent style that that's your own as well. Could come in really handy. So I'm just out of interest. What makes these icons on this pattern look Oh, he see what ties them together. Let's try to collect the aspect of that because So what would you say? You should definitely this side of the strike. Yeah, line. Wait. Here there, none of them affair. A car filled with color. They're all outlined and then placed over color. Yeah, they also have a daughter. The dotted pattern that's comes back even on the windows is the same distance they paid really like attention to using the singing distance and same size little blocks for that pattern. And that's probably it. And obviously the color palette bent also ties them together. Yeah, but yeah, it z a really good example. I really like this one. Cool. Like we're just saying there was only there's only, like, three or four points. Really, we needed to make about them and again that xyz enough. And so yeah, exactly. That's enough to link it, feel like a set. So here. It's a really simple example. You know, you see these pop up quite a lot on on APS and a lot in digital, especially online, to indicate a piece of information. And it's, you know, what makes these answer is really simple, is lets you because they have the same stroke and they're the same color. None of them fell. So you don't have to get too carried away thinking what's gonna make these a set? What's gonna tie them together? You know, it is less is more with icons. So So, yeah, really? They're all the examples of fairly similar. So again, this is so nice like But one thing that I would say in this case is that because they use the yellow fill on three and then the other three is empty, is that it's more like orange eso. I would probably have used a bit off that on all of them, like this one. The Sun? Actually, yes, very so yes, yeah, to use it on. Maybe here on the road, the little lines in the middle of the many orange. But yeah, it's a very nice style, and it's again here. It's the line weight and the holding device, which is the circle breaking up the circle is also consistent. Apart from maybe this one thing, this Beijing does come out. Yeah, this could have Bean also coming out slightly. I think this is a good point, actually, that you guys are making here like it's important as well to kind of show other people if you've made something on because this is so. You know, we all really like this, but they're elements we could pick out. Just be like I think it could be improved eso if you make something like this, especially if you if you want consistency, just take it to someone else because they will be able to pick out things you might not have seen. Oh, yeah, like we're doing now. And it's not a bad thing is just cause you've been looking at it for so long. Rise concern? Exactly. Exactly. Yeah. You have some nice? Yeah. Yeah, I got a bit carried away with collecting for the whole of this month. I think so. Yeah. These are really smart ways of using lines for, like, shading. Just very simple. Just a few lines. They are straight slightly disconnected. Also hear that not everything needs to be connected. Yes, this is definitely something that again highs thes illustrations together. And when it works is a consistent concert. Is that what would you say is the best method for creating that kind of line? That broken line? If you don't mind me asking, you know, I would probably use the slice or scissors or even the razor. Yeah, So if you have, if you have a line like here, I'm just using the pencil tool to draw a line on Does going to make it slightly bigger so we can see it better on just to make it interesting. I'm going to add the cap on the edges of it, use something different color. So if you have something like that, you can use any off these tools from from this set. If you click on the little arrow, you can grab the tools so we can see them better. So we have the eraser, the scissors and a knife. Now, if I get this year and I used the eraser tool, you can see how quickly we can just chop it up like that. Uh, or if we use the scissors, you can click on a point, and that divides without actually losing any detail from it. So if that's important, you can do that. Or if you have bigger shapes like this one, you can use the knife tool, which can actually caught everything through on. Then we can divide the elements inside. So again that one is more similar to the scissors but can be used on a bigger shape. Why seasons is more just cutting the edges off something so each of these can be very useful on by the very double. Clicking on most tools will give you additional options less cool. Thanks. All right. 12. Day 10 - Picture Frame (Ps) #191/365: - this particular one is not that interesting. But it's still and as a technique that I wanted to cover is not many people would know about this. So the final result that I built is that one with the picture frame around it. This was the original photo that I started off it. And first of all, I showed that you can use the perspective crop toe and then you can get any off these paintings selected and remove the perspective distortion from them. So I think this is another one I didn't use. This one is probably the other one, right? But any of these I can use, and then it will distort it or keep it like facing us. Andi, I'm just going to crop. That will be helpful talk showing from the other image. So if we zoom a bit closer, we can see how it looks. And then basically, the picture frame is a very simple render effect. So thes tree picture frame and flame has been added here. I think, in CIA six. That's when they introduced them, but they improved them since then, and there's loads of options that you can use. So just for the picture frame. You have so many different options, and again you can very any aspect of it, so you can adjust margin. You can adjust the size of them. You have all of the different types of arrangements here that you can choose, and it's basically just can't get around. So it's a nothing special. But worth I like the perspective copying. Yeah, that's a really good feature on you probably can use in our day to day work thes reflections You could get rid of easily if you move sideways a bit, yeah, and then to take the picture there and then use perspective crop. 13. Day 11 Anchored & Inline Images (Id) #192/365: - so you can create an anchored image by using that little square there and align its to somewhere within the copy. So if I align, need to this first bit here. If I put any copy in front off that, this image will automatically follow the changes of it in here. So even if I just do that, it ordered the moves around. If I put more copy in it again, keeps following the taxed. So it's almost like a tracking a feature on D. If you want to see that Daschle and you just have to make sure that you turn on the extras text friends, as long as that is on, you will be able to see that little veg light on. It works like a cord that connects the image to the point where it is used. Now, another useful indication off finding very is actually place in the text is if you select the tax room and you press command, why, Oh, control, Why, which is the story editor in which you will see exactly married is and here we can very quickly reposition it as well. So I can actually move it within this. Yeah, Yeah, so we can readjust it on it will bait in the back as well. So the story editor can be useful for this off course. You can get into more advanced settings for anchoring. So if you right click and choose anger, the checked options, you get a lot more additional options here. And so this is anchoring. But then you also have the in line or above lying option. Now, the fastest way to get to that is, if I just released this anchoring, cut this image out and place it within the copy. So if I place it here, come on, video control, it automatically becomes an in line tax also in light image, which again works very similarly. So if we are changing the science or frame will see how it travels together with the text. And the cool thing is that if I put the Skopje here in the beginning, who will see that it can even travel to the next color? Nice. Really Good feature, especially video image Caption on. You have to change images around the layout. Yes, caption will follow with the image. Yeah, So if if this is one column for example, and we have a tax trap which goes on to the next page. The image with even move from one page to the next so you can see how their travels with the copy limits that margin of error that you with an image in the wrong place in your document is long because this way physically won't won't drift too far has happened, and we've seen people on the. The other cool thing is that you can actually highlight the image. Once it's any line in line, image basically behaves like text. From this point on, this is a paragraph you have to think about it as a paragraph. It's even says paragraph style one. So meaning that if I use shortcuts like Oman Chief, see that sends a copy or command shift. Our l am pretty impressive actions, and so when you Sorry. So when you select everything in the frame Monday, it's It will also select the committee images. Well, yes, technically, yes, it's part of the Copa, so you can even copy paste it into another frame school. Yeah, so and there's so much like if we want to get more at once, there's so much more that you can do once you understand how an image behaving like text can be useful. For example, 11 thing I can think off is using conditional text. So if I go into the vendome and you this is something you will find on the type and tables , conditional text and in conditions you can set up on copy. So, for example, if there's multiple versions off a document, you can say maybe in one version this paragraph needs to show. But in another version that doesn't need to show or maybe the wrong with the flowers copy. So if I set the condition for days, I can call this a long version. Yeah, okay. And then that's the condition for it to be set. So this one will only be visible in the long version. But then, in the short version, we will have only these bits selected here. Maybe just that. And I create, uh, short version actually going the wrong way. So if I get a short version and then the long version needs to be the full thing, so we just need to apply that here and now if I turn off the long version will get the short version on back the long version, and you can see the images appearing and disappearing as well. So conditional tax is a great way offsetting on using the same document and just to be purpose ing it. For multiple versions, it's really is. Instead of making two documents and, like consistency becomes a problem, language versions is where you can do with this really well school. You have like a menu that needs to be printed in, like three languages. You just put all the copying the same frame, using the same paragraph styles and software and stuff. And then you just set this styles on, then very that's really useful. Quickly export the war three. Pdf strong. The same in design. Five. Nice go. 14. Day 12 - Speed Effect (Ps) #193/365: - speed effect. So that's how it waas a completely static standing car. This is definitely not an auto driving car, so we can see that it is just ending still. But by adding the a fact motion blur and then all the additional effects that I did there, we can make it look like it's moving. So the whole point here wants to use first of all, the cover without the blur on it. The blur here that I ended were the radio blurs on the on the wheels, so to make it look like it's spinning. So within the Blur Gallery you have the spinning blur option, but which you can set basically like the speed how fast it would be moving yet and then Additionally to that, we have the motion blur added in the background. So motion blur set to that angle in which the car is moving, obviously, and that way you get the sense of speed. I only removed that blur fact using the a smart filter mosque here at the front because I felt like if it's completely blurred out everywhere, yeah, it doesn't look really stick. So when I have that completely blurred there is. Well, it looks a little bit weird. I think it looks a bit better like this, because at that point when it was captured, I think it would have been. Still, it would have been, yeah, that that section there would be less blood out. But that's again in just an additional option. That and another cool technique that I actually rarely used. But it's actually works quite well. Is this what you can see here? It's the mixer brush on a separately. Here, set the sample of the years. All you do is to tap once and then shift click again, and it basically starts blending those details together. If he sent this to very wet, heavy mix, it might even blind them stronger. But that's pretty much. What you need to do is click and then think again, and it creates an even additional blur off those details, The more like standout details. OK, 15. Day 13 - Noise Texture (Ps) #194/365: - this one relies on the dissolved, a fact which you can use on layers as well. So if you select earlier even a shape layer, we change the blend mode of it to dissolve and start reducing the opacity. You immediately get that noise texture on. It lured the capacity, the less you will see, so it's basically like a crude they of changing capacity. When you set it to normal and reduce it. That's obviously going to come like softly brander into the background, but dissolved does it instead, off softly, making it transparent. You still see particles off the layer visible, and it's slowly removes pixels from it, and that creates the see through effect. So if we zoom closer, we can see that these pixels are either completely visible or not. Yeah, so if I just do it like this, maybe we can see better. So it's my care of on bit, um, technique where you have either visible or not visible details. But the same things works with the brush. So basically, what I was showing here is that if we use the brush tool and we set it up to a color, by the way the shortcuts. I'm using everything with short that's come on. So it control old click and drag to change hardness and size and coo coo mont option and Control held them together on the Mac will give you the hookup hot color picker, um, with which we can very quickly change our color as well. Maybe set to something a bit dark or something like that. So I'm just going to use a hard brush like that. This is how it looks when I drove it normal and if I drew in normal, but lower rapacity. Yeah, but then if I drove it these off blend drawing with 100% already starts to show the effect around the edges. But if I reduce the opacity, David, the same bland mood we already get that fact it's called drivers. Well, like create that kind of it. Cool way to create noise without having to use textures. You create your own textures. Yeah, always that you can start mixing colors as well, so it can create interesting, interesting effect. I really like that story. Yeah, Okay. And I think another technique in this tutorial I was showing is that if you create the selection and then you switch back to the brush tool. You can actually use your selection as a mosque so you can create effects like that. And then this layer could be transformed and moved around in the line. Same thing within the lips selection. So if I used the elliptical marquee tool I campaigned inside there and then created was like a little planet, I think that could be used as part of a bigger illustration, or even to, like, help text stand out. If you put text over an image, Yeah, or you could even use the text selections technique. So the type two will actually has the text off type mosque tool, so like, or is until type must do. If I start typing something, you go. So this actually automatically creates selection. It is not one of the things that I would use often, but you have both vertical and horizontal type mosque 16. 365 07 july livestream 13: the noise brush. This is technique that I've I learned from a friend of mine who was also a graphic designer . We used to work in a studio together in London a few years back. His name is Reuter and he waas. I mean, he's still a brilliant designer, but he was teaching me how to use this technique. He taught me how to use this technique, or I pretty much like, picked it up from him seeing the technique coming up in his designs. And I really liked it. So I wanted to make sure that we covered this in the series because it's not something that you see a lot. I mean, you will notice this style on now that I will explain it. But it's not something that you would see often explained in tutorials. So the noise technique and can be used with a brochure in lots of different ways, but basically creates this effect. And I'm just going to make a little bit more space here on my into face, and we can see exactly why I'm doing. I will make my family or slightly bigger as well. So if I zoom closer, we can see exactly what is happening here. So we have the noise affect that you probably seen already from the tutorial if you've been watching, uh, the series So what happens here is that we have the original backdrop, which is just a blue circle, but then we have the additional circle on top of it, which is masked out. Now when you're using this technique is a mosque, it's against simply just by relying on the brush tool. So you have to do. I'm going to delete this mosque here is to end a mosque on your layer. So once I select that clear and select the mosque, all I have to do is to use a soft edged brush. It's better to use it with soft touch brunch, although you can use it with hard, hard edge brush as well. But he is the most important thing in this case. I'm going to draw with black, and that would normally just create this very soft transition between what's showing and what's hidden. But if I switch to the bland moored on the brush called dissolve instead of normal, this way we will be able to make use off this technique on. But if you keep your brush at 100% capacity, it's not going to make much difference but already starting to show. But the more you reduce the opacity, the more you will get that noise affect showing. So if I old click on the mosque, then we can see exactly what's happening in the background. So when we are painting with a brush like this, it is going to start hiding. The currently on revealing what's underneath. But instead of using a soft transition, is going to use only black and white pixels. So that's how these old bland mode works, that it purely uses black and white pixel. So it's like a one bit depth in this case, instead of using something like when we switch to normal and having this very soft transition. So even if we have 100% will see the soft transition. So using this again going back to seeing the normal layer, by the way I can see Fernando join us as well. Welcome. I'm glad you could make it as well. So pleased for you. Feel free to ask any questions while I'm doing and going through the techniques eso if you have anything to add or anything to ask about the things I'm showing. So, um, what I'm going to show here is that, um, just change my brush for a second. So if I start painting, you can see exactly how it looks. And it's a cool technique already on its own. And as I said, if I reduce the A, pass it, you can use the short gats pressing. Let's say five on the keyboard. I can easily paint at a certain part of the image, and I can paint, of course, would be the larger size as well, and very quickly build up that, um, noise effect in the background. But what you can also do is to make selections and then restrict your brush with in that area. So I'm just going to paint a little bit over here, okay? In the background. And of course, you can build this up, maybe using 20% on the first and then at the bit more in the middle so we can build up more like a Grady and cool Oh, with this noise brushing the background on the mouth. So this is all still done on the mosque. But here I have these lines that I add it separately. And that's when I started using a selection. So I'm just going to delete these and show you quickly have. I've done that. So if I create a new layer and I am going to just put this on top of everything for now, I can create a selection using the marquee tool, for example, and then I'm going to pick another color. In this case, let's pick a bright pink color for now, and by painting over this section here around the edge, I can create a stroke off this design or like a a very sharp edge on one side. But they're so French on the other side, and it's like a blade that I can move around. So now this blade can come here, and I can see that months it's on top off the design. It might not be as noticeable, so we might need to use a hue saturation adjustment on it later. But I can just place this into a pre created mosque that I have here, which mosque is just simply keeping it within that circle and also behind the wolf's silhouette, so I can now use the rotate technique. I mean free transform and rotate, and you can see if I old click and drag. I can place a few off these lines on the design. Something like this. Now, if I want, I can also change the colors off them by using an adjustment layer. So what I would do is to go to the adjustments and choose hue saturation in this case, and that I'm going to just change Hue on it. Now. Notice that if I have and Leo are group like in this case, and I have the adjustment that here inside the group, even though it's within that group, it's still going to affect all the colors behind it. So the layer grew by default doesn't restrict the adjustment layers effect, but what you can do is to change the plan moored off the lier group to normal. Once you do that, then on Lee, the layers within the group will be affected and everything else below it will be unaffected. So now if I turn off and on and off the adjustment layer, you see it will only make changes to those years within the group. So if I said like the adjustment a year now, I can very quickly go through and find the best color that suits this design. And I actually quite like that blue cover, but because our other noise affecting the background is also using the same color. So if I just turn that on and off for the other layer, then we can see that. But I think I am going to just go for something that's differently. I think this color is actually quite good. Maybe we can make it a little bit brighter, such as Go to Lightness and Bryant. The color is probably quite nice like that, so I can still move these shapes around and put them in a different place. And of course, you could also change direction as well. And you can also use this technique if I create another layer to show you quickly that if you are using the elliptical marquee tool and then you use your brushed with same settings as before, then we can place the circle outside. You can actually create more off like a radio effect as well, with it where you build up one side off this shape. And then it almost becomes like a moon, for example, that you can place in the background. So if we put this behind a wolf and then again use Hugh Situation adjustment in this case, we can just very quickly set it up, maybe set it to yellow. If I can find that color in this case probably will be somewhere around here. Maybe make it brighter a bit. Yeah, something like that. Maybe a bit more saturated. Something like that. You go. So we have a moon as well in the background. Or we can have that somewhere showing here. Actually, I think it was better that. Okay, So, off course, if you duplicate your layer, command J is the short cut the cookie duplicated. You can increase the intensity off the layer as well, because you will have twice as much off there was pixels visible, or they just they just become more visible by having twice on the same layer. All right, so that was the effect on the technique with noise brush and using it in a composition slightly took it a little bit further than what we have in the original worship. And of course, you can use this technique for so many different things. So just to show you another interesting technique combining the pento maybe with the brush like this you can use again the same brush. Let me just make it a little bit smaller. So there's a rush. And if I create another layer, I'm going to use the pento first to create a shape. So that's just great, like and nice, uh, curve. And by the way, we need to make sure that the pentacle here on the top left corner it's set the path more so we don't want to draw a shape. And then what I'm going to do is to true a car, something like that. And then if I now switch back to the brush toe having everything set up the way it waas, I can right click and switch. Sorry, we need to use the Pento. Actually, so not the brush toe. We have the panto. I mean, we have the brush so set up, and then we drew a path with the pentacle. Stay with the parental and right click and choose stroke path. And once you do that you can choose any off the brush based tools from photo shops, set off tools, and we select the brush tool particularly, and also turn on the simulate pressure option. So now if I click OK, we could actually create this nice, um, like streak off noise, relying on the path that we created with the pencil, but feeling it or stroking it with the brush tool. So with all the settings that we had. So if you don't have a pan tablet like an intercourse Santic or anything like that, and you don't have the chance to use pressure sensitivity to create these nice, faded look on brushes, you can just rely on this technique. Where do you have the option to turn on pressure, use pressure? And then it starts off some mole gets ah, grows into a vital brush and then goes back again to a smaller one at the end. If I press escape twice, we can have a closer look at this line, and again we can move it around. So why did I do this? Because it could be again used as another element to our design. Once again, I'm going to use the huge situation Adjustment Layer Command. You is a short cattle control you on away on. Then I'm going to just increase the brightness a little bit, something like that and command j to duplicate it and then command e to merge these two layers together. So there you have a nice little street in the foreground, so this could be something like a like a cloud moving in the foreground. And of course, we can make this smaller, so it doesn't have to be as big as that, But I quite like the fact that it goes beyond the circle, so it could be somewhere here at the bottom. Maybe, um, I can see Ahmed is asking for me to redo a section off this. The whole thing is recorded so you will be able to watch the full life stream recorded on patriots. But if you are interested to see a particular part, I can show it very quickly. I guess you are interested to see the pentacle technique. So let's let's just do another shape, just two practices. Well, it's good to see these again, So I'm going to use the pen tool again. The brush is already set up the way it was before. So all I need to do is to use the pen tal, set it to path mood and then draw a shape our just a path in this case like that and right click and choose stroke path. Once you do that, select the brush tool, turn on, simulate pressure and then press OK, and there you go. It's added again and other shape. Now, if you do this on the same Lee here, you might be a little bit tricky to move them separately. So I always recommend to do these on individual layers if you forgot to do it, but they don't overlap, then you can also use the marquee selection tool in this case, probably better to use the rectangular marquis. Highlight that detail and common shift J is the short cattle control shift J two caught on to a new layer. The selection. So now I separated this onto a new layer, so once again we can use the huge situation. In this case, let's turn it into something else, like again a different color and so on and so forth. So the noise brush has a lof ways off using it in a mosque, uh, restricted with a marquee selection. Or combine it with the mental and they remember lure. You said, You're rapacity, the more gaps you will have in your drawing. So just once again, if I use the brush tool here and I had reduced capacity down to maybe 1% look at how it's going to look like, so it's going to be very faded. There's only a few off these pixels showing up, but then, as I am going to paint more and more over it, it can build up, obviously the effect. But if I keep opacity at 1% there's also another way you can continuously build up. The effect or you have to do is to turn on the air brush option. If I turn that on notice, what is happening as I keep my mouse held down, it's continuously building up. The effect, especially if I start moving around, is going to keep adding pixels the longer I'm holding the miles down. So, of course, if I increase the capacity a bit, I can hold it down. You can see it's almost like a little animation keeps building the the effect up. So this is when you're using Theo the airbrush option. Now it's still not going to completely fill it up because the opacity is really low. But the airbrush can help you to create that type of effect as well. So it's worth exploring the brush controls here on the top them the main, most important brush controls. But that's always off. Of course, a lot of additional brush controls if you click on this icon here and you get to the brush settings, so feel free to play around with these options. But most importantly, I just wanted to cover the dissolved bland board. Okay, By the way, the diesel blend mode also is available from the layers panel so you can blend two years together by using this same effect that these old feature So that would be also interesting . Teoh around this 17. Day 14 - Selecting Fur (Ps) #195/365: - second mosque. So if we just go back there quickly, we have the artwork as the original image. You can see how nicely things can be done, and I can show this quickly. There's no trick here at all. It was basically using again subject option, which already does a good job. But then, obviously here we just have to tidy up a bit. So this, for we need to remove with the quick selection tool I would normally use old click and drag just very quickly removed the bits that we don't need. And then comes the select and mosque option, in which you just used the refined brush tour and basically paint around the edges on it works perfectly for for even the viscous are coming back, so it does a brilliant job all around. So if we want to see this on, why, maybe you can see we need to do a little bit tiding up around the bottom. But apart from that, the edges of great 18. Day 15 - Cut Up Effect (Ps) #196/365: - So what I would do for that is I'm just going to apply this Must somebody to simplify it a bit . Well, you have to do is to create their your selection. And already I'm trying to follow the shape a little bit. So I can imagine that this is almost like a cylindrical shape. They had innovate. So that's what I was doing. That. And then when I do command return, it creates a selection, and then command ship J create separate layer, so we already have them apart. But here comes the important bit. We need to make sure that we have a layer underneath this current one. And then now I would use probably the pentacle in shape more on just Joe. And imagine how this shape would continue to something like that and then pick a color from the actual design. I mean, the image itself. Maybe from somewhere here. I don't feel that in the shape I might be living too dark. So that's pig. This one here. Yeah. And then what we need to do is to have also an additional shape that adds depth on this. So what I could do ease to use the same shape duplicated. Make it small up. Maybe just drag this up now, actually is probably faster if I just draw another one. So if I just draw quickly, another shape is obviously in case this shape is whole. If it's no hollow, then this already looks sort of OK, but if you want to make it feel like it's hollow on, there's some empty space inside it. You would use a separate shape. You would bring up the color of it there. And I knew what you would need to do is two and a bit off shading using a clipping mosque. You just and we have a nice little noise affect that idea, and then we create that there. And probably what I would do is to make this brighter and that darker so it looks like it has depth. Yeah, So you go. That's the whole fact. And then we can move this up and down, make an animation, Okay, 19. Day 16 - Wavy Lines (Ai) #197/365: - As we all know, line is one the most important elements of graphic design on I created a more like a backdrop or a pattern using just line on in this tutorial, I used the distort on transform effect. I just said they had one vertical line. I just created several duplicates off the line using the distort Andi transform panel administrator on And I've used their mesh tool to create the gaps on great shape around it . Great, simple. But if you go into my examples, you can see that you can't create really cool composition just using lines I love. I love this one. I am they used like a illustration as well to show movement. See you again. This is a really cool example of how they use the mesh tool. So in this one, I really like the little shading here. So that's a bit off that there. So the scarf actually has more off like a depth compared to the rest of the illustration that really highlights the interesting detail in that same thing. He had made the reason why these work eyes because off the shadow or really brings it to your focus. Yet or makes it into a focal point. Aside from using as a backdrop or image, you can also use the mesh option to great lucky distort on your type is pretty simple. There's a lot of options you can do with the mesh to which I really love. So yet Western tutorial on Follow the Steps alone. 20. Day 17 - Gap Tool (Id) #198/365: - thing is really that it seemed that's used in in design, which you would think is kind of it seems a little bit boring to begin with, your kind of basically allows you to select images on change, the spacing between them at the same time, which is really useful in terms of like saving you time and making sure your images that consistent. But I think here I was kind of trying to highlight as well that as well as it being useful , it can help you be more creative with your layouts When it comes to working with images. It could be an easy trap to fall into to just kind. If you're working with the grid of images to just kind of put them in a regular 46 by six grid or four by four grand and just kind of that looks OK, so just leave it if you know it, especially if you're busy and you've known a lot of time and you work in editorial quite a lot. Where is by using a few really simple techniques that we've shown in the video? You can kind of really start to play with making your images look appear more dynamic. So here, for example, like if you're going to use it for a movie poster, you can separate your larger image into smaller frames and then using the gap toe, you can adjust the sizing both vertically and horizontally. So which is pretty cool on similarly hair thistles. Three separate images dropped in on day. The gap to actually allows you to reduce the gap between your images to nothing. Eso putting these images and using images in this way in in design can actually mean that you end up with a really cool, dynamic composition instead of just a regular layout. Yeah, and I think the gap gets interesting once you start using the way you explained in your tutorial, the shortcuts and feel friend proportionately. Yeah, and auto fit, especially eso is probably just worth quickly showing. This may be on a separate page. We just dropped these in using the greed. If I hope, by holding down the placement, I just break it up with the arrows on the keyboard. We'll have the images and then feel frame proportional auto fit. Now I can't even decide like this and using the gap toe. Now we can see as I'm going to make changes the debate, the images are or center. But if I start making changes like this, they also shrink and expand in science, so really starts to see you a lot of time. You want to change them and it always the short short gets, like shifty to split the gaps. Co monkey to change the distance between gaps. And also was the other one, um, option key to move them. To me, that's a grab grab and everything around a certain gap around. Come on or option or sick. And don't forget, you can also do the gaps around it. So it's not just in between images. Also around them school, it says a lot of time doing a man U T. Which we will. I have done it before. Yeah, yeah, When I first found out about this, I was just, you know, it just saves you so much. It does save you time, and it does mean that you could make images. Groups of images look a little bit more interesting and dynamic really quickly without having to rough around re sizing and wasting 20 minutes trying to use the online to your environment. 21. Day 18 - Raise Awareness (Ai) #199/365: - actually the like, a fairness raise awareness idea that I had but showing a very simple technique off overlaying a field shape and a symbol outline shape on top of each other and trying to convey a message. We are a simple demonstration. So, um, it didn't make sense for you for us. When they tell you, why is a Christmas tree didn't with a people live in? Yeah, I think you really think it's a paper airplane? Three, right? Yeah. So it's not to waste paper basically saving saving trees. So, like cutting the trillions and getting to people plane, which is completely unnecessary, was the message. Yeah, I know. You're doing like a Christmas card ways. If we have a bit more context, there was some copy. It might make more sense, but this was this was all about the technique that we can do in illustrator, how quickly and easily we can get through this using Shea Bill that I think I used to hear . And then I used the pencil, I guess, to drew it. But the more important aspect of this was really Teoh just remind you that being a graphic designer doesn't sound like something that you can see the world and having a job raw like that. But you can actually do a lot by raising awareness with your designs. So if you are interested in, like preserving nature or any Coco's that like equality at work and things like that, you can really make a difference by doing designs on it for free even. But you can actually find campaigns where you can incorporate with your designs and really start to make a difference. So there's there's a lot you can actually achieve is a graphic design, especially if you're starting now. Andi, if you don't have much work coming in, I think it's a good way to gain touch with charities. A lot of the time they do need volunteers and they won't feel what so that that's a way off . You give him back, but also building a poor four year working on your projects. You've done that? Yeah. What was it for their waas? I think it was for drought in Somalia. It was a friend that was just helping out because I can always you can always financially help. You can give what you know. I your various to help raise awareness. Yeah, I did some posters and campaigns and yeah, well, it was a really fun project I enjoyed, and I felt much better knowing that I put something into it. It's very without adding kind of work. Isn't working for a charity. Yeah, and it's about more than getting paid is about helping all the people on there. Is that this? I've seen a trend towards this, like studio starting to do similar things, where, as alongside their commercial projects, they will actually work on charitable projects for organizations. So if this is something you're interested in, the industry is kind of catching up with that as well. So you might even go into a role in an agency where you find yourself working on corn chapter proportion. I think aside that we know I think it's brief box the books dot com If we're thinking of the same thing, yeah, where you can do real briefs and some of that. Sometimes it's for charity. But this is a really good inside to get work to work on your projects. If we're just building up your port for you, Yeah, 22. Day 19 - Rotate Canvas (Ps) #200/365: - rotated city technique again. It's all about using masking in photo shop on those. So, like trying to integrate your type video photo. And then you probably seen that was Siri's off these images off different cities with the same effect. I just wanted to I create another one. I don't think they covered New York, so I thought it was probably a good one to do because they have so much like high rise buildings anyway, on I think the technique itself is quite simple, more interesting to look at, how I made it work. So what's important is to make sure each letter for me still legible on its own individually, um, and the way you integrate them into the text is basically to make sure that some goes behind. Some goes in front. Here's where this letter element comes in from that goes behind and probably the coolest one is the old that wraps around that building, so that is definitely like if I didn't have the copy, that building would be the focal point because that's told us one. But by having that the old there, it really brings it into a focal point. And by the way that's actually in the rule of thirds as well. Today I composed it is that it's definitely works as a focal. 23. Day 19 EXTRA: So all we do here is to turn the image around. So originally, image was like this I'm using. Just rotate toe are is shortcut for it. You can rotate things around. Three. This is the original photo, of course, and I cropped it into a square format, turned it around 90 degrees. And then what I've done here is Teoh merged attacks by using a mosque so you can see the text is actually still inevitable. So it didn't have to be term or rust arised anything like that. It's still auditable, but the way I managed to achieve this result is by using two versions off the text layer. So one version is the one that goes behind the buildings, and I just created a mosque that mosques them out. So basically the mosque has all the silhouettes off the buildings, which I've just done a very simple, quick selection. I think I probably used to select subject feature on. I didn't even refine it, as you can see, but this makes sure that that layer the text is hidden behind the buildings, and then I have an additional layer, which creates a few details that comes in front off the buildings so you can you can see that there's the E A little bit comes in front, the W and also, of course, the O, which is probably the focal point off this composition. Or that's what I wanted to be like. The most interesting detail, obviously, is the tallest building in the city. Andi, the always a cool character that you can use to create these type off intertwined effect. Media photos. So when you turn that on and off, you can. I mean, when I turn it on offer, you can see how it adds an additional depth through the composition. So without without this layer, it's OK. But it's just text behind the buildings. It's not their interesting, but once you add that additional interaction off having the text coming in front of some of the buildings, that's when it gets more interesting. OK, so, um, this this layer really is all about just having a big black layer on it. So the same text layer, but using a Blackley Black Lier mosque, some of the mosque can be filled with black. I sure you have to do this if I delete this layer mosque, so we have just a copy off the same tax that's behind the buildings now. And on this copy duplicate layer, all we're doing is to hold on the altar option key and click on the mosque icon that creates is black, completely hidden layer by Heitman. By covering the mosque with black, you're completely hiding it and then using the brush tool with white. That's a light as your focus on gala color. I'm using us hard edge selection as well or hard edge brush. With that, I can just paint over the details that I wish to see. So if I zoom closer just to show you as I'm painting, this starts to reveal those details. And of course, I could decide to reveal this one as well or just revealed the one that we had here. And if I press X, that's painting with black, I can hide whatever the hell I don't need, so you can see how quickly and easily we can change which side of the hole, for example, we want to have in front and decide to be behind same thing with the W. I can paint where this side here or hide that and instead showed this detail in front again . And, for example, we can have this detail coming in front or we can have. Actually, that's the detail that can come in front. In that case, they are as well. We can have this coming in front if we wanted to. But one additional thing that I wanted to show here is that since we have the fact created in a made that this all letter is wrapping around the tower, we can add a little bit off shading on this as well. So the layer that is going behind it, which is a they swung. So if I just turn this one also like this one, it's a little bit hard to see what's actually the other one behind it. But probably the easiest way to do this is to make a selection off the text again by command, clicking on the thumbnail, creating new layer just underneath the type of yours, and then what you see, I have this selection. Maybe pick a color from the building and meat, maybe make it a little bit even doctor and the saturated and then just paint over that area Now, the reason we're not seeing this is because it's under the text. It has to be above the text, actually. Like that. Uh Okay, so we just put it up of it here. And, uh, I actually want to make sure that it is behind that building, which we can do later. For now, just going to use a lower rapacity, maybe 10% soft edge, and just paint over this area here and there so you can see already the subtle frank that we created here. The only problem is that the building shouldn't be affected. So I can always create an additional mosque for this area here using the mental. And then if you have a layer and you want to turn a detail which you created with the pencil into a mosque, you just click on the mosque icon here on the top in the options bar. Now, that might keep the selection that you highlighted with the pencil. But if you want to invert that, you can go to this drop down and she was subtract from shape. This is like inverting your vector mosque. So in this case, the highlighted area won't be visible from the layer, but everything else will be so that part that we created will be kept completely hidden from this layer. So when I turn it on enough, you can see this affect that we created is only showing up showing up on behind the tower in this case. So we can also set this to multiply. Maybe we can also make changes to it. But all I wanted to show here is that if we have a little bit off shading, it feels even more like there is something going on. And there's a three dimensional effect that we created so again without, and it without envy. 24. Day 20 - Thin Line Typography (Ai) #201/365: - again . I use illustrator for this, and it's just simply are lining outlining the tax and I use the blend tool. So if you have a line and then you have another line and then just going to make a change on this one and then we changed the color on it, we can see how it's going. Teoh, move from 12 next. So blamed to shortcut is a Z, remember? I can't remember. I thought it was shift me, But no, I don't. You double U. S. So you just click on one line on the next one and then if you double click on the plant or you get the options in which you can see may be specified steps and if we reduce that, it will start to see them after a while. But for example, if I now select one of these lines, I double click to select it. Now if I reduce this line, wait, for example, it again creates a transition between the line weight on one side. Get the next one. Nice Onda. We can use all kinds of things from this point. Don't like the warp tool as well Start pushing it. And then we create almost like a three d effect. I really like these ones. It has been negative. So the one on the right and on the right has a negative space. But I love the colors that they used to show light characters. I just think feel it looks really cool. I think it's called to see it being used in different like varies in complexity. Eso the three has, like a lot of different kind of shapes to the lines is quite a gradual night experience. You go around and you can see that they have kind of started distorting and making it appear more three days. Where is like the one? The example just next to it on the right is very flat, which is on is more simple, which suits the kind of geometric style they're going for. So it just goes to show that, like you, you can create different styles with the same effect just by working into it a little bit. Um, yeah, I think these are great examples of that because they will have, like, a slightly different fields. Yeah, Yeah, I think. And also going back to the blend toe. I think it's underrated on they You can do so munity complex design. As you can see from these examples, it takes a while to get used to it, and it can be quite fit fidgety on. But it's not always accurate, but it just takes practice to get to get to get the grips of using the mental. So yeah, give it a go go! 25. Day 21 - Radial Distortion (Ps) #202/365: - the This one was a funny one. The radio stretch, the poor horse. This is the original photo from which I created this artwork. Nice on. And the whole point of this just was just to show how puppet warp in photo shop can be useful kinds of creative results. Um and it's I wouldn't even want to go into detail on how I've done it, because I think the promenade with the A version explains it. Well, it's more about the fact that sometimes doing something radical, something provocative in a very can really be a good option. So if you have something like, I don't know what this might be about horsepower between I wanted to put together as a compass. Composition can be very boring thing. You can just write horse power. Or maybe you can have a horse and power next to it. Yeah, but if you do something like this, it becomes an piece off artwork on its own. That is really like V it. And people will stop and try to understand what is going on. The creative reaction motion. When you solve emotion through our works, this step money makes people either love or lack. Think twice. Yeah, like what is this supposed to be? Oh, if there's a larger message that you say if it was like an advert for a car with horsepower , you're gonna immediately be more interested in that products or very appetizing, because it's kind of captured your imagination, and that's that's also a really important factor in creativity. You have to think outside the walks. Yeah, and this this is, you know, it's not normal, but again, it's I think, is really funny. Yeah, I really like I'm like, yeah, so I would call this provocative design something that's It's not sexual anything like that . You can do provocative design in all kinds of different ways. You can be politically evocative. You can be. You can have like sexual connotations. This is just simply something we had something like out of the ordinary. You wouldn't see this regularly like it's not natural. That's why it's provocative is definitely something that if you support to see when you're driving home, wanna build on you, you will stop. And you would think twice You remember? Yes, Very memorable. Yeah, And this this is against something that if this was a campaign. And maybe it wasn't about horsepower, but just about something. I don't know something else. If I did the same similar type of, like, distorted composition with something else, maybe a zero for or I don't know, like it doesn't even have to be an animal. If something is wrapped again into itself like a person, people would immediately remember like, Oh, this is probably the same campaign because it's so different. It can be connected very easily. Yet they make that visual connection, like with the consistency that Nike wants is that if you do something very out of the box, it can actually have a very nice consistency very easily. Yeah, that's a really good point. 26. Day 22 - Corner Effect Typography (Ps) #203/365: - Ah , a simple way off using again vanishing point filter eso. If I go into the filter here in this photo show file, you can see that we have to, uh, planes here on if I add the copy any copy he and not in the past or just no more copy. Um, next and maybe make it some of this color that we already have here. What you need to do and that's probably the turkeys bit, is that you need to make a selection off this, copy it and then hide it it on a separate lier and then going to Vanishing Point. Because then what you can do is to paste this. It comes in as a Rasta writes text. But then you can start moving it in, and you can see how it can actually be placing the like, the intersection or the two planes to stand. Create that corner fact that we have there. Of course, we can resize the steel so we have a transform option as well. He had beating the fielder, killed the left side. That's pretty much it. It's a really simple technique. Yeah, really accurate way to draw in perspective. is are instead of trying to kind of fiddle around with, like, your anchor point so dry and do it in a way, this kind of looks a bit right, but not quite there. Like this is this is a way to really professional which you gonna want to do when you start creating things for clients. Sister. Yeah, and what's important is that if we look at this one here on the top, this tax doesn't look as good as the one below. Yeah, I mean this because we don't have the shading. But once you have the shading, so I have that on separate layer immediately starts to feel more like, Yes, it's it's on the other side. And if you remember the technique, that's just simply using the marquee selection to and using a big, soft edged brush maybe with a darker color, something like that, and then painting it on the actual love with something like that. So that's creates that edge if we think we're seeing. Is that that visual suggestion? Exactly nice. But I can like reverse it and go on the other side and make it brighter, so almost feel like if this is set to overlay. I always feel like there's light coming from that side, so the same thing with kids. 27. Day 22 EXTRA: a technique in for the shop, So all we have to do here is to use the vanishing point filter. Now the vanishing Point filter is not something that you use offer, and it's not something that I use all the time. But there are certain things that is fastest to do with it, and you can think off. This filter is almost like a a three D fielder, even though it's not actually using three D. It relies on planes that you can place on your composition, and a lot of people would only use this when they have, like, a photograph, and then they want to do something on it. But I also use it for actual demonstrations. So Illustrator has its own perspective technique, which is great. And that's also something that I use quite often. But if I if I want to do something in photo shop, then I would rely on the vanishing Point filter. So let me show you how it works. So switching back to my screen, I'm going to show you the file that I created. You can see we're stealing for the show, but what's more important is that we can uh, start from scratch and I can show you how exactly this works. I'm actually going to keep my layers on. So if I go to the field him and you can choose Vanishing Point. You can see already that I have the planes at it here for the text. So I have two planes, one on the left and one on the right. And whatever I place on these planes will be able to transition itself and align itself to the Plains. So I'm just going to escape out of fear and turn off these three years, and actually, I'm going to start a new composition. It's just easier, probably to do it that way, so completely fresh. Start. Let's start with a new document. Here we go. And most of the times, if I want to have, like a background color, why uses the adjustment layer called Soviet color? It's actually like a special type of the year. I wouldn't even call it adjustment. Lear is just simply a solid color layer, but you finally, from the adjustment options from the layers panel. So once you choose solid color, you can set the color up whatever you want. to have as your background and then I would normally turn off or delete the background layer because we don't need it anymore. Just press backspace once it selected. And if you don't need the mosque on this a year, you can also right click and delete that mosque. So that way this is going to become our background. The good thing about this is that I can just double click on it and very quickly and easily change the color. So this vitamin is something that I have normally set up as an action. So whenever I know, I want to use a background color in photo shop and I want to start off with that, I would set it up as an action. Any repeatable tasks that you do in 40 Shop over in Illustrator is worth setting up as an action. Let me show. You have to do that very quickly, So I'm just going to go back to this starting point where we have a new document. And by the way, even the creation off the new document can be saving to the action. But let's just say we want to have it set up in a way that it can work with whatever documents signs were working with. So we don't want to define the document size. We just want to quickly add the's shapeley. You're and do the steps that we went through without repeating it every time. So what I'm going to do is to go to the window menu, choose actions, and here we go. We just simply need to create a new click on the new icon there. And that's called this solid. Uh, why am I caps look on solid color background. All right. We could even set up a short get for this action if we use it very often. But I'm happy just the way it is, and I want to save it in the default actions. It's fine. I'm going to click on record now. If I go to the icon and choose solid color and then choose a color, let's just say my favorite color, uh, somewhere around here and then I think OK, so you see, this already shows up within the panel here, make feel layer. So what we can do is Teoh now do exactly the same thing as before. So, like the background layer, delete it, then renamed this layer on. Call it background just back. I'm going to call it, and then I will delete the layer Mosque as well. So that's or registered in our action. So it saved and you can see all the steps here. So now we can just click on Stop. So that's all the action that be needed. And the cool thing is that each of these steps can be deactivated. So if for any reason you want to keep the action but without deleting the most channel, for example, you can just remove that from the action and the next time, if you run it, it won't remove the mosque, for example, so you can customize your actions as well. But I'm going to keep that on, and then let's go back and undo these steps. So I go back to the fresh new document and let's try this out So we have our solid color background action. If I click on, play it go through immediately all those steps, and we don't even have to worry about anything. It does the job for us and sets it up exactly the way it waas recorded. So if I go into here, for example, when I created the field color layer, you see the even recorded the color, not just the fact that it's creates an adjustment layer or solid color layer, but also exactly what color I used there. Now, unfortunately, the changes I mean, the options that you use that that step I don't think you can update. That s, oh, there's no option for updating it. You can do quite a lot off more sophisticated, and the involves things like creating a conditional step where you can go in two different ways so you can ask yourself whether you want to do this or that. But the easiest way to make sure at that point you give yourself the choice to choose a cover, for example, and instead of using one precept like this, you can click on this icon here next to the tick, you have another icon. If you click on that, that becomes a contextual. I think it's called contextual action, meaning that it will always come up with dialogue books and stop at that point, wait for you to input whatever you want. And then once you selected that it continues the action and runs it until it finishes. Or until it runs into another step that you set up a contextual step or user action. You can also qualities. So if I now, uh, go to my default document again, so I just I can show you if I create a new document, for example, and set up a different signs, maybe choose. Yep, something like that will work so you can see it's a completely different size. But if I start my action the solid color background action, you will see that it stops at the point when I'm creating my new color feel. First of all, it asked the court, other than the name as well, and then I can choose the color. Let's just use a different color click, OK, and then it would finish the action so you could see it automatically deleted the background layer and that diddle the rest of the action. So it's completely after you, whether you want to make it fully automated or just individual steps stopping at individual steps to give control to the user yourself in this case. So, yeah, I think it's a really cool technique. I mean, setting affections is saving a lot off time for me. I have loads more. I just don't have them loaded on this computer. But you can see that it's very quick and easy to set them up and you conceive a lot of time using them. So now that we have our background, let's create the effect. First of all, I'm going to copy that text year, So I really have these textile years. It's cool thing that since Sisi 2018 you can copy layers, simply command, see control CNPC and go to another document and command via control V paste. I mean, So how cool is that? There wasn't available before you would have Teoh like it was much longer than that. So it's much easier now to do this. So we have this right around the corner text and, uh, on a separately year. So what I'm going to do is to adjust my background color just to make sure this will stand out a bit more. So I made my background called the Doctor, and you can see why it is so useful to have that shape your dad. So, um, now that we have the two layers available. All we have to do is to make a selection off them. So I'm going first. Start with the right around the corner text. If you hold down the command key or control key and you click on the thumbnail, it will make a selection off that, uh, earlier in this case, the attacks. And then you just have to press again. Koeman see So copy common Click on the family, like on that one there and then command, see or control, see to copy, then command the or control the T select. Or you can just go up to the Senate menu and choose decent act, creating new the year. This is important. You have to have an empty lier and at this point you can turn off your taxes. Years. I keep them creditable text in case I want to change the copy or if, in case I want to change the form, for example. But on this new layer, we can now go to the filter menu and choose vanishing point. So this is the filter I was talking about. So once we select that we can now create our planes. So this is the first step we need to do here. Using the plane tool, we can click, click, click and click, and we get the first plane that we created. Now, when you see yellow lines, that means it's not a very healthy perspective. So you need to add just thes corner points until they turn blue. So you have to keep moving them around until they turn blue. If they turn red, that is, you won't be able to use that at all. But once they turn blue, then you are good to go. So here we have. I think something like that is going to work. I nicely. So here we have a good set up. Yeah, I'm quite happy we debate this looks. So that's one off one off the sides. But we can make it a little bit more, uh, distorted. So we would have a stronger sense perspective if we said the corner points at the back closer to each other so you can see the parallel lines are getting more distorted. If we do it like that, I'm just going to set something up like this. Now we need to have the other side as well because we want to have place our copy on the corner. So not on the left side, now on the right side, but on both of them at the same time. And this is actually why I do the same Photoshopped this particular technique because in in a straighter, you will have to divide your image or text and put it 1/2 on one side, 1/2 on the other side by hearing foot show. You can actually move across multiple planes, radio illustration. So if I hold down the command key, I can click and drag a new plane out from the edge off the previous one. So if I press commands that I can show you this again, I select my original plane. I hold down the command key and then click and drag out from that center point to create our second plane. Now the second plane can have a new plane again, coming out of it again from the corner Point control or command, click and drag. We could have our third plane as well created now. Of course I can. Before I create that third plane, I can adjust this one as well A little bit. Just so. It is a bit more manageable. Something like that may be dragged out to the bottom as well. A bit more something like that. So we have first plane, second plane. And as I said, if I make this a little bit narrower, maybe command, click and drag from here. So now we have three off these planes. So now comes the bit where we place or paste that tax that we prepared originally. So if I used Command V or Control V, the tax will come in. And as soon as you start dragging this own to your planes, see how immediately it's starting to move across the three planes. How cool is this? So, of course, the problem now is that it's too pig, so we need to make it smaller. And for that, luckily, we have the transformed toe here reading the filter. So this finishing point filter is one off the more complex filters, where you have the tools of eating the filter one off the other complex filters would be liquefied where again you will have tools, video the future itself. So we have the transform tool that which, if you hold down the shift key and drag a corner point, you can resize your paste graphic. And now we can see how it moves is really cool. It's almost like like an enemy nation. When I'm looking at this, there's a couple of things you do in for the shock that it's just really fun to mess around with and play and see how it turns out. So if I wanted to create a more complex corner fact, I could make my text bigger and then have two corners instead of just one. So again, the whole point of this lie stream is to take it further than what we cover in the vomit videos, but also further than what we cover in the bundle. Because in the bundle, each of these tutorials we go through in more detail. We spend around 3 to 5 minutes on each of them, and I show you the technique briefly. But here always that we can go beyond it, and I always try to take it one step further. So in this case, instead of just sending off home corner, we have two corners, and this we will haven't even more interesting shape. So if I now click OK, all right. We just click. OK, then we get that distortion. But let's not forget about the word that we have separately here. The So why do we need that? Because otherwise it doesn't really make sense right around corner. So we need the board somewhere in there. So what I'm going to do is command click. I just repeat the tap of the steps that we went through before a command click on the thumbnail and then command see, to copy commanding to the select on internal earlier. And I can put this on a separately or so because I have to be on the same layer. Another layer go into the field, Herman, you choose Vanishing point again. And the cool thing is, the vanishing point fielder automatically shows your upper layers as well. So you will be able to align your new word to the original of the first composition that you really have their. So I paste this in drag and drop it paste is common. Be controlled, by the way. So, uh, pays the same and then t is the shortcut for the free free transform to. And by the way, you can also flip your text or flop. So you have flip and flop. Basically, lads, problem that was called flip or is entirely and were thickly so. You have both of those options there, but what we are going to do is to use that's just simply the free transform tool. Hold down the shift key and find the right place for this cell right around the corner is what I wanted to do so we could have the word does somewhere around. Maybe there I'm not sure it might be a little bit too small, so we might need to hold down the shift key, make it bigger. And we could actually have this also here on the corner because the word, the letter hey, h is a symmetrical latter. And it actually is ledge a ble. Even if we have the that tax on the on the center line. And just notice that if I move this up and down, how is changing in perspective again? In this case, we have a view from above. When it's comes around the center, we have ah, horizon. And then when it goes above were starting to look at it from below. So even though it's not a three D filter, it works as if we're working in three D. I. I love this technique, and I I use it so much so we can place it in here. I think that's a good place for it. So now if I click OK, this generates this new layer for us. So we have now the work and the right around the corner onto separately years. But at this point, it still doesn't look great. And the reason for that is because we don't have any sense off the space around the text. So the tax, already like, suggests that there is a turning in the space. But nothing else helps the viewer to understand what is going on. So what I would do is to create an effect that we can again use on the vanishing point filter if we wanted to, or to simplify things, we can also use it here now. What I would do for this is to create another layer, go to the filter menu, choose vanishing point, and here it's a hidden feature. But I love to work with this. If you go to the drop down, you can find the option render reads to for the shop, which means that the Greek that we can see here we will be able to see as a layer in our composition, which can help us to see exactly where the term between these planes are. So if I click OK, you see, we get this as a separate lier. We can reduce it's opacity, so it doesn't have to be so strong, or we can change its color as well if you wanted to. But I all I needed to see is a roughly where that line is the division between the planes. So now what I can do is to go into I'm in creating newly your first of all. Once we have the new earlier, we can use the pentacle. In this case. That's what I would use and create selection using the path tool so I can go around here on Let's just create this selection. So it's basically replicating that division line, and then I made a big selection around it like that. I mean, we could always make it further up and down, but that's going to work for now. And then we can click on selection bottom here on the top where we can just press, command, return, control, return, which is also turning this path into the selection. So once we do that, we can use this new layer that we created. Turn off that greed that we have just so it's not getting in the way. And then we can start creating the indication off the transition between the planes and the way you do that is normally by selecting the color that you have in the background Old click with the brush to walk to pick up that cover. And then we can use the little color picker dialled books and make this slightly darker. Something like that soft edge. And we don't need the dissolving this case. Let's keep it normal. Maybe 20 or 10% will work. Probably best. So now if I start painting on this corner, you will start this start to see this. I'm just going to increase the intensity a bit so you can see it a little bit better. One side diesel like this, you will already see how it looks. But what's important that it has to be on top off your text because that's when the effect will work better. So both off those layers, but best to set this to multiply. And I actually went a little bit too far so we can reduce the capacity. So you see, all we needed is a very subtle indication off that corner. So this means that the light source is coming from the right and this side is getting a bit darker. But I'm just going to go back a bit because I'm not happy with the very turned out 100% happy. Okay, so we put this old agree on the top, set it to multiply by the fourth, and then if I start growing, we can see much better what's going on so I can build up the effect much better. So wanting is on the corner, I'm adding more off like an edge, and then it's nicely feeds out as it's going further of it. So now I can reduce the opacity off the layer because it's a little bit too much. But all I needed this something like that and then turning back degreed again, I'm going to create another layer against. Set it to multiply, used a pencil. And I'm just going to go over this line here and create a similar effect on that side. Okay, command, enter or return, and then use the brush tool and again create that same effect on this side. Let's just make it even darker on the corner. There. Now, if I turn off my grid, we can see how it looks. And again we can reduce the opacity. Doesn't have to be that strong. So, um, this always takes some time to refine. But you can see once you start indicating the planes and have a little bit off play with the light, it will make a huge difference, and it will actually reinforce the effect that we created with the video fielder in the first place. 28. Day 23 - Colour Blind Designs (Ps) #204/365: - So we have the view proof set up, and there's two colorblindness options there. If I turn off the proof colors option, we can see how a colorblind person would see this image, and this is not actually the colors they would see. But this is simulating the contracts they will see in the design. So we find, for example, have a lot of these layers turned on on. This is how we would see ourselves. That's that's the normal vision, even for us. It's not comfortable with someone with color. Blindness will probably don't even see that. That's that at all. Why we can still make me this out really well, yeah, someone with this bit specific type of color blindness scored protein obeah have really hard time reading that. Oh, if we switch to the other very common color blindness called, they'll turn O P. A. Or due to rope appear. I can't pronounce it. Then they would actually have no problem with the other one. They would see this fine, but they would hardly be able to read the main title, which is oversee. Very important, I think, with a normal vision that's probably more difficult to read for us, but it it's one of those things that you won't be able to tell without checking it so sometimes, especially when you work with very vibrant colors. And you are pushing the uM ledge ability a bit over into having like these vibrant colors on top of each other. You have to be extremely careful because some people might not be able to read at all what you are putting their, and it doesn't even have to be text. It could be even shapes on top of each other that might completely blend into each other. So command why is the short cut to switch back, back and forth between your normal view and you're simulated proof colors in this case, that colorblindness that we see there? So when I use come on by control line, you can see that they're changing Perfect. It's really Do you think it's a good habit to gain, too, when you're saying your work supreme just to double check? Yes, that would check this. Have any design? No, it's I think it's only important shop. I don't know why they don't have anything. The other applications. Maybe there's a way to get them there as well. But in fort the shop, you can definitely find them as default settings. Um, yeah. So highly recommend to check them out, especially. I wouldn't do this on every design. But wherever you work with these strong contrast in colors next to each other, vibrant colors most of the time and especially green with red that's one of the riskiest comp comp combination for both color blindness. I might my father has. I think he has, like, a subtle color blindness. But even he has issues with red and green on top of each other. If they are actually very strong on saturated, you can see them fine. But then they, when they get a bit more Matt like, faded, then they can blend completely together. So red on blue on green or whites worsen. Yeah, he won't be able to tell the difference between them. So yeah, it makes a big impact to the whole point of your design, like, especially if it's communicating important information like about an event on you're stopping like a whole percentage of the population reading it should start to consider. Yeah, definitely. So again, is being a hair off. The difference in in how people perceive things is important to keep in mind 29. Day 24 - Gradient Feather (Id) #205/365: - this'll was a technique that I used to use when I was are working on, basically, sometimes a crime want very beautiful coat, quite dark, high resolution image used to grab and capture attention. I mean, this image is gorgeous, isn't it? And something that would stand out to me if I speaking for a paper or a magazine. But then at the same time there want information about their company on bond. You kind of talk to them and say you could report like a box on there or could be contained on. And they're like, No, I want some of this form bleed is gonna is gonna look amazing on. Then you put the text on it and you can't see it. You know, even if you try making it a few different colors and kind of it starts to get really complicated. So the technique that I show you in this tutorial basically is away toe kind of blend. He's thief feather Grady, until instead of a traditional Grady, where it goes from one color to another color, it goes from opaque Teoh, Um, transparent. So it's thought it gives you kind of a little bit of padding, I suppose, to put your to put your information on eso. The tool is this one here is shift G, and then all you have to do is to just drag in the direction in which you want to fade the element that you're working with so instead off like in this case, I'm using it on the image. But instead of that what you've done, it wants to create a rectangle and then have a color on it like black. Let's in this case and then all you did was to use the shift G. Grady and Feather Tool and then do something like that. And if I go from outside in, it makes it much more subtle. Yeah, is that that's been out on with the radiant? Exactly. And then where you replied, depending on on like you say, how intense on and how you want to kind of use this total, you would place the information in the area where the colors the most dense because the information would stand out. It's not that noticeable when used with a color that's kind of similar to the photograph. Like the example that I created in the tutorial so it means that your viewer probably wouldn't see it, Which is why natural? Yeah, it's very natural on the even. The client wouldn't necessarily notice that you put it that, but the information stands out, which is perfect. So I just wanted to make a point here, yet No got states. It's a easier way over your doing the dark being designed rather than opening in 40 shop and trying to it just a bunch fast or the colors of the Hughes. Yeah, you can directly doing the design. Yeah, and that just wants to make a point here that we normally refer. Teoh this issue as having a high frequency image as your backdrop, which means that you have an image which has a lot off details. So normally on these ones text is no matter what type of tax you put on. It is going to always be a bit tricky to read because you have so much detail like it. The waves, the bright and I details within the waves create a very complex texture. Eso That's what we call high frequency by you. If you have like an out of focus shallow, therefore, field photo in the background that we would call a loaf low frequency image because you have a much softer background. And sometimes there you don't even need this, Grady. And because you can just plays the text on it. Yeah, and that just feel be legible. Exactly. So you don't need to use this with every single image. Just when you when you can read it. Well, exactly, because of the kind of nature off off this technique, I actually really struggled to find examples of it because you can't necessarily see that it's being used. So instead, I thought it would be just interesting to look at how you can use the introduction of using kind of not fully opaque boxes over a new image to help your text stand out. Because even in this example, if I decided to use a more dense color, I just picked a nice blue, which helped it stand out. But if I decided to use a red as a contrast that would again bring another layer of meaning to the composition similar simplicities, which I think again just show how you can use an overlay of color to help information stand out and you could even use this something as simple as using from color box with a pass ity . It's really just about making sure your type is legend Bill and stands out. That was the point in tutorial. 30. Day 25 - Mindbender (Ai) #206/365: - this one is a tricky thing to do in Illustrator in the story. Ally. Go through it step by step. But there are some really cool examples examples off this online so that you can find much more complex. And this I wanted to just keep it simple, but show that even a simple design like this can look. Oh, the whole point off this is that you are using an isometric view. Ah, in which you can trick the viewer in thinking about something being looked at from the top . But then on the other side, it feels like we are looking at it from below and the whole thing is connected. So we are confused like Okay, So what is actually happening here? Um, it's the same thing that you can finding that game. I think we talked about that in the previous session. Monument Valley. But yet they actually really play with this view on this mind, bending the respect of it. Yes, sometimes things feel like it's from above, but it's from below from a different angle. But yeah, that's that's something again that's worth exploring 31. Day 25 EXTRA: And this is the infinite loop when I called it mind Bender illustration. So the reason why I decided Teoh cover this and show you how to do this is because first of all, I symmetric illustration is really in tram now. So anything that you learn about this technique is useful. Um, you can use it for abstract shapes like the example that I went through, but you can use it also for more complex illustrations. Even character registrations in isometric view is really in, and you can find a lot of examples of it. So just to show you what, maybe or like a few, we can go to Pinterest. If you guys haven't check out Pinterest board Pinterest account yet, I highly recommend to do so because we always pin and save cool references for you. So if I go to Pinterest slash yes, I'm a designer, Um, you will be I mean, I can get to our boards. So here in the boards, we have a few examples, but it might be just easier to find assert for this, So isometric illustration and isometric view is something that used in a lot of different areas like in game design. It's a very common way of showing at 2.5 I mentioned. So it's not really three D. It's not to the it's somewhere in between. But it's also used in architecture to show like a plan off an interior or exterior as well . And you can see a lot of cool examples here. All of these illustrations and this is what I meant. Like even sometimes when you don't think it's an isometric illustration, it is actually relying on an isometric view. So whenever you see these type of things, notice that there is an underlying like perspective, or it's a lack of perspective, to be honest, because there's no vanishing points here, so any parallel lines will be completely parallel. There won't be any distortion, so these lines won't be meeting in the distance. That's the unique aspect of working in isometric view. So, like this one example, you can see that these lines thes para line lines will never meet in the distance and by the very Minecraft is a huge example as well off isometric design, even though the actual game itself is more three d three aesthetic off the game is relying on isometric design. So, yeah, we have lots of examples here that I could show you whenever, wherever this is used. But the the technique that I'm showing you an illustrator is more similar to something like , Let me just try to find one example of that. Um, I mean, I think probably the best example would be to bring up Yeah, this game, the Monument Valley on the iPad. This was the original concept art for the game, but basically they are playing or or messing with this view. Teoh confuse you whether to better when when you look at the detail, whether it is seen from above or from below, because with isometric view, that's again another unique thing that you can do. And that's exactly what I used in this example as well. So on that element that I have here one when you look at it from the left to me, it feels like that's seen from above. But then when I'm looking, looking at from the right or the right side of it feels like that is something that I'm looking at from below. So this confusion off what's from above and what's from below is what's cool on Did you can play with this whenever you work with isometric view. So the way I have done this, I can show you. Probably. I'm not sure if I have time to go through the full technique. And also illustrated decided to have the resolution must up here. So I don't see all of my men used, which is not helping, but if I just create a new art board, Okay, I can start off creating the main shape that we are going to use here. So, um, I can probably just show you the recording off the foot, the full recording off this tutorial because it's a little bit complex. Let me just see if I can do this in a few minutes. Actually, so, um, I'm trying to do it fast, but it's always a bit tricky whenever you work with these type of things. So, first of all, I would use the pentacle, or we can actually use the shape toe. Uh, that's just it's again. I can't see all of my tools here. That's a big problem. Um, just going to open the recording. It's a little bit tricky. This one So this waas the mind bend their illustration. And then if I open up the original one, I'm using screen flow, by the way, for editing these tutorials So you can see here the original full recording. So what I What I've done here is to use the triangle shape and then turn it into just simply using strokes and then come expand. That that's important. I actually need to show this to you, but it's It's I think I might need to change my resolution for a second. Hopefully won't kill the live stream. So if I make illustrate a smaller okay on Ben, put it back to this resolution that we've been using. Okay, so now we have the right size. Sorry about that. That was just a little bit difficult technical issue here. So we have our shapes now, finally, I can see them. So we have the polygon tool. If I use the down arrow, we're apparel can. While drawing with the polygon tool, I can increase or decrease the amount off corners and then holding the shift. I can make sure that this is unlined. Uh, like the way you can see it right now. increasing the stroke size and set the stroke to be inside. I can create this outline, okay and then object. Expand appearance. I can turn it into the shape that we need. I will choose. Expand again, actually was already expended. So we have now the shape that we need jam just going to drag here out. We don't need the original path, so this is the shape that we need. If I look at it in outline view, that's command while control. By then, you can see now it's not the stroke anymore. It's actually a field shape. So this expand appearances, detecting that I would normally use whenever I need to turn a stroke into on field shape. So now that we have picks, we can old click and drag to create a duplicate. Now, the reason why we need this is because you can see in the recording as well. From this, we will be drawing all those shapes that we need, so we actually need only half of it. So what we need once we have them next to each other is now to turn it back into strokes. That's shift X to get again. The strokes, and I'm actually going to increase the stroke size something like that on. Then I'm going to try to align them a little bit further. Okay, Um, this is actually a bit thinner than my regional design. Be probably could have used a bit thicker stroke at the beginning, but it's going to steal work like this. All I have to do is now connect these two points here on the top. So now that we have all of these elements ready, I'm just looking at cheating a little bit looking at my original design. That's actually all that we needed, right? Yes. And then comes the shape you there, too. So what I'm going to do, select all of these and then switch to the shape builder, tool shift them is the shortcut for that. And then with that, we need to join details together. So first of all, we need to join these and then thes from the left side. And then again, I'm just cheating. Actually, the bottom area, it doesn't matter. So as long as you joined these together, you can now select everything to get that use the eraser tool and holding down the old key . You click and drag over the details that you don't need any more and you can actually carving to further if you wanted to, to delete everything that you don't need. Now, if you want, we can also change the stroke to be inside or outside. That's actually finally it. Waas. It's only a little bit tricky here at this point because these lines are overlapping each other. So if we wanted to, we could fix that by, um, selecting this point on this shape. So I think that point, actually, I'm just going to deal with that at the end. For now, let's just use this debate this but rotated to the side. Okay, so we have this one side ready, and this is the probably the simplest part of it. Before I move any further, I'm going to again outline or expand these so I use expand. So once again, these turn into field shapes, and that's when it's much easier to get rid off the shapes that we don't need. So, like in this case, I can use the shape builder tool and holding them the OK. I can chop off these things that although those outlines that we didn't need. So now it's much nicer than tied here. Once again, you see, having them in stroke can be useful. But by having them as an as a field shape, we could use the shape builder tool to very quickly cut off or trim off those corners. So now that the shape is fine, I can use the reflect will, which is the shortcut for that is all. And then click on a corner point like order. CenterPoint. Click and drag and hold on the old key or option key and the shift key to duplicate onto the other side. Now, because we have a thickness on it is going to look like this. But what we can do since return this into a field shape before we do the reflection, we use a Gandhi racer toe well, Avandia with key again and just chop off that last big there. So that way we don't have a a lying in the middle, which we can always a later and inside. Now, if I use the reflect oh, I can just reflect around that corner point or shift click and drag onto the other side so Now that we have this year, we can reflect this again around itself just upside down. So no shortcuts here, just holding down the shift key. And that way you get that opposite effect. So this is the most important. But here I would say so. Once you have the two sides which look identical and it doesn't look any any anything interesting is just like a square that's lay down. But once you do this last bit, so select that right side or left side, press on the keyboard and start rotating the shape around itself, holding down the shift key, you can do a complete vertical flip. And that way, now we start to get an interesting shape where these linked details are actually linking in the opposite direction. So if I select all of this together now, I can use the life being bucket or, for example, K is the shortcut for it, with which we can feel in some colors. Now, of course, you can pick covers from your swatches. Well, you can also shift break out up here and define a different color that you don't have in your swatches. And with that you can start painting. So let's pick another color again. Maybe something like that. Feel this detail in here, and this is pretty much all you need to do. So two colors. Now, this is slightly different to what I have done in the original tutorial. If we look at it quickly, the final result, you see, because I kept those two lines in there, we actually needed three different colors for make it work. But if I don't have the lines there, then we don't actually need more than two colors to make this work. But of course, if we decide to have more colors, if we wanted to have those lines in there, we could even have lines going all the way from the top to the bottom increase that stroke that I just created. I can't remember what was the stroke size, but I'm just going to make it slightly. I'm roughly similar. And then again, if I select thes e shape, build their tool, I can actually caught this out from that. So it's good to know that the shape the other to a can of work on strokes as well they don't have to be turned into feels for the Sheikh builders to be able to interact with them . So now we have something like that. And then if I select old press key on the keyboard again, let me just pick a good color something like this. And then I can start feeling details in. So let's say that is from above. Then I put this from below and then I'm going to pick another color. Then I put that here and there and then if he build it, if we build it like this, just using two colors. It is interesting, but it's not confusing enough. So what I would do normally is to use 1/3 color which can be used at these two points. For example. Just go back there. Okay, so I think that looks quite nice. But once again, you can decide how you want to use this. So in my eyes, this right side feels like I'm looking at from below, and the left side is as if I'm looking at from above. But if you don't like the colors that you ended up using, you can always select this later. It's a life pain group that can be easily re colored by using the re color artwork, which is this icon here on the top center. So if you click on that beautiful color wheel, you will see all the three colors and you can go into edit mode and, if you like, the way they are linked to each other. So there is a harmony that I was trying to go for here if I like that. But I just don't like the actual colors. I can link them together with the little link icon, and I can start moving them around and find different colors that I can use. It's almost like using the hue saturation and just adjusting the Hughes off your colors so I can find different variations here. Or if I unlinked them, I can even change them completely individually. So this I use quite often to create new color variations. And if you want, you can even go for harmony rules. So if you're not sure about what colors to pick, you can go up here and then you can pick. Maybe, I don't know, left complementary colors or monochromatic colors and yellow colors, and so on so forth. So it's really up to you to explore, uh, what colors you prefer? I'm just going to go back to the way it was because I think it's actually quite nice like this. 32. Day 26 - Spherical (Ps) #207/365: - the panorama that spherical panorama in for the shop. So this one is actually using a three D technique to create this affect. So I'm just going to quickly open this file up and then we will see that I used a very high resolution panoramic image. But the cool thing here is that we can turn around and feel like we are dented. Issue means there as well. I thought this was in Switzerland. And this, uh, mountain here is the idea. And this is actually the north face, after which the brand, his name. So the north face off the mountain, which I think was the last conquered mountains, or like rock face that that climbers could actually climb. I think it was in the fifties. I think, after the second World War, I can't remember exactly when when the first, like pair of mountain climbers managed to go through this Eso is one of the most trickiest climbs in Europe in the Alps. Um, but yeah, So what I've done here waas to set these photo first of all up as a three d spherical panorama and I go through this in the tutorial, but you basically add an image in a photo show, and then you choose three D spherical Panorama New panorama from the selected lier. And then once you do that, you can actually use things like the brush double and all kinds of other things as well. But let's just use the brush to for now and start painting and a cool thing. If you're painting on this layer, then this already becomes three D. Thank you. So you could even use the clone stamp tool and things like that, and we will all work in three D. Let's just trying to sound so if we are using this sporting brush tool, he moves something there it's again, stays in the three D environment. Nice. So you can you. Did you do three d retouching? Basically. Oh, like it feels like it's three deeper over the safe. Look open the sky is going Teoh there. Do you think I don't know. If you try, you can animate like this. I think you can. So if we go into the timeline panel because there is for video timeline, definitely there is a an aspect or attribute for three D camera position, So if we looked at for him, and then we go to the next one. And then we changed the angle. Just simply using the move. Told it should create our animation. Okay, so it's a very good question. Hyperspace think it just needs to render it, but because we have recording everything, but we can see it that way. We can see it's animated already. Yeah, so yeah, that's that's a cool one as well that he can do. Yeah, nicely. 33. Day 27 - Render Trees (Ps) #208/365: - application here as well. Which trees vendor? Do you think The one big one here? This one? I think it's probably this one. Yeah. And that one in the back. Oh, really? That's that's really cool. So this is actually a three d vendor already? This tree was already in the render, but these two Iady, then there's not much difference. To be honest. Yeah. Yeah. So if you use this feature well, it can be a brilliant way to at some life to your three D renders, especially for architectural designs. So all you have to do is to create a new layer. You bring in your rendering to photo shop, and then you go to the filter render tree option within which you will be able to choose all kinds of different trees. So you get like bamboo trees, shrubs, palm trees. Is the cima towards a condom? Well, basic format. Well, auto cat is more for the actual architectural design from which you cans, save the blueprints and all the different things that you need while yeah, I know. Took it. Also can do renders. Yeah, Maren does like that, but that's more like cinema four D I think they would use for these type of renders. But this actually does a very similar thing for the trees. So specifically for trees, we can change the light direction, which is really cool so we can check like here because the shadow is falling on the right side. We want the light to be on the left side, and then we can change the amount of leaves as well. Have less or more leaves. And then we can change the arrangement, which basically randomize is the tree on. Once I click OK, we can see our render tree. That's really cozy. He can reach dialyzers. You want it so all of them could. You could use the same type of tree, but they don't look really different exactly authentic. So if I create another layer and then we just go up here, use the same affect, but with a different arrangement and different amount of leaves. Then immediately we get a completely different looking version of the same palm tree. Nice. That's really cool on that. Let's not forget that you can use things like puppet warp, so if I go into puppet or and I just put a few points down here. Way can Nice. That's really cool. Eso There's so much things you can do everything for the show. Better low people would know about. Yeah, different ways to use the same tools on. I think normally people would find an image of a palm to Moscow. So s so much faster. Yeah, okay. 34. Day 28 - Mandala (Ai) #209/365: - I think again, the tutorial. It's fairly self explanatory how this works rank and just show very quickly the most important aspect of this. So all you need is if you have any element, like if I just create very quickly something here, just three circles in a combination like that. If I drag and drop this into the Brushes panel that can already become a piton brush registration doctor in depth as long as you select pattern brush and basically you will be able to start growing with it. So if finding creating your art board here and then we use the brush tool on start drawing , it's already uses that shape as the brush. All we can also drove it it onto shapes like so we'll get. That's really good. Yeah, so that's basically the Mandela effect that I have done that but obviously was slightly more complex. But the same scene technique 35. Day 29 - Swirl Text (Ai) #210/365: - So if we have, maybe this left selected outline outline one shift and then the 12 tool is Vic, together with the distort tools. So this one is the 3rd 1 And if we double click on it, that's when you can actually reduce the Mtel 12. You one. You'll have better control if you try and reduce the 12 rate cool on, duh. Something closer to zero, and you have to test around. See what works by thing. You can create really interesting shapes. Really cool waves on bass Player has been useful logos designs before you can add it to your ministrations. Yeah, it's a really accurate way to create that organic shape without having again to, like Pfaff around with your income points and not quite the right effect on, especially if you hate the pencil. And I know a lot people who are not always comfortable with using the petrol. This might be a good option to create waves and 12. Yeah, I think District er does a really good job, but you have to play around the setting and find a saying that works best for you. Do you have some references? I think I have I wanted to, which I really liked again. It's just a assuring typography. It works both in San Serif Onda Cero phoned, but you have to care of on and see which typeface works best. But I like these examples on there's There's also 12 itself using more like a pattern. Yeah, we get using elements of your design and all morning, so that's pretty much it nice s So he doesn't care about the setting, So use that defore says it because it's No, it's not. It doesn't work that well. Not so. Yeah. It doesn't have to be taxed. It can be anything Great. Parts of the great way. You've composition. Yeah. Yeah, very quick and easy. 36. Day 30 - Geometric Layout (Id) #211/365: - while I was doing here was to show that even if you just have one image and maybe an icon, if you want to make something dynamic on a spread, you can use simple geometric shapes to break it up and make it make it look more interesting and engaging. Here, I only used trying goes, and these you can draw in in design. You don't have to do this in any what other application. You can use simple lines to break things up on menus, obviously the pen tool for creating a custom frame. So that's maybe something we can show here if we have an image mint, this one here. If I use the pen tool and I click on the edge and then use the direct selection tool, I can select that point and start moving it around. And we already have a custom shape. Yes, that's just a normal rectangle. So and then, of course, we can still move the image around in it and so on. So forth 37. Day 31 - Depth on Text (Ai) #212/365: - depth on text with the blank tool. Now that one waas an example off again using the bland toe, which we talked about already this month and the final result is this. What we can see, hear any tough? It's, Ah, typography effect, but using the plant or two at the depth wanted. So it's basically if I open up the file again, you will get the working fine so you can see for yourself how it was built. Basically, what is happening here, apart from the clipping loss that I added on it, is that we have each of these elements set up as two separate copies. So we have the back and the front. And if I select any off these may be like the front or the back in this case and move it around, you can see how it's still connected so I can move this on to the other side, and it's still going to be connected because the blend itself is connecting them together so that specified distance, which I set the very low distance, is why it's looking like this. But if I increase that, you can actually see that it is creating Jew click. It's between the front and the back and connect them together. So by having it set the way very low amount, it becomes like a continuous lying or shape. Nice, very nice. 38. Conclusion: congratulations for reaching the end of this year. Long course. It's a massive achievement and we hope you enjoyed it as much as we enjoyed creating it and have gained planting off useful new skills. Don't forget to do the creative assignments as they will not only help you to practise the techniques you learnt, but also to produce designs and illustrations to be proud off. If you found this course useful, please leave a review on it to help us produce more courses in the future. I hope to speak with you soon, and until then, have fun learning.