365 Days Of Creativity - Month 8 | Martin Perhiniak | Skillshare

365 Days Of Creativity - Month 8

Martin Perhiniak, Design Your Career

365 Days Of Creativity - Month 8

Martin Perhiniak, Design Your Career

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37 Lessons (2h 52m)
    • 1. Welcome

    • 2. About the course

    • 3. Day 1 - Warping Food (Ps) #213/365

    • 4. Day 2 - Stacked Type (Ai) #214/365

    • 5. Day 3 - Advanced Layer Styles (Ps) #215/365

    • 6. Day 4 - Lineart Avatars (ProCreate) #216/365

    • 7. Day 5 - Playful Type (Ai) #217/365

    • 8. Day 6 - Making Giants (Ps) #218/365

    • 9. Day 7 - Colour Glow (Ps) #219/365

    • 10. Day 8 - Perspective Logo (Ai) #220/365

    • 11. Day 9 - Flat Icon Design (Ai) #221/365

    • 12. Day 10 - Depth with Shapes (Ps) #222/365

    • 13. Day 11 - Abstract 3D Shapes (Ps) #223/365

    • 14. Day 11 EXTRA

    • 15. Day 12 - Type Shortcuts (Id) #224/365

    • 16. Day 13 - Melting Face Tutorial (Ps) #225/365

    • 17. Day 14 - Random Type (Id) #226/365

    • 18. Day 15 - Drawing with Ellipses (Ps) #227/365

    • 19. Day 16 - Breaking Boundaries (Ps) #228/365

    • 20. Day 16 EXTRA

    • 21. Day 17 - Calm & Dynamic Comp (Id) #229/365

    • 22. Day 18 - Inception Effect (Ps) #230/365

    • 23. Day 19 - Retro Icon Set (Ai) #231/365

    • 24. Day 20 - Perspective Lines (Ps) #232/365

    • 25. Day 21 - Pie Chart (Ai) #233/365

    • 26. Day 22 - Radial Symmetry (Ps) #234/365

    • 27. Day 23 - Using Containers (Id) #235/365

    • 28. Day 24 - Ribbon Text Logo (Ai) #236/365

    • 29. Day 25 - Colourful Shadows (Ps) #237/365

    • 30. Day 26 - Watercolor Composition (Ps) #238/365

    • 31. Day 27 - Adding Texture (Ai) #239/365

    • 32. Day 28 - Animating Layers (Ps) #240/365

    • 33. Day 28 EXTRA

    • 34. Day 29 - Key Object Alignment (Id) #241/365

    • 35. Day 30 - Negative Space Logo (Ai) #242/365

    • 36. Day 31 - Floating Effect (Ps) #243/365

    • 37. 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 - Warping Food (Ps) #213/365: - So what I've done here was using the subjects of action. In this case, it's a very simple selection. The only thing you might need to pay attention to our days. Bright sports here. Now what you could do is to use the quick selection to for getting rid off these. But what I actually prefer to do is to press Q on the keyboard, which is the quick mosque mood in which you can use the brush door and by painting with invite you can very quickly and just the edge where it needs to be adjusted like here as well. We can include those bits, and it's good to know that if you double click on the Quick Mosque I can hear in the toolbar you can actually change the color off the creek mosque. And in case off the Strober, it would make more sense to have it more in light blue. So now if I paint, we divide, I can see sort of paint it black. I can see that this would be not included in the selection. If I paint over revived, then it's included in the selection. So here again we can see a little bit off the original background showing up so I could go over it with the, uh, black to remove from it again. The same thing here on the reason why I like to use the brush toe to refine selections because you can use the shifty as well to very quickly go around edges like sharp edges like these. You can see how fast and easily I could remove that detail that, and still keep it nice and sharp. Um, but off course you can also use the mental US elections. This is just one of many ways off refining a selection. But once you have a selection, actually, there's one last thing I would probably refine. Here is this shadow. We don't need the shadow, so I just paint over that with black. So once we have our selection, a rescue again to go back to normal view and then mosque this out or we can also use, um, come on J or controlled J two separated on the separate layer. And I mean, come on back space. I'm just going to feel the original background with white. So now we have it completely separated. And I was set it straight and then turning into a smart object, right click convert the smart object. So now we can at the puppet warp. And that will become a smart filter, meaning that you can make changes no destructively. And then all of you do from this point on is to place down these pain points. And with that, you can start changing on transforming the the object on. Basically, what I was doing here is trying to create the heart shape. So I was just creating like a sharp and point here, grabbing all these additional points around it and tuck them in. So you start to get a sharp, sharp form. That and then all of these other points. I was trying to create a nice curve so you can see how, adding more and more points we can start to create the shape that we need. It's almost like sculpting. And is there ever a point where you can act too many? Yeah, like if you ever end up having to money or maybe points that are too close to each other, you can both click to remove one. Nice. So if you feel like one is not necessary anymore. You just click on it to remove it. But it's also worth mentioning that if you select one and hold on the old key or option key , you can also rotate around the point so it can squeeze details around. At one point, like for example, here I could change where the green eggs on the leaves are going. So there's so much you can do in the stool as well. You just have to start experimenting with it. No, I think I mean, this doesn't look bad, but if I spend a bit more time, you can see it's much more even and nicely shaped yet if you have a bit more time to work on Wicked. 4. Day 2 - Stacked Type (Ai) #214/365: - checking a fact. Now this is another simple example of using Thea Appearance panel combined in using the transform, in fact, on simple text. So here the transformer fact all it does is to create eight copies, move their tax that we have there and do a very subtle vertical movement, each for each copy, so three pixels movement. If I increase that distance, we can see the eight copies getting further away. But the best thing about this is that I can also add maybe horizontal movement, and then we can create a completely different like direction for the effect at the same time. If I want, I can also do a bit of rotation. If I start reducing this, you can end up having so many different variety. With this simple fact like that, you can also do reflecting on. Then it creates again a very different type of stacking that one as well. I mean, it's really just up to your creativity, how you are using these features, so definitely worth checking it out. And there's almost everything you change here will result in a completely different type of a friend. Yeah, that's really cool. And it's so much better than trying to work with all of the individual, all of the different layers of type here and really easy to quickly see the different effects that you could make, like in the using preview, instead of having to rearrange them one by one. Yeah, and then if we if we keep this as alive, a fact like it is at the moment, it means that it will keep updating whenever I make changes, so I could change the tax. So if I just select this on, don't know, pile them up and see it still works. But if I start turning it around, notice that the effect will change. I mean, the effect stays the same, but it will start to look different because the taxes turned in a different angle. But the effect itself is doing the same vertical movement. So that's why it's called live affect anything that your doing illustrator behaves in a way that it is not destructive but also reproducing itself. Every time you make change, it's nice, so it adapts to whatever you are doing but basically doing the same thing. But it will look different with the changes you are doing. Um and I mean, there's so many things you can do here. For example, I can remove the field cover and then you get to something a little bit more similar to what you were doing last month with your lines. But I can maybe just reduce the amount of copies here and then maybe have a little bit more vertical movement there, and then you can have a very hard to tax. But maybe if we move it sideways as well, it can start to look interesting. Yeah, one thing that you can't change use the capacity, which would be quite cool. So maybe, like reducing capacity gradually as it's counting the copies, that would be quite nice, but unfortunately you can't control that with this particular effect. 5. Day 3 - Advanced Layer Styles (Ps) #215/365: - was . It was a tutorial, our video about working with layer styles but on a little bit more advanced level than what you would normally do and applying a simple drop shadow. So what I was doing here Waas showing less known feature We didn't for the shop. Then you can double, pick and change these behaviours here. And what's importantly, the layer mosques hides effect is something that a lot of people wouldn't know about. That somebody for this turn off. Now, if you use a layer style like in my case on this text I used, which is that's that's the text itself, and if I turn off the mosque, we can see it. So it's just a big letter s. But I used the effect on it stroke and drop shadow. But for now, we're just going to keep the stroke on, because if you have a stroke effect, which is just simply set to fight color because it's right on white, we can't see it. But once I start changing the field capacity, what we see is that the affected staying visible and only the contents off the layer is going to disappear. So it's not the full opacity is just the feel or passively, meaning that effect is still visible completely. And I can turn on the dark shadow as well, but again, similarly to before when we want to create an engaging composition, we want an integration with the text and the image. So that's why I ended this layer mosque. But you can see if I just use the layer mosque on this layer, which has the effects on it. It will look pretty bad, because what it does is that it's going to eat away the feel. But the effect was still be visible around remaining details. So you actually want the Layer mosque to not only hide the field but also the effects. So that's why you turn this on. And then basically, that means you can mosque your layer styles. So just a very simplified example off this, just to make sure that it makes sense. If I create a shape like this and I add SP stroke effect on this just again through a school with the same step style, I can have just a stroke visible just by simply turning over reducing the field. And then if I were to add the mosque on that and use a black color to paint into it. This is what happens. But if I double click on the layer and turn Leah mosques height effects, then basically what happens is that we can caught into the effect as well. Yeah, so that's exactly what is happening here. So it feels like the letter is going beyond or behind the dress or the court on also on the hair. And then the cool thing is completely known destructive. So if I decide that we should see the hair coming out of here, I mean, the tax coming out there on the top way can easily do that Cool. And then it's only the fringe you get covers it. Another quick technique here, I showed, is that when you use effects, which has direction like distance and angle, like the drop shadow, whenever the layers type panel is open, you can actually move these around with the simply using the mouse and click and drag. Um, yeah, so that's just a bit more advanced techniques with the layer stands in for the shop 6. Day 4 - Lineart Avatars (ProCreate) #216/365: - it's I was using the iPad on using procreate to draw simple icons or avatars in this case by using reference images and then drew a simplified caricature off people. Now you don't have to be amazing and drawing for this as long as you can, like, grab a few recognisable features off people and similarly to last month keep it consistent . So the style off the drawings are very similar. Yeah, and that's why it works together. Like is a disease as a set. Um, but it's really all about trying to find those recognizable features, and I didn't find them. I think this is a really cool method if you're if you want to get into drawing, but you are worried you're not gonna be able to make anything perfect because, like the exact kind of idea of thes is that then no, the same as the image you're trying to replicate the united that you say you're trying to pick out interesting visual information about the subject and kind of exaggerate that how you want to. And then you can kind of work on that and develop a style for that and practice it without feeling the pressure to make it look exactly the same. Which is, you know, you could end up with some really interesting results. And I've actually seen, uh, work like this being used on companies profile pages is that of their actual photographs. Yeah, which is like, a nice way to kind of, like bring a bit of personality to the page. You probably saw while this time lapse going that I keep going back and forth between the characters. So again, I'm trying to, like, keep them in the same style, get roughly the like, the proportions, the same as well, So So it works more like the unified style. So yet that's just a quick example. And procreate is brilliant. It no, only that it records the time lapse, but you can also export the time lapse. But it's just one of those very simple and easy to use drawing applications. And recently, 4.1 version was released, and now they're so many cool new features as well. In it, you can do symmetrical drawing. Now you can dio you could That's liquefy filter as well. Secretary called the same as in for the show, and it could actually be used in this example as well. So if I'm not happy with the way one of these turned out like my face, let's just do that. There's actually 12. Similarly, the Illustrated very has the push a fact. Let's just say if I start moving around, I can adjust the proportions very quickly and easily. So it's disip. It's basically the same thing as in for the show, and we can really exaggerate features way we wanted to really, like, turn it more into, um, a caricature. Yeah, I have a really long face and so on, so forth Looks great. It doesn't like you anymore, but yes, so it's it's it's again on an application or an app that evolved so much since we started using it on the the These. These applications are just the mobile app. Such is getting closer or have I would say, sometimes beyond the best of applications. Nowadays, I especially for drawing, I think if you want to improve your illustration or you don't feel confident in a drawing techniques, definitely try using pro gray. I think it's a really good starting point, so be expensive and it is an investment when compared to creative Graham, this is £5. So under the equipment, Thea up itself is cheap, which I think it's an Australian company. Onda. I don't know what else they do but this they two amazing. I think it must be there any product because they remain the biggest. I don't know have to look into it. But there is a big rise in people using procreating more than 40 shop for drawing Now it's because it's so easy friendly. And it has so many amazing features are make your drawing a lot easier. Yeah, yeah. 7. Day 5 - Playful Type (Ai) #217/365: - you love kids solve illustration or you wanna do something fun waiting, stationary or I don't know anything that has a K for Phil. I recommend for you to check out the tutorial where I use a simple Sarah San Serif font sensor. Yeah, I always get confused. Santa Fund and I draw over them on using a direct selection toe create of off edge around the typeface. Eso These are some of my favorite examples. I tried to show how you can use draw inside and draw behind more in Illustrator either They're really fun. Very abstract. Yeah, So this this is definitely similar. This to the style you've done. But then also like the value plays the little elephant on the letter forms was more similar to what we see here, where we started to have like a mother. May I just realized that some may see that before on, like so it's it's all I think it's a little sea thing. Maybe because it's a like house. Then we have water headed as well, but yes. Oh, it's as long as it's still a recognisable, a letter form. It can work as an anymore. Like here we have all kinds of animals as well. Or just accompanying the letter forms, the the animals and different illustrations. I was grateful kids, the raising reason why it's it's so commonly used for kid illustrations or Children's illustrations because they are obviously more visual on. It makes these latter forms more child friendly. They get more excited about them, and eventually they will learn how it helps their house from a young age that, I mean, you could easily place the one that's on the far left in a very young child's room, just getting used to like the shapes of the letters and stuff. Friendly, approachable, exactly. And then as they grow, they learn from it as well. So it's a good thing to experiment with, especially if you if you have kids yourself, yeah, exactly. 8. Day 6 - Making Giants (Ps) #218/365: - giant animal you like Throw. This one is the Elefant. I was experimenting So this is the actual tutorial. But he doesn't example of a giant. I didn't think that. But eso that's the final example that we have Well, actually, if I open the PSDB can't see how it's actually works. So again, skill is a crucial element in design. If I going to hear a turn off that mosque, we can see if I place this element Elefant, a Western. Just put that mosque it on the side. For now. If I move this elephant here in the foreground, maybe somewhere around there, then it could feel like that's quite far every already. Because the elephant this more if I put the elephant in the foreground that we can see Yeah , like it's quite close because it's a big anymore. We feel like it's close. If I if I want to make it feel like the elephant is really close, we can still sell this image. I mean, still feel like OK is really close to us. Or maybe like it's a very close up off this tiny road. But there's a huge elephant. But if we put it in the background. Obviously, we want to make it small to make it believable that maybe it sent its an elephant standing somewhere way back in the lessons. It would still look okay, because we can see. Okay, that's another fund this far back. But that's like in scale. Or sort of. Maybe it might need to be even small that something like that, but the way I had it, so if we go back to the original scale, that obviously is not believable. But once you start adding a masking and also match the blur in the image, plus yours to start incorporating the colors that makes it move, blend into the background and you feel like it's further of a so there's an atmospheric color in there as well. The further away, the more blue it gets because of the sky. Then it starts to feel believable, and you can create an engaging composition based on that. So you play with depth and perspective to create something unnatural, imaginative, yes, and the whiles do you think makes this more believable that it's a huge elephant, apart from the fact that he, their legs are behind that hill I think, probably the addition of the hot air balloon on, like being able to see how big that is in comparison to the elephant. Yes, that's a That's a very important element as well. If I put that here and I go back and see their full artwork, it's not as obvious. Yeah. Now is this behind more in front? But as soon as I move it here, you can see it's in front, which makes the elephant always the huge, because we can tell that is a big hotel balloon. And if it's in front, that means the elephant is behind. So it's even bigger than what we might think. So, yes, playing with skill is very useful skill to master. Yeah, and I think making compositions like this can help you really understand that as well. So even if you want to play even if you want to understand scale and you want to make a composition, try using your elements in an unusual way. First, to get an idea of what's gonna feel further away and what's gonna feel closer, so then when it comes to making something corporate or professional, you're not gonna accidentally make something that, like it's huge Ortio. Yeah, Uncomfortable look at. Yeah, you know, so knowing the rules will help you to then break the rules and music for more creative purposes. 9. Day 7 - Colour Glow (Ps) #219/365: - the color glow, which is a very quick one. I don't even want to spend too much time on this, but it's basically these two shapes here that I had it and using them more like lights. I think off them more almost like a spotlight that I can move around and I can decide where this life is affecting the image and how much it is affecting it. So basically, this is a vector shape with their color set, the vivid light blend mode in this case. But it could be all kinds of other blend was depending on the photo that you choose on what works well with that photo in this case, really light was working nicely, so this feels like it's a strong light with a filter in front of it like a gold filter. Um, like a soft box with a gold front on it. And then you can, of course, control the capacity. How strong this life is going to be and the becomes like this software and its edges is by going to the properties panels, mosque option and increasing the father up through. I increase it to a crazy amount of 1000 pixels. But if I reduce it, you can see how is going from a sharp edge to more soft edge like that. That's pretty much it. And then the cool thing about these is that you can easily change the colors so we can click on one, and you can take the color very, very quickly and easily. So, yeah, I mean, And you can even overlay these colors so you can have multiple lights coming on overlaying . And then it creates like him. Blend like a purple, the red and or engender blue mixing together. So yeah. 10. Day 8 - Perspective Logo (Ai) #220/365: - perspective . Local. This is a similar technique to last month's Vanishing Point. Filter in for the shop used with tax. But here you are using the Perspective Greed tour, which is command shift. I is the shortcut, and basically what you need to remember is when you use the type tool in this morning, it's going to automatically and the tax in whichever plain you have selected here on the top left, so you can select left or your left or right or bottom planes. You can also switch between these with 12 and three, but you have to have a two selected that can actually draw or type. So if I have the rectangle toe, for example, I can use now the shortcuts 12 and three or four to have none off the plane selective. So if I have four, then I drew just any random, normal, toothy version. Five. Press three. We can draw on the right plane by press born. We can draw on the left plain and number two we can draw on the bottom plane, and I think we cover this tool before as well, so I don't want to go into my too much detail on it. Just remember that whenever you want to move already existing shapes within perspective, don't use the selection toe used the perspective selection tool, which you find join together with perspective. Great. So that was shift three. And what that means is I can select any of these elements and move them. Steal a video perspective viol. If I use the normal selection tour, they lose the connection with perspective. So then it's now disconnected, and it's not going to follow perspective anymore. Okay, Is there a short cut for getting out off the expected to? Yeah, sometimes accidentally, you might end up in it. It's the same short. Yeah, command shift I is. The weight comes up and then goes away as well. Or you can go to the human you and then you will find here the perspective create, and you just have to think Sugar. Yeah, show grade. You just removed as the same shortcut where you can actually have a three point perspective as well. But the D for this two point, you can have one point perspective, which can also be interesting. Eso if you want something just going in the distance, one vanishing point. You can set it up like that. Instead of having the two point perspective, that's the default. 11. Day 9 - Flat Icon Design (Ai) #221/365: - front icon design. I made it for Book Lovers Day because that's you know, that's today was think about it like that on. But actually, the whole point in the tutorial that I made was to show the reflection tool on how quick and easy the workflow is to make quite quite a nice looking icon. If you just make it in half and then use their affection toe to reflect it on and then the shape build, it'll to combine the combined entity on You've made kind of urine stylized icon and quite a quick handiwork flow that could easily be replicated in your own kind of dates. They working S O. I found some examples, which is obviously like a little bit more of a complex composition. But the idea for the tutorial came from the idea of the fact that the book is like a reflected objects, that it is the same on both sides, which is which is really cool and similarly hair like. I think this is quite an interesting composition in general, but it's just a different. The book, again is is reflected element, you know, it looks the same ones that both sides and so does the composition itself. So when ready? Nice. Negative, You seven. I get this place. Yeah. Cool. Yeah. So that's pretty much it, Really. I mean, I actually included this one because it was a flat icon tutorial on I just kind of wanted to make the point is well, the flat, Like, Did you know you don't have to make a book? He's got a boy. My point here, the style on the tools that are used in this video can be applied to so many different exit . Yeah, Cool. It's really nice. 12. Day 10 - Depth with Shapes (Ps) #222/365: - just to show again, using the same feature that I showed already this in this session, the feather effect with which we can change in this case and changing the one in the back. But maybe if I started one in front on that, we can see if I said the feather back, it will look sharp. If I increase it, it will look out of focus. And that was the whole point here because it's a shallow that field photo where we have the focus on the here in the center, and then as it goes further back, it gets out of focus, and also the four gram would be out of focus. So that's Ah, what I'm trying to create here. And the cool thing, that info to ship. You can very easily mosque shapes as well. So to make that shape look like it's behind her, I just simply use the layer Mosque and brushed it out. So it's three simple shapes and creating perspective or emphasizing the perspective that we have in the image. But everything done completely destructively, check out the fire. We have this included as well and play around with it. You can also come up with your own compositions if you if you want cool 13. Day 11 - Abstract 3D Shapes (Ps) #223/365: - so this was actually not an easy one to record. So that's the final result. The rendered version off this this is all done in for the shop. So even the actual three D model is created within for the shop, and then it is rendered reading for the shop. So what, you would think something like this where you would need a three. The application for the ship Can action do these type of things? And it is quite a complex workflow to go through. So I wouldn't even like, attempt to do this here now. But I'm just going to show where he quickly very those starts on which panels are most important Teoh work with. So any shape that you create, even a simple rectangle would work for this. And I'm just going to change the field color to something different. So if we have a simple shaped like that, we can start already from this by using the three d panel you three the extrusion from selected layer. So once we do that, we can see that it is already a three d object. But we need to work with the panels in this case, the years panel is less relevant. What we need to work with is mainly the properties panel and the three D panel. So these are the panels that you need to work with, and the most important one in this case to create that distorted shape is the second time in which you can do the form I think we might need to. Yes, there you go. So it is is a little bit weird in this angle, but you can see what it is starting to twist and shape it around and Teoh get the color on it. You have to make sure that all these faces that we have our color so like this one here needs to be colored as well. And then that's just going to that one diffuse color so you can start to see coming together. It's almost like three d modeling Bob reading for the show, and the reason why that a school is because you can actually go back to your layers and you can use things like I don't know how to grow our inner glow eso the facts that you would normally use on layers, but now in this case, is going to show up here as long as we static to maybe normal. So, yeah, you can see it working. I think the object. That's really cool. I've seen as well. That is something I think we mentioned in one of our trend. Do you and your trend block posts that these kind of like compositions with these kind of elements, like the rendered three D and even glowing effects are really popular this year really trending. So if you guys do you are interested in creating work that's very like current and contemporary. This is probably something you want to check out. And then off course, you can change the light sources. We can see the shadow moving around, so there's loads of things you can do without having much knowledge of three d. Design more the link. This is probably a good introduction. Working with three D if you're already familiar with for the shop 14. Day 11 EXTRA: so I'm going to go to the three D settings because that's another interesting area that not many people know how to use and the things that are available. There's actually quite a lot off sophisticated three D settings for rendering setting your lights, even depth field setting up the camera and you can actually any me three the object as well , so you can create three D objects and any made them as well, all within for the shop without ever leaving the application. Of course, it's still not making Photoshopped similar to Cinema four D or Maya or three D Studio Max on these more advanced industry standard three D animation applications, three D modeling and animation applications. But considering that you are in for the shop and you are using pretty much the same techniques you would normally use for photo editing, it's still really cool. I'm quite crazy that you have all of this power deals in, and most people don't know about it, so let me show you a couple of cool tricks just to see how this works. So this is a three d layer that I have here and before I actually go any further since we talked about animation. Let me show you a bit off the three d animation, so I'm just going to open up the timeline panel again. Zoom out a little bit so you can see exactly what's going to happen here. So if I click on create video timeline, then we will see our layer and notice immediately. Because it's a three d object. It has what much more that we can work with. So we have position, opacity and style. But we have three D camera position, three D render settings and three D cross section. You can even any hit a cross section through a three D object, but more important label I like. It's obviously the three D camera position. So if I activate that property with the little stopwatch, meaning that now we can start working with that, I can move to maybe two seconds into the animation. And then I'm going to use the rotate camera tool. And with that, we are going to change our viewing angle. Do something like that. Okay, now, if I move my timeline, see how we get the animation going. It's really cool. So let's let me just press piece. Actually, it is just too too much for it to compute on because I'm live streaming as well in full HD . I'm a little bit concerned that the computer my crash because I'm doing so much things that that's at the same time. Oh, by the way, Jodi, join us. Um, thank you for joining, and it's no problem that you're late because you can watch the recording, But thanks for making it. And please let me know if you have any questions while I'm showing you the techniques. So, um, yeah, I mean, like, everything together. It is pretty intensive for the computer to calculate this, but you can see that I am animating our three d object in for the show and off course. This would look much better once we render the South. Because with video in the in photo shop, you have to export the video to create each off those frames. But if you're animating a three d object, it's even more complex than that because each frame first needs to be rendered because three D is something that you you won't be able to see. Most of the time, I mean you won't see the final result most of the time you see at draft view off your three the object. So, like, this is a draft view that we can see currently here. If I increase the quality 200% it might look slightly better because it's a three d object is still going to be blurred out and pixelated around the edges. But what you can do, of course, is to test this out and try to export it. Now, as I said, because I don't want to crash my computer while doing the live stream, I'm not going to do that. But as a patron, you get the PSD file they file that has this three d model that I created and that it would be brilliant if you could just try it out yourself. See how it works. Once you set up a timeline like this, all you have to do is Teoh. You can crop the timeline, so it will only and he made that two seconds that you created. And then within that timeline, you can click on rendered by the way, the psycho Here at the bottom. It's for rendering video on then just exported. And it should render each of the frames for the three d model as well. If you are doing three d animation, So yeah, that is a really cool feature. And I love the fact that you can do that and I can see off my joined us as well. Welcome. And thank you for joining life. So, um yeah, but the animation is obvious. No, you can do with three D. So let me move on to talk a bit more about the actual three D settings and the three d modeling you that you can do in for the shop. So I am going to use my move toe because when you are on A when you have a three d layer, you can use the move toe accessible, the different camera control, uh, cursors from here on the toolbar. And you will be able to make changes with that so we can move around in three D space. And don't forget that you can actually move the object as well in three D, or you can move the camera around. So with this curse, for example, we can zoom in and out. So I can zoom further out so we can see this whole object better. And then we can also rotate. Our camera like that can also pan around with our camera and we can also change. And I think this is the zoom for the camera. Yes, there you go. So we can zoom in and out as well. But probably the orbit is the most interesting one most of the time. But as I said, this is what's happening when you are working with the camera. But if you open up your three D panels if you go to Window three d within that and this is this is a crucial panel. Obviously, when you're working with three D is going to make a separate tapped for it like that, and we will need our appropriately spend will as well. These two are the really like the most important panels you need toe have open whenever you work in three D. So notice that within the three d panel you have your scene selected at the movement, or I have selected at the moment as soon as I switch to my later Jack and just called object for now, a soon as I said like that, you will see. I don't know why. It's not updating here. The name just yet. See if I turn it on enough hoisting, updating it and doesn't matter. But that's deadly year. And once I have that selected, using the move toe in this case will rotate the object and not the camera. So now the object is changing its place, reading the three D environment and they really nice shiny material that I applied on this . That's why it's creating this nice glowing, in fact. And yes, I could play with this all day, but had this is this is how it works. And the other thing you can off course move around is your light source. So if I switch to the infinite light in this case, that is the light source and again the same tool. The move tool is the one that you can use to change the position off the light source so I can bend it around with around, and you can see immediately how the cost shadow is also moving. According it's sort of like most laughed. Then the caution was moving to the right and so on so forth so we could actually have this whole thing lit from below or lift lit from above from sides and so on and so forth, so you can control it. Of course, when you have the light selected, you can invading the properties panel. You can increase the intensity of your life, reduce the intensity over your life. You can also turn off the shadow if you don't want any cars, shadows, busy people and you can also, I think, with the shadow increasing the shadow softness, you almost create something like AM or like a larger distance between the object and the plane on which it creates the cost shadow effect. Sigler's it have more. This is something that we can see better if I decide, like the three D layer but going back there. We also have additional options for the light source like color, so we can choose a different color. And once you assign a color, it's almost like a fielder on the light. It immediately will change the color off the object as well. So if I pick like a yellow light, you see how nicely starts to mix with the color off the object. So when I reduced the color intensity or the light intensity, it changes the color exhaust. Of course, it doesn't get that yellow tent, but the more I add that yellow tinted more times more, more like rap or pink. So there's a little things you can do. And this is this is just the beginning. So we are just using the controls, making changes, like moving the camera, moving the object or the life around. But let's see how we actually create the three D model. So I'm going to keep this model here that we have, and I'm going to create a new one. And why not create a three D texting this case? So I'm going to use the type tool click somewhere here and when you just type in something like Petri em. Okay, I'm going to use my favorite front on this, which works really Well, um, I just use this. Yeah, probably seen this in the 3 65 syriza. Use it very often. So with this one is going to do a bit of current ing Old left and writer was on the keyboard. Janice re finally, with the spacing between the characters. All right, so I'm happy with this one. I'm going to pick a color from the three D model and then all the backspace to use the same color on the tax. Although having said that, it's probably better if I used a slightly different color. Just so they don't bland too much dio to get that something like that. Um And then to turn this into a three D object, all I have to do is to go to the three D panel and then choose new three d extrusion from selected layer. Once you do that, the turns into a three d object, as you can see. But this is the important bit. So I'm just going to open up the layer so you can see what we're doing. Okay, so let me put the layers here on the right. Like so on three d panel next to it. So what you can see here is that the F two separate three D objects. So we have the patriot object, and then we have a really original object, that twisted shape and whoever is watching life, can you tell, was the main difference between these three objects So when I select the Patriot one what changes? Mainly when again I switched to the other object. So there's one very important factor that you need to consider whenever you have creating multiple three D shapes or three delay years in photo shop. Let's see if you can tell me that. And this is really important, because if you're not considering this, you might write it running to issues. Um, so you need to consider whether you want to use them independently or joined together. And let's see if you guys can see what's the difference. Once again if I switch between the two. What is not shared by these 23 D objects? Let's see if you can reply why I drink. Okay, someone I think is writing at the moment, but I don't want to wait for too long. So, um, the answer is the camera settings or the viewing angle. You guys, probably I would have said the same thing anyway, but it's it's the angle in which they are by default, the taxes added in and the front completely different perspective that you go mad, actually said perspective. Well, that that's exactly what's different. So is the viewing angle and perspective is different. They're not sharing the same three D environment. They are in two completely separate worlds. You can even think of it like that, so to bring it them into the same world or dimension, what you need to do is to select the to off them together and joined them. So you go to the three D panel Oh menu and choose merged three D layers. Now, just to show you before I do that, if I moved the Patriot text around okay, not just moving to the right and then move it backwards. You see that it's never going to really go and merging to the other objects, or there's nothing that makes it look like it's in the same space. If I put it underneath the other object, it feels like it's behind it now. But once again, if I'm trying to make this bigger, so I'm trying to scale it up, it's never going to come in front of it because they're not in the three same three D space , so they act almost like two completely independent spaces on top of each other, and it only matters which layer it on top and retreat here is below in this case. But let's see what happens if we join them together. So I select both layers and I go to the objects from the three D menu and choose merged three layers. Now, immediately you do that, you will see that now they are sharing the same perspective. Same camera angle, meaning Now they also have interaction, so the two objects are interacting with each other. You can see the taxes now casting it's shadow onto that other shape underneath it. So this means if I have that, be your selected them from now on because they are in one layer, notice that it's just one single layer. Now we have to use the three d panel to select which object we wish to make changes to. So it is our taxpayer in this case, and if I start moving this around, notice how it can actually merge into the other shape, so depending where and move it, it can overlap. So the to think, to think the objects can run into each other, which is brilliant. That's one of the basic things you want to do in three D modeling, and you want to handle things as as an environment, you want to build it and create interactions between your three d object. The cool thing. You can have as many three D objects as you want combined into one layer, and you will still be ableto address them individually. So let me just say that the camera. So I said, like the current view and this is three D panel is the most important one that's like your navigational panels. You select what you want to make changes to first, and then you use the move toe so sad, like the current view. I used the orbit toe to pan around so we can have a look from different angles. We can see how these two objects are now blending into each other, by the way, the greed that you can see here, that's the environment, by the way I read it a properties panel golden just all but I want a swell case. There's the properties panel. The ground plane has a capacity which you can reduce, so if you feel like it's a little bit too strong, you can reduce it. And I think we can also fine click now. In the current view, we can also see that it's a little bit more see through. So once again, if I switch back to environment and increase the capacity off the ground plane and then go back again to the current view, it should be more. Visit this mainly the shadows, which will make it more visible the changes that you're doing. But if you go into the human, there's another important feature here. Under the show option. You can actually turn off a lot of things like the three d Um, I think it's the three D crown plane. So if he gets in the way and if you feel like you are not seeing properly what you want to see, you can just turn it off. You can even turn off things like three D bounding box three D mash bounding books. So there's the thing when you select an object when you see it around it, so you can refine how you want to work, and you can see that in this case I actually can see quite well whatever shape or whatever object I'm working with, so I don't really need to see the bounding box or the ground plane. I can't just move things around freely, and I can switch to the light again and I can adjust it. And I can get the shadow falling onto the the twisted object from the taxed and so on and so forth. Of course, you can also do a lot of additional things like materials you can use. So if I select the text, what's more, this has a couple of different parts, like it has the front inflation, which is the front face. You have the extrusion material, which is the side off it, and you can actually address these individually. So if, for instance, you wanted on the front to have something like a texture, well, you have to do is sign that and then click here in the properties panel for the diffuse the TVO and choose low texture. Actually, not both texture. You just say new texture and create a fire for it. I'm going to create maybe 1000 with by 500 times something like that. So there you can see exactly what it is. But in here, if we put the pattern on this background the year. Just select pattern, and I'm just going to use may be something like this. Lines and click. OK, save this. Go back. You can see that pattern shows up already on the text, and the coolest thing is that if you select your brush double, you can actually paint over through the objects as well. So you can just going to be OK and paint over. That's a little bit too big that are size, so it's fun so we can paint over it as well. It's a little bit slow. Maybe we can select the other object that's like that and start painting over that. All right, it's too slow. I won't be able to show you properly. But one simple objects. This works really well. So just to show you once again, if I want to create them at the Rob Jack, I can use even things like I don't know, like, let's use the rectangle Oto. There's a shape, simple shape that's going to set the color up on this, and then I go into the three D panel three D extrusion from selected layer, and basically that's how quickly we can get a box right. And then if I switch to the brush tool, you can see now on this one. It works really well. The painting on each side, Um, I don't know why it's not painting on the front should. Ah, yes, because it's a vector shape. So the front inflation material is a vector shape that just needs to be updated or rasta rised before I can paint on it. But I don't want to spend too much time on three D because some of you might be already bored about this. But, um, definitely something to check out and the experiment with. So remember, use the three d Penhall, the properties panel and off course your layers panel, because through these, you will be able to access everything that you need. And remember, you can merge three D layers to have them in the same year, and you can mess around with the materials. And of course, there's so many other additional options you can find here video in the properties panel. And there's also additional options you will be able to find for rendering the whole thing out. Because, of course, once you have these things ready, you want to render them, and the way you do that is by clicking on this icon here. So that's the render option, and then it will start rendering the me. So it's going to give you a much clearer final result. But it will take some time, especially if you have a large image size. It's going to take long, depending, of course, on your computer speed. 15. Day 12 - Type Shortcuts (Id) #224/365: - I think working shortcuts in general really important. They can let you cut your working time in half on. And I decided to go for an in design and especially a typesetting Gento rial because it's quite fiddly process and learning them saved me so much time every day. I just think I'm so glad that I can use these now on. So I decided on it was a nice workflow to be able to show you guys in the tutorial. I show you how you can take a paragraph of type Andi that isn't set very well. And it's hard to read and let you just use keyboard shortcuts to completely sort out. So that was a nice workflow. But I just wondered for you guys, What's your? That's my favorite way to short cuts. What about what about you guys? I think mine will be like God for your car. Still not really my thing when it comes type. I think the usual changing the capitals and Law case is a good one of these common shift K . Yeah, yeah, unfortunately, doesn't work in illustrate and design, but knowing illustrator by default is set to color settings. There but you Normally it's it's for changing the Capitals. Like all all caps. A lower case sent this case. But I also think it's come I have to do that to see, to get this option with extreme of be, Yeah, I think something I can't I don't know the short cause I have just do indeed them they're like me You never in your brain But you have to say them out now. Yeah, yeah, unless you are teaching and you're mentioning, You know, sometimes I used often even know where it would be The menu Bob Jackman you, I think sex. Maybe it's just my theory, but I studied playing piano for like, 12 years. So for me, like keyboard shortcuts is the easier than like playing a complete like a complex piece of music like Chopin or something like that. So for compacted that these are very simple on again the piano you don't really look at your hands, so you play without looking at it. So whoever is playing music, I think, will pick up these things easier, especially piano, because it's also keyboard. But even if you're not into playing music, it's definitely worth practicing and getting into. And there was a website someone recommended. Yeah, but we also have short caster you can download on our block. No resources page. Yeah, for sure. Cause forward applications. Yes, you said yeah, we show both of these. So on our site, make sure you go with the resources. If you have any money already because he had the 1st 1 immediately is this keyboard shortcuts? Pdf, which covers a lot off so often you find lots of useful things here as well, but yeah, this is something we've done a couple of years ago, but it's still applies. Eso you have the three applications and then you have additional shortcuts. The last page is all about typography, shortcuts as well. So there is this website as well called a shortcut full, which is actually helping you to practice shortcuts. So if you start, I don't know practice. It will ask you, Teoh, do something specific, like decreased brush size. And if you press the right thing, it most of the next one Quick mosque paste, You can do like that has level. So it's really like a game. We find a way of learning keyboard shortcuts so highly recommend to check it out. It's good fun. Yes, 16. Day 13 - Melting Face Tutorial (Ps) #225/365: - here . Most importantly, it's basically the the mixer brush tool that I'm working with. Most important is to use it on a separate layer, and to create that, that's all you have to pay attention to. So if you just start dragging things down, it's already looks like it is melting. But what makes it look more realistic is you bit if if you build up that so you have things melting in the foreground and also in the background. And then you bring MAWR elements around the same area, and maybe you can even overlap them so you can have things coming in front off existing ones. And, yeah, basically, that's it on. Just just follow gravity. Tonight you get really stick. So obviously we could do the math. You know, directions on you can be creative. This it doesn't have to follow gravity, so it's just one of those states that it's a cool technique person. In for quantity trip, I melt a text rather than face. You want to go for that liquefy trip text? Yeah, One thing I've done here was also like around the end points here. I bulged it up a bit, So you do that by dragging its sideways have been so just because normally when you look at , like, melted chocolate or anything like that, it builds up, um, or any of the bottom yet so it looks more natural or realistic when it has a bit more material at the bottom yet, but yeah, so that's just a very quick and more city example. 17. Day 14 - Random Type (Id) #226/365: - So in this case, I have lost out the image already in the foot shop on. I've used that as a main focal off this composition. Well, I like is the three colors used the red, black and white. This is a very powerful combination, black and white being the highest contrast and next to each other, and then read being probably the most aggressive color. Yeah, and it was mainly inspired using the object, the color off the object itself. So something I'm really only to look for certain. Collins just used the colors that's already in the image. I love these ones because again, it just shows how the type is the main focal point. That's always the cause. They're both what, really well, together. But I also love the Legoland example. How typography can be No place in one vertical line. Horizontal night. Hillary. Yeah, it can be placed separately and read well on what? As a composition that's actually isometric you along. That example gained. This one didn't I don't know what that actually reads, but it's not in English, is it? It's French friends yet again. Similar technique. So the example. If you watch the video, you can see a step by step proposal on how I've done any in design. But this is also something that you could probably use any illustrator. I think it might work better in the industry, so you'll have a bit more freedom to move around on at testers and effects. Cool, really nice. 18. Day 15 - Drawing with Ellipses (Ps) #227/365: - drawing with ellipses in for the show, and this is something like That's the final thing. This is something you wouldn't necessarily want to do it in for the shop, but I still wanted to show how you can use one shape layer and still create something as complex as that by just using the shape operations. So when you have a shape like this one up here, it is set to be subtracting other shapes within the same layer. So wherever I move this, it's going to substrate from them. But notice how is not substructure thing? Everything. So, like it's abstract subtracting from the one there that circle, but not these. And that is because there is also an order between the elements within the shapely year. So there's like a hierarchy. If I move this to the front, then it would subtract everything. If I send it to the back, then it's not going to affect anything. And as I start to move it forward, it is starting to affect more and more off those elements. Unfortunately, there's not a shortcut for this. Moving up and down like you would normally move layers up and out, but it is still a very useful feature and worth practicing and using it for creative techniques. So, yeah, that's just a very quick example. Shape layer technique in for the show. 19. Day 16 - Breaking Boundaries (Ps) #228/365: - Basically , what I've done here is to extend certain elements and also make it look like it's a three dimensional thing, something floating in space by adding or these additional shapes around it, and like for further extending the perspective on all angles. So it is a little bit more complex technique, and I mentioned it in the one minute video as well that if I have more time, I would be able to refine this further, which is obviously things like a za. Good example here would be the shading. So, like this bit here looks dear, very flat, even though I added a pattern on it. So if I just click on that one there, you can see that's what I added as the depth. But if I end an additional layer, which I clip with command or G onto that layer, and then I start using maybe a color from here, or maybe even a darker color or something like that, we had, like, 10% capacity. I can start building up shading and make those parts that we know that should be darker because they're more covered. Atmore shade on it. And then again, this is something that would fall under the light source of the light source is coming from there. It would probably hit it here below it. It would have sharp corners as well. So I would use shop brush, maybe a little bit stronger edges on some parts. You can have another sharp edge there on. Actually, following the perspective would make it look a little bit even better. But there's something like that. If we start building up a bit more shading and then obviously, like light as well, that can be more light at it. Then it starts to look what I deal with more more three D and have a bit more napped on it . So the more time you have, the more you can start to get it working. Um, but what I normally do and this example shows it well, is that I worked really fast to get to a composition that I can decide whether it's going to work or not. I wouldn't fiddle around with the small details like this in the beginning. Only when I can see it. Yes, this is actually going to work for what I need, So don't waste time unnecessarily on small details until you are sure that you want to do that. Yes, for sure. I think with stuff that this is, well, like like a really good reason to create something that's kind of got that out of bombs. Effect is, if you need it to be in the spread or on a poster needed to be particularly playful with with type if you need it to illustrate a certain point. So it was like a movie poster or or a quite forward thinking design. You might not want the boundaries of a box like you would in a photograph on by Having this kind of dynamic view allows you to kind of introduce text once you've added like that in detail, introduced text in like a whole new way. You could imagine something like Breakout off every two or something like that exactly. Yeah, 20. Day 16 EXTRA: this is more like creating something looking three D. That's actually just a simple photograph. So it's more like a technique. Three D fake three D technique. But there's a question from Ahmed after rendering, it will not be three d edita ble once you render it, you can see without. That's a J pick, for example, or PNG, which obviously will be the final exported version of it or as a tiff. But the original PSD file after rendering was still be eligible. So you're not losing the layers and three D settings that you have, so you can still go back and make changes to those, um, we I recommend to see if the export rendered file as a separate export. Okay, so this example, as you can see, is basically using the original image, but then extending it out and making it look like it has thes details coming out and breaking out off the original boundaries. So that's exactly what is happening here Now. I don't want to spend too much time on this. We don't have much time minutely around 10 minutes left, but I would like to mention a couple of things here and this is again, like everything that you would do in for the shop. You would want to work with smart object and lier mosques. These are two crucial things that I would use for pretty much everything. So, first of all, ask me. Let me go to the original image. That's the original stock photo. And using the crop tool, I hold down the old key and extend the canvas because I had my color swapped. It was filling it with black. I just sat back the default colors now, so it should work fine. And this is actually something that I would change before I go ahead. I would unlock the background there first and then use the crop tool to extend the canvas. Because that way I can create a separately or underneath it and with commander control back space, you can fill it with fight, which is our background color. In this case now, first thing, what I would do is to separate the layers that I'm going toe work with, and I want to work with. So I am going to create selection with the pen tool and select this area here. So let's start with that one, and we've quick way to make a selection. Is commander control enter? And then, to put it onto a separate layer, it would use command control. J. So now that is on a separately here we can convert it into a smart object. I have a short cut for that F six, but you can just right click and convert a smart object from here by the baby. A shortcut. I'm using F six. It's, um, it's not the fortunate got, but it's something you can customize, so any short get you have in photo shop, and yet India will be applications you can customize. And there's a few things that I use very often like this one, which created a custom Shorts, got four, because by default there's no short hair for it. So now that I have it on a separately, you're just showing it to you. That's the one on the separately year and Eastern Smart object. When I was the free transform tool, I will be able to change its attributes, and what I would do is to stretch it out like so. But then I also use the control of monkey to stretch it and keep that perspective going that we originally had in the image. So I can even use thes points here to align it back to where it was originally. So that way we have a really good sense off the perspective coming out from the photo. Now, of course, to end the Assam in to have an ending for it. We would need to do a bit off work here. So first of all, we need to cut carved into it, and for that I would use the mosque to. So instead of having this very sharp edge, what I want to do is to carve into this by using the brush tool within the layer mosque on the smart object and painting with black. Now, when you're painting with black, you're essentially using an eraser. But it's a nondestructive eraser, which means that we can always come back and make changes to it at any point in the future . But let's just do something like this. Okay, now, if you wanted to, you could off course create smaller imperfections at, as it's it's like a cracked war and there's it's coming off from it, and someone so forth I'm not going to spend too much time on back. I'm just going to do something simple as that and then maybe cut a little bit more off from here. And then what we want to do is to get that edge and move it further to the right. So what? There's two things we can do here. One is that we can duplicate this layer with its mosque all together and then moving to the right. But I prefer to do is to command or control click on the layers outline like so And actually it probably is easier We could do it this way, but it's probably easier if I just duplicated so old. Click and direct typical daily year moving to the right and then double click on the layer and choose color overlay. Now we can change the blame motor normal, and immediately you can see what I'm going to do here. But the color for this I'm going to pick from something like a darker or brighter gray color from the image itself. Maybe something like that okay, looks good. And then we can also use a little bit off texture on this. So if I choose texture. I can scale the texture up. And the default one that comes up is actually what I d quite good. It looks like concrete. Something like that. Maybe the depth can go up as well. A bit scared can come down, but yeah, that looks quite good already. But of course, it still doesn't look realistic enough. So what I want to do at this point is to Rasta rise this layer. This doesn't need to be a smart object anymore. So Rasta rise layer and also applied only your mosque. So that means now I can paint on this layer easily, and I can even reduce the depth. So at this point, we can decide how via we want this war to be, maybe something like that. And then we can erase and paint into it very quickly and easily creating the sense off death now on the top. And that is, um, closer on the top. I would like to create that perspective. So I'm just going Teoh, click once here with the eraser tool and click again. There may be even more of a perspective, something like that. And then just carving to you a little bit. Yes, that's looking maybe a little bit too sharp of an angle. Let's see if I do it on the bottom as well. So we want to create a sense off death. I think it's not too bad. So you see the perspective going. It starts to look realistic that there is a three D object coming out. But what's very important is that you also want to have the perspective working on the texture. Now that was that's not going to work unless you do this. And this is a useful technique to learn. You'll right click on the effects on this layer, and then you choose create layers. Once you do that, both of the effects including the tactic, texture and the color, will be separated onto new layers clipped automatically onto the whole slayer, the one or the CEO at that we have at the bottom. But what I want you to do at this point is to join these layers together, submerged and with Commander Control E. And then I used the free transform tool. By the way, this is covering This layer is covering the whole campus. It is just clipped onto that small little area, so I can just clip it back just so you can see how it looks. And to be honest, we don't need the whole campus so we can just maybe make a selection here with the rectangular market tool around this area. Something like that. Come on, Jay. The lead the original one and just clip this back or click between two layers creates the clipping. So once we have that in place, now we can use the free transform tool. And here comes the very useful technique. So to create the perspective on the texture, I want to hold on the command option shift or controlled shift on PC together while using the free transform tool and drag the corner point towards where the perspective where the vanishing point is supposed to be. So you can see my vanishing point would be somewhere out there in the distance. So that's exactly what I want to do. Of course, you can also just hold on. Come on key and drag individual points around as well to further at justice something like that. And I'm going to make this even more extreme just so you can see better exactly what we achieved here, so he finds him closer. You should see that there is a perspective in the texture this was before it's flat, and this is now having that perspective like here. The lines are going up while these lines here are going down. And these cracks that we have here can be obviously avoided if I make a better selection or if I don't make the selection from that outline that we originally created. But I actually like them because that can be used. I mean, that gives a little bit of randomness, and it feels like the slabs off this concrete that are missing or their some additional cracks on it. But this is the more school show bit here, while I'm going to do now, so the texture is in perspective. The actual depth or extrusion off the rule is also in perspective, but what we need is lighting to be realistic. That's all of it is the key, so lighting needs like shading, and for that we need to create separately and again clip it on to what we have underneath, and then use your brush tool and museum closer and at this point, you can use special brushes, so I mean, what I'm going to use is probably something like like this one just a bit more random. No, that's a good one. That's looks like a pistol brush. We need more like fact. Russia's special effect brushes. And let me just pick something like this one. Let's see how this looks. Okay? Strength. This is a blending brush. We need a normal pain brush. Okay? It's not the best brush that I found. Um, yeah, I just use a normal, simple brush for now, So I'm going to use maybe this soft, round brush like that. It's just easier them Send what I'm doing without using fancies special brushes. And to be honest, you don't need them. You can just use with any any brush as long as you use it the right way. So notice that I'm using a soft edged brush, and they also said the capacity down below 100%. So I'm using it around 20%. And I am going to start painting around some areas like this one here, going to keep changing my brush size. And the hardness is well, control shift. Certain control alert control ought held down together or control option key and old, and then click, click and drag left and right. Changes the size and up and down changes the hardness of your brush. Any brush related tool will, uh, work like this in for the show. And by the way, at this point, I would switch to my tablet. I am using a vacant tablets. I'm going to just paint on that instead of using the mouse for these type of things. That's just so much easier to work with. Okay, so we are. I just continue painting. So I am imagining here depth and shape and a light source. So a clear, distinct light source that I'm work that I'm imagining in my head, and I am trying to work with that. Now. I am going to also use white white color and also changed the bland more to overly Maybe well, it is not strong enough, so I'm just going to keep it on normal, and that's actually working quite well because on these edges, just going to switch to hard touch brush, zoom even closer. So on these edges, wherever I want, the light source to be. It's actually one show, much texture. So you want you won't be able to see the texture going to switch to 50%. Andi, you so notice how I started first defining the shadow. So where details are getting, um, in, like, close up. And then I am creating all the highlights, and I already have in mind a light source. But I'm going to show you where that light source is coming in a second. Okay, Something like that. And then we would have more light here as well. So a light source with hit these areas would be a bit brighter. And then maybe around here, but then we would have more dark, so I would switch back to black and we would have more dark where the light gets trapped. So, like here, it would be much darker there. It would definitely be much darker. Something like that here as well. It would be more dark and this would actually be brighter again. Aan den. We'll talk. Maybe we can create an even deeper cracking here and so on so forth. So you can see already that we can define space by using highlights and shadows. So from a distance this would feel like there is a detail that is standing further out in light. And there's also some parts which arm or hollow. So it's like a chipped part of the concrete that is missing. So you can tell that by doing more of this and refining more off these details, this whole thing could look very realistic, much more realistic than it is currently. So I could have more light again here, and then I could have more shadows on this side. Of course, in this case that would switch to a more softer brush because there's more off, like great, greedy, integral, like a gradual change where the light is coming from and where it gets darker. And then once again, maybe I can decide at this bit. Here is a bit more standing out, so I'm going to make it a bit bright. And as may be also like this looks like a crack that I talked about before, which was just surrounding thing. But we can act on it and make it look like okay, so the light is coming from this side. This side can be brighter, but on the other side than we would have darker details. And immediately you can see how out of nothing we managed to create a very realistic looking crack here on this concrete slab. Something like that that's just at that bit more white. You don't aside because that's where the light source ease. So it's almost like a little Bavel there. And then also the top. We should have much more bright details. Once again, this is really fun on. I love doing this Apple things, so I would be able to do this for hours if you guys want to watch me painting around. And by the way, this is something I wanted to mention that this is one of the things that we were planning to introduce for next year. Maybe even this year we might start doing it. Uh, basically, the idea is to, um, do more life streams for our patrons and do it on themes similar to today, like maybe talking about three D in general or timeline or illustrator that X or in design or photography and so many other things that we can cover. But like an actual project that I can go through life, and it might actually be several hours. So it might not be just a single hour. I might be doing, like, 23 hours, or maybe even half a day off stream, which will then be available to watch later. Answer. If you don't want to spend perfectly with me, you don't have to. But you will have the recording, and I will probably talked through it most of the time, but I might actually just put some musical and work, and whoever is joining me life can ask questions while im working. But it will be something that gives you an insight into more complex work flows. Where I was still explained things I'm doing like here, but there might be ports where I'm I'm not talking because it's a repeat repeated task that I'm doing. So. For example, if I wanted to go through this concrete bit here, I could spend five minutes to refine this, or I could spend an hour. Or I could even spend three hours just on this detail, depending how detailed I wanted to look and how realistic I wanted to look. So there's so much we can go into detail and it really is up to you guys. Whether that's is something you're interested in or not. So I was thinking that violate YouTube channel can be a place where you can learn techniques. In general, whoever is on Patriot can get much more in depth skills on knowledge, and it's more like a behind the scenes inside into how a professional like myself would work. Um, so I can see you guys like the idea, But if you're watching the recording also, please let me know in the comments whether that's something that you would like us to do. But as I said, we will be telling you these ideas and we will ask our existing Patronus to really help us and guide us towards the best set off off offers or things that we can include in the shape you're in patriot. So, yeah, we are very excited about all of these possibilities, but yeah, we are open for any suggestions. So really, we want Teoh give you the best possible content we can. All right. So I hope you guys like this example and I hope it was useful, but you can see if I zoom out even though we're not working in three D, thanks to the simple techniques that I showed here, we are starting to create a sense or like the the feel that this is actually coming out from the original frame. So it's an out of bound effects, but not the cheap one that you could see. I'm sure you've seen these fake Onda fable like very Photoshopped effects. This is obviously a little bit more complex than that. But the most important thing that makes it look more realistic and more interesting is that we took into consideration the perspective both on how the rule is coming out and increasing in size and also how the lines should be vanishing in perspective. But but also even the texture is in perspective. But apart from the perspective, the other very important detail that makes it look realistic is the lighting. And as I said, the way I was thinking is that the light source is coming from this angle, and that's what I kept in mind all along. So as I was doing, I just want to see properly. So as I was drawing, I was thinking off the light, hitting the surface from this angle, which means that anything that is shaded like this detail here wouldn't get light or anything on the back off. This would get like. Now, this is obviously something that you have to consider and look at the photo as well on. And by looking at her, I can see that actually, the light sources more coming from this side or no, actually, there is a There is a shadow here, which means I was actually quite close. So it's more like an angle like that. So there's a clear him there in the background. What is the actual lights or sort of debate? The sun is hitting these objects that that's the angle that I should follow. So I was actually quite close to it. Even we like like properly analyzing the image. So if I switch back to my version that I've done for the 3 65 you can see how it could go further and have everything coming out from the image and have a completely getting rid of completely off the original edges off the photo. That was this tutorial about so how to break those boundaries that you're always restricted in When you take a picture, you have that frame you can info to show Break those boundaries, but you can see that I took. It took around like 15 20 minutes for me to record total, which then ended up being a moment in time lapse. But you can see if I spend more time on details, it can look much more realistic. 21. Day 17 - Calm & Dynamic Comp (Id) #229/365: - before this case, I wanted to create, like a glow backdrop effect in design on the incident Me trying pairing for the shop, crazy of layers or illustrator I thought Diaby doing in design on this is a really cool example of how you can take a simple image on place. A background created background pattern by simply just uses shapes on lines to create a dynamic movement. Mm. This was inspired by Nike adverts. My composition was inspired by that. Sometimes you might know have backdrop or you might not have money. Teoh, invest in a photograph. So you try and treat yourself on. Yeah, So I was inspired by this example, which I love. I also love this example where they had to know if they would. She still thinks she added, some shapes, circles and lines we have. We have a tutorial which is very similar to this in next month, which will will be talking about text on the street, which is very similar, So we'll be covering something similar to that one again. I just wanted to demonstrate how you can take a simple image on, then create a background which can be used as a composition for your artwork on the night is a really good example there on that I like. And it does mainly the sports campaigns. And to do that a lot, they use a lot of shapes on lines to create abstract backdrops to create dynamic dependent lividity stuff. Yeah, so yeah, really cool trend. And you've done a good job with your designer. Really? Like That's proud. 22. Day 18 - Inception Effect (Ps) #230/365: - flipped circle. It's a very simple technique that the V, I thought, is the easiest do this is by using a smart object, and if I go into signed a smart object, we can see that it is actually using a clipping mosque. But I can just show this very quickly from scratch. So all I've done here was to create and the lips okay, You create an ellipse on the shape that you want to turn around to duplicate your layer or click and drag an old click between the two layers. Create the clipping loss and selecting the two together. You just flip them around, but and this is why I create a smart object, because if I turn this into a smart object to things together, then turning it around, actually you need to do to smart objects because then you can turn it around. You can do to small objects. You can do as many as you want. Sometimes it makes it easier once you wrap it up twice. In this case, that's why because now the banding looks smaller and we can just religiously turn it around itself. Cast recording. Sometimes I might when I Converse. Something is still massive. Why my books for another one? So they double you can have us. I don't know if there's a limitation. That must be, but you can have multiple smart objects. 23. Day 19 - Retro Icon Set (Ai) #231/365: - The most important aspect off this design was the pattern that I created here and used vidi back. It'll the life paint option. So the swatch is that one there, and I have different sizes as well, so we have the smaller and bigger one on. That's basically I can now use in any elements and once again because it's an eye concept consistency between them. That's one off the aspects that ties them together. Blind rates Nice. I'll yeah, on what's called because now it's because it's a swatch. Now, if you needed to go if the car if if this was a A project brief if the client came back and said, OK, we love these, we want you to do another 10. You wouldn't have to replicate the You don't have to draw the dots individually on Teoh gentleman. You can create shames. Yeah, exactly. You use them, you can use it at your discretion whenever you know suits you. And yeah, I think also, if if you needed to use it across, um, projects. If you close the door of your files, you can save it. If your swatches and they can use it enough, the documents changes quite handy. Change, size, color. There's all by everything that's watch yourself, which I like on those said not. Don't forget that you can just drag and drop anything into the library. Spinal. So if I have an icon, just drag and drop it there and then you can reuse it in other projects. Nice. So, yeah, I mean, illustrate is the best for creating. I'm working with icons in general. 24. Day 20 - Perspective Lines (Ps) #232/365: - as the perspective lines technique in photos show. So this is against something you could try to do in Illustrator. But it might be able with more tricky to do I find this easier this technique to do it for the show, basically, what you're doing here, I can start off the beginning which we can have these lines here and then if I duplicate them and then use the free Transform told the key here is the command option shift held down together, which creates the perspective transformation. So with that one, we can create the next element like that. And then if I want to go further, I can just duplicate again from this point and then distorted further. Now, one thing that you need to maybe pay attention to is, for example, here because it's already smaller. I like to also use, and this is an opportunity hardly ever touch. But in this case, it's very useful. Is the single roll marquee tool with which this new section here I can select the lost pixel from it. So if resume closer, we can align it to the lost pixels Command ship J to put it on a separate layer. And because these are just simple colors using the free transform tour, we can drag them out. And even from that one line of pixels, we could recreate the shape on again. Selecting this may be here on the top. Come on, hold shift. Tea. I think it might need to be only some layer come on. Which we just know it was fine. Come on, T and I'm comin or shift held down together them drag it down that So the last thing that I done here waas to add shading on it. So if I use a separate layer, clip it onto this, that obviously helps us to be able to paint over these. So if I just use a dark color, something like that. But remember, use also selection on that way you can separate the effect and have only shading that I wanted to go. Same here. Same thing here at the bottom. If we create a layer, clip it and then have the shading. And immediately you have, like that type of the fact that we need that and obviously we would want to have it also here at the bottom just to have a little bit off separation there. Not just gently like that, So yeah, 25. Day 21 - Pie Chart (Ai) #233/365: - I use this type of techniques for, like, visualizing data. Yeah, so infographics. It's brilliant for that, make it more interesting and engaging. Same thing with this technique this'd is I mean, it can use for so many different things were obviously what comes to mind first, this data visualization. Um, so this is actually a little bit tricky thing to do in Illustrator to Have Segments or the Rings. It is very easy to do segments for circle since 62,018 because we can just use the pie. Vigen. It's no short. It's simply you draw a circle and there's that little digit there and then you can just call me through. You learn something new every day. It's really fairly recent, I think. 62,018 on in the Properties panel. I think there is a very to get you here. More options and you can actually see the pie starting gold. You can even swap which part of it you want to see Reverses. Yeah, and if you need it to be like a very specific angle 90. Send consented to it. But to do this on these shapes and you can see I can actually do this on the rink. That is a little bit more tricky. And the very I found that is the easiest to do. This is to actually use the following technique. So I have at transparency added on this, if I go into the transparency panel, you will see that I have for each of these circles because they're still circles. I have an additional capacity mosque were also a circle at it. So, for example, with this shape here, if I just set it back to almost completely field, I can copy this and make a mosque, turn off the clipping, select the mosque and paste the shaping the help. Now I'm going to turn. I mean, close this completely up the mosque itself, I said the most to be completely black and then reduce its size. And there you have blurry. So you use a circle to Moscow, the center and then the shape itself is still a normal circle. Obviously the center is missing because off the mosque that we had it there. So it's a little bit tricky yes, to set up. But once you have one, you can very easily reuses and then we can change the color so you don't have to fiddle around with settings. You can just copy and use the digits to adjust it. Well, that's really cool is really good, like wet. So so you can even do interesting overlaps between shapes. With this, if you, for example, create something like, let's say we put this here something like that. But then we copy paste this and sent me to the back and then the inverse it with the technique. See, it feels like it's like intertwined. So Olympics Exactly. By having by having the opposite behind and the other one in front, we can have that link to finding the fact exactly. 26. Day 22 - Radial Symmetry (Ps) #234/365: - radial symmetry, another radio fact. But in Photoshopped this time, so it's the concentrate painting as well. It can be called, Um, and the example that I had here was something that could be like an advert. But the most important thing here is that this is against CC 2018 feature, and it's something you can control from here on the top. Now, by default, when you're using the brush so you can set up, symmetry fell easily. So that's something that you would start painting both sides. But you can switch the Jewell access as well when you will start painting on four sides. But the cool thing is that when you are using this, you actually have a path that you can start make changes to, and the symmetry that I created here was simply just duplicating thes parts and then end up having a very complex symmetry. So if this is the one that selected when you're working with symmetry, you will be able to pain multiple instances at the same time. So just showing it on this one here, if I sell like these two parts and I copy, paste them and then use free transform. We should already have mawr, maybe set it something there. So now if I go back to the layers and start painting, you will see we start to have more of them. So, yeah, that's a new feature. I would say that procreate is doing a better job at making this a bit more easier. I tried it last week on Oh, my God, It's amazing. Yeah, You love Mandela's pattern design. Nice 70 option in pro Great is amazing. Yeah. Yeah. So it's not bad, but it's still a technology preview that you might not see Only if you go into the preferences and you go technology previews and enable pain symmetry. So they're still working on it. It's probably going to be a little bit more user friendly and mine explosion to at the movies. Just so slow for me. Anyway, use a laptop on it's not as you as a friend. Yes, Procreate. Come. Yeah. So hopefully I mean, this will improve, I'm sure. Okay. 27. Day 23 - Using Containers (Id) #235/365: - is in containers. Yeah. Do you want to show your references? Yeah, sure. Sometimes when I think this is the image that I initially was inspired by, sometimes again, you want to use a full bleed image have, like an interesting an interesting background, like with the packaging here that you don't necessarily. You won't necessarily see text on it if you just like here. If we just put some would be hard to read it. Yeah, the eligibility becomes compromised, which is, at the end of the day, like, extremely important for a viewer, because that's kind of it communicates a lot of important information about your product. Well, the event, etcetera, So we can use what are basically containers for information. Now, in the tutorial book I created, I use very similar containers to the ones here. The rectangle was nice and simple. They kind of a very modern, very easy to use. They fit the information perfectly and and it really makes the whole composition, Maura, about the background image and just the simple information laid over. But I thought it might be cool. Just like to show you guys some examples of slightly more interesting containers This is like the inverse effect where they put like the picture inside a container and that allows the information to go in the background. There's also an option. So containers, you know, we talked about quite a lot, actually, in on tutorials. They don't necessarily have to just be like the ones I showed you in the story, but equally you can also use them a similar toe, how I use them, and then apply other effects to them to make them feel like they fit into your composition a little bit more instead of just slapping them on top. And I hear what it would be a little bit odd because you've got, like, this rough, earthy feeling underneath to just put, like a just be strange. So they don't really good your pair of use of containing information. So it's legible but also incorporating it into the wider design context. So, yeah, that's kind of think nice. One example 28. Day 24 - Ribbon Text Logo (Ai) #236/365: - the ribbon packs for a local, and that's the final result. And so that ribbon that I created there was actually a very simple envelope, this store, the fact which you are going to talk a bit more about, I think next month. So the three different ways of using an envelope distorting illustrator you are going to explore in more detail. But this is the simple warp distort. And I can just show this very quickly without the actual design itself in Illustrator, If we have a shape like that and we go to object, distort wart, this is the one that was the flag technique and then I just reduce the intensity a little bit on it. Like that Click. Okay, lets just move these things of a All right, let's just point this year on the side. And then if I duplicate this, if I were to inverse this like that and then put it behind this shape and just changed the color a bit, uh, making it a little bit darker, we already have the ribbon. In fact, that sounds simple and easy. It is. Sometimes the most simplest way is to rely on features like you already have. And he keeps it really like the perfect shape that you would pento it would take so long. Drove the time cause I mean, this is just really hard to do these shapes. Yeah, And one thing I wanted to mention here is that when you're using envelope this story, especially with the war technique, you have to make sure that if it, for example, you turn this around, you see completely gets destroyed because it's still trying to create it from the original angle. So what you need to do is to expand this. Okay, so once you want to stand, start making changes to it just expanded, and then it will stay the same. You won't be able to go back and adjust the settings on it, but you probably don't need to anyway, so you just have to expand. Sometimes when you use more complex effects in illustrator, it's great to have the flexibility to go back and make changes to the effect. But if you need to do something beyond that expand is always working, and sometimes you actually have to expend twice. So you have to do expend appearance once and then expand again to get like a completely no don't dumb down version, which is like something that you can easily make changes to go. 29. Day 25 - Colourful Shadows (Ps) #237/365: - colorful shadow is mainly using photography nowadays on Is is becoming more trend where photographers will shoot here in a lie angle that creates these colorful shadows. But in our tutorial, we showed you how a community plate there. So this is an example where I have massed out the images on not just simply created a a drop shadow layer layer style on. I've turned off the use global I effects so you can add more total drop shadows and they they can act as individual shadows. Yeah, so the light sources connected because them on I really I really like the example. And then we also recently discovered that you can add up to 10 drop shadows. He Why you would be Oh, no sure for this thing. And I think even if you want to take this step further, you can try and animate each shadow separately and great. Cool, interesting. Give a gift. Yeah, marketing. It's quite popular, especially if you go to my fashion e commerce site. You can see these off trends gives the animation being used. Yes, so the selection is obviously an important aspect of its. The first will make your selection turn it into a mosque and then drop your shadows on it Any any layer style. It has a little plus next to it. That means that you can have up to 10 off each off heads. You can have stroke as well up the 10. So yeah, these these are all again. I think it was introduced in CS six or maybe C c. I think it was in creative child already they allow you now use multiple off the same day Erstein's. 30. Day 26 - Watercolor Composition (Ps) #238/365: - the watercolor come composition was the next one, which again I was using actually procreate, I think, or no, it was for the shop sketch I think I was using for that. So if I paint with this, you will see how nicely it is starting to blend into its environment just like water. So if I paint over around the edges, it start to blend in. And then, if we're changing the color to something else again, it will start to blend like almost like water. I convert paper how the two colors start to get mixed. Do you think is better than for gray? Or what's your preference on this watercolor? I feel like it's probably better here are easier to replicate. Procreate has some really good watercolor brushes as well. But I think for the shop sketches, actually even better for water cover. I'm nothing if you maybe, if you print something on a text with background, like a Texas paper effect, it could give that natural organic look. Yeah, maybe. Yeah, definitely. 31. Day 27 - Adding Texture (Ai) #239/365: - I think the ending texture on that was you again, Milly, I think. Yeah. Yes, this was an interest rate two tutorial on, um it was really about adding texture to a very simple vector illustration. Using just an image that I found online, I thought it was quite interesting. I think I have some examples off not just text and illustrations, but the kind of textures that you could try using because the depending on what kind of style off, final like illustration you're going for, you're gonna want to use a different texture. I think it's quite you can goto. There's a lot of websites that offer different textures ready to download like marble textures or wouldn't stations. But also, you know, if you really stop on time like from Wichita Auriol on I bet you just get you know, I just Googled like paper texture. Andi, just drag the image straight into into insight into illustrator and use the technique that I show you guys in the tutorial on. Do you know I went from having like a very smooth vector feel to like a more organic natural feel that fits with the composition as a whole like, you know, it's as it's an outdoors like style com. So I kind of wanted that, like, real natural field, that it's like, I think this would make a great texture much right out later. Yeah, so I was going for, like, you know, this this kind of feel where it yet again, Like I say, it is very natural. This this looks like paint strokes, which again you could easily, if you found in an image of some parents strokes, it could work. Here is a slightly different this kind of texture at applied on this, I think it would have been done using a different effect. But the point I kind of wanted to make was that this actually kind of almost more denies is the illustration even further rather than rather than making it organic and naturally, yeah, this this one is in from if you remember from last month we were talking about the noise brushing photo shop. So that's what I would do it that way. But there might be other ways. I think I want the famous yew tree Brazilian straight toe Gottman. He's he does amazing textures. It reminds me of his style. Yeah, yeah, he does a good job. Action. Sure. Yeah. Yes. So, like I say, like here, this is a really simple example. And then over way up, Teoh. They work on far, far more complex compositions that you could see used in like Children's Berks. And here the texture has been applied toe elements of it. But not all of it. Which is another interesting way to use a texture. Doesn't have to go for everything. If you wanna have a diversity of textures in your illustration, for some reason So it's a really quick workflow but can actually produce him, like, really cool. I love this son que underground way. Yeah, I like I like these. It almost feels like it's actually being cartel stuck one century college style, but the content free feel still right? 32. Day 28 - Animating Layers (Ps) #240/365: - thats example, that I've done waas an animation in for the shops and meeting layers on another London themed designed actually. So yeah, this is just all about showing that if you are using smart objects and combine that with the timeline panel in photo shop, you will actually have much more possibilities than working with normally years because smart objects actually have the attributes transform instead of just position. So transform means that you can also resize Theo Element. And what we have here is the balloon is just moving, so there's only changing his position. But this first layer here, ladies, they are actually changing in size. Or also, you can have radio movement as well by changing the rotation. So as long as you have a smart object instead, off the position that we see on the balloon, which is a normal layer, you would see transform showing up and as an attribute that you can animate as pretty much it'll that I wanted to cover in this tutorial. And then, obviously it's just the depth that I'm using to create a bit more engaging movement here. Okay, 33. Day 28 EXTRA: So I'm going to open up the timeline panels being a window timeline, first of all, and within the timeline panel, you will see exactly what you normally see in your layers on the right. But here you see them as a timeline. So the most important thing is to work with key frames and whoever is familiar with animation or video editing. This should be very familiar to you. So you would get this in premiere after effects or any other applications like that's final cut, for example. But in photo shop, what you're doing is that you are animating the certain attribute attributes of your layers so you work with your layers. Every layer is like an object that you can animate and depending whether you're layers are normal or smart objects or three D objects, you will have different activities that you can animate Now. In this example, I already have a couple of things moving and animated, and you can see that the animation is happening between two main key frames, the one at the beginning and the one at two seconds. Once you have something in mind that you want to any meat, the simple thing you have to do is to select that later. Like, let's say I select the balloon and I wanted to fly further out off, other up. All I have to do because there are already keywords. Sorry. Key frames in the timeline. Well, I have to do is to start moving it around and immediately within the timeline notice that key frame appears. So let me just don't do that stuff and move it again. Up. See the key fame appear. So that means that from the previous point, it will keep moving forward or up in this case, So that is an animation. But after the keeping, because nothing else is happening beyond that, it's just stops. But because this is a smart object, I can only change the position. But I can also change the size off this. So if I have that object selected and I start changing, get with the free transform tool. What's going to happen? No school back that even work. Um, again, Let me just show you something here. Okay? So it should see transform instead off position. Okay, I know what's wrong here. So notice how the balloon doesn't have a transform attributes, while the London Eye has a transformer attribute and also these ladies so the girls layer has a transformed attribute. Now, the reason why you might not see the transform attribute is if you are using a vector smart object for those you won't see this feature and that ballooning is erected. Smart object. So you have to make sure whenever that happens is that you convert that object again into a smart object. So if I right click here and choose convert to Smart object again now you will see it will say transform. So it's still remembers the animation on it. But now we can do another animation transform so we can make the balloon look bigger than it starts off. And then as it goes further away, we can make it smaller. So I'm just going to have it selected, reduced its size, something like that. Let's move it up now you will see that it's not only moving, but it's also getting for that away from us. So that's a simple thing. Normally, if you just have an image like these ladies here, if it's a normally or you won't be able to any mate the scale and rotation only the position. Once you turn it into a smart object, you can do that. And the additional thing you have to remember if you're using a factor. Smart object. Anything coming from illustrator and added as a smart object. For those, you have to do another convert to smart, objective Indian for to show before you can see the transformed feature showing up in the timeline panel. So it's a little bit complicated but shouldn't be that tricky to work out. So I'm just going to go back to Bridge for a second. And I'm going to quickly bring in an image just so you can see exactly how this works. And I'm just probably going to place it in this composition and animated. So I mean, just open that file ump or find a file. So maybe I don't know. Let's just place in an image like this one with birth. So if I drag and drop it into this composition, put it all the way on the top, make it smaller, you will see that this automatically came in as a smart object that means for finest lier. Here we go. That's the layer. Oh, actually, this This is the simplest thing that I didn't think about, so to extend the timeline and I just figured out how to do it well, you have to do is to simply start dragging your layers around, and it automatically extends so you don't have to extend it. Men, usually if you increase the length of your layer, that means it's automatically extending the timeline accordingly. So couldn't be simpler than that. To be honest, I don't know why. I just couldn't remember that. But, yeah, so what you can also do, as I said, is you can, because it's a smart object. You can automatically use transform instead of position animation. But if I Rasta rise lists the year so rightly crossed arrives, meaning that it's no smart object anymore, notice hand to transform attribute rewards back to position. So keep that in mind, and most of the time I would recommend to work Viet Smart objects. Men using the timeline panel is once again if I under this and we are back into a smart object. If I click on the stop which signed, by the way, does the way you start animating and attribute. Take on the stop, which for Transformed and then moved to the next point where you want to change it. If I do a rotation with the free transform tool and resize this it, we will get a cool animation, not only animating the rotation but the size as well. And, of course, if I jumped to this key frame here and I moved the image on the way to the right, then now we will have position, size and rotation animating all at once. And let's not forget about the other thing. The other things you can animate you can any made the capacity. So maybe if I come back to the beginning and I reduce the capacity to zero, then it's can not only any made the position, but also the capacity. And you can even m inanimate the style. So stein, meaning the layer styles including drop shadow, glow, stroke, greedy and overlay, and so on and so forth. So these can be also very useful, and you can actually animate them as long as you turn on that stopwatch. So the cool thing is by default. Nothing is triggered only if you decide to activate an attribute, then it's going to automatically start creating the key frames as you are changing things around. All right, so let's move on to our next example, because I think that's a fairly straightforward feature. And hopefully it made sense what I just showed here. And there's always a couple of additional things. Maybe before we move on on that worth mentioning, first of all, the resolution or the quality off the playback. But you can reduce if you find that it's really slow as you're playing things, and you can see that whenever you stop playing the video or the timeline, you get 100% quality. But as soon as you start pressing space to play the video or just skinning around, it's going to automatically reduce the quality. And 25% is quite good. I mean, slower machines should be able to process that as well. But 50% normally is what I would use. Look. Playback is also useful, so it keeps playing it like a gift and you can't actually export. This is a gift, but there's two different things, and you can use you either go to the file menu and choose export and then render video, which will offer various fire formats. Video five formats that you can export the final into the most common one would be the H 264 So that's an ND 45 format viably used like YouTube. Every meal would support this so ever you exported. This can easily use it on anywhere, to be honest, social media as well. Of course, quick time is probably a little bit less lossy five format, but bigger in fire size. And then you also have the P X, which is a less use five format. I wouldn't recommend saving into that unless you know that is what you specifically need. You can still decide whether you want to export the whole video or just certain parts of it , but you can set here at the bottom. And of course, you can decide on the size because this one is a very big size. I might be thinking off, reducing it Teoh, like a full HD size, something like that and then rendering it would save it wherever I wanted to save this file . But the other option is if you go into file on, then choose export safe for lab. Now, We didn't. This one you can save a gift on fighters give here on the top, right? So a choose GIF on 28 Dillard, Maybe it will take some time to for it to render. The problem is that by default it won't be able to pick up the animation because it's not set up a za frame animation. So what you need to do is to convert it for to frame animation. But that is an actual that is actually a very final step. So I wouldn't recommend to do that unless you know that you definitely want the gift. Because, of course, you can convert on him before into a gift, even on free online sites. So you don't necessarily want to lose the flexibility off your video timeline. I would rather keep my work in the video timeline and only converted once I haven't before five saved out. But if you I really want to turn this into your working to frame animation, then there is this option here at the bottom left converted frame animation. It will explain that you will be losing a lot off flexibility that there But if I play continue, we will see all of these little frames created here at the bottom so I can school through. There should be quite a lot, because every second you will have 24 or 30 frames generated. You will get hundreds off them, and if we are playing this, you can see it's pretty much the same thing. But it's now ready to be exported as a gift file. It's actually 76 frames, so it's not too bad. So if I going to file export safe for weapon now, we should be able to choose Gift on 28 I would probably reduce the file size. I mean the image size because it's around like four k size at the moment. So that's definitely not what you want for. A gift file is good for the MP for, but it's not good for a G five. It's just going to be too big. And you you don't want that for RG five, even for the shop is struggling with this. So let me just quickly reduce this down to maybe 600 vit set to 600 and, um, it's only like 20% off the original size, so that's just loading. Okay, there you go. So what we can see here is that we have the file size reduced down to 400 kilobytes, and we can actually play the animation so you can see that. And we can set it to loop forever or just play once or a couple of times. And these are all things you can steal set up here or change on Once you click on Save it will see if the G five for you 34. Day 29 - Key Object Alignment (Id) #241/365: - linemen . Don't she tours before about three alignment panel that this almost specifically to show the benefits of using using a lying to key object so you can set an object that everything else aligns itself to. This is a good time saving technique, especially if you work with a lot of assets a little yet. So by and by default with the alignment options that we have, you can usually allying to the extremes that talked the bottom, the left off furthest, the furthest to the right. But if you want to align to a specific point like this one here, you would want to go to the show options in the Align panel and change the alignment to key object. Now I think, Emily, you might have shown this in in design because it's the same in in Design by works administrator in the same way. So once I have key object, we can highlight which object is the alignment based on. And then, if I say allying to top edges, all the others were lying to that one. If I selected this one as the alignment and allying to talk pledges to that, then everything will lying to that one there. So the key object alignment is one that not many people know about it, and it's definitely worth checking out if you haven't tried it before. Also worth mentioning that if you are in the airline panel and you see more off the options , then you also get to use the distributes basing, which again works best with the key object alignment. Because then you can actually type in, Let's say 20 pixels distance, and you can say I want 20 pixels between the selected object so this only becomes available once you are in the key object Ally map. Cool, really, and 35. Day 30 - Negative Space Logo (Ai) #242/365: - thesis again just shows how you can play with just simply two colors, black and white, and have lots of things going on at once on still being able to read everything. So having the snail in the back is always the giving us a nice container within which I can easily fit the house. But I can me this house smaller so it doesn't have to be as big and then with text is the same thing I created on inverse text here. And then it's almost like creating the ground on which the snail is moving around. Yeah, so it's nice and compact. Everything is in one place. And of course, we can like, very easily make changes to it can have. Maybe the whole thing there. Yeah, so on and so forth. 36. Day 31 - Floating Effect (Ps) #243/365: - floating fact. And that's just a quick, simple retouching technique in photo shop. Creating this floating example that we have here and the the whole reason why I've done this is mainly just to show that even without combining images, you can create a very creative end vessel if you pay attention to how you re touching and if you find a good example. So it's always a very crucial thing every time to find a good example because, like the same effect work necessary well, with everything. But because she's holding that big surfboard, Um, that's already feels like it's going to divide her upper body and lower body yet, And then I could easily I could've easily life the legs there and people for upper body five on city, but it was more fun because she was holding surfboard. But then we don't have anything at the bottom. So that's the original image. You have to make sure the shadow is retouched as well. That's a really good point as well. Like details like that will really make a difference to your final like how, like professional your final conversation legs? Yeah, yeah, so very simple, Quick and easy technique. The one the point I would make here is to make sure you always do. Touching on separately. Your using the sample or layers on all the retouching tools it's available that way is not destructive. And you can always check out Look before and after. Do you think I don't know why you would, but do you think you could then in a completely different pair of legs and make it look I'm not asking you to do right now, but say, for some reason, you needed to swap out the legs some other legs in and just stole, even use this. Imagine, even use the same legs. Just push them up here. Yeah, so that again would be a very weird What? This provocation again. Like making something. Look, the it yeah, is what can make it interesting. 37. 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.