365 Days Of Creativity - Month 9 | Martin Perhiniak | Skillshare

365 Days Of Creativity - Month 9

Martin Perhiniak, Design Your Career

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35 Lessons (2h 58m)
    • 1. Welcome

    • 2. About the course

    • 3. Day 1 - Animal Hybrid (Ps) #244/365

    • 4. Day 2 - Symmetrical (Id) #245/365

    • 5. Day 3 - Single Line Illustration (Ai) #246/365

    • 6. Day 4 - Map Poster (Ps) #247/365

    • 7. Day 5 - Paintover Advert (Ps) #248/365

    • 8. Day 6 - Abstract Composition (Ps) #249/365

    • 9. Day 7 - Type Logo (Ai) #250/365

    • 10. Day 8 - Boat in Clouds Montage (Ps) #251/365

    • 11. Day 9 - Envelope Distort Text (Ai) #252/365

    • 12. Day 10 - Minimalist Composition (Ps) #253/365

    • 13. Day 11 - Parallax Animation (Ps) #254/365

    • 14. Day 12 - Shifted Colours (Ai) #255/365

    • 15. Day 13 - Isometric Montage (Ps) #256/365

    • 16. Day 14 - Shallow Depth of Feild (Ps) #257/365

    • 17. Day 15 - Ice Cream (Ai) #258/365

    • 18. Day 16 - Giant Bonsai Montage (Ps) #259/365

    • 19. Day 17 - Choosing Type (Theory) #260/365

    • 20. Day 18 - Shading Text (Ps) #261/365

    • 21. Day 19 - Gradient Slices (Ai) #262/365

    • 22. Day 20 - Monochrome Effect (Id) #263/365

    • 23. Day 21 - Day to Night (Ps) #264/365

    • 24. Day 22 - Monster Illustration (ProCreate) #265/365

    • 25. Day 23 - Street Sign (Ps) #266/365

    • 26. Day 24 - Macro Composition (Ps) #267/365

    • 27. Day 25 - Lego Effect (Ps) #268/365

    • 28. Day 26 - Planets (Ai) #269/365

    • 29. Day 27 - Fashion Cutout Effect (Id) #270/365

    • 30. Day 28 - Burst Lines (Ai) #271/365

    • 31. Day 28 EXTRA

    • 32. Day 29 - Nature Comp (Ps) #272/365

    • 33. Day 29 EXTRA

    • 34. Day 30 - Sinking Effect (Ps) #273/365

    • 35. Conclusion


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! 


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 - Animal Hybrid (Ps) #244/365: - This is a cool little composition or multiple images. I created this hybrid based on, like, this mythical beast, the griffin and the example that I ucm just going to open up the fires, which assure you the SS that I used waas Actually, these four images, So I used the lion is that that's the body. I used the eagle hat and I actually found an image of Siegel's with things completely spread out. I couldn't really find a good one of an eagle doing the same thing. Andan. I also thought that the best to use would be like a chicken for relax or the talents. Would you call that the talents? Yeah, Yeah, I guess I again. I couldn't find a good one over an eagle. But essentially, this is what I wanted to put together this Imagine it each imagine it, imaginary, imaginary creature. And you can see that the artwork itself is made up of these separately years. And the most important thing here, I wanted to mention is that even when you're working on these known existing creatures or anything like that, you have to make sure you pay attention to the proportions. So of course, like a small have placed in an in an innovative place wouldn't make it realistic. So both the size and the placement of the head has to feel natural. So, like the vague distribution and stands has to feel like it's It's one creature, Same things with the things. If we were to move these around again, it wouldn't feel natural to have the being let's say about their. So you just have to think about where to place thes. And of course, there's things like having an adjustment layer on the top, which keeps all these unified together or the separate elements and also having, like, things like shading that I ended here, especially on the body, without having that shading that it wouldn't feel natural. I really like is all how you extended to tell because the wing, because otherwise it would fall behind the wing and again, that looks with yeah, exactly. So that's a very good point. Like the original tale obviously wasn't long enough to go beyond the things. So that's why I just separated onto the separate layer and that we can place anywhere we want. So actually, the original I mean like the reference images, where sure was a very long tail. Yeah, so it just makes it more similar to that. So that's that's pretty much it for the first day. And I just wanted to mention that if you are using Adobe stock, you can actually find images much easier using the library's panel. So I use the different stock library, I think picks a baby I use for these energies and which is a free stock signed. But if you actually have some credits on Adobe stock, when you can do is to search directly in here. So a five typing, say Eagle, will be able to find images very quickly, and then we can just pick one and drag and drop it here even without paying for it. So why are you? Don't pay for it. You can just see the watermark on it, but you can already start building your composition and see whether it's going to work or not, for what you need. And then when you are actually happy with the looks, you can then licenses. So right click here and then license. The image copes. That's how easy and fast it is to do 4. Day 2 - Symmetrical (Id) #245/365: - you've done a really cool a composition in in design. Yes. We decides to show how you can use symmetry and in design on a critical composition. So, as you can see from here, I decided to use both illustration on photographs, too. I think it works really well together. And these type of composition of quite popular nowadays, especially used for that museum, Brendan or workshop or any. Like you would say, Yeah, that would look great with the show. So I'm one of the techniques I showed on the tutorial was Have you can create a cemetery using in design, and I don't know if I wanted to show a quick demo coming. It's a really cool technique. Yeah, maybe if we just move this here. Yeah, you can show it if you want. So what I've done is used the guides, routers and putting the scent of the page. And I would use that as the main reference point to flip and duplicate my illustration elements. So once you already, if you want Teoh, find a place you just simply press are for rotation. Click on the center point. Yeah, Something on you do old click and horizontal. You get the same provides border option click held down while taking on the bottom on the options bar is going to do the flip around the point that you selected. So if you still like multiple items like these two again, we are. We click anywhere on the center line, the one they're in the middle again. Now we can flip both of them and duplicate at the same time, So the order option is for duplication. If you don't hold that down, this would just simply moved them on to the other side. So again, with the rotate tool, we can just move them into the opus on opposite sides. Yeah, that's a really suits technique. Yes, I think we've I think we've shows how you can do this in illustrator before you as well as for to shop. So this is a nice method you can try out in design official. Yeah, that's really good. Um and yeah, I think that the black invite having black and white on the photo makes it work really well because it's not overpowering on the photo would be a little bit too much with these nice, simple colors. But black and white actually works really well together. So cool 5. Day 3 - Single Line Illustration (Ai) #246/365: - The final result was this of the Rhino And I just wanted to mention I love this e I wanted them Sure, like all the different versions that I did before I decided to go with the one in the middle. It's actually looks simple, but it takes some time to practice because you have to get used to whatever you are drawing over. And of course, you can do this without the reference. But when I was using is this photo eso I could have, like a good understanding off the anatomy and scale and also like the characteristics off the animal. And I was just going over this in appropriate. I was just gonna say you did this and procreate. Yeah, yes, I was doing it on the iPad because I just feel it's very comfortable to do it there. But you could even do this on a tracing paper, so it doesn't have to be digital once you have a good version that you really like. What I have done is to take it into illustrator and then create this version, which is a much more refined and simplified version so we can see the original procreate line there and then the traced over line that I have here Onda. And this obviously has one additional aspect that I explained in the tutorial Using the width tool you can refine the lines with as well at certain points. And what I've done is the beginning and the end point. I really think because that's where it starts and ends. But if I wanted to emphasize this certain details, I could increase the line, wait at certain parts like the head, and then we could have even more contrast between between the start and end points. But I just felt like it was quite nice the way it is. Yeah, yeah, it's all about, like the style and overrule the impact that you won't have. So having a play with that could completely change the composition. Radio. Yeah, yeah, certain points. You can have less rate on it. Then again, Mawr. It's completely up to you how to do that. But I just wanted to show a few cool examples as well of the same thing here. We don't even have line Wait. I mean, it's a solid, single pixel line weight, but works really well again. It's the abstraction off a complex shape with one single line on. Do you see? You don't even have to feel out all the details, like your back off the wolf. I guess it's a wolf Eyes. No, even need to be there. Yes, kind of suggested by the rest of the form, which is really nice. Yeah. What? What do you think is the best advice to, I think straight. I think you struggle. Yeah, I think it's You need to have fairly fast movement and like, try not to draw in a tiny little detail that try to draw in a little bit bigger, if you can, if you have a bigger screen or bigger paper that you work on because your lines will be more fluid. And also, I think it's all about practice. So do at least 10 20 or even 100. I think I've ended up doing around 100 before I settled on those few that I selected. So there's a lot of practicing going into it, but I guess the more you do this type of artwork, the better you will get it. I like that everything so you can see other examples again. More animals down with same technique. There's also a rhino here and then, Yeah, I think I have more here as well. So could potentially make make really cool logos mentioned the other day, like, you know, like the cock crow. Like that kind of thing. You can imagine it like embroidered on a T shirt. Yeah, I think they're great. Yeah, And animals are very recognizable. So some complex shape that maybe is not as recognizable might not work as well with this technique, but something that everyone's familiar real anymore. Most most common animals would be a good choice Examples. 6. Day 4 - Map Poster (Ps) #247/365: - in this case, instead of picking an image of London, I just thought wanted not pick a screenshot from Google Maps and as something as simple as that can end up being a good, almost like a textural background. But it still has relevance to what the this concert poster is about. Yeah, so I I think the most important thing. He wants to have a ways to the original colors toned it down, for which I used the Grady and map adjustment, where we have the highlights actually darker and the shadows brighter. So it's almost like an inverted color theme. If I reverse it back, that's how it would look with the highlights being orange. So that's obviously not helping us to read the tax. Yeah, so you just have to play around a bit. And then also, one other thing that I did was to blur out the corners by using The Blur Gallery Filter Vida and Iris Blur. And I decided that I actually keep the central bits in focus because I think it helps to send the interest in the middle. But this is again something that if we go into the Blur Gallery, we can actually reverse this if we wanted to. Uh, yeah. That's just just one of the things that I think again. He's a useful technique. Yeah, it's cool. I really like the fact that it's blood around the edges and works towards the middle, becoming more shop, even some of the elements outside of the kind of box that you got your information and start to get a little bit sharper and, you know, it does help you kind of your I focus on that that center point. So I think it's a cool decision, but yes, I mean, it would be it would be interesting to see how it looks. The whole thing was burned out too, so yeah. 7. Day 5 - Paintover Advert (Ps) #248/365: - for this example. I've simply just taken a stock image off some I don't know, perhaps, or green leaves on. Decided to just simply train enemy image. Draw over an image of a existing teacup on the stocks photo. This is a really good example. If you're not good at drawing, you know, if you don't feel comfortable, I find it really hard to directly draw imported shop. So I use Kyle's brush with with smoothing option on by just simply just rule over the leaves. Yeah, I'm just going to show this quickly, So if you guys are in for the shop, it's like the brush tool you click on the drop down here settings. That's where you will find the import brushes. Option. Actually get more brushes important, get more brushes and you click on that. It would take you directly to County Webster's collection off brushes, and all you have to do is to download, I guess if you download the Maga pack that has all of them included yes, all of these different categories that you can find it all. Just download individual once. Yes, for this case, I used to dry media. I personally prefer that. But there are so many options and I have used them in our previous videos. You can just He's an amazing our artists and his brushes are really cool, so you can carry it really cool. Interesting composition using his existing presets. Yes. Oh yeah, Give it a go. He's He's his famous for like trying Teoh replicate or the natural media tools in in photo Shop. So to get the foot shot brush engine emulating things like chalk water cover, they really do look quite natural. I have printed on myself and it looks like water. Hello Going? Yeah, walk all of these things that you can find here. So I just want to show some of my examples off how the references because I think thistle off style is quite popular now, and you can use it for advertising. And these are some great examples of how they use illustration as well as images to create medical compositions. Yeah, again similar to the map here, the photos are almost like a texture act as a texture, but it's also works really well with the simple line illustrations. Because the administration is not overpowering the image and mice worser. Yeah, I think you just have Teoh understand war about typesetting and use use Really cool fonts. And that complements the photo and the image itself. So having you have to have a good eye and the layoff, the type is really important in this case to show, Yeah. 8. Day 6 - Abstract Composition (Ps) #249/365: - I wanted to point out again another interesting thing. That sometimes when you look for references, you might actually find great references on stock site. And it doesn't mean that you have to use thes files like Free. Free Pick is a brilliant site for Rector. Use it for everything back to assets. And I was just more like inspired by seeing these examples. And I thought, Let's just see whether this is something we could recreate in 40 Shop because these were all done in Illustrator. And I would say it's probably best to do these things in Illustrator, But I want t to show in the tutorial how to do something similar and for the show. So the result that I have is obviously much more simpler version off this. But I want to point out also another fact, that when we worked with abstract shapes, even Ben, it is very important how we do a composition and how we balance things out. And if I just start moving things around here, by the way, I'm using the command key to select Lee years automatically. You can see if I move things around and I start to have a different composition here. It already feels out of balance, and it's not as pleasing. Yeah, as before. So having these abstract shapes or geometric shapes placed on a composition might feel like it's completely random. But if you find a good balance, Andi, generally you know how to compose things. Well, I think this is something that you learn with doing this type of compositions and you get better at it. But you would just feel like it's fine. Yeah, you don't know what this good composition, So I just asked a colleague or friend to have a look. Sometimes I do that with you guys. If I'm not Straw, what's up? Backing get carried away. It's just good to just are someone else's feedbacks and what they feel like if there's anything that they would move around. Yeah, so it's just good to get second opinion when you're designing, Yeah, especially if you've been looking at it for quite a long time. Like with these kinds of compositions that you say practice kind of makes perfect. So, you know, recreating something that you find on the stock site is not necessarily a bad thing as long as you using it to practice. You know, it's actually good, because then when it comes to making commercial compositions, you'll get that feeling straight away if something is working or not working, which is really useful except below to wear a lot of other artists. And I think replicating existing artwork is a really good habit to get into. As long as you don't obviously use earful, you'll like cool, yeah. 9. Day 7 - Type Logo (Ai) #250/365: - This one was a fairly simple one. And I mean he wanted to point out a tool that not many people would use in Illustrator, which I will get to. It's called the Bloat Tool. This is what I use for this dripping affect. And I think in last month we had the dripping affecting for the shop on that portrait. Was it was it in this? I think it was last one with the beauty. Yeah, I think it was then. So in this month I'm showing a similar technique, but in illustrator and on type, but it could be used on all kinds of things. But there's another aspect as well. That, I wanted to point out, is the connection off the two words with one off these lines. And this is actually something that I've got inspired by seeing this local, which I think is really very simple and nice, and I love the fact that they don't have the cross bar on the A. So that's that's something that inspired me. But also there's a few other examples here where we have lines connecting words on this is actually something that I wouldn't call a literature But in typography, when you have two letters next to each other and they get connected by the fourth from the Thai face, we will know my call it a ligature. But you can you can consider this something similar to that. So it's almost like a ligature inspired technique. An illustrator and opening up the file. I can show exactly how the the dripping effect works. So all you have to do is to select the tool from the distort ALS called bloat, and you can walk down the old key and reduce the size of organ. Shift together to make sure it stays a perfect circle. And then once you have the tool, you can just start dragging these details out in the direction where you want the effect toe work. So sometimes you might need to hold down the shift key while you're doing this. Come actually forces it ballistic more because if you don't have hold down the shift, it can maybe stop closer. Why would shift will? It will move a little bit further out, so that's basically there's Ah, this is not one of the tools that I have with you is often on Of course, the tax has to be outlined for this to work. Yeah, of course. So you have to first going to select the text type and then create outlines, which means that once you've kind of created those outlines, you can't go back and change your type. So I make sure that this is my words you really want to use for you outline. Because I've done that plenty of times. And I get which is, you know, it does happen on the separately. Your or somebody outside. You can just keep one version which is not outlined as a backup. And then that way you can experiment these elite absolutely cool. So, um then, by the way, if this whole thing is set as a compound path, which we can easily turn it into command, eight is the short cut for it, by the way, then what you can do is to use like a radiant on the whole thing. So even though it was two separate words now it can act as one element self. Come on. The shortcut for that is worth remembering as well 10. Day 8 - Boat in Clouds Montage (Ps) #251/365: - thesis boat in the clouds on another imaginary composition. In this case, I was inspired by this advert. I think it is an advert. I've seen it. I think on Pinterest and I was looking for something similar. I didn't want to do it exactly the same way, but I wanted to do something similar. Um and I First of all, I wanted to use a bigger ship. I was really into watching black sails the series, so I wanted to use, like, more like a pirate ship. The fun thing is that I found a photo that was already a PNG meaning it was, But this is actually a model ship, So it's not every a big science ship, But at this distance, you don't really see that you can tell. But I had a little bit more trouble finding a picture off clouds because most of the pictures I found was to close up or like, lever literally in the clouds, I guess from an airplane. But then I found this one which was more from an angle similar through the other composition. And I really like the fact that we have these turbines showing or peeking out from below. But I felt like this means that the clouds are too close to the ground, so it might feel like it's actually not in air on the content of the high, not as high as what we need. So then I found this image, which was perfect, because we could see the big mountains. So it means that that's probably more space for about. So Why I need it is also to find another image, which could be the revealing detail when their cards are moving apart. We need to show something there, and similarly to the previous compositions like the Griffin here as well. The important detail is to make sure that the scaling or the size is right, and also where you place this design. So if it's all the way in the back, it might feel again, like already out of respect, they're not working as well, or if I'm putting too close to us as well. That leak doesn't feel like it's in the right place, and it doesn't make use of the space, either. You have all of these clouds and then the main point of the images kind of right, said the front and what small? It seems quite small now, even though it's the same size in the center. It's pretty interesting. Yeah, so, um, this this shows well again that a simple idea with a couple of good references placed in the right places can work well on Ben. Obviously, it's all using mosques to make sure it blends in in its environment. So with both layers, that's just simply using mosques. And I think I used adjustment layer here because it was too green. Uh, while everything else is so blue because of the clouds and because of the winter colors. So I had to turn down that other reference image to fit in a little bit better, adding that details or make so much difference to like Like you say, how believable the composition as a whole is, even though it's not meant to be, really does need to be believable. Yeah, even things like if we look at the mosque if I hold on auto option key off the von that I'm revealing this detail here, you can see I'm using more sharp corners near the boat, and then as it fades out further, the cows are just starting to get more like no hard edges visible. So even in water, when you look at raves there always the sharpest closest to the boat, and then they start to get softness, it goes further away. So once again, even though it's not a real scenario that you would see in real life flying shipping, McLeod's, you still have to relate to things that can happen to you in real life. When you look at waves, they would behave the same way. Or, for example, if a plane goes through clouds, they would start to, like, get softer further away. Or like the The thing that comes out of the turbines off the planes as well closer to the plane will be sharp. And then it starts to get soft as they go further away. So always relate to things that are actually can happen on make. Your imaginary composition is related to that point 11. Day 9 - Envelope Distort Text (Ai) #252/365: - So this tutorial really was about? I kind of wanted to highlight the fact that you can use Theo enveloped the store toe in three different ways, which is really cool. It gives you a lot of options to manipulate. Mainly text is really useful on text, which is why I can't decided to make this a type based tutorial. Like a lot of the stuff that I kind of make. I ended up using three the make top object as the final result for this one. I just felt like out of the three final results I produced this one. It could be used in real life. Kind of had more of a real life kind of context. But I have some examples that show how you could kind of use all of these options. That's just thought this one, for example, with the MIT With match, you can really start to kind of distort and crumple the typeface, which has its own merit. Definitely. For this kind of composition, you can see this being used kind of like on a album out covers quite like edgy and very current, and it would have quite a young audience similar toe similar to these on this effect could also be made with the same mesh option with the envelope distort tour, which is I think this is probably the funnest example of using this kind of tool on a much larger composition s so you can see how they've even used it on kind of the body copy hair . And although I wouldn't recommend that all the time in this, it really I feel like you Really? Yeah, it's like it just adding to that chaotic composition in the background and it's still eligible, but the type becomes part of the illustration by having that effect on Yeah, I think is mine on the headlines on the body copy. So it's Yeah, as long as it's not used on the small text. Yeah, it's going to be OK on the big board type. It's going toe work. Yeah, and they've only slightly distorted it. It's no quiet as distorted, you know, the other examples. So, yeah, they've done a really good job. So again, I just got a couple more examples of the make with top object. I think this is probably my favorite. I love the fact that it's integrated with a real image as well. So you've got that kind of that text and image combination going on. I really like the style of their. I really like the fact that you can tell that it's a knife, but it's just suggested by the shape of the type on again. This could be achieved by making an actual illustration or use or even using an image of a of a knife on. Then Andi replace that placing touch it and then just used that texting being stepped exactly. So I think this has a really nice effect. Could be used in campaigns, could be used online. Teoh is marketing material. I love the fact that they also added that very soft shadow off the taxed. So there's also the soft shadow of the hand and the handle. But then, as we have that outlines, so it feels like a physical thing. Even though we know it's an illustration, it adds that again similar to there's subtle details that you pay attention to really pays off. Some people might mind. I notice it most. Most viewers I don't think would notice that, but whoever has a key and I would actually appreciate these simple things. So I think as well Yeah, you might like physically you might not notice little consciously, you might not notice it, but it's just something that makes this feel right on then and those that were details. They really help with that. So So you have this this tool in general, Can you know it has loads of different ways that you can use it on. Yeah, that's kind of really what I wanted to get that with the tutorial. A tutorial is that just have a play with it. Have a play with the three different options and see how you can distort your type on. Then that will give you kind of creative ideas to run with in your projects. Very nice. I just wanted to mention here that procreate. The 4.1 version also introduced both at all three distort techniques. Eso Now you can do the same thing there as well. Well, so there's liquid five filter as well, but also the different ways off. Distorting Machin. Yeah, so it's critical 12. Day 10 - Minimalist Composition (Ps) #253/365: - way have a minimalist comp, which waas just using patterns in the background. So that's how final result Again. I was inspired by the original example that I found on being dressed, and I lost the how simple it is, but effective at the same time. So I thought, Let's try to do this in for the shop because I thought it's easier to do like an out of bounds effect there anyway. But the probably the most interesting aspect here is how to create those patterns. I just wanted to show this very quickly. If you create a like a 50 by 50 pixel a document in that you can use your a shape tool and draw a line or like a solid block, place it in the center, select all on go to edit. Define pattern wasn't once you do that, you say that and then you go back. U turn with the free transform toward this shape. Set it again in the middle Select. All added, they find pattern, and that way you will have both the were tickle and horizontal versions safe. And if we go back into any off these files, if I just add a new layer. Just a field there with my for example, we can go into the layer styles, select pattern, overly. And then you can see already that we have an option that we can increase and decrease in size is quite hard. T o Any strings? Yeah, but yeah, That's essentially how it works so quick. Yeah, very quick and easy to set up. 13. Day 11 - Parallax Animation (Ps) #254/365: - have an animation based tutorial again for the show on the term Parallax is something worth talking about the little bit. So it's actually coming from animation in general, like in the old times, they realize the way that you can show death in a simple to the format, like an animation is that you need to have things moving a different speed. So something when your camera is moving, something that is in the background would move slower compared to something that is in the foreground that is going to move faster. So in this example, if I go into the timeline panel, we can see that we have movement on all of these different elements in the in the image. And this is actually a little bit over a combination off, trying to show the camera, move mental and like a zoom in it. But normally, if you were to let's say, move from left to right, then the mountains in the background would move much slower compared to whatever is in the foreground. So the person and the foreground, like this grass, would move much faster than whatever is in the background, because it's just the proximity makes it more faster. And you probably heard off this term parallax in terms of that design as excluding. Yeah, So it's the same concept that anything that's moving I mean, the website can be designed in a way that certain elements with move the different speed and that will make it feel like it has, like, a depth again through the site. So that's the same thing. Yeah, it's just again were some worth experimenting with, And I just wanted to point out in this case that the background was actually one photo that I took in Austria. I just broke it up into separate layers. So apart from the balloon and the guy in the foreground, which I think I just scored eight foreground A with the rest of the thing like village is from the same photo. I just broke it up into pieces. So, like, if you look at the mountain or the mountains, uh, just turn off everything that's actually ab section off the order General photo. Okay. Coupe. So you didn't build it using different images. He just took one image. Yeah, because it just makes it work better as a whole show. Uh, because it started as a whole is exactly You just have to make sure that obviously you don't move them too much around is if I move those mountains too high up, then we will start to see them separating. Yeah. 14. Day 12 - Shifted Colours (Ai) #255/365: - the two tore itself is about an icon. But the point that all the technique I kind of wanted to show is how you could shift the colors to the side or to wherever kind of you really wanted them, really it So it is quite a modern style in icon design. I've I've seen quite a lot at the moment on, but I've got a couple of examples, some of them a slightly more abstract. But some of them are very accurate, like the effect I created. So here is very similar to what I've done is almost like a shadow or the main outline of the illustration itself. So the whole thing that makes this kind of work is that the image on top always needs toe have a black flu outline on below. It's like a suggested reflection of that. Is that just the color, the probably color. If we put a stroke on the color underneath, it would become too competitive, and it would just start to look strange. I mean, on you. See, these used a lot with like pastel colors. You can let go a little bit more abstract with it, like like here for example, like some of the shape to kind of suggested, but then know exactly the same. And I think this style still looks really cool on, um, again here they've started to actually use the most kind of two separate elements. But again, it just comes down to like these were still icons, and it has, like a similar filter. It just comes down to playing with how you kind of want Teoh use. Use this technique, e. I think in June we had their similar one that I've done off, like and again another icon set, which was again, like using one symbol as just that stroke on a completely transparent field and then have it's completely separate objects using only field. So it almost feels like two things, but they still joined together, even though that outline different exactly yet. And then you could be as experimental as you want with that. And I think in a seeing in a design context like this, like this is a calendar on and it really goes to show like how these simple effects that were kind of showing in these work flows can not only save you loads of time, but actually helped define a style for Yeah, the composition you're working on. So So yeah, like, like try that. The process is, like, fairly simple to follow. Andi just trying out with a few different designs on you guys. Think? Yeah, I think it's worth just showing this way quickly that when you want to recreate this, all you really need to have it to start off with is the to outline element. So once you have something like that, then you would use the life pain bucket tool which you find here and then with that one. We just need to go into this watches. And so, like the colors that we want to work with, like red in this case. Oh, yes, it's important to when you first click on something, it needs to be selected. So you must must have these selected. I'm just going to put them separately. Okay, So having them selected using the pain bucket tool, we select the color you want to use and then is basically adding these details in on we can find Brown's. If we go to swatches, I never find this force. It's what you see. Uh, Let's just bring that. Uh huh. And you could just use the right and left keys. T When you're in the life, paint buckets to scroll through the colors and then up and down to switch between boulders of colors. Yes, exactly. So we can just feel this in quickly and use bright details there, for example. And then once we have this ready, you need to expend this because if you look at the layers panel that it's no color on these objects, so the only way we can see it is if we go into the object expand, click OK, and then you will find the colors now available here so we can select the ones that we don't want to move it. Maybe it's just separate them. So now that the colors are in one group, we can easily move them in any direction, and it's probably worth mentioning. Also, they're using a thick outline for these. Type off A illustrations is useful because you have enough space for them not to come out of that outline yet. They're still covered, but still have that shifted effect. Yeah, for sure 15. Day 13 - Isometric Montage (Ps) #256/365: - I've done this to show that you can again turn a photo into more like an illustration. So from this Teoh end up having something like that, actually, this is the final result here and here are I mean, we wanted to talk about the fact that again, looking for a good reference for two is important because I've seen these examples and these were the ones that inspired me to do this. And both of these have an isometric view again, like a view in which we don't have much perspective and are basically of looking at things from above. So I was trying to find a good reference for for this and first I almost ended up doing the tutorial with this image. But then I realized that, although is the angle is right, it could work, but it's not as interesting. There's nothing that comes out of it. So I thought the best would be to use something that I can have an element coming out of it and something that breaks a bit out off the boundary. Eso. That's why I decided to use this image on them. It's the little boat is just add it there. And I just indicate the underwater every every bit of brushing, which could be like the rocks on which this life houses, I think, adding that depth makes like all the difference to the composition is a hole like, you know, the the react, like having the reality of how it would look under the water because it would also make no sense if the rocks were like, completely crisp. If you just put a photograph of because they're underwater, so it's to look different. Exactly. It's really cool. Make sure you download the exercise fans because you can actually take a very close look at all the layers that we used on reverse engineer what we've long turn off the mosques move things around. So this is against something that is a little bit more complex, and maybe the vomit version was a bit too fast to follow exactly what I thought. But once you have the exercise file, you will be able to look exactly at what I thought, because everything we do, we do in a nondestructive way, so you will have all the elements there, and you can actually understand how it was built 16. Day 14 - Shallow Depth of Feild (Ps) #257/365: - that's the one that I've done in the video on. This was the one that inspired me to do it. And I think this one is even more interesting, this version. So when you look at this composition, it's all typography. But, uh, in in a very abstract rate. So know only that the taxis upside down and some of them are too small to read. But they're also blurred out, and some can like this one here you can't even read. So this is again just shows that sometimes legibility being a rule in graphic design is there for you to break it. Once you know the rule, you can go against it completely, and then it becomes a very interesting and unique composition. Eso that's that's what we have here as well. Yeah, exactly. Especially if, like like you're saying about having a point to make or having may like breaking that rule to draw the viewer to the point that they're meant to get to like here. Once you, it's like you mentioned the other day that you felt like it was a bit like a puzzle. Eyes. Once you've looked it just for a little bit you kind of realized that the shop that the been there done that kind of really, It really does stand out in the composition as soon as you notice it, which is really cool. Yes, yes. So there is obviously an underlying a reason on, like, a very that they try to still get you to read what they want you, or like what's communicated here. And what I'm showed in the example is that you can do this like use against something similar where you, instead of trying to make something very easy to read, you are making it a little bit more hard to read but emphasize the feel off the scene. In this case, this melancholic, sad, depressed image is further emphasised with the way the taxes out of focus. So, yeah, it's important to find obvious a photo which has that shallow that field with which this can work and again, even things like this can easily be done in a nondestructive way. So if you change your mind and you don't want them to be blood, everything is a smart fielder, so they can be turned on an off night, and I think one other interesting aspect here is that because I duplicated the smart object for the reflection, If I change either the top or the reflected smart object going into it and just changing it something do say, sadness or sad, it's just doesn't fit. If I save this and I go back it up, these both smart objects automatically because they are linked to the same source. So when I duplicated this again, or let's say this one here on top, if I go into it and I said set it back to feeling once again I see it you will see all three again. We'll update. That's when you just simply duplicate smart object is like the fourth behavior. But do you know the vein that you can do and separate them? Yeah, you just kick right click and then do you small object by a copy? So, yeah, that way we will have the new smart object completely separated from the original ones, and then they can be changed independently from each other. 17. Day 15 - Ice Cream (Ai) #258/365: - I love currently working with images and typography on. I've seen a recent national off designers doing this as well. They're where they taken existing image and editorial cut up and then create a cool convention like these ones. For example, I think this is it. This is an amazing example where the image on the typeset boys work together to create a focal point. Andi had done an amazing job on for the soft composition. I think is very important to choose a type or if you're creating your own typography to make sure you could, you use a silhouette off the image as a guide, so it fits into it, and the type indicates the original outline. Yes, off whatever is missing. So for these saw, for example, if you want to create a if you want to create a composition, it's probably best to use original image and reduced capacity, placing your tax and then make the cropping. Yeah, I just wanted to point out that I really like the fact that there is a little bit off the sandwich going over to the left side so it feels more like it was just caught literally the original plate. While it might not be the case, it might be just simply photoshopped out from There s a If it's done nicely like that, and again, there's an attention to detail. It can look so realistic, and I also like the fact that they spacing is great. They had little stars. It doesn't feel too crushed, but it doesn't feel like it's empty. And it fits perfectly like they've done a really good job of making it feel like a full circle, even though the two halfs is so different. Whereas I think those examples, you can see that these it is a good composition. But the fillers are lacking and it doesn't read so well passing me. I just feel like those those ones more successful. These are more successful versions off the same effect. Yeah, so, um, again, definitely something that's worth experimenting with, and you've done this as a combination I think of for the shopping in design. I initially I maust out the image in Fort Shop, so I've taken out, removed the background and just kept the ice cream on its own on, and I have taken into in a straight away I have a place in the text. Typography. I just use our phones existing funds on. Then I used a block brush to create the melted ice cream effect. Really? School Nice one. 18. Day 16 - Giant Bonsai Montage (Ps) #259/365: - another one off my scale. Tutorials playing with scale in for the shop on it is a bonsai. This time I chose I love these not these trees they always have. Like especially the older bonsai trees. They look like majestic, huge trees. But they're tiny, and I always imagine how they would look if they were actually real size or maybe you on that. So what I've done here in this tutorial is to show two different versions of using the same photo. So I ended up creating one where we have anything more little bit more darker backdrop in this canyon on. And then I also have the other one where we have it even bigger in that scene with the mountain on, I just wanted to show this side by side so you can see that simply selecting the bonsai tree and placing it in the in the environment is most of the time, not enough to make it fit in. You have to do adjustments so you can see how much brighter it looks here. And because the sun is on that side off the image, I can see how the shadows are falling. I capped it off the bonsai as well, facing that way. So the light sources matching while here, I had to turn it around because the sun is coming from the right side. So that's why I had to use it the opposite way. So pay attention to these things when you are doing these type off compositions, me too. 19. Day 17 - Choosing Type (Theory) #260/365: - here . I've just collected up the examples that I used in the tutorial. So I ended up making some compositions on animating them in the tutorial to show you guys how it looks when a tutorial works on day one example where it kind of doesn't really work . So I thought it would be good. Now just talk for a little bit about why these kind of work. So if I start quickly with the this website, the one on the bottom is meant to be for like, a modern tattoo studio. It's got It's got his grayscale cause it's quite I thought it was monochrome, quite modern suits, the kind of warmth image that I chose. But more importantly, the script typography kind of suits the idea of getting tattooed quite well lately. I mean, the type itself could always lend itself to being a script on your arm or a za part of a larger design that you want. So it's important to think about the subject that you are choosing your type form again. Like if I'd use a very sensible, like boring, it sounds like harsh word, but, you know, typeface, something more like given Sands or Ariel, for example. It wouldn't have the personality the this typeface can help inject. But it's probably worth mentioning that sometimes when you over emphasize a certain aspect with your typeface, it can look cheesy and over the top, acting like you can use a very scripted font or something. Teoh, I don't know, like decorative, tacky world fashion. Yeah, nineties, Very nineties, Yeah, yeah, or even Scripture like this. There's a few preloaded typefaces that you want to just be careful off because they are too cursive. And then legibility becomes a problem. They don't fit Animal design context is really important to kind of, like, really hunt around. Try a few different options because the 1st 1 that you might initially be like that's the 13 or four in my you might decide No on also, I know this is something that you do quite a lot is have like a bank of typefaces that you know that work really well, you know, they're easy to work with. You can rely on them exactly on that something that I've learned the over over the last couple of years is that sometimes that just downloading the odd file the old the old typeface here and there isn't going to help you in the long run because you don't have different weights except Chris. Yeah, different, I think. Sometimes it's also worth investing and buying good quality forms that you and useful various work and the only used front they want phone sites I deformed. And they're good. They're free. It's great to experiment with, but sometimes polar bear to just actually invest and buy some, like have, like, 5 to 10 really solid set off phones, which has a lot of different rates and versions that you can there so worse, you can use them in so many different ways and you will get to know those typefaces. So you know, immediately which one which was in to use where and so on so forth, like passing. I just love natural like I think nothing we used in for our friending as well. Yeah, there is a great example of different Quansah have various type. Wait, Miss Yeah, yeah, absolutely. And styles on. So yeah, I think also using if you guys don't use it already making use of tight kit. Do you know it is a great way to find those those families that you say we have. We all have been the whole host that installed on that. We didn't have to go out and source that from somewhere else or by it that comes with your CC membership, if you have one. Such a good point. Yeah, definitely. Good point. Cool. Thank you. I mean, this was really a useful topic to go through. 20. Day 18 - Shading Text (Ps) #261/365: - The technique that I created order, I showed, is to use selections in for the shop and the clipping mosque to create this depth effect that we can see here. So all you have to do, as I mentioned earlier, is to create a lier clipping onto the taxslayer old click or option click between the two layers will set that up, And that already means that if I start drawing with a soft edge and like Laura opacity brush, we can start to see like it feels like it is already adding depth, but it's only painting inside the text, so if I unclipped this, we always you can see that it goes beyond it. But thanks to the clipping, it keeps it inside. And if I start to pain, maybe on this letter here, if I just do something like that, it already feels like this bit is closer to us, while that is going further, they. But if you are using a selection like here, if I make a selection like that and then use the brush tool, this will feel like the top off the tee is before or in front of the other section. So Yeah. Have you tried our check for works at in different colors To see if it does the grade Ian's effect. Yes. So if we use maybe a more like purple just to see yeah, So it does a similar thing while Moshe or later on Yeah. Yeah. So depending on what color you paint, it will have an additional effect on it. So it's not just a simple shading, but it was becomes more like agree. And as you mentioned, So yeah, these these are This is one way off doing this and start to make your text of more interesting. But of course here, even though the taxi still edita ble because you will be very specific where you are using these, you won't really be able to change the copy anymore, or you would have to recreate aspect of it. 21. Day 19 - Gradient Slices (Ai) #262/365: - I know this year is we're big on Grady in a radiant illustration. Greater background on I've also noticed a rise on typeset and people applying greed into it . On this is another form off Saleh that things will become called popular where you have multiple Grady in on each character's Ana. This technique was simply used where and when. Why I duplicated the letter on duh, sliced up into pieces and applied Grady in on each of them. Yeah, so it be if we select individual elements here that we can move around, can see that you have more, but you can see the in. The original character has also had a great game. And I did not like that. Yeah, so this is a really good example where they use abstract shape. The shape itself has, uh, the elements have graded on it as well as the typeset. Yeah, I think it's quite nice and simple on this one is a little bit different, but slightly similar steel instead of radiance. Here it's more like blending different shapes together to create lots of phones 22. Day 20 - Monochrome Effect (Id) #263/365: - I wanted to demonstrate a process for creating a monochrome composition, which means is just using one color black and white or black on on. What's cool about using these kind of compositions is that it stops you having to use an image that's got a lot of tonal depth to it. There's a lot of kind of tonal range. There's not loads of different colors going on going to compete with your background image . And so if you want to keep your composition really clean, Andi kind of natural feeling. This might be a good approach to take eso I was kind of week. We found this reference together to begin with on, although mine ended up looking slightly different because I didn't I didn't end up using the frame to kind of hide any of the subject. But three idea is kind of similar. Andi, I really like the composition of this. I think that the text on the image work really well together and again. They're not competing for attention from the viewer, which is the most important thing. Why do you think the phone choices especially good here on what about, How does the phone tie together with the the actual, um, photo part of it. But I think makes it work really well, I think is that the image obviously is missing, has a missing section, and the phones, also the form of the characters, have also missing bits. So these, like letters here are not connected. So it's again, has that missing s Yeah, that's a really good point. I hadn't noticed that it was really So That's why I think it's such a nice girl realize form type. Do you think this frontal this lifestyle? No, I think it's definitely a fund. Have seen similar ones before, but this one is a very nice one. Yeah, I agree. And again, it comes down to that like those little details that you might be able to pick out if you're a designer. But as a viewer, you just hope with no that it it looks good, works eso They used a different form. This might not work as well, so that's quite that's quite cool. So, and yet, then there's just a couple of examples of like other ways that you can use monochrome effect in posters on by how effective it can be eso you've got the color over the top. In this case, it's not four bleed color, which is another option for you on. But this is kind of like an inverse, effective it to the colors. The, um it's a full bleed image on, then with just a little bit of monochrome in the middle. So they I think they all work in different ways, so you can bring really experimental with this technique cool. 23. Day 21 - Day to Night (Ps) #264/365: - but I was trying to show how to turn something that was shot in daylight and make it look like it's at my time. But again, I was inspired by an image that I've seen eso this and this word my references and these, I'm sure, also retouched. But they probably were taken in a similar light lighting conditions. So in a dark room with the backlight and obviously have the headlights on, which creates this nice silhouette effect. So I took a photo like this one on. I was trying to recreate The fact on this is what I ended up with. So the most important thing here is again to have a good reference for from which you can try to identify what makes that image look like the way it is. Look, it is looking at the AMP so, um, it's really all about making things darker for the certain details in the car, disappearing in the background and then using shapely years with layer styles for the headlights on Don't have another layers. I also in the back for the backlit effect, so that's pretty much it, and some adjustment the years off course to make it completely dark. OK, 24. Day 22 - Monster Illustration (ProCreate) #265/365: - one of the topics that I always love to talk about drawing monsters on. I thought I will grow out of this because I used to draw a lot of monsters when I was younger, but I'm actually just is interesting. Now there's only Teoh thing. Yeah, um and then, um it's ah, mainly what I just wanted to point out here is that it's really important even for the simple type off characters, the type of shapes you are using. So we call it shape, language and drawing on. And you can use more curved and round shapes to make things look more friendly and approachable. So, like this monster on the left office looks really friendly and cute. Andi, I think you mentioned when I showed it to you that even sharp details like teeth and horns . They are still Kurt, slightly so completely straight, which again is a very good way of making it more approachable. But then again, like this one is everything. Everything is so curved around. It's just so much Mr Love, really cute on. And then if you have any with more sharp edges, can still look friendly. But I wouldn't say this is looking as friendly as the other ones that we look for is not got that Keep factor. Yeah, it looks like a mean monster are not necessarily harmful by just deadly North one. Yes, such a good way. And I saw you. You can see, like with the same type of shapes. Just a little bit of variety will create so much different personalities. Yes. So each of them, you almost have, like, a feel like which one would be more serious. Which one would be more fun? Happy and dunk? Yeah. So, yeah, it Zeppelin something again worth playing around. Even if you're not good at drawing, Do you have to try practicing with simple things like this and especially again imaginary characters? It gives you the freedom to really explore all kinds of different things. Nothing with these women can't do or you can just use, like, simple shapes. Rectangles, circles. Yeah, on don't stop at the first attempt again, like do plenty off them. And the more you do, the better you will get 30. Then you will start to realise patterns, what works and what doesn't or what certain aspects you can achieve with certain ways of using the shapes 25. Day 23 - Street Sign (Ps) #266/365: - the reference that I found or the one that inspired me to do this was this which is a really nice shot from above on. Then we have people moving around so we can, like, see the scale off this. But at the same time, we have plenty of space for text and it works really nicely here. The tax, I wouldn't say, is trying to be really realistic, making it look like pain. It's more like actual just tax part nicely combined with the image. Although we have some details like he had, The shadow is going over the tax, the end and even there as well. So it's it's nicely combined together. What I wanted to talk about here is how sometimes you can find it difficult to find the right reference image. Because I first of all, I was looking for something similar to that zebra crossing from above on. I started to find things like this when there was no people or nothing that would make it look interesting. So this would have been just to plan to make changes to that. I found this one guy which wasn't the night, so I didn't want to use that. Then I found this one which was starting to get better. But it was just too big of a perspective to your strong perspective, to at typing it so that I ended up using this photo which didn't have a zebra crossing. But I thought it could still be everyday nice photo to do the same fact. And instead of using the tax replacing lines in the zebra crossing, all I've done is to add an additional text, which was in their original. Now, with these type of things again, all you have to make sure is you aligned to the original perspective in the image. And in this case, it was quite easy to get because off the lines, So I just have to make it parallel to that. But then it's all about doing like, masking in this case, so having that mosque makes it feel like it's behind the, uh, the person and then also obviously using a black mold. In this case, I used overlay, which was blended into the environment, and then we can see the texture on Ben important to use some blur because there is the pain won't be a shot and even the photo itself is not as sharp. So having that CRISPR actor out Alpine is just take a look fake even from a distance like this. If you have that subtle blur on it makes it planned much better. Yeah. 26. Day 24 - Macro Composition (Ps) #267/365: - off the scale techniques. I am doing quite a lot off recently. So this was the original photo of this Capricorn or goat or my backside and the actual Andi combined with another photo really close up off some plants, you said it's probably like Yeah, yeah, and again here. Paying attention to details is really what makes things like this work. How is first of all, making a good selection? But then, using shading in the environment that is going to feel like, I mean, you have to make sure it's going in the right direction, and I would probably find more time. I would probably start to introduce more closer. So this is what we call ambient occlusion when Light is getting trapped in details that I really like. There's no way for life to get into these details, so it wouldn't need to be raid darker around here. A proximity on their further long is just more spread it the shadow. So yeah, that's that's just going to make it look more realistic and then also because it's a macro short. They have a very shallow depth of field, so even things like the horns as they're going or receiving in the background will need to start to look more blurred out. And when you are using a smart object with a smart filter like this, go assembler. You can do that really nicely and using just simply black and why you can paint over details. So here, in this case, by paint over that I can completely blower whatever is in the background and then gradually start to reveal it as it's coming forward. It's really cool, you know? I suspect unready cool tutorial. It's cute, yeah. 27. Day 25 - Lego Effect (Ps) #268/365: - another interesting for the ship. Fact that I was thinking how to do because I've seen again references over it. And then I was thinking how to recreate it. So I've seen this campaign from Lego, which I think is brilliant. So because they used such recognizable paintings, classic classical masterpieces, it's very recognizable. Obviously we can see what they're showing even this one here off Frida Kahlo. Simple. I mean, this type of simplified, pixelated versions of images would only work if you have something that is really recognizable because if you have a random person they might not work in this amount of picks, elation. But what I've done waas to use this technique but it slightly differently still. So I didn't do as much pixelated effect as in that campaign s Oh, I have a little bit more blocks here that I worked with, but the technique can be used as you can see on all kinds of different things like this one here with the pump on. Basically, the effect relies on layer styles. So I have this original photo off Lego blocks from which I just took one, which I saved as a pattern same way as we've done it in this month, saving that line, the vertical horizontal line. Just say Mom block as at Patteson and then apply it as a pattern. Overly so we have the pattern overly here, set to a bland mood as well. I'm using linear burn feel. If it was normal, we will just see the blocs Lego blocks. But once it's set to some off, the one off the ban was that will work nicely. It starts to blend with the image, but even then picks elation on. The image is nondestructive because it's a smart object that is actually a filter called Mosaic, which you can find from filter pixel ate mosaic less. And if I double click on that, we can actually increase and decrease the size off the big pixel nation. So for something that's very recognizable, maybe even something like that would be enough. But in this case, I was using a little bit more detailed version off. It s oh, just Here's a few examples off the same technique use on other images. It's cool that you can is so diverse so you could try out all those different things. It doesn't have to be a portrait. Yeah, an object or or landscape even. Give it yeah, 28. Day 26 - Planets (Ai) #269/365: - So this really is a workflow of how to create a planet that looks like it's glowing. So the main point really in the tutorial is to demonstrate the outer glow effect in illustrator. But there is an entire workflow there. So you can you can make three the little planet from start to finish, which is so I thought it because to show some examples of how this kind of effect is trending at the moment. So the reason we kind of decided to make this tutorial was because we've seen a lot off these kind of conversations cropping up, and they've even cropped up in our own work recently. So it seemed to kind of make sense. Yeah, so here we have, like a something quite similar to what I ended up with, which is very simple and could easily be used, Um, like, as part of a larger illustrations want, like a greetings card, except but I thought would be quite cool to show the effect used in lots of different, very futuristic kind of example. So this is a record cover from the eighties? Yeah, yeah, on the stars kind of cycle background, which is really interesting and happens often in design on would fit very well in today's market. I would go into a store and be immediately drawn to this. I love the colors I love a composition under out to glow again on the background on the planet or the sun in the background could be achieved with the with the effect that we demonstrate the tutorials. So it goes to show that understanding these small effects can really help you with larger compositions. I think the previous example here is quite similar as well to attack me that you showed for shading absolute planet. So this is another illustrative style where, instead of having like a very soft ingredient, you're using more like a harsh transition from the brighter to the darker parts off the planet, or and the object that you are shading using these simple shapes which you showed it really well how to do that. So I think that's also an important want to pick up from this story. Absolutely. Yeah, definitely. So you know, and then we just got a couple of other examples just of showing how the these kind of effects could be used to create different fields to the composition, so this is obviously very futuristic. It's very, is always harsh. It's harsh, intrusive composition. I wish I would say shop because of the colors and the shapes used. And then this is really cute, soft and play for me. So I mean, you know, a similar style on similar effect, but completely different feel for the composition. So it's really about using no understanding the workflow for these effects and then applying them in a way that works for you guys and your working style, especially if you really straight. I really like this style. Yeah, I think. Is it me or whoever stunned this? I wonder if these are over the original ones from the eighties of some of them were recreated by Faidley's I'll Return. It looks like current, but definitely inspired by the maybe 29. Day 27 - Fashion Cutout Effect (Id) #270/365: - show me you are showing us a fashion thes are quite rough, edgy, cut out where they still keep the background. It doesn't look as me. And if you're really passionate about masking, really one point, you might not like this style. But this is quite popular, especially for editorial in the fashion industry. I have also worked within the fashion industry, and these were quite common masking techniques that we've applied. It's still current. There's to do it. But you some examples on how Rafi is. Yeah, so you can see here. And these are quite rough mosque in edges where they still keep the back round color, another mosque in technique where a still rough edges. But they've applied like another backdrop off another image. So in my example, I made a selection. All the cutout on a cigarette off the image Andi that what as a shape itself And then I actually copied the real the original image and paste it into it to create this rough because Indian design as we talked about this, I think a few months ago you can't actually do clipping mosque as easily as in like and for the shop, Morgan demonstrator in designed. This is the best way of doing it. Just to copy and paste into shape. Yeah. Come on, then. I just simply use the pencil. Or you can use pen to create these stroke and try and follow the outline off the shape off the the model just to give a bit more of a dynamic feel. Almost like in a comic book. As you would see, the movement lines. Yeah. Yeah. I love how much character they add. Ezola. The the imperfections are what make it a successful composition. You got that quite serious type of serious, but also play from typeface. But against this site, playful composition and makes a nice contrast, isn't it? Yeah, once really well. 30. Day 28 - Burst Lines (Ai) #271/365: - I wanted to show a quick and easy technique off how to do like a burst effect. So opening this up, I can just show probably the most important thing about this one is first of all, using that told it again. Not many people wouldn't know about that. There is a tool for this, so you would think that this is somewhere around the shape those, but it's actually together with the line tools. It's called polar greed tool, and with this one, if you start growing, you will get these lines. But you can use the up and down arrows to add more off the lines in it and left and right to change the segments. Now you can create like a target very quickly, but you can actually create just the lines like that and then just have circles lots of circles next to each other. Or if I reduce this again using the down there, I can just have one circle within which using the left and right arrows, I can add all off the first lines that we have on the right side. So having bath and holding down the shift key once we created it and we can just add the white outline. And then using the direct selection tool became a zika. My outlines the mind of struggles we don't wanna have had before trying to create this manual. The eating yeah, can be long gone there. Would you just use the reason now slice? Yeah, exactly. So after this, we can use the eraser tool on. Then way can just increase the size with the square brackets. We can cut up center. And this is so easy on in the street that does it for you without you having to do it. Yeah, so that's basically looks really good, but it's already. It is kind of like a son. It's like a suggestion of the sun, the amount of times I've spent trying to make a nice illustration of a son. It's cool. And then I feel let's for you out like, yeah, and then we can, of course, play around with stroke well used like me. More rounded character there, always the individual elements, right? You can color. No, you can. You can. It's still in a group, but if I use the direct selection people you can actually use different colors as well on them. Nice. So Thea other thing that I've done here was to use a mosque to have the flag separate from the background. So on this radio thing that we have in the background, I actually have a mosque that separates them. And that mosque is the same as the flag, but increased with the offset filter. So if I turn off the mosque, I can just shift click here we see, like how it would look without the mask off. Let's see how to see on when then with the most together, it looks like that, you know, it's very cool. 31. Day 28 EXTRA: So this is the final result, and the most important technique here is probably creating that burst, but also creating this outline that you can see here now. How did I do that? While first of all, if I select the ah flag layer and I move it around, you will see that that that outline is not Actually, it's not a stroke. It's something that I created separately as a clipping mosque. So if I go into the other group within this one, we will have a clipping mosque. Okay, so that's the other group. If I turn on enough, that's the burst itself. And then within that, we have somewhere. Yeah. There you go. That was the mosque on the top. So the mosque is this'll one here, the one on all the way on the top. And that is the one that is cutting out that detail. But let me show you how this works. So I'm just going to delete all the burst. Keep this little flak here because this is fine. We can work with it. Let me create first over that burst. So I create a line, increased the stroke science to maybe one point for now, let's see. Set it to white and maybe increase it a bit more. So make the line a bit thicker. Rekindles extend science. Click on stroke and around cap on it. That looks much nicer. And then having this one selected press are on the keyboard, click somewhere. Maybe on the bottom anchor point here. Okay? Or we can just put a guide, that alliance here. And then we can click somewhere around there now, holding out old key. We can duplicate this or yeah, like creator, create an additional version of it. And at this point, if you are thinking about, ah, what signs would be good? So the degrees you are keeping an eye on, try to think off a number that you can use to divide 360. Or if it's easier, think of 90 any number that you can use to divine 90 evenly. So I will try to aim for nine degrees. In this case, if if is no 100% perfect, that's not a huge problem. I mean, it will be perfectly accurate if we do it right, But there you go. That's around nine degrees. Now. If I press commander Control D I can repeat this last up. Just keep holding it down and see, because we paid attention to the division. Ah, we managed to get it right, so it looks much better. Um ah. Fernando is asking Is there another way to make the spaces Besides raising? I see sunbursts online that I random and a little wavy, maybe v jitter, scatter or often techniques. Um, yes. So that would be in photo shop. Those techniques would work there. Here in Illustrator, you can still use the facts that randomize is the line. So if I select all of these lines, I am going to delete my guide or just hide it. Select all of these lines together Command J to combine them into one group. One of the things you can do is to go to the effect menu and then you can choose lots of different options from here. Ah, but probably the easiest one would be the distort, roughen okay or even tweak. And then once you have rough and on, you can see exactly what happens so you can increase decrease the amount off random ization . You can also have them smooth. You can also have a more detail on them. Last detail on them can increase the size, and you can do all kinds of different things. But you can see each of them will be unique. Okay, so that's one thing that you can do, and maybe we can use this in this example. Why not? I wasn't planning to do it, But why not? Just at the bit of random ization. Okay, something like that. Now, if you want to delete details, I suggest that you should use on opacity or a clipping mosque clipping mosque is probably the best way of doing it. But opacity most can be interesting as well, so I'm sure you how that works. If I click on opacity, then click on make mosque, then turn off the clip option, then click on the mosque thumbnail. You can now use things like even the brush tool or blow brushes probably would make more sense. So with the blow brush, which is shift B is the short cut, but this. If you are using black as your stroke color, you can paint over these details and delayed from them. But the cool thing is that if you change back to white and start painting over, it comes back just like in for the ships of painting with Black heights painting with white shows. Um, additionally, what you can do is that if you want to make this more random, of course, you can make your brush much smaller, and then you can still using black. You can just cut into individual lines like so, and you can see how the school work. If I spend a bit more time refining it, yes, but you can also select all of these shapes and then apply another effect on this. Go into the facts under. I think it is on there. Where is it Style? Eyes feather. That's when I would normally use to make them more soft and then just reduced it radius down to maybe one millimeters. Now, if I click away, you can see that the edges are much more software, so even that you can create a video illustrator. Andi. Everything is nondestructive, by the way. So if I check my layers panel, you can see we're still in the opacity mosque editing the mosque. But we can click on capacity so actually, let's just select an object. If we click on a pass ity, we can exit the opacity by clicking on the other section there. By the way, you can also do this any time from here in the opacity drop down from the top. So if I said like the other layer there, I can shift click on the mosque if I want to hide the effects of the mosque, and I can shift click on it again to show them on small. So very similar how it works to photo shop. But it's all done here in Illustrator, and here comes the other Take tip or technique. If I duplicate this flag and use the Pathfinder, which we can find from Window Pathfinder, that can use this option called Unite so it unites every detail. Before we do that, though, we have to make sure that the strokes are set to feels. So we go to object, expand appearance and then expand again. Okay, now we can unite all of these details together, and so that was the first, like on there. And we can also use the shape builder if we wanted to. To feel this detail here, and even I combine it together holding the shift. You can very quickly feel that in. Maybe even these sections can be joined up. So now we just created and a field outline from that shape. Now we can set the color off this to black, align it with our flag. Okay, So, like these two together, drop them somewhere here in the middle and make sure that our group is all the way at the bottom. Some, like this black version off the flag. I will hide the other one just for now, seven. Having the black one selected. I can copy that. And then we can select this image, go back to the, uh, capacity options, click in the mosque and then command fo control F to paste the design in here. There you go. Which means that now we have a black shape within the opacity mosque, which reach hides everything from that layer. But there is not enough because what we also need to do is to select this shape going to the effect options and under path, choose offset path, then turn on preview and increase the spread off this shape again. This is a live effect, so it's known destructive. You can update it any time, but here we can increase it as much as we want, as you can see. Or we can even make it smaller if you want. But let's just increase the size of it to something around there. And then if we go back to capacity, click back onto the normal space. So not the mosque, but it's working with objects and the layers panel comes back to normal. And now we can turn back out or regional flag, and we will have that nice outline around it. The keys that everything is known destructive. So I can always go to my burst effect if I wanted to. I can go back to the Ah capacity mosque, and I can use things like the flow brush. Let me just create a bigger brush she square brackets you can use, and I'm just going Teoh quickly carved into randomly, eh? Geez and make the size off the brush smaller. You can also can also use the eraser tool. By the way, um, if you want to reveal details that you accidentally covered if you went too far, because there's a blood brush effect here that we can show and hide easily or again with the blood brush. I can hide more details, make my breast smaller. I can cut into it as well in more sections, like soul also maybe around here, cutting through it and so on and so forth. So I don't want to spend too much time but time. But you can see how quickly and easily we could create something like this. Um, by using mosque ing in Illustrator. It's a very important feature to learn, because it's also almost every everyone talks about masking in photo shop how important it is. But to be honest, it is just as important here in illustrator. So if you neglect the techniques and features for mosque in an illustrator, you lose a lot off flexibility cause you will be doing things again in a destructive way instead of doing them non destructively. And there is one of the themes off today's life stream. By the way, if you haven't noticed already, but yes, so we have our design here and just quickly wanted to show you that if I go back again to the, um a settings here, I can always turn off the mosque, revealing every detail from this group. I can shift click again to activate it one more time. I can also, while I'm in the mosques Or if I select the shape finding the mosque, by the way, for this, it's best to have the transparency panel open with which you can very quickly switch back and forth and keep and eye also on which realm you are working in mosque or the objects. So when you're in the mosque around within that you can also try out what happens if you were at the mosque or if you clip the mosque. It won't help you much in this case, but what you can do is to make changes to any of these details here. And also, um, what you can do is to select that shape that we had it here, which is this one. So that's the flag and notice that we have the offset path option here in the appearance area or the appearance panel, which, as if whichever is easier for you to select and then having that option changed, will still be allowing you to have the outline closer to the shape or further away. It's all known destructive. And of course you can move this around as well. Although I would say it is probably easier. Teoh move the mosque around. So if you wanted to move it around, you move the mosque. But then don't forget you after also move the actual image or the flag in this case. 32. Day 29 - Nature Comp (Ps) #272/365: - way . Have another photo shop of fact or composition. It's I recorded the triangle composition using nature elements. But this the final result is this one here. But it was actually inspired by an illustration, which I think is really nice. Similar ones again. Just all triangles fitting nicely together. Even tree with the pine tree has those triangles, innit? Stones are triangles. The hottest trying or the mountain is a triangle. So it's just such a nice shape language Again, he used to create the illustration. Here's another one again. And yeah, and I think this might not even be the same artist. I think it's just maybe these two are the same, but that might be a slightly different artists. But this is what inspired me, and I was starting to look for references or images that can work in this way. So I ended up using a this mountain because it was such a good shape already on. Then I was thinking what it used this heart or that one or this one is really fun. But then I ended up using the actual. This one was also quite nice, but I ended up using this one So we have the foreground here, and I use the mixer brush to blend the right and dark details together to create that liquid. A fine. So with a mix of bars, you can very easily do this. And then, instead of like making a selection, you just start with a very like, huh, broth selection. And then you create that liquid affect with the mosque, just using the mixer brush. 33. Day 29 EXTRA: I wanted to us assure you, before I get started on this, the inspiration or where I had the idea to do this from, um this was the first illustration. I found that I really like that. So I loved the triangular composition, having the mountain also resembling the hot, the same shape and then having the reflection also in a triangular reflection. Um, but then I also found this one which I also really like here again, everything is fitting in this triangle. Triangular composition, composition, even the trees. Um, and then this one is another really nice one where we have something that leads in the picture the, um, planks and the or this pier that we have here in the foreground. And then we also have the boat there, which inspired me to include a bit more off the water. So this is what we are going to create now. There's a couple of techniques that we will learn on the way. Um, and obviously, we will be able to go in much more detail than what you've seen on the one minute video. So let's get started. Um, first of all, I will probably get the hot open, so I'm just going to double click on that image and it opens up in photo shop. Now, notice that whenever you work with selection tools like I don't know the marquee tool, you have to select a mosque option up here. Um, but there's a feature that I really like to use, and that is the subject option. Now, this is a little bit of an inside there in Fort. This subject selection will be available soon, very soon in different areas as well, not just from the Selectmen. You It will be available through the options bar very soon, so ah, you will. You will find out when when it will be available. So I am going to click on select subject. And this does a fairly good starting selection. If I press Q on the keyboard, you can see what I did. The selection. I think it looks really good, and, ah, if I press Q again now we can see ah, the marching and says the out cold. So the only thing that I can see that is a problem is up here in the sky. But because my quick mosque, this is the cue keyboard shortcut on the keyboard. The quick mosque is set to blue. I don't really see these details. Well, I mean I mean, I might be missing some details. So if I double click on the quick Mosque, I can hear on the toolbar so it's just don't just below the swatches. I can change the color there. So if I click on the color and I change it to something definitely different, like red and I click OK, now, if I press Q, it will be much easier to spot those details. So now I can use the brush toe just a simple brush tool, and I can paint over those details, but not with White. I need to paint over with black, so I will probably switch to a normal brush or not this brush year. But the general brush like the hard, round brush, and with that one, I can very quickly paint over the details I don't need. And also, if I zoom closer, I can find a couple of things like the roof here that can be refined now, A quick way of refining it when you're using the quick mosque view would be to use either black or white. But most importantly, click at one point, and if it's a straight line shift leak on the next point now you can see I can do the same thing again. If I click here, shift like at the other end shift, click at the other end. I can nicely carved into these details. Zoom a little bit closer, just so you so you can see it better again. So using the brush tool now I'm using white. I click here and then I shift like there, and then again, click here. Shift click there. Click here. Shift there. So shift is like connecting a shortcut that connects two points while you are drawing, and this can be used for all kinds of different details, like here as well. I can click with Dwight, so I want to show this detail and click again, and that shows that detail there. Now, once again, if I press Q, we can see what other issues we have here. Of course, you don't always have to use the shift key. You can just paint over details as well. Like this one here here, I'm going to use shift once again and here click and shift click again. Now, of course, we would be able to refine this selection a lot more. But instead of using the pen tal in this case, I relied pretty much on the subject selection, which saves us a lot of time. And then I switched to the quick selection tool. Sorry, the quick mosque view in which I use the brush double. So although the quick selection tool is great, my suggestion is that you don't rely on that all. Instead tried this technique out because with the brush tool within, the creek must mold, you can be much more specific. And, ah, refined on your selection. You can work much faster because you are not relying on that automatic edge detection. It works fine for the first iteration, but then to refine it. It takes really long for it to find its place, and you have to keep going back and forth instead. Here you are just drawing, oh, painting your selection and the menu press. Q. You go back to the normal view off the selection, then you click on the little Japanese flag here on the bottom, right? That's the mosque Icahn. So that turns our selection into a mosque. And then next After this, I will turn it into a smart object. And this is the order is important. So you first save your mosque, your layer mosque, turn your selection into a layer mask and then you turn the layer into a smart object. Why is that important? Let me show you quickly. If I duplicate this layer, okay? And I keep here on the right side. I'm going to keep this without the mosque. So I deleted the layer Mosque. I would turn this into a smart object and then old click and drag to place the mosque on it . Now, I just need to make sure that the building is in the same place. So I'm just going to do this once again. So duplicate the layer, delete the layer mosque, then turn it into a smart object. This is just for the demonstration, so you don't actually need to follow these steps. That's why I'm going faster. I'm going to both click and drag to duplicate my layer marks mosque back. So this on the right side is a smart object. But has s a lier mosque outside, off the smart objects or not embedded into the smart object. While here on the left side this one, I will convert into a smart object by right clicking and choosing over to smart object together with its layer mosque and as the key. So this is the right way of doing things. So this one is the smart or late Let's call it smart with mosque inside in the side. Okay, so just so we remember, that's destiny earlier that All right, So now if I select these two layers, okay and use the free transform tool and holding the olden shift or option shift and make them much smaller than they were, then press enter to accept that change. All right, now I'm going to use free transform again, increased their size and when you will see, is because they're smart objects, both of them. Once I press enter, they will. Maybe they can. We create all the details that they originally had because they can fall back on the smart objects original size. So if a press enter, we get a really good result. But this is the key here. If I place an earlier. Underneath all of this, commander control, click clicking on the layer icon create earlier underneath you currently selected layers and then command backspace or control backspace feels it in with white or alter option backspace would fill it in with black. Um so old backspace, foreground feel couldn't draw a command backspace background color feel now. So once we have this field, then we can see it much better. What's the problem with the one here on the right side, the one which had the mosque on the outside and not inside a smart object. So the problem is, as you can see, that the edge is completely messed up. If I old click on the mosque, you will see that it's not a clear mosque anymore. Its pixelated, and it is completely gone. Um, that nice selection that we originally had. So if I move this closer to the other object, you can compare them may be here. You can see this detail and you can see that, or you can see this top area here and you can see that. Okay, so as a huge difference between the two off them. So let's not even talk about this any further. Just remember, first, make your selection, turn it into a mosque and then third turned that into a smart object. Okay, let me know if you have any questions. If anything that I mentioned is too complicated or not making sense, Um, but that's a key technique and photo shop. So that's what we call non destructive workflow. So now that we have the extracted little heart here we can want and we can bring the other images into the same composition, it's worth saving your file. At this point, I'm going to do that. I'm used to it. It's like a reflex for me because I don't like wasting time. I don't want, like, losing anything. So it's like a routine for me. And so I'm going to quickly say, if this one here and I'm going to just call it to try and go comp all right and save it. So now that we are saved, we can go to bridge and then let's bring in the girl in the kayak, right? If I right click and choose place ah, which we have the bottom is justice plays in adobe after effects. That's not what we want. We want place in photo shop. All right, so once I said, like that one, this is better than opening the fire because if you open, it is going to bring it up as a separate document. This way it ends up in the same document is a new layer and also automatically turns it into a smart object. So if I accept that policemen do, you have to press, enter or return to accept the placement, you can then make it bigger or smaller, and you can make changes. What? Here's one other thing. What happens if you already have a smart object and then only after that you start creating a selection. Will there be a problem now? It can be a problem because again the mosque that you will be creating will end up outside that smart object. Now that's not a good thing. We've already discussed that today. So in these cases, when I place in a new image and it ends up on the campus as a smart object, what I like to do is to double click on the smart object thumbnail. All right, so let's do that that we're taking on it goes into the smart object, which means that we're not now working inside the smart object and we can make our changes , including creating a selection as well. And was that selection is ready. We save it is a mosque, and then we can exit the smart object. But the mosque will stay inside it so exactly the same workflow, but almost like working backwards a bit. So we started first with the smart object, which was automatically created by the placing feature. But then we can't work inside it and great the mosque and still be able to keep the mosque non destructive. And that's always the important thing. That's the key. That's that's what I'm trying to explain to you in this example. That's probably the most important lesson from this project. Okay, so let's make our subject selection select my new subject, and then we will see our subjects elected. Now, at this point, we have a fairly good selection again. Um, probably not as good as with hot. But when I press cute, we can see that for the shop still tried and did quite well. But we will need to obviously refined this now to refine it. We can switch to the Magic one tool or the quick selection toe. I prefer the quick selection tool, and we don't we can start adding to the selection. So let's add these pedals quickly, just simply by clicking on them and making the brush smaller with the square bracket keys on the keyboard, I can click a couple of times or even drew over the black detail here. So the part that you hold from the pedal and then now that is added. Now we just need to fix this bottom area here. So let's include that there as well. And we could spend time on refining this election. But don't forget that we don't actually need to get rid of the water. We only need to extract the girl from the mountains because we don't need the mountains. We want to use a different mountain in the background. So do we actually need to make this election and refine a selection? While the answer is no? I just wanted to show you that this is how you can refine your selection. You can order disease better. If I wanted to refine this section here with hair. I would use the select and mosque feature for that. So let me just show you that quickly as well. Even though we don't need this election in this case, it's good to know how it works. So within the selected mosque workspace, I would use the refined edge brush tool Are is the shortcut for it. And with that, I would paint over these more tricky areas, like the hair and maybe even around here. All right, so now if I click OK, we can see our selection is already so much better. But if we feel like there's areas like this one here, we can again just quickly add them back into the selection. Yeah, So if I see something else here, I can old click and drag try to subtract from the selection. But as I said, quick selection tool is not the most accurate tool. So you might need to keep going back and forth. But at least the hair is now nicely selected. Okay, once again. Luckily, we don't have to worry about this whole selection, so I'm going to show you what we need. We need only the outline here on the top to be fine. I mean that to be good selection eso For that, I'm going to switch to the quick Mosque like reliving the previous example. And in this case, because she's wearing a red hat, I am going to double click on the quick Mosque and change. It may be to something like purple. Okay, maybe a darker purple and then pressing que again. Now we can see exactly what's included and what's not in the selection. So what I'm going to do is to use again the brush toe click here and a shift like that to get quickly get rid off that detail and then here as well I'm just going to paint over. And by the way, I'm not using a, um, tablet a pen tablet. I'm just using the brush the mouse because these are very quick and easy changes that I can do without a pen tablet. But if you have a pan tablet, of course you can use that as well for these refinements. Okay, it's just not necessary for this type of thing. Okay, now around the hair, I'm going to make sure that it's not see through, So I just painted over that part a little bit more. Okay, I am fairly happy with this selection. And then if I press Q, I am going to use the rectangular marquee tool, zoom out a little bit even more and hold down the shift key to select the whole water area . OK, so that whole section there I'm going to select and that will be added. This was held holding down The shift key is to combine this stoolie or the existing selection, so the two things together now are selected. Now it's time to turn this into a mosque. So Japanese flag on the bottom, right? And then this is important safeties. So I'm just double checking. I can see some see through details here, so let's paint over those very quickly. We divide brush within the mosque off course. So there you go. It's paint or these things and the d hand. There's a little detail there that we don't need. Okay, and then here on the right side, we can remove these on. We can add these details back. By the way, I'm switching back and forth between painting with white and black by using the X keyboard shortcut X is the switch between foreground and background colors. So the currently selected foreground and background colors and that's what I was doing. Now one other thing that I'm going to do video in the smart object is a little bit of retouching here. I would create a separately year. Okay, I will rename this retouch as well. I like to name my layers, Um, and use the A sport healing brush to J is the short cut for it, making sure that it has the sample all the years turned on here on the top. And then I can just paint over these details to get rid off them. Now, it doesn't seem Teoh work, so I'm going to use the clone stamp tool. I thought that this is easy for it. And maybe it was. Maybe it was the wrong option. Yes, it was the wrong option. So make sure content a very selected sample all the years is on. And then one additional thing I will make sure this layer is clipped onto the layer underneath. I assure you why that's necessary. So if I just paint over these details here and that one there, I just don't want to have these details hanging down there. So at the moment you can see that our retouching went beyond the selection that we created . But if I hold on the altar option key and click between the two layers is going to create a clipping mosque. So once again, old click between the two. I cannot unclip or clip them back. That helps to keep it visiting the same boundary or outline that I have on the bottom layer . Now comes the important bit. Now that we are ready with our mosque and our retouching within the smart object Now we can save this process or save this result by going to file save and then we can click. OK, now? Yeah, this is another issue. Um, if you place and this is intentional, I wanted to show you this. If you place a J pack file into photo shop and the automatic convert to smart object feature is enabled so up on placing the imaging and for the shop automatically creates a smart object. If that is the case, then you won't be able to have multiple layers or even mosques within your smart object. So that's another problem there. And that is the reason why I recommend most to most of my students to go into the general settings or preferences. And within that I think it is under fire handling. Um, no, I think it is on the general or somebody around here. Yes, it's on. The general always create smart objects when placing. So that's the That's the feature. I like to turn that off, and this is exactly the reason why. So whenever you place in from bridge or even Dragon Drop J peg into foot the shop, you will never be able tow work within that smart object. Um, with multiple layers or mosques, you will be limited to whatever the original five format was supporting. So it was still, consider it a J pack, even though it's a smart object source file. Okay, it's a bit confusing if you have a new smart object before, but hopefully it makes sense. So I would take this off, and I would like to be in charge when I'm placing when I'm turning something into smart object. So if I play something in it ends up a normal layer, I can do my selection my mosque, my retouching if I want to. And then I turned that into a smart object. That way I know that I have multiple layers saved reading the smart object itself. And in general, if you know familiar with the concept, What what's the reason of working with smart objects? As I mentioned before, it's the nondestructive workflow that they support. Or the non destructive Werfel almost entirely relies on you using smart objects, Um, which allows you to be able to resize your layers back and forth without losing quality. Um, but yeah. So now what do we do? We have this problem here that we have the layers ready, but at the mosque ready and the retouching ready. But this whole thing is in a smart object that doesn't support layers. So if I want to say this again, you'll see the problem. It cannot save my changes. So when I would do in this case is to open on the actual image in for torture for the shop . So the original J Pack double click that opens up. And then let's save everything that we created here into the other document that we opened up all right. So I'm going to select the retouch layer and the actual ear with the mosque and then copy them. OK? Actually, we don't even need the original. Sorry that I was unnecessary. Just select these two layers. Copia man. Okay, so I am just going. Teoh, Commander Control C copy these two layers go to the triangle comp layer and then pieced. Okay, so I'm just going to paste them in there Now. This way. This way. We have the original size still available. We also have the retouching Lear then And we also have the size. Um, sorry than the mosque. Now, if I turn this into a smart object now cover to smart object the whole image is still here . Okay, But when I double click on the smart objects thumbnail, we can see exactly everything in there now, off course at the moment, the canvas. That's the only thing. The canvas is smaller than the original size, but I can still turn on the Sorry. I can still deactivate the mosque by shift clicking on it and I can go into image and reveal all image menu reveal or to show everything again. I was shift click on the mosque once more. Save this, Come back here and we can see the updated version. Now, as I said, this might be a little bit confusing, but as long as you remember to turn off that preference that I showed you and you follow the the steps that I showed you with hot, which I think was very straightforward. So having an image on which you make your selection, save that as a mosque and then go over it into a smart object. As long as you follow these steps, you won't have to worry about any of these more complex things that I showed with second example. OK, so just to practice this, that's the reason why I had three different images, so I can show you exactly this process I am going to now bring in the other image, the mountain, So I will go to Bridge, select that right click place in photo shop, saving me again. Step that this being created. As in separate document. It ends up here, but notice that now it's not a smart object, so there's no little icon next to that layer. Meaning is not a smart object So if I put this now on the top, that's our image, all right. And then I'm going to use select subject as before in the first instance, which should create a very nice selection. Yes, that works perfectly. I don't even need to worry about making any changes. I can click on, create Mosque and then turn it into a smart object. Right click convert. Smarter Check the By the way, this feature I highly recommend to set up a za custom keyboard shortcut. I am using F six on my keyboard. I can show you if I go back, have this layer selected F six turns it into a smart object. Ah, the feature by the week. Can we excess from leer? Smart object Convert to smart object. You see my shortcut there and the if you want to customize keyboard shortcuts, just go to edit keyboard shortcuts and there you just have to find where it is. So in this case, it would be image Scroll down, scroll down and then smart object is somewhere around here. No, sir, it's not image layer. That's why I couldn't find it so lier Smart object convert to smart object and that's where you can assign the shortcut. It's a shame that they don't have, like, a search option here to quickly find commands within the keyboard shortcuts, um, settings. But still, we managed to find it. So now that he they set up a smart object, I can make it smaller. First of all, move it up. I was using the free transform, told by the way, drag it underneath the other layer so it can sit there in the background. And then let me just show you how it looked in the, um, the final result. So to create this nice triangular shape on the mountain and to make it look similar to what you can see here will have to do a little bit of extra work. So what I've done is structured duplicate this. So I have the 1st 1 something like that placed in Okay, we can even squeeze it in a little bit. No one will be able to tell that it's not the original proportions and then duplicated so MSM a little bit closer. All right. So duplicating this old click and drag. Then press another custom. Give what short get for me F four to flip something around, Um, that you can also find on the the edit transform flip horizontal. Now, I would like to use probably something like this to create that edge on the left side or even could be something like that. But I quite like this one here can make it a little bit bigger as well, so it doesn't match the size off the other. This detail that looks a bit more realistic and we can even have it coming out slightly there. Now, if you're concerned that this is too obvious and recognizable from here to there, you can also use a mosque to carve out from it. So that's what we're going to do. Create the mosque. And in this case, I'm adding the mosque outside the smart object. But I show you what you can do to maintain the quality off the mosque as well. I'm going to add the mosque, and then I'm just going to use a big brush. And actually Sorry, I'm going to go back one step, make a selection off this area here, maybe a bit more something like that, and then use the mosque icon this way we cleaned up the bottom area. And as I said, if I wanted to make this detail would be different. I can use the brush tool, set the brush to black and then just simply paint over the edges a bit. So that way it doesn't look exactly the same. We can't have already a bit more unique design here. Okay, so it's almost like drawing the mountain differently. And of course, we could also paint over this section here if we wanted to. Maybe caught the mountain off around there. Maybe even this whole section here can be reduced a bit. Okay. So you can paint your mountains. This is your world like Barbra's would say, You can do whatever you want. You can create your happy mountains whichever way you prefer. Okay, so now that we have that ready, we can also add the mosque on the other other side of the mountain. That's it. Almost there and then again carved into it. So we defined more or less a nice triangular shape. Now the only thing missing here is the actual landscape. Order the land or the shore off the lake. Um, and that is actually something that we have available within the image with the hot. So what I would do in this case would be to double click and get into that image. Okay? And then, even though it's a smart object, um, we can still extend its campus using the crop tool. What click and drag. You can very quickly extend the camp campuses, both sides using the crop tool, as I mentioned. Then select the mosque, and then you can use the brush tool now with white and just simply paint over the area around it in both direction. So just a little bit, so to have a bit more off the grassy details here, maybe below it as well, like so. But then I would like to increase this more and also trying to add the edge that's more believable, something like that. So to increase it more, I'm going to create a new layer on top of this, and I am going to use the clone stamp told Good old clone, some tool set Teoh sample all layers, and then I'm going to sample sample from the right side and start extending here on the left side. I will use a sharp edge, so it looks better on the top. Yeah, something like that than that. Simple. A bit more from here. That's good again. Old click sample trying to remove these wide details here on the left side, no trace off road activity and then on the right side as well. That said a little bit more off the grass. So we just extend that detail and that looks already is quite good. So now let's say these changes close this document and then moving the hot up a bit, we now have the green posture visible there, which makes it much nicer off course. We can move it further up as well, if you want it to end. Of course, we can also make the hot smaller if we wanted to do that. So it's completely up to you again. How big you want this to be, how small you wanted to be the original design I had roughly around this size. Maybe we can make it a bit smaller. Now this, again, is a play of perspective. This way, The way I have these things feels like the woman in the kayak is actually quite close to the building because the building is not that much bigger or sorry, not that much smaller. So there's not much distance between them. But having said that, the water feels like it's very more distance that there's there's much more perspective there. So based on that amount of water here in the foreground, I would probably say the building needs to be well, how around this size. And that's why it's good to have smart objects because I can go back and forth re sizing things, to check how it looks. So that would be a little bit more realistic. And even that I feel like is a bit too big. So for the amount of water, the amount of or the volume of water between the foreground and the background would mean that we need to make that building really small if we want to go for realism. Um, and of course, the mountain again feels like it is fairly close to the building, so there's not much distance between the two off them at the moment. So for the mountain to movement majestic and big, the building will have to be very smaller. So for for reality or realism, I would say something along the lines off that size, but then that is not even visible. So it would illustration. Of course, we remember that it works really nicely. These things, um you don't really have to match. She, uh, sizes as much because you can create steal a composition that works well. But when you're working with photographs, it is more important to pay attention to these things. So there's one quick thing that we can do if we want the building to be bigger, these sort off can get away with the fact that the mountain and the building might have a lot of space between them. It is hard to say, but what we definitely to fix is the water. So for that, I am going to go into the water layer just going to call this layer kayak just so I know which later it is, double click on it. And then what I need to do is to get rid off more details from the water. So what? I will do ease to make a selection and ah, let's just make that selection off the water. Okay? Quick selection tool. Here we have a selection off the water. Ah, or probably better if you make a selection off her arm, this case and the other side as well. The arm is the important detail. And then off course, her hair will be the trickier part. But I don't want to spend too much time on this. We still have to other examples, and I'm already running out of time. That is just so much I wanted to show you in this example. But now that I have that selection, I can invert the selection, select a new verse control or command shift, I. And then now that it's inverted, we can use the marquee tool, rectangular, marquee tool, old click and drag Teoh where I want the water to end. So probably somewhere around there. And then now that we have that, we can start the leading. No, actually, is not going to work this way. Um, yeah, What I'm just going to do, I do. You don't need to use the marquee tool. Just simply use a brush having this selection and click with the brush here on the left side using black somebody on Dad, Maybe even further down something like that. okay. And a shift click on the other side. So it keeps his trade again. Shift click on the other side. Do the same thing. Get rid off the water. Here, get rid off the water. Here. We're losing a bit off the hair, but it's fine now and then shift. Click once again their shift click on the other end. And then again, pain that out. So now what happened here remain a little mistakes. I'm just going to paint this back with white. Um oh, made a mistake. Made a big mistake. I was drawing on the layer, not on the mosque. That this is very important. You don't want to delete anything. This is when things get destructive. Okay, Make sure the mosque is selected. So luckily, I could still go back, but, ah, if it waas if it was something else. Ah, like if I went further ahead and I forgot to check this, I would have made a mistake. And this something that's destructive. And I would have to recreate the whole thing. So, um, what we need to do is the same thing as before. We need to use the brush tool with black and then paint. Evade these details on these details here on the left and then define the cut off point, which will be, let's say here and then shift, leak and shift, click and then Garrod off all of these. But now we are using the mosque, which means that if I miss any details like that one there, I can use white to paint it back. And I can also recover details that wasn't meant to be deleted like these. And I can even read fine the details there. Okay, so now that we've done that, let's see these changes closes document and then we can see that we have our updated version which can come much higher up. And then we have less water in between the hot and the woman. I am going Teoh, probably I am going to you have the building. It would look better if the building is higher. So again, I would love to have the building somewhere up here. But I mean, in terms of composition that would look better. Or we can have the woman not in the center or day that the two of them can be a little bit off center or something like that. Um, it will be slightly different to what we have in the original example. But I quite like the, uh, the Veda. It's not symmetrical. Yeah, something like that. So then now comes the quick last change that I'm going to use the brush tool with black. I will paint over the water just very quickly. Paint over the water. And this is when you are using the mosque feature in a creative E. Yes. I'm defining the water here, something like that. And then the mountains I can against, like, the mosque. Just hide any detail that wants to start coming out was on the right side. Let's Heidi's on that side. That as well. So all of this is nondestructive. I'm not losing any details. But now what I would like to do is to have the mosque selected, but switched to the mixer brush toe on. This is really feet. Really cool feature with the mixer brush. I am going to make sure that we have the settings, right. I think we have. We have the settings that are set to what I need. Um, why is it not updating? Okay, Yeah, This this option just had to be turned on that I got up there. So now we can, actually, that's I shouldn't be on. That's where we had it should be working like this. So it's set the simple or layers. And if you turn it off, yeah, because we're working in the mosque. The sample or layers wasn't helping, so I just had to turn that off. Ah, And now we can just paint along the edges and create a much more natural ah, fluid water effect. So So this is still just using a mouse. I'm not even bothered getting my pan tablet out because I feel like I can create a nice result even just by using the mouse. Of course, with a pen tablet, you can be even more specific. But I think this does the job and we can create this nice soft edge and also more like a fluid detail, thanks to the mix of Rush. So it's just a much faster way to create this more natural edge design. We can also go out here a condom with a normal brush. I can erase from it if I wanted to. Okay, I think that's that's it. So of course, we would be able to make this even more realistic. Um and ah, there's a lot of things that we could refine here. For example, one of them is the reflection just to show you very quickly the building. If I ju placate the building old click and drag, place it above the water and then use free transform, flip it down, then place it up here, something like that. We can then use the brush tool and, uh, set a mosque for this paint of a details where we don't find the reflection to be visible and then reduced the A pass ity off this layer. And t 34. Day 30 - Sinking Effect (Ps) #273/365: - this sinking effect, I called it. We have these references that I want to show here. I looked amazing with Cat, but there's these ones which I think is really close. You really good way to show off products. But in a really fun, interesting way. It's like you're saying about breaking convention. I think we talked about it last month. About two like to grab people's attention. So something that takes an aspect off real life but distorts it and makes it seem like fantasy. Yeah, and again, like we can say like it's a provocative design because the hand and the lag apart from the shooting and the ring, it's it's basically showing skin all around. So it's up to the viewer's imagination to fill in the gaps and imagine whether there's address there or not. Yet, so that's that's again like that. There's a subtle sexual contact, but it's not over the top night so tastefully done. Yes, exactly. But this is a really nice one as well. Again, uh, I think this is I mean, this could be not Photoshopped. It could be really me backdrop. She's coming out. Yeah, and then they just cut into it on, then it could work in real life. I mean, the shadow looks very realistic. So even if it's not in for the shop, it's a good reference again, if you want to recreate this in 40 sure to look at something like that, uh, this one again. I'm not sure whether this is real or not. It could be really, because there's some subtle hints off something cut into the wall. But again, another one really cool. You think so? Once once again. The reason why I showed the example in fourth shop is to see that you can do this from any image on. Just look at examples like these, and then try to recreate the veda shadows, fall and try to think about where things are in depth. So, like the arm or shoulder and the hand and based is the things that weren't going to be a closest to you and anything else would receive in the background would be covered up and sink into yet backdrop exactly 35. 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.