Affinity Designer for ipad volume 2- Shapes and Seamless Textures | Jeremy Hazel | Skillshare

Affinity Designer for ipad volume 2- Shapes and Seamless Textures

Jeremy Hazel, Education Through Creation

Affinity Designer for ipad volume 2- Shapes and Seamless Textures

Jeremy Hazel, Education Through Creation

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20 Lessons (1h 56m)
    • 1. Introduction to the series

      1:33
    • 2. Basics of shapes and applying fill and stroke

      8:35
    • 3. Applying gradient fills to shapes

      7:12
    • 4. Transparency tools and Shapes

      5:10
    • 5. Transforming and adjusting shapes

      10:06
    • 6. Grouping and Duplicating Shapes

      4:44
    • 7. Explaining challenges

      1:16
    • 8. Turtle Challenge introduction

      0:37
    • 9. Turtle challenge solution

      9:16
    • 10. Aligning and distributing shapes

      7:23
    • 11. Snapping with shapes

      4:15
    • 12. Operations and shapes

      7:31
    • 13. Cross cannon intro complete

      0:40
    • 14. Cross cannons solution

      8:07
    • 15. Power duplication and expressions

      6:10
    • 16. Utilizing the symbols panel

      4:15
    • 17. All about grids

      5:20
    • 18. Making a seamless texture template

      4:28
    • 19. Making a Plaid texture

      9:12
    • 20. Making a Modern Seamless Texture

      9:45
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About This Class

In this course we take a look and in depth look at shapes and seamless textures in Affinity Designer for the ipad , included in these  lessons we will be making several projects using shapes and finishing with creation both a traditional and a modern seamless texture.

Included in the course are all the lessons you are going to need to complete the project including 

  • How to use the transformation panel to modify and distribute shapes 
  • How to use advanced operations to create non stock shapes 
  • How how working with primitive shapes is key to making anything 
  • How to develop a modifiable template to use over and over to create amazing seamless textures 

This is the perfect course to master fundamentals of shape and primitives , which are present in every sort of sketching and art program, seamless textures are huge right now in video ork and design and you will learn the theory of digital art while creating real world , meaningful projects 

This is part of a weekly release series designed to take a massive program and break it into smaller digestible pieces, so don't forget to subscribe, we will be releasing one new module a week exclusively on skillshare 

All the downloads for the course are included and the project is outlined below.....don't forget to email or message with course questions ......and above all enjoy 

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Jeremy Hazel

Education Through Creation

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Transcripts

1. Introduction to the series : All right, we'll look into seven season studios. Affinity Designer. The Complete Guide to offended the designer on the iPad. Now you guys have stumbled across Probably the biggest baddest course out there for iPad with affinity designer and Seven Seasons Studios has made it extremely easy here on scale share in order to take a mammoth course which is over 10 hours in length and chunk it down into small, bite sized chunks. So what you guys have found is one of the volumes. Now, there are 11 volumes total in this course. So wherever you joined us, congratulations on joining us. We're gonna go ahead. We're gonna make this so easy for you. Our planet's release, one volume a week so that you just get familiar with affinity designer for the iPad in small, easy to deliver chunks. Now, each one of these volumes will have undeliverable projects. So the projects are included in the course information. So each week to non in. And let's say you showed up in volume five. Volumes one through four are already out there. We're going all the way to 11 with this, but we're not gonna take it from zero to hero in one massive chunk because nobody has time for that. We're taking a small, bite sized delivery bols, each with a defined projects so that the end of 11 lessons you're comfortable with a finicky designer, and you've got a really stellar start to your portfolio. So if you have questions along the way, go ahead and hit us up at seven Seasons studios dot com. Check us out on social media like our Facebook page and check us out on YouTube because I am constantly posting new tools, tutorials every single week or the people on our YouTube. Alright, folks, let's go ahead. Stop talking and get right into the doing. All right, see inside. 2. Basics of shapes and applying fill and stroke : Alright again. Welcome back to Affinity designer for the iPad. So this lesson this section is all gonna be about shapes. Now, shapes are different from lines or curves will be talking about those in the next lessons and in the next section. So there's entire different course sections on that. So let's go ahead and get into the basics of shapes. Now, in order to make this happen, let's go ahead and open up a new document. So I'm not gonna be doing this with you guys all the time, but I wanted to kick off with the 1st 1 so we hit the plus sign, and now we go to new document. Let's go ahead and tap on that. All right. Good deal. Now I'm gonna be working in the device persona. So when you notice here you got web device. I'm gonna go ahead and I'm gonna click on web. So let's go ahead and click on Web. We'll make it easy. And then I'm gonna tap inside the Dimension circle, and I'm going to go ahead and make this 1000 okay? By 1000 because I'm a little bit retentive and I like things symmetrical and square once I got that. So I'm in web. I'm on 1000 by 1000. I go ahead and hit OK, and a new document comes into existence. Now I'm gonna go ahead and I'm gonna compress that by squeezing my fingers inward. And now we're gonna come over to the left hand side. This folks is the shape icon here in the toolbar. So you see that I have the rectangle selected, but there are many, many others. Let's go ahead and start with the new lips. Now, when you run through, let's go ahead and run in the lips down, hold your finger and make it symmetrical. Perfect. So now we're gonna go ahead and we're to create another one. Let's go ahead and create something a little bit more complicated. Let's do a cog and we bring the Kag into existence. We put our finger down where the blue dot iss and now we have a cock perfect. So now let's look at our layer structure cog in one layer ellipse in another layer. Now there are three characteristics of shapes. All shapes have stroke. All shapes have a color, and then all shapes have some form of adjustment. So when we do this, let's go to the Ellipse lair. And now I'm gonna show you first how to adjust the stroke of a shape. You come over to the stroke panel and there's a whole different lesson later on on stroke panel. I'm just going to show you the bare bones basics in orderto work with shapes over here, where the blue square is, you'll see that there's a square with the blue line through it that says no stroke here. It talks about what is called a straight stroke, and in order to up the stroke with you, just click on the slider and it brings the stroke into existence. Now, if you click on the dotted line, you get a dotted stroke. And now, if you click inside, say the dash, you can move it to three and you'll see that it changes the dash. There's a whole of the lesson on working on dash, and then the last thing I'll show you here, this is what is called a texture or a brushstroke. Now, if you select this, it pulls the last brush that you used. So let's say the last brush. I used Waas. Let's go ahead and choose the square marker. It will make the lines similar to a square marker. Now. If the last one I used was like a smooth square brush similar to this from the chocks and pastels, then it will pull that line. Now. If you don't want that, go back to the straight one. Awesome. And then just turn your with back down. Okay, so that is how to create a shape. That is how it would just the stroke on a shape. Now let's look at Phil. Come over here, select with your color wheel, go around the outside and it changes what is called the hue. That's the outside circle. And now let's go ahead and change inside. So let's go ahead and make this a darker blue circle with the black stroke. And now look at the color panel you see up here. There's a hollow doughnut looking thing that I just flopped. Two. You see where I'm flopping these two? The hollow doughnut looking shape. Adjust the stroke of the shape this blue area, adjust the fill of the shape. So if you wanted to change the stroke, you Just make sure the stroke is selected. Swing your color wheel over. And now we have a pink stroke with a blue Phil. All right, Now, let's go ahead and apply what we just learned over to the cog here. So we select the cog, it doesn't have a stroke, so I'm gonna come up to the stroke. And now I don't want a pink stroke on the cog right to do that. We now change the color to do that. I'm just gonna turn it over here, and I'm going to drop the with down a little bit on this particular cock. And then here, I'm going to flop over, and I'm going to go ahead and make the inside of this cog of bright red. All right. So you know how to change the stroke color and adjust the color inside so you're in good shape. Now, the last thing I want to show you, Let's go ahead and zoom in by holding over the shape and spreading our fingers apart. Now you'll see anywhere in the shape these little orange areas. These things begin to significantly change the shape. So when I say each shape has adjustment you can easily make adjustment anywhere in a shape . There are these orange type of dots. So you see, by changing the different dots were able to do different things. So that's how you might be able to adjust to the cog. Now, what can you do with the doughnut, Right? Let's go ahead, expand out. Select the Ellipse with me here and now you'll see down in the context to a bar. You have some options. We're gonna talk about the center of shapes here and all the other stuff and converting it to curves later. I want to call your attention to the doughnut. Watch this when you click on doughnut and then you grab this little area right here. You see the or singing, I'm moving. This creates the doughnut, and now we can go ahead and let's go ahead and turn this back to black. Let's go ahead and drop that with down. All right, so now we got very little stroke going on, and if you even wanted to make the doughnut thinner than that, you zoom in, keep on turning it. All right. Perfect. Now let's go ahead and zoom on out here. Grab our move tool. Click on the shape and now you're in good shape, no pun intended. Let's do one more thing. Now let's grab the cog and let's go ahead and grab the corner and shrink the cog down. Now you see how I can adjust the proportions of the cog. Put your finger on the screen and now it moves consistently to keep the shape. Now we can now put it in the middle of the center. Now let's go ahead. Select on both. And now let's look at our layers. One last thing, folks. Notice how I have both the cog in the doughnut layer selected. We go to our transform panel and we're now going to go and align them. We're gonna align them to the center and then we're gonna go ahead and we're gonna line them horizontally. Here we go. Very simple shape based mandala. And now to kind of wrap this up, you notice how both layers air selected. Let's group them now. If I group him, I can move them as a unit and they are a consistent unit. All right, That's a little bit about shapes. You now know how to adjust to shape stroke color. How to use the color wheel to adjust the color of a shape or a stroke. Phil. And then you know all about adjustment of the different shapes and where to find it in the context. Toolbar. Alright, folks, let's go ahead and take the next step will see in the next lesson all about shapes see in the next one. 3. Applying gradient fills to shapes : All right, folks. Welcome back to affinity, Designer. So what we're gonna do now is we're gonna go ahead and were to show you how to work with what is called a Grady int fill in a shape. So in order to do this, let's go ahead on that plus sign again. Opening your document. I promise. That's the last time I'm going to show you that. So after this, I'll just started the document size. I'll tell you what it is and we'll go from there. I'm gonna be working in the Web persona. I'm gonna click on dimensions, and this time I'm gonna make him the same 1000 by 1000. Oops. Lets go and back that up. We don't need 1000 by 10,000 and go ahead and hit OK, and it becomes and now we shrink it down. So you've seen this show before? So now let's go ahead and let's start by creating a shape and let's go ahead and create a standard Oh, I don't know. Let's go ahead and create a diamond shape. So we're gonna go ahead and create a diamond. Now we're gonna go ahead and we're gonna hold it with our fingers so that we get it all nice and symmetrical. Hopes Let's not create a 2nd 1 And then with the move tool selected, let's go ahead. And now I'm gonna show you again, snapping Go down to the lower right hand corner, click on the magnet and now snapping magically comes on And now you're centered in the middle of document. Perfect. So now what we're gonna dio is we're going to create a Grady Int now. To do that, come over to the left hand side and click right here on what is called the fill tool. Now the fill tool. Let's go ahead and start in this lower corner and let's go ahead and drag it to the other corner. Now, you see, this creates some form of ingredient. Now, in order to modify this, you come down to the context to a bar. Now where do we find that we find it down here at the bottom? Let's see what our options are. You've got an adjustment where you can put in an elliptical Grady int a radial Grady int a conical Grady int Oops. Let's go back over here. Cancel or you can use what's called a bit map. Now, what is a bit map? It's a pattern we don't want to put a pattern inside. So I'm gonna go ahead and I'm just gonna put down a simple linear Grady int. Now, if you don't like where you put the Grady int, you can take thes handles and you can move them. So I'm gonna go ahead and I'm going to put this Grady int down this way. And now, if you wanted to adjust it, you simply click on the handle and now watches. I'm gonna click in the upper handle. Watch what happens to my color palette Over here on the right hand side, it turns that color. So what it's saying is you can now adjust this color to read, and it will fade. Now watch what happens. I'm gonna go ahead and click on the other hand, with one that is kind of this grayish puke e color. And now look at what it did here. It's now telling us we can adjust this particular color. That's pretty cool. Now you'll notice this little lying in the center. Let's go ahead and pull that Notice how By pulling it. You actually influenced the Grady int how much red it has and how much orange it has. Now let's say that we wanted to create a three stop radiant. All you do in the line with the apple pencil is tap one more time. And now when you tap you see 1/3 circle is created tap within the circle and let's go ahead now and make this kind of a yellowish. That looks pretty good. And now we can adjust kind of where this happens, we can adjust it. So it's similar here, and we can adjust what happens there with this Grady int. So it's a ton of slider work. So this is how you create a Phil. Now, if you don't like this, you can always come back over here and you can adjust the Grady Int any way you want. Now let's do a real simple radial. Grady it with this right? Let's take this one step further. All right, so when we take this one step further, let's go back to our context toolbar and let's grab a simple radio Grady int. And now watch this. I'm gonna grab the red portion of the slider and I'm gonna move it and you see now with snapping on, I've got my red in the centre and I can pull these things in in order to make this now work so I can do some really cool effects with this thing. And if I wanted to make this outer area a dark orange, let's say I wanted to make this even a brighter orange. You can absolutely do that now. A lot of this course is gonna be shot while I'm in Arizona. So I'm heavily influenced right now by Southwest Indian art. So I want to show you how you can take this to go one step further. If you go into the layers panel and we come over here and we select this layer and we come over here and we duplicate said Layer, look what happens, we get another, uh, diamond here and now if this diamond is on top, let's select the one of the bottom. Let's grab our move tool. And now we're gonna go ahead and just twist it 45 degrees. Now, how do we twisted 45 degrees? Exactly. We use our finger to select it and lock it. Perfect. Now, let's go ahead and adjust to this diamond at the back. So I'm gonna go ahead. I'm gonna turn this bad boy off. Hope that's our back diamond right there. Okay. And we're gonna turn off front, Diamond. All rights, we turn off the front diamond, making sure we have our back diamond all selected out now. All right, Cool. So now when we do this part, let's go ahead and adjust. The Grady in now would grab our feel tool. We grab this outside cause that's what showing through. And let's go ahead and make that kind of a cool color. Let's go ahead and make that kind of a blue. That looks good. And now let's go ahead and grab this middle diamond here. Let's zoom in, grab the middle circle and slide it over to kind of this color. And I think that will just about do it because, quite frankly, we're not going to see this centerpiece. All right, we're gonna make it kind of a Grady in transition there. I think we're in pretty good shape there. Now. Let's go ahead and come over here. Select that layer. Turn it back on to new existence, and I think we have a relatively cool, very simple to tone double Grady int Phil. All right, folks, that's a little bit on how you do that. You see the application, the projects are going to get more complex. This is simply the base level stuff you need to know to be successful. Alright, folks, let's go and take the next step and get back into it. 4. Transparency tools and Shapes : All right, gang, let's go ahead and take the next step into shapes and let's go ahead and talk about the transparency tool. Now we're exploring a lot of these tools in the context of shapes, because when we get into curves and lines and all that kind of stuff, it's gonna get a lot more complicated shapes give you the opportunity to play around with known boundaries. Alright, so I've got a 1000 by 1000 pixel workspace notice. I didn't have you open at this time because, quite frankly, your past that now, All right, so let's go ahead and let's grab to ill. IPs is now. We grab the lips, we drag it out. Who's still got the Grady in shape from the last group here? We're gonna go ahead. We're gonna change that up. So now all you gotta do to change that up and undo it is just get back into whatever color you want to fill the shape with. All right, Now let's work smart like a pro. We're gonna go ahead now and we're gonna create a very simple version of the MasterCard logo. So we created the lips and using our move tool. We move it over, and now we're gonna come over here and we're going to make sure the Ellipse later selected . And we're gonna duplicate it, and we're gonna move it in line with this one. Perfect. Now you see, we got some overlap, and now we're not gonna match the colors. Exactly. There's a whole science to doing that. We'll talk about that later in this course, But right now we just want to get this idea of making sure that we've got to shapes that are very, very similar to make this MasterCard logo. Now you can do this a couple different ways, right? There's a lot of ways to do it. We're going to show you some more complex ways later. But there's two ways you can do this the first way you can figure out which ellipse is on top of what. So let's go ahead and move the yellow in lips on top of the red one, and we can come into the layer and then using this area here, you'll see how I did that. I used the three dots right above the layer. I can adjust the opacity down a little bit now. I don't like doing it this way because it kind of ruins the opacity on the yellow circle. There's another way you can do it, that I think it's pretty cool. We'll bring that back up to 100%. And now, making sure that the yellow layer selected come over to the tools panel right here and you'll see that there is something called the transparency tool. Click on that And now, making sure the yellow layer selected with the transparency to alone and the yellow layer selected, make sure that you got this. And now you come over here and you can bring it as far as you want to go. Now notice. Here we can mess with AEA pass ity. We can bring it pretty far in there. So this is your first real indication that black conceals white reveals so anywhere where the black is. You see the black right here that says it's going to be fully opaque. You see where the white is over here that's going to be fully transparent. And this middle ground slider that you're adjusting here is all about making sure that you go all the way to the edge if you wanted to. You can go all the way to the edge, and you see now you can get it right where you want it to be. I'm kind of happy with that and notice I didn't ruin the opacity of the yellow circle. So that's a little bit on the transparency tool. It's really easy to do. There are, of course, more complex ways to do it. We'll show you that when we talk about operations. But right now all I needed to know for this lesson is how to create transparency. How do we just transparency? And then, if you want to change it, you can always grab these things and you can mess with the transparency any way you want to go. And while we're here, let's take a look at the context toolbar for folks. You can grab an elliptical transparency again where you're working through from a elliptical Grady int standpoint. But notice now we're outside of the master card logo. I'm just playing at this point, and you can zip it around there to where you want it to be. You could do a radio opacity so you can bring it up the full. You can bring it up through there. You can go conical, or you could put none in. All right, we're gonna go ahead and we're gonna keep it solely linear. And I'm going to go through. Well, let's do that when we do this. Now, let's say we wanted to reverse it. You'll notice down here in the context to a bar. Flip it. There we go. And then we bring it back to where we originally had it. All right, folks, that's a little bit about transparency in shapes in order to pull off the types of illusions that you're pulling off. All right, let's go ahead and take the next step, and I'm gonna show you something new when it comes to shapes. 5. Transforming and adjusting shapes: are I, gang and welcome back to affinity designer. So we've been working with shapes. We've been talking about the basics of shapes. Now I'm gonna show you how to rotate shapes, how to change the anchor point of shapes and how to really be precise in adjusting shapes. So this lesson is going to be a bit longer, and we're actually going to go into a two parter in make a project. So I'm in a workspace. Let's call it 1000 pixels by 1000 pixels and the first thing I'm going to do now I'm gonna go ahead and form a rectangle. So now I'm gonna go ahead and I'm gonna hold down my finger. Now you see where this rectangle is emanating from the upper left hand corner. All right, now I'm gonna use two fingers to undo that. And now, with the shape selected, let's go down to the context toolbar, and let's hit the about center button. You see where that is now and that it's eliminated blue. Now watch where the square emanates from now. It emanates from the center. So that about center button, that's what that means. So we turn it off. It'll emanate now from the upper left hand corner. Sometimes you wanted to emanate from the centre, depending on which doing, Sometimes you wanted to emanate from the corner. Now let's go ahead and build a box. So in order to do that, I'm gonna go ahead and I'm gonna make my box red. Okay? I gotta square. Right, And we're gonna take the move, Tool. I'm gonna put it down here. Now. Let's go ahead and create another square. Now to do that easy. We come to the layer, we come over to our three dots up above by the personas and we duplicate said Square Awesome. We now have two squares. So let's go ahead and name this rectangle. Let's call it front. Now remember to do that You hit the three dots, tap words his rectangle and we're to call this front Perfect. Now that's the front. Let's go ahead and rename that the side. All right, we got the side rectangle and we got the front rectangle moving on. You guys are pros at this by now. All right, so now with the lair selected for the side, I'm gonna introduce you to what is called the transform panel. Now that's over in the transform studio site. It's on the right hand side. Now. There's some very simple things in here, like how to flip squares. But since it's really there, you're not going to see it if you mirror it. But the part I want to show you here, there's what's called the anchor point. Now, watch this. If I move the anchor point, you see where I'm moving these dots around? If I move the anchor point to the upper right hand corner, watch what happens when I rotate it. Now you see where the rotate option is right to the upper left. So that changes where rotates from. Same thing is true here. Now you're saying, Jeremy, why is it rotating opposite? Well, because we flipped it right. So now if we bring it back, right, well, that still isn't right. What did we do? Flipped it and we rotated it. Hey, look, now we got it back to right, So make sure you don't rotate it before you start adjusting the anchor point on it. So now you can do a lot of really cool stuff with this, right? Let's go ahead, and I want to introduce you to the context bar down here. Let's go ahead and click on this little icon. You see what just turned blue in the context, and you'll see now the shape has a center. Go ahead, move that shape over to the corner. Now grab the white handle and rotate. That's where it will rotate around the center. So if you wanted to bring it back, you could absolutely move where the shape rotates from. So you now know how to set an anchor point for the shape. Now, what's an anchor point when it comes to adjustment? We're still in the transform panel and let's go ahead now and adjust this height. Now you see where my anchor point is in the middle left hand area. Let's adjust the height. Now it'll adjust just fine in the height area, but watch what happens now with with notice how it on. Lee adjusts on the right hand side. It will not touch the anchor point to the left. Now, if I swap that over to the right, watch what happens. It will not touch the right hand side of that shape. It will take all that change in with off from one side. So I'm now going to use two fingers toe undo all those changes that I made. All right, So you know how to adjust the height. You know how to adjust the whip. You know how it due to adjust the rotation. And you know how to adjust where rotates from the anchor point is very crucial. Now, the next step What I want to show you here, we're gonna go ahead and from the center point. So let's go ahead and move the anchor to the center. We're gonna do what's called shearing. Now, in order to do this, this moves the object this way or that way, and you'll see you can cheer from a lot of different areas. Now, I'm gonna use the totally unscientific method here, and I'm gonna build a box. So to do that, I've shared it. You see him a 10.2 pixels and I'm gonna rotate it and that Watch this, I'm gonna go ahead and I'm gonna rotate it around until I get a relatively consistent gap between this box and my other. Now, with the move to a selected I don't want that middle point. I'm gonna come down and I'm going to turn snapping on and you'll see that I was snapping to the bottom. Now, just in case you missed it, watch this, you see, snap ings onto the bottom. But you see how the top of this box isn't aligned with the top of this box? This is where anchor points come in handy. Watch this. I anchored to the bottom of my box and I just the height up until I am, Then even with that other side of the box, that's where the ability to have anchor points really shines. So let's go ahead and do another one. I'm gonna come over with that front box selected. I'm going to duplicate it one more time. And now I'm going to come to my layers panel and I'm going to name this second front. We're gonna go ahead and name this one. Recall this top box front. Nope. Top. All right. Perfect. And return. All right, cool. Now top. We're gonna come down to our transform panel, and we're gonna share it, and we're also going to squish it, and then we're gonna move it into position here to form the top of the box. Now we're gonna share it even further and what I'm trying to do with this here. Now, I'm trying to position it so that I can get it relatively close now, in order to do this, what I'm gonna have to dio I position so that I've got a pretty decent gap between here in here and here. And now I'm going to set my anger points. I'm going to begin adjusting with the anchor point in the bottom position. The height on this. You see what just happened now and then I'm going to adjust. With this side selected, I'm going to now begin adjusting with now. Am I gonna have to rotate? Probably. But how do I want to rotate? Let's try rotating around this area. What I'm trying to do here is get a relatively consistent look with this area. Now, this is totally the UN scientific method. I'm not advocating. You should do this an actual design whatsoever. But in order to be illustrate the concept of playing with anchor points, it's a very valid concept. Okay, so we do this and now we do this and we're getting ever closer until we cheered out a little bit more and then we make an adjustment. Think we're pretty close getting there. Now. I'm gonna go ahead and I'm going to lock that anchor in. I'm pretty happy with that. And now I'm gonna lock this anchor in, and I'm really mine early. Happy with that? All right, let's go until just a little. Right. And I think for horseshoes and hand grenades, we're pretty close to a box. Now, we can go ahead and touch this up even a little bit further, but I didn't rotate this just a skosh further. And then let's move the position over. All right. So for the purposes of transformation, we've got a pretty good box there for a 10 minute lesson. I don't want to take too much more time than that, because now you know how to set an anchor point. You know how to skew. You know how to transform. You know how to position. I'd like you to go ahead and save this piece of work here because in the next lesson, we're gonna show you had a group, and I'm gonna show you how to do a very simple pattern using the box you just made. All right. Folks will see in the next one 6. Grouping and Duplicating Shapes : All right, folks, welcome back to our projects. Some of the last project we showed you head of adjust all the shapes in order to make this very simple, non scientific box again. There's a ton of ways to do this more effectively. But you don't know any of those techniques. Yes, we're trying to give you a way to do this and explore the technique and make really cool project at the same time. So let's go ahead and apply what we know to Grady int. So let's go ahead and select this front layer, just in case you're concerned about what that is. We go on, we named in front, right notice the project's getting a little more complicated. And let's go ahead and let's grab a Grady int layer and let's go ahead and pull it this way . Now you saw how to do ingredient layer and another lesson, and I'm gonna go ahead and I'm gonna make mine. Oh, I don't know. Let's go ahead and make it purple. I really want to make a purple. I think that that's really cool color. All right, so once I've got this down here, I've got this purple fade to red grading here. So now what I'm going to do, I'm gonna grab all of these layers. So I right, Swipe and I come over here and I group the layer. Now, you've seen this show before. Right now, with this selected, I'm gonna come down and I'm going to reduce it. Now to do that, I grab the move tool. I put my finger on the screen and I pull in a way that maintains the aspect ratio here. So I think I'm pretty good there. Now with that being said, let's go ahead and duplicate it. And now we bring it in line with itself. Make sure that we're cause I lined up and again. I'm not being terribly scientific because we haven't covered a lot of this stuff yet. I select them both. And now I come over the bold layers and my group, and now I'm gonna want to make sure that I cover this. So I dropped the aspect ratio again. And with both of these selected guess what I'm gonna dio I'm going to duplicate it. That's right. You saw that show. All right. But now when I duplicate it, I'm gonna go ahead and position these two right about here. Who? That's a little bit too close. Alright, I'm being totally non scientific in this. I select them all. And then guess what I'm gonna dio. I'm going to come over here and I'm gonna group him again, and I'm going to duplicate the group. And you're getting an idea of the show here, folks. Now, once I've got a pretty good group, all I have to do now is duplicate again. Scrap that one and duplicate that. There's one a little bit too far off book and duplicate again. Now, in order to bring this back, Yep. Come back into here. Now, you see how snapping is not my friend at this point, So I'm gonna turn off snapping. I'm gonna get it pretty close. And I think we're good there and we duplicate there duplicate here. We duplicate again to make sure that I feel in this area and you just see what we're doing here. We're just filling in all the pattern. I want to make sure that I'm good here and again. I know that there's definitely some gaps in it not telling me anything. I don't know. But right now we haven't covered grids, guides or any of that other stuff. So right now, this is pretty amazing. You got to say all right, and one more to kind of fill in our Q Bert style block grid. Let's go one more here and duplicate. All right, folks, that's a little bit about how to do that. Now, look at that. From three simple shapes you've created the pattern that you've now field your entire workspace with. So you now know how to group objects. You now know how to group shapes. You know how to duplicate. You know how to apply fills. You know how to transform them. You know how to skew him. You know how to rotate him In reality, guys, you has there head of the rock stardom very, very quickly Here. Alright, folks, let's go ahead. Revel in this success and let's go ahead and get into our very first large project with shapes. All right, we'll see the next one 7. Explaining challenges : all right. And welcome to affinity designer. So you're about to embark on your first challenge. Now, the rules of the challenges are pretty simple. We're gonna give you a challenge that is well within your scope, depending on which tools you're at in the course. And what I'd like you to do there is try challenge on your own. Try to apply the tool that we've done this far and tried to take those tools in and make something that is similar to what I mean. Now, in each challenge, I'm gonna show you exactly what we make. But I don't want you to just copy it. I want you to take you to make it your own. So feel free to go off book, feel pretty, create something totally different you want. There's no rules. Remember why you got into hard to begin with. This is supposed to be fun. Now, when you create these when you complete them, I'd like you to go ahead, snap a screenshot, snap a J peg, whatever it is, exported this jpeg and go ahead and put it down in the assignments folder that's attached to this particular lesson Now at the end of each challenge. I'm gonna go ahead and I'm gonna show you how I would do it in the challenge that we're doing. And I'll also include the working file so that you can follow along. And if you get lost during the challenge, I don't think you have to complete it. Go ahead and skip to the end and see how we did it. Involve along Because the important thing is you learn every day. Alright, folks, let's go ahead and get into these first challenges. 8. Turtle Challenge introduction : our ride, folks. Welcome to your first challenge. So this is gonna be a very simple introductory challenge on doing a southwest style turtle like you see here. So again, don't feel that you got a copy. This turtle Go ahead, take the shapes. Make it your own, do whatever you want to do. And then when you're done, go ahead and screenshot it or exported J Peg or a PNG and go ahead and drop that bad boy down in the assignments area on the following screens. And then when you're done, if you want to follow along and it worked the way I work, go ahead and download the working file or follow along and I'll show you step by step. How I did it. All right, folks. Only interested to see what you do here. Let's go and makes internals. 9. Turtle challenge solution : All right, gang, And welcome to your first challenge. So these challenge lessons are not necessarily about you copying what I do if you want to. That's awesome. But I'm really interested to see your own spin, but it will use all the techniques that we've covered this far. So let's go and get started. The first thing we're gonna do is we're gonna come down and we're gonna grab a doughnut. And, um, and Dr Doughnut and I'm gonna hold one finger on there so that we're got symmetrical, and I'm gonna go ahead and shrink this down a little bit. Perfect. Now you know how to do that. And then I come in and I fill it with black. Good deal. Let's go ahead with our move tool. Now let's move it into position. Now. Turtles need ahead, right? So we come back over the shapes and I'm gonna use the diamond. I grabbed the diamond and I blow it up. Hopes not another diamond, but the move tool. Lets go that route, and I'm gonna go ahead and I'm gonna put this bad boy right about here. Now that looks a little bit weird. So turtles needed neck. So I come down here to my rectangle, and I'm going to create a neck for the turtle. All right, that looks pretty good. Now, Turtle needs eyes, so let's go ahead. Grabbing lips, drag out any lips and let's go ahead and fill that bad boy with white. And then let's go ahead and duplicate it now, making sure our move tool is selected. Let's go ahead and put the eyes in the turtle. Problem solved. Problems staying soft, looking good. Now, Turtles needed tail. So let's go ahead and put a tail in there. We're gonna grab the triangle, and we're gonna grab a triangle there, and we're gonna fill that with black, and I'm gonna go ahead and I'm gonna rotate it, and I'm gonna hold my finger down. So we go to 90 degrees now and again. That pesky move tool that I keep putting shapes in places where there shouldn't be shapes. I come down here and now I'm moving into position. All right, let's see what we got. Looking good looking real good. So now I'm gonna create some really cool caw GTA shape in the inside of this thing, and I'm gonna created about the center and this thing. I was going to come into existence from the center. All right, That looks really good. And now I want to modify this a little bit. So a zoom in. I grab this handle here, and I want to make it a little bit thinner. I want to make these a little bit narrower, and I want to make those a little bit wider. Awesome. Let's go ahead and shift these in Now. I think that looks really cool. The C I did that. I used those handles. I'm actually really happy with that. So now let's go ahead and let's make an arm right, cause turtles need arms were going to do one, and then we're just gonna replicate it. Now, I'm gonna pull this off the body in a second, but I want to rotate it around where it's routinely gonna sit, and I want to check it for size first. So to do this come up and using my move tool, I'm gonna position it. I want to make sure that it's not too big, right, So we shrink it down a little bit. I think we're pretty good, right? there. All right, That looks good. So what? I'm going to dio I'm gonna come in here now, and I'm gonna go ahead and I'm gonna move it. Make sure my move tool selected. Move it up and let's go ahead and bring it to 90 so that we can work on this. Now, Turtle needs hands, right. In order to create a very basic hand, we're gonna use the trap. Is oId gonna create it? And we're gonna rotate it, hold it for 90 and then we're going to go ahead and we're gonna move it, and we're going to go ahead and expand it out here until we pretty much get it, even with the with of that area, and then we're gonna bring it in, and that looks pretty good. All right, good deal. So we have a hand now, gotta have some fingers for this thing, right? We're gonna make some really easy nonscientific fingers. We're gonna grab a triangle. So I got my triangle tool. I go ahead and I flip this over. And what I'm looking to do here is I'm going to go ahead and rotate this. I'm gonna make sure I'm locked in for 90. And now with this selected, I'm gonna go ahead and I'm gonna make sure that I'm where I want it to be. I'm gonna move this into position. Now, you see that? It kind of disappears here. That blue lines gonna disappear here in a second, I'm gonna show you how to fix this. Let's duplicate it. And now that creates another triangle. And with your move tool selected, you're gonna drag it over. Now, you see, you can't quite tell where the rectangles are. I should say the triangles went. Watch this, Come over to the studio to the navigator and change up the view. Now you see the outline. The outline mode is super beneficial for stuff like this, because now I can change up my finger position anyway, I want. And now I'm going to show you something new. We're gonna go ahead and we're going to expand these triangles out just a little bit. Watch this. Select. The trap is oId Put your finger on, select both of their triangles. Come up to this triple dot right here and now. I know you don't know what you do and yet hit the subtraction now what just happened? It subtracted those triangles from the trap is oId So we turn on our vector. Look what just happened. That's what's called the subtraction operation. And we're gonna cover that in later lessons. So you could do it a couple different ways. I chose to do it that way. Now, let's go to layer. And you see, we've got a curve in a rectangle. Let's go ahead and group that bad, boy. Okay, so we grouped it, We shrunk it. Now we rotate it. And now what we're gonna dio is with our move tool selected. We're gonna go ahead, zoom in, and we're gonna go ahead and place it. All right? Perfect. So now what we want to do now is we want to duplicate the success, right? So let's do this. Grab the group, come over here and duplicate it, and now come to your transform panel and flip it. And now we bring it over and we can place it, and because we have snapping on it will snap it where we want. Now, watch this. I hold both of those. I put my finger on it to grab both of those and I duplicate those now I flip those horizontally, and now I can work with the feet. I think we're in pretty good shape there. I'm gonna go ahead and make sure that we're relatively centered. All right. Perfect. Now, let's go ahead and wrap this thing up real quick. I'm gonna grab it all so click and drag bringing all the layers and we're gonna group And let's rename the group Turtle Icon perfect. Later in the class, this is going to come back again. All right, folks, you have just completed your first successful turtle icon. Now I'm gonna show you how to export. All right? So we're right here. I'm gonna hit export. We're gonna go ahead and we're going to save it is a J peg. Now, when we look at dimensions and quality, we're gonna save it as a 1000 by 1000 J peg, I'm going to save the quality up. I'm gonna go ahead and I'm gonna choose high quality. 85% is completely fine for this. We're gonna make sure the mad is there and you can save the whole document, or you could just save the selection. I'm gonna go ahead, and I'm gonna is going to save the selection with the background, and then we're gonna go ahead and we're gonna hit. Okay? And where do we want to save it? I'm gonna save it to Dropbox, and I'm gonna hit at There we go, folks, And we have a perfectly functional turtle there in the Southwest style. Hope you learn a little something. I look forward to seeing what you guys put in these Simon's folder. Other than that, let's go ahead and get down in the next lesson. And I'm gonna show you some more cool stuff about shapes. All right, seeing the next one. 10. Aligning and distributing shapes : All right, folks. And welcome back to affinity designer for the iPad. So in this lesson, we're gonna talk about the transformation studio specifically aligning and distributing objects, because in the next lesson, it's gonna come up. All right, so let's go ahead and get started. Let's first get ourselves some shapes to work with. I'm gonna create a red triangle. I'm going to create a cloud. And let's make this a green cloud, cause green clouds are good all right? And let's go ahead now and create a Let's go with a blue square. All right? There are now three objects on the board. Four objects. Alright, Editor, go ahead and back up. There are now three shapes on the board. Let's go ahead and get started. So we're gonna come down here to the transformation studio. So we already know how to do things in the transformed studio. As an example, you can go ahead and you can flip the triangle. We've already seen this. So we've already known how to adjust the size of things. We can lock the aspect ratio and we can zip from around to change the size. We can reposition through the transform panel and we all know about the anchor points. So we're all in good shape here. However, when we go to alignment, we haven't talked about this. Let's go ahead and spread these things out using the move tool. Now, let's go ahead and put him in different quadrants of the world. All right, so now we're gonna take our apple pencil and we're gonna drag across. And now what we're going to do is we're going to go ahead and distribute them horizontally . Now, you see? Then it took him all and brought him to the center. We could distribute them to the left, or we're gonna line him to the right. I'm sorry. We can align them to the left or align them to the right. We're good. So now what? We want to be able to dio I want to distribute these vertically. The distribute boxes, folks are the fourth icons in there. The two gray boxes with the two blue lines in front of them. So we're gonna go ahead and align vertically. Now what that does affinity designer will make a judgment call and it will evenly space out between these shapes Now I can prove this. Let's go ahead and grab a rectangle and let's go ahead and put a rectangle in between two shapes. Now let's go ahead and move, said Rectangle. Now believe these two shapes. Notice how they're exactly the same. So that's what distribution does. It makes the space between the shapes exactly the same. Now gets a little more complicated. Let's say that we wanted to override auto, So if we've got all three of these, let's go ahead and select. We're gonna go ahead and we're going to distribute its vital You hit that distribute and we click off Auto. Now watch this Right now there's zero pixels in between these. We can go ahead and adjust and remove pixels. Or we can specify. Right now, it's a 54.6 pixels. You got the idea. So now let's go ahead and rearrange the deck here. We're gonna go ahead and move these all different areas. Now, let's say here, let's go ahead and take this guy out of the mix. All right? Now we're gonna go ahead and now pay attention here. I'm going to grab the Red Triangle first because we've been dealing in defaults When I go ahead and I a line, let's go ahead and align vertically to the top. Now, when I go ahead and align vertically to the top, look what happens. Notice that it's a selection. Bounds, Watch what happens here. If I move to the right, I can adjust by spread. I can adjust by the first selected at which one did I select First the Red Triangle Or I can do the last selected notice. Now it brought me down to the Blue Square, which was at the bottom. So once I've done this part, let's go ahead in the line horizontally. So I'm gonna take these three things. I don't line them up. And then I'm gonna check my spacing because I just did it in an auto and I'm gonna prove to you that we're going. It's strong and that they're equal. And there they are, folks, equal spacing. Now I'm gonna go ahead and delete my ruler here. If you wanted to override it again, here's what you do. Make sure you got all three. All right, come over here. Distribute, Click off auto. And now you can mess with all sorts of these things right, and you'll see how we start kind of creeping together. Now you're gonna say, Jeremy, I want to be specific and precise in this is going click in that 1.7. Make it zero. Now you see how close the red strangle is to the blue square? There's a little bit of a gap, But look at what's happening. If I grab a little ruler here and I come up in the center, we are dead on and you can see right here we're dead on you. See how that green cloud is touching the blue square. So that's how you align and distribute Infinity designer for iPad using multiple shapes. There's a lot of power in this. Now, the last thing that I want to show you that you may not know, Let's go ahead and get rid of this. We're gonna come over to the transform panel. I'm gonna click out of alignment because we saw that show, You know, all about anchor points. We know all about how to adjust position and rotation and cheer were good, but what I want to show you here is this area called order. Now let's go to layers Let's go ahead and spread these out a little bit. All right, Now you see in the order, the rectangle is king, followed by the green cloud, followed by the red rectangles. Let's go ahead and move this green cloud in, and now this kind of matches the order of layer. Now watch this. Let's say I want to move the green cloud front and center. Go to transform, select the green Cloud. And then in the transform panel, you see that little blue square above the gray one. What that's going to do. It's gonna promote it to the top of the stack. Now, when I come up, the green cloud is at the top of the stack. The order function is a nice way to quickly transform without having to go into the lair structure. You can do the same thing in layers. You just click and drag. Some people like the transform panel. Some don't. I personally like to work with my layers panel, so that's what I would advise you to do. All right, folks, that's a little bit about the transform handle with working. It shapes in affinity. Designer for iPad. Let's go ahead and get into the next lesson 11. Snapping with shapes : All right, gang. And welcome back to affinity Designer. This is gonna be a real quick lesson on snapping in shapes. So we're not gonna cover any of the node stuff. That's for a whole different lecture when we talk about curves. So in order to do this, let's talk a little bit about what snapping is. You see that as I get this blue rectangle closer to the green cloud, this green line appears. That means it's snapped vertically. Now I can snap vertically. I can snap horizontally to things. All right, so it's a matter of where this blue rectangle reaches out to, and it looks for things to try to snap to, and you'll see that here the red line develops. This is a horizontal snap, and if you're working with the iPad here, you'll almost feel this shape pulled toward these things. Now, in order to adjust these things, you come over to the document menu, which is in the upper left hand corner, and you'd click on snapping. Now there's a universal control toggle on toggle off. And then there's presets. Let's go ahead and do page layout with objects. Now if we go back to done. You'll see. How was I got close to the objects. It was a snapping to those as well. Now it's definitely snapping to him. And it's also given me the distance in pixels between the two objects in this case 126.6 between that blue rectangle and the green cloud. So the presets are right here and now watch the things in the right hand side. These little blue dots object creation changes the blue dots. User interface design changes the blue dots. So depending on what you're trying to do with it, the blue dots change. I'm going to keep it as page layout. And now I want to introduce you to something called a candidate candidate. Here is something you can snap to. So depending on your preset, you can look across all layers. You can look at the immediate layer next to it and all of the child layers. You could look at just the layer you're on, or you could pull from a list. Now, if you're on the list, watch this. You click on show the candidates you had done. Now I don't know if this shows up well at home, but you see a faint red outline around this blue rectangle. When you see a faint red outline around all your shapes, it means that their candidates to snap to. So if you accidentally turn that on, that's what that means. So if you're having problems snapping, check out whether or not what you're looking at is a candidate. All right, The last thing that I want to show you now is on the right hand side here. There are some blue dots that I turn on when I'm working on, Say, the grid. You see, there's one here called Snap to Grid. You could turn that on, and now I'm gonna show you where the grid is. There's a whole lesson on grids, but I'll show you early. Come over to your document menu, click on the grid and show the grid bingo that wants this. We grab any one of these shapes, and now you see, it's snapping to the grid in addition to snapping to all of the other candidates around. So it's actually pulling toward this grid you see here it snapped to the blue rectangle, and so you're moving it through and Now it's snapping to the grid. That's what snapped, agreed means. Now let's turn off the grid to turn off the grid. We come back to the document menu and we go to the eye and we turn it off so we don't see it anymore. And then let's turn it off from snapping. Gonna turn that off? So that's how you adjust the preferences for what? You snap two on the right hand side. So you know about candidates you know about presets. You know where to find the snapping menu. I think we're pretty good to go. Let's go ahead and in this lecture and let's go ahead and get into the next one so you can get back to the art making. All right folks will see in the next one. 12. Operations and shapes : All right, folks. And welcome back to one of my favorite lessons. This lesson is all about operations. And I think if you master operations, it is an essential skill for, like, t shirt building una color design everything. So we're gonna be doing a lot of operations coming up. So let's go ahead and get started. Now we're gonna grab a couple designed, So let's go ahead, and I'm gonna hold my finger here. We're gonna get a red square, We're gonna go ahead and we're gonna grab a Let's make it a little bit cleaner. Let's grab a diamond. So I then grab a diamond. And now let's go ahead and make that green, Okay? And then lastly, let's grab one more and we're gonna grab. Oh, I don't know. Let's go ahead and grab. It's here. All right. So we go ahead and drag out a tear, and now what I'm gonna do, I'm gonna go ahead and make that blue. All right, So we're gonna shed a blue tear. There we go. We're in good business here. All right, Now watch this. Going to grab the diamond? Okay, Move over to the move to about that uh, we're gonna center it. Notice I got my snapping on. And now let's look at our layer structure. I've selected the diamond layer. I selected the rectangle there. You want to select both. Now watch this. You come over to the three dots and we're going to teach you how to do a subtraction operation first. So all you do tap the subtraction. What just happened? Look at that. We now were removed the diamond from the Red Square and look over the layers menu. You'll notice that you don't have a shape anymore. You have a curve. So this bad boy is now a curve. And this piece, if I was to move it over, I can now see the diamond through it just to make sure. Let's go ahead and bring it up above click, drag and frame it up. That looks pretty good there. All right, so that's a subtraction operation. Now, let's do in addition, operation. Let's say that I want to create a new shape and let's go ahead and add Oh, I don't know. Let's go ahead and add a diamond. Another diamond to this particular tear. Now we're gonna grab the diamond gonna move it to the bottom here, and we're gonna create this kind of shape. Now, I use my move tool to select both my shapes and I move them up front and center. Now, watch this. Come back to our three dots and we go ahead and perform in addition, Operation that what's gonna happen? It combines the two. This is how you combine shapes to make all sorts of really crazy type of positions all really kind of crazy type of shapes. Now, let's look at the layers panel. Notice how? Now there's two curves. All right, let's do it again. We're gonna grab the diamond tool. I'm gonna hold it. I'm gonna create a diamond. And now let's go ahead here and let's create a star. Okay? Now we're gonna make the star a little bit bigger. Hold it with your finger and make sure the stars a little bigger. And then just for giggles, let's go ahead and make that bright red. All right, so let's go ahead. Now we're gonna grab the layer and we're gonna move the diamond. Let's go ahead, move it on top of the star just for giggles. Okay? No, we're not within it. That's not what I wanted in that wacky later structure. All right, so with this selected removed on over and we're good, Okay, I think we're in pretty good shape. So you got the stars, You got the diamond. Now let's come back to three circles. And now we're going to go ahead and I'm gonna show you how to do an intersection. Now, the intersection is only going to keep the section that intersects it all. Watch this. Now, why didn't that work? I don't have them both selected. Hey, there we go. Now you see the intersection shape. It's vaguely outlined. It's gonna be the center of that star. It's gonna create a really weird shape. And that's the shape that selected and notice. It kept the color of the base shape. That's an intersection operation. So we come over to the intersection operation. Let's do another one. Let's grab a dividing operations. Let's grab two triangles. All right. Triangle one is red. Next Lee triangle to, and that one is going to be I agree that work. All right, let's position the tubes so that we've got this type of situation here. So one is on top of another one. Okay, Now we're gonna selected both because its key. When you do these operations, you select on both. And now coming over to the three circles, we're going to do a division operation. Now, you see the divide. This is gonna take it, and it's gonna make three distinct shapes. Watch this divide. Now, if I do this one to 33 distinct shapes out of two. You see, that's a division operation. Now I'm gonna show you one more. You know where we're going with this? Grab a couple shapes. Let's go ahead this time and grab any lips we're gonna hold down. I'm gonna go ahead and create the ellipse, and we're gonna make sure that we are consistent. All right. Perfect. And now let's go ahead and grab a cloud. All right, so we grab a cloud shape. Let's go ahead and make the cloud a little bit bigger. All right, let's make the cloud read or kind of a pinkish. All right, that'll work. Pink cloud, green circle. All right, so position the two, so that one is kind of on top of the other. Now, let's look at their layer structure, a lips and cloud sweep both the layers. Make sure that both selected in order to do the operation. Now it's the joining area that's going to be removed. So you see the area where the circle and the cloud overlap. Come over to the three dots and hit the combine function. And again it took the color off the base. And now what? It it just hold. You've now got this really funky shape with a hole in it. You see, here we can see all of the different shapes now inside of it. So there are endless possibilities to using these operations. And I will tell you, with their bones minimum shapes, you could make some really cool stuff. We're actually gonna make some really cool stuff here in the large project that's coming out. That being said, why don't we go ahead, cut this one and let's move one step closer to doing some really cool art. All right, we'll see in the next one 13. Cross cannon intro complete: Mar'ie. Folks, welcome back to this challenge. So this is gonna be all about cross Cannon. So we worked through with some of those operations. I'm interested to see if you can take the operation information and the ability to say create an originate from the center. And can you recreate these cross cannons or some version? They're up now. These air not internally stylized. These are not incredibly intricate. This is an application of shape. So go ahead, give it a shot. Snap your screenshot. Drop your J peg in the area following. And if you want to skip to the end, see how the sauces we'd go ahead and down on my work file. Watch the video. I'll watch through the whole thing. All right? Best of luck in the challenge will see on the other side. 14. Cross cannons solution : all right, folks who look back to affinity designers. So in the last lessons, we've been working on operations snapping and a whole bunch of really dry material. So let's go ahead and actually do it. We're gonna go ahead and now make these cannons, So let's get into it. So the first thing that we're going to do, we're gonna start with shape, we're gonna make one cannon, and then we're gonna replicate it. Now a cannon has a shape, right? So it's a trap is oh, it So let's go ahead and make a Travis oId. Now, I'm not really interested in working in a pink cannon, so I'm gonna go ahead and make this black for right now, and I'm gonna go ahead and I'm going to move it. I'm gonna hold it so that were centered at 90. And now I'm gonna come around and I'm going to go ahead and grab a Oh, I don't know. Let's go ahead and grab the lips. There's a lot of ways you could do it. You could have done it and make it a on a curve. But I'm gonna go ahead and I'm gonna make it in the lips, and then I'm gonna go ahead and expand this ellipse just a little bit until I touched the sides of this thing. Notice my snapping is on. All right, That looks pretty good. There. Now, you can go ahead and adjust the size of the can. And if you want, until it comes up, I think that that's pretty good. Now, I grabbed both pieces, and now I come in and I'm going to do an operation, and I go and I add All right, perfect. Now you see in my layer structure that makes that a curve. Now we're gonna come over to the Ellipse tool and, um, and grabbed the rectangle tool. And I'm gonna go ahead now and draw out a good rectangle. Now, what I'm going to do here, I want these corners. Let's go ahead and zoom in a little bit to be rounded, so I'm gonna go ahead and make thes round. All right? Perfect. Now, I haven't shown you that it's in the context. Toolbar. Remember that all the shapes have adjustment. So now we're gonna go ahead and position this and I'm in a position this a little ways back looks pretty good right about here. Go ahead. Position it where we need to. All right, Now you see that? That's off. Now, why's that off? Let's go and check out our snapping preferences. We're gonna grab snapping. Well, I'm gonna go ahead and I'm gonna go page layout with object, and I'm gonna get done. And now we're snapping to the canon. Perfect. Now I want this cannon out to have kind of a square muzzle on it. So let's go ahead and bring this thing up just like this. Let's go ahead and drop that down just a little. And I think that we're in pretty good shape. I want this to stick out a little bit, all right? And then I'm going to bring this down just like that. Perfect. Now that one has the wrong tip on it, too. So I'm gonna go ahead and I'm gonna make this around as well. All right? How does that look? All right, looking good. Now, let's go ahead and create one more. Come over here. Let's go ahead and create this guy here and put this guy just like so and with our tool selected. Let's go ahead and around those corners can is looking good. Okay, now a couple more. Here, Let's go ahead one more time. Grab a rectangle. Come over here. Go ahead and zip that up. Zoom in a little bit, make the corner type on that round again, and we're in pretty good shape with that. And one more Let's go ahead now and bring in an ellipse. We're gonna go ahead and pull this ellipse We're gonna make it already symmetrical. And now we're gonna go ahead and move this into position. No, that didn't snap quite the way I wanted to to There we go. All right, so that looks pretty good. So let's go ahead and grab all of these and because everything is touching everything, we're gonna come up here and we're gonna go in. We're gonna add. And now I have a completed canon outline looking pretty good. Now, we could have done a lot more with it in terms of the shape selection and that kind of thing. But I'm not gonna worry too much about that right now. That's a lesson for another time. We're gonna go ahead and we're gonna shrink this down now and I want to go ahead and shrink it according to the size. So I'm gonna put my finger on it, and I'm gonna rotate. Said Cannon. All right. Perfect. Now I want to go and rotate it. We're good, and we move it over, and now we come over and we're going to duplicate it. Now, how do we duplicate it? Coming over to duplicate away it goes. And now let's go and transform it. We're gonna come over and we're going to flip it just like that. All right? Okay, so we're in pretty good shape there. Now we have to figure out what touches What now I'm gonna show you something new. You haven't seen this before. We're gonna come over here, and all shapes have an outline. Right? So we're gonna grab the outline, and we're gonna go ahead and expand this outline ever so slightly, and let's make it a different color. We're gonna go ahead and we're gonna make it. Oops, white. But not that. We're gonna go ahead and make the outline White. Hey, there we go. All right, we're gonna work this and we're gonna move it a little bit until we're happy. with what we see, I think I'm pretty happy with what I see Right there. And now, Watch this with the shape selected here. Ah, let's go ahead and turn that down. Just ever so slightly there. Good deal. That's better. All right, now we're where I want to be. We're gonna come over here and I'm going to introduce you to the expand stroke option. Now, watch what happens. I expand the stroke, which now means I have a curve that looks like a stroke. Now watch this. I'm gonna take that curve. I'm gonna move it in between the cannons and when the swipe that curve in this curve and I'm gonna perform a subtraction operation. And now what just happened? I now have a nice differentiator between my curves. So let's go ahead and move this. Just so you see what's up? See what I have here? It actually cut away those pieces, which now, as the cannon reads, is a really good thing. And now I can move this anywhere I want. I can blow it up to any size I want, and that thing is ready to put on a T shirt or something else. transparent. Now, let's go ahead and touch one more base here with bold Blair selected. I'm gonna go ahead and I'm gonna kind of go somewhat in a green for the Phil. And here I'm gonna go ahead and turn that off. I don't want any of that. And I want the feel that kind of be a green. And I wanted to kind of be a greenish color. All right, folks. So that's a little bit about how you can use shapes with operations to create some really cool effects. And I also introduced you to the ability to expand the stroke. Now, you could have done it the other way, right? You could have just put the stroke on the shape. That would have gotten the job done. I just took you to the next level before we actually got there. Alright, folks, let's go ahead. Take the next step and we'll see in the next one. Good challenge 15. Power duplication and expressions : All right, folks. And welcome back to affinity designer for iPad. Now, this is one of the coolest features in affinity. I use it all the time, and I couldn't be happier that they made it so much simpler for the iPad, this, folks, the power duplicate function. So in order to do this, let's go ahead and grab ourselves a square or a star or a heart or anything you want to use . I'm gonna go ahead and I'm gonna work with the star. You know what? Now I'm gonna go ahead and I'm gonna work with a heart. We're gonna go ahead, make red hearts today because I'm feeling in love with this function. All right? We grab the heart, and now we come over here. This is perfect. We're gonna go ahead. We're gonna make this a red heart, right? Good to go a little bit. Pinkish red. We're in good shape. All right. So I got this heart. Now, this is kind of cool if you go through and you come up here and you duplicate this shape. Now watch this. I'm clicking with my apple pencil and I'm moving it a certain amount and you'll notice Snapping is on right? 47.8 pixels. Now, watch this because the affinity program remembers your selection. All you have to do now is that duplicate again. And Pau Power duplicate 100%. Now, let's go ahead and re center these here. All right, Perfect. Now let's make a another row of hearts right to do this. We're gonna come down, We're gonna duplicate the entire group. We're gonna come down here. We're gonna set him up wherever they are here, about 44.1 pixels away from one another. And because affinity for iPad is so frickin smart, we duplicate again. And now we have nine. The power duplicate in affinity Designer is super duper powerful. Now, that being said, when combined with expressions all man, it is absolutely phenomenal. So let's go ahead and wrap this thing word. You going to do expressions as well as power duplicate. So let's go ahead and do this. Let's go ahead and elite out all the hearts, right, Because, quite frankly, this video is only about two minutes, so I could do better than this. Now, here's how you combined the tube. So stay with me Now you've got a shape. We're gonna go ahead and we're going to duplicate that shape. So step one, duplicate the shape. Notice how I've got a separate hard here. I'm bringing up my transform panel and now I'm going to want to move it in the X axes and let's go ahead and let's move it. Oh, I don't know. Maybe 300 percent where I should say 300 pixels. So it's 60.3 is where it currently is in the X you go plus 300 hit. Okay, there goes. Now watch this. Let's say I want to shrink this bad boy by about 20% so I only wanted to be 80% is big. Make sure the about center is checked. You see down in the context toolbar. I've got the about center checked. Make sure your aspect ratio is locked. You'll see here. I just put that circle around the aspect ratio. Click on the height and multiply this height by 0.8 that will make it 80% of the size it is and hit. OK, now see that that's normal. So we just changed it. Now watch this duplicate duplicate duplicate Now it has taken the expression it has moved all of the hearts. Hoopes said, just stunned. Did that because I didn't hold the aspect ratio. And you can now power duplicate that thing all day long. So in this 14 minutes, you learned how to power duplicate, and you learned how to work with expressions and again the expressions air formed in the transform panel. And it's very, very simple to do so you can rotate it. You can resize it, you can position it. And that's how you do an expression. So let's go ahead and do one more simply because I like doing this so much. Let's go ahead and grab a square this time. All right? We're gonna hold it. We're gonna make a normal square. All right, Now we're gonna go ahead and we're gonna duplicate it. But now I'm gonna come to my transform panel, and I want to move this square in the X direction. So I'm gonna go ahead and I'm gonna move it 300 pixels and I hit. OK, awesome. Then I want to go ahead and I want to resize it. Now if I want to resize it around the center. This is key. Move the anchor point to the center that's going to help you re sizing. And then with the aspect ratio locked, let's go ahead and reduce it by 80%. But this time I'm gonna click on with just show you what's up. Multiply by 0.8 and hit. OK, cool. Now, without doing anything pencils up, right. All you got to do to replicate it. Duplicate duplicate. This power duplicate is absolutely crucial. It is so much easier than the old method. And the expressions are so much easier to do as well. I'm totally in love with this feature. All right? Now, in order to pull that off, remember what you gotta do. You gotta make sure the about center is checked in the context toolbar. And when you go to resize, you've got to make sure that that anchor point is in this center on the transform panel. All right, folks, hope you had a good one. Will go ahead catching the next lecture. Let's go ahead and take the next step and get closer to make it smart. All right. See the next one 16. Utilizing the symbols panel : All right, folks, look back to a fitting designer. So we're gonna show you something really cool here, Right? There is something in affinity designer called the symbols studio. So in order to find this, we go to the far right hand side and we grab this little wagon wheel looking thing right over on the studio panel. This is what is called the symbol panel. Now, a symbol is something you put in there and you can modify the first instance and it will modify every other instance. Now, I know you don't know what that means yet, so let's go ahead and get started with that. Let's go ahead and grab a shape, because this lessens all about shapes. I'm gonna grab this square star tool. I'm gonna hold it down with my finger, and then I'm gonna go ahead and modify it a little bit. So I get this kind of looking tree thing. Now I've got this thing. It's in my layers area here. You see, I'm in the lair studio, but now what I want to do, I want to make a symbol lot of it. To do that, I come to my symbols studio I click on the three dots and then I add a symbol from a selection. Now you see, I have a new symbol in this area. All right, Perfect. So now if I wanted to change the color, I could I could make it red. But that's just modifying shape. What's the big deal about that? Let's go ahead. Come up here and duplicate. So we'll duplicate it and we'll grab our duplicate layer and we'll bring it side by side. Now watch this. If I move either one of these in terms of color, it changes them all. So if I do another duplicate, I can do this and I can duplicate it one more and what this allows me to do. Excuse me, is I can now change all of them together. Now, how do I do that? I come down to the symbol I grabbed the symbol. All right, so you've seen how to modify the symbols. Now you just really cool things with this. Let's go ahead and add in effect. Now, with one of the symbols selected, you can go to the three D and you click it on Select the three D and now move your apple pencil to the right and you'll see that you applied a three D effect. We saw this in the doghouse. You see it here again. Now let's go back to the symbols panel. Let's say that you've got one. So let's select this one of the lower corner that you do not want to modify any longer. You come up to the Triple Menu and you detach the symbol in the selection. Now watch this with this symbol selected. You can modify that freely. You can come over here, you can turn it off and it does not affect any of the others. So that's how to remove an instance from the selection. And now, if I wanted to bring it back into the fold, you could always add from a selection. So we come back here, we select that, and then we add the symbol back into the selection, and now you see, it's a different symbol, though it's not the same. But now, if I wanted to do this, I could insert another instance of it, bring it up over here and then when I modified these, because this is a whole different symbol now, we now can modify that all. So you know how to create a symbol. You know how to remove a symbol from the group. You know how to create a separate one and the last thing that I want to show you here. If you click on the green, you can delete a symbol, and if you click here, you can delete a symbol. So that's a little bit about this symbols panel. It's not terribly complicated, but as we get into the next project, you're going to want to learn how to do this because, believe me or not, it will save you a ton of time. All right, folks will see in the next one. Have a good one. 17. All about grids : All right, gang. And welcome back to affinity Designer. So this lesson it's all gonna be about grids now. Usually, I say the workspace size doesn't really matter, but in this case, it absolutely matters. So you're gonna wanna work space that is 1000 by 1000 pixels. I like square. So I turn to make square workspaces. So go ahead and create that size workspace. And then the way you get to your grid is you come down to this document menu here and we turn on the grid. Now, it doesn't look like a lot happened, right? Look at the context toolbar, though. The first thing you want to do you see the little eyeball there. Click on show grid. All right. Now. Minus set up for the last time I did this, let me walk you through the three areas. Now the grid mode is important. This is where you have all sorts of grid modes. Right now. You see, mine don't make a lot of sense. That's because I have the gutter turned up very, very high. What's going and crank down this gutter. So now when you do this, you see that the grids tend to make a little more sense. You've got horizontal triangular you've got try metric. You've got isometric. I'll tell you what, 99.9% of the time. I'm just using the standard old grid. I don't do a lot of perspective drawing. I don't do a lot of geometric designing like that. So to me, I have no idea what many of those grids air used for. And if you do making tutorial and tell me what they used for, I'd appreciate it. So now that's the first part. Is figuring out the grid mode the 2nd 1 now is the gutter. Let's go and turn down the gutter. Now the gutter, as you see, is the distance between the individual grids, like right here. It's a 6.2 pixel. I'm gonna make my gutter five pixels. Now, what that means is if I zoom in the distance between my grids is five pixels. Now, when it comes to spacing, I want a tap on spacing and I want to make each big square 100 pixels. All right, so you see that we just did that. We're in good shape. So each one of these squares is 100 pixels, which means across I should have somewhere around nine boxes, give or take, because, honestly, the gutter is consuming some of that size, so you're not gonna get a perfect 10. How do you get a perfect 10? You reduce the gutter to zero. Now there's 10. 123456789 10. That's why your workspace sides was important. 1000 pixels, divided evenly by 100 is 10. So you now have 10 by 10 and the major lines I've made red. Now you see all the little lines. Let's go ahead and zoom in here. You see that there are 41 divisions in this bad boy. That is a crazy amount. Let's make those little lines. Let's only make their 10 divisions all right, that's a lot better. Now you see that the little blue squares. Then there's 10 of them inside the 10 big red ones. So when you create a grid, you create this type of grid you want using this area here, and then when you go to standard, you set your major spacing, which is where you want the red lines. So to speak the divisions. Let's say I only want five. What would that make each division if you had five and it was 100 pixels wide. Each one of those squares would be five by five pixels. That's how the math works on it, right? I'm sorry. 20 pixels, 20 times, 500. So 20 pixels wide. And then here the third thing. You see how I got there? I pushed the context toolbar using the little white arrow on the right hand side. You can set your major lines and your minor line colors. So watch this. If you select this, it makes them both the same. I don't select that. I like them to be different, so you can come around and sharing any color you want, and you could make it black if you want. That looks good, and then you could make the miners. You can leave those bright red if you want. I think that looks good because with my vision, I like to see the major lines different from the red lines. So when you work with guides or I should say when you work with grids, that's how you adjust the grid. That's how you view the grid. And now you know the difference between the spacing, the divisions and what the gutter is. And again, just in case you wanted to see what the gutter is, turn it up to five. And now you see this works usually receive this in like icon design. You would make an icon that was ah, 100 pixels by 100 pixels. And you'd want this icon to be present Onley in that space and you'd want good differentiation between that and your next one. Alright, folks, let's go ahead and into here. Let's go ahead and take the next step and get into a project. All right? See the next one? 18. Making a seamless texture template: are again. Welcome back to affinity designer. So we've been talking about all sorts of shapes, all sorts of stuff. We've been talking about the guides. We've been talking about the grids. So let's go ahead and actually get with the do. And now we're gonna show you how to make what is called a seamless texture. Now, you know all you need to know. In order to pull this off, what you're gonna have to do, we're gonna burst, make a template. So let's go ahead now and let's go ahead and hit the plus sign and let's add a new document . Now, I'm gonna go ahead and I'm gonna be working in the web persona. And it doesn't really matter what size you make your document, but in seamless textures. You want to make it square, so I'm gonna make a 1000 pixel by 1000 pixel template for this. All right, I'm at 72 d p. I and I'm gonna go ahead and hit. OK, Now we're gonna make this a four by four, so to speak. All right, So what we really want to do now is we want to create four squares, so Let's grab our rectangle tool. Let's go ahead and hold it so that it's perfectly square. And then we're going to get real precise with it. We're gonna grab the transform studio. We're gonna lock the aspect ratio. You see how I'm toggle ing that on and off? I'm gonna tap on it, and I'm gonna make this to 50. Now, you see, now I got a 250 pixel square by a 250 pixel square. Oops. We only want one square, and I'm gonna go ahead and move it into the corner. Now, you see, snapping is on, so you have to know a little bit about snapping. That's why we went through the lesson. Now we're gonna now create a symbol. So to do this, we come up to our simple paddle. We click on the little three icon menu and we add symbol from selection. Perfect. Now we're gonna go ahead and we're gonna duplicate this bad boy. So let's duplicate with the move to well selected and snapping on now because of power duplicate, guess what is going to do? Duplicate and duplicate man. I love power duplicate. All right, let's grab all four of those. And guess we're gonna dio We're going to duplicate him and we're gonna zoom him up. We're gonna snap him into position, and then guess what we're going to Dio. We're gonna go ahead and we're going to duplicate again, and we're going to duplicate one more time. All right, so what you really have is a total of 16 squares that you can use as a template. Now, let's go to our layers panel. And I think that it's important to show what the one I want to use is I want to use this one here in the upper left hand corner as my master. So you see that this is now somewhere down the stack, let's go ahead and drag this to the top of the stack. And now let's select every symbol down below. So we right, swipe right swipe And we right, swipe them all here, folks. Okay. And once we get to the end of the stack, just like so we group them all right Now, I'm gonna go ahead and I'm gonna lock the group because I don't want to mess with a group anymore. And I'm on Lee now going to mess with the symbol. Now for the purposes of the template. That's a Sfar as I want to go with this video. This video is about getting you a template. Now, in order to save this template, let's go ahead. Come up here when we're to save a copy and we're going to go ahead and we're gonna change the file name and we're gonna delete it all. And we're gonna call this seamless texture palette. Copy. Let's go with this scene was texture template, and we'll call this the four x four. All right, folks, that's it. We hit return, and now we save, and it'll ask you where you want to save it. We're gonna go ahead and save it on the iPad. I'm gonna go ahead and I'm gonna save it in my designer file and I'm gonna add All right, let's go ahead and stop the video there. We've created our first template for a seamless texture. And then let's go ahead and make it in the next one. All right, We'll see in the next one 19. Making a Plaid texture : All right, folks. Welcome back to Affinity designer. Now the last lesson. We went ahead and we created a seamless texture templates. So let's go ahead and find that. So there's my template. All right, And now let's go ahead and check out the layer structure. We've got this symbol. So you're working with symbols concept, and now let's go ahead and make a really simple plaid one. I know Platt is not the most exciting. Well, sometimes it is. Sometimes they went to plaid. So let's go ahead here and let's go ahead and insert an image. So to do this, there's an image in your downloads. We're gonna go ahead and we're going to go up in place, an image. And then we're gonna import from photos because that's where I put it. And let's go ahead and find all photos now. Oops, boy, I don't know quite which one I grabbed there. Let's do it again. Here, make sure we're good. All right, All photos and we're gonna go ahead and grab this version of plaid. Now we're gonna drag it, and then that's going to be our guideline image. Now, let's go ahead and just zoom it in. Now let's see what we've got here. Well, looks like we've got a square of red. So we're gonna work with our symbol there, and we're gonna go ahead then and make it read. All right? Rocket science. I know. All right, let's go ahead and move this down. Now, I'm gonna go ahead and cheat a little bit because I'm not gonna take all day to make a texture out of this thing, right? But we're gonna make it with the shape. So I'm gonna come down here and I'm gonna drag out a rectangle, and I'm going to go ahead and fill it with black Cool. So let's check out my layer structure Rectangle, photo symbol group. Let's take the rectangle. Click and drag and drag it inside the symbol. All right. Now you see what just happened there? We now have symbols all over, right? Because symbols change. And then when we do this, let's grab our layer structure. I want to pull this actually down into the rectangle, so I'm gonna pull it again, and I'm going to move it down until the blue line goes inside the rectangle. Perfect. Now I have a nested object. Now I want to go ahead and judge just the opacity on this. That's when I said I was kind of going to cheat a little bit. So let's go here to this layer and let's go ahead and turn down the opacity ever so slightly. All right, Perfect. Now on this square, this rectangle, which is one of our symbols there. Let's go ahead and put a stroke on it. So we're gonna turn up the stroke a little bit and I'm gonna go ahead and turn down the opacity. Also, let's keep it where it is. I kind of like it like that. So let's go ahead and center this bad boy up a little bit better. We can do better. Come down to the rectangle, and we're going to place it in the center. We go make sure snap ings on, centered up beautiful. Now let's make sure the rectangle selected. Let's come up to the three dots here and duplicate the layer and let's go ahead and move it 90 degrees. All right, Perfect. Now let's go ahead and duplicate it one more time. Let's go ahead and move it 90 degrees and let's Go ahead. Zoom in now and we're gonna shrink it. All right? We're gonna go ahead and shrink it down a little bit, and then we're gonna move it right about here. All right? Now we're gonna zoom this in even further. I want to shrink that until we're right about here. All right, let's see what we got that's looking pretty close to what we want. I think we're in fairly good shape with that. Now, let's go ahead and do this. Let's go ahead. Come back to our layer and you'll see how all of this is taking place inside the rectangle . Let's go ahead and duplicate this again. So now let's go ahead and grab this rectangle and let's go ahead now and duplicate it. We're gonna duplicate it, and we're gonna go ahead and we're gonna swing it. And I've got my finger on the screen. So we only swing at 45 and I zoom in and we place it. Now let's go ahead and zoom out. Notice. I gotta zoom out there. Beautiful. All right, now let's do it again. One more, duplicate that swing at 90. Put one finger down to lock it into 90 and let's go ahead and move it into position. Here. 40 and 40. Perfect. We are dead on. All right, we're moving right through this thing. Now, let's go ahead and check this out. Now, I got to do the white lines, right? In order to do this same technique, we're gonna come down into the layer were to grab one of these thin lines. We're gonna go ahead and we're gonna duplicate it, and I'm gonna pull it. Oops. Don't grab that. I'm gonna pull it. Gonna zoom in. Right? All right, let's zoom in. It's trying not to do that, but not going to get away from it. Okay, so we grab it with the move tool selected, and then we pull it into position, and we're now going to make that white. All right, now you see how that's kind of a dingy white. That's because our opacity is down. Let's go up to this layer, click on the three dots and crank the opacity of just a little bit. I want that to be a little bit bolder than it turns out than the rest of it. All right, looking good. Now let's go and take the next step. We've got these yellow lines. So let's go ahead now. And guess how we're gonna do the yellow lines exactly like we did the others. So I come down to my layer, come and I find a thin line, and I duplicated I zoom in so I don't make the same mistake that I did last time. And with my move tool selected, I move it into position, and then I feel it beautiful. And I actually like that delayed Look, Now we're gonna go ahead, and we're gonna duplicate that. For some reason, it decided that it wanted to put it at the top. And we're gonna come down here, and we're gonna go ahead and we're gonna move it into position. All right? That looks pretty good. Now, let's go ahead and see how this relates in. I think we're in pretty decent shape with how the spacing is. You could get a little more exact. Not really interested in that right now. All right, so let's go ahead. One more and we're going to go ahead and duplicate it. And then with this line selected, we're gonna go ahead and turn it and then we're gonna go ahead and place it in there. 40 40 40. Perfect. I wonder if I could get this one to kind of do its thing here. They were pretty good there. That's nice. All right, let's duplicate it one more time. We don't want that. All right, there we go. All right. 40 40 40 40. Perfect. Now let me show you one more thing. You go for bonus points here with this white line selected, right, The one in the center, you can come up to the stroke and we can turn on the dots. So you see that this just substantially changed the way that line works Now, we can absolutely increase. The dashes can increase the phases. We can increase the width. Go ahead and just leave it right about there. All right? Now, how did that work? What, did we actually change the stroke on it? All right. So let's go ahead and check it out. I think we got a pretty good plan pattern here. Let's go ahead and elite that out. All right, folks, that is a seamless texture. Created using symbols. Now, in order to finish this job, let's go ahead and export it. Let's go ahead and export. It is a J peg. Go ahead and hit, OK, And away it goes. Now, this is gonna be available in your downloads for this lesson as well is my working file. All right, folks, this is how you do a seamless texture. Let's go ahead and do one that maybe is a little more artistic and a little less plati. All right, we'll see in the next one. 20. Making a Modern Seamless Texture : All right, folks. Welcome back to affinity Designer. So in the last lesson we did some plaid is a seamless texture. I want to do something that is a little bit more modern and a little bit more fresh. I'm gonna show you how to do a nine count. So this is gonna put one in the center. It's gonna be a little different than the four by four. So let's go ahead in this lesson to make the template now again, with seamless textures, You want to make sure that your template is square. Now for this, I'm going to do a 900 pixel by a 900 pixel, and I'm gonna go ahead and hit, OK, now what I want to do this time I'm gonna make it an odd count. So it's the exact same process. I grab a rectangle, I hold it and I make it a perfect square. I come up to transform and I said, the aspect ratio and I click on here and I go 300 now I have a 300 by 300 and I come down here now with my move tool and I place it and I duplicated. Ah, wait a minute. Can't do that yet. Let's go ahead and two finger. Undo that bad boy. You have to create your symbol. I got ahead of myself. Remember, symbols of the thing that makes this work. So now that I've created my symbol, I duplicate my symbol and I bring it over and I duplicate my symbol and I bring it over. Bless the power duplicate in affinity. I grabbed these three and I duplicated and notice my snapping is on and one more and I duplicated. All right, we're in good shape. So now with this seamless texture, I like to work with the middle square. I like it because I'm not counting on the four by four pattern. So look at this one. This one again. I'm gonna go ahead and I'm gonna call rename. This I'm gonna rename. This is to the symbol origin. Okay, that's my origin. And now same exact scenario. I bring it from the middle of the stack to the top of the stack, and now I select all the symbols below it, and I put him in a group, and I'm gonna go ahead and lock the group all right. And lock problem solved. Problems staying soft. So we're gonna go ahead and I'm gonna show you how to export this again. We're gonna go save a copy, and we're going to go. This is going to be a three by three seamless pattern template, and this is gonna be in your download. So this is available for you. You're welcome. And we hit return and I had saved All right, Cool. And I'm gonna go ahead and I'm gonna added into my dropbox and away we go. So now we got that were three minutes in. Let's go ahead and get with the fixing here. We're just gonna make this one video, so I want to do something a little bit modern. Let's go ahead and grab a doughnut right now. So let's go ahead, grab a doughnut and we're gonna bring this donut into existence. All right? Perfect. Now let's make it a little bit then and let's go ahead and crank it up and make it black. Now, in the highlight structure here, let's go to the layer. I'm gonna click and dragon and I'm gonna move it into the origin That's being a little bit difficult today. All right, Now you see the blue line and away it goes. Now, that looks ugly. Let's grab it one more time and let's bring it inside the circle. Now we can go ahead of position. This anywhere we want. I'm gonna go ahead and I'm gonna position it. No, let's go ahead and position it. Maybe over here. We're gonna go ahead and start off this texture Kind of looking like that. All right. Looks good. Now, let's go ahead and do something really cool with it. We're just gonna grab the doughnut, because I kind of like the way it looks, and we're gonna go ahead and we're going to duplicate it. And now with my finger here, we're gonna go ahead and expand, said doughnut. But yet I want to make sure that I keep the width something similar. I don't want it to be really massive. And now I'm gonna go ahead and position this now kind of where I wanted to be in relationship to the rest of my image. All right, That looks really good. Now, let's go ahead and play a game here. Let's go here and with lair selected Let's grab this doughnut layer right? And let's go ahead and duplicate it Cool. And now let's go ahead and move it. Let's see if this looks good looking for anywhere that it might look good. Kind of like it's connected. No, I don't like that. All right, to finger undo. That was a bad idea. Alright, Bad move on my part, folks. So now let's go ahead and we'll grab the doughnut layer one more time. And we're now going to come up to this doughnut layer. It looks like we got to donut layers. All right, good for us. And I'm gonna move this again up into position. And now I'm gonna go ahead and I'm gonna crank it up. This time I want this thing to be bold, large and in charge. Oh, that looks really cool. All right, So now let's go ahead and position this where we want it. Grab the move to a That is actually really cool. I like that a lot. Now let's add a little bit of interest to it. Let's go ahead and grab the lips and let's go ahead now and within a lips. Let's go ahead and just pop that in there and try this. There's really no wrong answer with it, folks. Bring it inside, See what we get here. Come over here, Grab the move, tool. Now it's napping. I'm gonna go ahead and turn snapping off for a moment, all right? Yep, I'm actually kind of happy with that. I think that's kind of interesting, kind of modern. I'm actually thrilled with that. So that's how you can make something that maybe is a little bit more fun, a little more freely. And now, if you really wanted to go to town with this origin selected, let's show you one more thing here. You could take that origin layer. Let's go ahead and pick out the biggest boldest of the doughnuts and let's go ahead now and create a different bill. So in order to do this, let's go ahead and grab the fill tool because you guys know this and let's go ahead now and pull a radiant. Let's go ahead and zoom in here on that doughnut, Phil. Whole different. Look now and let's go ahead and change it up a little bit. Let's go ahead and go from here and then let's go ahead now and turn to here and let's go ahead and go full on dark here. All right? That's looking really good. Now, I'm gonna do the same thing here, cause Well, once I do one, I can't stop. We're gonna grab a fill, and we're going to come in, and we're going to do a greedy and on it. Yes, I think we're in pretty good shape there. I want just those ends to send. And now we're gonna go grab. No, I don't know. Let's try. Oh, that's really cool. That's a nice complimentary. All right, let's see, we got there. Oh, I'm actually quite thrilled with that. Let's go ahead and do one more here. Let's go ahead and do this circle. We're gonna go ahead and we're gonna add Phil to the circle, and then we're gonna go ahead and add a radial Grady into it and the radio grading we're gonna use. We're gonna bring it right back in there. All right? I really like that. You see how using all the different techniques in order to create something a little bit different, a little bit modern. All right, folks, that's a little bit on how to create a pattern. Grady Int in a nine by nine. And in order to export this to a J peg, you go ahead, hit export. It'll grab the J pig dimensions quality 100% and go ahead and hit OK and away it goes at it and we're gonna keep both. And there we go. All right, folks, that's a little bit about how to do a modern, seamless pattern. Using affinity designer for iPad, I've included the working file and the J peg in the downloads for this lesson. All right, folks, great job. Let's get on to the next one.