Affinity Designer for ipad volume 5 - Advanced techniques to create a neon sign in vector | Jeremy Hazel | Skillshare

Affinity Designer for ipad volume 5 - Advanced techniques to create a neon sign in vector

Jeremy Hazel, Education Through Creation

Affinity Designer for ipad volume 5 - Advanced techniques to create a neon sign in vector

Jeremy Hazel, Education Through Creation

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9 Lessons (54m)
    • 1. Skillshare intro

    • 2. Adjustment layers

    • 3. Blend modes

    • 4. Effects

    • 5. Styles

    • 6. Neon lesson 1- Making the brush

    • 7. Neon lesson 2- Setting up the neon

    • 8. Neon Lesson 3- Adding glow

    • 9. Neon Lesson 4- Integrating to background

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About This Class

In this course we take a look and in depth look at advanced techniques in Affinity Designer for the ipad , included some of the most difficult, like 

  • Blend modes 
  • Effects 
  • Adjustment layers 

We will also  be covering some fo the tools of professional artists like:

  • Setting styles 
  • Properer workflow technique 

In this course we will be taking a finished piece fo art from an Affinity logo to create a neon sign. Included in this lesson we will cover everything including  

  • How to create an intensity brush for use in a neon application 
  • How to set and choose the right blend mode 
  • How to use layering structure to minimize work  

This is the perfect course to take what you know about vector art and apply it with a creative flare to vector art . While many of the earlier courses were teaching technique,this one is pure creativity 

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 

Meet Your Teacher

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Jeremy Hazel

Education Through Creation


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1. Skillshare intro: Our IT folks and welcome to Skillshare. So this is an exciting thing. You actually found one of the biggest baddest Affinity Designer courses out there for the iPad. So we've taken eight hours worth of material and we've chunked it down today, eight projects, specific projects that you can utilize. And so there's eight volumes total in this thing. We would recommend that you take them in order. We start off with the basics of shapes and then we move up to things like pixel. But if you feel uncomfortable and you want to learn a little bit about a certain functionality, feel free to take the volume that matches your skill level. So we're very excited to be here on skill share and we hope that you learn a lot from Affinity Designer. And if there's anything we can do to help you along your journey, when it comes to infinity, hit us up in the comments and we will respond. All right, thank you very much. Have a good time. 2. Adjustment layers : All right, gang, And welcome back to a fitted the designer. So we've been talking a lot about blend modes. We've been talking about mask layers. And I've told you before that they are crucial steps in digital art. Now, the adjustment layers that I'm gonna show you in this lesson are not crucial. But they are one of my favorite things to do. So let's go ahead. I'm just gonna grab a common rectangle. I'm going to drag it out. And one of the reasons that I do this with you is because if I make it about the art, it's hard to teach the technique. So I like to teach the technique when using very simple shapes to get the idea of what is actually going on. So we're gonna grab this rectangle, and we're gonna put it up here and let's go ahead and duplicate it. Bring it down and then let's go ahead now and make a green rectangle out of it. Pau Red and green. Perfect. So now you're adjustment layers are going to be here at these three dots. Now we're not going to go through each one, but what I want to show you is adjustment layers matter in terms of where they are in the layer structure and what you are trying to do. So let's go ahead and grab a black and white layer. Now you'll see that it just made both of these black and white. Now let's look at our layer structure. Notice an adjustment layers created. This is this white layer here with the little black and white in yang type half tone symbol . And watch this. If I click and drag this down just above the red rectangle, look at that. The adjustment layers on Lee apply to all the layers below it. Now that is a crucial, crucial point. So if you wanted the black and white adjustment to apply to both layers, you would have to move it to the top of the stack. Now let's go ahead, and we will drag this adjustment layer into Onley. The green notice that once you bring an adjustment layer inside of a shape, it only applies to that shape. So even though it's on top of the red, you see because it's inside the green, it only applies to the green. So that's how an adjustment layer works. So let's go ahead and pull that back out. Bring it in and then let's go ahead and delete it. All right. Perfect. Now you saw when it was black and white. Both these shapes are similar shades of gray. Let's go into adjustment layers. Let's go ahead and bring in Oh, I don't know in the levels adjustment. Okay, so the levels adjustment layer, Let's go down here and see what our options are in the context to a bar. Now we're in RGB, and we're working on a master channel. Now. If you only wanted to adjust the level or the blackness or whiteness, you could then change to only the Red Channel. So let's go ahead and do that. And now let's go ahead and up the blacks substantially. You see what only happened to the red? Why? Because we're on Lee working on the Red Channel Now, If we do it in all channels, watch this. This will now collectively get darker for both the green and the red. So a levels adjustment makes apart lighter or darker. Here, it says it sits Now. If I'd reduce the white notice, it made it significantly lighter. or you could increase or decrease the gamma, which is the overall lightness and darkness, and then you could make it less or more opaque. I know that's a tremendous amount of information. It is not as nice as the desktop display, but what I need you to see here is that this levels adjustment in the layers panel. We Onley applied it to the red, and we crank up the blacks notice it is Onley affecting the red. So again, the common theme is there are a ton of adjustment layers where they are in the layer structure matters, and then each one will have its own unique context. Toolbar. This is much like blend modes, folks. In order to get really good with adjustment layers, you have to engage in projects. So every project from here on out, we'll have elements of blend modes, adjustment layers, masking and effects. We are definitely kicking up the complexity. Now, halfway through the course, go ahead, delete this levels adjustment will come down here and I'll show you another one. You can go through and you can adjust the brightness and contrast, or we can go through and we can re color. Now, what just happened there? Let's look at our layer structure. You see the re color adjustment. If you wanted to re color everything and scorch earth, you could do that. You could adjust the hue. You could adjust the saturation so that it's a little less saturated or more saturated, and you could adjust the opacity of these particular things. I like adjustment layers because it allows me to work non destructively. If I make an adjustment, I don't like I could always come up and trash the adjustment layer. Now, if I wanted to only apply it to say the red rectangle I come down and notice the green rectangle still untouched because the adjustment layer only applies to everything underneath it. Now, we're gonna go ahead and we're gonna do some really crazy stuff here. I'm gonna add in to this adjustment layer a mask, lair. I'm just gonna show you how this works. Okay, so I've got this adjustment layer in which I turned this thing red. I'm now going to come over black conceals, right. I'm gonna grab my greasy pencil, and now you can even mask adjustment layers. Notice I probably just some of your head's just exploded, right? I just combined mass glares with adjustment layers, and you can absolutely go for the Triple Crown here with this mask layer, you can absolutely change up the blend modes in order to work with this mask layer so you can tell the Maskell air what to do now. I wouldn't recommend running all three against terribly complicated, but you see how changing up this layer structure changes the entire look of the mass. Claire? All right. I think that's enough for right now. In this lesson, you learned where the adjustment layers are. You know how their order in the lair stack makes a difference. And you know that each one has a unique context. Toolbar. That's all I want to do at this point in each project that follows were going to be using all these elements to get you an idea of how the world really works for this. All right, folks will see in the next lesson 3. Blend modes: All right, gang and welcome back to affinity designer for the iPad. So this is one of the most important lessons for any digital artist because blend modes are present in every type of digital art. I don't care if you're doing cinematography, special effects, digital art, photo shop. It's all relating around. Blend modes and blend modes work off layers. So this file is in your download section. I've included it, so go ahead and exported into affinity designer so you can follow along. And now let's check out our layer structure. We very clearly just have six different layers Now. Layer structure is going to be absolutely critical in telling affinity designer how the blend mode should work in short blend modes tell the layer that they are attached to what to do with the layer below. So I know that that's very confusing. So let's go ahead and let's take a look at with our move tool selected, I'm gonna pull down my black and my white. Okay, so I got my black square in my white square. Those of the two squares I'm gonna look at now. You noticed the White Square is on top of the Black square you see on toggle in these All right, so with my White Square selected, I'm gonna come up to my three dots. I'm gonna go ahead. I'm gonna change the blend mode now by default, Bland mode is set to normal. Now, let me just show you what this is so you can follow along notice when I put the White square over the Black Square. It's fully opaque, nothing happens. But now let's change the blend mode of the White Square. What that tells affinity designer to do is look at the luminous value of the black square in the White Square and choose which ever one is darker to show. You'll see how a simple change in blend mode just made the Black Square visible. Same thing. Darker color between black and white. Which one's The darker color multiply is a different beast. Let's take a look at that here in a little bit. Let's do it now. Let's grab this red square and the gray square, and when we move them over, you see they're exactly the same. Nothing happens. But now, with our gray square selected, so come over to the gray rectangle use the three dots and change the blend mode to multiply . You'll see what it does now. It darkens the red and makes the red darker. So it multiplies the value. All of these air working on a value for each color and it takes those two values, multiplies them together and creates darker. This is actually how we shade here in the pixel lesson. Were going to shade out an entire character using Onley grayscale shading. And then we're gonna apply color afterward. Multiply is how we get that done. So let's go back to our black and white here and now. Color burn. Lighten. Now you see here once we go to lighten affinity, Designer has taken a look at the Black Square and the White Square, and it said the white one is lighter than the black one. Therefore, that's what we're gonna show. Same thing, which were these two colors or lighter. That's how blend modes work. It tells the layer how to interact with layer below it. Now, in order to kind of illustrate this, let's grab this yellow one and this green one, and you'll see the green one is noticeably probably darker than the yellow will find out with the green rectangle selected on top of the yellow. Go ahead and figure out which one is lighter. The yellow, obviously. And now, why in the lighter color did the black line disappear? But over here, in the color burn, the black line is still apparent because black is darker than the green folks. Now, you see, we go to screen, get a color dodge, go to add goto overlay Soft light, hard light. There's a lot of different blend modes, and depending on what your application is, there is no substitute for working with the's blend modes. Now, there are some really cool ones, right? Let me show you how this works were to come over here, and I'm just gonna put these kind of back where they go. Okay, Now what I'm gonna do here, I'm gonna grab this red rectangle here, and I'm gonna create a new layer. So I come up to my layer structure. I grabbed my plus sign and this gives me my new layer. I'm gonna drag this down to be right on top of the red. So let's go to the pixel persona, which I'm already in. I grab a brush, let's grab just some water color drops and let's grab kind of a pinkish type of color. Something like that. All right, so we're just gonna kind of spatter some light color on top of the red. All right, Looks good. You see, I don't have it nested inside, so let's go ahead and just put some stuff outside that work. All right, Cool. So now watch this. We grab our pixel air. We come up to our three dots and with the pixel their selected let's see which one's darker . Red is darker than pink. Red is still darker than pink. The pink is darker than red. That's true. Color burn is like an extreme darkening. Pink is lighter than red, so the light should show through. That is correct. Same thing with lighter color screen color Dodge ad. Now we get to things like overlay soft lights. At that point, it's going to use some Lew minutes for it, and now we get to linear light, and it's gonna amplify some of this when we get to the different mixes. When we get the difference, and especially when we get to remove or exclusion, you're gonna see some pretty cool stuff going on. So there's a lot of things that you can do with this and notice here that it takes the luminosity of the two. And it chooses what to do with regard to Onley. The luminosity. So what almost kind of masks. There is no substitute folks for grabbing tutorials that show you how to do the effects that you're looking for and using a common themes as an example, when I am shading a character I use multiply constantly. So if you have any tutorial on character, shading multiply will come up is a blend mode. When you start looking at neon, we're going to start talking about screen When we do our neon project every time you do neon, it's going to be the same sorts of blend modes, so blend modes, air one of those things that I can introduce you to, but you're going to have to work with them. Aton, an affinity designer, to get comfortable their classes all into themselves. Sometimes, alright, folks, let's go ahead and cut this year because again there's no substitute for working with blend modes. Let's go ahead, get a little bit more education, and then we'll work on a project using blend modes. All right, seeing the next one. 4. Effects : All right. Welcome back to a Finnish designer. This is gonna be one of my favorite lessons from the studio panel. This is gonna be our discussion on effects. Now, if you haven't figured out from all of the effects that we've been using, I really like effects. And I think that it's the quickest way to add a tremendous amount of interest to your piece without having to do a tremendous amount of work. So let's go ahead and take a look at where they are. The effects tab you're gonna find right here and you see, I'm toggle ing it on and off here, Scott Little FX sign. I know Rocket science, huh? And when we come and look at effects, there's no substitute for actually working with the effects. So I'm gonna go ahead of me to show you the general steps in the effects process, but realize each effect is going to have its own unique context to a bar. And in the course of the projects, you're gonna be working with almost all of them now, one of my favorite things to do when you do this, let's go ahead and take a look at a cost. Let's go ahead and drag out a cog and notice I've got to ahead and drag that out to get the blue line on it. Let's go ahead and make that cog kind of large here. And then let's go ahead and drag out a rectangle So we're gonna drag out a square. So get ACOG and we've got a square. Cool. Now let's go ahead and fill this square Any color we want, I'm gonna go ahead. I'm gonna make it Red Square. By the way, if you haven't figured it out by now, one of the reasons why I teach theme or technical lessons into just squares and shapes is because it cuts away at a lot of the distraction. So if you ever going well, his stuff is too simple. The easiest way to learn the techniques is simply and then apply them through the more complex projects. Now with the cog, let's go ahead and I'm gonna show you the very first effect. I dragged the cog to the top of the layer. I come down to the effect and now I'm gonna show you one of my favorites. Straight up we turn on the three D. Now to do that, you click the little slider over and now tap on the three D button. Now look, what just happened to this cog. Let's go ahead and zoom in here. It doesn't look like a lot happened, right? Right up until you start messing with the context toolbar and you start messing with the radius. Now you can change the depth of the three D. You can soften that effect. You can make the effect a little less, more or less opaque. And then the rest of the context toolbar here. Let's look at profile, cause profile is super cool. Now it looks a lot like a linear curve, right? But we can add to the profile and you see now another dot has been created and we can tell the profile up. We can move the profile down. We can move this button down here. We create some really cool profile effects through adjustment of this profile. All right, so there's the profile now. We also come over here and we can change the color. Now when things strike things in three D, right? You've got the ambient in the speculator light. Let's go ahead and change up the ambient light and make it kind of reddish light. Now, what just happened now we've kind of got a red style of cock and we can change the amount of speculative light coming through. You see how that got really bold around the outside? You change the shiny nous of the material so less shiny material, you can defuse it, and then you can even change where the light is coming from. So this context toolbar goes on and on and on as an example. Now that I'm on the last page here, I can choose another light source. I can adjust where the as myths coming from. You see, as I move the light around the shadow ends up on the other side. This is absolutely huge. Now, if we change the color of the cock, let's go ahead and change the color of the cog up. We can change the color of the cog. Anything that we want. All right, I'm gonna leave the three D on now. I'm gonna come down here. And now let's go ahead and cast a shadow to do this. We're gonna go ahead and turn on outer shadow. How do we turn on, in effect? Move the thing over to blue Tap on the effect. And now we can make the shadow more opaque or less opaque. But you're saying, Jeremy, where's the shadow? I don't see it. Have to adjust the radius of the shadow and now you'll really see it when we adjust the offset. Now you see this offset come up here and now it makes it look like it's on top of the Red Square. Now the red square shouldn't be left out. Let's go ahead and put a little bit of a shadow on the red Square. Come over to the red Square, grab the effects jab. Grab the outer shadow. Click on, said at her shadow up the radius up the offset. You can apply it to any shape in your design. Now we've got inner shadow. We've got outline devil in Boss. I like the glows. I tend to use a lot of glow in my work. So let's take a look at the glow. Let's go ahead now and grab this cog. So we're gonna come over when go to layer span. We're gonna grab the cog and you notice the little FX sign there If you want, you can just turn right to the FX sign, and it will bring up the effects applied to that layer. And let's turn on the outer glow. Now we've got a red kind of look underneath it, so let's go ahead and change the color. Let's go ahead and make it a blue glow just for giggles. Let's go ahead and crank that up, so that's how you add a glow to a shape. Now, if you ever want to remove in effect, it's turn it off. It's really that simple. Turn it on, turn it off now the effect that I tend to use more than anything else and we've used it a bunch of times here. If I come over to the rectangle and I come over to my effects tab and I turn on the go Schindler. If you swipe to the right, you can blur any shape. Now you want to turn that off again. We come over to the effects tab and we turn it off, so there's a lot of really cool, powerful effects out there. We're gonna use a lot of them form asking where to use a lot of them. For three D, I'll give an example of a couple here. There's a couple examples. Here's one where I've used certain different effects to kind of create a cut in that was used with a bevel in boss effect. I used one of the effects here to do this particular cog here. And lastly, I've used it here with this effect on a three D style on a text layer. So that's a little bit about effects. You know where to find him. You know how to apply him. You know, each one has their own unique context to a bar. Let's go ahead, take the next lessons and let's build something with them. All right, see the next one? 5. Styles : All right, Welcome back to Infinity Designer. This lesson is gonna be all about styles now, styles or one of those things as an artist, where a finicky designer will remember the preferences that you have for shapes and pieces in your art so that you can make things look cohesive. So if you have a certain color of green that you want to use time and time again, we have taken a look at how to save that color in a pallet. But we haven't talked about how to save the stroke profiles or any of that. That's what styles do for us. So let's go and take a look at it. I'm gonna drag out just a common rectangle. Now, I'm gonna go ahead and just change things up here. You see that? This has a red Phil See the red, It's got a green outside and we've got a custom stroke profile in it. Let's go and change that profile of just slightly. All right. Make it really obnoxious and weird. Okay, so let's say that this is something that we want to replicate in other areas. To create a style, you come down to the effects tab and styles air living in the bottom of the effects tab here. And you treat them just like you would color palettes or brush pallets. You can create a new category. So let's go ahead and add one. I'm gonna go ahead. I'm gonna rename it. I'm gonna call it, Try a one. Okay. Now, with Trial one, we're gonna come over here now and now with the square selected, you're gonna add the style from the selection. Then it brings this thing into existence. Whatever this thing is, right, it's an icon. Now, the cool thing is, let's go ahead. Now let's de select that square. And now let's change of our complete color profile. So we're now gonna go on the outside, we're gonna make it red. But on the inside, we're gonna make it blue, Right? So we're going to we're going ever going and we create an ellipse. And now let's say we want to make the ill IPs. Let's go ahead and change the stroke profile back. We want to make that a lips match the other. Now, instead of having to remember what our settings were, we just come down to the effect we cap on the style and it will make the new part match the old style. You can do this also with effects. Let me show you this. If we come down to let's bring up the cause. Because that's what we were doing when he made the effects. Right? And I come down here now, let's do something a little bit more realistic here. I'm gonna go ahead and crank that down. We're not gonna have that style in a cog. All right, so there's my cog. And now let's go ahead and clear out all of this. Delete, delete. Bring my colleague back front and center, blow it up, and let's apply an effect. We're gonna go ahead with the effects tab. I'm gonna turn on the three d effect because you saw that before. Crank this bad boy up there. Okay, so I'm gonna go ahead. I'm gonna set a custom profile here. That'll work. And now with that selected, let's go ahead now and add a outer shadow and it doesn't matter what you want to do. You can make it work as often as you want to work. However you want it to work all right. So let's say now we've got two effects on this bad boy right now. We want to dio I'm gonna come up with the cog still selected. I'm coming to effects. I'm coming to Stiles. I'm coming to trial. I'm gonna add style from selection. Power now doesn't look like much right? Let's check this out when I come up. Now, let's go ahead and de select. Let's go ahead and bring up a tear shape right now. We just had those colors available, So no surprise. They're the ones that come up. Let's add the effect. Notice it, beveled it in the three D effect, and it applied the same at her shadow effect. This is what I was talking about. With styles, you can hold line information, color information line with information effects. That replied, If you have a certain look you were going for, set a style early on, and then every time you want to apply that, just apply the style. Now, in parting here, you can use the same menu to export styles. So if you want to export, this style notices his trial one not a finicky style, and you could put it in your Dropbox and away you go. All right, that's a little bit on styles. Hope you learn a little bit of something. Let's go ahead and use this in our next project for the Neon seeing the next one. 6. Neon lesson 1- Making the brush : All right, gang. Welcome back to affinity Designer. So this is going to be the end of project challenge for the Vector art. So we're gonna go ahead and we're gonna begin by building our first intensity brush. So let's go ahead and open a new document. And as you guys know now, intensity brushes I like to build in the 1000 by 1000 pixel size. I like to keep my brushes square and intensity brushes, work with a black background. So let's go ahead and just drag out a square here. Let's go ahead and make this bad boy black. All right, we got a background. Now we're gonna show you how to make a very simple neon brush. This is gonna be a three phase process. And if you get the phase down, it's gonna be super simple. Swear to grab a rectangle, we're gonna drag the rectangle until we're kind of close to the ends and then using the context to a bar, we're going to decrease the corners. Or I should say, increase the corner radius and then we're gonna make it almost white. And I say, almost, you see how close toe white that really is. Now, here's the next step. We're gonna come over, we're gonna add, in effect, I'm gonna add ago Shin Blur. And I'm a crank that go Shin Bowler to a good size. I think that that's a pretty good size there. We might even go one step further. There we go. Hopes lost it. All right, So once you're good there, you see that we don't have the brush going all the way to the edge. That's key. You do not want a hard edge on this thing. Now what we're going to do, we're gonna come over to our rounded rectangle and we're gonna duplicate it. And then what we're going to do here is we're gonna shrink that down just a little bit. We're gonna take the effect that's on it. I'm gonna shrink that down a little bit, and we're gonna increase the amount of whiteness for it. So now that's a very subtle effect. So you should have two rounded rectangles. One is a little bit more gray. The bottom one is a little less gray top. And now let's do that one more time. Duplicate. Now, with this one, we're gonna go ahead and we're gonna crank the effect down toe almost nothing. And we're also going to change the size. So I come over here, grab my move, tool, and I cranked the size down just a little bit. You see how this time I'm going a little bit in on the ends and on this one here? What I'm going to do is I'm going to come down with the color and I'm gonna make this one right, white. All right, Now you see the subtlety that's created by this. So you've got the bright white you've got the mid white and you've got the lightest kind of haze on their remember neon brush throws light. So when you do this now, let's go ahead and export and we're gonna export it. There's a J peg. I'm gonna go ahead and export it as neon brush course because we're in the middle of the course here. And with J. Peg selected, I'm gonna go ahead and hit. Ok, now I'm gonna go ahead. I'm gonna save it on my iPad, Save it in, designer, and I'm gonna add it over the designer. Perfect. Now, just because I'm going to do it here later. I'm gonna go ahead and export it. Call this neon for course, because you guys will have this in your downloads. And I want to make sure you got it. And all your watch me do here is I'm just going through and exporting it. But this time I'm going to put it on my Dropbox, and I'm gonna add it to the course. All right, We're going to go now. Let's go ahead and open up our working document. I'm gonna go ahead and I'm gonna add a new document. Now. I don't care what size you want to make it. We're gonna go ahead. You know what? I'm gonna go ahead and I'm gonna make it in the web 1920 by 10. 80. And there's a reason for that because 1920 by 10 80 is the average size of your monitor. Oh, no, I got a better one here. Let's go ahead and create a new document. Let's make it the size of the iPad since were drawn on the iPad. A so challenge. Find your device, find your size of iPad and go ahead and hit. OK? Making yourself a backdrop. All right. Looks good. Now, the last step before we go ahead and add this, we're gonna create the brush. So in the draw persona, we're gonna come up and you can put this anywhere. I've got a category called brushes. I'm gonna go ahead and I'm gonna create another neon. I'm gonna go ahead in that category. I'm gonna create a textured intensity brush, and I'm gonna use your neon That way we're in good shape. We call that neon course. All right? Perfect. Now I'm gonna take the head of the tail and I'm going to crunch it. I'm going to move this thing up to an insane size, and I don't want any variance in size or opacity. So once we're good, I think we're good. Now, let's give this a shot. Here's what I'm gonna do. We're gonna go in and to start with, I'm going to pull a rectangle and fill it with black because neon shows up best on black. I really want to see how this works. And the piece that we're going to do. We're gonna make a neon of infinity symbol. So we're gonna come over here, come over and we're gonna place an image. So let's go ahead. Import from my photos. I've included the affinity logo in your downloads. So when you do that, come out, make it large and in charge, get it big enough so that you can work with it, place it where you want it, and then we're gonna go ahead. We're going to stop this video right here. Think about this. You just made the brush. You've placed your image. You've got your backdrop. You're in good shape. In the next lesson, we're gonna show you how to use the pen tool to click out your lines. All right, we'll see in the next one. 7. Neon lesson 2- Setting up the neon : welcome back to affinity. So in the last lesson, we took a look at the neon brush. You've created the brush. We're in good shape. If he hadn't done that yet, that's fine. Have included the neon brush PNG file and the working file to get us this far in your downloads for that lesson. All right, let's go and take the next step. So here, I'm gonna go ahead and take my layer and the first thing I'm gonna do I'm to crank down the opacity cause I really don't need it up that high. And the tool that I think is best suited for this is the pen tool and the motor that I'm going to choose is the Poly Gondol. So I'm in the pen tool, I'm in the polygonal mode. And now when we talk about color, I'm going to go ahead and I'm just gonna work in white. And I would crank the with up to about a 10 pixel again. No requirement to do 10 pixel. You can do whatever you want to do. All right. So in order to do this part now going to come down here, I'm going to create a new layer. Actually, let's just de select. And with the pen tool selected, I'm gonna begin tapping. All right, so that's a good line. Now, de select next line. De select Next line. Oops. I didn't de select. Now it gets a little bit tight. You can always come in here, zoom. And don't be afraid to zoom. And I am intentionally holding to the inside of this shape because I want enough room for the neon in the next area. Cap tap tab tap. Uh, let's go ahead and just move that over, All right? Looks good. De select. See how polygonal mode is actually really helping us out De select. And now what I'm going to do, I'm going to create kind of a tracer. This is gonna be an open ended path here. All right, that looks pretty good. So now I've got a little bit of clean up to do. Let's go over to the blend mode or the no tool here, and let's just clean that up. I think we're in pretty good shape. Now, let's go ahead and zoom out. I think we've got a pretty good start. Let's go ahead now, come over to the layers. Select each one of these curves, and then we're gonna go ahead. We're gonna apply. Be neon brush. Now, what just happened, right? Let's go ahead now and turn down that stroke because it's a 224 point stroke as a little bit extreme. All right? I think we're pretty good there. I'm happy with that. Now, what we have to do is we have to find a color. Now, I'm gonna come down with a color picker, and I'm going to choose something right about there. And now with all of my layers selected, I'm coming up. Pau. Alright. Looks good. Now, if I did my job right, here's what I should be able to do. I should be able to turn that off. And now I have the affinity symbol in neon. All right, that looks pretty good to me. All right, so I think we're in pretty good shape. So the next thing that we're going to do here, we're gonna go ahead and we're going to apply an effect. Now, Neon has an outer glow, so let's go ahead and choose outer glow and let's crank that bad boy up Now, why isn't that working? Ah, we didn't have all of these areas selected. So now when you come here, we could go out or glow. There we go. Now, you can turn this up as high as you want to go. I'm gonna turn up the radius and turned down the intensity. I'm also gonna change the color out. That looks pretty good to me. All right, so I'm pretty happy with that. That's a good first passed. So let's go ahead and review our layer structure. I started with the photo. I have all of my lines. I have all of my glow and I've got them all lined up here, so I think that I'm relatively in pretty good shape. So let's go and do this. We're gonna come up here and with this group selected now. Well, let's see here. I want to pull this out of that group. I don't want that in the group. And then we pull this up above and one last thing here, we're gonna practice. Some good habits were to call this middle. All right, let's go ahead and stop it here. Let's go ahead and take the next step and I'll show you how to do the top of bottom and we'll get a really nice glow going. All right, see the next one? 8. Neon Lesson 3- Adding glow : Fireeye gang. Welcome back to affinity designer. So in the last lesson, we created this nice mid tone neon effect. Now we're gonna take it one step further. Were to come into our layers panel. And in the last lesson, I asked you to go ahead and label it his middle. Now, just we don't get confused. I'm gonna eliminate my photo. We're done with that. I'm now gonna come over here and I'm a duplicate the entire image, and I'm gonna rename the group. I don't like all this. Now top. Okay. And return. Perfect. No, the trick here. How many curves do we have? Six. Right. You want to be able to take the entire group, we want to go ahead and we want to take the width now for all six of these layers. Now you can't do that is the group you have to make sure you grab each layer. I'm going to try to do them together. They're all the same. 63 pixels and we're gonna drop them down, dropping down to about half. All right now, what's happening here here is we're going to do with the next step. This next group here because this is going to be that narrow area. We want to go ahead and make these a little bit whiter. So we adjust the color ever so slightly. And then the last thing that pulls this off here were to come down to what is called the blend mode. And in order to do this, we have to do each blend mode individually. So we come to curve. Now, let's try to do them all together. You try it and set the blend modes together. Usually you want to be in a lighten or a screen mode. Now you see screen right there, change the game. If you like it, you could tell color Dodge. I'm gonna go ahead and I'm gonna go with a screen. And then I'm gonna come back down in here and I'm going to work a little bit more with the color, so find it the way that you like it. And now what I'm gonna do here is with all of my individual layers selected in this top, I'm gonna come over and would turn off the glows. I think a glow on glow was a little bit insane. And once I did that I realized that I may be a little bit too white. I'm gonna come back down into here, all right? And I think that's a pretty good compromise. All right. Looks good. Now you might have to go back and forth a little bit, like if you like the top. But now you want to change of the middle, you can absolutely come grab all the middle ones. We come over to the outer glow, you crank up the intensity of the outer glows if you want. You can even crank up the size of the radius totally upto whatever you feel you want to dio . I wouldn't crank that down a little bit, all right? So I'm in pretty good shape with that. I like the way that's looking. Now, the last thing that I want to do here, in order to kind of set this thing apart, were to come back to the layer. We're to take our middle category now again, we're going to duplicate that group, and then what we're going to do the newly created one. We're gonna rename bottom. Now, this is going to be a very simple effect. You're gonna come down to the effects tab. We're gonna go to go, Schindler, and we're gonna try to crank this bad boy up a little bit. Now, what we're doing here is we're actually just blurring the image underneath. So we're not doing anything really with those areas. And then once you've got this figured out, you come down here, swipe here, and I'm gonna crank down the opacity just ever so slightly. Maybe just 70% or so. I want a little bit of a reflective light, but I don't want a lot. All right, that looks good. Now, let's create a floor. I'm going to come down here and you see that we got the same type of effects here. All right, let's go ahead and create a floor. We're gonna pull this out of the group. I don't want this part of that group. All right, So, top, middle bottom, and I'm gonna bring this on top of that, and I'm gonna call this floor, okay? And then I'm gonna come down here, and I'm to call this. Well, beautiful. Now, let's start with the floor. Right, The floor one. We don't want any stroke whatsoever. So the stroke goes away. Cool. Good with that. Now I'm gonna want ingredient. So I'm gonna grab this floor here, and I'm gonna come down. I'm going to apply a Grady in. Phil, I think that I'm pretty good there. And now with this backdrop, let's go ahead and adjust the wall now because this has gotten by without it. Let's go ahead. Now we want no stroke on that wall. That is a true statement. And with wall selected, I now want ingredient Phil on this particular wall and what I really would like is it very , very dark where it comes up against the floor. All right. Now, in order to make this happen, let's go ahead and do one more thing here. I'm gonna add a dot to my Grady in here to do that, I've gotta zoom in, got to create a dot And now with this dot come in here. And I want that white there. We g o you see, it's just ever so subtle. All right? And what do we have here now? I think that we're in pretty good shape between the wall and the floor. So if I wanted to do this again, I could easily just shrink that down even a little bit more. I think that we're in pretty good shape. So let's go ahead and call it here on this. And then what we're gonna do in the next lesson is I'm gonna show you how to create a couple light structures and throw some light in there to make it believable that it's glowing. All right, we'll see the next one. 9. Neon Lesson 4- Integrating to background : Now I going Welcome back to Infinity Designer. So we're finishing up this neon here. So now Neons gonna cast a glow, right? And if we wanted to look three dimensional, we've got to make this happen. So we're gonna come in and I'm gonna grab the lips and I'm gonna pull this out into an elliptical fashion, right? I'm going to make it look like it's distorted through. And now, in order to make this work, we're gonna come over to the Grady and Tab, we're gonna be working with ingredients, and I would be working with an elliptical style Grady int. So we're gonna put the center of the Grady int here. We're gonna put this area out here. I'm gonna put this area right here. All right? So I think that I'm pretty good now. Obviously, we don't want these colors. So what are we going to do with this? I'm gonna go ahead and I'm gonna delete that. Come down here, deleting that out. Perfect. And then what I'm going to do is with my black selected I'm gonna come in over here, and I'm gonna be really, really kind of light ish. Grayish over here bluish gray and then in the center here, I'm gonna be want to be kind of a bluish light over to here. All right, That looks pretty good. So once we've got this the trick. Now we come over to our effects panel, we turn on the go shin blur, and we blur this bad boy out try. So we get it. Kind of where we want it. And then with this selected, we bring this down on top of the floor, and then we're gonna come down and crank down the opacity a little bit air. We g o. All right. That looks good. Now in order. Oops. All right, There we go. Why didn't that take hate it when I got to do stuff again? All right, so now let's do this. Let's grab our three areas will group together. I will call him logo again. Good naming structures, folks. Essential. All right, Perfect. Now what we're gonna do at this point, we're gonna come over, and now we're gonna grab another hopes. Let's not grab the logo. Were to grab another ellipse, and we're gonna pull this one just like this because this is going to be casting against the wall. We bring this layer down behind the logo and we do the exact same thing. Turn on the ocean blur. And now, if we wanted to come over here, we can adjust some of that away here. And then we can adjust the midpoint and all that jazz. Now, if we think that it's a little bit extreme, watch this. Come up to the Ellipse. You come over to your adjustment layers and we can add a brightness and contrast adjustment where we can reduce the brightness. Now, where did that apply? Let's see where that applied. We're in a nest it inside of Onley that circle. I'm very happy with that now. These effects are good, but we can go one step further. What's come to the ellipse layer? Let's come and adjust the blend modes kind of like that soft. Add there. I think that that's a lot of fun. Let's go ahead and do the same thing with this. And now remember, blend modes tell affinity designer how to interact with the layer below. So by adjusting blend modes now that we've got the background where we want it, we can now adjust the blend modes and we can see what it's going to actually dio. I like that screen. I think that that's subtle. I like it. I think we're good. Now, the last thing that I'm gonna do here, let's go one step further. We're gonna grab this bottom layer. We're gonna come up, We're gonna swipe, swipe, swipe, swipe, swipe, swipe. And we're going to adjust the blend modes of these layers because we want to impact how they interact with layer behind them. All right, so overall, I'm actually quite happy with that. All right, folks, that's a little bit on how to take a project all the way from creating the shape all the way through, getting it where you want it to be and bringing it to a full fledged thing. Now, let's go ahead and export this right so you can show off your work. We're gonna go ahead and exported. Visit J Peg. And why? Because J pegs are used traditionally for images were to call this affinity neon, and we return. He had okay, And you guys can go ahead and put it wherever you want. I'm gonna go ahead and add it to my Dropbox, and I think we're in pretty good shape. All right, let's go ahead and call it a day and let's go ahead and tackle that pesky thing called Art . All right, we'll see the next one.