Affinity Designer for the ipad volume 8 - Working with text and exporting | Jeremy Hazel | Skillshare

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Affinity Designer for the ipad volume 8 - Working with text and exporting

teacher avatar Jeremy Hazel, Education Through Creation

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (48m)
    • 1. Skillshare intro

    • 2. Basics of guides and artboards

    • 3. The artistic text tool

    • 4. Working with Boxed text and placing text on a path

    • 5. Text selection

    • 6. Text and Challenge intro

    • 7. Text and Challenge solution

    • 8. Exporting basics

    • 9. The export persona

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About This Class

In this course we take a look at working with text in AD for the iPad, including the process of exporting. While text may be first on your list of things to learn, it comes last in the series because the techniques required will be the same as those for pixel and vector adjustment. Included in the lecture we focus on   

  • Artistic text tools
  • Boxed text tool
  • Text on a curve
  • Exporting
  • How to choose the right file to export

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

  • Exporting options
  • Use of the exporting persona

In this course we will be creating a Christmas card in AD, as well as an artistic piece of combining text and a photo to mix the mediums, we also include a complex image to help in your exporting efforts and to illustrate how to select different areas    

  • How to combine text and imagery in AD
  • How to export for the correct application in AD

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. Basics of guides and artboards : were in the portion of the course in which we're gonna begin talking about text. Now, text comes up usually when you're working on larger projects. So we're gonna group a couple different things in here. This lesson is going to be about what it called art boards and guides. Now, when you go into affinity designer for the first time, we're gonna work this through like we're working on a project. So let's go ahead and insert a new document. And now we're gonna go ahead and we're gonna make this a web, and we're gonna go ahead and create a couple cards. So we're gonna go and do, I don't know. Let's just do just to keep it simple. Let's go to 12. 80 by 800 pixels and then the most important thing now that I haven't showed you before, click on the Create Art Board. You see how that is toggle ing off blue? What an art board is is it allows you to create a file inside the exact same file, so to speak. Now I know that super confusing was Watch it so you'll notice now that the affinity designer interface goes a little gray right? And if I zoom out, what I really got is what is called an art board. You see how this is now called Art Board One. And now, because this is an art board, if I decide to ADM or art boards So let's go here, drop down our document menu and you'll see that you have an art board tool. Now let's see what comes up. You can create our boards based on the document, the selection or any number of devices I'm going to create based off from the document that I already have one more art board and I'm gonna go ahead and I'm gonna insert it Now. What did that just dio Oh, I did 1/3 1 with my finger, and I can even do 1/4 1 Okay, so you could drag out an art board or you can create in our board, and then you can modify the sides of these art boards. Now we see this a lot. When we do design, say, if I'm doing a logo for someone and the logo has to be done on a brochure on a T shirt on a business card, you may want to work in three different layouts and submit one file to the client. So think of an art board as multiple sheets of paper on this particular area. All right, so let's say I have an art board that I don't want. If I long press on it, I can then cut the art board. So when I can come back any time, and I can always change the size of my art boards, so that's how you Adenhart board. You can do it through the Context menu, which is available through going here and hitting on our boards. You can just add an art board by clicking and dragging one out, and then when you're done with that are bored, you can cut it out of existence. Now let me show you how this works in terms of your layers panel notice. Here you have multiple art boards, and if I wanted to, I could come up and change this to B business card and hit OK, and now when I do that, click in my Layers panel. The Art Board four is now named business card. Now, if I wanted to delete it this way, I could always delete it out that way. So art board works a lot like layers. Think about each one of these art boards as a separate layer. Now, wrapping this thing up, let me show you the one of the thing we're gonna work with. There are something called guides now. We haven't talked about thes yet Guides air found in the document menu here. And if you click on guides, let's look at the context toolbar show don't show. You see him toggle ing that on and off blue and not and add horizontal guide. So now this creates a horizontal guide. Let's go ahead and zoom this in. Gonna move this over here too, where I want it now. If I touch it with the pencil, I can move it up and down to any position that I want. So if I wanted at the top, I can do it so often from the top, and I can come down here and I can position it roughly now if I wanted the position, it exactly you just tap inside, hit that lever and now it's exactly 500 pixels from 00 All right, so let's go ahead and add a vertical and let's drag it into position so we can drag it here , here and now. This is key, because if we snap to the guide, we can absolutely come into snapping. So let's take a look at snapping and one of our presets here snapped guides. So that's what a guide is. Sometimes you want a guide to make sure that things are properly aligned on an art board. I don't use them very often unless I'm doing some sort of a user interface design. But as your templates get a little bit more complicated for text, you absolutely will use guides more and more. All right, that's a little bit on art boards, a little bit of guides. Let's go ahead and take a look. A text in the next lectures. All right, we'll see the next one 3. The artistic text tool: All right, gang, welcome back to a Finnish designer. So let's go ahead and try working with art boards just a little bit. And I'm gonna show you the basics of text through actually making a car. So we're to come into here, we're gonna hit new document, we're gonna create a dartboard, and I'm gonna go ahead and I'm going to just make it web, and I'm gonna go 12 80 by 800. I think that'll be fine. All right. So we got our art board. You already know all of this, but I wanted to work in an art board. Just kind, show you how it works. And now in your downloads for this lecture, I've gone ahead and I've placed on image. So let's go ahead and go to place. Image. I'm gonna grab it from my photos and would come down to photo, and we're gonna come down to a really nice type of holiday photo, right? We're going to go ahead and I'm gonna choose this one. All right, Now we're gonna click and drag. Now you see that we can't really fill the whole frame without changing the aspect ratio. That's fine. I don't want to hear is we're going to dio. We're also going to grab a rectangle tool, and we're going to come in with this and we're going to put the rectangle tool inside the art board. But underneath the photo, So let's drag that toe underneath the photo. Perfect. And let's go ahead and move that to black. All right, that looks pretty good. Now, just in case I want to make a nice little border, I'm gonna go ahead there and I'm going to make the black background kind of move with it all. I think that we're in pretty good shape here. We'll go ahead and kind of center that up, get myself a little bit of room. That looks good. And now, so once we've got our art board set up, what we're gonna do now at this point is we're gonna move into the text. All right? So the first text too willing to show you here is artistic text. So let's go to our text. And what we're going to do here is we're just gonna tap on artistic text. We're gonna go ahead and make sure font is selected. Now I'm gonna use something that's a little bit frilly. And now whatever holiday you celebrate, I'm OK with whatever it is there. I'm just using Christmas because, well, it's getting close to Christmas time, and I got to do these cards anyway, So Merry Christmas. Looks good. Select all your text, and then we can go through and we can do things like bowled out, which I'm absolutely going to do. You can increase the font here. See, I'm gonna go ahead and gonna capitalize that it's telling me that it's wrong. And then what I'm going to do with the move tool selected. I'm gonna place it where I want it. And I'm gonna go ahead and change this over here. There we go. All right. That looks pretty good. Now, I still want to change my text up a little bit. So let's go ahead and we can expand it even a little bit more. Make sure you got it all. I'm swiping around and I want to fill the frame. So I think we're in pretty good shape there. All right, now, because this is artistic text, you can add some fun to it. Let's go ahead and add some effects. We're gonna add an outer glow and I'm gonna come down. I'm gonna shove that radius up quite a bit. I'm gonna crank up the intensity quite a bit so that it shows large and in charge. And I think that that's going to be actually pretty cool. I think that we're in good shape there, so I'm very happy with that. That's how you adjust the artistic text in affinity Designer. Now there are some other things that you can do. Let's look at the text panel. The text panel is in the studio on the right hand side. And if you wanted to change the font, you could absolutely change it from here. You could change the size. You see the points we got bold, we got the font. We got bold underline double underline everything that I did from this particular context to a bar here you could have done from the text panel. So either way, home you get where you want to get. Now let's take a look here. If I was to take this hopes, let's not do that. And I wanted to double click here, and I wanted to click and drag out all my text. You can adjust your character positioning to share a little bit differently. So all of the things that you've got here, you could shrink them in the horizontal. You could shrink them in the vertical, so every setting forth the font can also be found in the positioning or in the typography panels. So if I wanted Teoh superscript it subscript it, I could absolutely do this. And the cool thing is, now, if open type, if there are any options available into this particular type, this will show up here where you can adjust some of these other areas for this particular font. There weren't any, so we're in good shape on that. I think I'm pretty happy with everything that I got here. Let's go ahead and crush you, but kind of like that, Actually, let's go ahead and stretch this thing out here. All right? That's kind of one of those happy accident type of things. I really like that. So let's go ahead and align that with the top. There we go. All right. Look at that. Didn't even know I wanted to do that when we started this. Alright, folks, let's go ahead and cut it here. And then we'll go ahead and show you how to work the box text in in the next lecture seeing the next one. 4. Working with Boxed text and placing text on a path : All right, welcome back. So in the last lesson, we took the artistic text tool, and I kind of showed you how to use the artistic text tool from the left hand side of the screen in combination with the character panel on everything from over in the studio panel . And we created this Christmas card very simple right now. So now what we're going to do is I'm gonna show you how to add in a boxed text to do that. It's a different tool. If you come down to the text tool here, you see that it's open. Let's click on frame text now frame text. You're going to go ahead and create a frame text going to drag out a box. And now we want to make sure that that's the top of the stack, because if not, you won't be able to see what I'm doing. So I'm gonna go ahead and type something, okay, put in a little bit blurb. That's why I don't work for Hallmark. Perfect. Now if we go ahead, let's grab the move tool and let's move the box over here so it kind of fits, but it's not quite what I want right now you can go through and you can do this one of two ways. You'll see that if I zoom this in groups, there are two distinct knobs right here. Two distinct blue dots. Now, if I grab the outside dot, you'll notice how, if I'm moving the box in aspect that it holds the font the same size, right? It moves the font up. It shrinks the font so it moves the font with the box. Small fund. Big font. I know rocket science, right? But now watch this. If I grab the inside most blue dot notice here, I can re flow. That's the technical term. The text within the box and it will keep the box the same size. It doesn't matter for the boxes this big where the boxes that big font is going to remain the same. So that's the difference in the text box. So once you've got it the way you like, well, just position it down on over here and we'll call it a day. Now let's say that I don't like the gap between holiday season, and I think it might be a little bit too spread out let me show you how this works. Select the box. Go over to the character panel and you want to readjust the characters. Now there's a couple terms in text. We're not gonna cover them in depth, but there's something called leading. And leading is the distance between the rows. You see how, as I adjust this leading it gets a little bit tighter. You can also adjust what's called your baseline, which is where it begins and where it ends. And then you could adjust your tracking and your kern ing. Now, Kernan could be thought of as the distance in between some of your letters, which means you probably have to grab your letters were not gonna worry about that right now. So that's how you would just the text in the box. Now, the last thing that I want to show you that everybody wants to know, how do you do text on a path to do this? I'm gonna come down to my photo. I'm going to come into my three dots and I'm gonna go ahead and drop down the opacity a little bit on this photo, and then I'm going to come over to my pencil. Now watch what happens here. I take my pencil and I create a curve. There's my curve. In order to create text on a path, I come over to my artistic text tool. I come over to the curve and I tap on it. Now you see what just happened? That little green arrow that arrives. So let's go this route. Let's go. Happy New Year. All right, Perfect. So we got happy new year down. So now if I go through here, I can adjust the entire text on the path and you see how it's working in the path. And when I turn that off, it turns off beautiful. So now if I wanted to, I could come up with one more thing. I could add an outer glow. And now if I went to hear and I added an outer glow, I can change the color up. Let's say that I want to make that a little bit red, and then I can drop the intensity down a little bit on that, just to give it a little bit of subtle pop. That being said, I'm gonna come back to this image, and I'm gonna come back here and I'm gonna turn up the opacity until it just almost gets too much. So I think that I'm right about there is good anymore in those lights tend to flicker alive , and then it gets super weird. Now, one thing that I might do and again, you can't leave well enough alone. So this is just artistic Wanna one here. I'm gonna go to the layers option. I'm gonna grab this photo. I'm gonna grab the transparency tool, and I'm going to swing the transparency out this way. And then it just the slider so that it doesn't look like a hard edge on here. So let's go ahead and grab that here. There we go. I think that that's a nice transition on the card. I think that we've got a good, solid card there. All right, folks. Hope you learned a little bit about how to work with the text box tool and how to work with putting text on a path. All right, let's go ahead and put these things together here, and let's see if we can't create something artistic. Alright, See, in the next room 5. Text selection: All right, gang. Welcome back to affinity designer. So in this lesson, we're talking about text and images now, working with image as well as text is a very powerful marketing tool because you're able to tell your story conceptually through the image, along with textually through the words you use. So how you lay out text will matter. I want to show you three ways. You can work with text and photos in affinity Designer. So let's go and get started. First thing I'm gonna do I'm gonna make sure my caps lock is on and I'm gonna bring out a word, right? We're gonna go ahead and we're gonna work with Detroit now. Detroit. That's currently where I'm staying here. So I thought that maybe it was a good place and one of my favorite places in Detroit is Easter market. So I thought I'd combined Detroit and Eastern market here in order to make this happen. So find any font. I'm going to use something that's a little big, a little bit blocking and certainly bold enough and big enough to be seen. Well, because this is a tutorial. Now, we're gonna go ahead and place this image one of my favorite places. As I said, his Eastern market. Now I didn't touch up this image. This is just raw as it sits. So don't judge me on my photography skills because this is an unedited photo. All right, so we're gonna come over here, we're gonna place and drag. Now, let's take a look, because manipulating this is all about layers. So let's grab the layer and bring it to the top. Now, you see, this is a text layer. You see, it says Detroit on it, which means it's not an image layer. It's not a pixel air. It is a text layer. And then here we have an image layer. So the easiest way to do this to create what's called a clipping mask. But you guys already know click hold Moving side, Pau. That's is easy as it is to move an image inside of text, so don't make it more complicated than it has to be. So that's step one, right. That's version one that will solve most of your text problems. Now, the other version let me do this. I'm gonna come over and I'm gonna duplicate this layer Now, here's what I'm gonna dio. I'm gonna move one of the images up to the top and I'm gonna turn off the one on the bottom . I just duplicated it so that we have an image to work with for the next version. So now with Detroit selected, this is something I haven't showed you before. We're going to come over. We're gonna converted to curves. Now, take a look at what that just did. It changed a text layer over to a bunch of curves. So what I'm gonna do, I'm gonna grab the curves. I want to bring him outside of the group. I'm gonna destroy the group. And now, while I am still in the draw persona, I'm going to bring a text box around. It looks like this. Let's make that text box something other than the ugly type of red that it is. I think we're in good shape. They're with gray. And now, because you are in Vector and these are curves, we can swipe up every curve. And now what we're going to do, we're gonna come over and do a subtraction operation. How All right, that's looking good. This is how you create knockout text to kind of get your point across. So if you wanted to do this and you wanted to make it a little bit more black, you absolutely could. And then one of the things that I really like to do here is you could even combine this with the transparency effect and really knock it out of the park so we could grab up the elliptical. You want to bring it pretty far out there, and it really just gives a nice way to make sure that you've got some fade in your image. So this isn't an ideal photo for this, but you got the idea of exactly how this works. And if we move it down to the street level, let's grab the right level of you'll see how you can get a really nice fade on some of this knockout. All right, so that's the second way you could do it. But notice this only works in vector now, the third and final way. You could do it. Let's grab our Detroit text layer, bring it front and center. And now this requires you to put some thought in. You want to find a color that is very contrast ing to the rest of the image. So because I've got some dark er's in here, I don't want it to be dark. I wanted to be bright white, so I turned it over the white. And now here's the trick, though. You want a group thes things. So this is gonna be destructive. Make sure the text is how you want it. Make sure it's in the position that you want it, and then you're gonna group it after you group it. Now, this is key your to come down here, and with this layer panel selected, you're gonna rast. Arise it all. Now what is this going to do? It's gonna crush it. So now it's rast arised. What does that mean? Raster ization turns everything into a pixel air, which means there's no more layers. You have one image at this point Now, Why did we do that? Because now we're gonna come into the pixel persona. We're going to grab our selection brush again. I told you I do most my stuff through the selection brush and because it's contrast, you want to make sure that snapped edges is on and you want to now add to the selection. Now let's do it. Notice how the brush is doing a pretty good job. Okay, so we're pretty good there. Pretty good here. And one of the reasons I like this brush is because it really works nice with block letters . If you have block letters with good contrast, you're in good shape now. Not always gonna work. You see where we grab some of that? You're gonna come in and we're going to strip down that area. You see, we want to knock out the Oh, but it doesn't look like he grabbed any of it, so that's good. Let's go ahead and grab the are okay. And I'm just checking to make sure now you see it grabbed some of the e here. Here we go. There is no substitute for zoom on this one here, folks. Okay. So yeah, What kind of de selected some of that? I got to be really careful on that. All right, so there's nothing in the center of the D. The e is good. The tea is good. The R is good. And let's check the O here. All right? Theo's got a little bit here. I need to subtract. All right. So you got the idea here. We've now selected all of our images. Now to do this, what's our selection process? You select, you refine, we're in good shape. You see, None of that is really red. And then what we're going to do, we're gonna go ahead and output. It is a selection. We go ahead and hit, OK? And with this selected now we come up to our layer and we cut. Now it doesn't look like a lot happened. Let me show you how this works. If we come back to the draw persona, we draw a rectangle in and we make it a really obnoxious color. Let's go ahead and drag it down. You can clearly see now the background is visible through the knockout. So success, right? We cut the selection. So now what we want to dio is we want to de select. In order to do that, you just grab the photo X out. And now let's check our work one more time. If I brought this read up halfway, what do you think is gonna happen? Yeah, perfect. All right. So we're in pretty good shape. Now, if you had a background color underneath or you had something you wanted to knock out, you can absolutely do that. We could take this rectangle. We could duplicate it. We could then drag it down below right here. Snap it into position, and we can absolutely change the color of it. So you got the idea of what's possible? Three ways. Toe work with text and photo in affinity Designer. Alright, folks, let's go ahead and cut this one here. Lets get into the next one of those. Show you how to do some drop shadow. All right, see the next one? 6. Text and Challenge intro: All right, folks, and welcome back to combining pictures and text and affinity designer. So this challenge is going to be about taking a photo, Any photo again. I've included one if you don't have one and creating text the kind of matches the photo and using the artistic techniques that you now know to create something that's pretty stand out . So I'm not really concerned with what you make. I'm interested to see what you make. Go ahead combined text in a photo some way. If you want to use mine, I've included it in the downloads and then we'll go through and I'll show you how I did it with the photo that I took. All right, let's go ahead and get into the challenge and we'll see in the solution. 7. Text and Challenge solution : All right, Welcome back to affinity. So I was that challenge. You took a photo, you added some text in. Now, if you didn't want to use my photo, that's completely fine. I really want you to be working with your own material to make whatever aren't you create yours. So if you were interested in following along to see how I used a lot of these techniques in order to create this very vibrant, oversaturated type of image, let's go ahead and take a look at this. So in order to make this work, the first thing I have to do is I have to import the photo. So let's go ahead and we're gonna come up and we're going to place an image. And this was the image that we included in your downloads for this lecture. And again, if you didn't want to use my image, you don't have to feel free to use your own. Now. The first thing that I want to do is I want to fit the image to the frame. I want the subject to be at the bottom of the image, and I want a lot of room over the top here to be up at the top for text. I don't want to have the sky in there, so I want to make sure that I eliminate this sky as part of that. So I'm gonna go maybe a little bit higher. That will just about do it. All right. Now, the raw photo with this right? Taken in a very sunny day, it's a little bit washed out. So the first thing that I'm going to do is I'm going to add some adjustment layers. Now, when I come over to my layers panel, the first adjustment layer that I'm going to add is I'm going to add a brightness and contrast. So now let's go ahead and drag this inside the photo because I only want it on the photo and the second layer that I'm going to use. I'm gonna go ahead and I'm gonna use a curves adjustment. So I'm gonna go ahead and use a curves adjustment. All right, so I want the brightness to be the underlying one because these do have a stacking order and the first thing I want to do here with his brightness. I'm gonna come into the brightness and I'm gonna creep up the contrast quite a bit because I wanted to be a little bit over saturated. And I want to reduce this brightness down just lightly until we can see a lot of the intricate detail That's a little bit much there. All right, that looks actually pretty good. And now what I'm going to do now is I'm coming over to my curves adjustment. So let's go ahead and select the curves adjustment here. And I'm gonna work on the RGB, which is the red, green blue and I'm gonna open up my hissed a gram with my curves adjustment. And now I'm gonna take the blacks and I'm going to kind of push them in just lightly Darks a little darker lights a little lighter, kind of up the contrast this way. And now I'm gonna add a crank that up just a little bit. I'm a crank that down just a little bit, and I'm really looking for that. Good red look. Look at that deep purple that creates in the in the lower right hand corner. I'm actually very happy with that. I think that makes the image pop a little bit and So while this isn't a photo adjustment course you see how you can treat your images before you even get into the text part. So now I'm coming in here to my artistic text tool, going to drag this out and we're gonna caps lock it and we're gonna put down Detroit. And now I'm gonna frame this out in the image. I want this to be large in charge, and I wanted to really kind of be falling away because I don't want to obscure the bottom part of the image. So I think that I'm pretty happy with that. And now what we're going to do is we're gonna play with this a little bit. I want to play with the blend mode. Now what I have is a bright white text over kind of an oversaturated, darker background. So let's see what blend modes we can get. And now I want to bring this up above, because again, the blend mode tells affinity designer how to interact with layer below it. I hit the three circles and let's see what we can get. I'm looking for something subtle yet readable. That's a little bit too subtle, but not quite readable. I really like that. I think that the blues contrast with the red and then some of the blues inside of this guy . Oh, now that is extremely cool. Once you go through and you hit that difference and it hits some of those different tones Completely different game. All right, I've found my winner. So we're in the difference Blend mode. Now, let's go ahead. And I want to break this thing up, right, cause this looks very, very scripted. I'm gonna come down to my layer and I'm coming to the text layer and I'm gonna add a mask layer. So now black conceals white reveals I'm coming over to my pixel persona. I'm grabbing my paint brush tool. I'm coming over to my brush and I'm gonna go ahead and I'm gonna find some spatters and sprays. I'm gonna use the large spray. And remember, I'm gonna work in black, so it's going to conceal this. Now I'm going to work and kind of fx away. Some of this area. You see how I'm kind of Xing out some of those lower points Now I like the contrast in the Oh, you see how the brick in some areas is there, and some is not. So what I'm gonna do here is I'm just going toe real lightly. Break that up. But I'm not gonna mess with it a lot. Overall, I'm pretty happy with this. The brick really provided me to contrast that I really liked. So I'm breaking up some of this. Crank that down just a little bit, bring that up. And now I'm kind of hitting some of these areas so that it doesn't look halfway. All right, that's good. Break that down a little bit. All right, Cool. I'm actually really kind of happy with that as it sits. I wish I could make it a little bit, I guess not. Perfect the first time for you. But in reality, you don't need many tricks in your toolbox in order to pull this off. Now, the last thing that I might do here, if I so was inclined is I could go through and I could make some other adjustments here to the Detroit. And maybe what I do is I would just play then with size a little bit. See what I could do. I don't want to obscure the face too much, but I really like how it's coming together. All right, I think I'm gonna go ahead and call it a day on this. I know. I wish I could make it a little more complicated, but in reality you saw how you could use some pixel adjustment layers in your photo, how you could create a photo and how simply applying a blend mode can absolutely change the look of basic text. Alright, folks, let's go ahead and call it a day on this and we'll see in the next one. 8. Exporting basics : All right. Welcome back to affinity designer. So I want to talk to guys a little bit about exporting. Now. Exporting is very simple in nature, but it is a little bit complicated in terms of figuring out what the right exporting format is in all the different options that are out there available in affinity designer. Now, we have been exporting with transparent backgrounds and what we call opaque backgrounds. You remember the vector brushes that we made some of them, the image brushes required transparent backgrounds and then some of them, like the intensity brushes, needed opaque backgrounds. So in order to export, you all know this by now, we're gonna come up here and we're gonna go ahead and hit the export tab. Now, the export tab has a lot of different options. Included in this lesson is a guide on the export options. But I just wanted in this lesson to kind of show you how you might be able to use the most frequent for exporting. So this isn't gonna be a replacement for the document that I've provided, but it's going to be a two minute lecture on how to choose the right one In short, if you want a transparent background, PNG is going to be for you. So PNG allows four a transparent background, and it's called a portable graphics format. Now, on the other hand, JPEG is a joint photographic experts group type format. And when you want to use J. Peg is when you want the smallest file size. And when you have images that are, say, pictures, let me go through this again. If you have vector art and they're like two D graphics, PNG is absolutely a better choice for you. However, if you've got pictures, that kind of thing and you're looking for small file sizes, say, to upload on the Internet, J pig is definitely a step up. Now, one of them, it's falling out of favor. Here is the gift or the Jif, however you want to call it, and it's important that the gift or the Jif is actually being replaced largely by PNG. Now, I know as soon as I say that I'm gonna get 101 different opinions on whether PNG and GIF or Jif are similar equivalent, which one's better? The short answer is which one does what you needed to do Now, when we've got a tiff, this T i f. This is a tagged image file. If you have multiple documents that you want to keep together in a tagged image file, this is for you. But I'll tell you, I don't export as a tagged image file because the file sizes are huge. Now, when we talk about high dynamic exports, there are two to come up the e x r and the h d. R. Now, we didn't talk a lot about the bits when it comes to color, but you've got eight bit 16 bit, 32 bit colors. The most information that you can have is in the e x r. And the HDR, which is HDR, actually stands for high dynamic range. So if you're doing some photo editing and you need the brights super bright and you need the darks super dark, you want to make sure that you're exporting an e x r in HDR formats. Other than that, the file sizes get super crazy. So they're not recommended for anything that you're gonna be putting online or that you're putting on a Web page. Now the PSD and the pdf files. Those were Adobe Staples, right? PSD is able to be opened by affinity designer. Same thing there with a pdf, and PdF keeps all of your data intact, so there's good things and there's bad things. The challenge as an affinity designer user is most the time. The PSD does transfer the information if you're working on images, but it's never a really perfect transfer. It's good enough. It might be 96% of the way there, but maybe you lose 4% and it doesn't quite transfer right. So again, use the format that makes the most sense. E. P s is a vector graphics. It tends to say, be losing support as later programs. So you could use GPS as an alternative to S V. G. Or you could use it as an alternative to, say PNG. In a way, I wouldn't recommend that, but let's talk for a minute about S v g. This dance for scaling a vector graphic, and it'll include animations. It's used in Web design. S V G is actually picking up steam because it's vector based. It's perfect for adaptive display. So if you're using retina vase displays and you're doing user interface experience. Let's say SVG is awesome and the file sizes are super small right now, much like everything else. Once you realize there's a tool, people were finding a way to make those file sizes super big. Now, if you're looking at doing an icon, PNG or S V G are absolutely on the table and Onley then and Onley. If you're doing a complex image, say Ah like this, this would be a prime candidate for J. Peg. All right, folks, that's a little bit on file formats. In the next lessons. Let's go ahead and take a look at the export persona. I'm gonna show you how this works. See the next one? 9. The export persona : All right, folks, welcome back to affinity, designer. So this is one of the last lessons that we're gonna have here. Now that we've gone through the entire program of designer, it's important that you get a little bit more savvy about exporting now. In the last lesson, we talked about what exporting is a finicky designer has what they call the export persona . So this file is an affinity designer file. It's in your downloads, and this is one of more complex things that I've drawn here to illustrate how you might be able to select different slices. Now let's take a look at what that is. Let's go to the export persona now. And when I look at slices, here's the way this works. You've got the export persona that has its own set of tools, and you see the little Exacto knife. The slice to our you can select your slice slices are those things that you're gonna export , and now there are a couple things over on the right hand side of the studio. There's the layers perspective. There's the slice studio, so you see on toggle ing in between those two things. And then there's the ultimate transform panel, so we're familiar with that. Now let me show you one way. You could select a slice notice in the layers panel appear in this show, I should say in the export panel or the export studio. Let's use the correct term that we have the page background. That's really the only thing that we see. So if I selected a slice right now, I could grab this little corner of the world here. Now that would tell me that there's a slice and you see that the slices created now with slice selected I can come over here and I can call this planets one slice just for illustration. And now with this selected, I can change the type of exports. So this is a J peg. I'm going to keep it a J Peg because it's not really a vector graphic. This is going to be almost like a screenshot, and I wanted it one times the size and two times the size. Once I've got the selected, I can go ahead and get out of there. I come back to my exports studio so you could really select a slice from anywhere that you see? So if I wanted to select a slice for this planet Now you see that it gives the pixel count here. We could just the pixel count by changing up in the transform panel. I'm gonna go to 500 and now you see that it's shrunk the size of that box. Now I can reposition the box if I so want. And now I'm coming back to my studio. It's added the slice. I'm hitting the three dots and I'm gonna call this planet sliced too. All right. Perfect. And I also want that at one and two times the size. Now, if you're super smart at this and you know that this the raster based image what's gonna happen when you double the size, you're going to get lower quality, right? All right, so once we're good here. Now what we're going to do is we're gonna show you how to work within an individual layer, because let's say this spaceship is something that I wanna grab. You come down to the layer and now this is why good layering habits are so important. If I just grab the spaceship layer because it's all wrapped up in one nice little package, I can create a slice and notice that it just grabs the entire thing. This is actually pretty cool. Now when I do this, let's call this spaceship and let's go ahead and oh, not the layer. Let's create the slice right There we go. Slice, Object. Now we're in the business and I'm gonna go ahead and export. It is a PNG, and I'm gonna go this just a one time. So we're good. And then let's grab a planet so you can see how these two things work. I'm gonna go ahead, come back to my layers. I'm gonna grab the Green Planet because it's something that we've done before. I'm gonna create a slice. And so you see, it's created another slice. Now, coming back to my export studio coming back here, I don't call this planet P and G. All right. Perfect. And I want to export. It is a PNG 24. All right, So once we got in here, the next thing we gotta do is we've got to set the export locations. We come up here, we go to choose export folder. And then now this is very important if they make it look easy, but it's really not. You have to long press on here and select. And then the little blue Circle ghosts. And now the nomenclature is challenging. You want to hit open, not done. Hit open from there. Now I can go through and export them all, and away it goes. And now, if we wanted to check it in our folders, let's see what we have. All right, so we come over the files. There's my background to 2.1 megabytes. Let's see if I've got some planets coming into my planet, my planet. Slice it two times. My planet sliced two at two times. Ah, wacky import my planet. Slice one and my planet sliced one and two times. And there's my planet PNG's. I think we're all good now. The last thing that I want to show you here, If you're in a situation where you are exporting constantly and you're making constant changes, you can click on continue its export, and then every modification that you make the icon will be exported to that area. All right, that's a little bit about the export persona. It's really not that complicated. We've been exporting the whole time. I think that you're in pretty good shape. All right, folks, let's go and get out of the next one will see in the next one.