Craft 2D parallax game backgrounds with Inkscape! | István Szép | Skillshare

Craft 2D parallax game backgrounds with Inkscape!

István Szép, Designer and design teacher

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16 Lessons (2h 32m)
    • 1. Welcome to the game background class!

      0:53
    • 2. What is parallax?

      3:32
    • 3. What makes a good background?

      4:34
    • 4. The game background design process

      5:51
    • 5. Creating the desert background - Part 1.

      16:34
    • 6. Creating the desert background - Part 2.

      13:55
    • 7. Scrolling in space - a vertical background - Part 1.

      10:14
    • 8. Scrolling in space - a vertical background - Part 2.

      10:43
    • 9. The very big city background - Part 1.

      8:42
    • 10. The very big city background - Part 2.

      8:23
    • 11. The very big city background - Part 3.

      13:33
    • 12. Create a professional looking forest game background - Part 1.

      14:10
    • 13. Create your professional looking forest game background - Part 2.

      14:40
    • 14. Create your professional looking forest game background - Part 3.

      9:10
    • 15. Create your professional looking forest game background - Part 4.

      15:39
    • 16. Conclusion and a few tips!

      1:26

About This Class

Does your game background look boring?

It does not have to! 

A good environment is setting the mood and helps the player focusing on the action. Having quality background art is crucial for every game.

Improve your design skills with me today and create high quality 2D background assets from scratch!

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During the class you will

  • learn about theory of creating engaging 2D game background design

  • learn to use Inkscape for vector game art

  • and create 4 different parallax ready game backgrounds:
    - a simple but hot desert background,
    - a galactic background for vertical space shooters,
    - a big city background with skyscrapers
    - and my favorite, the magical forest background!

Follow my background design course and create these 2D game assets with me! Even more: create your own versions and share it with me and the others! Improve, practice and experiment, and create the backgrounds your game deserves!

And remember: I am a teacher, I am here to help! If you have any questions, just ask! 

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Transcripts

1. Welcome to the game background class! : does the background off your game look like this? It does not have to improve your desire, skewers with me today and create high quality to the background. Assess from stretch. During the course, you will learn about the theory of creating engaging to game background designs. You will learn to use escape for vector game art, and you will create four different parallax ready game backgrounds. First, a simple but hot desert background, then a Galati background for vertical space shooters and the big city background. The Sky Creepers and then my favorite, the medical for his background. Follow my background is in course today and create these two game assets with me even more . Create your own versions and share it with me and the others improved practice and experiment with me and create the background your game deserves. 2. What is parallax? : During this course, we will create parallax scrolling backgrounds. I know it sounds threatening. When I first heard this word parallax, I was like What does this mean? I will explain it in a second. For now, let's just agree that these are much better and much more interesting for your game than static basic backgrounds. So how are they different? Let me explain. Scrolling backgrounds means that they use the same background image repeatedly. The same image ss continuously to create an interesting environment while sparing memory. I will explain this whole sentence in the coming lectures. The whole point is creating a new illusion off continuity and an illusion of dynamic movement in the background image. What is the trick off creating scrolling backgrounds? It's very simple. You seamlessly have to match the edges off your assets. Here is this image, for example, of the cities? Do you see the repetition? Of course you do. There are these buildings, the tall ones or the little bombs in the clouds. Of course, you can recognize it's a repetitive background, but you can not point out where the potter starts and very dance, can you? I don't think so. Why because I matched the edges seamlessly. So this is the trick for, ah, great scrolling background to create seamlessly continuing hedges. And this is what they will do with all the backgrounds we creating this course Now the other thing I mentioned is called the Parallax Effect. The parallax effect means that the object closer to us seem to move faster than the objects further from us. For example, a real life example. When you travel in a car or a fast train, the trees at the side of the roads are going very, very fast pushing past you. Why the mountains in the distance move very, very slowly or seemingly not at all. This is what we try to recreate when we're creating a paradox affecting our game. I remember when I was like I know 80 years old and I was playing Sonic the Hedgehog First time and I I was blown away. The death of the Parallax effect. Look it up on YouTube. Sony, the first Sony consider mega drive made it amazing. Um so the object closer to us seem to move faster, and objects for further from us seem to move slower. This is how you create the parallax effect and also the further the object, the less details you it and the closer the object, the more details You it we really do this with all the backgrounds we create in this course , and this is how we will create real death for the player. So this is the trick off the scrolling again to create seamless edges for your repeating images and for the Parallax. The trick is to create the layers of the object and move the objects closer to us faster. The further objects slower and add much more detail to the objects closer to us. And if we do everything correctly, this is what we can create and this is what you will create after the course. 3. What makes a good background?: I don't believe in just showing you how I drove backgrounds in every course off mine. I like to give pointers to my students, and these are my three points. Three very important points off what makes a good background. Okay, so number one, a good background is visually appealing. Appearing means looking good. It it's nice off course it's out of question is from buyers saying medias off course. It's nice, but it means much more appealing means that it is creating a connection with the player. Visually appealing means that the image can be any style, but it has to evoke an interest of the player and connect with the player emotionally. Do you want to create a scary forest, look for scary elements and make the player a bit afraid? A bit stressed? Do you want to create a colorful carnival, go for it, go crazy, create colorful elements and evoke good happy feelings in the player? Okay, so a good game background is always appealing. Visually, it has nice details, and it evokes feelings and emotional response in the player. Why am I saying this when you create a background? Have this This is the step number one have this in your mind all the time creates something appealing, something that is talking to the player. Okay, Number two. A scrolling background is repeating background, a seamlessly repeating background. As I said in the previous lecture, it is a great thing to have a repeating background because it is sparing memory. It is not one huge image. It is rather smaller image image assets repeating one after each other. And here's the huge, but that it is repeating in an interesting way. It has to repeat in an interesting way, creating a sense off variation. A sense off random ity makes avert off the game alive. So a good background is not boringly repeating. If you create something boringly repeating in the background, then you will bore your player off course. It's sparing a lot off memory, okay, and it's good for your game. Your game will run smoothly, not running out of memory, but steel. It will be boring. Okay, don't make that mistake. We just create something that is interesting and repeating with little interesting details . This is 0.2, and this is what we will do with all of the backgrounds in this course. Okay, Number three. A good background has contrast and creates death. Composition and contrast are very important because it is so also important to distinguish between the foreground at the background, off the image. This helps the player this emerging the player, so it helps him to step into the game and to create the parallax effect even more. If you create contrast between your foreground and your background, then the parallax effect will be even better. Also a good color choice says the mood of the game. As I said before, it is visually appealing. It is not boring, and it helps the player emotionally connected the game of what is happening in the game. It makes your story stronger, your characters a stronger so a good color choice with high contracts and nice death is helping your game. It will make your game more interesting. Okay, so these are my three pointers. Very simple. And when you create a background you're working on a game background. Always check your game background for these three qualities. Is it visually appealing? Does it evoke emotions? Is it repeating boringly or does it having a variation? And the 3rd 1 does it have enough contrast? Does it support the player visually, If you can check or three, that means you are on a good track to create a very good background for your game. 4. The game background design process: This is my last theoretical lesson. After this, we will start creating the four backgrounds as promised. But first, let me talk about the process off creating game background designs because it might be straightforward if my not but there are some things we have to talk about when you're looking in the source image, you think like OK, I drove something and then I drove it on the computer. That's it? No, because the first step is getting inspired collecting inspire ation and doing your research . This is step number one. Why is this important? Because before even doing anything, designing anything on the computer you need toe think you need to know what you want to create and to get to the style you want to create it. You need inspire ation. No, this picture. You see, I just made it myself while I was hiking in the forest, and it's perfect for for his background. But wherever you travel, you can snap pictures. You can the easiest gogele and look for images. You can check what other artists over there other game developers are creating and just look up games you like, and I don't say copy get inspired. Don't steal ideas. The steel visuals get inspired if you like, something changes to your own and, yeah, create your own. So do your research and get inspired. That is step number one. Now step number two sketching. Sketching is so so important. A lot of people are just sitting down in front of the computer, staring at the white screen and praying for for something that you know. Inspiration is coming, and they create a piece off great art that is almost never happening. You have to do your research and get inspired, and then you have to sketch start sketching. You don't have to create a piece off art. A sketch is called The sketch and not a piece of art, for a reason is just something you scribble on a piece of paper. It can be text. It can be just drawing. Just grab a pencil and grow something on a paper. How are usually said? Just close your eyes and you see a lot off ideas bouncing your head, and you cannot focus on one idea because they're bouncing around. Grab those ideas and put them from the back off your head from the folk off ideas in front , off you on the paper. If this sounds to magical to you to spiritually, just think about it like this. Create a list off all possible ideas and then pick the best one. This is catching. Create a list off possible ideas and then pick the good ones, cross out the not so good ones, and then then turn on the computer and turn on escape and start step number three. The actual designing. Now this is a big step. But I just mentioned it us one, because this is what the whole course will be about. The actual drawing on the computer defining the layers off the parallax scrolling backgrounds were creating, setting up the colors, setting up the little pieces and the little details. And, yeah, just working on the whole design. This is step number three. What is the most important in this lecture? And if you just get this stating down and designing is step number three, it's not step number one. Okay, so just get propensity, collect some ideas and then write down and drove them some ideas, and then you can start designing on the computer and after you think the design is done. What we do, we celebrate and received back. Okay, you can do that for a second. It's good to celebrate the success, but what we do we put our design into our game engine. If he was unity in and they refuse Ah, I don't know, construct or gamemaker, whatever. C plus, whatever you use, just put it in there and see it in action. I am checking how my design is working in a really video game. And guess what? If it's not working, it's not a shame. It's not a fail. I go back and I refine. This is the process off test and refine. If you're a developer, you already know that we are living in an age of prototyping. You just create something simple, something easy, going, a demo, a little something, a piece that is a proof of concept, and this is what we do with the backgrounds as well. We create something exported from escape imported into your game engine and tested and refine it. We go back doing escape, change something sizes, colors, whatever and then again exported, imported in the engine and tried and tested and refined until if it's good enough for our game. Okay. So again, here are the four steps off my game background design process getting inspired and doing your research, sketching your ideas, designing on the computer after doing all the other two things and then testing and refining your idea. Okay, If you have any questions so far, let me know if you lie the course so far. Let me also know and please review the course. I'm here to teach you. So if you have any questions, just ask away. And now we are moving forward and finally start to draw our first and very, very simple game background design. 5. Creating the desert background - Part 1.: It's only started with the first and most simple design the desert background. Why it is simple, because it will be just some do's and stuff so you can go to file import and import your image. I will not show the whole process, but just click import, get your image in push Under done is here you can draw over. As you see, I made some little time nears off how I want the way venous high want direction off my my sand dunes my desert. And then I made a bigger sketch and I'm thinking about again how toe how to implement everything. If there is a sun, if there are the little details And of course, then I'm thinking about what are those details? So I have a more or less clear image in my head after I am sketching. And then I'm deciding if I got the details or not us. You see, as I said, I evaluating the sketch. This wanted to be a snake, but it looks like something else so are not gonna add it. Okay, I turn off these windows now because I don't need that and I turn off snapping because I hate it when I drove freehand. I don't need it now. First, we will create the background off our image. It is a simple square and I said the live off the normal 1920 by 10. 80. Why? Because I just want this for most of my phones. It's OK and even for the screen is okay. I can make it much wider. More of the designs will be vital. But for these design it will look good and it will be not repetitively. You see, it will be joined like this. It will be than two screens long and it will be different enough on the screen. So I just painted grey now whatever color I want, Okay, I make it so it's not transparent and I'm starting with the big basic shapes. Now I am not using layers any escape. Instead of that, I am using groups and you will see why I think they are much more flexible and easier to use. So I am grabbing the panto the base here tool and I'm just click click clicking around So not holding, creaking and not creaking and holding. But click click straight lines You see And now I created a shape creek down yellow and no, it's yellow against my lai boo sky. But I wanted wavy I wanted nice. So I want a word also way We clouds and stuff us seen on my sketch. So I'm just control clicking these notes to make them curry. And you see, here is the height also my sketch I signed it that here's the height off my sand dune. So I wanted That is the same height on the left and right. You see, I am dragging down a guideline from the top and you see, I see that on the right. It's much lower, so I grabbed this note and pull it up. Why am I doing this? Remember the first lecture I wanted continuously scrolling? And if there is a distance between the two edges, then they are not seamless. So I moved the right note upper and now a duplicate the background with control de you see , I have to blue images and more yellow and now I go path intersection toe, cut it off So one blue shape disappears and this cutting off the yellow shape on the size off the original blue. I am using this freak a 1,000,000 times in my illustration because it's much easy to fit. It's easier to fit objects to each other than doing them manually. And now if I select both object with shift and with control D I duplicate them again? I'm just matching the edges here. Okay, you see, continuous. It has a nice dynamic curve. There are some little mistakes which we work or it later on. Okay, I delete this now, I just wanted to show you that look seamless and I pulled down another guideline from the top. When you are clicking on the ruler and pulling, you can other guy in line When you get to click again, it will hide all the guidelines. They are just here to help you. So I'm pulling it now in tow the same height off the second dude. And I'm just clicking around to create the 2nd 1 Some parts are hidden behind the first sending, and it's OK because in the Parallax these will not be hidden because they will be shown. So let's give this a bit different color. The chief control F u C shift control f I'm pulling up this field window, the color window. And on the real I'm selecting an orange color. No, I do the same trick. You see da plicating the background again. I have to lose. That's the trick that I'm duplicating the world, you know. And now I'm selecting both off them the blue and the orange and both intersection that I And now I'm contra clicking the corners to make them curves. Bad vet toe. I can play with shapes, of course. And as I told you, I am inspired. I was looking at images above the deserts, So I want to know how they look. Let's see if the edges are nice. No, I'm trying to match it. Let's see, I duplicate the design and it looks OK. And even if I'd obligated again, Misty looks OK from a distance. It is perfect. So I can tell it delete everything now and work a bit and add some more details. I was talking about how important it is to give the color and to give a color seem for the whole design that is good enough and has enough contra. So I'm creating Grady and here to make this blue create an emotional response off heat. This blue background this blue sky was too light. So I'm creating the Grady int and when you are creaking on the two ends of the Grady and you can modify the color separately if you don't know much about Grady ants, this is how they use it. Their very simple. You can check out my basic escape course for more knowledge. I explained everything that Okay, so I am looking for the colors because it's so not easy. I wanted Blue wish, but I want orange for the heat because oranges of warm color. But I obviously don't want to use the same yellow asked. There is under send use. Why? Because there is not much contrast. Still not satisfied? Okay, maybe like this. But again, as I said, I will test it later on and and I've been tested and tested again and refining your refined again. And this is what you should do as well. So now I flip the background, the whole background square. I mean, so the bottom part is orange and it's a bit closer. The colors bit closer to the color of the send, and I like it. I like the heat coming from the bottom of the screen. But now what I need is more contrast. You see, if I make it even more orange, it's a nice color, but there is not much contrast on my image. I could play a bit more with the background, but I think it's better if I change the color. We from the dues us there is on my sketch as well. There are some dark parts of the demons were according to where the light is coming from. So I am just applying the Grady and also to the Sandys, from the vivid top colors from a darker color here on the bottom. And you see it's ordered the beat three dimensional. I mean, it has a bit off more death, and you remember creating that distance is very important for the player. And now I'm doing the same with the front one. And here in the foreground that's playing another color Big, more red. As you see, I'm constantly zooming in and out, zooming in and out all the time. Okay, I cannot hold myself. I'm again playing with the background color. Maybe this is better, because I need more contrast above the dues. And it's better if there is blue there. You see, nothing is written in stone. I always constantly thinking and experimenting and escape is great for that because it's so easy to change things. So no, I cannot The details I'm talking about. First of all, a giant son. Okay, Not so giant, but I really think about it. Is the son in the distant moving when my game is moving? I don't think so. That will be a static part off my design. I'm doubly gating the sun and painting it a lighter color, making it smaller. So there is a halo and some sun rays around the sun, and now it's time to create some clouds. The clothes are very nice and baby on my drawing, and I will use the same fan tool to create them a sided with the Jews. So this is what I do. I just create them by clicking on the pencil and click, click, click and then modify them to create this very cloudy light and curly effect they have on my sketch and actually my mind. I'm trying to get a color which is not perfectly white. When you hold the color dropper you can met, you can mix the colors and this is what I do now. So I'm mixing them. And now I'm contro creaking the notes to make them occurs again. And now I'm playing with the node handlers to make them the shape I want them. This is just a very simple cloud. It's more like you know, how it looks in comic books when this vendor wind is blowing. No, I'm duplicating it and let's see what I can do. I'm sleeping it with, uh, age and V like vertical and horizontal, etc. Let's see what looks nice looks more or less like my drawing. But you see, not perfectly nothing I do so far is finished. So no, I'm drawing here a square and cut this off to make it a bit more small and make this part around the debate have to modify the other One is where I think to follow the shape of these. Yeah, it decides that maybe, and with control plus or path union, I imagine two together. So it's one shape now. They look nice, they look really windy and now I duplicate them with control D and put them here. They're nice and baby. And if I duplicate my background, I match it to the edge. Put this up front with the home or page down and you see it's nicely following the descendants. Okay, so this is what I need Later on, I will export the clothes us a standalone asset and obligated in my game engine. So what else I need to do now? I feel in the next lecture create all the little cocked asses and the different object in the desert. But now I want to work more on this background. So let's duplicate everything except the sun. So with the shift, I'm clicking on it. So it's not selected control de to duplicate, and it seems nice and smooth. But you see there are some mistakes. Let's put the clouds away. They will be here in my design, but I don't need them now. What I want to show you now is the best trick to create seamless backgrounds off wavy shapes or any shapes. You want to look continuous. So what I do, I duplicate both off the Sanders and I put them next to each other because they are the same with us. My background panel. This one? Yeah, they're the same with If I cut the image here on the right ege and on the left edge off the panel, it will feet perfectly. You will understand it in a second. So I'm putting back the clouds, taking care that the edge of the club is on the side. And now I'm replicating the clouds and the edge of the cloud which is here is also here. But on the outside, off my image. No, I'm correcting. My sender is I'm correcting the shape of them a bit. You see, there was a tiny mistake here. I'm just taking the No. Two. Leave some nose and put some nose down. Imagine the to Sanders together. Nice. No, I have one big one. You see one big object And if I cut it there on the side, it was not modified, so it will continue the same way on the right side. You see, now I do the same with the front one. I merge it together and I play with this note. Ideally, this note with hitting delete because I don't need it I double click and other note here, too. Take care and save the right edge, so it's not changing direction. The streak I learned from pattern designers. My wife is a pattern designer, actually, and she was showing this to me. So I'm duplicating the base and I go path intersection and cut off the second dune bath intersection again and cut off the front. Do. And now, if I duplicated it, control D and match it to the edge. Yes, you see, it's continues. If you see a tiny line is because of things scape showing these things were. But if you imported in your your own desert, designed your import in your game engine Ulysses Perfect like check on the left side, seamless as well. This is what I want. So no, I have a 1920 pixel wide image, which I can't repeat and repeat and repeat continuously. I don't care how long it will not eat up that much memory. I can duplicate also the clothes, but I can also, as I said, export them in separate object. And this is what I do in my game and just used them randomly popping up to make the background more random and I can put the sun in the middle. Here I am. It has. It is a nice desert background. I can even modify more dooms. I can duplicate the background even more. I can play with it more. But basically what we created in about 10 minutes is a continuous, simple but good looking desert background design. You see, I can play a bit with the shapes. I take care that the left side is not hurting, not hurt. So that's why I didn't know and I made the doing to be different. I can pull it even lower here, you see, and if I duplicated, it will be different. I also pulled down this bit so I have big dreams and smaller ones in the background. Now it applicator everyone that Ah, it's continuous. Ideally, the son. I just need one. So this is what I have. If it would be a game about the desert, I would be set almost. Let's see 6. Creating the desert background - Part 2.: so everything seems nice and continuous. I really like the Dusit has this waving us and it will look amazing a movement in my game. What I need according to my sketches as well, to add some little elements, some copters and skulls and bones just to make it. Ah, but most carry maybe. I mean, it's a cartoon desert, but hey, so I'm creating a square and if you create a square and grab this little circles, you can round me down and this will be very nice. I just give it a green color, something more contrast in the background. So be darker green And this will be a very nice base for my characters. Okay? And no, I am grabbing the base here to depend too. Yes, I usually call it and I am clicking twice. And now I going here and make the stroke bigger. So it is a stroke. It has no feel. And you see, I'm clicking these that the curves are the corners are curved and the edge is rounded and it already looks like a little yellow edge. I make it even more thicker. And no, I besides this a bit more yes, a duplicated it control D and with the age I flip it horizontally. That's why age is for horizontal. Now I'm picking the color. If I pick normally, it wants toe speak the field color, but with shift, you can pick stroke color. So now all my the two arms are the same color as the base. No, I'm doing the line. I make it a bit darker green, and I make it thinner. Now this will be the regis along the Cocteau's planned because I don't want it. I It's a simple cartoon characters, but you don't want to make its move. Because what is the cactus? It's usually, um yeah, it's ah ribbed and it's it's spiky again here. I just duplicated the original stroke, made a darker making dinner, and now I just modify it a bit to create these Regis along these band arm off the characters. Redouble Creek. I added a note so it can bend on the end, and it is following the shape. Now. I duplicated. I move it a bit, and now I have to move these note, actually delete the end note because anyway, it's straight. I duplicate. Now this one. That place is nice, but I have to move the other notes. This one and this one. I had the note here. Or just pull out the note handler. You see, even I am after 10 years of escape fiddling to find the final shapes. So it's absolutely okay to test and play video shapes, and we'll do the same it here. I double click to add the note, and I band this one on the top. So it seems that the lines are meeting at the end of the What is it? Main shaft of the doctors. Okay, I duplicated and flip it. I delete this line because I don't need it anymore. Not this one and this one, and I just sleep it done. I throw this arm of a and copy the whole this one. So the basic and the three Regis because your g I group them up with page down. I put it behind. Now I duplicated with control De flip it with age horizontally, and that's it. I love these because I don't have to draw both of them separately and what it makes more like a doctor's. It needs little spikes, but I don't want to make it super sharp because it still cartoon. So I just use a bit darker green version off the same stroke. And I'm just, uh, doing little strokes here and there to make it a bit more pointing. These characters looks like he didn't shave for a while. I'm not using Breck Black Strokes here because I like and colorful strokes that these are green. They are adding to the whole cartoon style of descriptors, so I encourage you to always look for colors and colorful strokes instead of your Susan Black. OK, overdone. I think it's enough I not gonna do everywhere. Just the big ones are visible anyway. From a distance, I group it up with Control G and I size it down, and I forgot to click that icon. If that I can is not blue older strokes. We'll keep the thickness when you scare them. But if it's clicked, then they readjust themselves to keep the same thickness that they were. So what I want, I want to cover up the bottom so it's fitting, sitting nicely in the descent, so I will use a mask to do that. Actually, a clip I make a square. I made it into a path. I make it no semi transparent. So I see this will be visible and if I apply now a clip. We dried, click and set clip. It looks already nice, but but I want to make it even better. So Control Z, I go back and that's why I made the square path is that I can add some notes here and there and I can bend them So it is more baby and it looks like there is a build up off send on the base of the cocktails Now it seems it just broken half. But if I put it here you see it's covered with sand. I can still scale it because it's huge and I can duplicate it and put some other carcasses here and there and did it. Now these I don't need them much. I keep these because the clouds will be separate, but I can make other clouds as well, upside down smaller ones. And you see, in the previous lecture we made different dues repeating for to screen long. I'm duplicating the clock the characters and flipping it with age, making it smaller and you see, the scene is already less deserted. You know, it's fun to add little objects, think about the objects and escape a scene You cannot. OK, I'm not going to make this. Um What is it, snake? Okay, let's say that was a snake, but I really definitely make some skulls, so it will make it a bit more scary. Orbit more? I don't know, threatening environment. So whenever you are creating something, think about what are the little details you can draw for me, it's called a basic skull is just circles and a square for the face. So I'm just doing circles. And with the panto, I'm just making this V shape, which will be the whole for the nose. If you follow my game character course there, I'm drawing a proper skeleton warriors. So you already know this process? I just drew a square over it and selected. We shift the circle and the square and I add them together with Path union or control. Plus no, my grouped up the horse car and I moved the eye and the nose a bit aside. I duplicated it because if I make a mistake now, I can go back. So I think it's better if I distorted. Make this bigger because this is closer to me. It is funny, cartoony, distorted little sculpt, still a skull. But it's not so crazy anymore. And now I'm just making these triangles select the scholar shape and I go path difference. And that is cutting them off. I make it lighter color, grouping up it, control G and put it here. Okay. It's not gonna be huge and gonna be small, even smaller. Nice. It's just a little thing in the background. Why my player, the co boys running whatever is happening is happening in the desert. I don't know. The genes are attacking, and now I'm just adding some ribs poking out of the ground. It's basically just clicking, clicking, clicking three little objects with the panto. I select all of them and I put them together with control. Plus, it is the same off path union. So imagine them together. That's it. So, no, I have a nice skull and the bit off a skeleton semi hidden in the sand in the sand. And it is nice. I can decide where do I put it. But Actually, I will decide that in my game and dream. So let's look at the color once more. I like the whole whole scene. I like the sky and I like the sun. But now I said, like the background and I will play a bit more with it because ah, I'm not sure if this calories hot enough as you say, I want us. As I said before, I want to create something which is co interest, which has enough contrast but also evokes emotion, and I'm still not sure if it's hot enough. It would be nice with this yellow, but it's not hot. And with this orangey maybe, But then I have to change the color of the clouds. So you see experiment because this is what we do in escape. Quickly click and experiment. Is this OK? Looks like sunsetting the desert. I don't know if it's menacing enough for my game has changed his base colors again. This looks nice, but it's too yellow. The whole scene is just yellow. So why my guys might just go back toe something blue. Yeah, actually, it's quite similar to what I had before, but I'm always experimenting and you shoot to This is how you create engaging and fun and designs. And because of that, I just colored the clouds white because that is the biggest contrast against this background. And they look nice. And in my game engine Aviall just follow the dues and yeah, they will look very, very nice. I'm sure about it. Okay. I'm not gonna take the background color anymore, I promise. I decided it is ready for your scene. Work on it as much as you want. Ah, want to blend these colors together? But what I need is that the sun has to be on the same panel, you see, like this one. Because I don't want the sun repeating. So I put it in the middle and the shift control A I'm opening the linemen window and you see again. So I'm just putting them aside with control D and ordered them into the middle. And that's one panel ideal export. No, I imagine together the sender's selecting both off the frontal ones and with control, plus putting them together. So this is one shape. You see, it's nice and could be home. I made it checking the wreath off it. If I did everything correctly, it has to be to screen long. Okay? And now I'm doing the same with the dues in the back. Merge them together. You see, I can play that the edges absolutely, perfectly matching. There is no gap, okay? And ideally, this little note, which is okay, not behaving perfectly. So that's object number three. So the second doing? I also have the little cocktails, and I also have the little skull and just select them and duplicate them here so that our object four and five and I will also export the clouds. And now that's it. The one image described with the sun will be a background which will be static and everything else clouds, cactuses and the sender's. We'll move in front of the static image. Now it's time to export Chief Control E G. Open of the export window and you can export all the little images by just clicking export . And here's what I made earlier. This is how the scene looks. Why moving? I know it's very, very simple, but congratulations. This is your first parallax scrolling game background. A very simple, but it's a good start 7. Scrolling in space - a vertical background - Part 1.: this following background is also a very simple one. I've you create background. I called the outer space us. You see again, I made a very small, very, very small thumbnail. I just drove more or less squares. The I don't even care about the screen proportions. And then I drove a big one without the details. I've got some stars and planets and neighborly and ah yeah, I will not draw the spaceship that's in one of my other courses. And of course, after that, I'll be a pro. Drove. Some meant Meteors and some planets to the background. So what I do differently in this one than in the previous background is that this is for space shooter game for mobile. So I am creating a horizontal instead of a horizontal vertical background. So I'm setting the screen size for an age D but vertical and us in my little drawing. I'm doubling it so us in the previous background, it will be the double the screen height. It will have some nice Grady and because to create interesting space, I think it's about creating a Grady in between black. I know spaces black, but we like to think about it. A scholar fool us to see on the Hubble images the different nebulous and star systems coloring it. So what I usually do for my space games is I do a Grady int from black to a very dark blue or purple. So if I duplicate this now with control D and put it under the other one, the chief Control A. I opened a lineman window. You see, they are perfectly aligned here and now I am flipping it with age. Or with that I cannot depth. So this is what I would create and why it is good is that if I turn, if I would turn the Grady End, there would be a purple one in the middle. Why am I doing this? That there is a purple on the bottom and the purple on the top is because if it will continue, yes, you see here. If we feel continue in the game, the player will see some nice continuity. But that's already three screen long. So that's already a pretty big background for my space game, and this will be the furthest away. So it was go very, very slowly, and we're just out some more death to the game. So when I am just measuring and playing with the Grady INTs so I'm creating that the Grady NCC. They are perfectly matching Nice. Maybe a bit more darker. Yeah, I can delete this from from the bottom and put that there. So I cut it here. So there is not one big blob right after the first scene. But the big purple blow be starting and then disappearing coming again and the end of the second screen, you get it. So I'm just making it more interesting. Now the trick I will show you is how I always create stars the lazy way I am using the spray to I am using the spray toe first I create a little star one little dot Make it smaller than you think. And then I will use it 1,000,000 times ideal duplicated but not manually like control de control de or Contra C and Contrave. A 1,000,000 times I were sprayed all over the place. So here is my circle. Then I quick on the spray to you see, it has a lot off settings here on the top. So I said the size and I want I don't care about rotation because they're circles and I want to the size off the objects a bit toe Mariah bit just to be the variation and that's it. I just pray around. This is the same circle. I just pray around on. Guess what the same way you can also make static snow. Of course, falling snow is different. So I am doing some star clusters here, even Mawr askew. See, I'm always zooming in and out to see the result how it will look on the screen. Okay, that's nice. No, I select everything and we shift. I'm de selecting the background and with control G I group these little guys up. So the stars are now one group, you see, I can make them bigger, Smaller. They are one group now, and it's good because it's the mistake is that I always want to select something, and I select the whole star one star instead of the whole star system. Now I just created you see a nice crawling background of stars. These already looks nice. So what we will do is create some more nebulous in the background, you know, like big folks, if you will like colorful folks now I'm just deleting the stars which are not on my image, because they're not needed. Nice. So now the star group is fitting into my background, you see, And this is how my stars I have now I create another one. This is too big. So yeah, a bit bigger ones to put them around to make it even more interesting. So I'm picking again the spray tool and I out some more stars. And then I will group it up with the previous batch. Okay, some more here and there can resize again and play with it again. No, I group them up it control G. I just color gray. So you see, this is how my stars I have And this is how I will export them in white off course. But this is what I need. So I already have the stars and I already have the background dark panel. What I need now is the nebulous. So these fogey distant, um, shapes off stardust or whatever it is. So this one's on my drawings. They are very rarely in voter and they make the whole scene more interesting. So I just grabbed the panto with the basic tool and just click. Click. Click my way around us. I usually do so. Don't care about the curse. Just click around, get a nice color fitting with this purple and give it and nice blur. Now. The bigger the blur, the more interesting it might be. But it's also heavy on your computer, and it's losing shape. So I'm just using medium amount of blur. I could go much further, and I make it semi transparent. You see the opacity. I sat down, and now I can play with it. And it is. It doesn't matter if it's not the court shape, but it's not curvy because it's blurred, but you can still play with the notes. Let's make another one. I'm just click Click blew it and let's make this one a different color. I think something blue wish to Blue. I had some little more here, and I merged them together. I have to set the blur again. You can play around here, really, just create whatever the blower. We'll be looking interesting. So I have this one here. It's a bit more visible, so I make it less, and I have these blue one. She's not that visible, So I would I would play with it a bit more, baby and create another little cluster on the top off it. When I make it lighter, you see, it's already looking a bit like three D because I added some highlight. Let's do the same with this one. Just give a little off a little off lighter color, thick highlight on the top. Nice that even eyes that it's blue, you see, So it's already looking a bit like those Hubble images. What if it's a different color? Yeah, like light blue green. So you see, I have a plan. I have a vision in my head and I have my sketches, as I said, But then I am just experimenting to get the effect that the effect I want. I want to create something for the player. So these already looks like a nice Hubble image, and I just made it in escaping what? Their minutes. And you can do it too. Okay, pull them down a bit. As you see when you sell like something. What is blood? It seems the selection is huge. Much bigger than the object. But that's because it is blood. It is bigger than the original shape. So if you look at this now, from this distance it goes, it almost looks like a photo made my Hubble. And in the next one, in the second lecture of this background, we we'll add some more details. So planets, Meteors and such. Are you ready? Okay, let's go. 8. Scrolling in space - a vertical background - Part 2.: the basis for background is already there and very nice, but we need to add some more off course. So let's draw some circles to create our planet's. OK, I make it less transparent. Said this to 100. And I actually like this blue color. It's the blue color from the fog previously. But if I give you the grade the end to these dark purple, it is looking like a planet in. You know, there is a shadowy side and the clean side, the bright side. So I just take this Grady int and then the pensive tool and just vaguely drove over us. You know, I'm always using the mouse to draw also here. I don't care if it's not perfect, because I just Let's close this here because I just want to create some fog Now, with control l pushing control L. You can make it less wavy, and now I duplicate the planet. You see, select the fog with the clouds and that's it. Bath intersection is cutting it again. No, let's make it brighter. And I created something like Jupiter in seconds. So I just add a Grady into these two. So the clouds are less visible on the darker side of the planet, I said, like both and that's playing with this more. Yes, and then I select both and group them up in control. G Nice one planet Done. Now Obviously, it's a game, so I'm not going to make a 1,000,000 planets is just backgrounds. So let's create another one different color. I picked the almost the same color. Let's make it purple. Okay, Nice. So again, the planets are has to be something similar color to the background. So they fit in, but different enough that they were that they are not blending in as you say. As I said before contrast, create contrast on your background to create death for the viewer. So what I will do now I have the planet and now I create little circles. Two out some craters to the surface. So what I do? I just used the spray toe play with the sizing rotation again. Doesn't matter, and I just plop, plop, plop. I just create this little holes, Okay? More or less, you can pull them. There's a bigger one that are smaller ones. Spread them a bit. Okay with control plus or path union. Imagine together. This is one object you see. If I put it here, let's make them darker bit if I put them here even darker. Common? Yes. So if I put them here, they are nice in the planet. But I want them somehow following the surface of the planet. And this is great. And this is how the panacea tool is helping us again. So I just make a straight line and that would be nice. But what I do now I make a straight line. But instead off non, I will make from KLibor cat the shape from clipboard. So what I do, I put this aside and this will be my shape I use. I rotated 90 degrees because it's always want to be rotated. When you use the pencil to like this, then control C control and you put it on the clipboard and it will use it from clipboard is the same shape. Okay, it's black because there's the default. But then you can, of course, color it Unless you see I can bandit us any other path. Let's give this ingredient to to a doctor purple, and let's believe it. The color off this no more nice. So it already looks like a nice, um, dotted surface, you know, which is marked with the explosions off Meteors, also known as creators. So it looks very nice, and I just started with simple circles painted into one shape. So let's select them both group them up planet to done. I give a little moon to this guy is just a smaller circle. I don't have to do anything, and I make it that it's almost like rotating, so there is a bit off overlap. I group it with Georgina Group, and I make it a bit lighter. So it's visible. Nice to done one missing. So let's make our third planet, which will be like certain we drinks. So I select the L, Ibs and the Circle and align them together. I make the Ellipse a bit deeper. I duplicated with control D, and now I have a smaller inside. I move it a bit upper, and I go path difference. You see, I already have the rings nice. That's colored is differently, and it's something that is matching the scene. So I put it on the scene so I see what I do? Yeah. This yellow, we may extend Israel. Stand it out. Something yellowish. No, one toe orange. Anyway, I will work on it later. But you see the ellipse. The ring I created is in front off the planet. How do I make it that the top of the planet is above during and the bottom of the planet is behind? Now, here's the trick. I cut the planet half with the scratch and using path division. You see that? Ah, it's got in half. And what I do now with Paige up, I put this one higher than the one in the bottom. If I would match them down now, it wouldn't work the streak. Because now I have three objects. The top one is in front than the ring. And then the bottom one under. But I can you see, if I measure them, they the effect is gone. But I can still select the to off them together and give them a Grady. And together from this light orange to something darker and yeah, let's make it visible. Thank you. Nice. It looks like a peach. Okay. And then the ring needs something. Also along this lines for me Que founded This bright yellow is shining around the planet. Now just select all of them and group them up. See, they're still separate objects but their group up I can rotate them and I can play with any parts of front. If you want to give moorings for your free play with it, you can give Mawr shadow of the ring on the planet. Just play with it now I just rotate the whole group and put into place and that's it. I already have three planets. I already have the nice clusters in the background and enable us and I just create some Ah , meet yours. According to my sketches, I just creek around again to make the shapes and we make them a bit darker and we don't know to control clicking on the nodes. I make them curry. Not all of them, but some of them. I have some edges here and there, You see, because I make everything curvy than its big cams. It becomes a blob. So and I want some edge to it and there are some holes in it. So I will draw some little ellipses here and there make them darker. Make this one would be different. Maybe small waas. Nice. I'm not You see, I'm not following the sketches sheepishly. Those are just the ideas from my head in front of me. But they are not made to perfection. I am perfecting them now So let's make this darker here on one side as well. But then the holes the crater holes has to be a bit darker. Yeah, because they're like no, especially their like shining through. So let's make everyone yes, be darker. I group it up it Contra g and with controversy, I put it here It is very nice. If it would be like an enemy my game, I would make it move or whatever. But what I do now just with dependable, I just at some triangles, some shapes here and there. So create some debris, some some broken off pieces behind the myth you're just to make it more interesting makes it a bit more dynamic. And then I select them and add them together with Contra G. So they have one group now, Now this is what I have and because I want to reuse the planets and reuse the backgrounds Off course. I don't export them a swarm background because what I want to create Yes, I want to create a parallax scrolling background. So I duplicate everything. And this is how I export them. I export the planets separately. Let's order them nicely. 12 and three. Border doesn't matter. Really? I need my little meet your I can create new ones, different shapes. And of course, I will export my stars. Put the planets the size of the stars have since clean space because I want transparency behind Yeah, so he had the starts. Of course. They will be white just for you showing. And then I have the black background. I can merge it together. The two black partners so like them and merge them together. The sizes good. Perfect. The size of this is good matching. And it will move along the background like this in my game. So just export these elements and import them into your game. Engine us. I did. And it looks so cool. I'm so happy. You see the stars, the backgrounds and nebulous the planets, the meaty or everything moving in a different direction. I was just putting their space. You're so it's not empty and this is it. I'm very happy and I hope I see yours soon. If you already let's move on to the next lecture to create something more complex. 9. The very big city background - Part 1.: so Number three is the big city background. As you see again, I made some thumbnail sketches following the waves off the background off how it will move . I already have that in mind. So like older buildings in the middle and smaller behind. And if we move on, move on. And then I was catching. Maybe I will do some little objects, but definitely some clothes for the background and buildings. And because that's it, that's a that's a big city. So it's quite simple, to be honest, and I am showing you a certain it of them using. So before I used to exact screen sizes next to each other. Then I did the same but vertically. Now I am just taking care that my background is the height ISF eating off the screen I want to design for and I just make it a bit wider. So I just care about the height and then I will make wider. As you see, there is a bottom. So I duplicate my orginal screen and make it. They're so there. I have a baseline, and now I'm adding these building from my sketches. Buildings are basically big scares, so I just throw basic square there. So simple. You just used the square toe and I just had another square here on the top to make some towers. I think I will being this dinner a bit. So I select everyone. We shift control A I opened up the airline window and align them together. So it's nice the line. I make everyone smaller because I want some space above even the highest buildings. So why can some I can have some space for the sun and or the moon or the clouds. Okay, so you see, there are two older buildings and then some shorter buildings to create this wave effect I want because it you know, a city centre is usually tall buildings like office buildings and then the residential or a smaller. I can also create this building, which is a bit going diagonally. So it's not horizontal with chief control. See, I turned it towpath and I just pulled this down. Let's move everyone a bit closer. I replicate this one. I duplicate the buildings. This is how it would look. You see, it would make a nice wave, but I want a bit wider wave so us. I said, Let's make the screen a bit wider, so I will make it a bit. Not like, you know, I don't care. How is the exact number? I just make it roughly 1.5 times wider. And of course, then I have to do the same with the baseline. Okay, Good. No, they feet. And now I can just out some more buildings here on the right side and play a bit morbid elements. I duplicate this one free Petri age. You see, I'm reusing even the squares. I don't have to. Redrow. I made this one here, but in a bit narrower shape. I just select everyone making narrow or smaller can pull everyone even more to the left. And then I have placed with one more tiny building here. Imagine this. Now we do the same with city blocks us. We did. We'd ah, the san dues in the first background, you see, because there is wave, it's not. It will create an even more dynamic movement. So now we have the first layer we started with the first layer of building. These are the closer to us. And as you see, I'm just using great colors. I don't care because I will recall her them later. And here there are some buildings in the distance to more waves off them, actually. So to create a thick forest like feeling for our city, I group up the first layer and add two other layers behind Spare bit with the background. Oh, okay. Just made it blew. So I'm see what I'm creating. So again, I'm just using squares. Let's make them darker. Yes, medium dark because they are behind these buildings and I positions them more or less in the gaps. So feel out the gaps. Although I know the debut moving in different speed in my parallax background. So they will not always in the gap, but that what is makes it that what makes it more interesting that some buildings are covering others. You know, like you would drive on a big lane and watching at the city Going past you, I can use buildings I created before as this one. I flipped it with age and I make it a bit toller bit different. Okay, nice. And now they are very even to even for me. So make them also be ticker like, closer to each other, and create the same baby effect again. Remember like we did with descendants because this baby up and down effect is what you enjoyed so much and from the carving the when you were a kid. This is what a player is also enjoying in a game. Okay, some publication here and there. Let's make some dollars. And obviously, because they're further away, I make them less thick, like the buildings closer to me. And now group them up with Contra G and put them behind the page down. And you see, it's already nice. So this is what I have. I can't put them back and work on them more, but it's already nice. I add something here because I felt that is too big space there. I can play with it, so make it a bit more interesting. I turned it into a path issue controversy or object a path, and I make it also diagonal on the top, you see, nice. It has the waves I'm talking about. And when these two ways move against each other or different speed, that will create some very nice effect of death and paradox. Now let's create layer number three. Those are buildings in the distance. You see only a few off them. I make them less dark. I'm not thinking about colors yet. I'm just thinking about the feeling of distance. I make them darker but not super dark, not black. So they're not standing and jumping in my face. So just a few narrow told buildings in the background just to feel out the space again behind and create the illusion off even more distance Yet. And of course, they have to be told, because I want them visible behind my other buildings again. I can play the Dutch here. I can group them up and put them behind everything else. Let's see. With page down, I put them behind, and this is how they will move. They will be sometimes visible between the cap, the gaps, the gaps are actually, you know, they are street between the tour skyscrapers, and this is what I want to create. So it looks nice now aesthetic, but when they move, they will create a very nice feeling, so I can also make add a bit more, maybe, or make them told her. I was seeing a bit, but it's almost done. We have the three layers of building. We have the blue background layer there. I've loose about the clouds. So this is already nice, and in the next lecture we will make them a bit different. I push everyone together again because I went over and I want to add the clouds up here. Almost done. In the next lecture, we were color and out some details. 10. The very big city background - Part 2.: we're done with the first task to create the whole structure. So, as I said before, we need different layers. And now we have these layers for our big city. And now I just want to get some background. So I give you Grady into here and maybe make it here, make it orange and blue like it's sunset or actually sundown. The sun is coming up behind the city and to complement that, my grace structures, which are very well I was designing the layers need to be color too. I'm going for light blue two caused, maybe. Yeah, maybe Ally Blue Wipe. And I give them also Grady int to make the make The things appear also closer to us and I take the same bluish color and put it, make it darker and put it behind. So does the color of the second line. You see when again, when one end of the Grady aunt is selected, that is blue, which means you can modify the color of death. And so it looks quite nice. I'm very happy with this. And also I want to pull the color is a bit more, doctor, because again, the front row is closer to me. So later on that one, we'll have more details now. I just wanted to stand out color of eyes. So I'm trying to do something nice with this gray and bull and blue here and maybe color is gray also bit darker. Yeah, I just picked the color from the background. The darker, greenish bluish color. You see, it looks very nice and it has a nice contrast against the oranges in the background. It's really like it will be very, very nice than than the oranges are shining through. Then the background will be movement. And the last one I don't even give a Grady, and I just make it very, very dark. Okay, let's play with this a bit more. When objects out in a group, you can give them a Grady end that it's applied to everything in that group. Okay, it's too bright. Somebody in between. Nice. The buildings are two dimensional. You Denver, you just see the front face of all of them. But still, because of these, you can see the waves are was talking about in the previous lectures, and you can see how much they are working And now it will be time to create this. Also wavy nice clouds above it. This time I will do it differently than I did in the desert scene. I will do something like I did for the space background for the folks. But this time I will not blur them. So it will be not nebulous. It will be a tiny thin glowed above the scene. I'm pushing control l again. You see just to smooth them out. This is deleting some notes. It creates some little edges here and there, which I'm control clicking to clean up. Just contr. Okay, Control, click again. I really like it. It will be behind, but it has to be us wide us. Everything s so I duplicate the background and the path intersection. I cut it exactly on the edge of the background. No, it's time to practice again. Thing I was showing in the desert scene we will make this cloud continues how we duplicate again the background and we cut it into half, Read the background. So we cut the cloud into two pieces and now I order the left piece to the right side of the design and the right piece of the close to the rest left side of the design. Why? Because now I am sure that the two edges on the two sides I'm just coloring is great. So you see, if I duplicated you see here it's a perfect match. Why? Because I've just cut it there. I drew it myself. So here it's not a perfect edge. So what I have to do? And this is the tree cailan from texture designers is I make it smooth here myself by hand , and this way it will be continues and never No one will tell. Where is the cut exactly? Because there is no cut. I even managed to objects together with Control Plus or Path Union. I play with me the notes and now if I de plicating, I just moved it a bit. You see, there is no cut. It works perfectly. I make it semi transparent. Oh, it could be like a fog above the buildings. Looks nice. No, I will put it on the back layer. It's nice, but it's distorting a bit. The feeling off my my building, so I just put it absolutely to the back and up here. I create some little Bob's here and there, some little buffs off fog or cloud, which is basically a circle, and I distorted with the path toe into this with the drop shape. And I do another one here, just little shapes here and there to make it less repeating just to break the form of the cloud of it. Now imagine all of them together, every control. Plus, I know I have a nice clothes because I like it and I like the shape and it like I like the nice way vow. It's supporting the city and how it's in contrast with the shape of the city. And what I want to do is I duplicated. I duplicated again. So I have snow, three of them, and the 3rd 1 I put up a bit just a bit nice. I like the two duplicates and we control minus a path difference. I cut it out so I have this nice edge and now I can color the said yellow are I think more . Let's get this very, very hard orange here. Yes, and now it seems that if I put it behind with end now, it seems that the sun is actually glowing on the clouds if I make them pink than even more , it. This is helping my image because it makes it more interesting. The cloud is more three dimensional, more profit more puffy, and it's supporting very nice to the background color off my sky. So what? I need our little objects. But I'm thinking, actually, what are the most important details off skyscrapers? It's not the cars but the windows. So I'm showing you now in the remaining few minutes of this lecture, how I am creating a set of windows easily, So I just draw a rectangle I duplicated a few times. I'm shaping it a bit and I'm duplicating with control. D you see? It was blinking a few times. I made a few duplicates, and now I arrange it. I go here toe object and I go to arrange. I am setting Khomeni Rose and Co. Williams. I'm want, and it's automatically obviously feeling go the gap. So, for example, I from 20 objects I can make if I set one of the objects. Five. The other real before you know twenties five by four, etcetera, etcetera. It's very, very straightforward and logical. If you are a devil up for yourself, you will understand. So even if I have several objects like this on duplicated them a foot a few more, Even if they are distorted like this and all over the place, the ordering is setting them on space and also talking about space. You can said the horizontal and vertical space between the elements. So there are the gap between my windows. Play with it a bit more, create how much windows you want. Just have some fun and then move on to the next lecture where you use these set off windows only these few to create huge city and it will look amazing. 11. The very big city background - Part 3.: I hope you have fun with the arranged tool because no, we have this windows and we will use them to make the sky creepers look alive. I just select and copa these windows scale them. And I see Okay, I need much, much more because these windows I created are huge. So I just copy all of them like the replicated control D. And I said, like the objects I don't need I'm morning shift and the selecting these windows, which I want to keep. And this on the left. I don't want this column, so I just hit, delete. They look nice and no again. We have the same day of the amount of more or less I want. They're like, what, then? Wide. So 10 columns. And then let's see Khomeni. Yes. And you see this basing remained the same. Eso I have to make it a bit smaller, even smaller. I'm not saying exact number and you shouldn't follow my my tutorial for the exact number build what you really want. The only exact number I need is the background size. If I know that my game will be a mobile or on screen, that's the only exact number I want. I duplicated again a few times Now I select all of them and the range it again into 10 rows . And you see, I have some extra which I just select and delete. So it's good because the arrangement took care also about the ones which were overlapping. It's arranged perfectly. I know that everyone selected I just moved them in the middle so they look nice now. I just select a few here in the middle to put them with Contra de. So I duplicate and put them up here. I don't need these. So I'm holding shift and quickly click on them and the lead them. Yes, but these looks nice. They are absolutely in place, so I do the same here. I'm just clicking on a few and applicator them and put them here as well. No, I want three rows. So I have you make my building told her. I mean, no one is telling me that the size of the building has to remain, but I want to keep the proportion and the size off the vin does the same. That's more important for me because that will make the building. Look more normally. Beard. There are are not on even gaps between the levels in the building. No, I have everyone. I'm selecting only the windows and group them up with control. G. So now during those are one group. And as I said before, if objects are group, I can give them a Grady in together. These looks order denies, like there are more light on the top than on the bottom because their shadow between the buildings you see, this makes it more interesting. And this is throwing the into the mid level off the image because there is white colors and big contrast and no like on the bottom. Now I duplicated with control D. As you see, even my computer was calculating a bit because this is a huge amount of object and no, I duplicated again off these are groups and not objects Mayor together. I don't delete this and let's pick this offers. So as these are groups, I made these windows a bit smaller. I double click and go into the group. I delete just having those I don't need. Why do I do this this way? I don't have to remake the windows. I don't have to play with this again. I am making my building Toller again. What I said before, no one tells me how told is the building. Now it just replicate this part and feel out the space. And I also will make this building a bit wider, I think just to accommodate the space there. Good. You see, these are tiny things, but I think they matter. The devil is in the details, they say Okay, so no two buildings are done. A few more to go, but I'm almost there. So I'm duplicating again. These windows put it on these building Nice. I can make them even be bigger. So it doesn't matter if there is not the same window size between the buildings. And what do I do here? I don't cut the windows on the top. I delete the ones I don't need. Okay, even these two rows or three. No justice to And I could go revered half windows with what I do. You do? I make it us wide as this whole, um roof off the building and achieve control. See our path object towpath. I turned it into a path and now I just modify it until the top off this big glass triangle is popular with the top of the building. This is a bit interesting. This just a little detail I make to make you know more fun in the bedroom. Let's duplicate these again double click to get into the group and delete the windows I don't need. There is a lot off them here because it's a smaller building. Yeah, this one on the edge and a lot on the top. Good. Also here these few won. The top is not needed, I think. Nice. No, I can just applicator the small one. I don't have to work with the huge amount of windows anymore because now I'm getting to the smaller buildings and I just delete again the ones I don't need. As you see, you can select by holding shift over. You can sell it by, you know, throwing the selection around the object. It's really up to you. No, I duplicated small one. Okay, I keep rather this film because it's easier. Why I'm doing this is that I am keeping the consistency between the windows so I don't have to rearrange, rearrange rearrange again for every single building I am using the same sets. And if you know, look at it. It's already starting to look cool. Now this one I can't replicate and put it next to me. Try to keep them in the same height as well. So the Grady int is the same. The Toler, the building, their shiny authorities on the top. But for you, it's up to you. Later on I villus article or this windows, I will show you a great trick in a minute. So this is just the labour part. Really? Really. Just have to duplicate the windows. Gay. A few more to go. Maybe it's better with this one. Yes, And just to steer things up again, I will give these building only a few windows. So not a full face off windows like the other ones. Just three columns off windows again, As I said, Inspire ation. Play with it. Look at images of houses. Not all of them is a fool. We walled off glass. There are different proportions and a lot of fun. So it applicator this one and these building as well. I can make it a bit different like there are no matching those on the top. And this one can be just easy going. Okay, I just pick a few windows here again and you see no to lies or no three lines off in those just one and no windows here in the toe. I am creating different, different buildings just playing with it now I could leave it like this. I really like it. There is a Grady, and there is a big distant difference between the foreground and the background with the millions of windows. I don't know, not a 1,000,000 but at least 100 I have here are not more. And it could be so nice. It's it's so different already and you could just keep it. But I have another idea. So I break up the groups. Now we chief Kwon Drog. It's a bit takes every time, but it works Poem. You see a lot off them and no, they are in one big group. So I broke apart the buildings and okay, the Grady in lines are appearing for all of them. But now I don't stop at the Grady int. I make them a light, grayish white color and here's the great trick I want to show you. I will paint over the windows with these green color with the sculpting tool. There is the sculpting tool. You can set the force and stuff and there's this icon on the top, which is painting on selected objects. I select all of the windows and I just slightly play and paint over them. Bladed it. This is the fun part. You build the city and now is the fun part because in one second you will see what you are capable off with this tool. It is coloring, singular object. But they are. The windows now are like picks us. I make it a bit smaller. And just with this great eye color it. It is very similar color. What is the background buildings color? So it seems that the buildings are actually reflecting what is behind them. So again, I select all of the windows here sculpting toe and you see, I said this color, it can be even more dark. I set it to a darker blue and now I make the site smaller just to add some windows like this because different windows have different angers Some of them are open, Some of them are not. They reflect the sky. They reflect other buildings. You never know. This is making it more life. And now I pick Dwight and just into the same direction, I am moving it up and down on the buildings. It's really easy. I'm just painting. I'm like painting on pictures. I miss some buildings here on the edge. Let's cover them. So white line here on the top you see on the top is some sky color and some dark blue ivy lead on the bottom with a bigger brush. So their is less difference between the objects are more greenish blue. Nice. Okay, so you see, the bottom of the building is dark reflecting the buildings around and the top is white and the color of the sky here and there shining back. And now I just grab this window and controversy Contrave I copied He make it smaller and just da placated everywhere. When you hold an object and push space, why you move it, it will duplicated everywhere. I just made them a bit less harsh color. So I'm just who are moving this object and I'm putting them on the middle layer and obligating them just holding, moving and hitting space. They don't have to be in order, just some of them next to each other. I'm I'm just really adding a few windows. Why? Because I don't want to do the same idea on the front and on the back one the back layer. I will not add any windows at all. They are so far away that we don't see any windows. And you see, this is what I'm talking about when I say more detail and more work on the front layer because that's closer to us and the medium medium range, and you see these ones in the dark in the background. They don't get windows. Not that they don't deserve it there so far away that they are not really visible. I put the ground up here with Paige up, so it's covering every building evenly, and that's it. You see, that's my frontal layer, and it's nice that the ground discovering all the edges here on the bottom I can make it a bit darker. Somewhere between yeah, nicer. The only thing left to do is exporting my layers. So how do I export these? The front one, the medium range, the back buildings and the background to the sky with clouds. It's only four object, but it will repeat so nicely. Just export these four objects. Put it in your game engine and see what you can do. This is what I made with this one. I hope you learn something, creating the big city background and you can implement it in your own game. 12. Create a professional looking forest game background - Part 1.: I hope you enjoyed the course so far, because thes the green forest background is the more complex off them all. So we start again with the sketch and we will create something very nice and very detailed in this coming four lectures. So get ready. I start with the Tom, their sketch. And then I'm thinking about the how the directions will go with this, from how many different layers it will have and what the little details I will draw like pieces of grass, branches, roots, bushes, so many things to do. And then I created a more artistic representation. Ah, bit better sketch to figure out what I want. I'm adding here a layer of Bush's and some more foliage. And here in the foreground, there will be some elements which are so foot much foreground that they're even front off the player. And I really like those because they put the game into perspective Even more, I start, read asked with the city background, something which is then 80 high but not 1920 wide but much wider, like 1.5 times wider, and that will be repeating on the screen very nicely. Don't forget again that their background and then the different levels off plants really move in different levels in different speed. So this will create a nice death perception for the player. So if this is the lead off my background, then I can start drawing. In the first lecture, we will start drawing the layers. So us we did with the desert and city. We were just created different layers off objects. And then we refine it, refine it, and we find it until if it's perfect. Okay, so let's start with the background. I just calorie blue now and then I start with the drawing the trees top of the trees and the ground, and then we move on to Bush's and then details. I use the guides again because this one us you remember back with desert background, I will use a lot of guys in this form because I want to draw them that things are coming in and going out of the scene roughly about the same level. So now I'm using the pen tool us, you know, already. Now just quickly click around, so don't click and hold just quick. Okay, let's make these not transparent. They were both transparent. It's a mistake for you. All can have and this guy's a lighter blue. And this one is also not transparent, and I will fix the color off it later. Now I'm just control creaking the nodes toe create the bomb, sees the little heels up and down in the ground just to make it more interesting. I pulled this one down. It's too wary, this one also, I even it out a bit. Okay, so it's maybe, but not to baby. And you know, I want to match the corner. So I duplicate the background again and yeah, going through a star or path intersection toe Cut it perfectly at the age. Now if I double it with control D I d obligated I put it here. Remember the same asserted with the sender's. You see, there is this little edge. I clean it up on the design. Perfect. If now I would duplicate that again, it would match perfectly so I can delete the right one. I don't need it anymore because it is a perfect flow now. So it's nice. Okay, This is the first piece. Just the first piece we created Then I will need a wave off bushes in the back. So I do exactly the same. Okay, let's color this some green before. Um, already I'm not fixed about the colors. I just want to give more contra So I see what I am doing. So I pulled down another yet another guideline and the beat higher. I start to dro my bushes jump just up and down, up and down again I just closed the design and applicator the background. So, like both of them path intersection But I really, really hope that for now you already know the process. This is how we caught something along the edge. I'm just going throw clicked the two, the three higher ones to make them curvy. No, I colored it may be differently. Okay, so we see that these are the bushes for now. I don't give us my detail Us on the sketch. That one is in the next level in the next lecture just now I want toe get the layers. Now I do the same on the crown of the trees. So they start around here. I pulled down a guide again. It's not cheating. You can use it again. Just clicking on finishing it, making it the same dark green. Were you okay? Even darker. Now I just control click the nodes again to make them curvy because I don't want a very geometrical forest. So I'm not again not going into details and applicator the blue background. Select both of them path intersection to cut it again Here on the edge It we're not really , you know, matchup. But I revert it out in ah later lecture. No, I'm just focusing to grab the layers toe dro what I have on my sketch I already have four layers us you so and I need much, much more. I need three trunks and then one more layer of three trunks in the background. And then one more layer off Bush's in the background just to close it off. It will be several layers and if we look amazing, So just to do the trees Ah, I'm checking my sketch. And as you might remember, in the first lectures I was showing inspiration. I when I drew the sketch, I was looking at photos off trees and yeah, I saw some trees because I'm hiker, I'm out a lot in outdoor. So I know how trees are branching naturally. And I'm just speaking a nice purple lee color to complement the green ones here. So to create enough contras for my game. And I'm just clicking around again with the pen tool and create a tree. Nothing special. I'm not going into small details. You see, it's just a big branch and the small one and I banditry because the three is never just, you know, playing toll colon. Okay, sometimes, but a lot of times it's, ah, thicker in the in the bottom. Then it's on the top. It has little routes like I'm doing now. I'm just clicking around and creating little roots, and I don't care if it's not perfect at the first Grow, because I will grab the no tool and I will modified and refined it later. So now I just have some fun and grow some trees. It's OK if they are not perfect. We paged down. I put it behind the plans and the leaves and the grass, actually, and I drove another one and you see none off. My trees are super vertical because yeah, it's I want to make a fairy forest, Which old curry? Crooked trees. So, yeah, I not make a new forest with fresh and straight trees. That's it. I'm very happy with the result. Let's check it out. How it look already. I complicate everything. You don't have to do this. I'm just checking how it looks. But it's good if you get used to it. You see, there are some mistakes here and there, but generally as the dynamics I want so I can delete it so you don't have to replicate every time and check when I do is just for you to know that you are in a good trek and this is what I do all the time. I'm checking. I'm checking my work. I'm not ever all knowing result. I have to check and recheck and modify my work. So what else I will do another layer of trees and another layer off Bush's like we did with the city to create mawr death because a three, because just line of tree is not a forest. I made this a bit darker or paler purple because they it is behind. I'm matching some color between green and purple. Nice and these trees are in the background there, bit thinner and different than the ones in the foreground. Again, just we depend. Tool the base here to just click around and create some very, very basic three shapes. Don't be afraid if you don't add little branches here, because also these trees, remember, are in the back so the player will not see us much. Details us on the trees in the front, so just be super simple. Here, page down. I send it again behind and just here on this part. There are several little trees. Let's throw them, too. And it's absolutely fine if they overlap because they were overlap in the game as well. And if they cover each other, it has a no additional feeling of death because, you know, trees are not aligned. They are zigzagging there, covering each other, creating some kind of chaos which we call the forest. So this is what we want to create as well. So, yeah, I covered this one a bit as well, and it pays down. I'm sending it behind. Looks nice. I'm quite satisfied, and that's a nice additional air. And here is a big, empty space, so I just I want to fill it up. I still feel that is too much blue reasonable. So I pull another guideline and I'm adding the second row off. Busch's behind the 1st 1 and maybe it's still too much blue. But I will see when I fix it up. So we do again the same. Replicate the background, going through a star or path intersection. Okay, I made a mistake, not bath difference path intersection. That's it. With control Z, you can collect any mistaking escape and that's it. We page down, I send it behind. It's super dark. I want something more green. Okay, something like this, it's It's OK now and it's still as I said, still too much sky visible. I want I want things almost connecting. I want the forest to be, You know, I like dark from leaves and everything. So I am adding yet another layer off leaves behind the previous one. So as there are two layers off Bush's, there has to be two layers off the crown of the trees as well. Okay, and just pick the same greenness from the bushes. It can be a bit greener and darker. Okay, Nice. That's a nice contrast. Actually, no. I feel that the bushes air to players, so I darkened them, too. And now I'm already working a bit on the colors because I like the purple on the green against each other. I am just thinking that it needs more interest. This has to be a bit more dire because they are under the shade off the leaves. This one, too. Let's modify the first row of bushes because it's not enough visible from the 2nd 1 So I just select the notes and push them, squeeze them a bit together and pull them down. It's much nicer. And if you click on the ruler, the guys are guidelines are disappearing. So let's duplicate everything again unless check how things looks you see here is ah, beat off, Miss Connection. So I'm pulling this one down. Yes, Apart from that, it looks fine. I'm very satisfied it is following all the guidelines I said before. That is continuing nicely. It has nice contrasts, interesting colors. It is setting mood. All I need is little details, little details, toe head. So in the coming three lectures, we will add little details and work out how the forest will look even nicer. I already see another mistake here. The trees because I pulled down the bushes. I have to pull down the trunk off the trees as well because now they're hanging in the air . I'm just doing that first. Doesn't matter because in the next lecture we will add some leaves and details and it will be very, very nice. 13. Create your professional looking forest game background - Part 2.: the base is done. Now we will add the little details What we drew before here on the sketches. So the top is nice. The bottom is nice, but here we need some grass. We need some. Leave some branches. Let's make this design alive. You see, here in the sketches I was just playing. I was adding little element so far branches and leaves. And I want to create the same here. So let's start with the grass and I will do that again. The smart and lazy they. But if you're a developer already, you know that that being lazy a lot of times equals finding smart solutions. So I'm just creating a little around the square and align it to the edge off my scene, and I can duplicate it. Control de duplicate, move it a bit duplicate. And like this, I could make like and no 100 pieces of grass in half on hour. Okay, more maybe. But it would be a tremendous amount of work to move them and scale them and rotate them one by one. So what we do, we will again turn to our friend. The spray tool are sweded with the stars. We now do the settings a bit differently. We are a tiny bit of rotation to the MISC mix. So when I spray debut band left and right, but just a few degrees of rotation is enough. I don't want horizontal grass. I want them keep won't give them vertical and it's already looks nice. So I just keep on spraying little with bigger ones It a bit smaller ones feeling about the gaps, leaving them just being playful. And you see, when I zoom out, I see that it looks nice. Okay, some of the grass is weird. I need to delete them and you closer to the ground. OK, nice. So just be playful and create what you need This when I push up because I don't want it out of the scene. As you know here, in this setting, the spray tool is creating individual objects so I can move them separately. So I select it again and continue my spraying adventure on the top left. There is this green icon selected and you see that means that it is praying individual objects. I like that the moves because I can just merged objects together later on if one of the objects is not in place like a second ago. You So I just stop and I put it black and back in line. So I'm still spraying. There are some gaps here and there. I feel them up. This one I don't need. I've rotated and again, like with the other one. I align it to the edge. And this we'll make my design again continues. So if we put all these things next to each other But first, let's measure them up with both union. If I put these things together, it will be continues. Okay, you see, now I have one big line of grass. I moved the three's a bit because I really like that gap under the route and now it's a bit covered. And now I'm landing little individual blades of grass just to make it interesting, because now it looks like a foam. So I'm taking the pan tool and create some grass blades. It can be like this. You can leave it like this. Of course. Make it a darker color. I mix some lighter than the back, but darker than this one green so you can keep it triangular. But I am control clicking these notes to make them more fun looking and cartoon looking. So I'm just control clicking and pulling the curves closer to each other. No, I can just applicator with control the flip it with age, re sizing a bit because I will not make 400 pieces of it like I did with the blades of grass in the top. Off this little heels, these individual grasses I can place by hand and just rotating them a bit and scaling them , they already look be different. So okay, they are the same object. I just created six or seven off them and they are the same object, but they look different. How to make this even better is first of all, I have to merge these whole things together. We did both union. So the grass and the little here's on the ground, and now I'm giving them ingredient to make them look even better. You probably remember me mentioning contrast a few 100 times already in this course. I do that because it's very, very important. And now I'm making the part of the grass closer to us. Even Ah, lighter the yellow is green. I love that color, but it's makes things more alive. And no, I will add some elements here in the bushes, which are also darker. But how to give some elements how to make them more fluffy, The same way I make a circle. Align it to the size. So the side off my background And guess what? Spray toe rotation doesn't matter again because I'm using big circles. And just to tell you a secret, this is how I how I make the bushes. Now I am like Nintendo with super Mario. This is how am I doing clouds all the time. So I am just making a basic shape and then spraying circles all over it. It looks like a bubble bath, but it works. So how do I know that this is not a cloud about the bush? First of all, it's green. 2nd 4 in a minute, I will out some individual leaves to it to make it more interesting. Okay, so I just play around and, as you see I explained, was so here around, like over the trees. Why am I doing that? Because remember, this is a parallax scrolling background. So these, well, the trees will not cover the bush's behind them. Over the time, the bushes will move with a different speed into the same direction. So these parts will be one point visible. So I have to cover everything. No. I select all of the circles. I select also the Bushes and Maj. Everyone together with control plus or path union. Uh oh. This little guy escaped. Okay? I'm urged him to. And this one. Okay, it happens, but yeah, this is it. I have the bush is very nice. And this is how you look when they move behind the trees. But I'm also thinking maybe I explored them together with the trees. Let's see, because they can be moved together like they're close to each other. Okay, I will decide that later on, but what I do you do now again a sided with the grass. I group up the grass. That's one of the year, and this could be a second layer. The trees and the bushes in the background. Another layer. Okay, so what's I grouped up the grass and give it the Grady and I do the same here with the bushes I give it to Grady and this time making it even darker. You see, even if I zoom out, I see there is so much nice contrast and death like it's a paper cutouts seen from a puppet show. Here in the front, there is green and yellows while in under the tree its shadow. And now I'm showing you another magic trick. Just two circles overlapping and I go towpath intersection. And guess what? We have a leaf. It's a very General Cleef. I have other courses that I drove different type off leaves because, as I told you, I am hiker. I love trees. I know different trees. This is just a very generous three. Do you leave? And I duplicated by hand just a few of them, So I don't spray anything. Just I did with the blades of grass. I duplicated and put it here and there just to make my bush a bit more interesting. I rotated two lives next to each other is always interesting, and you see now it's a bit different color than the Grady int the bush with Grady in. But I will also fix that later, make it smaller, rotated these are the little details when your game is happening. I mean, there is action happening in the foreground. These little details are not, you know, observed I observed by the player he's not stopping. Or maybe if your game is very cool. He's stopping and says, Wow, that Bush looks nice. But these under little details that make your game more interesting and more alive, even even when it's such a simple cartoon in background as this is what I like to say is in escape, you always work up from very government trickle and very clean design and then, cleverly like we did with the grassy over with this one or with the Bush's, cleverly, we make them more random. And now I just with a simple click off path union, I'm urged the leaves to the bushes so they have the same type of radiant. Now I have the trees and they are purple and standing nicely against the background. But I have to play with the Grady ends like I did with the desert background. It's very important to have contrast between foreground of dangling now the trees, as you see here on the sketches. There are this little regis I made to create a simple illusion of three bark. How I do with I just gonna make lines simple lines with the base here, tool. I don't even bend them. I go turn off the field and give a nice light purple color through the stroke and make a thicker to think Yes, something like this. Nice. And I am just creating a few parallel lines next to each other. So if my light is coming from the front to the back so it's darker under the trees. And also the light is coming from the left a bit because this is what the trees assuming Ah , then I can say that there are no regis visible on the right side of the trees or on the back off the trees because there is they not heat by the light. And you see there, like simple highlights there too much now. So holding shift. This time I am coloring the strokes to a lighter, a different color, different purple. I can also give some here. These strokes will support the branches as well, and they give the illusion like some lines here and there. So all of them are showing going to the same direction as the tree branches as a tree trunk itself. You see, if I zoom out, it's It's like giving a bit of three D feeling to the tree. Now. I give it to Grady int if I flip it. So I think that's the best if they are darker on the top and lighter on the bottom again, Why? Because the foreground and the bottom is has much more light than the top just under the crown of the tree. I do the same with this tree. I'm just creaking around a turn off the field. I don't need that. I know it looks a bit like electric circuits in your design. Feel, Frito. Anything you can use little circles like we did with the planets before you can add the curve lines or, you know, or just Grady and from left to right. I prefer these because for me, this is this reminds me off three bark and the movement. It will look in my eyes and also so it's not making the trees to robotic. I think if they would be great and there will be some circuits and switch. Yeah, Okay. That's another game again. Give the same Grady into this tree and just flip it. So it's coming from top to bottom. Okay? And know the 3rd 1 we do the same exact same. Let's give you the radiant and then give it the regis to highlight the bark effect. As you see, I'm not going all over the tree and not from top to bottom. Like just here and there. I'm just giving some highlights. Does the trick off highlights that you have to stop yourself off over doing it? I think this is the trick with everyone. Okay, this was a life heck, but this is what you really do. So just a few lines here and there and done. I'm not. I try not to overdo with myself. Okay. If you see, I always zoom in and out. I use control and my mouse scroll to zoom in and l because it looks nice. Now here, I'm missing something. This tree is just ending in a little trying ever. I want Ah, little fluff. So I set back the field. I make it whatever green I will play a bit later. And us I said, Here is how I do Bush's clouds or fluff off green. I just put them together and merge Damage Control plus or PATH Union. Hey, this guy escaped. I just imagine a mean or I just delete. It doesn't matter. No OK or background is coming together. It has a nice dynamics to it. So it has the waves I was planning to have. And now already some of the parts have details. Let's out some or in the next one. 14. Create your professional looking forest game background - Part 3.: in this lecture we continue with the bushes in the back and we the crown of the trees and we will use the same method views before. So spray toe Here we come again. Create a circle on the line to decide So our design will match up and this time we will use bigger circles. Why Remember what I said in the front? There are more details to be seen in the back. Less so here we will not add little branches, a little leaves. We are using big big circles to follow our shape and that's it. So we are doing the same just with bigger circles this time to create less details and give more distant feeling to the player. So I'm just playing around and then select the objects and measure them together. How I did before they can not to select all the three box I created. I'm creaking with shift. So they are the selected the control. Plus I add them together. You see, So we do this now with all off them selection verse funny and escape. Because if an object is not in the selection square totally then it is not selected like you see, the whole three is not selected. This is very good for us. Because even in a scene like this, even when everything is one layer because I work on one layer and this is, I think, the best way to working escape Even when things are on Monday, er they can be selected nicely. So I just select everything again. And I could go control plus or path union. And I just matched the little bubbles with the greenery. Perfect. I cut this off because I don't like it so I can cut them or just remove these few notes. So I just clean this mess up and other circle and aligning to the edge Now decide like I did before. And now I feel this gap by pulling this node up. Okay, there is another note. I delete this one too. I just pulled it up nice this way. Because my circles are on the edge. This will be continuous. Is the same like with the blades of grass. You see, I put it here Perfect. It is continuous play with the colors a bit again. I want to create something with Contras. But I am picking up a bit of purple to this green to create purplish green, which is more like a gray color. But this will create a nice contrast for my image. Everything here in the front is more yellow and green, and everything under the in the distance under the shadow is more purple and dark. You see, it's already coming together nicely. I use Grady and sparingly just on every object, a simple Grady. And to create more death. No, I have to do the crown and I will do the exact same thing, just even bigger circles. I start with the frontal crown first. So the light one again Ally aligned the circle to the edge and just prayed around. Okay, so like them, a check if nothing else is selected. And now with Control Plus or path union, I manage them together. You see, I'm doing the same routine over and over the end to create some interesting effect. I like this, and now it's coming the Grady. And again I'm picking the same light green color from the grass, which is the dark part. Off the grass can be the light part. You see, this light can be the life part on the three, maybe a bit even darker. Still, this is much lighter color for the trees than it is on the bushes and on the back. Let's create an even lighter layer off big round shapes to make the trees even more street the dimensional. So I'm just creating a circle, picking up this very light green, a bit more darker but still light. And I put it here on the edge off my screen. I can spray them. Okay, this one. I don't need this. When I move up a bit, select everyone and with control. Plus, I put them together. So what is happening? I duplicate this path intersection to cut it off, and I give it a big, darker color, just a beat. This way. I make sure that the top of the trees, the crown of the trees, this part is part off the front. And now, as I did with the blades of grass, here's another way I could do that. The little individual blade's. I am creating the same feeling for the three, so I'm just doing three circles, the middle one bigger than the others match them together the union Now I duplicate them. So I will do the same us I did here with the grass. I duplicate them. Move them a bit to create a little edge, even make them wider. And we part difference. I create this shape. Let's make it darker. Could beat light and maybe Okay. Like this? Yes. And now I just make it scale. It duplicated us. I did with the blades of grass. I don't need much for this one. Just a few. The idea is the same as with the individual blades of grass. Toe break the monitor. Nitty off that big surface there. So I only need to do the back one and I will work on the trees. And I think that this should be a bit different. Color the sky. I'm not sure. As you see, I'm always experimenting and I want you to experiment as well. Darker, blue, lighter blue. I want the to have the feeling that that is distant. But also that this is what you see when you look through the branches. So maybe this one we will see later on. I can never stop playing the colors us you saw over the desert scene, for example, this one can be a bit flatter and lower, because the fact I want to achieve is that this is a very, very chaotic, bushy thick forest. So there is not my sky visible there. So again I'm adding the circles to create this bubbly effect again. Bigger circles because these are grown of leaves, which are like very far. So I'm not adding little details like I did with the front Bush's and I arranged the circles here as well. Nice. There is a little gap. Okay? And no again. I select everyone. Control pass and again control. Plus, I take care that nothing he's selected that doesn't doesn't need to again. This one was selected. Okay, control Plus, then you make a mistake. Just use control Z. It's okay to make mistakes and escape. They are very easy to fix again. Control Plus and now select all of them and the big green background and marriage. Everyone happily together both union or control. Plus Okay, it's nice. It's now in the back. Maybe needs some re coloring because it's too weird color comfort to the gracious graves green here. But I will play with colors Later on. If I turn on my quick on the ruler and turn on the guidelines, you can see the whole design. You can say it's done, but it's not. I will not some more details and play with it and play with the colors even more. We are almost almost there. As you see, it has a nice dynamics. The nice flow I plan when I was just sketching the scene. So I have this movement and dynamics a bit more and we're done. 15. Create your professional looking forest game background - Part 4.: welcome to the final lecture off the forest design. We will out the little details we were talking about earlier. Some branches route different plans and just to make the forest even more interesting. So I'm just clicking around with the base here, too. With the pen tool to create some grass. I bend them, curved them to create big grass blades. Scared them down a bit. I cannot. Some here too acid, every design. We are adding little details just to make it more alive, random and interesting. I make this a bit darker. So it's fitting because I will put this blade behind the place of grass behind the three route because I really like the tree root, how it ended up so it pays down by sending behind Nice. Okay, what else I can create. I'm not doing it. For every three. There are trees which don't have it. So I think that's very good when you don't, you know. Repeat, repeat, repeat. Over the time, this one will have something different. I want to create something like a fern. Not really, because I am not creating all these individual leaves, but something like that. So I just threw the rough shape, and now I'm control clicking. So it looks like the, you know when the fan is growing and it's all rolled up in a tight knot again. Here is where inspiration is coming in. I was looking at pictures, and I'm walking in the forest talks and photos to know what type of plans to dro. If I have to draw mushrooms or you know this ferns or different grass to make it more for us, they're looking. I will not grow coconuts here because this is not a tropical forest. So inspiration and doing your research doing your homework are really important for good background design, I think just another blade here curve it as well, and I see. So I made it a bit darker as well. So it's closer, blending in more with the background. But it's still visible nice as you see again, constantly zooming in and zooming in and out. I like this little plant and maybe the stone from my sketches. These are some more details. I Vlade. So let's see, let's create the stone first and just started with a horizontal line and created this shape . I'm just control clicking here and making these off the darker, shadowy part. This will be the dark part. This will be the light part of the stone. I duplicate the basic cell like both of them. You see, I have to the same trick again. So I said, like both of them and bath intersection. No, I can sell like them and group them up with control. G. Scare them and put them in my seat. I will put them some the nice bit upper. I wanted to be visible and maybe hear one. But then I want to modify to beat, so it's not the same. This is what I say reuse elements. Escape is perfect for that Reuse and modify, reuse and modify to create a more interesting environment to create a feeling off random. So now I have two stones. I can also play with this trees in the background just to make them interesting. Let's out some other branches. Pick the color from here. Okay, that one line that one branches feeling up in the space nicely. Let's play with the color again. The darker it is under the street, in the trees, the battery. It is I think because of the foreground color in the grass and on the top. So what else? I really like this from my sketch. So I pull it up to make it more reasonable. These fruit hanging out of the ground. Okay, almost there. I'm quite satisfied. Let's give this one ingredient as well, just to make it more interesting. And now back to this piece off grass because I really liked it on my sketch. So I'm just creaking around to create this shape. Okay, It looks like a real golf club. I'm just going through clicking here on the end and send it behind. The three looks like an unopened flower. Or, you know, it's just a plant. It's interesting. And I can copy and paste to other places, making more off it. Maybe make them darker a bit and put them behind that Nice, Yes, Put them behind that nice ah, root of the tree. So this makes this even more interesting. We are almost done with all the little details, and all these in movement will create something very nice and dynamic. I pulled this down because I know I have a feeling that it's too much. Still, it's not enough blue. Not enough background, I said. Like the blue and I'm playing again with the color are somehow feel is too dark. What if it's being No, it's not. It's not good. It's too close to the front of color. What if it's dark? Then it's not visible. Apocalyptic? No. Yeah, Back to the first. Back to the first. I can't figure out anything better than a light blue. If you create something very different like a forest in sundown or something, please let me see. Just send it to me and I want to see how your project is going. Play with the colors as I do because, yeah, I want to start to see what you do. Okay, let's play with this Grady and a bit more nice. And now I'm ending some little dots here and there. As I said, I'm not adding leaves, but these seems like a bunch off leaves on on trees. These are in the background. So just a few dots here and there they are, like, you know, leaves and branches. But you cannot see the branches there so far, you just see the leaves and this is breaking the background to be more making ITM or, you know, easy going mawr light. No, my one of my favorite parts. This plant. Why did I do this? As I said in the first lecture of these, I want to create a foreground so much foreground that it's in front off. The player I made just made these darker to match it better. So I want to create foreground that is also blurry and in front of the player. If you ever played the game limbo, that made it amazing, for example. So I just copy my leave what I made earlier and create some branches. Nothing special, Nothing extra just rotating and re sizing them. How I see branches are looking need here one on the end, the applicator or three Flip them with age. Okay, And now I have to adjust this one and now I group it up. But concerti, I'm picking this color because I wanted dark. So it is standing aside from my very light grass where the action will happen. And now I just blew it and size it. Okay. It's too blurry. Something like this. Nice, even less. A bit more Maybe so what will happen that this will be also in front of the player. Now I'm grabbing this little leave and I will use that little leave to create some bushes in the foreground. But first just toe cleanup things. That's group up things how I will use them so out the stones and everything else toe my drawing. The different grasses and stones have to be in the foreground, so they have to work together with the grass and the trees. So obviously everything that is the trees, the little three bars, the trees, everything have to group up together. And you see, these grasses are also part of the three. It's going through a G. I group it up, it pays down. I put them behind the grass and I think it looks so nice as the grasses. One group the trees is one group now, but but I think the grass is so much foreground and light that the trope off the trees here on the top, the light green ones have to move together with the grass in the foreground. So I'm selecting these crowns. So just the light ones grouping them up and grouping them together with the grass. So this is one panel I have. You will see in a few minutes when I'm exporting the scene. Okay. And also the trees will be another one with the darker green and then the trees in the back . And the Bushies will be another one. Bush's trees, because they're too close each other. I don't want to separate them. Yes, come on. Yes. So the light book Bush's and the dark trees will be one, you see, And with the crown and the dark bush's and the bag on background blue will be one and we'll be starting, I think because I don't want to move that I doesn't need toe move and change. So back toe my foreground. I'm using the leave to create a feeling off. Yeah, there is a thick bush in front of me, but off course not us. Take us the ones before. They're just big leaf close to the camera, close to the player, just a few of them. So I'm just playing very lightly. Just a few of them sometimes covering the view, but not totally. This will make the player feel that he is hiding in the forest watching the main character this is giving when the foreground is there and blurred. This is directing the attention to the action and makes things more interesting. Us. We are involved. Us. We are there. And now because everything s in the back is grouped up. I can just nicely select everyone. Yeah, image them together. Re Quantrill plus path Union. And let's group up with this guy. Okay, I duplicated a few times. Rotated skew it a bit. So it's like, you know, there is difference. There is not always the same. And if I'm urge everyone the control plus they become the same color. It can be a bit different and let's give a tiny bit of blur to it. So if the action is happening here on the bride grass, these little leagues will go very fast in the foreground and give it a nice feeling. And now I just throw a square toe, make it cutting it off just to show you how it will look in the game. Of course, in your game, after we export this green part, it will be positioned by you. Okay, This one escaped again. OK, so this will be positioned up and down in your game. Let's make it to be darker. Nice. So we stand out better. You see. Contrast is king and let's scale. No, not that one. Let's scale it a bit bigger. Good. It's already nice when I move with how the litter stones and everything is visible between the little lines of the in the bush in the very foreground. So let's cut it off. You see, it's never perfect. Perfect, because it's blood. It will be always out of the image, always. So I don't want to cut the edges off this one because it will be continues, but there are gaps behind it. So it's really up to you how you will use it in your game. So let's duplicate it. Everything we made and there was a tiny mistake s Contra G. That's going Let's group it up. Okay, so let's Topic eight an export. Everything. Here's another mistake. That's group it with this one. Okay, so 12 three, four and the background, that's very static. But all the others you move so it we create a great illusion. So this is what we export so very foreground than the light ones, then the one with the trees, then the bushes and the factories and the background. These are the five images Ivan Export and import it into my game engine. And this concludes the green forest background, said. I really hope you enjoy the process and you learned a lot. And if you export these and imported in your game engine, you will see that these things will make a nice recovered up. Maybe you have to adjust them, but never forget Step number four, which is testing and refining, testing and refining. You will see how these things add up in your game and you will see how it works. I hope you are eager to see how this one turned out for me. So here it is. I ended up with nice, dynamically flowing parallax scrolling background that could go on forever, using only a few resource is because we're using just repeating images 16. Conclusion and a few tips!: Well, this concludes the game background design course I really, really hope you enjoyed it. And you learned a lot. Thank you very much for following my course till the end with me. I encourage you to draw all the backgrounds I created here. So the desert, the big city, then space and also the very complex for his background. That's the heaviest exercise. But I promise it worse it because after that, you will be able to make your own. And this is what you should do. Now go and practice. Make your own backgrounds experiment, have fun, and then please show me. Please show me your designs because I'm so eager to know what my students are creating. Oh, and one more thing. I almost forgot to say I'm a teacher. I'm a design teacher and I'm here to help you. I want you to create the game you want. So if you feel stuck if you feel escape is too much, it can be Sometimes it's very heavy. I admit, if you have any questions or you just want to share your ideas or get some feedback, please don't hesitate. You are one of my students now. And that earned you the right to ask questions. And there are no stupid questions. I will help you the best I can OK, dro practice and create the game you want to create.