Creative Type Hiding: Reveal new meaning for your content and audience. | Terrence Carlos | Skillshare

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Creative Type Hiding: Reveal new meaning for your content and audience.

teacher avatar Terrence Carlos, Nocturnal digital nomad, currently in flight.

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

Watch this class and thousands more

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

Lessons in This Class

3 Lessons (52m)
    • 1. Introduction and Course Outline

    • 2. Creative Type Hiding Overview

    • 3. Photoshop Walkthrough

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About This Class

In this Skillshare course we will go through a creative exercise in what I like to call type hiding. It's likely you've seen ths method used before in billbaoards, adverstisements, or with your favorite brand. Here's your chance to own the process, to explore and make it your own. 

Type hiding is a basic and popular Photoshop technique that combines areas of interest in an image with an effective choice of type to reach a unique look that is seen across many design categories and in many markets, because the versatility of the skill is nearly endless.

I’m looking forward to teaching my first course, and seeing what the community comes up with, and hopefully learning some new tricks along the way.  Cheers!

Meet Your Teacher

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Terrence Carlos

Nocturnal digital nomad, currently in flight.


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1. Introduction and Course Outline: My name is Terrence and I freelance under the name Snow. All studios. I'm currently based out of Montana, and this is my first school show course. So in this class, what I'm gonna be focusing, trying to teach on is a sort of approach to a creative exercise. What I like to call type hiding. Um, in this process, we select some of our original images from our own databases. President photography. What have you, Um, and we combined them with creative uses of fallen, sir text to sort of compliment one another from customized by hiding or embedding our type within it to create compelling visual interest without sacrificing, you know, any degree of eligibility, which means still readable. The image maintains its, um you know, the quality. And then you have this fault sort of, uh, hiding, coming apart up wherever you decide to come up out of some, Really, except to get started because there's a lot you could do with this process. And everybody's sort of character has the opportunity Teoh sort of grow and expand and a sort of ah to be explored within the realms of the parameters off this project. So yet without any further. It do. Um, the only thing you need access to is your own collection of images. Like a set photo archives is helpful, hollow organized. You are, the better an image might come to mind. You say, Hey, I want to use this for a project, but I never got the chance to Now might be that chance. It also helps to have some pre uploaded um, you know, custom, maybe some handwriting thoughts in your version of photo Fall photo shop. For this particular lesson, I'm going to be using functioning version of C C 2015. But pretty much any version of the most recent Adobe Photo Shops should be able to do the job a za long as you're familiar with the interface. And you know all that stuff that is inside. Ah, the magical, powerful Photoshopped. So we'll be focusing how to create a useful selection with the quick selections, tool toe selected areas or objects of visual interest. Um, or the places um, those those areas of visual interest will be. The places are text will actually high behind once we get into lay areas and moving elements, and such in the composition itself. So I'm really excited to see what you guys come up with. Like I said, there's a lot of room for creative flexibility and just really interpretation. So I'm excited to get started on scores, So why don't we open up photo shop and throw some images and some text and see what happens ? 2. Creative Type Hiding Overview: again here for skill share. And what we're gonna do is a quick PowerPoint keynote presentation here just to review off what we're going to do and go the overview and check out the deliver verbals for this type hiding project. So once we're in full screen mood here, we'll move on anyways, so he area skill share, hiding type of images. Basically, this is just a creative exercise and photo shopped to brush up on some old skills. Most of you probably already know if you haven't known them, this would be a good chance to experiment and sort of discover what's possible. So here we are in school trip. Um, all the images to see that I'm using for the slide show on the project in the presentation , our original, their custom Jews that from my own database archives that I've shot haven't really edited them. So that's something to keep in mind. These air just pure raw pictures. I took like pictures. You probably take all the time, the thing to note as we will talk about a little bit later on. Is that the images I have in mind? I chose very specifically amid choice early on in this project is really key. And what I mean by that is that trying to choose images that have very specific areas, critical areas of visual interest, as I might say So these trees that come to surface in the foreground here and then Obviously there's a lot of them in the background. Those are my two, my main areas of visual interest and obviously the mountains just adding text behind. So we're gonna learn how to do that as we go forward in this course. So, like I said, we're going to be covering what I like to call type hiding. I don't think that's official rail documented name, but I think it's pretty self explanatory to the process. It's a pretty bake sick, like I said, Photoshopped technique that combines those areas of visual interest in an image and the selection of unique type that you really see this than a lot of places advertising, marketing campaigns, ah, lot of design categories, and it's really a good skill to build out because you can apply in a lot off in a lot of different ways to reach a good effect. So because of the versatility of the skill is pretty much unless that so much you can do. I'm looking forward to teaching this course and seeing what you guys as the community come up with and get into, so there's definitely some stuff I can learn along the way. So, like I said in my first video, I'm looking forward to a nice creative exchange of ideas here within the realms and parameter primitives of this project. So moving on, like ad mentioned a moment ago into image selection. So go ahead, take some time, sifts through. Uh, if you're anything like me, what is probably thousands and thousands of photographs that you've taken over any given period? Um, they could be outside indoors. Portrait's you name it a zloty as those images have some clear objects or areas of visual interest. I've tried the mark those out here and read, using some custom photos of my own. You'll see you'll see, um, in the top picture with the animals or the llamas, those air, the objects of interest I've marked out in a portrait, for instance, in the second image, the foreground, maybe the actual face of image of the portrait and the background not the area of visual interest. It's not what's capturing I. It's not what we're trying to bring focus to, but we'll start to make our selections later on with the tools and Photoshopped the It will be a lot easier to make the selections. The more clear the line news between our area of visual Edris interest in the background and then in the bottom picture there. I have really a lot of options for areas. Official interest to pretty standard street scene, you know, travel photo a lot going on a lot of places you can hide text trees, clouds, cars, church, lots of objects, lots of, um, bloods of things happening in that picture. So I hope you guys take your time now after this first overview and go ahead Like I said, sort through your archives and put some images you think might work well together for the scope over this project on. Like I said, here on the slide, keep in mind there have to be areas where you will hide behind as your text literally like you're hiding behind a tree, playing hide and seek with someone. That's what we're gonna do inside of the program without funds. So the deliver bulls for this projects essentially pretty basic. I just want you does. I'm asking you to submit one custom never before seen image that you have hidden a block of type behind and with a little brief sort of creative justification behind your work, why'd you make these decisions? Why did you choose this photo? Why did you choose to keep it in color? Keep it in grayscale throat and great skill. Um, what you choose to phrase that quote that came to mind. So go ahead and start with those steps and I'd recommend creating a new desktop folder on and start to put your working images and even, you know, with any of your type or note taking programs, you could say you could pull a quote from If you already have some written drowned, that's great, too. So the deliverer bulls, Really? For this, I would hope to see at least one new never before seen original image with the type you plan to use and the decisions you made in the process off how you decided toe hide them in order to bring light to a more compelling image. or overall, a piece of content. Cool. So his one version. Then I chose again street scene travel picture pulled it from big archive of syringes through quote on there and in some areas, a visual interest will learn to work with those. Well, they're in color. Great scale of Do a tone. What have you really? It's ever It's up to your interpretation. So enough for the intro videos. Let's get into a photo shop and see what we can make. 3. Photoshop Walkthrough: with skill shared guys. This'd is talent skin back for our creative type hiding project. So we're just gonna dive right in here? This is going to be, though, heart of the video, the heart of the content where the most information is I'm just gonna kind of walk you through the process. Shows some examples, general approach to type fighting in photo shop. And, um yeah, so just try to keep up, and you can always stop pause, take notes, get a cup of coffee, deputy, and continue as I would. So, as I mentioned in the intro videos, a good thing to do for the sake of organization is to keep your all your files related to the specific project in a folder, for example, here marking off this coast a project. I've included all my course content that, um, it just helps a lot when it comes to organizing and getting away stuff together. So hopefully by now you guys have opened up your whatever version, but a version of photo shop you happen to be using and, um, as soon news photo shop besides toe load. Um, we're gonna divert into some examples. Talk about the process, um, again gonna hearken back to the significance off image choice. Um, and yeah, that's really a key to this project. Is looking images with, um, at least wanted to, um, areas of visual interest. Um, so I'm gonna quickly walk through some examples of what this might look like again. There's pretty much a 1,000,000 ways to do, you know, one single thing. And Photoshopped, I'm just showing you one single, um, perhaps narrow approach to how to do that. And, um, yeah, we're going to see what he comes guys come up with. I'm interested to hear all their opinions and feedback and approaches and tools that I may or may not be using, um, effects that I could perhaps, um, apply to, um, a greater degree, but generally, here we are. Okay. So yeah, bringing my image into photo shop. Um, something note here. Um, not sure what it's doing. That much of what's doing this at the bottom. So I'm just gonna drop it, bring it back to normal. This is your crop to, of course, click. Enter. Um, right back to where I wanna be. Okay. So, um yeah, so obviously, in this picture um, but your rocks sky foreground. Clear background. Um, this the original image. So what I knew I wanted to do right away was used this little girl here in the red shirt as an area of visual interest. Um, that term I'm going to keep coming back to in these examples and in the type writing process. So essentially a new all they want to do was find text, find a quote and throw it in here, um, up against these rocks. But there's plenty of space and then, um, sort of zone in whether work will be on the actual figure of the subject Here. Um, Now, like I mentioned a lot of these images of row not didn't edit them would spend any time editor dating them, just to show you how simple this process could be. Um, so the first thing that defense Ah, make this gray scale. Um, yes. Oh, boom. Grayscale. And you'll notice I colorized the figure of the subject in this particular picture. Um, so it doesn't look like it's coming up her perfect, and I may have toe mess of round with it again. Let's just lose that back layer. Bring up my selection. Interesting. It's probably because I corrupted and it changes space. There we go up. She fell right into peace there. So in any case, um, what initially did was make this election off the girl put it on a particular layer, and yeah, um, I brought that layer to the front above our background layer of black and white. Um, layer. And then, of course, using your textile, just the type key tea. Um, I chose of rather large portion of this image, um, to bring in, um, some fund. Oh, I quote, definitely not that big. Definitely not that phone. And definitely not tech color. Um, but as in all these examples, I pre selected, um, what I decided to use and more time in the background behind the scenes doing this and then getting to where I wanted to be. Um So here we are, um, shows a road here and just basically fitted to size. Got it. Oh, how I wanted to be. And, um, the girl that I selected brought her to the front. That's the goal. That's what we're trying to here. So yeah. Lose my original image. Bring up that black and white version. Here's the lay of my Texas on. Something to note. Um, yeah, something to note here is that you can bring up your blending options, and you can if you feel like you're Texas not popping up, you can have a little bit of a slight drop shadow. Um, you can see that. Okay, um, you know these It's a pretty standard settings. You can mess around with it as you like it too. Um, darkness distance would have you. Um, yeah. So she was a pretty standard or just mess around with experiment with this. This is at the bottom of your layer styles in blooding options. So what I usually do, you know, just right. Click on that text layer that should have already made with control key tea. Um, right there blending options. And then you'll see the opportunity to just have a little bit of drop shadow make that tech text to pop a little bit cool. So since this girl keeps coming out of place because I keep messing with sizing the photo, I'm just going toe tryto replace her back in the scene without it getting to distorted. Sure, it's doing that. Okay, you get the general idea of what I'm trying to do here. And if I had any idea, this is not going in perfectly, I would tell you so again, we have 1/4 layer. We have our subject or area visual interest in a layer. Um, and that's more or less what we're trying to do. So, for the sake of moving on to another example, um, something to keep a mom with your deliverable on the project is that you can Sometimes it helps just to sort of wrap your image up by adding a border. Of course. Right down here. Rectangle tool. Um, no, Phil. Just a bunch of stroke Black stroke on there. So that will be option one adds about my crap. One didn't even have to do that. Okay, cool. So again, the quote takes up the majority of the composition image sort of takes a back seat, um, and brings to light the figure in that quote. Obviously, if you're gonna get picky, um, I could go ahead and fix a selection. So it's not as you don't get rid of that whitespace. There's a lot of Kindu, um, there and I'll show you how to do that in a different in a different and a different example that probably I have more organized. Hopefully I'm organised. So anyways, yeah, moving on, um could really quickly show you the intro slide the cover. One of the covers that he used for this course here are So again, if we get rid of everything spent with our raw image, um, you know the trees in the foreground and background our objects of visual interest and, you know, our title. Ah, header. Um, you could see that it's erased in places. Um, so after the text tool, you click with the hot key E. Unless you've changed it or customize it. I don't think a lot of people do that, But maybe you did. Depending on your settings, in any case, you can adjust control key V. You can a jest lis to try to get it wherever you want it Behind the mountains is what I'm shooting for. Here, um, and again, the way that I made it go behind the mountains is I used in this case quick selection tool . I see it's loading, However, all that great in this guy we're selecting that. I'm just holding down the selection tool, holding on my mouse in, in cases, getting shift to really flush out that selection. Yet to really get this election that I want and something else That's cool. I'll show you in a second once I get this selection. Meat? Well, I already have the selection. Fortunately, on another layer, um, in the way you could see, that is, I get rid of Oh, that's crazy. Um, it is a duplicate of my original. And what I did was, you know, this is the collection of the sky I just completely got rid of on a selection. Um, Magic one tool. Very similar to the quick selection tool. Um, yeah, you get the general idea. Of course. You know, is use a lasso tool to sort of come in and get a ballpark selection won't be perfect. Um, but you could get kind of close. I just want to catch that Ridgeline, not go around the trees, and we're gonna call that a selection, so Yeah. So once I have my selection to made, I create a new layer. And what I could do is in Fert, invert my selection. Um, command shift, I Now what that did was make this selection all of the visual interest, excluding sky. And now I can copy a copy on my original photo layer. Bring it up to that layer. Just created will call it mountain layer and control the all that selection I just made will live on the mountain layer. Get rid of my original. You can see my selection. It's obviously not perfect. There's a lot more detail I could get between the trees and what not, But generally, for the sake of this process, that will do. Um, So this is your foreground, your area visual interest. The process is the same with pulling out these trees. Just make a selection around the trees. And then, um, basically, the next step is you makes you put you throw your through your text in their three fault whatever you want to say and just make sure that that layer is hiding behind. The lady just created our mountain layer. And once it's there, um, it might be helpful is you can actually lock your key original so that you can move around . This title has header and you could basically do whatever you want that control T for transform. Just gonna make it bigger than it needs to be huge. Cool. And getting back to the eraser tool if you want, you can just get rid of little areas here and there to make it seem clouds, air coming through and just taking over the phone. That's in this particular example. So yeah, same exact process. Um, for this type down here, move it, get it where you want it. And then this layer was basically just me erasing. Um, I raised probably way too much to the point where it's not legible. So that's something to keep in mind his eligibility. You don't want to distort, um, any of you work so much that it's reductive or destructive, as in taking away from what the effect you want to do. So hiding type does not mean disappearing type that something keep in mind. So let's walk through another example here, and, um yeah, show you what it did super quick using the same process, um, in a very similar context. So here we Oregon Travel photo bunch of animals should be clear to you your eye after some practice. Um, what I want to use here as my objects of visual interest. Clearly those air the animals in this case. So, um, Boom, there's my original raw photo unedited, And you could tell if I take away this original layer those particular parts of the photo that I made selections off that I knew I was gonna hide my font behind So you can see those with the blank background and I bring up my layer went through and selective font. And this layer is copy Layer is we're all those selections were made, made those elections again, using the quit selection tool from my original image simply going through and just picking out areas that I think would work. If you want to make the selection to a smaller or larger, you can use the, um, the keys underneath the plus and minus sign on your keyboard. Forget what he called. But, um, yeah, they make it smaller, larger. You can look that up pretty easily. So again, this is quick selection tool going around the head, the body of the animal and getting something that like, oh, all of a sudden look, I made too big of a selection. Easy fix. You can just, um essentially, what I would do here is use a lasso tool, little down, not shift. Add to the selection, but you'll see the minus time come up when you're old option and that will reduce or take away subtract from your selection. That's we want to do here. So there have a selection of the head in some of the body, for instance. You know it's not perfect again, But for the sake of these examples, um, you know, that should do the trick. So again, these are the selections I made and final version Add font through the ah famous logo off this place where the photo was taken in Peru on there added just a little bit, um, layer just multiply so you could see through to the grass again. Trying to emphasize the grass is always union improved. So that's something I want you to do in your deliverables and your written, you know, your brief, you creative briefs in your justification, how you made your project the story behind your project, um, how your quote or text found ties into your image and how they work together in some sort of cohesive, great of relationship. Cool. So, yeah, there's one example with animals our front hiding behind animals, creative type, hiding at its finest. So this morning, I'm going to do with a portrait. Close a portrait photo image. See it everywhere. Um, I'll just show you what it did, you know, bringing the original image. I probably cropped it of it. And through, um, for this one, it's sort of a more serious professional, um, medical, um, statistic, which I'm trying to bring light to. So trying to show you that this could be used in so many contexts Marketing, Um, the list goes on. So all I did was take that statistic, type it out, used the phone. You noticed he noticed some drop shadow there. I showed you how to add that before with blending options. And really, the only thing tied in here is this number sixth. So what? I did waas, You know, just from my raw original make a really easy selection using the quick selection tool. Obviously, down here, I did too much of a selection. So what we're gonna do is again indicate that subtracted. It won't be perfect but I know it will be good enough to hide my text behind. I'm gonna go ahead and select the rest of this figure, subject his head flip around year and add that to the selection. There we go fix the hand a little bit, just in case my text wants to hide behind that, and more or less, you know, the suction is different that I made previously, but that's why this project it's cool because there's a lot of room for interpretation doesn't have to be perfect. Could be a little messy as long as we reached the effect of hiding the text so you can see with the selection. All that's happening is putting some phone over the figure in the portrait, Um and yeah, pretty basic. I could probably select this layer. It could notice it's moving this six. That number of the statistic. And really, once it's on the right layer, you could put it anywhere. You can adjust it in terms of placement. You can adjust it in terms off font, of course, and yeah, feel free to get creative with doing that. Um, however you wish so that's an example. Using close up portrait with a statistic again, This is something you might see on a billboard or sign or in any given context. So here we are, final example or maybe the second final example. Um, I could show you this one, too. So here here we are, Streets. And this is another photo. I took another one from Peru. Most amazing place. Um, it shoots really well. Um, as some of you probably know, in any case, um, original image. There it is. You can tell right away. I knew I wanted my area of visual interest to be this figure right here in the bottom left corner, my friend. Just walking down the street and again for the sake of simplicity of editing these images, There's a lot of color and light and just sort of stuff going on that I fix in editing room . But since I didn't want to take the time to do that, or it could just do it later, um, I decided to render this image in do it own or basically apply a photo filler filter. So you go to image to do that image, um, on the original layer visible. If you just at a photo filter. Whatever color, make your adjustment as you wish. Never color, you'd like. Of course, this one's going to come out kind of warm. And, Yeah, there we go. Not perfect, but you get the idea. Really change at saturation with the density there? Um, yeah. So feel free to mess around with those adjustment options of the photo and I'll show you. Yeah, the quote that I added. No. Now what? This quote. There's a couple things. So obviously I wanted this The figure, the figure on a layer, it's only er So here's the figure layer. And yes, there is a figure layer. And then here's the font layer that you can see right away. There's certain effects, a cover lay in a drop shadow. I added to this layer, and I'm not gonna move this layer around because it took So I think a really long time to get this where I wanted to be in terms of policemen and I'll zoom and show you. I so yeah, up. In the beginning of this quote phone, you see something cool that sort of fell into place as I was doing this example. Um, you'll notice this Roper tire Electric Paul here that's coming from the roof of the building. And that's sort of playing with my font. So behind it, hiding the letter t and coming out of it, the letter. Oh, off not And essentially they were did That was just basically messing around with, um, you're layers and selections to get what I want hiding behind it and then what I want selecting in front of it so generally quickly what I would do. Make a selection of that wire really quick. Not trying to be perfect. Copy it, put it. Put it on its own layer. That's the wire layer paste. Now I know it's living there on the wire layer. I Kenbrell thing back up that quote. Put it above wire later, the wire lair and you'll see it's not perfect, but what I can do. Bring up your eraser tool hockey e. Really zoom in, um, to get something that's close to your eye, and when you erase on that wire layer, you can bring up try to get it as close as you can, Um, but generally I'm just showing you the process one way you can do this so you could see him erasing the layer on the wire lair. That selection I made to make my phone my quote. Pop, it's his popping cool. It could be much better on this side. I'll go to my fault later to do the opposite monologist of race to bring back the wire in cool, get not perfect. But when you're zoomed in at this level, you can trick the eye pretty well when you have a general idea for the process. So yeah, cool, Sweet. So I hope you guys are enjoying this on this Isn't too repetitive are boring. Thinking about this first culture class is more of a refresher and Morvern approach to again a creative exercise and sort of what's possible? Um, what you can do and just really to get in, um, get involved with the community and to see what sort of creative ideas that are out there. You guys might have new ways. Old tricks. Um, that could be quicker, a better of use here. But for the most part, this is a review of the the quick selection tool, basic layering possibilities and yeah, managing layers and making selections, and really choosing the right images with areas of visual interest. Those were really the keys. The three key elements of creative type hiding. So yeah, so we went over the eraser tool. And so you just want to think about how here content place with your Oh, or how your image plays with your text and how they bounce off of each other. Um, that how they maybe bring out something that is in the type. Like we said to make it proper stand. Oh, um, and feel for you to experiment with positioning elements in your document. I'll show you one final version I used as the cover off the skill show course. Just toe picture shot outside. Add a bunch of different fonts and text here. I haven't hit in anything yet. All the front is living on the top right now. But however, something to note when you're bringing your original raw image into Photoshopped it auto blocks it so to just on one way to unlock that you can basically, what you do right aways make it make it a smart object, right click. Let the machine do the work. I also almost always tried toe rast arise the layer. That's just pretty basic standard giving You wanna rast arise it just so that you can edit it freely. Some a lot of times you'll try to apply an effect and it will put a shop is smart enough to ask you, Do you want to rast arise your layer in order to, you know, do an action to it. In most cases, you want to hit? Yes. So, yeah, there's a photo image, couple text layers in there and rarely quickly. I'm gonna get rid of those edited layers. Get back down to the original, and I'm gonna make a duplicate of my photo layer. Doesn't matter what I call it. I'll hide my original layer Now with the quick selection tool like we went over before. For instance, all make a selection of this Mike again doesn't have to be a perfect selection. And you can always go back and forth between the polygonal lasso tool or this lasso tool and get your selection approximated to where you want it to be. I'm gonna include this wire in there just to see what happens just to experiment, get I'm not going crazy with details and try to make this perfect. Um, but a copy Put that selection on a layer. It's on lier. So it lives on its only call it Mike Layer. Yeah, dude. So, um yeah. Now let me pull something else. Friends Din's this camera again. I don't expect the selection to be perfect. I just want to get the general sense of this object the silhouette. Because I know my type is going to be hiding behind it. And as long as it's doing that where reaching the effect that we're going for in this class . So boom copy. Put that on its own layer. Call it ham the air. Sweet. So I know, I know I got the mic and the camera on their own layers, which means I can maybe do one more. Let's select out this piece of wood that is just hanging out there since straight like a literally flat, straight piece of wood. I can use that polygonal lasso tool. Get a really good precise selection on it. Copy new layer paste. There it is would layer. So now I got three objects of visual interest in this image, all copied from my original layer. So now what I can do. I was bringing in all that font. Maybe we'll start at the top with our header, so obviously have a phone layer that I shows pre selected. Now, you noticed that I have the mike in the camera there. Now, really, this is just a matter of preference. I want to make sure my mike layer and my camera layer both living above that type layer of skill, share my title. So, yeah, once it's there, adjust it. Whoa. It's kind of crazy. It's coming out of the mike. Um, kind of cool. Didn't expect that to happen. Um, so hopefully hear some stories from you guys for some, maybe some unexpected things happening. Um, that you got from experimenting that, to me, is the core of the heart of learning. And part of the reason that I'm doing this class so you guys can experiment, share your experiences and Ah, yeah, Show us what you're capable off. Cool. So I'll bring up the rest of my type here and see if there's anything I want to do. Maybe all hide this behind the mic a little bit or just the mike, not the camera maybe neither one. Cool. Yes. I'm just bringing up that phone. Bringing up the text for some reason, I decided to add this crazy blue paint brush in here on its own layer. Um, I hope you guys can feel free to experiment. Do whatever catches your eye. I shouldn't have done that because it's gonna take forever the load. Um, just cause my machine is running a lot right now, and I just control Z that out of there. Pretend it never happened through my working freelance studio name under their snow. All studios really hope you guys had a good time of this course. Hope that segment wasn't too long or wasn't too much information. But I hope you get a general sense of this process and what is generally possible with creative type hiding. So, yeah, I definitely want to thank you guys for checking out my course. And if you have any recommendations or suggestions or, um, any questions on deliverer bowls are things you can do to make project better, um, or cool it and make it stand out, fail free. Just type it in the box. And, um, yeah, really excited toe seeing what you guys have in store with this skill show course on creative type hiding from snow L studios signing off. For now, this is Terrence.