Digital Cyanotypes in Affinity Photo | A Quick Tip Class | Tracey Capone | Skillshare

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Digital Cyanotypes in Affinity Photo | A Quick Tip Class

teacher avatar Tracey Capone, Eternally Curious | Maker of Things

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

10 Lessons (37m)
    • 1. Digital Cyanotype Intro

    • 2. Downloads & Resources

    • 3. What is Cyanotype?

    • 4. Setting Up the Canvas

    • 5. Creating the Digital Negative

    • 6. Adding Texture

    • 7. Pulling in Different Photographs

    • 8. The Class Project

    • 9. BONUS VIDEO: Adding Noise in Designer

    • 10. Thank you and Goodbye!

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About This Class

Learn how to quickly, and easily, create a digital cyanotype from your favorite photographs, in Affinity Photo. 


Hello everyone and welcome to my latest Quick Tip class! One of my favorite alternative photography methods is cyanotype, a process that uses a combination of a chemical compound and UV rays from either the sun, or a UV lamp, to create beautiful, ethereal images with a gorgeous cyan blue tone.

In this class, we'll set aside the chemicals, and I'll show you how easy it is to create a digital cyanotype, even on the rainiest of days, out of one of your favorite photographs using Affinity Photo.

You can use this process to create a beautiful photographic set of botanical prints for the home, an elegant greeting card, or even eye catching graphics for your website or social media. You can even use this effect on a favorite portrait for a gorgeous, ethereal effect.



 What will I learn?

In this class, we'll cover:

  • Best practices when choosing a photograph for this digital process.
  • How to quickly and easily prepare your photograph, using non destructive adjustments and filters, to  add the signature cyan blue tone.
  • How to add depth and dimension to your digital creations and add texture using a combination of images from the Stock Studio and from brushes built in to Photo.
  • Finally, we'll add a fun, deckled edge around our image using masking layers I created especially for class, and add a final touch of realism using one of my seamless watercolor textures which I'm providing as a free download.
  • Finally, I'll show you how you can swap out photographs and make minor adjustments to so you can easily make a fun set of complementary prints without extra hassle.


What do I need for the class?

For this class, you will need...

  • Affinity Photo (either desktop or iPad version)**
  • A photograph (this can be one of your own, one pulled from the Stock Studio, or one of the free use images I included in the downloads)

** I'll be using the desktop version for the class but, as long as you know where the tools are located, you can easily follow along on the iPad version of the app. Have Affinity Designer instead of Photo? No problem! Designer has the same adjustments we'll be adding in Photo so you can create these right along with us.

This class is perfect for beginners to Affinity Photo as I will be walking you step by step through the entire process.


Who is your teacher?

Hi there! I'm Tracey and you can find my full profile on my Skillshare Channel page here. I'm a full time illustrator, and photographer, who loves to know how to use allllll of the apps. I bring tons of experience using the Affinity suite of apps to the class and I look forward to sharing my knowledge with you!

Do you love textural digital illustrations as much as I do? Join my Texture for Digital Artists Facebook Group. In this group, you can share your creations, learn tips and tricks for adding texture in the various digital apps, and ask questions of other artists who love texture as much as you do. Check out there group here.

If you have any questions or issues while taking the class, please don't hesitate to ask me, either in the Discussion board for the class, or my emailing me at [email protected] 

I can't wait to see what you create, so let's get started!

Meet Your Teacher

Teacher Profile Image

Tracey Capone

Eternally Curious | Maker of Things


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1. Digital Cyanotype Intro: Hi, everyone. I'm illustrator and photographer, Tracey Capone, and welcome to my latest quick tip class. In this class, I'm going to show you how you can easily turn any photograph into a digital cyanotype using Affinity Photo. You can use these to create beautiful print sets for your home, add texts to them to create greeting or note cards, or even use them to create textural graphics for your website or social media sites. We're going to start our class by talking about the best types of photographs to use for this digital process. I'll show you how to quickly and easily prepare your photograph using non-destructive adjustments and filters and then add the signature cyan blue tone. Next, we'll add depth and dimension to our digital creations and add texture using a combination of images from the stock studio and brushes already built into Photo. Finally, we'll add a decal edge around our image using mask layers that I've created, especially for the class, and add a final touch of realism using a seamless paper texture that I'm providing as a free download. Finally, I'll show you how you can easily swap photographs and make minor adjustments so you can quickly make a fun set of complementary prints without extra hassle. This class is perfect for beginners as I'll be going step-by-step through the entire process. Now, I'll be using the desktop version of the app, but you can also use the iPad version so long as you know where the tools are located. If you have Designer but not Photo, it's not a problem because Designer has many of the same tools as Photo you can easily follow along. I can't wait to see what you create. Let's get started. 2. Downloads & Resources: The link to the downloads for this class can be found at the top of the projects and resources section and you will need to access this through a browser, and not the Skillshare app. Once you click the link, you'll be taken to the downloads page where you'll need a password, which I'll put up on the screen right now. Once inside the downloads page, you can either click "Jump to downloads" and it'll take you right to the link, or you can scroll through for additional information on the class. I want to mention this is an automatic download. If you have Dropbox open on your system, it's automatically going to go there. If not, then it's going to download to the downloads folder on your system. In the folder you're going to find two deckled edge masks that I've created for the class. The exact color palette that I'm going to be using. A seamless paper texture, as well as the collection of free use images that I've pulled from Pexels and Unsplash, just to give you a start at creating these cyanotypes. You can certainly use your own image or pull another image from the Stockstudio, it's totally up to you. One thing I want to mention about the color palette, I mentioned previously that I'm going to be using the desktop version, so I've provided an AF palette file for those of you also using the desktop app. Unfortunately, there's no way of automatically importing a palette file into the iPad version. I provided a PNG file that has swatches at the bottom that you can sample, and create your own palette file if you'd like to use the exact colors I'm using. In the next video, we're going to talk a little bit about what cyanotype is. I'll see you there. 3. What is Cyanotype?: If you're not familiar with what cyanotype is, it's an alternate photographic printing process, and it was invented by a man named Sir John Herschel way back in 1877. It's actually one of the original photographic printing processes. It uses a medium that's made of a mixture of water, ferric ammonium citrate, and potassium ferricyanide. It uses the power of UV rays from either the sun or a UV bulb to create the cyanotype prints. They're created two ways. One is to use a digital negative of a photograph that's printed on a transparency, so you get the nice detail like here in the leaves. The more traditional method though is to lay objects on top of the medium like you can see here. Everything is then taken out into the sun to sit out there or again under a UV bulb, and you end up with these beautiful cyan blue prints. Now in this class, we're going to be setting aside the chemicals in the mess and we're going to create our own digital cyanotypes using Affinity Photo. In the next video, we're going to get our canvases all set up and get going, so I'll see you there. 4. Setting Up the Canvas: First things first and set up a new document here and mine is set at 8 by 10 inches at 300 dpi. You can set yours up to whatever size you'd like. Just keep in mind, we're going to be adding texture to this. If you plan to print it, you want to make sure your dpi is at least 300 so that you don't run into any sort of textures or pixelation. Now I want to mention that traditional cyanotype is created on porous substrates like watercolor paper or fabric. In this exercise, I'm going to pretend I'm adding this to watercolor paper, and at the end of everything we're going to be adding a paper texture to it. In order to successfully do that, I want to give myself a background layer that's slightly less white than this because it's typically difficult, if not entirely impossible to add texture to stark white. I'll grab my rectangle tool and I want to choose the first off-white color that's in the palette that I provided. It's not knocking it back a lot, but it's knocking it back enough that when I add that paper texture we'll be able to see it. I want to lock this into place, so I'll select the layer and either click the "Lock" here or you could right-click and choose "Lock" as well. I mentioned in the downloads video that I pulled together a collection of free-use images from Unsplash and Pexels that work really well with this process and that's just to get you started. If you'd like to pull in your own image or pull an entirely different one from the stocks, to do that's totally up to you. I'm going to go ahead and pull in one that I've already taken from Unsplash. I'll do File and Place and I'm going to choose this eucalyptus branch. I'll click to place it in its original size and it's important to do that so that you again, don't run into any sort of pixelation and I'm just going to bring this down. Now, this image is actually larger than my canvas and I want to get rid of any of those excess overhang because anything that overhangs your canvas is ultimately going to be added to the size of your file. It's a good practice to trim to the size of your canvas so you don't run into problems. I'll just right-click on my layer and rasterize and trim. Let's talk a little bit about what type of image to choose. At the end of the day, you can really pick any image and turn it into a digital cyanotype because it's a digital process. It's a little more forgiving than real cyanotype. It comes down to how do you want to use it, and that's really going to determine what image you choose. Let's take a look at a couple I've already created. This is one that was an image of leaves shot from beneath. And the reason I chose this is because I knew that I wanted to use it as an infographic for the video. I knew this white space here, the sky was going to become that beautiful cyan blue and you see the nice paper texture and stuff like that. I also chose that because these darker spots that are created by the shadows would take on that white feel that you see in traditional cyanotypes. Finally, the leaves have this nice vein detail that if I were actually creating a real cyanotype and using a digital negative, you'd see that because the sun can actually get through that transparency to create that detail. Let me go ahead and turn that other layer back on there. You can see at the end of it when I added all of my adjustments, I have this nice spot down here that I could add text for a greeting card or something like that. But you can also use this on something like a portrait like I've done here. At the end of the day, you're going to add your adjustments based on the image that you're pulling in. I'm going to show you how to analyze the actual photograph so that you can set your adjustments accordingly. Later in the class, I'm going to show you how you can easily set up your file and then swap in any image and just make a few minor tweaks to get your image exactly where you want it. Go ahead and pull in the image that you want to use and you don't need to lock it in place like we did with the rectangle, but just go ahead and pull it in and if you need to, of course, rasterize it and trim it to your canvas. In the next video, we're going to add adjustments to this photo to get it ready for the cyan tone so I'll see you there. 5. Creating the Digital Negative: At this point we want to create basically a digital negative out of our image so that we can prepare it for the cyan blue tone and then eventually the texture. Now I'm going to be working entirely non-destructively when adding my adjustments and filters. The reason I'm going to do that is not only do I try to work non-destructively whenever possible. Later in the class, I'm going to show you how you can easily swap in a different photograph, make a few tweaks to the existing adjustments so that they work best with whatever photograph that you just pulled in. Basically, we're going to be creating a base layer so you can always open the file, pop in the photograph, tweak the adjustments, and you have a digital cyanotype. The first thing that I need to do is convert this from a color photograph to a black and white and there are numerous trains of thought as to how to successfully convert a black and white. I'm going to show you the way I've always approached it and it's worked really well for me. The first thing I do is I always take a look at the color image to see what the predominant colors are. In this case, it's pretty easy, the predominant colors are green and yellow. So those are going to help us get the richness and tones back that we're going to lose by doing our initial adjustment. I'm going to my adjustments studio and I'm going to go to black and white and just choose default. It's going to give me a nice neutral black and white tone but you can see I've lost some of that richness that I had in the color image. Well, remember the two predominant colors are green and yellow and we're going to use that to our benefit. If I go ahead and move this slider, there's very little that changes in here because there's not a whole lot that's red. The same would go for cyan and as well as blue and magenta. However, if I move the yellow slider, you can see there's a lot that's changing whenever I move that up and down. I'm going to drag my yellow slider up because I want to get back some of those light areas that I had in the color image. Now the green, same thing. I can get back some of that richness by using that slider. I'm actually going to pull this down so I have a nice contrast between these light areas and the dark. Let's just see how that looks. This is a good start. It's giving me some of that richness back, but it's still not quite where I want it so I'm going to close this and again, I can always reopen this. This is a nondestructive adjustment so if I just double-click, it's always going to pull that back up. Now I want to add a non-destructive levels adjustment. So I'll go back to my adjustments studio, go up two levels and again, I'm just going to go with default. What I'm aiming to do is bring my whites up nice and bright and I want to knock some of these darker areas down further. You can see that I'm clipped here on either side. I'm going to bring my black up to the very edge there and you can see my darker tones have darkened more and it's really to taste at this point. Once you've taken care of the clipping, just go ahead and see what you like best. Then I'm going to do the same thing with the whites. I'm going to pull this down and it's going to brighten up my whites that had a gray cast to them. You can also play with the gamma here in the middle. I don't go crazy with this one. I just really want to again pull some of that richness that was in the color photo back in. Maybe I adjust this just a touch more. What I'm aiming for is these really dark spots that lose some of that detail because eventually they're going to become the white blobby spots on the digital cyanotype. I want to keep the nice detail in these gray areas and I want my white to be nice and bright that's where the cyan blue is going to end up. This is looking really digital because most likely it was taken with a digital camera. Before I add my invert adjustment, I'm going to go back to my layers and choose my image and I want to add a live noise filter. There's no adjustment layer for noise so I'm going to go to the bottom here and choose life filters. Looks like a little funnel. I'll scroll down and I just want a touch of noise. The reason I'm doing this is because I want it to have that analog feel because cyanotype is an analog process, not digital. I'll just pull this up slightly, bring it up to about I think 12 or 13. I don't want a lot of noise just a little bit, just to knock back that digital feel. I think I'm going to bring it up to 15. Again, this is a non-destructive filter, so I can always double-click and get back in here if I feel like I brought up too much. Then one final adjustment that I want to add is I want to invert this entire thing. Digital cyanotype is going to work opposite of real cyanotype. In real cyanotype, anything that's light is going to allow the UV rays to come through and develop the medium, so that's going to become blue. Anything that's dark will not. It's reverse in digital cyanotype. Anything that's white here is going to stay that way, anything that's dark is going to take on that blue. In the case of this image, I actually want to invert it because I know that I want this area to be blue. I'll go up to my adjustments again, go down to invert and I'm just going to click on invert. There's no sliders to adjust with invert, it's a simple adjustment. I like how this is looking. I have some really nice bright white spots. Now normally, if I were just putting this out as one of my photographs, I would certainly not blow out my highlights like this, but it really plays into the cyanotype effect and that's why I've done that here. I'm left with some nice detail here in the grays and I've got this nice stark black color that's going to take on the cyan blue tone. Let's go ahead and add that. I'm going to go back to my layers first and I'm going to group everything together. I've clicked on that first layer. I'm going to Shift click on the last one and I'll type command G and that's going to group everything together and you can go ahead and rename this if you'd like, I'll just name this picture. I want to add a pixel layer on top of this entire thing. We're going to fill that pixel layer with our cyan blue. I'll go down to the bottom of the layer panel here and I'll click on Add pixel layer. I want to select the blue color, and I'm going to choose this second one in here. I want to choose my flood fill tool so I can either go over here to my tools and click on it or you can just tap G and that's going to choose it for you. Now I want to fill this entire thing with that blue color, so I'll just click and it's done. Now obviously we can't see anything, so I need to go back over to my layers and I'm going to change the blend mode for that layer to screen. Just like we talked about everything that was black took on the blue, the blown out white highlight areas have taken on a little bit of the blue, but not a lot, so they still look nice and bright and then our gray areas show that nice detail and it's a halfway point between the blue and the white. I'm going to go ahead and drop the opacity of that is just a touch. I want to darken it up a little bit because darkening up the blue is going to bring out some of the detail in the plant there and that's what I want. I'm not going to do it a lot just bring it to about 80. Now, even though we've added that noise layer, it still has that digital feel. It doesn't have that cyanotype feel just yet so we want to add some texture to this to really enhance that analog quality. We're going to do that in the next video so I'll see you there. 6. Adding Texture: We're a step closer to having a really great digital cyanotype here. We have the cyan blue in place. We've added that noise layer to add some texture to it, but it still has a really digital quality to it. Cyanotype is an analog medium, which means it's perfectly imperfect and unless you are someone who has a superpower where you can add the medium and a background perfectly and have it develop perfectly, which nobody has that, you're going have spots. This blue is just too perfect. Let's go ahead and add some texture to it in this video. I'm going to go to the Stock Studio and I want to grab a cement texture or concrete, and I've actually already picked one. I have concrete typed into Pexels. If you want to use the same one as I am, it's called Milo textures. It's next to this triangular building. But go ahead and pick whichever one you'd like. I'm just going to drag this in. It's really intense right now, but we're going to be knocking that back with an opacity and a Blend Mode Shift. I want to place this where I want it because I'm going to be rasterizing and trimming this and you need to make sure it's exactly where you want it before you do that because you'll lose all of the information outside of your canvas. Now again, I'm going to rasterize and turn us because this image especially has a lot of information in it, which means it's going to make my file size a lot bigger. I'll right-click and "Rasterize and Trim" it's going to get rid of any unnecessary information. Now, I will bring the Blend Mode down to Soft Light. I'm going to drop the opacity to probably about 15. I'm not looking for an intense amount of texture from this, I just want those nice concretey gummy spots there because again, you are not going to see perfect texture. But I don't want this to compete with the paper texture we add later. I'm going to drop it pretty low. It's about 15 on soft light. The next thing I'm going to do is use one of the brushes in the Brush Studio to add a little bit of spotting here and there. I'll add a pixel layer at the top here and I'll grab my brush. You can also just hit "B", I want to use this off-white color, this second one in and I'm going to choose one of the sprays and spatters brushes, specifically this ink spotter brush, I'll make it a little bit larger. I'm just going to hit this here in there. Now I am going to be making an Opacity change to these as well as the Blend Mode. You won't see it as much and maybe let's grab a different one. That's way too big. Let down a little bit. Let's change our Blend Mode on this, again to we'll do overlay on this one. I think that'll look better. It's getting that lighter blue. I'll drop the opacity to about 70. Just play around with it, it's totally to taste. I might add a little bit more down here. That looks good. I'm going to leave that as is. Now the paper texture I'm going to add at the very end because we want it to apply not only to this image but to the quotes watercolor layer underneath, so we'll add it at the very end. The next thing I want to do though, is add one of my Mask layers. Now, this is an optional thing. You don't have to do this, whenever you have real cyanotype, some people will bring the medium all the way to the edge of the substrate. The entire thing is blue, there's no substrate showing it all through it. Others will create basically a duckling around the edge. I've provided two mask layers that we can easily do that with. But the first thing I want to do is I want to group all of my image layers together separate of the rectangle. I'll click on the First Layer and shift click on the Last one and once again, I'll group it. Again, you can rename it if you like and I'm going to do a file in place. I want to pull in the Digital Cyanotype Mask 1. I'll just drag that in and I'm going to rotate it. Should bring this down. Again, this is completely optional. It's just a way of adding a little bit more texture. Now, this is a simple PNG file. It's not a mask at this point, what I need to do is go to layer and rasterize to mask. It's going to clip my image inside of it. The problem is it's also clipped away the rectangle underneath and if I want that texture to come through later, I have to be able to see that. I'm going to take this mask layer and I'm going to drag it over the icon for the group. Hopefully you can see this. If I pulled to the right, it's going to do a clipping mask and now it's not what I want. I'm going to pull it over the icon and you'll see this vertical blue line appear next year icon, and that means it's ready to go. If I release, it then creates a crop of just that group. You can see that little mask is attached just to that and my rectangle is now going to come through. This is a little bit off my mask that moved. Let me go ahead and I can adjust this. Let me pull this up and maybe pull this down a little bit. Now if I were to go in here and change the color of this to something like this off white. You can see that that rectangle is showing through this because that mask layer is only clipped to my image. I'm going to change that back though because it's a little too dark. One final bit of texture we want to add is that paper texture. Now that we have everything else in place, I'm going to click on the top layer and I'll go to File and Place. I want to choose the Paper Seamless texture that it provided with the downloads. Again, I'll just drag this out. This is obviously an image file, so I want to place it where I want it and then I would rasterize and trim it. I'll go up to my layers. Right-click Rasterize, wrong one. Let's go ahead and back that up. I actually want to rasterize and trim, not rasterize to mask. This is now sitting on top of the entire thing and I need to change the blend mode. Now. I can change it to soft light, but it's going to lighten everything up a lot. If that's what you want, if you want this color, that's perfectly fine. Go ahead and choose that. I'm actually going to start with Linear Burn, which looks really, really harsh. But I really like the texture that it's giving me. I'm just going to drop the opacity a lot. I'm going to pull it down about 25 or I think even 30 is fine. I'm getting that nice paper texture through. I still can see the other textures that I added. It has way more of that analog field than it did in the beginning. Great. That is how you can create a digital cyanotype. Now, what if you want to swap out your image? Do you need to start all over again? No, because previously we used non-destructive adjustments when we created the original image. In the next video, I'm going to show you how to pull in a different image, analyze the image, and make tweaks to those adjustments so that you can set them accordingly for the photo that you just pulled in. I'll see you there. 7. Pulling in Different Photographs: We've created our digital cyanotype of this eucalyptus branch. It's got the texture and it's got the adjustments just right and the duckling are on the edge. Now, do I need to start over again to create a different digital cyanotype? The answer to that is no, because remember we use non-destructive adjustments and filters to create the negative out of our original image, which means we can pull in any photograph, make some adjustments to these adjustments to suit the photograph that we pulled in and we're all set. We don't need to start over again. I'm going to go ahead and select this image. I'm going to keep it on for right now. I'll go up to file and place, and I'm going to pull in this portrait and I'll go ahead and click and place it. Now what happened? First let's go ahead and place it in and we'll talk about what happened. This looks like an x-ray, it doesn't actually look like our eucalyptus branch did. Even though we have all of these adjustments on the top, it's not looking the way we want. Ultimately, what we wanted is for her hair to be the blue area and her face, which is lighter to take on that lighter tone. The reason this one is not working the same way as the eucalyptus is because of the invert adjustment. When I turn that off I'm right back to where I was. The lighter areas of her face and some of the areas on her hair and skin down here have taken on the light blue tone and the darker areas of her hair and background have taken on that cyan blue. That's exactly what we want. When you pull in a new image, the first thing that you want to think of is how do you want it to ultimately look? If you have an inverted adjustment on it that's not going to work for that image, try turning it off and see how it works. Because you might be set from here. I think this is a little dull. I'm going to go into my levels adjustment. I'll just double-click and I am going to pull my weights in. You can see that with this image it was really clipped. It was all the way back here. I'm just going to go ahead and pull this up so that brightens her face up. I'm going to pull the blacks down a little bit so that I'm getting some of that highlight back in her hair. I don't think that the black and white adjustment needs to be adjusted too much. Let me just play around with this a little bit. One of the predominant colors in the original image besides black and the tone of her skin was red on her lips. Let's just see what that does. I could certainly bring that down, but I feel like that's darkening her face too much. I'm just going to keep that where it's at and close that. I think the black and white adjustment was pretty good. It's just that easy. We still have this duckling and placed the mask that we placed. If we want, we could turn that off and you can just adjust some of the textures and stuff like that. I had accidentally moved my cyan blue layer. I could remove the duckling if I want. Because again, that's non-destructive. It's being added as a mask. I'm not erasing anything. I just wanted to highlight the importance of working non-destructively in photo wherever you can, because it's going to give you flexibility to swap things out without having to start all over again. Let's try one more image. I'm going to go ahead and click on that, go to file and place. Let's try this fern here. Click Open. I'll just drag that out. Not quite looking how I want it now. In reality, if I were doing cyanotype, there are ways of using a stencil to block the rays and create basically an inverse. But that's not what I want here. What I want is for the outside here to be blue and the fern to take on that light blue and white tone. Well, I need to turn my inverted adjustment back on. Let's go ahead and try that first. That's all that really needs to happen. The black and white adjustment isn't going to make much of a difference because it's got the same tones as that original eucalyptus branch, the greens and stuff like that. It's a fern. The levels adjustment I can click in here and I could play around with it. I am seeing some clipping mirror so I could pull that up and it's going to brighten it up a little bit. If I like how it is, I can just leave it. I could go ahead and adjust my levels here on the white, but I actually liked where that was at. Again, I was able to pull in an image, take a look at it. The first thing I always do is see if I need to turn my invert adjustment on or off because that's going to make a difference. I mentioned previously that in reality, when you're doing a real cyanotype, the reverse is true. Whatever is light is going to become blue and whatever is dark is not because it's blocking the sun rays or the UV lamp rays. In the case of digital cyanotype, it's exactly the opposite. Whenever you pull a new image in, just take a look at the image, think ahead to how you want it to look, and then adjust accordingly. That's it. That's how easy it is to create a base file with your adjustments, pull in images, analyze them and create a digital cyanotype out of them. One final thing I want to show you is how to export this because Photo works a little bit differently than some other apps. If I were to hit "Save" or "Save As", that's going to save it as an AF photo file. That's going to save all of my layers here over on the right. I recommend doing that. But if I want to, let's say I want to save it as a JPEG file, I actually need to go down to export. I'll choose JPEG, I'm going to set my size and my quality. I'll hit "Export" and then follow the normal process of saving something. Keep that in mind, whenever you want to save something, the Save or Save As is going to save an original AF photo file and Export is where you can save as either a PNG, a JPEG or any one of these other options at the top here. In the next video, we're going to wrap things up and talk about the class project. I'll see you there. 8. The Class Project: The project for this class will be to use the process that we learned in class to create your own digital cyanotype. You can add whatever textures you'd like, you can use the duckling mask where you can skip it. It's totally up to you. Pick whichever image you like either one one the ones I provided or something from the stock studio, or choose your own image. Take a look at your image and decide how you want it to look at the end. Then go ahead and add your adjustments, add your textures, and you're all set. It's always helpful for prospective students to see what they'll learn when they take the class. I would love it if you would share your work, the projects, and resources section of the class, you're going to be prompted to add a cover photo which crops to about 4 by 6, and you can load any image under two megabytes. The easiest way to do it is just to add a screenshot of your project. 9. BONUS VIDEO: Adding Noise in Designer: For those of you who are using Designer rather than Photo to create your digital cyanotype, I wanted to share this quick bonus video because there is a key feature missing in Designer that is in Photo. While Designer has all of the adjustment layers, the levels, the black and white and invert, the one thing it's missing is the live noise filter. In fact there's no live filters at all in Designer, but you can still add noise and that's what I'm going to show you how to do here. Now remember, adding noise is completely optional. I do it just to knock back some of that digital feel and give it a little bit more of an analog feel, but it's totally up to you if you want to add it. The first thing I'm going to do is go and select my image. I have a fern image here and I've turned off all of my adjustment layers just so that I can show you how what I'm about to do is going to impact the image. I want to grab my rectangle tool and I want to choose a neutral gray. On the HSL slider it would be 0, 0, 50 for my fill, no stroke. If you're on the color wheel and want to get to the HSL slider, just click on the burger menu here and you can get to sliders. I'll just drag out this rectangle and then I'm going to clip it to the image so it's the only thing that it's impacting. Let's drag it down into the right. Now the reason I want this to be neutral is because I'm going to adjust the blend mode. If there's any color in here at all, that's going to play with the colors in the image. Let me change this to overlay, and I'll zoom in. If I turn this off and on, you can see there's no impact to the color at all. However, if I adjust this gray even slightly, it's playing with the colors in the image. If you recall, some of these adjustments, specifically the black and white adjustment, are dependent upon the predominant colors in this image. If I mess with them here, it's going to mess with my adjustment. Again, make sure that you have a neutral gray rectangle. Now what about the noise? It's hidden. It's not intuitive, I'm not really sure why this is hidden. If you go back up to the color studio here, you can see this opacity slider. If you click on my dot, it'll give you a noise slider. I can drag this all the way up. Hopefully, you can see this on the video. It's adding noise here. Now, I'm going to keep this at 100 percent, because I want it at full blast here so that I can adjust the opacity in the layers panel instead. I'll just pull this down to about probably 40, I think that works best with this image. Again, I'm not looking at a lot of noise here, just a touch and that's it. That's how you can easily add a layer of noise to your image in the absence of the live noise filter. Now I want to show you one more thing. In your swatch panel, if you're working with an application wide palette like I've created here, you can save this noisy, neutral gray fill to use in future documents. You'll just make sure that you're in your application wide palette, make sure that fill is selected. If you click the plus sign, it's going to add it to that palette so you have it available at any point in any document. Now, in the next video, we're going to be talking about the class project and wrapping everything up. I'll see you there. 10. Thank you and Goodbye!: Well, we're at the end of class, and I thank you so much for sharing your time and creativity with me. If you've enjoyed this class, check out my Skillshare channel where I have a ton of other digital art classes already out there. I have a whole lot planned for my channel including analog classes in things like, you guessed it, cyanotype. Be sure to hit "Follow", so you'll be notified whenever I post a new class. If you like digital texture as much as I do, consider joining my Facebook group dedicated to all things digital texture, where you can share your work, ask questions, share tips, all in a really friendly environment. Finally, if you share your work to social media, I'd love to see what you create. Feel free to tag me at the handle on the screen as I'd love to share it with my own followers. Thank you again for joining me and happy creating.