Digital Mixed Media Graphic Art - Adobe Fresco | Heidi Cogdill | Skillshare

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Digital Mixed Media Graphic Art - Adobe Fresco

teacher avatar Heidi Cogdill, Writer and Artist

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

12 Lessons (57m)
    • 1. Intro

      0:59
    • 2. Background

      3:46
    • 3. Silhouette

      5:32
    • 4. Background Texture

      6:21
    • 5. Layer Mask

      3:48
    • 6. Hair

      3:36
    • 7. Clothes

      2:01
    • 8. Ephemera

      4:57
    • 9. Font Text

      3:22
    • 10. Handwritten Text

      5:03
    • 11. Your Project

      0:41
    • 12. Optional: Fresco Tutorial

      16:33
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About This Class

In this class, I'll be teaching you how to use Adobe Fresco to create a Mixed Media Graphic Art Illustration. I'll show you how to use live oil brushes to create the background and add tons of texture with the pixel brushes. Then using a photo reference I'll show you how to draw a silhouette and then how to embellish the illustration using art, brushes, clip art, text, handwritten text and how to bring it all together using Fresco's layer modes.

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Your project for this class will be to create the graphic art illustration step-by-step with me. I share everything you'll need to follow along including the color palette, reference photo and background image. I'll also be sharing a collection of reference photos to use in future illustrations.

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Meet Your Teacher

Teacher Profile Image

Heidi Cogdill

Writer and Artist

Teacher

Hello! I'm Heidi Cogdill, a Writer, Artist and Teacher. 

I live on the beautiful Oregon Coast. I spend my days drinking too much tea and hiding the chocolate…from myself.

I can't wait to share all the fun projects and techniques I've created over the years. 

You can always visit me at my website, Heidi Cogdill

Also, come meet me over on Instagram, where I share all the latest updates.

 

See full profile

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Transcripts

1. Intro: I'm Heidi Cocteau and artists and a writer living on the Oregon Coast. In this class, I'll be returning to Adobe's fresco app to share the newest features and how to create a mixed media graphic illustration. I'll show you how to use frescoes, live oil brushes to create a background. How to then use pixel brushes to add texture. Then using a photo reference, I'll show you how to draw a silhouette. And how did then embellish the piece with digital ephemera will add font text and handwritten text to bring the piece together using layer modes. This class will require an iPad Pro, Apple Pencil, and Adobe frescoes app. I have a lesson tutorial teaching the basics of fresco. If you are comfortable navigating this app, go ahead and jump into the first lesson. I'm so excited you're here. Let's get started. 2. Background: We're going to begin this piece by using an 8.5 by 11 size canvas. So you can select that at the top center part of your homepage. And then we're going to import our color palette so that we can then create our color palette using our colour wheel. So you'll do that by clicking on the photo icon at the bottom of that left side toolbar. And then select the color palette that you are going to be using. And we create our color palette by going to, or the color wheel and hovering over the color on the canvas that you want. You're going to press and hold until the color picker selects that color. And then under the Color Wheel, you're going to hit the little plus sign next to the little colored box at the bottom of that toolbar that opens. And you're gonna do this for each color until you have your complete color palette. Selected. Fresco doesn't currently allow us to save our color palette. It's a feature that they're adding. But in the meantime, we just need to create our color palette neat time underneath our colour wheel. For the background, I like to use the oil brushes that are underneath the live brushes. You could use any brush that you like, including the watercolor is completely up to you, but I'm going to be using the live oil brushes. And the brush that I select for the background to start with is the oil chunky brush. And this one has great texture and mixes well. So once you've selected that brush, you can alter your settings. And one of the things that I alter in and double-check each sign is how much of the color is going to be mixing for the oil brushes. And like I explained to the tutorial, if you had a chance to watch that, the reason that I just how much the oil paint is going to mix with this brush is. When an oil paint touches another oil paint, they mix and the color actually blends together. So each time that that brush meets a new color, it picks up the wet oil color from the that's already been laid down and it starts to mix. And so as your brush moves across the page in inner mixes with those colors and then it blends. So if it goes from red to orange, the more that it mixes with the orange, the orange or your brush actually gets. I turned my studying to about halfway for the mixed brush when I'm doing the first color on the background. And this allows me to let the colors blend a little bit to smear and to each other, but without completely altering the color too much. Later on, I will turn that down and kind of do a top coat over it a little bit just to kinda get the color a little bit more specific and areas I'd like to begin when using oil brushes with my lightest toned color. And in this it's kind of my off white with a light colour. And I lay that down first. And I'm not interested in having anything that's super rhyme or reason with this color. I just started slapping the color down. And it's a very intuitive way of doing these backgrounds. I don't have any preconceived idea of where I'm going to put color or how it's going to look. I think that the beauty of these pieces is allowing the color to develop into, blend into each other, into kinda be very unique. So let's move into the next lesson where I'll show you how to use a reference photos to create your silhouette. 3. Silhouette : So to, in order to create the silhouette, you can actually draw a silhouette or figure if you're comfortable with that. If not, I've provided a series of reference photos that you can use this as a reference photo that I selected. And again, I bring it in the same way I did with the color palette. And by clicking on the photos tab and opening it, my albums and grabbing the photo that I want. I then I'm turning down the opacity because I want to be able to see my line art over lower the opacity. And I've turned off my background at least for now so that I can see clearly what I'm drawing from my silhouettes. I like to use Kyle's dry media, sketch, pencil rough too. Because I know I'm gonna be changing a few things about this reference photo and one of the things is the hair. So I'm gonna start with the things I'm keeping and that's going to be the shoulder. So I follow the line of her shoulders for arms and of her bust and her waist. Those are going to be pretty much what I see there on the photo. Once I move into the hair, I know that I'm in short and her hair a little bit, but her bangs, I don't need to follow exactly in this type of illustration that I'm doing. I'm not looking to have the hair be really specific and every little strand. So I'm falling just chunks of hair. And I know that I want her bangs to be split because I want to see a part of her eye and her eyebrow. So I'm starting there and I'm finding the lines that the hair is kinda mimicking. And then I'm gonna kinda make up my own. So you'll see as I go through this that I'm following the way that her hair lays, where it makes sense and then kind of making up my own as they go. Because she's looking down. I want the hair to look like it's fallen forward on the backside of the photo. And I'm going to bring those pieces for it and I'm gonna chunk them out by making them come down to a point. Okay, so the hair is done for now. Now I'm going to go through the rest of the body and just make sure that the lines make sense that they're falling where they should and I'm closing anything less left open. You can turn off the background reference photo just so you can see how your line art is turning out. I like her hair, but I've decided that her hair is a little bit long. And instead of redrawing it completely, going to use my selection tool and trace around the bottom layer of her hair. And I'm going to bring it up just a little bit. I just wonder hair just to be a little bit shorter. And even though my lines are overlapping, I'm going to leave them that way. So once I've got them where I want positioned, I turn off the selection tool and then I'm going to use the eraser tool just to clean up those lines a little bit. And then I'll go back over with my pencil and add the texture backing because I've just smoothed those areas out a little bit with my eraser tool. Now that I've moved her hair up a little bit, I'm going to be able to see the very base of her neck where it meets her chest. And I can't see that in the photo because her hair is much longer and it's covering her neck, but I can see her chin and her neck just faintly through the photo. So I'm using those lines kinda as a basic reference so that I can then draw where I think her neck and her chest meat. And then also I'm going to draw in her opposite shoulder even though I don't see it in the photo. I do feel for this reference illustration that I do want to see it. So I've added that in. So for this girl, I've decided I want to have her shoulders and upper back and the skin exposed to. So I'm going to be drawing a struggle shirt here. Now I'm doing a review over the way that the line art looks. And I know that I want the hair to have a little bit more movement. And that can be accomplished by adding little stray hairs. So I'm adding stray hears hairs here and there so that it gives me more movement and that sort of thing. And then I'm just closing up any lines and touch a number eyebrows. Now maternal my background. And then I'm going to select the Transform Tool. And I'm going to rotate her from side to side. It helps me check my line art and it also sometimes give me a new perspective on how she looks. And I've actually decided that I liked her rotated, so I'm going to leave her that way for the next step. And the next lesson we're going to add texture to our background by using the pixel brushes. 4. Background Texture: In this lesson, we'll be adding back ground texture to the background we already created will be using the pixel brushes to do this. There's no right or wrong ways to do this step. There's no right or wrong brushes to use. So allow yourself to test out all the different brushes. Make the sizes really large or super small and see how they look. I'll be sharing with you all the brushes that I use. But if the style doesn't fit for you, just select a different brush. Remember to always add new layers between each brush. That way that you can turn off a layer or deleted layer that you don't want. All the brushes that I use are available through Adobe, so you'll have access to them. So for the rest of the video, I'll have some background music going, but I'm going to be splashing the different brushes that I'm using up on the screen so that you can see exactly which person musing the size and which layer mode I end up selecting and if I change the opacity, okay, sit back and enjoy and remember to play, right? Right. Wow. Right, right. 5. Layer Mask: For this step we use a layer mask in the layer mass is going to allow us to, to wash out a lot of that background. We've added a tone texture and we wanted there, but we don't want it to be super busy. So what we're gonna do is actually save the background first so that we're not working with all the individual layers. We just need the one background layer now. So we do this by going into the upper right-hand corner, that toolbar where has little box with the arrow pointed up. That's gonna do a quick save. Then I want you to go over to your right hand thumbnails. And on the very top layer, that is your background, double-click on that, and that's going to get your layer actions panel. From there, you're going to click on select multiples, and then you're going to tap on each of the layers that you want to include. Once they're all selected, hit the file icon on the far right toolbar. And that will group everything together and then you can turn your layer off. Now let's import our background that we just saved by going to the picture icon on the left toolbar and selecting that background. Make sure you turn on your silhouette line art. And then going up to the pixel brushes were going to be looking for a pixel brush that we can use to wash out the background by using this Layer Mask. And I really like to use the washy Warren double-tap on your background layer and do create empty mask. And then yes to converter, okay. Using a very large brush, start to wash out your background. This is a really pretty brush in it's, it can be very faint. So the harder you push on, the more color or the more pigment that kind of seems to appear. And that's really just using the brush features as the layer mass to wash out or to hide the background. So I kinda go over it and I move my brush around. And as the brush meets the color, it kind of spreads and blends. So I'm just doing that until I see the background the way that I want. You can wash out the entire background. You could have a really faint layer all over. You could have spots. Really, it's up to you and depends on the brush that you use. You could have a texture, you could have a pattern using a hard round brush. I'm now using the reveal feature of the layer mask, which I can change down at that bottom center toolbar. And I'm going to go around the figure and I'm going to reveal the background. I don't want the inside of the silhouette figure to be washed out the way that I have the background. So I'm just using this brush to now reveal so that I can move on to the next step. In the next lesson, I'll show you how I color in the hair. 6. Hair: You could just come into the hair and start painting the color directly into it. But I'm gonna use a feature of the selection tool called the Brush selection tool. And this allows me to brush in my marching ants of soars. The larger you make the brush, the more it's going to cover, the smaller make the brush we can make finer lines. And because I'm gonna do the hare, I want to be able to emphasize where those strands are and get into the nitty-gritty of these points. So I'm going with a smaller brush in the beginning. But one of the features about this selection tool is that the harder you press, the larger the area that does get exposed. So if I go real light with my pencil, it does give me a finer line. So I'm really just going to go through and highlight all of the hair strand by strand, section by section until I have one large area that I can actually dumped my color into. Now that I have the entire area of the hair selected, I'm gonna come over to my color wheel and I'm going to pick a yellow color that I'm gonna use for her hair. And using the paint bucket tool, I'm going to dump it into that selection. It's going to ask me whether I not, I want it to be a pixel layer or a vector layer. And for this I'm just using pixel. Now, I'd like to zoom in and I can see that a couple areas had been missed. And I can tell that by those marching answer kinda squirly and around on the inside of my hair. So I can deselect and then I can just use my hard round brush to fill in the areas that I missed. Next, I do a little bit of cleanup and I use the eraser tool and I just look over where the paint has dumped in and I make sure that if anything is outside of the lines or looks funny, I can clean up those edges and that's all I'm gonna do here is just kind of look around the hair and fixed and clean up anything that needs to be corrected before I move on to like changing the layer modes. Now this is the fun part where you're actually gonna get to see how the background that we created, the first couple of steps really plays into these illustrations. And we do this by going to our Layer Properties panel and changing the blend modes. We're gonna start to see how that color yellow blends in with the background's. I've selected the Color Burn because I liked the way that it's emphasized certain areas of the hair, so it looks like a highlight. And then other parts of the hair have allowed those that lower background to really give it the depths and the shadow. So I'm going to stick with the color brown on the hair. Let's move into the next lesson where I show you how to color in the clothing. 7. Clothes: For the clothing, we're gonna let the texture and the patterns that the brushes can make essentially mimic the clothing. I'm actually going to be using a brush gold old fence because it's got a lot of gritty kind of texture. And I'm going to be selecting a deeper maroon color. And then I'm going to apply the colour over the dress, but I want it to kind of splash over it. I could select the area, I could fill it in exactly, but I want to just see how the texture lays out when I drove this brush over it. And I'm undoing and redoing my strokes to kind of find the actual pattern that I like, the texture that I like. I don't want it to be solid, some contagious plane with it as I go. Now that I like that, I'm actually going to come back in with my eraser tool and I'm going to clean up the areas that I don't want this color showing. So obviously on her skin and outside the background. Again, we're going to change the blending modes in the layer properties panel until we find the look that we like, I really end up liking the overlay blending mode. And so I select that one, but it does look a little light. And so I tried duplicating the layer to see if it gives me a darker color. And it did, but ended up not liking it. So I deleted that layer and stuck with just the one layer of the overlay. And the next lesson I'll show you how to apply the FM rent to the background. 8. Ephemera : Adding the ephemera to the background is super subjective. It really can go any way you want it and you're going to have as much of it as you want or as simple as you want. You could use anything, whether it's a photo or an illustration, line art. You could scan in bold letters or stamps or stickers. There's tons of options that you can use as background. What I'm showing you here is that you can actually get some illustrations and photos, line arts from a website called pixabay. And you can download them and use them free in your illustrations. For this piece, I'm actually going to be using an illustration that I drew myself. And I am going to bring it in the same way I have all the other files by using the photo icon. And I'm going to stretch this out because I think that I want this illustration to cover the entirety of the background. And again, I'm going to start playing with the blending mode under the layer properties until I see the background. And this ephemeral layer really start to mix. The Color Burn layer really looks good to me. And so this is something that I am going to come back to, that I start to play with the other blending modes just to see if there's something else that stands out. And it depends. I mean, you can put that layer on the girl at herself, on the background. And again, we're just going to use layer masks later on to hide whatever we don't want to see. Now, this one I thought was really interesting because as the exclusion blending mode, it really kinda emphasized that illustration against her skin in a way that I thought was really neat. I don't know that I like the background, but I liked the way that it looked against her skin and her hair. I like the idea of the way that everything kinda looks like it's seen her through different layers. So I'm going to use the layer mask on this ephemeral Layer. And I'm just gonna try by using my hard round brush. And I'm going to block out the froma layer on the background. I'm going to leave it on her and not on the background just to see how I like it. And the thing is about these pieces is we don't really know how they're going to look. The layer modes and the way they interact with the background and the colors that we choose is really what makes these each unique. So try things, try different layers, add different things in, add tons of ephemera, change, the blending modes change the opacity. Delete areas, hide areas, and see what comes of it. And you're not going to know until you start to play. And so that's what I'm doing here is I saw something that I liked. And so I'm going to go about looking and seeing if it's something that I wanted to pursue. And you just don't know. So keep exploring, keep playing until you see something that you like and even if you like it, but then you move on and you don't, you can always turn that layer off. That's what's the beauty of having all the different layers. So I'm just gonna keep cleaning this, this femoral layer up until I clean out all the background. And then I may get a sense of whether or not this is really what I want it to look like. Now that I have those edges cleaned up, I'm not sure that this is a look that I'm actually going for. So I'm gonna turn that layer off and I'm going to upload that FMR layer. And I'm going to try again this, I'm going to leave it on Color Burn. And I'm going to clean up the inside of the silhouette and let the background be where that ephemera is actually seen. So here I am just cleaning up the inside of the, of the silhouette layer. For this piece, I'm actually going to stick with just this one ephemeral layer. But some of my pieces, I will have four or five different ephemeral layers. Everything from line are two photos to illustrations that I layer and build up on each other. So this one I'm gonna go with just the one. But in the next lesson we will actually be adding font, text. 9. Font Text: The ability to add font text to our illustrations in Adobe fresco is, is a newer feature. And you can access this by hitting the T icon on the left side tool panel. And you can either tab or drag-and-drop the textbox that you want. And you're going to open up the layer properties from the right-hand panel when you do this. And this is where you can, you can actually adjust your blending modes for the text. You can access the different font types and how the layout is left justified, right justified, et cetera. And all that stuff will be accessible through that layer's properties in order to access your keyboard, to type in the actual words. There's a little keyboard tab underneath. And if you click on that, you were a little keyboard will pop up, mine kind of pops up in this left hand little box, but you can have a bigger one that shows up. It kinda depends on your iPad. And I've decided that I want the numbers 12345. And so I've typed those out. And now I'm scrolling through the different font styles and looking for, or font style that I think is going to blend well with my girl and my FMR and the style that I'm, I'm starting to see that's forming. I'm gonna use a blending modes again to find a blending mode that's actually going to allow these numbers to really blend into the background. I want to see them very, very faintly. I want them to be seen on both the background and on the girl and not each layer allows me to do that. So as I play through the different blending modes, I start to see the look that I'm going for. And now that I have that selected, I'm actually moving by clicking and holding or tapping and holding the thumbnail on the layer until I can move it down to the spot that I want it. And then I'm actually going to drag out the text box until it's the size that I want. I'm finding that the color is off a little bit. So I decided I'm going to play with the color. And I can change that by going to the color wheel. I found a color that I think blends better. And as I adjust that, you'll start to see that color kind of hide and blend better into the background. Just to make sure that it's the blending mode that I want. I just scroll through a couple of other options to see if there's something that I would like better. Just playing with the size here and getting it to look the way that I want. The last thing that I'm gonna do is I'll actually adjust the opacity because I do want this to really blend into the background here. In the next lesson, I'm going to show you how to add handwritten text to our illustrations. 10. Handwritten Text: Adding the handwritten text might be my favorite step. And the reason for that is that such a personal thing. You get to select song, lyrics or poem, or maybe you just want a journal, something. Most of the time, the things that I end up selecting for my handwritten texts end up being something that leads me to actually being able to name my piece. So I want you to find something that really resonates with you. A poem, a song, something that just really mean something. And it doesn't, you don't have to transcribe the entire thing. Just find a section, a few lines, sentence or two that really speaks to you and that's what you're going to be writing in this step. The other really fun thing about this is that I like to make my text somewhat illegible. And the way that I do that is I actually write with my left hand, which is my non-dominant hand. And in doing that, the handwriting is somewhat sloppy and harder to read. And then once I change the layer modes and really get that, that text to blend into the background. It almost becomes something that you can't really read. And, and that's the point, is it's just boast to add the texture. You know that the words are there, you know that that message is, is hidden inside of your Illustrated piece. If you're not comfortable writing with your non-dominant hand, that's okay. You could try changing the angle. The iPad or hold depends. A little bit different. So I finished one layer of hand-drawn tax and now I'm going to start a second one. This time I'm using my dominant hand. I'm just holding my pencil a little bit different and have the iPad angled slightly. So I just get a different look on this text than I had from the previous layer. Now that in finished, I'm going to use a transform tool to actually move this layer of handwritten text where I want. I'm gonna place it over her shoulder kind of appear in this left-hand corner and you can drag it out an unjust, however you mean that I'm going to change the layer mode. I'm going with Linear Dodge. Then I've turned on the second layer that I did of handwritten text and I'm going to drag that out, make that fit where I want. And then I'm going to change the layer mon, the sum m Now go with overlay because I want to see it a little bit more prominent than I did the first one that I had up in the upper corner. This one I want to show or prominent over her skin. Once I've got that completed, my next step and final step is to add some handwritten text across my illustration. And I usually find a word or two in my poem or song lyric that I had really connected to and something that I actually end up naming my piece. And so for this one it was find my heart. So I switched to Kyle's dry media sketch, pencil, rough too. I use this when I was drawing the silhouette figure. I changed the color to white and I'm still using it at a 22 size. And once I have that handwritten Now, I then use the transform tool to move it around to find the right place, whether it's scrolled across the piece, whether it's going up and down her arm. However, I kinda just move it around so that I get a chance to see what it looks like in different places. Once you're finished, you can go to the publisher and export icon and save your image to your camera roll. Then hit the back arrow in the upper left-hand corner, which will save your file and take you back to your home screen. And that's it. You're done. 11. Your Project: Your class project is to create a graphic art piece using the steps outlined in this class. When you finish your graphic art piece, I hope that you'll come to the projects and resources section and share your completed project. You're welcome to share any progress updates as well. Click on the Create Project Button, enter all the information at your images, and then click Publish. I'm always thrilled to see students work. And of course, if you have any questions, I'm here to help. 12. Optional: Fresco Tutorial: Adobe fresco is an apt. Adobe is offering through the Adobe monthly subscription package and it can be used with your iPad Pro. So we're just gonna do a real basic kind of tutorial of what Adobe fresco can do and some of the basic functionings of it. So that you can work through this class without any issue. It's not going to be a complete tutorial of Adobe fresco. We won't get into all the little nitty-gritty, but I'm going to just kinda show you the interface and gave familiar with enough of the commands that when we're actually working through the lessons, you'll feel comfortable doing all the things that I'm doing. So here's the main homepage for Adobe fresco. And on your left-hand side you're going to have home, your work, learn and discover. Home is your basic home screen is gonna give you your last 20 or so projects that you've done. And if you click on your work, it's actually going to access your cloud documents. And this is something that you can access through your ipad softwares, those apps at Adobe offers. Or you can actually access that through your computer and your creative cloud and the iCloud from there. So this is going to show all of the files that I have access to. And here, when you have a base of document, just come into this first one. There's three little dots just to the bottom right corner. And if you click on those here, you can rename them. You can export these files as a PSD file. Duplicate, make available off-line. That way, if you aren't accessible to any Wi-Fi or being online at the time, you can still work on your file. The Adobe app does use the internet when you're using it. And then you can delete your files from here, share link, and view your version history. But this is where you'll, you'll actually come into delete the files that are on your cloud. Ok, so back to the home screen. You can create new in the bottom left or import and open any other files that you have from your other Adobe software or your creative cloud on your desktop. And the top middle, you can start with your basic new documents. You can create a custom size with the first one. Or you have kind of the basic sizes that you have been using are called my size and these are kind of the ones that I typically had been using. So they're gonna show up, they're kind of as a favorite. On the right top corner. New and upcoming features. If you want to view that, it's going to show you all the new things that fresco is doing new. Now fresco is a newer app and it's got a lot of capability, but it still is missing a few of the features that some of the other softwares Photoshop procreate, that sort of thing or are able to do. So there quickly catching up in here is kind of the area that you'll come to if you want to see what's new and, or what's coming. And you can also suggest features by going to that bottom little blue tab there. Now back on the home screen, let's just open a basic document. Now, like with some of the other apps like procreate, if you use your two fingers against the screen and pull in and out, you can zoom in and out with the two finger touch. Let's start on our left-hand side, the top arrow. That's going to take you back to the home screen and say your current document. The top tab is for your pixel brushes. These are going to be any brushes that you import similar to Photoshop. And because you're on Adobe, you have access to all of photoshops, brushes, and all of casualty Webster's brushes as well. So if you see this top part, these are kind of my basic pressures. And then the library brushes down here are actually the ones that I can access from Adobe site. So you can discover new brushes or import from files. If you hit discover new brushes, it's going to show you all of the brushes that Kyle T. Webster has created for Photoshop or and or Adobe, I should say. And if you want to have access to them, all you have to do is click on the Follow button and it will download. So you can see in most of these I have, I don't have this mega pack over here. But if you click on follow, what you'll see is when you come back to this top one, it'll load down here. And when you first get it, they'll start to load and then they kind of have this grayed-out box and this just means that they're in the process of loading. So they're working on downloading stuff and see how they start to appear as they download. If you click on the top three buttons in the upper right-hand corner and you want to manage your pixel brushes. Here you can turn off anything that you have downloaded. So I actually have to dry media as downloaded if you can see here. So if I want to turn one of those off, if I come back to my brushes, you can see here that there's only one dry media, so it turns them off. This is how you'll manage your brushes. Okay, those are the pixel brushes. The next set of brushes are actually considered live brushes, and these are some pretty phenomenal brushes. And besides the pixel brushes in this class, we'll be using the oil. The watercolor brushes are very special as well, and they actually will mimic live watercolor. And so you can actually watch them move when you add the water. And you can control the water flow and the opacity. This class we'll actually be using the oil brushes. And these brushes will have amazing texture. And again, you can control how much flow and even how much paint will mix. And what that means is when you bring it in another color with oil, is as you come toward or may meet another color, it picks up that oil paint and then the color drags with it. So my read is pure red until I touch the orange and then the orange and the red mix, and it continues to create a new color. Now, you can adjust that by how much you allow your pain to mix. A lot is going to immediately bring in a ton of red and is going to grab in the orange. And then the orange is going to move forward. We lose kind of the red. As you blend into the orange. And the lower your paint mix. If you bring your read into the orange, the red stays a little bit more pure. See how it's not mixing there. I'm actually covering right over that orange spot. So you can control it there. This tab is going to change your brush sizes. And this is going to allow how much flow you have with the color. Whether you want really dark pigment or really more a lightened kind of pigment. And your brush settings can be adjusted here. This bottom tab for brush settings allows you to alter the brushes that you're using, even a change. The angles, whether you want the libraries, are especially with oils to have a canvas texture underneath, pressure dynamics, velocity dynamics, all of these can be altered and adjusted, reload color. So here I have that unchecked. And I'm going to come in towards this orange and it's going to pick up the orange color and then it changes, right? It mixes the red to orange. But now when I don't have reload color checked, it keeps that orange on my brush. Whereas whereas if i change, put the reload tab back on, if I'm red and then I merge with the orange and my color becomes orange when I pick up my pen and then I bring it back down, I've reloaded my red. Whereas when that reload box is turned off, you're going to stay at the orange or the new color that you've created. And then you can adjust your stylist pressure. So there's a lot of brush settings that you can adjust to make your pen or your brushes work for you. So definitely play around with that. The next brushes on the tab. Third tab is going to be what's called vector brushes. So fresco actually does a bit of what Illustrator will do. And you're going to be able to create actual vector art or by using these vector brushes. We won't use the vector brushes in the class. We're going to be using the oil live brushes and then we'll be using a ton of the pixel brushless. Here is your eraser tool. Now, this eraser tool gives you a handful of or more of different types of brushes that you can use to use as your eraser. A new feature for a fresco recently is this mage brushes. And to use this image, you just select one of your brushes that are accessible to you, like we showed in the early pixel brushes. Now, this is your transform tool. It's going to give you the ability to rotate by grabbing that little top circle and just rotating. And then if it's outside of the area is going to give you a warning and then you can just hit continue and it will take you back to your screen. So that's what the Transform tool is. This next hub is your selection tools. And you can use a typical selection in this just led to draw around and it will create your selection. You can transform this. And if I double tap, I can undo what I just did. You can erase. Again double tap, it will go backwards. You can create a Layer Mask. So it actually wipes out everything else outside of my marching ants. And on your right side over here, if you slide to the side, you can see your masks, even activate them or not see how it changes. In double-tap will take us back. There we go. And de-select. And if you hit more, there's gonna be a couple other options about hiding your selections, inverting the selections, transforming them, et cetera. Ok, so let's deselect this. I'm going to turn off this layer and give us another layer so I can show you what's going to happen next. So back into our soil, our selection tool. This one is a Brush selection tool. And the neat thing about this is that you can actually, the lighter you press, the thinner the line in, the harder you press, the thicker the line. Now with your paint bucket tool, you can actually then dump color in. And it does ask you, Do you want this to be a vector layer or do you want it to be pixel layer? And it will actually do it for you. So let's just hit pixel in de-select and see how it's completely filled in my transform, my brush transform that I had done. The other thing is you can transform a square. Or you can transform a circle. This tab actually gives you shapes. So it's gonna give you the three basic shapes of a circle, a square, and a polygon. And the new thing with fresco recently has been the text. So you can actually add text. And when you click on the text and you can either tap your screen or you can drag and draw so that you can kinda get this shape that you want for the text box. And then your layer properties is going to open. And this is going to give you the ability to adjust blending Modes on your text, the opacity. And here this is where you'll change your text options. And you can scroll through and look at all the different texts, the formats, are they a font that's available? Okay, so let's go to the very top here you've got your back arrow, so you're undo and redo button. This is your help menu. This box with the arrow pointing up is going to be your Quick Export center. Illustrators share link and you can actually live stream now. And if you click on the publish and export, this gives you options to export quickly. To export as in, you can actually change your file name, the file extension type that you would want, and then you can export it your Behance project, and then your time lapse Export Video. It'll actually play out your time-lapse which these are super fun to have. And if you want to export it, you'll just click the button in the bottom right there, over here on this gear tool, this is your settings. This is where you can flip Canvas, rotate canvas. This is where you can turn these on or off. And here's some more app settings that you can adjust the two arrows here that's going to remove all of the toolbars. This will give you access to a full screen. And down the right side of the toolbar we have R. This is gonna show us the layers. You can turn your layers on or off. This is going to have layer properties where you can adjust blending Modes and opacity. And this tab is a way to share for feedback, share your link. Okay, these middle toolbars, the plus is going to give you another layer. That's how you add layers that I turned your layer on and off. This with a down arrow gives you a clipping mask and you can turn any layer on and off quickly. With that tab. The three buttons is your layer actions. And this bottom is going to give you your ruler if you're interested in having that. So that was a basic overview of how Adobe fresco works. Let's jump into the lessons.