How To Do Top Down Flat Design Illustrations In Canva | Phillip Dillow | Skillshare

How To Do Top Down Flat Design Illustrations In Canva

Phillip Dillow, Be Driven!

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8 Lessons (1h 26m)
    • 1. Welcome To The Course

    • 2. Preparation

    • 3. Update To Canva

    • 4. Coffee Cup

    • 5. Paper Memo

    • 6. Cellphone

    • 7. Flat Demos

    • 8. Thank you for taking this class


About This Class

Creating top down flat design illustrations in Canva for Social Media Posts and Video Thumbnails. Discover how to create the prevalent top down flat design images that are on social media posts, blog posts, video thumbnails and more! This course is designed to assist you in learning the basics of top down flat design in Canva for use in social media and video. During this course you'll create create a coffee cup. a stack of memos, and a cell phone with additional examples provided to get you started. This Is A Basic Graphic Design For Beginners Using Free Software Course. Throughout this course you'll learn to:

  • Create a thumbnail image for videos
  • Create an image for social media posts
  • Learn the basics of using Canva
  • Learn about composition, color design, and layout in flat imagery
  • No prior knowledge or experience is required

One of the bad things about working with free software is that you are completely at the whim of the company providing the free software. Canva decided to change the shapes section by moving the adjustable triangles. The adjustable triangles can still be accessed but you have search for them now. The images below will detail how to find the adjustable triangles.

Image 1,2, & 3 shows the new triangles know as  "Equilateral Triangle" & "Right-angled Triangle". These triangles can only be resized not adjusted.




Images 4,5,6,7,& 8 shows how to find the adjustable triangles know in Canva as "Solid Triangles". Click on the elements section then type into the search bar "solid triangle". You can see in the images below the adjustable triangles are know as "Solid Triangle" & Solid Right Triangle". I recommend adding these shapes to you likes section. How to add things to your likes section is show in the images below.







1. Welcome To The Course: hi and welcome to the course. I'm very excited to be teaching you how to use candidate create flat design illustrations for your Facebook post Instagram posed are thumbnails for YouTube videos or blogger or any other type of social media or online marketing. In this course, we're gonna be going over all the basics. You need to learn how to create flat design images like this, you know, a coffee cup, a nice stack of papers, cellphone and many other examples of things that could be really good flat design images that you can use her whatever type of marketing that you're doing. Also, in this course, we're gonna go over a lot of the basics of Canada in a lot of the basis of composition, layout and design. 2. Preparation: before we begin, It's important that you think about what you want your final designed to be. You want to design with the end in mind right from the beginning. So ask yourself, where should the coffee cup line Where's the stack of papers be? Where should the cellphone be? Should they be up, down, left, right, so forth and so on. So let's talk about the style that we're gonna be using in this course. I'm going to take you through my entire process. And what exactly does that mean? Well, you're going to see all the bumps along the way. You're going to see me try things and fail. You're gonna see me screw up. You're gonna see me. Not like colors change colors. You might even see me completely start over a couple times because I don't like what I was doing. It's important for you to see these things because it gives you an idea that it's okay to experiment. It's okay to screw up. It's OK to say, you know, I don't really like the direction that I'm going, and I just want to start over, so realizing we're going through and we're doing this This is an exploratory process because the ultimate goal is to make something that looks really good. And the next step is to take all these items and get real world examples cup of coffee, cellphone stack of papers and lay them out and see how they look together. How big is a cup of coffee compared to a sheet of paper? Or if I catch the light in the copy cup, where does it shine off the coffee in the cup? Remember, the goal is to have something that if somebody sees that the instantaneously know Oh, hey, that's a cell phone. These few steps are gonna help. You really start to see, you know, what's the composition gonna be? Was need to be was a layout need to be one of my trying to accomplish with this. If somebody was looking at this, does this feel natural? All those little things that make a professional image look professional 3. Update To Canva: Hi. I wanted to take a second to tell you about some of the changes that are going on in Canada , and it's mainly affecting the triangles. So this is kind of a weird thing for Campbell to be affecting. But it's very frustrating for you as a creator or designer, if you're specifically trying to use triangles to make certain shapes. One of the bad things about working with free software or primarily with free software is your completely and the whim of the company whose providing software to you. And that's because, well, it's free. Um, but, you know, sometimes it make changes that just don't make any sense, and this is one of those. But I'm gonna show you how to work around it to still enjoy can va and make the designs its need to make. Here on this my screen. We have the classic triangle that were used to, which has the corner adjustments for size but also has the height adjustment and the thickness adjustment. In the new triangle, which you confined by simply clicking on elements and then going to shapes, you're gonna find that you only have the corner adjustments for size you no longer have the haIf and with adjustments, which is really frustrating if you're trying to make certain shapes. So how you find the old triangle, the classic triangle, Whatever you wanna call it is you have to search for it. I have been looking through all the different folders in shapes and elements and everything else, and I haven't been able to find it anywhere without searching for it it again, very frustrating. So all you do is type in solid triangle, and it's gonna bring up the solid triangle, which is made by candle layouts. The new non adjustable triangle is made by someone else, so I don't know why Canada made this choice. But they did, and you see, if we click on it. Boom! There's our classic multi adjustable triangle, and then down here you're going to find the right solid triangle and yet, again, adjustable in all the ways that we're used to. The really bad thing about this for a lot of us, whether if your designer a creative you do this for fun or let's say you're a small business owner and you use this for your marketing materials is I don't know how long some of this is going to be available to us yet again. Because this is free software and we're completely at the whim of can vote soon as I hope this helps you guys out. And I just want to take take a second to show you all that you can still get to the triangles that are adjustable that you need. Ah, but it is gonna be an extra step. 4. Coffee Cup: here we are in Canada. For those of you who are familiar with can be just simply go to Canada dot com. You can log in with any email address. I think you can even attach your Facebook to it if you want Teoh. But just simply complete the registration process. And this is roughly the screen that's going to take you to. So in here we have, ah couple different, you know, layouts that you can choose to work with, and we're really not going to dive too deeply into Canada. There's some other great courses out there from some other really great creators that do some really deep dives in the can va. I'd recommend you check one of those out. If you really want to get into the nitty gritty with Camba, we're just going to Ah, quick brush and overview. So what you're seeing here is you can a type in, you know, an art board dimension like, for instance, is a logo, which is 505 100 pixels. Or you can come down here and you can pick, you know, size like Francis the Facebook cover. There's a flyer Facebook post, you know, whatever your your size of your art board is gonna be that you're gonna be working with. We are going to be building a 10. 80 p r. Board, which is 1920 by 10. 80. And yet again. All I did to do this was come appearing. Click this little button and you can change it from pixels. Two inches, two millimeters, two centimeters. I predominately working pixels. But yet again, this will be your project. So you can do whatever you'd like. I would recommend at this point time if you have ah, dual screen set up or if you're watching this on one device and you have your your laptop handy. Uh, this would be a good time to go ahead and get registered and logged into Canada and kind of get to the point where I'm at, you know, yet again we're working on a 10 80 p document, which is a 1920 by 10 80. Or you can really work on any size document that you feel comfortable in from the list that was down there below. But we're going to start off right here with this white background and over here just to kind of remember things very quickly can always start you off with some templates. So let's pretend that you were making, you know, a thumbnail for a, um, YouTube video or something like that. You could just grab one of these thumbnails, throw it up here and fill in the blanks and being a bang. Boom. There you go. That's what May can't. That's what makes canvas of great is very quickly. You can make predominately professional looking things without a whole lot of hassle on a whole lot of effort. We're not going to be going into that. We're gonna be mainly hanging out and what's called elements, which is where you find out your shapes, your lines, your frames s so forth and so on. There is text. You can change your background. You can upload images over here. You know, once we're done with our project, you can share, you can download it, you can publish it predominately. Were just gonna be focusing on download and to talk real quickly about can va pro or camp a premium? I don't know exactly what they call it. There's so much to do in Canada for the begin. A graphic designer I wouldn't really worry about, you know, getting getting into that and paying for camera right off the bat. You know, you can spend a long time just using the free stuff and learning and getting better and making a lot of really great projects before you think about spending a penny. So I would just focus on the free version until you know, if you need to do that for your business or for your work, or let's say you're doing some side projects on Fiverr or whatever you know, then consider may be paying for it. But the free version is really great. I would recommend it to anybody. So yeah, anyways, going back over here and elements were just gonna throw something up on the board right now , we have a nice gray circle, and you can copy it, which is gonna make, you know, two of them. You can change the position. So over here we can change our color. And I'm just gonna choose opposing colors right now. That way you can catch an idea what I'm talking about. We can change the position. We could make one go back. We can make one come forward, we can align them on whatever we're trying to do. We can change the transparency, Teoh, whatever we're trying to accomplish with any type of shading, can't get the idea. Uh, other things we can do in here, You know, of course, you can delete with some of the photos and some of the other objects have a few more options appear to play with on the colors. If you want to make a custom color, you can go in here and make whatever custom call you want. Or, if you know the code for the color. You can input that. For instance, if you're doing a project for, like, home business or let's say you're doing something for a local business or whatever, maybe and you know the color codes for their however many colors that they have a logo or whatever, you can just plug those in right there. For instance, Um, 73. 70 3 73 That makes ah, nice medium grey. Um, U S. Oh, yeah. Anyways, we're gonna go ahead and get started. Who Wrong? One. We're gonna go ahead and get started with building our first object, so we're gonna start for the Coffee Cup. And the first thing I want to do is we want to get rid of this white background. It doesn't really do me any good, And it's gonna be hard to take an object that is white and make it stand out on a white background. So what I usually like to do is pick a funky color. I tend to hang out in the blues. No real reason why I just find them calming. And they were gonna start for the most simple thing a circle. And we're just gonna put this right in the center of a document right now because we're not really gonna worry about what everything else we're gonna build. We're just going to focus on making the coffee cup. So here we have this gray shaded circle, and if you remember from our demo coffee cup, you know it didn't have a saucer. So you can choose, You know, whether if you want to have a saucer, you don't want to have a saucer. In the mock ups that I made, it had a saucer. I like that. Look, It doesn't have to be that way. It's your coffee cup so we're gonna probably not making it both ways just to give you feel first thing we want to do is coffee cups are usually white on white. Now, that's not gonna be a perfect combination. That's where color's gonna come in. But just right now, just for learning, I'm gonna show you white on white. So we're gonna take this. We're in a copy. We're going in a circle out here, and we want this circle to be smaller. Not a lot smaller. Just a little smaller. Well, right now I have a white circle within a white circle. If I do this again, copy center it, bring it down a little, center it again and change that third circle that I made to something reminiscent of a brown. Technically, I have a coffee cup on a saucer with some coffee in there. But you can't tell that because there is no definition between the saucer and the cup itself. So what we're gonna do now is we're gonna go in, we're going to create a color, and we're gonna work with something more in the yellowish range. And we're on channel lean towards like white, gray, yellow kind of like that. And now you can start to see definition between the layers. Now, all coffee cups have a handle. So we're gonna make a handle. And there's are very, very basic coffee cup. Now, is this perfect? Of course not. Not by any stretch of the imagination. But could you take this and start building? Ah, nice looking project with, of course, on how the recommend you tinker with this more. But this gets us to a starting point. Now, let's talk about problems. No coffee cup in terms of what somebody's gonna be able to see from, however small thumbnail or facebook post is is gonna register whenever it has this thin of a wall. So the first thing we do is we're gonna make the actual coffee portion smaller, and you see how that makes this line a lot thicker in graphic design, especially in commercial graphic design. You know, thick lines of the best, because you can see them from, ah, pretty significant difference where it's thin or intricate lines usually not the best, because I have to be really close to the subject. So what you want to be thinking about here is no What is the viewing distance? From the eye of the viewer to the subject, you are gonna be looking this on cell phone screening of the computer screens is gonna be a print off. You know, if it is gonna be a print off, how far is the individual gonna be from the desk where it's sitting on the wall that's on holding in their hand? If it's gonna be on their cell phone, what's gonna be the size of say like that? The YouTube thumbnail? You know, very small. Maybe, maybe not even an inch. You know? How is it gonna look on all those different formats and pull up your phone print on a piece of paper, Whatever and kind of play with that in your mind? How does this look? You know, from a foot away, one inch by one inch, you know, does it still look good? And what you're gonna find really quickly is very thin. Very intricate lines don't make friends for whenever you're dealing with all these different sizes. So we're going to stick to phenomenally thick lines and focus on creating something that no matter what marketing format you're putting in, it's going to be easy to identify for the individual. So here we have our coffee cup. It's very flat. So what we want to do now is look a tsum shading options and all we do there is we take our big circle. Copy it again, center it. We're gonna change the color to a darker gray. And I'm going to use my arrow buttons on my keyboard to do this. But you can do this just is easily with the mouse. The difference between doing it with the air buttons on your keyboard versus using the mouse is you have a lot finer control. So if you'll just watch the circle, I'm hitting the up button, which is making you go up. I mean, the down button, which is making go down, left to right so forth and so on. Whereas if I use the mouse, I could do all the same stuff, but I don't have it's fine tuning adjustment. So for this 1st 1 I'll use the mouse and I'll come back and show you what it looks like with the Arabs. So here have it just kind off to the side, and I'm in a position it back. I want to go through all the layers and there we go. We have our shadow. Now let's stop and talk about light before we move on. Where is the light coming from? In this image, we're gonna take a triangle. We're gonna use that to act as our pseudo light source example. The light from this image or the way that we've made this image is kind of coming from over here, and it's just kind of shining out in this direction. Now, if we take the shadow and we move it to say who wrong one and we move it to say down here and let's have a go like way, way out here where's the light coming from now, while it's coming from over here? Well, actually, way over here, something kind of like like that You get the idea. We need to play with this a little bit more. There we go. So now the lights coming from this direction showing this way. So keep that in mind, you know, wherever your your light, you and grand, this is digital's. That's not really light. But wherever your light in your compositions coming from, you need to respect that across your entire image. So getting back to working with the arrow keys, I'm going to just place this kind of over here somewhere. Not necessarily perfectly. And using my arrow keys, I'm gonna get this toe. Look, you know exactly how I want it. So I'm gonna come out and I want a little bit of a shadow. And I'm trying to think about how my final composition is gonna look. And I don't want it to be perfectly, you know, in the cardinal directions, because I think I feel like I'm ended up turning this coffee cup to make the handle look like it's towards the individual who would potentially be holding the coffee cup because it would look weird if, say, my human figure was down here and, you know, the coffee cup handle was, you know, appear somewhere that wouldn't make any sense. That would be silly. So I'm gonna take it. And yet again, I'm using my arrow buttons here, and I'm just going to kind of bring in a little askew and just a little sliver of a shadow . Other things you can do to really can address the shadow up as you can come over here to your transparency and just kind of slowly bring it down. And this is gonna affect the hardness of the light that's shining in your image. So here we have our mock light source And let's pretend the slide sources really hard. Somebody change it to read, right? So it is just unbelievably hard who run one unbelievably hard. So we're gonna bring that all the way up, bring it all the way kind of out this way, you know, it's just a just a really, really hard light sources just really beaming on and, you know, we're gonna we're gonna take another step further, we're gonna leave this gray, and we're gonna go to a black shadow. So this would be something of like you have like, um, almost like a spotlight shining on your coffee cup. Well, that's probably gonna happen to too much in real life, So don't use those colors. Don't Don't build it that way. Unless, of course, that specifically what you're going for, maybe you're making a piece of marketing for spotlights. I don't know, but we're gonna build this a little bit more realistic. Say it again, We're gonna come back, and we're gonna change back to a grey. It doesn't really matter which gray you pick. Um, the dark of the gray, the harder the light, the light of the grade, that soft with light. Uh, the darker the gray, the more you can play with it over here and transparency, the light of the gray. You have a little bit less room to wiggle, and we're gonna bring it down, you know, to probably about maybe in the thirties, Let's go 30 on the nose. And actually, I think that's a little too soft because yet again, talking about what's the distance that somebody's gonna be viewing this from, You know, if they're gonna be viewing it from, say, I don't know, foot away on a one inch by one inch thumb down, Are they gonna be able tell? That's a shadow. So we're gonna bring it back up and let's just go for 50%. If I don't like 50% I'll change the color or do something else there. I'm gonna change the color. So here we have our shadow and it's a little scary cause I messed with it. And that kind of fits our light source. Not perfectly, but a sort of in the ballpark. And it again, remembering, you know, people are gonna be viewing this in different formats. So here we have our coffee cup with a shadow coming out the side. Now, if we have a light source and shining down, what are we gonna have in the liquid? You're gonna have a sheen. So we're going over hit elements and we're gonna go over here to shapes and we're gonna click on all. And here we have all the different shapes that are available to you in camp. Yet again, your imagination is where can vote begins and ends. So if you want to build whatever crazy thing, you can dream up, there's a ton different shapes. And here you can use do be careful, because the farther you go down, eventually you'll run into paid shapes and paid pictures and paid illustrations. I don't feel like a buck a pop. Um, but I don't really want to pay for him. I'm sure you don't either. So just keep that in mind if you're going through and you use them, some of these do require you to spend some money, but any of the ones appear at the top in, like the basic shape area they don't. So we're gonna take this macaroni shape, and that is gonna be our sheen. And what we want to do is we want to size it to the cup first, and you see how that's relatively, even all the way around, not just in different ways. You can check that down here in this corner. We have our size or zoom measure. So if I go all the way up to 200 I'm gonna be right right up on the image. If I go up to 300 all, I'll be even tighter on the image. So how we check that is we can create a dummy about the back, back out, make that a little bit smaller, and we're going to change that to a very bright color. What made too small for even me to get a handle on it? There we go. Bring in that ballpark and zoom all the way back in. So we're gonna use this red square as guide. So the first thing we do is we want to size it right and we're looking for something that's gonna kind of touch this line and touch this line. And we're trying to see if we go around our curve here. Is it all relatively the same? You can use this trick for whether, if it's squares, triangle circles, whatever, it's gonna be a little bit more difficult on curved things as opposed to flat things. But you can still use it to about the same effectiveness. And in general, we're gonna be using this little trick throughout everything that we do. It's just a very simple guide tool, um, to have in your toolbox. So we're gonna come down here and what it does exactly works, and then we're going to turn it and we're just seeing, you know, is it about like what we had up there and it's as pretty close. You know, I think we have a little bit more overlap over here that we have there, but some that could be mistakes on my part. Ah, in terms of rotating it and we're a test over here, and it again, you know, where we're in the ballpark. That's pretty good. So we're gonna throw our guide off to the side will probably the leading him later, and we're gonna back, Back out. So here we are, looking at her cup, and the first thing we're gonna go back to is our light source. Our light source is shining from over here, showing this way. So we need to make our sheen matter shadow. So we're gonna rotator Sheen. Uh oh. It went outside of the cup. So we're gonna come back and we can do the same little guy trick all over again, or you could just kind of eyeball it. It really just depends on how super tight you're trying to get. You can also bring this curve out and try and match the curve of your shadow, which isn't exactly perfect. But it can help kind of get you yet again in the ballpark. So here we go. We have our sheen, and we're just trying to play with the alignment and I go back to use my arrow keys for the fine to adjustments. It's important that you remember how useful the arrow keys are is a tool, because it's gonna be sometimes where you want to move it, just one pixel. So here we have machine. It's in our cup. It doesn't really look that good, does it? No, because it's too hard. So we're gonna change it to a lighter brown due to do. I just got playing with it. I like that brown right there. It's a little pinky, so we might go back and change it again. I'm gonna bring down the opacity, and I am no back and change it. I want a little bit more white in there. I think I like that. So here we have our coffee cup. We have a shadow, we have a sheen. And yet again, if you feel like something isn't perfect like maybe that she just doesn't quiet lineup, you can go back and you can fix it. It's important that you know that it's okay to make mistakes. That's okay. If things aren't perfect. If you know you're willing to go back and fix him and you know, except the time and effort that goes into it just realize, you know, it's OK to make a mistake, just be willing to go back and fix it and make it look good 5. Paper Memo: here we are with our coffee cup again, and now we're gonna be taking it and working on the basics of composition and structure of what our final image is going to be. So the easiest way for me to explain this is if I take my coffee cup right here, I move him all the way over and I make him any size. Any size will do. And then I'm gonna go to elements and I'm gonna pull up shapes and we're gonna make a rectangle and just want this to Chi roughly resemble a piece of paper. Does this coffee cup realistically look like it would be sitting next to a piece of paper and be accurately sized? Or does it look like it would be some type of gargantuan giants coffee cup? Well, odds are you don't have many coffee cups that are half the size of an 8.5 by 11 sheet of paper. So what you need to think about is and this is why it's really important. You know, toe, lay this out. You know, in real life first, especially if you're dealing with such common things is paper in a coffee Cup. You know how big is your standard coffee cup compared to a piece of paper? And ask that question, you know, Is it 1/4? Is it 1/3? And you know, it's somewhere kind of in between 1/4 and 1/3 So we're just gonna kind of rough shot this maybe a little bit smaller. And that's about right. You know, every every piece of paper, every coffee cup is different, but in general you're looking for something that whenever the person sees thes two objects together, they go, Oh, yeah, that makes sense. Whereas if you had something, you know, that look like this, it doesn't really make any sense. You know, people are gonna like OK, so that's brown magnifying glass. They're not automatically going to click to Oh, that's that's a coffee cup. And then you would completely lose the point of why you even began to make the design. And when the biggest things and design is, you want somebody to be able to tell what is within, you know, Onley a few seconds, you know, less than three. Preferably somebody has to stare at your work too long. It's not gonna be commercially viable. And I think about in this modern world we have so much media. We have so much exposure, different things. Things were happening so fast we're scrolling and everything else. If you're not catching somebody's attention or you're not catching somebody's understanding and those air different very quickly, then you know you're just gonna lose him. So try and focus on a level of realism in your structure, And, you know, if you want a over exaggerated a little bit, you know, like, say, you're doing something associate with coffee cup and you're trying to show somebody who's working really late or is very stressed out or something like that. Can you accentuate the size a little bit, you know, to add, you know, ah, little bit subtext to your your, um, injury, of course. And you can definitely do that. Just be careful with it. You know, don't go into the cartoonist realm that's going to start to degrade some of the story of your image. So anyways, we're gonna get this back to you know, roughly what a coffee couple look like. And we're gonna get started on what will be our piece of paper and you know, we're gonna build out something that's gonna look like maybe like a colorful memo or even a resume could kind of go either way. Let's get our coffee cup to the side. The only thing else I'm gonna do the coffee cup right now as I'm gonna give a little turn Pretend you know, this is a table in front of you. You know what would be the direction that handle the coffee cup unless pretend that were left handed for right now or were at least drinking with our left hand? You know, it wouldn't be, You know, over here it would be somewhere where you know you're gonna reach up and grab it and it, you know, some people might want to put this straight on, but think about how one of you set your coffee cup down the table. You know what is usually look like? It's usually never perfectly, you know, all the way at a 90 year, all the way straight up and down, it's usually got a little bit of Iraq to it, you know, kind of I don't really know a degree angle. This is, you know, it's somewhere between 35 40 degrees, According to Canada. You know, it's gonna have a little bit of, ah, kind of an off angle to it. And that's for your hand to kind of get in there comfortably because you think about how the hand lies. You know, you just sit on a table. It's never perfectly one way or the other. You know, your body is just gonna rest and fall whatever is most comfortable for your hand in your wrist in your arm. So it again your coffee cup kind needs to match that little bit of in perfect perfection. So we're just gonna push him all the way over. We'll probably with him a little bit more As time goes on, keep in mind. As we play with him, he is setting the tone for our shadow. So, you know, you see our little shimmer right here. You see our shadow right there. Whatever we do with him, we're gonna have to make it match up here. And what may be easier for you at first is if you make your shadow, you know, 50 cardinal directions north, south, east, west That way, you know, you know everything's going straight. You know, it's going straight up to the top of the document, so we'll just leave it like that right now just for practice, Okay? First thing we're gonna do is we're gonna pick a color for our paper. Normally, I go with white, but an eggshell would look really nice and kind, like what we talked about earlier. You can go in here to Canada, and you could make that, uh, I I like working with white for my top page because I personally feel that is easier for shading, you know, behind and everything else. But you can do whatever works best for you. If you want to go in and make something that's more reminiscent of an eggshell, just go here into yellow. You don't want to go too far into the yellow. You just want a little papa color in there. Kind of like right like that. That's gonna give you kind of eggshell. Look, if you are trying to do, like a, like a super fine, you know, flat design where you really wanted to look like right on point for, like, a resume or something like that. You know, this would be kind of a cool little touch. But like I said, for today, we're just going to start working with White. So the very first thing we're gonna do is we're gonna make sure that we like the size of our paper. Uh, you know, it's kind of hard to sit there and guest eMate. Exactly what it would be A and 1/2 by 11 done in pixels. You know, you can sit there with a calculator and figure it out, or you can just kind of eyeball it to me. This looks about right. So once I got how I like it, I'm gonna make a copy. And that would go. And then, since I'm following my shadow rule, this copy needs to go almost directly ahead. So we're gonna take this guy and we're just gonna pick one of the greys, which are when we feel most comfortable with and we want him. And I'm gonna use the arrow keys for this just to be a little bit up, maybe 2 to 4 clicks up and we're gonna take him. We want moving backwards, and then we're gonna go to transparency and were knocked him down about 40% and that's going to give this piece of paper and I shut up. So we're going to zoom in and take a look at that, he and see that little shadow there. Now, the problem with this shadow is a straight shadow or flat shadow. Doesn't leave Ah lot to you know, the visual context of the image. It doesn't really give you much of a feast for the eyes. So we want to kind of come over and create a little bit of an edge there and you see how that really brings out a lot Mawr in the Shadow. Now we've created second issue by fixing the shadow on this one. Our coffee cup no longer makes sense. So we need, well, him over just a little sort of like that. And where's the shadow coming from? If we took a triangle, make him yellow. That way is easy to point out. And who our shadow would be coming somewhere kind of from over here shooting this direction and you can play with ITM or, you know, if you want a toe, have you shed I'll be a little bit longer, you know, just bring it up a little bit. You know, I'm doing this with the arrow keys. I'm just kind of playing with them not doing anything specific. And that's gonna kind of long get that shadow a little bit, actually. Like how that looks. It brings in mawr of the, you know. Ah, the light source is coming from over here. And next thing we do is we want to make this look like a stack of papers. So we need to take both of our little guys right here, and we're gonna group him, and then we're gonna make a copy, and we're just gonna come. I'm gonna ask you, um, pretty fair bit. And they were asked in the backwards who too far, And then we want to change his color, make him a very, very like, Right. And there we go. Now we have a stack of papers. That's crazy. Little dark for me. And so what I would usually do is kind of go in, see if I get a little bit of lighter gray. Well, that's gonna be tough to dio. There you go. That's just a little bit lighter, gray. Kind of making that depth look happen, and then you can go on. You can play with these shadows, Mawr. And if for whatever reason you think this one's a little too proud, you can bring him down a little or whatever you want, Dio. Now, this is just a stack of two pieces of paper. If you wanted to take this and, you know, build it out even Mawr, you could do whatever you want to do. This is your imagery. So we could do that. Push him back. And now we can I got to three pieces of paper going on there. We are going to see some funny stuff happening with shadows, so keep that in mind. As you're building this out, you need to respect the shadows and give them enough room. One of the things that really helps out with that is kind of like what we're talking about with hand in the coffee cup. Nothing in life is perfectly neat, you know. It's all gonna be a little sq toe left with rider, you know, whatever it may be, So making it look not perfect can actually make the image look better. And you see, I just kind of move that piece of paper over its jazz, barely peeking out from all the different sides. And that kind of adds a little bit of an extra layer. Now, what we can do is we can take this very back piece, which we made that super like great. And we could go back, Teoh. Maybe a gray more like that. And so now we have kind of three different layers of gray, and then they all have a shadow months back out and take a look at that as a whole. And then we go, We have kind of our rough little stack of papers, and that looks relatively reminiscent of what you would find sitting on a death somewhere. So I like it. We're going to go with that. You know, you could play with this as much as you want. You know, you can make this look like a giant stack of papers. You could keep going. You could put me in these binders. You want 25. 30. However, details you want to get. Do you realize at some point you are gonna hit a diminishing return? Because the human eye, you know, it will be able to distinguish, but it's probably not going to care once you get too many layers and lines back there and dealing to you kind of lose some of the uniqueness and some of the power of the individual object whenever you you kind of over over fine and trying to make it look to to to perfect . So this looks good. Now what we're gonna do next is we're gonna build out our kind of dummy document. So the first thing to do is we're gonna look for something that will resemble a logo, and we're gonna come over here to our shapes. And normally I use this little circle. We're gonna look around a little bit more. So if we find anything else to be like, like, kind of like this lightning bolt that's pretty neat with shields. Not a bad option. You could envision a logo with a shield. Um, let's see what else we got, Long houses and bad. You're gonna want to stay away from anything like this. That's too detailed. A lot of flat design objects. They're very, very simple shapes. They don't go all the way in tow. You know, stuff like this on such a small level is what we're gonna do, putting a little logo up here in the corner. So I really like that shield. I think we're gonna stick with him. And this is more of, ah, kind of odd shaped Pentagon than is a shield. But to me, it looks like a shield, and we want to make him really small. And yet again, you're focusing on. If this was some type of corporate document, how big with the actual logo beyond the page. And we could take it, we could play with it a little bit to make it a little bit more. You need unique. You know, we could we could stack him a little. You do like a little chevron pattern, something along those lines, and we'll put some color in there. Well, dio read white and blue. And there we have our little makeshift company logo. Now, if you want to get significantly more intricate with this and come all the way in and, you know, put ah, letter and their some type of Ah, very simple crest feel free to do that. Um, just keep in mind. You know, intricacy can really kind of undo a flat design sometimes you know. So if you win here and he did say, Um, let's get out of this and let's get illustrations Here's a good example. That's pretty complicated. It's not that this looks bad whenever zoomed all the way in at 120%. But you have to imagine, you know, pretend that somebody is looking at this. You know, I'm one inch by one and 1/4 inch, you know, thumbnail on their cell phone screen. Are they going to be able to tell what those little yellow squiggly lines are? And the answer is probably not. So just keep that in mind Whatever you put in there, you know, if you do choose to put anything in there, it's probably gonna get lost in the shuffle of things surrounds him back in. I actually want to make this red line a little bit bigger, and I apologize. My voice is cracking a little bit of a problem. She will get better, and there we go. We have our makeshift company logo, so let's get out of icons and let's go back to shapes. So what we're gonna be putting over here is kind of like company info. Those you guys have familiar with the different types of memos and memorandum is and stuff are there. There's all different ways to build this. And yet again, finding a real life object is gonna help bring, you know, the authenticity to it. But in general, you're gonna find something that explains you know what department this is from our department department. This is meant for maybe it's just the name and slogan. The company, you know, whatever it may be, we're just gonna build up a couple of these now, if you remember a trick from earlier, We have all these lines and they are not even me to come all the way in. We need to make a guide. Well, we need to come all the way out. First, we need to make ah, guy, and we're gonna make him bright yellow. Always very easy to see. Now we're gonna come all the way in. I'm going to come all the way and even more. And here we go. I'm gonna be using my arrow keys here, and I'm just gonna move this top bar up just a little bit remembering my guy down and you think I'm gonna use my arrow keys again. I'm gonna bring this up jest a little bit until it matches all the way around. So now we're gonna have even lines. Really crucial tool use Guides use simple shapes, toe work in your favor. One of most powerful things you can do in graphic design that's super duper. Simple is make a generic little guide like this and use it throughout your entire composition. No matter if you're making a logo, you're making something like this. Or if you're doing, say, like, some big, you know, illustrative, like, you know, 1950 style artwork or like the backpacker start work that's really popular. You know, little simple tools like this can really make you work look clean and professional. So we're gonna back, back out. And what we're gonna do now is we're gonna make what I'm gonna call the header line. Um, this probably has, ah, proper name, but I'm just gonna call it the header line for right now. We're looking for the center of our work, and yet, again, camera gives you these nice little guidelines, and we're definitely gonna use those charred vange. So we're gonna pick a color. Um, this is kind of work colors really coming to play. You know, if you're using a lot of one type of color, keep in mind the color depth for every time Use that color. What I mean by that is is, you know, how dark is this one? How lied is this one? How did they play together? How did I want structure the document? What a lot of people try and do is build colors in a Siri's. And what that means is, you know, the top color are the most visible color is the lightest or the darkest, and then the back color or the bottom color is the lights of the darkest vice. First, if you have wide on top of dark on bottom, feel dark on top, you have lying on bottom, and a lot of that just kind of depends on the style of the document that you're trying to make. I don't really want anything allowed right here, because what I want the focus of the eye to be is the whole composition. And if you come in, do something really loud like this safety orange, it's just safety orange safety or in safety orange. Where is the eye of the individual gonna be drawn where they're gonna be drawn just to this mock piece of paper. And that's not really what I want. So we're going to go. Usually I use a blue, but I got a lot of blue things going on, so I think we're gonna go with Green. But I don't like how bright this green is. So we're looking for something a little bit darker. Kind of like that. I like that. So we have a green, and this is gonna functions are header line. And we're just gonna still these guys because they're right there. We're gonna bring him down, and we're gonna take another copy. We're gonna bring him over, and what I'm trying to do is make a little double row. So when you bring this guy in, bring that guy in tribalism trains, the guidelines tow line up on the edge of the Greenpeace on Got it. No went away. And some of Campas, like your own little mini video, came trying to get all these lines right. And there we go. So what we're gonna do now is we're just going to continue this down for a little bit. First thing I'm gonna do, I'm gonna back out Mayor shapes gonna make square changes color to something. Really? Bryant like yellow. And now I'm undecided how far apart I want my lines to be. And you got imagine, this is something that was typed out. You know, they're not going to be, you know, super duper, duper, spaced apart. They're going to be original, and they're gonna be a reasonable amount of space when I come in a little bit more. I like that. So we're just gonna copy? We're gonna match it up and there we go. Same thing over here. Copy, man. Shut up. And what are we noticing? Right off the bat. And this is kind of I was talking about with the teaching style. That one for the course. You know, this is a mistake right here. Do you see how this line and this line are not the same size? Well, that's a problem. So we have a couple different options. A We can take this guy and replace him over this guy, which is what I'm probably gonna doing. Or b we get Sit here and try and play sizing hell for the next five minutes, trying to get some just right. I don't want to do that. So we're just going to leave this guy and lucky lines it perfectly copy. And there we go. That's it. So you can do this by just keeping going with your guide. However far down you want to go or, you know, if you want to pull these guys over off to the side, you know, like this and kind of make your own little template type of deal for how this should be and just kind of keep on going right. There we go. You So what I can do now If I want to get rid of this blue square, I'm gonna because we can bring him back later. And I want to highlight just these guys and group them Now. What I can do is I can come over here and I can set them up just like what I had before. But now I have a lot more together, so I can copy. Bring it down and I'll have to match these up by zooming in. But you kind of get the idea about how much quicker you could go with this, assuming that you want to do ah lot of rows of the same type. So I'm gonna go hands here, man Muslim in a little bit more, and we're gonna try and line these up, and there we go. So what I can do now click on this copy. I can't believe these guys. There we go. Bring over my little yellow square copy again and we can delete the little Yellow Square for right now. If we back out, we can see that we have our double row set of going on. Next time I do is I'm gonna take another copy of my green line, bring him down, and I'm gonna make different looking section. And on this on the spacing you kind of got some little bit of wiggle room you could go through and you could make a guide right there and then measured up there. But if you know that you're gonna be making a completely different which is what I'm about to do, it's not as crucial Now what I am gonna do is I want the green in the greater match and try and I bought from a rant. I don't really feel comfortable with that. It's going to come down and here, and that's pretty close. I feel good about that. So we're gonna bring him down a little bit of a distance. I don't want the line to be. His sticks were tightening up a little bit and we're gonna back out. And that kinda sorta looks like what I'm going for. A kind of changed my mind on matching him. Exactly. I want him to be more like a little bit of stand out, so I'm gonna have him just kind of randomly dropped somewhere in here. And then, um of the copy this guy, I'm gonna bring him down. I want to like that, and then I'm gonna take this filler, Copy him again. Bring him down, zoom and make sure that's all lining up correctly. And here's where you might want to bring in a square yet again, We're gonna make him yellow. Almost right on the money. Not bad. And what I'm gonna do now is I'm in a copy him a couple more times. I probably shouldn't have deleted my square there and before I do that we're actually and change his color. I am going to go with a blue now. Yeah, and I think we're just going to to these and come most of the way across, you know, I'm gonna delete down a remake him just like that. And that kind of sort of looks like a document that you might find in any generic memo business meeting, and you could come over here. And if you want to say, you know, put something else like a circle, and it's gonna be, you know, graph. So we'll just make this guy red because we wanted to stand out because, you know, he's a visual aid. That looks pretty good. That looks like something else you might see in a memo. We'll drag this guy, drink this guy out. Kind of. I actually think I'm just gonna believe him. A copy. One of these blue guys pull him up. I like that. And then come back and do I really dark green? I'm gonna change is blue. And I think what we're gonna shoot for is more like a purple. Yeah, I actually think that purple stands out way too much. So I was gonna do more green. We'll just keep that theme all the way down. And then we go. Now we have our piece of paper That looks kinda sorta like a company memorandum of the graph, and you can make this little graph, but as details you want, You know, if you want to come down here and get the little half moon piece, our macaroni, whatever you wanna call it And you wanted to match it up to our little makeshift craft and I'm gonna fit this with my arrow keys because it's not really a perfect fit. You could do something coming along those lines. I'll just costing you some of the shapes fit together perfectly and some kind like this one , Not so much. And we're gonna make him orange, you know? I know. I said didn't really want to use orange. I think it fits for what we're doing here. So probably the next thing I would do is take these two guys and pull him over here, line them back up and group him. Actually, let me get all the way in on that and see if I can really going to clean that up a little bit is not quite perfect. It may not be able to be done perfectly just because of kind of the way the shapes are done . And it looks like there's gonna be a little bit of a lip on there. I don't really think that that's the end of the world. Now, what would be the end of the world? I think if he left it, you know, kind of looking like an eyeball. I think that would be a bad plan. So what I would do is kind of take it, give it a little bit of a twist, you know, going on un group again, make a copy. Who? Wrong one. I'm gonna make a copy of the elbow shape, bring him in their flipped him around. And again. I'm fine tuning this in my arrow keys, and I'm gonna make this green. I gotta do a different green in my 100 orange Green. Excuse me? Hunter. Hunter 100 or 100? Green has ever heard of Hunter 100 Orange? Yeah, that exist. And now it kind of looks more like a business graph. And you could kind of keep this vibe going. Make another copy bringing around. Let's pick it up in color. Let's go That purple that I liked earlier. And I'm just gonna finish this up with my cursor and you can kind of see, we got, like, a neat little stacking thing going on there. Now I'm gonna back him up. I think I'm gonna bring this guy forward. I go a little bit of red peeking through. There we go. That looks pretty good. Obviously not perfect. You know, we got a couple areas with some flaws, and you're just gonna have to sit here and play with it until you're happy with it. And worst case scenario, I don't think anybody's gonna notice that. Well, scant bit of red in there, and they do. What you can do is you can just make this shape. Ah, slightly bigger. Just kind of fit him in that way. I was pretty good. So now we're gonna take this guy, we're gonna group him. I went back out to about 100 and we're gonna place him. Yeah, that's fine. That works for me. You know, it's back all the way out, and there we go. We have our logo. We have what would be like your slogan or address section. We have our header line. We have our info. We have our especially line with a little graph that we made and we have our stack of papers and let's bring our background back. I want to go with that nice kind, sir. Really blue. And then we got we have the next step of our composition done. So we're gonna be moving on to the cell phone next, and I will see you guys in the next lecture. 6. Cellphone: So now we're gonna start on our most difficult object That's gonna be in this composition, a cell phone. I know you're thinking you're so we just built this really complicated paper thing with all these different layers and pieces and stuff. But the cell phone is actually the most complicated, and it's about doing the shading correctly on the screen. And what is this kind of like a glint or sheen, depending on whatever terminology want to use the way it's gonna arrest on the screen. So I'm gonna show you a couple of from mock ups as we as we dio. Um, but it's gonna be really important that we pay attention to this and how the cell phone wise because it again shadows. So the first time we're into is we're going to take a rounded rectangle, which is this guy right here. And we want to make him resemble something, someone to that of a cell phone, and we're gonna be going with a kind of like a gunmetal color. So there we go. There is a rough outline of an android and iPhone, whatever you you want to use, um, let's go and zoom in and here we have our cell phone base. Now we're gonna take a copy of this. Could make a teeny, teeny, teeny, teeny, teeny, teeny, tiny. I want to get a real team. We're gonna elongate it anyway, I just a scant bit, and we're gonna put it somewhere on the side. The canvas seems to want to put it right there. That sounds great. And that's our power button. Now, if you have a cell phone and I'm grabbing my and currently and you pull it out, look at it. Where does your power button lie? Some cell phones is gonna be towards the top. Other cell phone. So I got mine. It's kind of more down. Not really halfway, but more maybe like 1/3 like that, you know, look at your cell phone use as a reference. You know, if you're making an iPhone, pull up a picture of an iPhone. If you're like me and you have a note five, which is getting pretty long in the tooth. You know what? Your node five. And take a look at it. So on my note. Five. The power button is about 1/3 of the way down and is almost in line with the volume buttons on the other side, which we're gonna make now by hitting copy and copy again if you're gonna make a note. Five. This is where you would need to move everything down. Or you would need to move your cellphone body up a little bit and this would be the outline of a note five Now getting If you're going to make an iPhone, make an iPhone, we're gonna be making a note five today because that's what I have in my hand. Okay, so the next time we do is we need to make the screen. Excuse me in the ah, the other buttons and whatnot around the screen. So we're going to take another large, rounded rectangle. Bring him way, way, way down. Let's go on to men. When I shoot for the center of the phone, it's a little bit more, and there were dark out the color just a little bit more. Yeah, I like that. So if you're looking at a Samsung note five, there is a little bitty kind of gray bar, and I believe that's a speaker. And then right next to it and this is gonna be another kind, difficult little object to put in there. We're into back out for this. You are gonna find the hole for your front facing camera and is almost perfectly in line with the little speaker bar there. And we're just gonna kind of eyeball this cause there's not. It's not really a perfect, perfect way to do it, but it is kind of tiny. There we go. And look, we're starting to make some of that resembles a cell phone. Next thing we do is we do a little button down here or into back, back out again for this, and we're going to click on a new shape for us, which is an outline of a rounded rectangle. Bring him all the way down. Come over here all the way down. We're gonna shoot for the center and try and get really close to the bottom. Super duper close, but still very, very, very close again. I am just looking at my cell phone for reference, and that's kind of about right, so there we have. There's our mock up of our note five. Cell phone. Now, obviously, if you have a case on your phone or whatever else it's, it's gonna change. You know what? Your your point of references for your mock up? Um, you know, some of it. At the end of the day, you're just trying to make something that looks reminiscent of a cell phone. So don't feel like you have to make the perfect iPhone or the perfect Motorola, you know, make something that looks like a cell phone. And you know, anybody who's ever held a note this is gonna look like a note anybody has ever seen a cell phone or, you know, cellphone in general ad is probably gonna think that this is a cell phone. So now let's get to the most difficult part. And that is the screen. We're going back, back out, and then we're gonna zoom back in. And here we have a square just sitting in the middle of our cell phone mock up. And what we want to do is just kind of line him up, bring him down, and just kind of stretch him out until he roughly fits all the way the sides and then center about. Okay, So there is your cellphone mock up. You could technically, just use this as is. You know, I would recommend complain with colors a little bit if you were just going to stop right here. There's absolutely nothing wrong with us. It would be a little plain Jane, but, ah, it wouldn't look bad by any stretch of the imagination. But what we're gonna do is we're gonna focus on shading. And this is where you know, things really kind of started. Get overly intricate in how you're gonna play with your shadows. So let me give you some examples right back, back out. And we're gonna take a little triangle and flip it around. Then zoom back in and we're gonna change the color of our triangle to a darker color. And we're gonna drop the transparency community significantly, me rally 30% and then there is him back out. So if you were looking at this What? What is What is this telling you? Where is the light source coming from? Ask yourself that question. Whenever you look at your cell phone and grab it right now and you either catch the light from you know, whatever lamp, your buyer, your mind or whatever else you know what happens whenever you catch a bright light source is the bright light source in the forefront or in the back front lines usually in the forefront and the the back portion, you know, you're gonna find a little bit of the dark sheen or the shadow. So if we're gonna take this fella and group him and turn to match everything else, it would kind of sort of be like that. And yet again, get a piece paper, Get your cell phone. No, it again, minds, minds a note. So it's very large compared to a piece of paper. But if you're dealing with, let's say, like an iPhone three year an iPhone for it's not gonna be, you know, as massive as my note. But take it compared to the piece of paper, you know, if it looks, you know, similar to the piece of paper, as it does in the drawing. People are gonna, you know, identify a lot quicker, but this is this is kind of be what you're what you're looking at. This doesn't look super great. Um, as as a shadow option, it works. It's perfectly fine, but, you know, just from your vantage point. I'm sure you can tell right out the bad light. It looks OK. This isn't like what I've seen in other places. It looks OK. So let's try another one. Where is him? Back in and what you're going to see most commonly, e any time you're talking about these little cell phone flat designs is you're gonna see something. He's my arrow keys here. Just kind of line that up. You're gonna see something where the screen is kind of cut in half. That's really more kind of the common look than, say, doing like, a chunk of the screen. Just count on that perfectly. And there you go. There is your cut in half flat designed cell phone. Now, what's great about this is you know, a lot of people are gonna pick other cellphone, whole little light source and say, Well, you know, it's the lights glinting in this manner. You know, they're just gonna understand that depending on how the sheen of the light is, it's gonna affect Know how the cell phone, you know, screen looks. It's a really on this one. You could take it. You know, you could twist it that way. you could twist around that way you can kind of play with this one a lot more. What I usually like to do any time I do a design like this is a really kind of get in there and play with the shading in a little bit she advantage done group this. I really came in there and play. You know how How do I think it's gonna look? No, I think it's gonna have, like, a really, really fine got shade to maybe like a 15. And then if I'm getting really into it, zoom all the way in and I'll do a little bit of a kind of ah, with a staggered kind of look to it. Kind of like this. And these, you know, these with don't have to be perfect. A little bit of a Grady int kinda look there and back, back out. And that could be really cool to a lot of that kind of bulls down to the volume of detail that you want to put into your your mock up. And you could carry that Grady and all the way across the image, it is going to get a little bit more difficult as you get past kind of the the center. You know, you know, a little slice, constant point where there were by sex. But if you know, you pay attention to how you organize everything, you can still pull something really cool off by flipping the triangles and kind of going back that way. What we're gonna do for our mock up is we're gonna keep it simple. We're just gonna undo all these guys even though look, school. And when I ask ourselves a really simple question, do we want the lighter portion on the bottom side, or do we want on the topside and let's consider the phone here? We're just gonna flip this round. Well, I didn't really There we go. So now we have our darker portion on the bottom. We have a lot of portion on the top. I know that's not exactly the perfect way to do it. Obviously, pulling the the darker try and go out and flipping around Enterprise would be a better way to. But this is just for an example. So it's back out. And how do we feel about that? It's going group it. Let's play with it depending on how you want this to set. And you could do it kind of like this, Or you could take it and flip it all the way around and do it kind of like this. Do we like either one of those? I personally don't. So we're gonna take it all the way back. There we go. I think this looks better because I think has a little bit more kind of stand out. Ah, aspect to it with the little bit of the hard contrast there. So now it's making match like that. I wanna make it a little bit bigger. And now you may go this way with it. Yeah, Just gonna have him sitting. I don't want to be perfectly along the one just kind of be hanging out somewhere. Put a coffee cup in a little bit, and then we're gonna bring our blue background back, and we've completed our composition. Now, the reason one of the cell phones the most difficult is because of how you choose to use it with shadows. And I said that earlier. So stop and look, Are you happy? And don't hesitate to go back and save now I need drive this way. No, it doesn't look good. I want the cell phone over here on with coffee cup over here, and I'm gonna do it. I'm going to like that. I know it's not perfect, but I'm going to like that, or, you know, I don't I want to complicate up back where was at. And I want the cellphone up here, and I'm gonna keep it. Kind of like that in a cell phone. I think I'm gonna managers I'm gonna do. I'm going to like this. Yeah, I like that. And then what I want to do with these guys. I want to highlight them. And I want to move Molly way over into them, right. You can do whatever you want. This is your image. You're the one who's gonna have to live with, You know, whatever your final product is and the success and failure that comes to the final product . So after you make something that looks clean, looks good, make it your own. If you want to go in and add more shading or tweak this or change that or add more layers or use different colors or add more objects in there. This is yours to make your own. Just make sure you fall The very simple rules of structure, composition, coloring, no shading things like that and then passed that, you know, your imagination is where the funds slash success can begin in it. This is gonna conclude where we're at in terms of the dem a portion of our course. I hope that she learned some great stuff. I know I had fun kind of building everything out with you guys and playing around. So I will, ah, hope to see you any of our future courses and thank you very much for your time with me. And I can't wait to see what you guys make. Anyways, I have a, uh, great rest of the day and I will see you guys in the Outro. 7. Flat Demos: don't No. So no. 8. Thank you for taking this class: thank you for joining me in taking this course, and I hope you had fun. You know, going through everything and working together and learning together. And I want to really see this as a starting off point flat design. Can a great marketing, whether it be for Facebook poster thumbnails or INSTAGRAM images can take you a long way towards producing a very clean and professional product? And I wish you the best of luck on your marketing journey and hope you have a really great day.