How to make Logos and badges in Affiinity Designer - Volume 4 "The DJ badge" | Jeremy Hazel | Skillshare

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How to make Logos and badges in Affiinity Designer - Volume 4 "The DJ badge"

teacher avatar Jeremy Hazel, Education Through Creation

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

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

9 Lessons (47m)
    • 1. Skillshare intro video completed

      0:48
    • 2. Laying out the shapes and blocking in the forms - Headphones

      8:36
    • 3. Creating font, adjusting size and creating the headphone band

      9:29
    • 4. Adding the turntable and visual interest

      4:59
    • 5. Finishing and detailing the headphone badge

      6:53
    • 6. Bootcamp 1- What is a badge and the 3 most important characteristics

      5:34
    • 7. Bootcamp 2- How to sketch at a basic level complete

      3:15
    • 8. Bootcamp 3- What is a shape and operation

      3:44
    • 9. Bootcamp 4- Making pallets and cords

      3:49
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About This Class

As a designer we all want to create more innovative work, FASTER, be more PRODUCTIVE and be able to respond and create easily without always having to go back to the drawing board from scratch., and BADGES allow us to do that. 

Whether you are doing print work, T shirt design or web development badges allow for pre-made assets to be created to assist in concepts and developing mock-ups, PLUS badges are HOT right now....and very sellable. So, if you are looking for a way to learn Affinity Designer WHILE create small, scalable and sellable projects, then this is the course for you. 

In this course we give you everything you need to create a DJ turntable inspired badge from sketch to final export .....included in the lesson we have 

  • All of the tools you will need along the way, including the final file 
  • All of the color pallets we will use 

And if you may not be too familiar with Affinity Designer…no sweat, at the end of each course we have a "boot-camp" section with the technical lessons broken down so you can still accomplish the badge

Meet Your Teacher

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Jeremy Hazel

Education Through Creation

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Transcripts

1. Skillshare intro video completed: Welcome to the scale share course for a fitting designer. Four badges. Now this is part of a Siri's. So whether you found us in less than one or whether you found its badge five, it's all formatted the same. We're taking a badge all the way from the start to the finish in affinity Designer. But because we know this course is geared for intermediate users, and you may not quite be there yet. We've included the last four lessons down below at the bottom of the course, with almost a boot camp of tools that you might need. So if you're an intermediate user and you're already familiar with operations, just run right in that course. However, if you need to know what an operation is, check out the last four lessons. It's our way of making sure you have the tools to do what you need to do in order to pull off the project. You want to pull off all right, enough talking. Let's go ahead and get into the badge, making 2. Laying out the shapes and blocking in the forms - Headphones: All right. Welcome back to our next badge, icon. Now, this one, I'm gonna go ahead and in a sketch out using my mouse, because again, I was using my graphics bad. But I'm going to use the same tools you guys have available to you. So we're gonna begin, and we're gonna start by creating a set of headphones. So we've made round areas, let's go ahead and being a studio disappeared for second. So what I'm gonna do here is we're gonna go ahead and we're gonna make a square one. So let's go ahead. And I'm just gonna grab any old brush, right? I'm in the pixel persona. I grab my standard 32 point, and now I'm gonna go ahead. I'm gonna make a square one. Now I think that I want to make it said headphones. So maybe make a set of headphones then we got this year, but this here and now I'm not going to do the other side because it's going to be just a mockery or a replica of the other. And then we're gonna put the text actually on this one inside, So we're gonna use the text. We're gonna go ahead. We're gonna make the text bold here, smaller here and bold again here. And then I think we're gonna make some sort of little deejay turntable to go with this one . And I think that we're going to kind of go a play on noise frequency, and we're going to use the term hurts. So we're gonna take a look at the Hertz frequency, and we're going to make a square. But I think we're gonna make the headphones actually included in that square. So let's go ahead and do that. We're gonna go ahead and grab our eraser, and I'm gonna grab my brush, and then I'm gonna come up here, and I'm just going to erase this part out. All right? Let's go ahead and get started. So the first thing we're gonna do here, we're gonna swap over in here, and we did some square before, but we did the hard edges. I'm gonna go ahead, hold shift, and I'm going to do a rounded rectangle. I'm gonna place this thing front and center to get an idea of what I want to do here. All right, let's go ahead and just start right here. Now with this, I'm gonna want to do some grays. I'm gonna want to do some blacks, and we think I'm gonna do just some red. I'm gonna make it kind of 19 eighties ish. So much like you've seen in every other one. Let's begin with our swatches panel. So we'll pull that out and we're gonna come down here, and I'm gonna create a document palette, which again will be available to you through the download. And we're going to then rename the palate. We're gonna call this Ah, headphone palette. Now, as opposed to some others where we had some complementary colors of that kind of thing. This is not gonna be extremely crazy. I'm putting some black. I'm putting some white. I'm gonna put in some grey, but I'm also gonna put in some red. All right, so these are gonna be the total of four colors we're gonna use now. I'm gonna go ahead and I'm going to bring this up a little bit. And the first thing I'm gonna do is I'm going to start with a gray background. So let's go ahead and bring out the layers panel because I find when I teach. It's easier to explain to you what I'm doing. If the leaders Panelist Front center and let's call this background perfect. Now let's go ahead and create a stroke on this. Let's go ahead and make it black. And let's go ahead and crank that bad boy up again. Bold strokes tell you kind of what the boundaries are, so I'm gonna keep it about 30 and then what I'm going to do, I'm going to right click on that layer and I'm going to duplicate now holding shift. I'm going to shrink it just a little bit. I'm gonna center it up and then I'm gonna change this stroke over the white, and I'm gonna make the Phil equal to none. All right, Now I'm gonna combine these two layers because again, hopefully after this point you've seen me do a lot of renaming and I'm gonna group and we're gonna call this background. All right? Perfect. Now let's go ahead and make one of the earphones because if we make one, we could make the others. So I'm gonna grab the rounded rectangle, and the first thing I'm gonna do is I'm going to create a rounded rectangle, and I'm gonna crank up the radius here on that rounded rectangle. You see how I did that in the context toolbar? And the first thing I'm going to do is I'm gonna fill it with black, but I'm gonna leave a white stroke. And now I'm gonna follow my stroke weight principles and will make that 20 so that it's not as bold as anything else. And then I'm gonna come down here and I'm going to grab the trap is we? Tool Now with the trap is a tool and drag it out. I hold shift to move in 90 degrees, and I move it right to where I kind of want it now, as opposed to the white here. I'm actually going to leave zero stroke on the red, so I'm gonna go to none. And then on the Phil Oops. Let's go back to the stroke and hitting Ana. We're gonna go over to the Phil and we're going to make it read. Now what I'm going to do, I'm gonna go ahead and I'm going to press this right up against here just like this. And now you see these sharp corners? I don't like him. So let's go ahead. And with this selected, let's grab our curve to and let's go ahead and knock these down ever so slightly. Okay? We're just knocking down the corners a little bit. All right? That looks pretty good. Now, what we're gonna do, we're gonna grab a circle. I want to bring that up, and I think we're gonna go ahead and we're gonna make this black. All right? Perfect. Now we might put an outline around this. We'll see kind of how this works out. As it shapes up. Let's go ahead and bring this in, center it and then bring it down below here. All right. Looks good from here. And now the last thing we're gonna do is we're going to grab another rounded rectangle. I want to bring this over. We're gonna drop those radi I until we're all the way around and what I'm gonna do here Now , I'm gonna go ahead and I'm gonna put in a white pill. All right? That looks pretty good. And then, lastly, let's go ahead and put in a black rounded rectangle and you see that I'm avoiding all riel hard corners as part of my design choice. This is by design, not by accident. Now, I want to bring this down below here, and I think that we are going to be in pretty good shape. Center it up. Perfect. Now what I probably want to do, I think I am going to take all of these. And I know I said I wasn't gonna do it. But I am. We're gonna go to stroke. I'm gonna come over the width. Put a line on it. No, Let's go ahead and undo that. Make sure your stroke is selected. How about that? There we go, and we're gonna go ahead and we're gonna put down a 20 point on that. All right, so that looks pretty good. Let's go ahead now in group all of this together. One, 2345 Right Click group and call this ear piece. All right. Cool. Now, how do we take the next step? Right? Click duplicate and then flip it. Okay. Awesome. Now those might be a little big. We may not have duplicated already, but we'll play with it. We'll see what happens. The next one. Let's go ahead and text in the next lecture. 3. Creating font, adjusting size and creating the headphone band : Alright, folks, let's go ahead and let's block in some big, bold, strong text on this. Now I'm to do a play on words here. So we're gonna go here and you could pick any font you want. I've got one called impact. I'm gonna go ahead and move this impact one in. I think that that's big, bold, large and in charge. And I'm pretty good. And now I always like to separate my elements for text. Okay, that in and see that we have distorted the text a little bit. We're gonna have to move that down a little bit to make it readable. Doesn't look really great right now. What? And then we're gonna come down here. All right? Cool. Here. Care panel? Yeah, well, just live with it. Not interested messing with it. Okay, Let's go ahead and move all these things up, and then we're gonna group him as a block. Oops. Bring that visible group. Okay, cool. So now let's go ahead and bring that kind of where we want it. Let's position it now. We're gonna have to move these around, go ahead and change these headphones up just slightly. Okay? So apparently making all of those have the same stroke is probably a bad idea. Let's go ahead and put a little smaller stroke on it. All right, Cool. So now let's go ahead and position this where we want it. Alright, Let's try this again. All right? I like that. That's good. Unreadable. You know, when you do this sort of layout, you never quite know all of what's going to eat your lunch, right? Leave yourself some room to be surprised, because it will surprise you, and then you gotta figure out in the design Is the headphone more important or is the text more important? All right, so we got the ear piece, right? We got the year. Peace. Good. I'm gonna go ahead and I'm gonna move this year. Peace up under there. So we got the background, the group and the ear piece. All right. Cool problem. Solve problems. Stay unsolved. Now, you could create symbols out of this stuff, but we're gonna make this super simple. All right, so the next step really is. Now we have to create the headphone. Now, there's a ton of ways to do this. I'm going to show you the way that I find easiest to do this. I like to create a circle, and then what I'm gonna do, I'm gonna line the points of the circle up with my place headphones. Okay, so that is going to kind of be my arc. Now, to do this, we're gonna convert to curves, which now the circle is a curve. I'm going to take the filter. None. And now what I'm going to do with my vector no tool selected. I'm going to select this point and I'm going to come up here. I'm gonna break that curve, and then I'm gonna come up to this point, and I'm gonna break that curve, leaving me the bottom which I don't need and actually leaving me with the actual piece that I want. Now we're gonna do a couple things here to make this super simple, honest symmetry in affinity designer is not great, right? So we're gonna come up here where it is close to we can to center. I'm gonna put in one note here. One note here and now I'm gonna hold ald and you see now holding all allows me to move this down. I'm going to release the click, released the Ault, and then I'm gonna come down here, and I've just created kind of this weird oval ish type shape. All right, Now what we're gonna do with our no tool selected this is gonna force you to really use the ah, in the no tool were to come down, and we're gonna form basically a curve all from this. Okay, Now, we can always add another note if you want to. If you wanted to add some more depth to it and what you're doing here now, you're actually putting in some style eyes. Now when I see style eyes All right, we can do a lot with this. All right? Got an extra note going on there. Pop that down there. Pop this out of the way. Here. I was trying to get it. That square. There we go. Now I got this square. All right, I'm gonna follow that line. That looks good. Now with this line right here. I want to make this round node square. Now I've got a nice 90 degree angle. All right? That looks pretty good. All right, let's go ahead and make this node square as well, and you'll see that we're just adjusting the overall thickness of it until we get it somewhat where we want it. And I'm fairly happy with that. Okay, let's go ahead and fill this thing. Scoring Phillip Black. All right, school. Now let's go ahead and move it. Here's we're gonna dio come down here and we're going to place the nodes inside. Now, you see how snapping is actually our nemesis right now, I want to turn that off so that I can adjust and move this without having to worry about where it's snapping to. And I really like the way that that's tapering down at the end there. That actually looks really cool. All right, now, to bring that down below, bring it down below everything. And now what we're gonna do here, we're gonna go and we're gonna delete that curve. And now with this selected, we're going to duplicate it, and we're gonna flip it, and then we're gonna move it into position. All right, now we're turned snapping back on because I needed to be right. G o Okay, that's looking pretty good. Now to kind of wrap this up, we're gonna come down here and we're gonna put a pad on it. We're gonna make the pad who make the outline white keep consistent. But when it comes to the Phil, All right. See, we got that actually looks pretty good. I'm actually happy with that. We're gonna go ahead and we're gonna cut the video here. Getting that curve was a huge pain to get stylized just right. So that begin to taper and flair. But stick with it, create all your nodes, move them into squares, and eventually you will get it. All right, let's go ahead and take the next step. 4. Adding the turntable and visual interest : bar again. Let's go ahead and get after it. So we're now gonna add in kind of little turntable speakers thing. Just a little embellishment to kind of make it a little more interesting. So we're gonna hold shift, and we're gonna pull out a circle, and I'm gonna balance the design by kind of putting it in the center here, kind of lining up with that. And let's go ahead and make this bad boy black. Now, let's go ahead. And actually, let's make this one white, and then let's go ahead and duplicate it. Duplicate. Bring this one in. Make this run gray. And now hold shift mover down. Center it. Make that one black, Beautiful. And now what we're gonna do, we're gonna create a little bit of a center area. So let's go ahead and duplicate this one and you see that it's shrunk it down. So we're in good shape. Hold shift, shrink it to the size. You want it again, and we're gonna put this guy right here. We're gonna make this one red. All right, so now we're gonna go in a little bit further here. I don't want to make it too small, because again, when you make things too small, sometimes they don't scale real well when they print. So we're in pretty good shape there. All right, Now with this selected let's go ahead and zoom this up just a little bit more. All right, Looking good. Now, let's go ahead and start the detail in process, right? We're gonna come in with our pen tool, and now, on top of the black layer, we're going to put in some zigzags. I just kind of want to make kind of a hold. Ault, bring it back. Click Hold, Ault, Bring it back. Release the mouse! Release salt! Hold on. All right. Who just kind of wanna make a little zigzag type of look? And now with the curve selected, we're gonna use our stroke. I'm gonna pull the stroke panel out, so you see what I'm doing? I'm gonna increase the stroke a little bit, and then I'm going to change the profile of the stroke. Now, when you grab the blue, make sure there's not little dots in these handles or else the move together. You don't want it to go all the way to nothing. I think that That's pretty good. All right, let's move our stroke panel back. But all right, so no tool. Okay, that looks pretty good. Alright, overall, I'm happy with that. Now, let's go ahead and take all of these. Let's go ahead and group him. We'll call this turntable. You could do a kind of whatever looks good to you, right? Just get the spirit of it. Now, the last thing we're gonna do here around this turntable before we go into our detail ing lesson, I'm gonna hold shift. I'm gonna do one Mawr circle, And now here's we're gonna do. We're gonna turn the stroke profile back up full large and in charge. I'm gonna make this a red stroke, and there's gonna be absolutely zero filled to it. And then what I'm going to do, I'm gonna hold shift. I'm gonna make this just slightly bigger than this. And now, with the stroke selected, I'm gonna choose the dash line style, and now you can go through and you can adjust some of these parameters to do whatever it is you want to do with it, right? We're gonna go ahead and we're gonna go eight on that. We're gonna go 15 on this, and then you can turn up the stroke a little bit as you go and you see that it kind of creates different patterns. Now, the stroke size directly influences the dashes. So I like it to where I've got three. You might want to do a fume or totally up to you. And if they're not where you want it, at this point, you can always just adjust your circle a little bit. This is a nice way to create some really cool motion lines around it to add a little bit of visual interest. And again, we're taking a lot of liberties with this. We're making it stylized. So figure out what you want to do. Figure out what works for you, create something in this dead space right here. And then let's go ahead in the next lesson and finish it up with the actual detail ing on the unit. All right, we'll see the next one 5. Finishing and detailing the headphone badge: Alright, folks, let's go ahead and finish up the detail on this. Now it's totally up to you how you wanted detail. I'm gonna create kind of a cell shaded effect year, so I'm gonna be using a lot of firm lines. I'm not going to use a lot of go, Schindler, and I'm gonna be using some colors that air 12 shades or tense, darker or lighter, depending. So one thing I want to do, I want to make this look kind of like it standing out. So I'm gonna go ahead and grab my pen tool and I'm going to come down here and I'm gonna create just a simple shape. And then with my fill, I'm going to fill it gray. And then once it's gray, I'm gonna come up, and I'm going to increase the lightness just ever so slightly. You see, it's not white, but it's not gray at the same time. All right, Now I'm gonna come over with my tool Here. You see the square node. I'm going to change it to a smooth node, and then I'm just going to kind of adjust the shape of this thing until it's relatively what I want. I'm going to position it over here, and I think that I'm pretty decent with that there. Yep. I'm happy with that. And then what I'm going to do, Let's close that. I'm gonna bring it down inside of my background. Perfect. Now, if it looks like it's a little bit too large and in charge, right, you could do a couple different things with it. If we felt it was a little too prominent, we could come in here and we can reduce the opacity on it. That's actually not too bad. I really like that. All right, Now let's do a little bit with headphones here. We're gonna come down with my pen tool, and I'm just going to go. 12 three, four and five. All right, now we're gonna fill it red and a red on red. Do you don't see anything, right? And now what we're gonna do using our color space, we're gonna push it down ever so slightly here. Just like that. All right, Now you see how that went itself? A little bit of shading to it. That looks really good. Let's go ahead and go to where did we put that? Let's find it. Where did we put it? Co cuts of top. So we need to embed it in the headphone. We're going to be in this headphone. So I'm gonna go ahead and put it in that of your piece. And then what we're going to do is I'm gonna come in and I'm gonna fix some stuff here. Grab my node tool again. Okay, let's change that to around note. Cool. All right. How does that look? That looks a lot better. All right, let's find this thing here. We embedded it right here. We're going, Teoh. Duplicate it. So right, click duplicate Lippett and then embed it in the other ear piece. So we come down here, I want to place it in the other ear piece. All right? Perfect. Now, let's add a highlight, right? Yeah. We're just making sure that everything is right. I'm just working with these two ear pieces. You see how they're run on on top of the other. So let's go ahead and grab Arpin. Tool. One more time. One to three. Four. All right, Cool. Now let's go ahead and bring this one to the white side. Now let's do red and let's do this now. This time, let's move the color. Let's move the color, too. A little lighter. Cool. All right, let's perfect the shape. Now. I like that sushi. Look. Think we're in good shape, All right. I really like that. Cool. Let's go ahead. Now what do we do? We duplicate it. And now bring it down into the other ear piece. All right, So you can really do anything you want to do with, Um, I really like that subtle look. And it's a little different than what we did before, Right? We added a little bit of cell shading with dark, a little bit associating with a light in order to get the idea that there was formed to those headphones. All right, folks, hope you learned a little bit. If you've got any questions, anything like that, the work file is available as a download for this lesson. Let's go ahead and recap our layer structure here. Let's go ahead and bring this he lips inside the turntable. Beautiful. We got the turntable, the rounded rectangle and the ear pieces should be joined up, so we group those into headphones same thing with these two curves. Let's go ahead and put that in. You always want to make sure, Lopes, don't mask him, right? My bad. They go inside of there that you're not masking layers. There's my text group. And then there's my background and my pixel there. All right, we're gonna turn that off. We're gonna go ahead and export it. Ah, one last thing. Bring that to the top. Alright, folks, let's go ahead and call it a day. Hope you learned a little something. Let's get on to the next one. 6. Bootcamp 1- What is a badge and the 3 most important characteristics: All right. Welcome to my little corner off this badge course. So I thought maybe what I do is I'd start by talking about badges just in a very high level . And I want to show you the three characteristics that I consider very present in every successful badge. So now let's go ahead and let's talk about what A badges. Right? So a badge is really kind of like a pre usable are reusable asset, if you will. Right badges are used in everything from print work to Web work to advertising. You can put a badge up for everything. Right now, there are badges that air steamed around certain things as an example. All of these badges obviously are themed around a holiday. You could have badges that are themed around different things, safer Web work, these air, all different versions of guarantees, premium quality, that sort of thing. And what designers tend to do is they create these badges and then you as somebody who may be building a website, you go through and you grab these badges to either borrow the artistic elements that are here, like these borders or this font, or you might just grab the badge and plug and play it right. So I want to explore the badges that we're gonna be making during this course. And I thought that maybe I'd go through, and I just share with you some common themes that I consider crucial in terms of making a good batch. Now, a badge, in my opinion, should have only three colors maximum. Right? And I know as soon as I come out with that rule, I'm gonna find a way to break it. But in this create amazing badge, we've got really three colors. We've got some blacks, we've got some grays and we've got some whites. Now let's take a look at another badge again. Very similar, right? You've got the white and black, you've got blue, and you've got a couple different greens. But you see, you got blue, green and white, All right. Very, very simple. And lastly, here, let's take a look at this one. I've got red, black, white and gray. I know I've got four in this one, but I want you to keep your color palettes. Very, very simple. Badges should be identifiable from across the room, so you'll see that all of the badges that we look at online all revolve around similar color traits. They may even be monochromatic, and they certainly don't have a ton of colorism. There is a great example of one that has 123 colors in it. Maybe 1/4 grade, if you count the gray. So all badges, theoretically should be fairly simple. A good badge should be able to be seen from across the room. Now, the other thing, I would say that a good badge has is good flow because there should be something that takes the eye through the badge and tells the story to the viewer of what you want them to see. So this one has the brush providing that flow. I've also got the circle here, but I've got this palette with the Swiss here that really draws the eye in a couple different directions. We've got the soccer ball, which is straight up, just a swoosh. And then you've got this one here that really kind of has a lot of different elements to see how I'm varying some of the line withs here in the white, versus here in the white so that we've got a big blocky element here and we do have some flow here in the record. So first characteristic of a good badge, in my opinion, minimal color. Second characteristic of the badge, in my opinion, is going to be the flow. The third thing is going to be the symmetry. Now, as soon as I say symmetry, I'm going to show you some examples that will absolutely violate that. But you'll say this is a good one. With symmetry, right, This side is the same as this side. Same thing here. I've got the circle. Everything is relatively well placed, Let's say and I've got rather symmetrical. Look, now, I did break it up a little bit with the font, but I even balance the font a little bit. Same thing is true here, right? You've got a very nice symmetry. This half is the same as this half. And then we've got the action line kind of separating it. So in my opinion, when I go to make a badge, I really think about the colors that I'm gonna use. I keep a minimal I think about the symmetry that I'm trying to do. What is the overall look of the peace and then lastly, I'll go through. It'll take a look at the motion to determine that the line and the view is what I want them to see. Now, let's take a look at some of these online again. You'll see very similar colors. Symmetry in these badges, right? So again, when I'm telling you in my badges is not anything different than what you're seeing online for other people, even here, you've got some difference here. But you've got symmetry around the badge. Very, very simple, minimal color. And they're telling this story through the badge. And they've got your Iife here following the motion. So we see the same thing here, right? Look at the motion line that's created right here, so you'll see the same thing present in almost all badges. And these are the characteristics that I think are important when you make a badge. All right, enough. Enough of me talking about how we're gonna make a badge. Let's go ahead and get a boot camp going about the techniques you can use in order to do this 7. Bootcamp 2- How to sketch at a basic level complete: All right, folks. Welcome to our badge. Course, I thought maybe we do a little boot camp here. We're gonna keep this to four quick lessons. And if you are already comfortable with the techniques, go ahead and start making badges. But I'm going to show you the basic techniques you're gonna need in order to follow along in this course. Now, the first thing you'll always get, see me, do is I'm going to sketch. So if you've got an open document here, sketching is performed in what is called the pixel persona up here. So you click on the pixel persona and all sketching takes place with the paintbrush, which is right here. Now, if you're brand new to affinity designer over on this far right side, there are a bunch of what are called studio panels and you're gonna look for your brushes. Now, I'm gonna go ahead and pull this brushes panel out, and I like to sketch with just my basic brush and over in the color panel, you see, Now there's the color panel. I'm going to choose the red color and now with my mouse, even I'm not even gonna use my tablet you can then start sketching on the layer. Now, you see, that's very, very small. How do you turn it up? Well, you turn up the size up here of your brush. Now it's a little bit bigger. Now, what are we sketching on? Notice the layers panel. I'm gonna go ahead and pull this out now, created what is called a pixel air so I can sketch all over this layer. And if I wanted to make a new one of these, I just come over here and I can add a pixel there. So I wanted to sketch blue. I could use blue. And let's say that I don't want this sketch anymore. With this lair selected, I just come down to the trash can and boom that leers history. Now, if you want to keep your design but you want to erase, you just come over to the eraser and you can easily erase using the right bracket key to increase the size of your eraser. And now you can erase all of your marks. All right, in the lessons that are gonna follow, I will be sketching out each one of my designs in a very rough shape. I will be using my paint brush tool. I'll be working in red, and I'll be using my mouse so that you guys can follow along. So when I say Sketches circle, that's my idea of sketching a circle Right up there is the banner. Yep, there's a banner in a circle, so I'm not going to do any really crazy, high graphic stuff here in the pixel persona. This is just simply how you sketch design, and it's done using a pixel layer now to re dock these. Don't get crazy. Just plug and play them right back into the studio. All right, that's it for this lesson. I just wanted to show you how to do a basic basic sketch. Let's go ahead and get on to the next one. We got two more of these before we start actually working in badges 8. Bootcamp 3- What is a shape and operation: All right, folks, welcome back to our boot camp. Now, we're gonna keep this real short. Now we are gonna be working a ton in shapes. Now, if you're brand new to affinity designer, there's gonna be a little bit of a learning curve Ingle idea. But shapes are down here in these blue areas in what is called the toolbar. So if you wanted to create a shaped like a circle, just click and drag out the shape. Now, hold shift and you get a symmetrical shape. And now you can move this thing around. So all of your shapes. You see the little cog here, how it has a little white triangle. There are a ton of shapes so I can make a red circle like I just did. I can go ahead and I can create a red cloud and to change the color of the shape you come over to the color panel and you can change it out to a blue. I know this is very rudimentary, but if you understand shapes, go ahead and move onto the next one. But if you just opened up Affinity designer having an understanding that shapes are a thing in what is called the draw persona is key to working on these badges. I'm gonna be using a ton of shapes because all of this is done, is what in what is called the vector persona or vector art. So this is what shape is in the shape is different than a line In order to draw the lines when we get there will be using the pen tool in the pencil tool. This is all about shapes Now. If you wanted to lead a shape, just hit the lead, just hit, delete. And now the last thing that I want to show you. If I have two shapes, let's say I have a round rectangle and a circle. Okay, now let's look at our layer structure. You'll see how the circle or what we call the Ellipse is on top of the rounded rectangle. Now, if I wanted to take these and I put him on top of one another, watch this. There's something called an operation and operations are up here. You got add, subtract, intersect, dividing combined. All we're gonna do is add and subtract. So to do this hold shift, select both your layers and let's hit. Add Now you see, you got two layers. Boom. One layer. This is what is called a complex shape. Notice one layer now, and it changed to a curve. Curves are different than layers are should say different shapes. I'm not going to spend too much time on him. But I do want you to know how to do operation. Now, if you wanted to undo that, you come up to edit, undo, edit, undo. And you can always bring him back, just like that. Now watch this. If I bring them together again, I select them both. And I hit. Subtract up here. Look what just happened there. It took the circle away now And this is the weird shape that I'm left with. And if you don't like that undo, undo, undo. Undo. There it is again. Now you got to shape still. All right, so just a little bit on what a shape is, where to find it and how to find the operations. If you do not see these up in your toolbar here, go over to view. Go over to customize toolbar and you will see them over here. You can just click and drag them up into that area just like I did there. All right, let's go ahead and move on to the next boot camp lesson, and then we're going to get into some drawn. 9. Bootcamp 4- Making pallets and cords: All right, gang. Last boot camp. Listen, before we get into the drawing. So we covered what a shape was we covered. What an operation was we covered? How to do a basic sketch. The last thing that you really need to know to kind of lay some stuff down. It is the theory of what is called a color cord and a color palette. So to do that, we're gonna come over to our studio. Right? Studio is over here in the right hand side, click and drag your color panel out. And if you do not have it, go to view studio, make sure color is selected. And also make sure your swatches panel is out. Make sure they're check marks on those. All right, so we're gonna grab color. I'm gonna grab swatches now. First thing we're gonna do here, we're gonna create a new palette for every one of our badges. So in order to do that with swatches panel selected, come over here and add a document palette. Now, that's gonna make an unnamed Fallon. Then you're gonna come up again to the menu. This little four line thing here is called the Menu and you're gonna rename. I'm gonna call it Badge X. All right, All right. No, you'll see that you've got some color here. You got blue, right? First thing we're gonna do. If I've got blue down here in my swatches and I want to add it to my palette, I can add that filled to the palate right there. Let's see, I got red. I want to add it to my palette. Boom. I got white. I want to add it to my palette. I got black. I want to add it to my palette. Now, let's see, we got green because that's not over here, Right? Come over to the green, find the green and you find the color green, you like boom added to the palate. Now, the last thing that I want to show you here while we're on this color green let's say I want to make a color cord. Now I can come up now. I mean, the color palette, right? I grab a color cord, and now I'm gonna go ahead. I'm gonna make a try. Attic color cord. What that's going to do is gonna take the color wheel, and it's gonna go ahead, and it's going to divide it into three. Notice what it did. Green, blue and red. Cool. Now let's do another one here. I'm gonna create a new palette, So stay with me here. Create a document palette. What's rename it, and we're gonna rename it Trial palate one. Because in our first lesson, we learned that a good badge probably has four colors. Max. Let's say you wanted to make something in the greens. You come up to the color palette, you go to create a color cord, and let's create a cord of shades. Look at that. Look at all those colors, agree, and you got everything from dark green to mid green toe light green. That's nice. Now. If you wanted to create another chord, you come up here, create accord. Let's create one of tents. Look at that. Now you've got all the colors of the rainbow there in terms of grey or in terms of green to work with. So that's how you create pallet. That's how you create a color cord from a color that you want to be your primary, and the reason I bring this up. One of the first steps in every single one of these badges that I do, I create my color palette so that I constrain my number of colors. And also, in order to import my color palette, all you got to do is in the swatches menu. Come down and import the palette. There is an in portable palette for every single badge that we're gonna be doing. All right, let's get after it and get in. It's a badge making.