Learn & Master The Affinity Suite: Photo, Designer & Publisher | Lindsay Marsh | Skillshare

Learn & Master The Affinity Suite: Photo, Designer & Publisher

Lindsay Marsh, Teacher & Freelance Designer 14+ Years ✅

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44 Lessons (5h 58m)
    • 1. Course Overview

      2:15
    • 2. The Course Guide & Resources

      3:31
    • 3. Affinity Designer - Getting Started

      9:26
    • 4. Affinity Designer - The Tracing Worksheet!

      9:49
    • 5. Affinity Designer - Shapes Tool Practice

      6:21
    • 6. Affinity Designer - The Pen Tool

      10:52
    • 7. Affinity Designer - Complex Shapes

      12:26
    • 8. Affinity Designer - Icons

      14:58
    • 9. Affinity Designer - Dog Icon

      5:19
    • 10. Affinity Designer - Type Icon

      7:37
    • 11. Affinity Designer - Logo Design Project

      9:06
    • 12. Logo Design Project - Gradients

      12:22
    • 13. Logo Design Project - Type Tool

      11:43
    • 14. Logo Design Project - Putting it All Together

      7:03
    • 15. Logo Design Project - Shapes and Gradients

      11:06
    • 16. Logo Design Project - Exporting

      11:13
    • 17. Affinity Designer - Type Only Poster Project

      8:30
    • 18. Type Only Poster Project - Layout

      8:11
    • 19. Type Only Poster Project - Line Effect

      8:31
    • 20. Type Only Poster Project - Blending Modes

      5:50
    • 21. Affinity Designer - Biz Card Project

      8:09
    • 22. Layout

      9:06
    • 23. Exporting

      7:25
    • 24. Affinity Designer - Trifold Project

      7:27
    • 25. Outside Design

      7:36
    • 26. Part 2

      10:34
    • 27. Exporting

      4:18
    • 28. Affinity Designer - Pixel Persona Section - Part 1

      5:16
    • 29. Affinity Designer - Pixel Persona Section - Part 2

      5:24
    • 30. Affinity Designer - Pixel Persona Section - Part 3

      4:05
    • 31. Affinity Designer - Pixel Persona Section - Part 4

      7:46
    • 32. Affinity Designer - Pixel Persona Section - Part 5

      9:45
    • 33. Affinity Designer - Pixel Persona Section - Part 6

      6:53
    • 34. Affinity Designer - Pixel Persona Section - Part 7

      5:28
    • 35. Affinity Designer - Pixel Persona Section - Part 8

      6:16
    • 36. Affinity Publisher! An Introduction!

      5:36
    • 37. Affinity Publisher - Cook Book project

      9:39
    • 38. Affinity Publisher - Cook Book project - Photos

      10:21
    • 39. Affinity Publisher - Our First Spread

      5:38
    • 40. Recipe Page

      10:12
    • 41. Part 2

      7:01
    • 42. Learning Master Pages

      11:28
    • 43. Affinity Publisher - Exporting

      6:05
    • 44. Affinity Publisher - Reviewing Other Tools

      10:05
35 students are watching this class

About This Class

This specific course covers all of Affinity designer and Affinity Publisher. Are you ready to learn the entire suite of Affinity products and up your design game? This course guides you through learning the many tools in Affinity Photo, Affinity Designer, Affinity Publisher and the Affinity mobile apps.

To locate the Affinity Photo section of this class you can find that right here in Jermey Hazel's Skillshare Page! Link to Affinity Photo Section of the Course HERE. 

In Affinity Designer we work through all of the major tools and work on an engaging tracing worksheet, so you can master that pen tool, shapes tool and create a series of icons in your very first hour! We then conquer a bright and colorful logo design as we work with typography and learn how gradients work. 

Next, we will focus on layout design as we create a front and back of a business card. Want to create a cool type only poster? We will do this and learn how to work with layers and textures. Lastly, we will create a practical tri-fold brochure and learn how to prepare and export files for print.

There is even a section where you learn the Pixel persona option in Affinity designer and creation brushes that help you build a complete Sci-fi space scene like you would find in  a professionally illustrated children’s book

In Affinity Publisher we will learn a wide variety of tools like master pages, character styles, photo frames and how to work with large blocks of copy and content to create a beautifully styled front cover of a cookbook and several inside spreads. We will talk about exporting both digital and print files.
 

This class is HUGE! With well over 10+ hours of video content between the different sections, downloadable project files, software instruction and practical fun projects, Jeremey and I are both proud to present this course to you today. Not only will you learn and feel comfortable with all of the software taught in this course you will also be able to create a wide variety of awesome practical projects.  I will see you in the first lesson of the course!

 

Transcripts

1. Course Overview: Are you ready to learn the entire suite of affinity products and up your design game? This course guides you and learning the many tools. An affinity photo affinity designer and affinity publisher. The affinity suite of products are wonderful, affordable alternatives to the adobe suite of products for designers and creatives alike. So if you're a photo shop illustrator or in design user, it's an easy transition to the affinity suite of products. And if you're brand new to the design software, it's a fun and easy set of software to learn. An affinity designer will work through all the major tools and work together through an engaging, fun tracing worksheet. So you can master that pin tool shaped stools and create a series of icons in your very first hour will then conquer a bright and colorful local design as we work with typography and learn how parading its work Next will focus on layout design as we create a front and back of a business card. Want to create a cool type only poster will do this and learn how to work with layers and textures. Lastly, will create a practical trifle brochure and learn how to prepare in export files for plant . There is even an added section by Jeremy Hazel. Will you learn the pixel persona Option an affinity designer and create brushes that help you build a complete SciFi space scene like you'll find in a professionally illustrated Children's book. An affinity publisher will learn a wide variety of tools like master pages, character styles, photo frames and how to work with large blocks of copy and content to create a beautiful styled front cover of a cookbook and several inside spreads. We will talk about exporting both digital and print files. Jeremy and I are both proud to present this force to you today. Not only will you learn and feel comfortable with all of the software taught in this course , you also be able to create a wide variety of awesome article projects. I'll see in the first lesson of the course 2. The Course Guide & Resources : first of all, welcome to the course, and I'm glad you decided to join both Jeremy Hazel and I for this creative journey. And I hope this course provides you with all the knowledge you need to feel confident in the entire affinity suite of products. The intro is a great overview of all the different sections in the class, but I wanted to break everything down and guide you through the sections, so you know the best way to move. Throughout this course, you can locate all the downloadable resource is and several zip boulders, according to sections and the project section of this class. And, yes, there's a lot of great files to download so you can work along with us if you prefer to learn by doing instead of just by watching, I want this course to be taken at your own pace. There is some order to the overall sections, but if you feel like the pacing is too slow, too fast in a certain area, feel free to skip a lesson or re watch a lesson or two and find the right pacing for your skill level, or if you're interested in skipping to the next software software sections, Air independent, so you're free to do that without any issues. First of all, let's take a minute to introduce ourselves. This course is taught by two instructors. My name is Lindsay Marsh, and I have been a freelance graphic designer for over 15 years and counting and have worked with clients both large and small. I have been teaching for several years now and have over 140,000 students and counting. I have produced a wide variety of both print and digital products for my clients, and I have found learning new software a fun adventure, including the affinity suite of products. As an adobe user for over 18 years. I found it an easy transition, and I hope to teach this class in a way that makes it easy for you, whether you're switching from other software, are learning software For the first time, Jeremy Hazel will be teaching the affinity photo section of this course as well as teaching an illustration lesson at the end of the affinity designer section. The way skill share is set up, it's easier to have our own sections on her own accounts, so I'll be providing a link to his affinity photo class in the course description and project sections and notes, so you can have access to the complete course. As always, reach out to Jeremy or I any time throughout this course. If you have any questions, or if you have any additional lesson ideas, that would be great additions to this course. I would love to see projects and give feedback when I can. Also, there are two student Facebook groups exclusive to students of this class and others where you can post projects and get feedback if you have Facebook available to you. The first Facebook group is for those interested in graphic design oriented projects. We have both Adobe an affinity designers here, and we hold monthly designed challenges to help you build your portfolio and get feedback. It's a great community, and you confined it simply by typing and learn design. Go freelance in the Facebook search far and make sure you answer the questions required to join. The second Facebook group is dedicated to just affinity designer users to find that just type in the Complete Guide to Affinity designer and the Facebook Search Bar to find Angela . Now that we've gone through the course outline, are you ready to start learning way? We'll see you in the first lesson, of course. 3. Affinity Designer - Getting Started: Welcome to affinity Designer this powerful vector based program as a wonderful alternative to Adobe Illustrator and offers a great, easy to use interface. We'll be spending the next few hours learning the basics of affinity designer, including Working Through this worksheet. We'll learn how to work with shapes, get comfortable with the pen tool and even create simple and complex shapes and icons. Next will create a colorful logo where we'll start to work with type Radiance. More, lastly, will create a typography based poster and really start to get comfortable working with type . Paragraphs and text and shapes of all sizes will even practice using textures using our handy pixel persona. First things first. Let's learn the basic layout of affinity. Designer. Some of you are new to using a vector based tool, and vector is a bit different than a raster photo. You may have been working with an affinity photo are Photoshopped. What's great about Vector is the lines you see in a vector program are created by an equation. That means you can scale vector objects to enormous sizes, and they still retain their shape and crystal clear resolution. I use vector based programs most of the time for doing design work and is my program for choice for logo designs, icon designs, flyers, posters and more. What is great about affinity designer is your ability to have some raster photo editing tools inside the vector program. That means we can do some small edits to photos and side this program without having to bring it into affinity. Photo. This is a feature that Adobe Illustrator lacks. And speaking of Adobe Illustrator as an adobe illustrator user for over 18 years, I will make references to tools in Adobe Illustrator from time to time to let you know how the tools may be different. An affinity designer. This is to help those who are moving from adobe products to affinity, but also those who may be interested in finding out how the two programs air similar and different. So let's get started by opening up a new document so it's gonna goto file new. We're just gonna open up a standard document. There's a couple different ways we can do this. Let's go ahead and do a print document just to get started. And, of course, there's lots of page presets that you can set And of course, you can set your file size. You could do pixels or inches. I'm in the United States. So I'm gonna stick with interest just for this. This quick project were two inches and we could do color format. So RGB or seeing why case, you're mostly going to be using RGB for digital items, social media posts, anything that's gonna be online and seeing why K is gonna be anything for prints. So we're just gonna stick with RGB to open our document. We can customize the sizes here, so the width, the height, the DP I is gonna be your dots per square inch. So that's gonna be a resolution, which I like to keep it high. Of course, this is a vector program from naturally. Anything that's vector is gonna be able to be scaled up and down to any resolution. So I got to keep it at 300. We can include margins on this if we do any kind of layout design or poster design where we're gonna have typography. But in this case, we're just gonna open up a document to play with. So we're not gonna include margins, and of course, you can include Bleed, which is mostly for print documents and ads, advertisements and posters that may require bleed and you know we'll get to that and future projects. But for right now, we're screwed. Click on OK, so here's our first document. Now let's get familiar with the basic interface of affinity designer. So if you've seen other vector based programs or you've worked in photo shop or affinity photo, you'll notice a lot of similar structure. So you have your toolbar on the left. We can access your pin tools, your brush tools, your radiant tools, and you have extra tools on the top that will correlate with the tools that you select a new toolbar. And on the right you have panels, which you can select between the different tabs. And you can actually bring a panel out if you're interested in having that, pain will be closer, and all of these could be dragged around a different orders, and you can feel comfortable, um, dragging those around to priority. So if you use layers, which we use layers a lot in this classy, keep the layers panel pretty close, so you'll learn, kind of which panels have used more often and which ones you may wanna drag out to use as you're working on your work. So if you ever see anything over here in your tool section that you want to customize or you want to add something to your toolbar up top, there's a couple ways you can add those tools you go up to view. There's two of them here. You want to customize the tool bar up top you click on Customized to a variably able to drag these around. I'm gonna use the default settings for the whole time. But if he ever once you start to get a little bit more comfortable with the program, you may want to switch around and add some additional tools to your toolbar. If you want to customize your tools over to the left, you go up to view and go down to the second option, which is customized tools. And then you'll be able to drag and drop any tools that you may not have on default. But I'm gonna be using the default tool. So whatever you see here is what we're gonna be using. So now that we know how to customise or tools a little bit and drag our panels around. I'm gonna show you a few basic tools. So let's say we want Teoh create a box. We're gonna go ahead and create a square. So I just selected the square from the tools area and I'm gonna go ahead and create a simple square. You'll notice that your toolbar populates on the very top with tools that are related to that particular tool. And so the same thing goes with pin tool. So we're gonna be mastering all of these tools and detail in the next project. I'm going to take the pin tool and create a simple line, and you'll notice up here you'll have specific tools that relate to this particular tool so we'll be able to change the nodes and the stroke and all of these things. And when we switch around a different tools, you'll notice that area changes as we flip around to different tool options to give you more up control over your specific tools. So I'm going down here to my lips tool right here, and I'm just gonna create a simple circle. What I'm gonna do is something a little bit different. So instead of just pressing and holding the key and making a circle doesn't look very even , does it? I want a nice even circle. So if I want to create something that's dimensionally in place, I'm gonna press and hold the shift button and click and drag. And now it can create a perfect circle, so I'll be using that little trick throughout. If you don't press shift, you can create your own custom kind of size. But if you want to scale dimensionally, hold down that shipped button. So have the pin tool selected, and I get a discreet, very basic square shape. Nothing too exciting. So let's say I didn't do that shape Very good. So I go and click off of it and you'll see I have a little stroke here. I don't do that shape Very good. I want to go ahead and manipulate the shape so what you'll see when I zoom in here or something called notes and notes are the equivalent to anchor points and Adobe illustrator for used to Adobe illustrator. So nodes or little points on the vector line in shape that we can manipulate. So the way we want to go ahead and straighten this side out because we're gonna grab are no tool, which is gonna be right over here on our tool area is gonna click and drag it back and make it even. Of course, we can change our shape anyway. We want to and add shapes on top. So let's say we want to make this a Phil. It's like a little arrow. We want to make it a fill. Right now. It's a stroke so you can see it's clear. It's transparent on the inside. It's just a simple stroke. We could go up here to our color panel. I'm just gonna drag this out so you kind of see it happening and this is a stroke. So it's such a stroke. You could see how it's got this kind of doughnut shape and this is a bill. So we're gonna go ahead and make this a fill, and then it remains. There's a stroke that remains on it. Let's say we don't want that. We just wanted to be a pure red shape. We don't want the stroke on it. All we have to do is go down here to this knoll sign and go ahead and click on that and will remove the stroke. And you could toggle between these any time. So if you want to make it a stroke or a Phil, you can go ahead and toggle. Let's go and talk about color while we're here, because I really love the way they had the color wheel here so you can see that they have this kind of triangular color selection and you can select a particular Hugh right here in the end. And so this is kind of where you have your hue, and he couldn't turn it all the way around the color wheel. And this is a hue on the right. And let's say we want to add a little bit of shade to our hue. We can add shade by going up to this corner if we want to add a tent, are at a little white to are you? We go down here to the bottom, so I love how they have this triangular color selection. If that's not your thing and you miss sliders, no problem to school. Appear to the additional options, and you can switch it to sliders so if you're comfortable with that as a designer, I view sliders a lot. This is kind of more of a recent invention with the wheel. They just brought this into illustrator and, of course, affinity. Designer has it by default. I actually kind of prefer this method, but it's really up to You could slide that right back up there, and we're ready to go. 4. Affinity Designer - The Tracing Worksheet! : So I personally believe that one of the best ways to learn is by doing real activities so you can download this resource. It's a four page affinity designer document where we're gonna be able to trace each one of these pages. And by the end, you're gonna be able to create all these shapes all on your you could be able create all these shapes all on your own area. Know exactly the tools that you need to get it done. So look at all these wonderful shapes we get to create. We're gonna do this pretty quickly, but we're gonna learn a lot of tools along the way. So instead of just teaching tool by tool, I thought this would be a much more interactive fun activity you can do with me. Or you can watch me first and then download and do the exercise whatever you feel comfortable with. So this is the shape still practice. We're gonna pre practicing our shapes tool, which is, could be right there in our tool area. We're gonna grab the ellipse tool. This could be the easiest one. And as I showed you that trick of holding down the shift button so we can get that perfect circle. I'm gonna hold down, shift and create a circle so you could see over here in our color is going drag her color panel out. We have this little stroke there that's getting in the way. So we're just gonna go ahead and remove that and make it a solid color. Let's go ahead and pick the colors that we want to use. Lets you choose a nice purple just to kind of be able to see that color really well. So it's good. Put our color panel back up there and now we can go ahead and have our little move tool, which is right here. This is our move tool, and it could always switch to the move tool by using a keyboard shortcut B. So whenever we're clicked off on another tool and we want to be able to move it, click on your keyboard shortcut V, and we can go ahead and move our shape. I wanted to review very quickly how layers work and how it's gonna work when you open up. This document is they're gonna notice four different art boards. We have four different pages here, So each part board goes to each layer. So if you're working on our board number one, we have our board right here, and this is your group right here. So these were the four different layers you're gonna want to create a new layer here, it's gonna be the one you sketch on top. So we're gonna go ahead and add a new layer. We're gonna add a new layer on top. It's gonna be your design. And it could also do that when you move to the different pages are gonna have your design here and they're gonna be able to sketch on top and with no issues. If you want to lock this bottom gray area, you can go ahead and press the lock icon right up here so that you don't accidentally shift the grey shapes as you're moving around. So eager to be doing all your design work on the new layer that you create just holding down shift and scaling, holding down the node points and there's our lips tool. So let's say we want to do the same thing and what? But we wanna make it a stroke instead. So what? I'm gonna do is another little trick. I could just do command C and Command V and make a copy or even easier or well, the hard way would be going to edit and copy and paste. And then they even easier away is to hold down the command button or on Windows. I'll show the windows button that you press on the screen, hold that button down and drag, and you can release, and you can create all sorts of copies when I'm doing local design work. I am always using that tool because it's just a lot easier to to create than having to do two keyboard shortcuts. I could just hold down command and drag it over, so this one will be easy enough. Let's hold down shift and make it a little bit bigger, and I'm gonna switch it over here. My color panel to stroke and I can change my stroke size by going to my stroke panel. So here's my stroke panel right over here. We can drag it out if we want. We want to see what it looks like. We could change the with. We can make it really thick, almost like a doughnut. We could make it really thin. So let's match the thickness. Maybe do like, a 5.5 or maybe even a six points and you can change the caps, which when you have a circle, it doesn't matter quite as much. But when we do lines, those air really gonna come in handy and you can even add This is kind of unique to affinity designer. You can actually add ends to your strokes so you can actually have an arrow on one side, and you can even do a different kind of arrow another. That's kind of a handy thing when you're creating infographics to kind of use that those different endings. So there we go. We've already done our second shape. So now we're just gonna go to the rounded rectangle tool Just gonna be right here and it's gonna click on shift our whole downshift. I'm gonna flip this. Just toggle that back to fill and it looks like we're done, right, right. But there's a little difference in the angle of the curve here. We wanted to match perfectly. So I am going over to my layers panel and I'm going to go to the opacity and I'm gonna reduce the A pass iti just a little bit, so we can kind of see how these two are overlapping and how we need to change the angle. So let's reduce the size a little bit and match it and let's change the angle so it matches . So how do we change the angle of that curve when go up here to corner and we haven't un rounded, but we're gonna change the percentage of the roundness of that corner. So we're gonna actually make it a little more round. So you notice how that's all of a sudden matching up a lot better. Okay, so now we can go back to our layers panel, make it full a pass, it e. And we created our corner. So any time one edit corners, you go ahead and go up here to your corner, and you can just do dramatic ones, or you can make just little small levels or corners. Okay, so a star the star tool. So this one is simple enough, but it's gonna be over here. You're gonna click on a believe the default zero, but it might be different for you But you have this little icon at the bottom. That means you can click and hold and you get a whole nother sub option here. So I'm just clicking and holding, and I'm going to select the star tool and we're gonna go ahead and toggle that as a stroke . You know, we could distract this over top and have it match. It looks like we may need to reduce reduce our stroke thickness a little bit. So gonna be going in my struck panel and just reducing the thickness to get it to match. Great. So you can see how quickly were able to do this very basic shapes. Now we're gonna get into a little bit more complex shapes, but these are gonna be incredibly easy to create an affinity designer. So this is another unique quality to affinity. Designer is is really unique shaped stools and adobe illustrator. You have some very basic shapes, but nothing as complex and beautiful as the ones you can create so easily an affinity designer. So we have this cog tool. We're gonna click on that same tool area down here, and we're going to select the cog tool right down here. We're gonna hold down shift so it can create a nice dimensional cough, and we're gonna flip it to fill. And what I'm gonna do is I'm going to reduce the opacity on my layers just so I can kind of see overlapping and said that looks like it fits perfectly like a glove. So no problems there. We can go ahead and bring our opacity right back to normal, and we create a really cool Cobb shape. But what's great about affinity designer is your ability to manipulate each one of these complex shapes much further. You got a click on our cop tool. Hold down option and drag. Let's create something pretty complex here. So we're going to reduce the opacity coat so you can see how they overlap. And you're gonna have some new tools in your tool bar up here for this particular cock shape so you can change the amount of teeth right up here. We can manipulate the amount of teeth so we got a little bit more teeth on this one, and that can also change the inner radius so it can actually bring this down, make it almost like a starburst shape. We select our cog shape and move it over has a filled in hole. So let's go to whole radius and let's reduce that to zero. And that looks like a pretty close match. So any kind of complex tool that you select here, you would have even additional tools right here in the toolbar to be able to manipulate that further. Okay, so let's get our original Coggins X like my cog Hold down option and Dragon over. Let's try to produce this one so this one looks like it might have less teeth, will go ahead and see. Looks like it definitely has a bigger hole. So let's increase the radius and it looks like it's got some softer rounder teeth. So let's see how we can change that. Let's go to curvature and let's round those teeth a little bit and also change the notch sides like it's they call him notches in this to kind of match and let's bring this over. So can matches perfectly. It looks like we might need to reduce the amount of teeth 10 to indeed, so we could just go up to 10. We have two indeed, so I think we just need to make some modifications to our whole. There we go that changing that Inter Radius really helped. It's a pretty close match. Make it full capacity and we create a pretty interesting cog. This next one looks very interesting. I can see this being used for badge designs very easily. So let's select our cog shape. We just created pulled down option. Let's duplicated. It looks like we have quite a bit more teeth. Which could, I guess, how many teeth? It has it first. Rick, go ahead and do the maximum ality. Let's go and change the notch size. Let's go ahead and make it a little wider. What's make it pointy? How can we make it pointy? We can reduce the tooth size down to zero, and it kind of creates this pointy shape. And let's change the whole radius. We want to reduce that down to zero and make it a full shape 5. Affinity Designer - Shapes Tool Practice: it seems like a perfect match. Let's go ahead and move on to the next layer. This is gonna be your doughnut tool, which it's super duper helpful for doing infographics an icon design and even logo design. This donut tools pretty fabulous. We're gonna go ahead and select our donut tool Hold down shift. It's good. Place it on our mark. Board members got a hold down option and go ahead and create our two toned different doughnut to kind of emulate an infographic that you might see. We're going to duplicate this twice worker to create the two different shapes. So what I'm gonna do is you have your different options up here. We have whole radius, which we don't need to change. We're gonna have something called the start angle and we're gonna change us, and it's actually gonna make it and reduce it down as much as we want. As you can see how versatile this tool can be. We're gonna make it a little bit shorter, and we're gonna take her little handle or corner handle here, and we're just gonna transform it and move it down. Try to match that up as best as we can, and then we also have the other end. If we wanted to manipulate just that end, let's bring our other donut hole in and let's send this backwards in the Larry system. So let's make these two different colors so you can kind of see what's going on here. We had this layer on top, so I'm just gonna bring this to the front. Let's say we want to bring this lower and the layering system. We want the red layer on top so we have this red layer right here. We could just drag it up in the move on tops. That's kind of a traditional way of doing. It was just kind of shifting your layers down. Or you can use a little shortcut keyboard shortcut, and that's command left and right brackets to move it up and down in the Larry system because you could see how I'm moving it. I'm holding down the command button. You'll concede the Windows alternative on the screen, and I'm just pressing my left and right brackets to slowly move things up and down the layering system. So there's our little tool right here. We could even make this Well, we have our start angles. We can match it up, not have any overlapping layers if we wanted to, You know, like that. Okay, so now it gets a little bit more complicated. We're gonna create this target symbol next. So this one, we can continue to use the donut tool. Or we can use the Ellipse tool or a combination of both. I'm gonna take the Ellipse tool to create the very center cause that'll probably the quickest way to create that. Okay, so now I can use the doughnut tool to create the other objects. Go and reduce our whole radius, make it a lot skinnier, and make a match out of it. Let's do the same thing. Create a new one, but make it bigger, stretch it out, and then change our whole radius to make it match. We can align all of these layers, so select all of these. We can grab the no tool and select all three layers. We went to a line. You can go to our line options, which will right up here, and we want to make sure they're all kind of spaced evenly. All three of these little layers that we created, we could do a center alignments. It's gonna line everything to the center and we have our little target. We can change the color we want on all three of these layers, and we want to make it the same color as what we've been working on, which is kind of this purple blue color. So we can take the eyedropper tool right here in our color panel and sample it. What we're gonna do is drag it over and release, and we haven't selected. So now this one's gonna be a little bit more complex. But that's no problem, because we have the tools to make it quickly. Let's create this almost like little small pieces of macaroni kind of stacked on each other . Let's go ahead and get the donut tool, and we can create our smallest one and work our way outward made aceptar take our corner and transform it. Okay, let's duplicate that whipping around. Or if we want to have a precise flipping and instead of having to manually flip it if we want to do a perfect reflect when, go up here to our reflect and flip horizontal options, so conflict horizontal, and we're already done. You can also flip vertically and he can flip rotate, so that will be a lot easier to use. We don't have to be so precise, duplicate, and then let's rotate it or flip horizontal. But he darn close. You can select this one, and all right, let's move on. We're gonna get a little more complex. Each layer we go. This is the double star tool. So let's go ahead and get that toggled up. And what did you do this quickly? Now that we know what we're doing, switch that two stroke and we have it ready to go? Yes, We're gonna get the star tool again. Draw or shape. Let's flip this one to a. Phil wants to make this a lot more point here. We're gonna go to point Radius, make that all the way extended out. Let's add a lot more points here. And let's change the inner radius here to make it more of a starburst Pretty darn close. We'll stick with that one for now. And then we have a new a new one, A cloud tool. Let's go down the cloud tool. Well, downshift. So that's how we kind of creator. Little cloud. Simple enough. Let's hold down option and drag and let's see how we can change this a little bit. So let's add a lot more bubbles and let's change the inner radius. Make it very subtle. Dragon in and we have our shape. We're done with the first page. We did some fairly basic shapes and you saw some of the more complex shapes and learned how to manipulate those. But now we're gonna move on to the all important pen tool. I can't stress how important it is to master the pin tool for local design. Any kind of designer illustration work. If we're gonna be doing that An affinity designer. This is where all the magic happens. We're gonna do the pin tool next. 6. Affinity Designer - The Pen Tool: So now we're moving on to art board to which is the pin tool practice. And so we have art board to right here. Let's go ahead. Un collapse that layer, we're gonna create a new layer on top, and it's gonna be my design or whatever you want to title it. This is working to be riding on top of the gray areas. And if you want to go down to the gray, you can always toggle this on and off by clicking on this check box. Kind of see what that layer has inside of it. You can lock it so that we don't mess with anything, anything on the gray later. So we have our my design right here, and we're gonna use the pin tool the pin tools on the left side here in your tool area. So we went ahead and selected or pin tool, and we're gonna make sure we're on a stroke. So I'm just gonna go up here in my color panel and make sure we just have a stroke on. We do not have a fill. We're gonna click on one sign, we're gonna create a node, and we're gonna create another node on the other side. And just like that, we created a simple line shape just like that. So you'll notice on the end that has his rounded caps, which is great. It looks really nice and polished. But let's say we did not want that. We're gonna go to our stroke panel, go ahead and drag it out so you can see. And this is where those caps really come in handy so we could do a square cap where we can do any type of cap that we want to have on the ends. We could even change the change it to a do the end cap changed to a triangle or simple little live preview what you want to do. You could see how infographics could be created really easily. This way, we're gonna just leave it at a nice rounded, capped by default. It's going to keep our stroke panel out because we're gonna be using stroke a lot in this little practice tool. Let's do the next zigzag shape. Let's get her pin tool and we're just gonna click on the bottom. Where is gonna create a node? Is clicking, creating a node going up and down and just really practicing or dexterity with our hands in our mouths or whatever we're using to create the shape. This is just pure practice. Always zoom in and really be detailed on it, but it doesn't good, good job by default round. And then there we are, and it could see how it has the rounded caps on the ends. But we can also change that to square caps. But let's say we want to change these corners. So, you know, does that change? Just the end caps here, But let's say we don't want their rounded on the other parts, the inside of the stroke. We would just go to join and make that a sharp edge if we wanted to. That kind of like how affinity designer does a default rounded cap and actually in Adobe Illustrator. It does the default straight cap, so it's kind of nice to have this default rounded cap. Let's say we kind of messed up, and some of our points aren't exactly where we want him to be. Let's see how we can manipulate each note. We're gonna be using the node tool, which is right up here so your pin tool no tool or could be pretty heavily used. You could always do it keyboard shortcut and do a and then p to switch between the two. So kind of memorize A and P. So if I want to do a pen tool and then I want to switch to the no tool oppress a and then I can manipulate it. So just kind of some shortcuts that really helps speed up your workflow. So I have the no tool selected, and I can manipulate each one of these nodes just by selecting the node and moving it. So some of these were a little off, which is no big deal. We can move it up and around by just selecting that no tool. If I want to switch back to creating MAWR, I just switch back and use my little keyboard shortcut, which is gonna be P. Then I can start toe create more again, and then I could switch toe switch to a and then I couldn't manipulate it. Okay, so we have our first little shape. Now we're gonna do some curves. It gets a tiny bit harder to do curves, but that's no big deal. We can do this. So let's select the pin tool. And then what we're gonna do is we're gonna create curves, so we're gonna select kind of a top, so I can I can select long distances to make a curve. So let's say I click all the way down here on a click on the note. I can click and hold and create kind of that circular curve shape. But sometimes you don't always get the curve you like. So sometimes you have to take half steps and do several nodes all the way around a shape to get a nice, rounded corner. So I'm gonna kind of click up. You're halfway. I'm gonna be able to have a little bit more control over my shape. It's not gonna click down here and click down here kind of at the apex of the curve and then click right here. Don't be afraid to create multiple points. You don't have to create just one note and make this big, gigantic curve. Sometimes it takes a couple of note points to create the curve that you want to use, So let's switch to our no tool, which is a and we're gonna be able to manipulate these corners. So let's say that looks a little awkward. We have these little handlebars that we can manipulate. So if you kind of get more smooth curve, we can actually make it taller and smaller. We could move this all around 360 degrees to kind of correct that curve. Let's see if there's anything else we need that's off and looks pretty good. But we can always, you know, manipulate these handlebars on any of these note points. And I'm just using the no tool. Okay, so we have our first curve. So now we're gonna create some more geometric shapes and our next line. So we created kind of a basic line, and we created kind of a diagonal line. Pretty simple. But let's say we want to create precise right angle or perfect lines when we have our pencil. So if I were to not pull down anything and clicking and look over here, it's just a little crooked, and I would have to take my no tool and try to find out where that is. Let's say I just want to draw a straight line and just keep it at that. I'm gonna hold down the shift button with the pin tool. Let's start right here with this octagon. Gonna click Holding down shift the entire time and I'm able to create perfect straight lines. Is holding down shift the entire time and I can create a perfect octagon just like that, I'm going back in completing my shape by clicking on the original shape. So now have a shape that I can toggle on Phil or not. So let's do the same thing we don't need or stroke panel quite yet. Slide that over here. Let's do this more maize pattern Click here, hold down shift. Just a little trick that could be very helpful. When you're doing geometric shapes and logo design and anything you kind of illustration or icon design. Just having this as an option holding down shift so much easier than trying to do it yourself manually. Let the computer do it for you. Let's do a zigzag gonna move through these a little bit quicker. We still got a lot to do. Got some icon designs over to the right to do, and I'm gonna do this. I'm gonna mess this up a little bit on purpose so it can go use are no tool and fix it. So just using my keyboard shortcut A I'm having, I know tool selected. And I'm just gonna bring this right back down. Okay, so now we're gonna do some curves in some corners. We're gonna select Arpin Tool again. Let's start here at the bottom corner. It's quick. Let's just make a triangle. And I could even hold down the shift button, Click here. Well, down the shift button was gonna create a triangle, and we're gonna add corners to this. So we have our corner tool right here. So that's kind of the name is obvious. So we're gonna be creating some nice smooth corners with their corner tool Once again, you can you see as a shortcut to cantata goal. What's you kind of learn all these little shortcuts? Ap, and see you can switch between these two without having to go back and select him. So what I'm gonna do is I'm gonna click and hold and create a nice corner click over here, split our node quarter note and make a nice Warner. Of course we can adjust this whole shape. I think we made it a little too small. You go select our corner tool or you see, and you're pretty darn close is kind of practicing that corner tool. So this is gonna be the no tool we're gonna convert it to. Smooth. Okay, so this could be your next project. So let's say we have a sharp angle and we want to make it and convert it to a smooth angle or the other way around. We're gonna draw a simple triangle. It's gonna click open the top, and I'm just gonna make kind of a triangle pattern. So let's say I want to smooth this out and kind of bow the lines out a little bit. So I have the no tool selected, and I have some additional options appear in your toolbar. And there's one they have a couple of ways it can convert the angles, and we're gonna do a smooth angle. So I'm just gonna collect this node and I'm gonna make it and convert it to a smooth angle so you could see how you can convert angles pretty easily. We can even add new. We can manipulate that, or we can add. New points are new nodes on here, so I'm gonna double click and then create a new node. So it was adding a new note because if I didn't have a new note, I wouldn't quite get the curve I want could add a new node. You don't really have to double click. You just have to click once and just move it over so you can kind of work with angles a little bit smooth this out. So if you ever want to convert it back or any note, you can collect any individual note converted to a right angle or a sharp angle or converted right back to a smooth angle. So the curvature tool and adobe illustrator is very similar to this tool. It's just kind of called something a little bit different. Just call. I'm just in the no tool and going up to my converting to smooth. Okay, so we've done two sheets of work now, and we're gonna get more complex. We're gonna really practice interacting shapes and how to use the divide, subtract, intersect and divide tools to be able to cut objects out ad objects together and be able to divide objects up in particular patterns, so that's gonna be very similar to the Pathfinder tool in Adobe Illustrator, but an affinity designer. You have your own set of tools to do this. 7. Affinity Designer - Complex Shapes: So we're now on our third art board right here. So we're just gonna collapse that layer and go ahead at a new layer on top, and that's gonna be are designed teaching. You have a deal, layers while we're doing this project and we go and lock this group go and toggle, that's you can see which one it iss and we're gonna lock that because we don't need that to move. And we have our my design layers selected. So how do we interact? Shapes how we cut things out. We're gonna create a couple of basic shapes first. I'm just gonna do kind of your basic Phil. Let's say I want to adapt this color. We can always go ahead and sample or color, and then now we have it sampled. So now that when we create a shape, we have it sampled. So I'm just gonna hold down option duplicate. That's two circles that are overlapping. Nothing too major. We've been even align these perfectly by going toe our line panel and aligning to the top. So now that they're aligned perfectly on top, So how do we add these two shapes together? Let's say we don't want these kind of overlap or intersect. We want to create one object out of it to make everything a little bit more simple and what we're doing in this page, these interacting shapes page is We're really building the basics for building icons and illustrations and characters because you're gonna be adding and subtracting objects to create all these characters and unique shapes. And we'll get to that in the last page here. But there's air very helpful when trying to to create unique shapes out of basic shape. Let's say we want to use ad, so this is the area we're gonna be using up here. This is basically like the Pathfinder Tools in Adobe Illustrator, but these were gonna be adding and subtracting are objects, so we're gonna add these together. And just like that, it's literally one object now, and it cannot be separated is one unique object. Let's do the opposite and subtract great a shape. What I want to do is I want to create another shape to create the same one. Let's make it a different color. It's a student, Phil, and let's kind of cut this out to create a moves on just overlapping these to create a moon shape. And I'm gonna select both of these objects and I'm gonna do subtract instead. This could subtract that top object away from the bottom object to create pretty cool moon course. We can always use the curvature tools. Teoh are not the curvature tool but the pen tool, no tool in the corner tool to kind of make that fit even better. So let's say we want to create cut objects in half will want to do it in a really effective way. Let's say we want to cut this in half. We want to create that semicircle Look, have my circle and I'm gonna create the shape still rectangle tool, make it a different colors. We've been kind of see what's gonna happen here, and I'm gonna cut this in half. So you select the top shape in the bottom shape and I'm do something called Intersect. So now it's gonna cut and make a shape. You can also use subtraction as well, so intersect and subtraction will work really, really great. With this, you can use a couple of the different ways you need to kind of experiment to see which ones work really well, what's great is you can always go up. That wasn't exactly what I wanted to do. Do a command Z and you can do the other side. Do you subtract so intersect and subtract Will work Both will work great with that particular shape kind of cutting objects in half and creating unique shapes out of basic shapes. So, Zoar, this is a little bit different. It's like intersect, but it's the reverse. So what I'm gonna do is I'm gonna use the tear shape which is down here in your shapes. So tear tool haven't used that one yet. And let's go ahead and cut out the center part. So we're gonna make a duplicate and make it a little smaller. Let's make a different color and let's say I want to cut the inside out. I want to take this middle shape and create a hole inside. Okay, so I gotta use something called Zoar. Let's go ahead and cut that middle shape out just like that. Now we're gonna do the all important divide, which is going to divide all the elements that are intersecting into separate layers or separate objects So for this, let's go ahead and make a circle go and make it our purple circle. What we're gonna do is we're gonna create kind of an X inside and be able to cut and separate the elements. So we could do that a couple of ways wouldn't actually get a letter X and and put it in front of their or we can draw some simple shapes. Let's just make this a different color. What's kind of rotate this? Okay, so we have these kind of overlapping layers. So what want to do is divide everything up. So we have four different pie spices, we can move around and the pink will be eventually cut out. So I'm gonna select. All of these objects were going to go up to the divide option, which would be the very last one, and we're gonna divide it all. So doesn't look like it did anything. But it divided every single object into an individual. Objects of these air, all separate objects. Now, anything that was interacting or intersecting in terms of the lines is now created. A different object. You can believe those. And then now we're left with these individual pie options. Not exactly the perfect decks that I created for the sample, but a kind of gets an idea of how the divide tool works. So next we're gonna create some complex shapes we're gonna be using all the tools that we've used so far Two great, some complex shapes. And then finally, we're gonna create some really complex icons. But it's not gonna be a big deal because you know exactly the tools that you need to do. So this one is gonna take a couple of steps, But hang with me. It's gonna be worth it in the end. So we have our lips tool for the head. That sounds simple enough. Good making our purple, which it to fill, make it a little bit bigger. And then we're just gonna take the rectangle tool. Just make our rectangle body doesn't look really exciting at this point. But that's OK. So what we're gonna do is we're gonna actually add the's shapes together, since going Adam together is one shape and I want to kind of this kind shifted over here so I could see exactly what we want to create. So let's go ahead and make it kind of a slope here. So I'm gonna take the no tool or you can just toggle on a and I'm just gonna kind of Titan is a little bit and I'm gonna add some rounded corners here, so I'm gonna get my corner tool, which I'm gonna press, see, and I'm gonna talk along corners. He was adding a little roundness to a couple corners. You kind of got the basic shape or the body going. So now here, where here's where it gets a little harder. So what we want to do is we want to cut use kind of the skills that we just learned to kind of cut that shape out. So it's not just white, it's actually transparent there. So how do we do that? We're gonna use the divide tool. So we're gonna create a circle, and we're gonna make it a stroke. Let's make it a different color. First, it's already a stroke but will remove the hills of sister stroke. We're gonna determine where we want that to be cut. That's when zoom in and figure out exactly where we want to cut that out. Was pink is gonna be cutting through the shape. So we want that to cut right through there. It's what we wanna do. We go ahead and select this object in R object below, and we use divide. It's going to kind of mess up a little bit, and the reason why is because this is an active stroke and we want to make sure that this stroke is outlined. So it's just a knob checked. It's not alive stroke where you can change the thickness. So what we want to do is this something you just have to memorize is any time you want to use your divide tools and you have a stroke, we need toe expand the stroke. So we're gonna go up to your layer panel or your layer options, and you're gonna go all the way down to expand stroke, and it's going to expand the stroke, and now it's no longer a stroke. It's just on object. It's just like creating a circle. You can also use the doughnut tool was a shortcut to create a stroke as well. So we have both of these objects selected now, and we can go ahead and do the divide tool We divided it all up and we could select the interval Individual objects we no longer need. So this is a separate object we no longer need that you no longer need that. And what are we left with? We're left with a nice cut out. We have our little man icon here. We could bring those together. It's his extra shape created from that process courses Not exactly how we did it, but it's pretty close with using kind of the same tools that we would have done to create that. So next we have a teardrop and we're gonna use subtraction for this one. So we're gonna go ahead and use a tool that's already pretty close, which is gonna be the tear tool. Go and turn this around by rotating counter clockwise twice, and we may need to fatten it up a little bit. So that's no big deal fattening up just moving my controls a little bit. Okay, so now we could take the doughnut tool instead of creating circle and cutting all that out . Let's create the donut tool and let's draw donut inside. Let's make it white so it can kind of see where we want it to be cut out? Yes, so that's kind of pretty close. We can collapse that center hole radius a little bit, make it a close match. It's like both of these objects and make sure everything is center. Align nicely. Here we go. And so now this is a white shape. So if I were to draw a background here, let's say let's make this read and I move this backwards in the layering system, you'll notice it's still white. It's not transparent. We really want to knock it out. Call the knockout. So we're gonna do that by selecting both objects, and we're going to use the subtract tool and subtracted out. So now you could see it's knocked out. Then we created a little icon just like that. So this one, we're gonna have some strokes, creates, um, aero stroke lines and do that all within a circle. So its creator circle making our purple as we're gonna create to kind of lines here strokes . So let's go ahead and get our pin tool. We're just gonna create that's, um, strokes here. Let's make sure we have our stroke on and what's expanded out a little bit. Make it thicker, and we can reproduce that and just make two copies there. So we have our two strokes. Let's make this a different color so we can see what is going on. We want a punch that out just like the example. So same thing happens here, have strokes, and let's say I do the divide tool or the subtract in this case we're abusing. Subtract tool. Let's say subtracted. It's not gonna do it properly because thes stroke is not expanded. Its we're gonna select. Both of her strokes were feel happy with the thickness of it is. Once you expand the stroke, that's it. It becomes a shapes, a layer expand stroke. It becomes a shape. Now we could select all three of these objects were going to go up to subtract and voila! We have our cool shape with some punched out arrow shapes inside of it that was very quick to create. Seems like we're going faster and faster, even though the shapes are getting more complex because we're adding more tools to make it quicker. So look what we've done so far, and hopefully you're moving along with me, or at least watching it a few times to come see what we're doing. So we're gonna do a couple of complex icon designs first were to start off with this kind of complex brush kind of crossing icon. We're gonna even be drawing an animal or a dog. And we're gonna be doing some typography work and then finally replicating kind of some complex layering here with the target. We're gonna do this next, and I'll see you there. 8. Affinity Designer - Icons: we're gonna combine all of our knowledge, every single tool that we used up in this point to create. All of these were gonna be subtracting. We're gonna be using default tools. We're gonna be using everything we've learned so far to make these. So what I want to do is go to my layers panel and we're now on the fourth art board. So let's go ahead and collapse that Let's create a new layer on top and make it my layer my design and go ahead and lock this one. So none of these gray things get accidentally moved around. So let's get started. This one will be a little bit easier because we have some simple shapes, but it just looks complex. But that's okay. We have some nice curves here. We're gonna be drawing. Let's see if we can't draw the brush tool first. So what I'm gonna do is I'm gonna get the rectangle tool. Let's make sure our stroke is often It's just a fill, and we're gonna add some curves to this so we could do that a couple ways. We can get our corner tool and around some corners, but let's say we want to change. It's not just a straight candlestick. It's got kind of some kind of some Boeing that happens. We could take our no tool at a node, then just expanded out. So all I'm doing is I have my no tool, and I am just clicking in the middle and just kind of moving and outward to create that boat effect. Of course, we can create complex shapes by adding even more notes so it can kind of make it a little more of, Ah, brush, which I kind of like that shape. But it's going to stick with what we had before, and I'm just taking our nodes, make maybe collapsing in a little bit. And I might even take that corner tool and, uh, kind of soften those corners. I think they're a little too dramatic. It's no big deal. Soft amount with the corner tool now, like how it's not perfect on both sides were kind of creating more of artistic brush doesn't have to be like, perfectly rounded on each corner. Be perfectly precise, so that's kind of power created that shape. So let's kind of draw. Is that a little curve here? on top. So instead of just going straight, let's add a little bit more dimension. You get that no tool. I'm just gonna push up. You can always click and add a tool as well or at a note as well, and convert if we want to create all sorts of different shapes to remember that you can convert anything from a sharp any node to a sharp worst move are smart. So you can always change each one of those at any time and also add newts to create complex shapes. Here's what I want to do. I want to create another little shape, but I'm just gonna use the pen tool, and I'm just gonna click and add a bow to it. We're at kind of a her. I gotta switch it to stroke, and I need to go to my stroke panel because that is an awfully big stroke. Just want to do that. And what I want to do is that if I'm happy with a particular stroke and I want to kind of add anchor points and manipulate the outside edges, I'll just need to goto layer, expand stroke, and I could make it a regular stroke where I can go ahead and add and manipulate nodes. Have you ever wanna delete a note? Will say that little short point. I don't really need that. You can click a note and just do delete, and you can remove the note and then add anyone to correct the shape. Really just takes a lot of practice to figure out. You need to add a notes. Attracted, no do around corner. You know, there's a lot of options you have, and it just takes a lot of time kind of master. Which ones you use to see that. See how that has a kind of a sharp point there. I can click on that. I can round it off or you take the corner tool. So if I can't round it that way, lots of ways to skin a cat. When it comes to working with this, there's the tops, and now we're gonna do a brush. So here's what we're gonna do to create this brush. It kind of looks a little bit like the tear tool, or we could even draw it ourselves. Let's see which way is gonna be easier. Let's do the tear tool and see if we can't add some movement to Bill. So when you draw shape and I do the no tool, you'll notice I can't really minute ad nodes or anything. It just gives me the ability to change it up here like we did before with these shapes. But it's not giving me the chance to add my own notes and customize it outside of what it already gives you in terms of options. So the same thing with creating expanding our stroke. We need to expand the object and create this instead of being the smart object that has all these options gonna create, make it just a regular object. So what we're gonna do is we're to right click and select the option, convert to curves so it's gonna do just like expanding strokes. It's gonna make it a regular object. So now I don't have all the ability to change the shape like we did before, But we have. We can customize it. So now I kind of need to add some bins to this little brush top here so we could do that several ways. We get our no tool, we can add a new node, just adding new notes, kind of to give it a little bit of a curve, expanding her handles, expanding our handle down to create kind of a stroke. We're kind of a little curve there. Just like that. We can also create it, are on our own by using the pin tool. And it's clicking and holding, creating our own custom shape and then being able to customize it just the same way. So either way, I don't usually like to use the tools that already there for me and make it a lot easier to create shapes. So let's see what this brush tool looks like. It's kind of shifted over a little bit with the little angle. Looks like a hassles, cuts kind of some accents and highlights in it. So let's create that. Make this a little bit bigger in relation to the stem. Let's draw. Let's do that by hand. We're gonna take the pin tool or do that manually. I guess you could say we're gonna draw a couple Kirby shapes here. Nothing too exciting. Go ahead and make that what complete or shape and make it white. See what it looks like take her no tool and slowly work with this. Of course, we could change our corners at any time to make it softer. Show making that round. Okay, so there's one and we could do another. I don't really like that Sharp turns a little sharp there. So just at maybe at another node and soften it out, let's go ahead and duplicate it just to make it easy. Maybe change the angle and the size and that's extend our taking are no tool. Of course. Use your keyboard shortcuts. It began. I'm just doing it mainly to show you kind of how I'm working with it might need to reverse those which would be no big deal as we could just flip these horizontal. I kind of go with the movement of the brush more makes more sense. It was good and separate these objects. What I want to do is I have these two white objects and have this purple to your shape, and I want to cut that out. I want to make that by knockout, so I'm gonna go to subtract and Walla subtracted. So now that's just empty Cut out space. Now we have a brush, and we want to do the same thing when at a little accents to a brush like will cross hatches. So we're gonna do, uh, let's take a Let's make it a stroke. So he's taken the pen tool, adding a little curve to it because this is naturally curved. Doesn't matter what color I make it just make it a stroke and make it the thickness you want to make it that and let's duplicate this so it has a simple or a similar kind of design on the bottom and same thing with here. It is a live active stroke. So what do we have to do? You have to go down to expand stroke. Now we have both those selected and we have our stem selected and we're going to subtract and voila, we have a brush. OK, so let's say I want to kind of add a little more corner, smooth that smoothness to that. Let's I want to subtract these, subtracting those and creating a new one. I could even convert that to a sharp point if I wanted to. Just like that, I want to kind of give it a sharp edge. Great So let's go ahead. Group that. So I'm gonna select everything here selected all I'm going to, right click, and I'm grouping this together. So now, instead of having all those layers, I have one nice unit, so just right click and grouped it. So now I can rotate this and start to put in our first object. So now we're gonna do the same thing. But with the pen tool were to cheat a little bit. We're gonna copy and paste this. Just copy all this layers and let's just add a new top and modify the base. So I'm gonna right click on group. We don't need that anymore. We would be doing something a little different. Let's say I want to fill those back in again. Let's say have cut him out. And I made a permanent decision. Fill it back in. You take her pin tool. And of course, you get easier. Thing to do is to make a copy of this before you punch things out so you can have a copy of it. If you need adult curve to it, not be perfect. But for now, we're gonna be able to just show you how to how it's done. Okay, so now let's add all these together. So just now, he added them together, and we filled in our little cutout shapes fairly, fairly easily. Let's change the bottom of this. Make it a little bit different than the brush, so I could take this note and convert that to a soft edge. And let's change a little bit of how this looks to probably collapsed this a little bit. That would make it a little more straight. I am could always remove things. If you don't want a curve there. It's a little bit more straight than our brush. So now we need to add this little top of the pin here. So what we can do? Walk that I'm on my layers, some school pasted in here and make it that same color or make it the grace of countries. I'm just doing this because it's kind of a complex shape. We're trying to make it easy on you guys reducing the opacity. This just a guy for us to trace. We're going to take her pin tool, create this shape, go all the way to the top down, and then click and hold to create a curve to make it a stroke. So you kind of see what's going on. Little strokes. And now we need to cut this kind of area out of the pin tool. So we're going to take just a rectangle shape kind of trace over those shapes and want to do a lips tool. Yes, so we have these. It's not, like, perfectly precise, but that's OK. We should go ahead and group those together. We're going to flip that to a Phil and making a different color. So, like both objects in which one, it looks like when you group something, you can't do it. So I'm gonna leave it on grouped, select all of these objects and do a subtract. Just like that. It's subtracted everything, and now we can do our purple color and we are done with our brush are with her pin tool. They said. Let's put this into her icon. We no longer need the gray anymore. That was just a kind of a guide to help us. Let's select everything. Guests like the whole thing for it to be selected, and we're gonna right click in Group A little bit different than adobe illustrator, where all you have to do is select part of the object for it to be selected, you just have to slip a little bit. And that selects the whole object. An affinity designer. You have to select the entire boundary of the object for it to be selected so he could love that or hate it. Um, I kind of don't know how I feel about that quite yet. Okay, so we have the main part of this done. But here's where I kind of want to add a little more dimension. So let's these two groups object. This is what I want to do. So you notice how these air crossing over and I added a little bit of a cast shadow here. It kind of makes instead of just having this flatness year. It just adds a little bit of dimension and depth by adding that little bit of a shadow. So that's gonna be easy for us to draw. We're going to just take the pin tool. Now we're just gonna draw shadow, and we're gonna make this slightly darker on the color wheel so we could do that by adding a little more shades. You notice how I'm bringing it now toward the shade area of the triangle, but not so much that it looks, You know, two Stark I was taken the net are the no tool and just making this good. And there's actually a tiny bit of curve there. So I'm just gonna take our no tool click acts a lot like the coverage tool in Adobe Illustrator. Just add a little bit into it. Just mangled dimension to our shadow. So now when we move out, it looks like these belong together. They're actually together in the same space, casting a shadow. So now the hardest part is over. You can select all these, group them together. We just need to do a little too Circles course were actively adding color now, So this is not gonna be a final color selection, but just kind of do some colors here, replicating this to create an outer circle. And I could use my kind of ah, quick arrange and just kind of right clicking arrange. I'm just gonna move it to the back. So sometimes its quicker than doing the keyboard shortcuts. They don't have to sit there and you command left bracket and send it all the way down. He could just send it all the way to the back by Right clicking. So now we need to figure out color. Same thing with that. There we go. These colors are obviously not work. Super. Well, let's do some nice neutral colors for here. Doing some grays. Make it kind of like a light blue. And then, of course, we can change this with the eyedropper tool sample that blue look over here and then just bring a little shade to it. So not too bad of an icon that we created. I mean, you've probably been learning affinity designer For what, An hour and 1/2 now, and you've already been able to create some pretty complex icons. So now we're gonna do some lots of shapes, will be tracing over this one. This was gonna have lots of curse. And we're gonna be clicking a lot, making a lot of notes to create this one. And I'll see you there. Suit 9. Affinity Designer - Dog Icon: trace this dog shape that I created previously you to get that pin tool and we could start anywhere. I like to kind of start at sharp, right edges. This makes me feel better for some reason to kind of start down there. So I'm gonna click on the bottom. And if I have a nice, gradual curve, sometimes I'll do longer curves and click and hold. So that matches up really nicely and then just click and hold, and you can always go back and change. You mess up right there. That's okay, because we can always go up and get that no tool and, you know, just kind of correct it. This is where it's handy to know those shortcuts to kind of go. OK, so this is a and this is a piece of switching between manipulating the nodes and drawing new news, which U p choose your p and a Just remember that P and A So now I'm ready to keep tracing, So I'm gonna go back into penned tool and then keep going. It's like, Oh, I messed up. So now I can switch between a get my no tool and fix it and switch back to P, which is my pin tool. So A and P and P just memorize that. Or you could do like some people. Just do the pin tool and go back and use the no tool. All it wants to fix everything, whatever style you like to do. So now I'm gonna connect. All this man may have to do to notes toe properly. That's a pretty big curve. So I'm gonna split the difference there and do that. All right, so we have a pretty good outline so we could take our no tool and go back and really kind of correct some of these little issues. Sometimes it requires adding a new note note just going around and making sure everything is OK. But what else? A little strange looks like. The handle was a little off on that so I could do that and bring this out. Make sure it didn't affect anything down the line. And they have to add another node. This is really fine, detailed work. If you can do this, you're really doing great. Adding a new note. We get it out. This is the hardest part of learning this program is the pin tool. You don't feel frustrated, but I'm just in the No till the whole time. I've already done the pin to of already drawn my shape, and now I'm manipulating the nodes, just making sure everything is pretty darn close. So notice when I do a handle, notice how I have one node that whole way up that year. And when I changed the handle, it changes like the entire stroke. So that's why sometimes it's nice to have multiple nodes so that you could have a little more control over curbs. Just don't have one big long handle. Okay, that's pretty good. I mean, we could sit there and spend 10 minutes on this and still not be done. But there's our little dog icon. And just switch that to a Phil. We're gonna just do two simple circles here like a different color is doing her background now to sending that backward into the layering system and let's create another one moved back. So that's going all the way to the back. Let's make sure these two circles are pretty much in alignment, so we're gonna select both of these circles going to my alignment and center line and doing all the center line. So now I know it's all nice and centered. So let's say we have a shape here and let's say we want to cut this dog shape out and we wanted to go nicely along the curve here. We want to keep this on top because the little ears on tops we want to keep. This is the top most layer. So see, that year it's on top. We want to keep it on top, but we also want this trimmed, too, so you can't have it both ways and have one layer on top of one layer on the bottom so we can trim this and still keep us on the top to keep a nice look. So we can even select the circle. Select the dog. There's a couple things we can do. Another cool thing you could do is I could subtract, thes and kind of do a negative space. But what kind of cool could make that a different color? Making the negative space logo so just kind of showing you your options there or if we just want to trim, basically trim that off, we could do the divide tool. We divided it all up. So now we have. This is a separate little thing and we could just erase it. And now it's trimmed and it's still on the top. Of course, we can change these colors here. Doesn't have to be what we used here, Scott Clicking These were random. And that's even divided, Which is kind of cool if we wanted to create kind of a two toned effect there with the logo . So lots of different options there. So now we've created two different icons. We're gonna do a little bit of typography, work with this one and then create a very quick last one. 10. Affinity Designer - Type Icon: way haven't used the type tool much at all, and we're gonna use that in the next project and even the next project after that. But we're just gonna get the type tool, and we're gonna type in a simple A. We're gonna make that a bit bigger. Let's go through our type choices here. So we have our type options up here, and we're gonna scroll through and see if we can't find my nice, thick typeface that we can use for this project. How about this one that looks nice and thick. It's could be a little bit thicker than what we had before, but that is OK, We're going to create our own little icon variation here. You make this a little bit smaller, so could see what the original look like. You could have some space to work with. So what we want to do now is this is kind of a similar situation to the strokes and also a similar situation to these complex shapes. We're gonna have to expand the shape or create curves to be able to add icons and change it because right now it's live type, which is great, cause I can type in all sorts of stuff and, you know, make it tight. But I really want to manipulate this and create my own little shape out of this. A. So I want to make it objects. So I'm gonna right click and do the same thing I did with these objects when I needed to add anchor points. And that's convert to curves. So now it's just like any other object. It's no longer a text object. It's now its own object, so let's add some curves to this. A. So we do that by doing the curve tool, or just press. See addicts and hers dimension to this. So you'll also notice something when I go ahead and show you this after I complete the curves. And so now we created curves. They're made it a nice, unique shape. You'll notice when I created curves, you'll notice this thing called Get My corner tool and click on the note. You'll see something called bake Corners. So think about when you're baking a pie and you bake something its kind of final. You baked it, so when you click on bake, it makes it an actual finished corner and now I have I can manipulate the nodes very easily . It's no longer alive corner, which could make it nice if he needed to. No longer have that option. Anyone a bake it in. Similar to kind of expanding your stroke. Okay, so there is the letter. So now we want to create this kind of cool Grady int study. Grady INTs very, a little bit now, but a lot later, and we need to add a zero. So we already have a narrow right down here. We're gonna make life a lot easier. McKerrow. We're gonna make it about the same thickness as the A. And I don't need this whole left side. So we're gonna go up here to our options. Now we're gonna have none. No one's gonna sly this right Every year. We won't be able to match this pretty close in terms of thickness. More bail will bring this arrow over just a little bit. So let's look our original kind of see what we did here. So there's the original to a little bit different. The stem of the A's a little bit longer. That's okay. And once again, this is a complex shape So right now, the only thing I could do is do this and that, but I can't edit the shape completely. So I was gonna right click and make sure I convert to curves. And then now I can edit it completely and make maybe make the arrow a little less intense. So now we want to create ingredients. So you see how it kind of goes from this gray all the way to the dark. Let's go ahead and make this is getting our eyedropper tool and making all this the same color. What we want to do is we want to add a radiant to this arrow. So we're gonna get the Caridi int tool, which is, could be right here, and we're going to click and hold. We're gonna be able to kind of drag this Grady and out right here and notice This great aunt looks like this is all one shape, but it's not. That ends right there. It's because I took the same color here and adapted it to our radiant. So any time we want to do a radiant you select on the radiant tool double click up here and we could change it. So this is the first part of this is the second part of the radiant. We will study Grady INTs in much more detail in later lessons. I just want to kind of show you how I kind of used that. Those tools how I kind of outlined the type to create an object. So we have one more to do. This could be quick, and we're gonna do some simple circles. You could do doughnuts. What ever you want to do to create this? I think doughnuts might be the easiest way to do it a lot easier than creating a stroke and having to expand the stroke, isn't it? So here is our little kind of basic shapes. Basically two doughnuts and a circle. So what we want to do is we want to select all these objects, and I want to be able to expand that because right now it's still stuck on that doughnut shape. So I wanna right click and convert to curves. Okay, so now that's just a regular object. Now, in this bird occurs great. So I want to make sure all of these you go and select all. Now I'm gonna just a lying everything's and lead it to the center. Shifts going. Group that together. And now we're gonna create this hero object. So the easiest way it looks like to create this is to create a stroke. It's got some nice rounded corners there, and let's go ahead and make it a stroke. It's making a different color. Now let's expand that stroke out nice and thick and look, it already kind of naturally has those caps because we have the around it cap on. So now we have to do is take the pin tool and kind of create our little feathers. Easy, easy. So now we have kind of are different shapes here. We could bring it in. We can ungroomed. We could make this red if we'd like to can expand the stroke if we wanted to keep that a final size or final thickness. So there's our little icon. So here we go. Look what we created. Look what we created all for these pagers. We did it all. Now you know all the basic tools to create shapes, to cut out shapes, to manipulate shapes, combined shapes to do illustrations to do logo designs you really understand the pin tool. Very wells. Who could make your own custom curves and shapes And you know how they hold down the shift to make sharp points. You know, everything you need to know to be able to create some riel design projects and work, and that's exactly what we're gonna do next. Now you have the foundation. You kind of know the basics of offended designer. We're gonna create a pretty complex but fun illustration, which is gonna be a logo design for a food truck that's going to sell fun, bright popsicles. We're gonna really get to dive deeper into radiance, and we're gonna be able to touch on the type tool just a little bit. And we're gonna do one more project after that. That's really good. A touch on the type tool. We're going to paragraphs and type and and really kind of explore that tool because that's the next most valuable thing to learn is really work with typography and type and design. So I'll see you in the next local design project 11. Affinity Designer - Logo Design Project: welcome to our first official project using affinity designer. Today we're going to recreate this logo for a food truck company that serves up fresh, colorful popsicles. I thought we would embrace their product and do a similar bright logo full of colors that pop. I have a downloadable photo you could bring in to use as a guide for sampling colors and drawing the basic shapes. As we work through this local design, this project will really get us to dive deep into learning. The Grady Int Tool as well is starting to work with typography and details. In just for a experiment, I created this project in both Adobe illustrator and affinity designer to really prove the fact that offended a designer can really keep up with the more expensive software. So let's go ahead and get started by opening up a new document. So I opened up a new print document. It's a A seven, but you can use any size you want. We just need some room to play around with her logo design and create our illustrations so you can also use an 8.5 by 11 if you want just to just kind of an open, airy art board that we can have lots of room to do our design with. So let's go ahead and bring in that photo resource to kind of give us a guide on sampling colors. When we get to that point, don't say I want to bring a J. Pagan. We have this handy little tool called the Place Image Tool. We're just gonna take this J peg that we have for the class double click and a set of justified his press and click. It's gonna load the entire full resolution image. Or I can kind of crop it and and kind of just click and drag and getting appropriate size. So let's go ahead and create. I'm in our layers panels to integrate a new layer. It's gonna be for our popsicles. Call it Pop. We're gonna go ahead and trace these. What I want to do is go back to this layer and just reduce the transparency. We just need an idea for the size. We don't really need to do color or anything too complex yet, and let's lock that layer so that doesn't get accidentally moved around. So we're back here and ARPA players is we're gonna be drawing our idea. So we have four different Popsicle flavors that we want to eventually incorporate either on the food truck or on the logo design. We want to do a wide variety of the different flavors they offers. They offer orange strawberry kind of this tri color and then a chocolate. So I thought these would all help us experiment with Grady INTs at at a good level because there's a lot of different radiance represented here. So let's do one. And then we've done one. We can duplicate it and then start to kind of add ingredients. We're gonna start with this orange popsicle first. So what we want to do is we want to get a nice, thick stroke shape here. So let's get our pin tool and let's get a nice dark stroke. So let's get a nice kind of dark gray right here on the color. So that's our gray. And let's flip it to stroke and let's make it rather fix and you go to my stroke panel and we'll see the thickness here. We'll see if we can't match the thickness. Let's go ahead and draw this first line, I'm just gonna make it a little bit thicker trying to match the thickness. We can always go back and change this if we wanted to. And so that's a great thickness. So now we need to kind of draw the safe so we can trace this with the pin tool and create anchor points and do that. Or we could make it even easier on ourselves. We already have some great shapes we can use out of the box. Let's do our rectangle tool that having to draw perfect lines, we already have a tool that could do this for us. So what we want to do is, since this is a shape we're gonna have to right click and go down to convert to curves so that we can have access to all the points. Let's go ahead and zoom in on this. So now we want to be able to make this kind of rounded top so there's a couple ways we can do this. We can get our no tool, and we can kind of click and make a new node right there in the middle and then to slowly push it up right at the top. It has a sharp point, but that's OK, so we would go to our convert and convert that to a rounded shape. Now that we have that converted to a smooth edge, what we could do is we can take the no tool, and I'm just gonna be pushing out on the sides and I'm clicking. And what I'm doing, it said, is pushing out on the sides without creating Ah, point like this. I'm gonna be creating another node point and then bringing it out to kind of create a nice , rounded look. So you'll notice this kind of have some pointy edges. It doesn't have the same smooth look as this one to the left, so we want to smooth those out. So one thing we could do is get our corner tool or press see, and then click. And we're gonna round that off look and round. And if you wanted to match, you have this radius right here. So we want the left and right sides to match. We have this 2.4 wickets. Copy that and then select the other side. And it's already that way. But we could paste it and kind of make sure those sides match. That's pretty close. Wouldn't go back and find Tune this a little bit later, but I think that's pretty darn close. We could take our no tool and, of course, make some small adjustments to the curve, and that's kind of our basic shape. We also want to add a little bit of rounded corners years so you could see how it's a little round it. It kind of helps finish off the illustration a little bit, so we're gonna grab the corner tool yet again. So I'm gonna press, see, and I'm gonna be able to click and hold. And so it's 0.77 Click and hold course you could be using inches or another measurement. It all depends on what you're using. So there's kind of the basic shape. Let's go and do the bottom part. Next, we're gonna do the same thing, get a rectangle tool. We already have this great tool that we can use. Let's zoom in on this, and we need to make this kind of a curve as well. That's what we're going to do is when when a right click we make sure we convert to curse because it's a regular shape. And now I could take no tool press in the middle, kind around that out a little bit, do the same thing we did before. Get the corner tool and then round off the edges. So we want to create the little accents here. These kind of little, I guess highlights and shadows kind of shapes here. So what we could do is we can do what's gonna probably be easier is getting the pin tool and then drawing a simple line. We wanted to be perfectly straight, so let's hold down our ship, click hold down our shift button and then click down here and we have a perfectly created vertical stroke. It's going to reduce the with on that to match, and then what we could do is we could just hold down, option and drag, do our little duplicate, and then we could take our no tool and just extend. That went out just a little bit longer than the other one. And it's kind of movies to the center. Let's do instead of the three we have there, let's do to make it a little more simple make. He's just a tiny bit thicker. It's kind of simplifying the illustration a little more. There's are a little accent on the bottom, and now we want to add kind of some highlights to the top, some glossy highlights and I also want to make sure I have the corner tool, and I'm just gonna kinda I just there's a little bit more. Get a little more round this. They're just kind of adjusting that slightly. Okay, so now we need to draw these little highlights. The best thing to do is probably switch to the pin tool and just draw a simple stroke and make it a certain thickness that we like. And just like that, we created a highlight that goes along with same movement of the border. And with this one, this one will be easier, because we could just create and a lip, do their lips tool and create a simple shape and flip it to fill to kind of give the other part of the highlight accent. So let's make both of these white. So let's make this white cause it's gonna be a highlight eventually to make it a fill, light and also make that a Bill White. Great. So now we have one more basic element to do with this illustration, and that is drawing a little accents are the indentations that happen on Popsicles. Let's continue to use the shapes we have available to us. We're gonna use the rounded rectangle tool, and I'm just gonna create our little indentation accents here. And what I could do here is I could just duplicate this, so hold that option and drag it over. I'm selecting both of these options. Of course, I selected one than held downshift to select both and I'm going to just do kind of an alignment is to make sure everything has some sort of alignment happening. And I could extend those out a little bit more to match. And so we're getting pretty close to our basic kind of illustration. Let's go ahead and zoom out and see what we have here. Let's also toggle off our layer to kind of see our basic shape. So there's our basic shape, and of course, this will eventually be filled in. So there's a basic shape that we created. I'm pretty happy with it. So now we need to add pops of color and all sorts of wonderful radiance. So we're gonna get to go radiance. Next, we're gonna be able to take the photo that we've had toe pull samples, using the eyedropper tool and creating a wide variety of radiance. 12. Logo Design Project - Gradients: So let's talk about cropping in clipping masks just a little bit here. So I have made this full color because I really want to sample some of these colors for our illustration, but we need to kind of crop this down. I don't want to have all this excess background yet. I just really want to focus on those color, so I just want to quickly crop this photo. So how do we do that? We're going to take the rectangle tool and this kind of draw shape about where we'd like to crop it. And so you'll look in the Larry system and let's go ahead and make this shape an outer most layers. I'm just dragging it to the left sides with an outermost layer, and these are all nested. So as you kind of drag it down, they become nested. So I have this This is the photo. I want to crop right here and just talk going on and off to crop something I drew that shape that black shape. I am ghost gonna drag this in to this layer and make it nested. So I'm gonna put it a little bit to the right and you see how it corrupt it. It's pretty neat, huh? So let's just do another example just to kind of show you how it works. And we'll do this with other photos as well. Let's do a doughnut. I guess we could do a doughnut. We'll find out what happens. And so what I want to do is I want to drag the photo into as a kind of a nested element right there, and it's gonna crop it. So you see how it kind of did a clipping mask. So if you ever want to crop photos or do clipping mass, that's exactly how you do it. Of course, you can select this layer to cut of crop even further. Our select this layer to move layer. So just some kind of a side note, but something I definitely wanted to review. So let's crop this down and I'm gonna take our layer. We want to have our the image you want have cropped and dragged that right underneath the shape, and it will just drop it for you or do a clipping mask. So now that we have that, we can kind of sample or colors a little better. Let's move this down. Let's move this up. Okay, So let's do our 1st 1 and then slowly work our way over. So Grady INTs. So this is how radiant Grady INTs work. We're going to select the main layer, and we have our Grady int tool right here. We're gonna make sure we have Phil selected. Want to keep our stroke intact. And this is the Grady int tool, and we're just gonna click and drag. And he could have put your grading anywhere you wanted to go, and it's great. So you can go ahead and zoom in. And with this, you can control what side has a where the color starts. So you have this bottom kind of note or color, and you could have it start a little bit higher up are a little bit lower. That is quite nice. And when we get to the tri color Grady INTs or doing multiple Grady INTs, you can actually click anywhere on here and create 1/3 color. Ah, fourth color. You could create a lot of metallic radiance by using 10 or 20 colors. That's how gold radiance air created as they create lots of different highlights and shadows all the way down. But this time we're gonna keep it pretty simple. Just deleting that could have two simple points of color. So let's go ahead and sample kind of. There's a couple different things about grainy. It's I wanted to talk about. We go up here. Here's all your Grady in options. We're going to a drop down option for type, and you could do a couple of different types and let me just kind of quickly do some swatches here so you can kind of see some of this in action. So all I'm doing, if I want to change the color and go up to fill, and then you can click on any of the color points and be able to change it down here. So let's make that a pretty your color. So I'm gonna select the Grady it tool. We're gonna get our Canadian options again. So the standard is a linear. So Lanier's is gonna be a line, and you can click and drag an assist, a simple line that it follows. You could also do a a radial, which is gonna be kind of a circle, so it's gonna have kind of a central point, and then it's gonna extend out. That's kind of your circle, which is really good for doing highlights and shadows and making things look like they're three D like a circle, and there's a couple of them that are different. Conical is a little bit different than what you see and maybe Adobe illustrator. You have the central point, but you also kind of have this circle here that you can do. You can add different points of color along this circle is well to make it even more complex, definitely want to check out. It kind of creates this interesting, but go ahead and zoom in here kind of creates is very interesting effect here with the greedy int. But the two Grady inside used the most is linear and radio. I used the other one's a little less often, so now that we understand kind of our basic options with the Grady Int tool, let's see if we can't change these colors. So let's switch back to the Grady and Tool. It's kind of make sure we have what we like here. We're just doing a linear Grady int. We want to change these colors who want to sample? Um, times could take the eyedropper tool. And I'm going to sample this top bright orange color and I want to make it this color up here. So I just selected that particular node color point, and I'm just gonna click over here and it's gonna adapt the color and same thing here. I want to do this darker Richard Orange and I could just click on this note and then boom, we have this nice flow ingredient from the top to the bottom. And we could even do a radial here to kind of give a more realistic highlights so we can click on a great tool, go up to radio, and now, instead of just being a line, it's a little bit more of a circular kind of motion. It could give a little bit more realistic highlights that this was our point of light because we have this nice highlights illustrated here. This would be your brightest color, and that would be your darker color. We could make it more dramatic by adding another color and clicking on this one and kind of bringing in mawr. Ah, white to our orange to kind of give it a little third color, a little third highlight and it gradually works its way down. So let's do the accents in the middle or little indentations. We're just gonna take this and we're gonna do the Grady int tool top to bottom and then go ahead and change these. So the bottom is gonna be the same color, and the top is gonna be this lighter, brighter orange. So the great thing about this is, since these air very close together, it looks like it kind of gives it a little bit of depth and dimension because these colors blending together and these colors really pop out together. So it gives it that nice blended look. So instead of doing the same thing again, I'm just good copy and paste, bring it over and just make sure we have some nice alignment. So let's add some color and highlights to the Popsicle stick. We're going to do the same thing, and as a fill, we're gonna go to the Grady a tool in this click, then go down. What we want to do is do the same thing, which is get a sample this top color or any color can select at your own. You don't have to use the colors in that photo. Just kind of helps to have some nice sleep. Nice chosen already chosen colors. It's ready to go ahead and get this darker brown. And we're also practicing using this. I drop of tools. Well, and I'm just gonna extend this down, make a little bit pride. Er, I think than the other version. You can always adjust the colors. You could even bring a little more white in that if we wanted to. And we have our first Popsicle. Yea. So now we just have a couple more to create. So let's go ahead and create the next one. I'm just selecting everything, holding down option and bringing it over. And this one's gonna be easy because we're just gonna be bringing in some pretty similar colors over here on the Grady in. So have this Grady int the selector tool and just continue to select are different options . Here, take a sample of that middle color we don't have to use to. We could just do we want to use three points with disuse too. If you want to simplify this Grady int and let's do that darker purple, and that will be there. And same thing for this Inside. Let's do the same one. And we want to get the same color as the bottom. So it looks like it blends kind of feathers or blends down at the bottom. It's giving that same effect. Is this a similar darker color? So that was pretty simple. So now it's could be a little bit harder, but nothing we can't handle. We're gonna try colors. We're gonna have this tri color version right here. That's not gonna be a problem, because we know how to add points Dig radiance. So it's gonna create a new Grady int. Let me just remove that. This is kind of the default radiant that's created a linear. And we're gonna add that middle point. It's adding in middle point, you need to do the same process so the middle points gonna be white and the top is going to be read, have a cherry color, and the bottom is going to be Balu. Okay, so we want to kind of give the effect that this wider is a little bit tighter. It's not as blended, because if you ever look at one of these Popsicles, there's pretty, um, quick transition from color, so we don't want it to be really loose like this. So what we're gonna do is we're going to select a great aunt Tool, get our great going and you have these little options. Here we have these little extra little tabs and you could drag that and kind of create align. It looks like this is radio source. Could have flipped that toe linear and make sure we haven't lined evenly. We're going to kind of pull these tabs to make a little bit of a tighter, quicker transition between the colors. So let's go ahead and change kind of this a little bit. Get ingredient tool. Let's see if we can maybe soften this one. We wanted to be different if these matched completely, you would not see this at all. So you need to kind of have a different point of highlights where the white ghost. So it looks like you could actually see the indentations. So there is our little fun try. Popsicle looks pretty close. I'd probably even need to soften those lines even more. All right, we have one more Popsicle to do, and that's gonna be this chocolate coated one. So let's go ahead and duplicate. Let's duplicate one of our more simple ones and bring it over. So let's do the base first. Let's do this kind of brown color first. So now we need to draw this You a gooey, nice dark chocolate coating on the top. So this is gonna be taking the pin tool on drawing a layer on top. So we're gonna do just that. Did it kind of creates and curves here and let me reduce. Let me go ahead and make that this dark black color analyst Take her pin tool again and let's keep going. I was creating just clicking and holding to kind of create those Smooth Benz. And then we're gonna go back and complete our shape. Doesn't have to be perfect as long as it doesn't go outside of that black stroke, you're OK. Would have make this a solid. Put this making a solid Phil and we can, of course, take are no tool and make any kind of adjustments to the handles into the curves. If we want to adjust our chocolate, Cody. So what we want to do is we want to just you command left bracket or we can go into our layers panel and manually kind of move this below certain points. We want to get our highlights to be shown. So here's the problem with this. This doesn't look like it goes really good together. We kind of want to create. You know, the dark chocolate's gonna go over these little indentations that you see on the Popsicle, and it's gonna be a different color. It's not gonna be this bright pop of brown. It's gonna look a little bit more like this. So how do we have to separate elements here? So this is gonna be a little bit easier than you think. So I'm sampling the shape that we just created, and I'm taking the two indentations. I'm just pasting them are creating a copy. So what we're gonna do is I need to isolate and cut, take this object and cut this out so that we're just left with the top so we can overlay that on top and make it a different color. I'm gonna use are handy tools up here and I'm gonna press on Intersect. So Intersect is going to cut everything out in the middle that's intersecting in the middle side and is gonna chop everything else around it off. It's going press intersect and voila! We have our little shapes. We could drag it right where it came from and make some adjustments to this color. So there's our fun Popsicles. We have all the icons we need to create our logo design. We're gonna be picking a couple of these popsicles to spread apart and put in the center of our logo design. So we have the kind of the basic illustrations done. Now we need to kind of think about typography and how to create the name and how to come start to work with type. 13. Logo Design Project - Type Tool: way have the kind of the basic illustrations done. Now we need to kind of think about typography and how to create the name and how to come start to work with type. So what we're gonna do is we're gonna take these, we're gonna slide these down, and we're gonna start to put in our typography for our company name. It's gonna be called pop fresh, so we're gonna grab the type tool, which we haven't used a whole lot yet. We're gonna go ahead and do some simple types or just type in all caps. I'm just doing all caps, Pop. That'll be the first word. And I'm gonna just do a second text box, hold down option and drag, and it's gonna be fresh. But I thought with fresh what I like to do with typography and logo design is have contrast with my type. So if I have a two word company name, I like to make one name Boulder One name, thinner toe. Add a little bit of contrast. In this case, we haven't all uppercase pop, and I thought with fresh, we do cut off a fun script that uses some lower case lettering and would kind of pair very nicely together. So I'm gonna type in fresh in lower case and I could go ahead and try to figure out some really good font choices for both of these. And I thought it would be neat to kind of make this a little bit smaller and just kind of bringing and see this kind of natural area that's created by the lower case lettering I thought it be need to kind of interlaced those cause we kind of want to make this kind of a fun, Um uh, logo design with movement. And speaking of movement, I thought of being nice to add kind of the text curve as well. We'll get to that in a little bit, but let's find our type choices for this. We want to have contrast. We want to have a nice serif or sans serif typeface on the top and a nice script typeface for the bottom. Let's do our simple pop type. First, let's find a nice, simple san serif typeface that looks really nice. This is actually an azo sands uber, which I guess is this super big thick Wait. They'll have a regular as Well, I don't think I've ever seen that uber before. I guess that's super duper Thick would be really nice for visibility to see on a food truck . To have a nice, thick typeface will kind of copy this and see if we can't find something else and see what we think. So between these two typefaces, there's one called Nobel, which I thought had a little bit of a thinner weight, and I think it's got a better balance. I think this is pretty darn thick. So let's go ahead and get rid of azo Sands and kind of stick with a little bit more standard of a typeface. So what I want to do is I want to be able to have contrast with my type, so I'm gonna have This is a nice script, lots of movement, and I want to be able to add spacing here to kind of contrast with this nice, tight script on. So I want just one at a little bit of character spacing between my characters. I think it will look really nice when I kind of give it a little bit of a curve. So how do I add spacing between characters. Well, looks like I'm missing my character and paragraph panels. If you're ever missing a panel on the right, you can always go to view go to studio. And then here's all your panels that you can call out, just like you can in Adobe Illustrator. So there's paragraph. You could help me with paragraphs facing which I don't need, and there's our character panel. It's what we do need. So now that we have access to this weaken, adjust her type. Pretty good we want to do is adjust the spacing or the tracking, so we want to extend that out and make it bigger. We're going to a higher percentage and looks like 50% is your highest, but you can actually manually type in, Ah, higher percentage. You're not stuck it the max. You can actually type in 100% and get more dramatic spacing. That way we can even do 200%. We'll see how that looks. Maybe one 50 might look the best. Just adding a little spacing. You kind of see how that looks and the final logo. Maybe just bring it down 200. But this is how you do spacing for two characters. Now you do. A lot of you're underlining in your strike throughs and kind of changing everything here is that character panel. Let's find our pairing typeface. We're doing some thought pairing. Let's find something that'll pair well with a really simple sans serif typeface. Well, so now we could do something more decorative and expressive and has movement. So let's find a nice script font. You know, we could do something like this, but it's not super readable. And that's the problem with script typefaces is a lot of them aren't readable. You gotta find something that's really thick, expressive but very easy to read, especially on a food truck. Okay, so here's one called Bunch Blossoms. It's actually a personal use typeface. So it's something that I found online and I could show you and share a link so that you can download that this is for personal use only unless you purchase the license. But she can use it to play around with this project if you'd like, or you can find another script typeface to use. But I thought this was really expressive. It was easy to read, and I thought I'd be me to customize this typeface a little bit and add some character by adding highlights on each one of the letters to kind of really make it come to life and pop out at you. Give you cut of this three d Look to it So this is called bunch Blossoms out. Provide a link somewhere in the course notes so that you can go ahead and grab that typefaces. Make sure you don't use it for commercial paid projects unless you purchase the license. So it's for fun. It's for personal use, but let's find a way to kind of bring these two typefaces together. So let's go ahead and add some curves to this. I thought that would really make it neat. And I like this natural space that's created from the top of the F to the right of the A H kind of that perfect little puzzle piece that just seems toe lock together. And the type really goes well together. So let's add. Some currently make pop a little bit bigger, cause that's important part of the name. And so with curves. So in Adobe Illustrator, there's something called the type warp tool or the text warp tool. We can easily bend and add curves to type Will Affinity designer does not have that tool, but that's no problem. There's always a work around to everything. And I'm gonna show you that here how we're gonna add kind of that curve and punch to this. So what we're gonna do is going to do kind of a type on path If you're familiar with that and Adobe Illustrator is gonna be something very similar where we're gonna draw stroke and then be able to type along that stroke We're gonna take the pin tool click We're gonna hold down We could hold down shift so we could make it kind of even I'm gonna click on the other side and hold was gonna create just a small been We're not gonna do this dramatic, Ben. We're just going to a slight curve and our type, and then we're gonna get our type tool and we're just going to look out when I roll over. This stroke kind of has this little wavy line little icon. That means you can actually imprint the type on your strokes. You can put type on circles and seal logos and this kind of how you would do it. And I like how it's done. An affinity designer because an adobe illustrator you have a separate tool called the Taipan Path Tool and with affinity designer has already integrated. It's smart. It's already integrated in just the regular type till you don't have to use a separate tool , which is really, really nice. So let's go ahead and type in pop. So now we have it on a nice curve here and you'll notice you have these little green and red arrows. We could actually position this a little bit better. So have said a big lopsided. We can kind of click and hold this kind of green area and shipped it back to this side, or we could shift it back to the left. This actually, and this might be a lesson for another day. So you have this kind of red area arrow. You kind of shifted toward the type, and it can actually reverse it. So this is really great when you doing seal logos, which maybe we'll get to uhm and another class in another day. But if you ever wanted to kind of reverse the type and do kind of have the type on the inside of the path. You could just kind of clip that with the red. So let's make sure this is nice. Even great. So there's kind of our curve type, and we probably need to reduce the tracking a little bit. What's gonna reduce that back down? 50%. Okay, so we want to have the same kind of movement to this fresh logo. So we're just gonna copy and paste this or click and drag, and we're gonna do the same thing. We're going to curve tool here. We're just gonna do the pin tool, hold downshifts, wouldn't get a nice, even line click and hold just a nice, subtle curve. And then we're gonna be able to kind of copy this, and then we could paste it on. Here, we can do our type tool. Get that little icon, click and paste and voila. We have it on a little bit of a curve here. So that one was a little bit easier to do that off to the side. And now we have some curves here. So let's see how it could bring these together a little bit better. And at any time you want to change the curves, let's say Oh, maybe that's too curvy and I want to straighten it out. Let's go ahead and take the no tool and you could do this just like any stroke. You can adjust it just however you'd like to do. You could notice how when I change it, it really kind of changes where the type plays. So a couple things we could do this type to really refine the type. Weaken, soften some corners because this has some nice soft brush ends. And this has these sharp angles. Let's have these match a little bit better were to customize this a little bit. So when we're really happy with the positioning of this, because once we change this, that's it. So once we basically create outlines or expand or add curves, that's it. It becomes an object instead of live text, so we just need to be aware of that. So when I right click and I can create Kerr, convert to curves, it's gonna convert it to an object now. But see now I have control over all the little individual anchor points now, which is great, but I can no longer edit the type. So when you right click and convert to curves, make sure you're feel final about all of that. So what I can do is I'm gonna right click I'm gonna UN group all. So now they're gonna be all these individual elements. So now we can kind of do our own Kern ing and turning is just adjusting the spacing between characters manually. So just kind of doing some Kerney. And then I want to soften the type so we can do that by getting the curve tool and just kind of slowly adding some curves to our type. Just kinda help soften those sharp edges. Kind of helps match that nice, smooth script typeface and the O doesn't need any softening. So just the p. So see how that kind of changed The character of that p kind of softens it quite a bit. Let's move on. So let's say we have this typeface and we're ready. We feel very happy with it. Maybe we can take no tool and maybe kind of at a little more curve to this Stop fresh. And now that this is separated and just like objects. This could be a lot easier for us to customize control. So a few things weaken Dio If we feel like we're at a final point with this, we can right click this and we can convert to curves that will make it a final object. We can even ungroomed all And we can have individual control over each letter. If we wanted to maybe closed the gap there just a little bit. We can have total control over a type. So you noticed how you know that little line here? It looks like they're not exactly flowing together. Ship that over just a little bit. Kind of customized the type. All they did was did the curves converted to curves and then ungroomed them. So it's gonna un group him and treat each character is an individual letter. We could shift that over. So you notice right here kind of have that kind of awkward her. That's no problem, because we could just ship that over and have it look more like one solid stroke 14. Logo Design Project - Putting it All Together: Now that we have our typography all fleshed out and ready to go, I wanted to add some sense of highlights to the type because right now it's just a flat color. What if we added the same kind of highlights that we have on our Popsicles? So our Popsicle symbols have a little element in our typography in terms of having those same similar type of highlight strokes. So we're going to create some highlight strokes and you can see here in the example logo. We're gonna be doing this by just drawing some simple strokes on top of our type to do that . Now we just have the pin tool, and I'm just gonna draw some simple curves. And let's make that white. And let's extend the stroke out quite a bit. Make it a nice, thick highlight. Could always take your no tool in a justice, maybe bump it up a little bit closer to the left side, which is where the kind of the highlights are coming on. The Popsicles were always short on these two and picking him up. Soldiers could kind of see how everything starts to look. We load all this in here So that is it for the F? We could probably make that a little shorter, Drawing some simple strokes. We already practice doing our shapes. This is no big deal. A little curved, that's it. Doesn't look like a straight line. We'll see how all this looks. Could maybe adjust the length of some of these highlights. Just the curving on that one. Remember, those shortcuts to one of the highlight Be too thick, because then it takes away from the letter. I just wanted to be a little highlight, just kind of reducing the thickness on some of these. Okay, so now that we zoom out with you kind of definitely see those highlights and action. And so another kind of fun thing we could do a little bit final when we add some finishing touches as we're just gonna bolivar these a little bit. So it gives it more of an airbrush kind of look to it. Kind of like the sample you're seeing right now kind of that airbrush. Look, we're going to do that when we add some final touches to the logo and a little bit, but let's bring in our colorful Popsicle icons next we're gonna get what we had before and bring those in. So we're bringing in our popsicles, selecting them all, and I'll show you a little problem that you can run into, so I'm gonna make them smaller. And we have active strokes on this, so we make it smaller. The strokes get thicker as it gets smaller. We want the stroke ratio to stay the same instead of changing as it gets smaller or bigger . So there's this little option right over here in your stroke. Panel calls scale with object. So now when I have that selected and I hold down, shift and scale down dimensionally, you don't have any of anything changing. It kind of scales down with the object, So that's very helpful toe have if you don't want that to happen. So let's bring our type and are objects together. We don't want to have too many objects going on here because we want to have a nice, simple logo. If we had four these Popsicles right across the top, it would start to look a little big, a little thick, so let's see how we can integrate thes and make him one concise icon together. So I thought I'd be need to take kind of three of these. Maybe the chocolate and I could right click and group these together just so they stay together as one unit to this grouping each popsicle together and kind of maybe making it fan out so I could have the bright orange on the top so we can bring that on the top of the layering system moved to front. And I thought we would kind of been these a little bit and create kind of this banning effect. They couldn't tell the angle here. So I'm gonna zoom in, do this. You could tell the angle. So that's rotating at 14 degrees and then he can match the angle, if you'd like. That's 21. Doesn't have to be precise. I mean, this is kind of more of an illustrative, fun kind of logo. So I thought that be fun to kind of match all those kind of create this fun icon. Now we have one central icon we can use and bring that down further, maybe fit families at a little more so you could see the details of each Popsicle, especially that delicious chocolate one. Let's go and zoom out, and we need to find you don't need that one anymore. We need to find the right balance between the symbol or icon and the typography, so you don't want one to overpower the other. So we want to make sure we have balance between the two. And I think right now the type is really taking over, which is not a bad thing, because we want people to be able to see the food drug and know what name what company it is. But I do think the Popsicles do play a big role in this logo, so let's make him a little bit bigger to balance amount a little bit better with the logo. We want to have proper spacing between Oliver elements. We have enough space in here. It's not gonna be too tight, like if I were to select all of these. So if I brought this down, that's a little bit too tight of spacing, and it kind of causes some anxiety so you won't have lots of white space. But you don't wanna have the symbols look disconnected either. So there's always this right balance opinion being too close and too far, and it's usually something about there. And so we have this Oh, which is kind of our kind of our center kind of alignment of the logo. So we can kind of align this right where the O is right there and there's a couple things we could do now that I'm kind of seeing from some changes, we could make the type same color as this Great, because we don't want to have this all these different colors happening, especially when the colors are very close together. So we have this kind of black, and we have this kind of lighter gray or dark grey. We were really want that to match. So we could either make this black all the strokes on this black or make this gray, but not keep both because they don't seem connected because they're just close enough, not work. So let's go and select all of her black type. We have all these individual elements now, and we could take her eyedropper tool sample this darker grey. Let's see what the darker grey looks like on a hill that kind of lightened it up a little. I kind of like the darker grey on the type. And then maybe we can balance this out by just making it just maybe 10% smaller. It's gonna take some time and noodling around to find the right balance. So I like this logo. I like the icons on the top. I like the typography, but I feel like there's you have a heaviness up here because it's fanning out and you have a heaviness down here. So you kind of have this empty kind of areas right here. So it doesn't really seem like a very concise logo. And there's something we can do to kind of bring these two objects together even further. And that's drawing kind of a little bit of a background circle toe. Place both of these objects on to really bring them together as one unit. We're gonna be doing that next 15. Logo Design Project - Shapes and Gradients: So one thing I thought was missing before we go to that next step of creating kind of that background White Circle graphic, I wanted to add another pop of highlight because we have highlights up here. We have highlights down here, but this pop is being lost because it doesn't have kind of that matching theme. So let's just add a little highlight to this. Uh oh, we do the same thing we've done before. Just get the pen tool on. Just add a little bit of a stroke. Doesn't have to be anything too dramatic, just a little bit of color. And let's say we zoom out. We're like, Oh, I would love to thicken up that pop just a little bit. It was just a little bit too thin, but I didn't want anything like that crazy, thick ultra, as though Sands we were picking before. But I want a happy medium. But I've already kind of outlined everything and converted occurs. I can't really go back and change the thickness of the type, but you can actually do that. You do anything you want, even after you created curves. So what we're gonna do is we're gonna add a similar color. We're gonna take a sample of this color and we're going to add a stroke to this and we're gonna thicken it up. So you notice how that just thickened up the type by simply adding a stroke? We can thicken it up quite a bit. We could almost make it look like bubble letters if we wanted to. But let's do mountain, see if we can find the right thickness for that right about there might work. And so what we want to do is we want to kind of bake those strokes in. We don't want to have those be live strokes who wanted to be part of the type again and an object so we can go up to layer and we could just expand the stroke. So any time you want to kind of finalize a stroke, there it is. So now we kind of have we actually have this kind of neat outlines that was created, and then we have kind of the Phil we can always if we want to simplify this further and select both objects, one select both. And what are we going to do? We're gonna Adam together. And so now they're one unit. So it's like we never added a stroke at all, so you could do all sorts of modifications to type. Really, That really kind of adds that last bit of highlight. And when we start to kind of blend and blur and feather the highlights, it's gonna add that night's airbrush look to it and we'll get to that and a little bit. But I think we are ready to kind of add and bring these two icons together by creating kind of this background to bring it all together. This kind of background white circle that we could put our logo on top all sorts of colorful, radiant backgrounds, and that's gonna stand out as one unit. So what we could do is we can a couple ways we could do this. I wanted to kind of create a circle. But instead of just a boring circle I want to do is kind of this modern fresh take on a circle and kind of Ducasse ob long not symmetrical circle. You see this a lot and you I ux Web design, where you see a lot of those kind of interesting ob long circles being created. So I want to do the same thing here. Let's create. And we're gonna make this a slight grace who can kind of see what's happening. Because this is a white background. We're to send us all the way to the very backward instead of the Ellipse tool or a circle tool. And remember, first we have to go ahead and right click and convert to curves so that we can have access to everything along the shape so we can click it at a new node and kind of bend it down. Kind of add this interesting ob long kind of shape here war. Would you take the existing nodes? Kind of been them a little bit, used the handles to create this off long shape, and we don't want to have so much space on one side that it seems imbalanced. So I gotta be very careful about that. So five minutes later, here we are. I finally have our final shape, and what made me kind of be happy with the shape is the realization that I can use the icon and push it outside of the shape. I didn't have to contain it all in the shape, and it gives it a nice, layered look. You have some things coming out of the shape. You have the typography in the shape. It kind of creates this dynamic appearance. So now Gray is definitely not working. I'd love to make it a nice white background, and what's great about this logo is it's incredibly flexible because now we have this white circle. We could place this on the most colorful backgrounds imaginable, and the logo is still very readable. So what want to do is we want to make this white, and let's create a simple, solid colored background. We're gonna make it a pretty bright color just to kind of see how this looks. Send that to the back. That's kind of how it looks. What I'd like to do is add a little bit of drop shadow to the white shape we could keep this Ah, flat design of flat design means there's no shadows or drop shadows, but in this case, I think a drop shadow be nice to stand out above colored background. We don't always have to have the drop shadow in the logo. It's just optional So I'm gonna talk about kind of layer styles a little bit with you and an affinity designer. They're called effects, so it's kind of similar toe layer styles. If you're a photo shop user, if your affinity photo user you'll be very familiar with this kind of could be some similar layer styles that you'll see in a photo shop or a photo editing program. So I'm in the effects panel. I'm gonna go ahead and drag that out. Here we can add drop shadows, Gaussian Blur. We're gonna be using Gaussian Blur and a little bit, and you do all sorts of effects on each one of your layers. So this is a layer we have selected. We have the curve layer selected, and I'm gonna do the effect on this curve layer. So we're going to do cut of a drop shadow. But they don't call it Drop shadow and affinity designer. They call it out or shadow, probably because it's copyrighted to say drop shadow. Who knows? That's called Outer Shadow, an affinity designer, and we're going to have a nice, clean shadow. So what we're gonna do is offset. Offset is gonna bring the shadow out of the shape, so we're gonna kind of bring it out of the shape, and we're going to reduce the opacity quite a bit. So it has this nice, subtle appearance. It's not gonna be too harsh. It's gonna be really settled. And then, of course, your radius is gonna blur it. So if you want to have it blurred or shark, I kind of like this flat design source could have, ah, pretty sharp effect. So this is just outer shadow cantata. All of these layer effects on and off. We're gonna be using some of those a little bit layer later and lessons. So that's the effect panel and action. So we added a little drop shadow. There is one thing missing from this logo, and that's a really cool Grady it mesh style background. So, Grady, it meshes, are something you can create an adobe illustrator, and they're different points that have different color. So it's more complicated, Grady in It's not just a linear Grady, and it's not just a radio radiant. It's got all these active points and nodes, and you can do this very easily in Adobe Illustrator. And this is just one of the small shortcomings of affinity designer because they don't have ingredient mesh tool or they don't have a free form Radiant tool recon Actively move around several different points of color on ingredient. So we're going to do something a little bit different. Call it a hack, if you will. Or a cheat. We're gonna do something a little bit different by creating a wide variety of Grady it circles and then kind of feathering them and blending them together to create something that you would see created from a Grady it mesh and Adobe Illustrator's. That's one tool I wish affinity designer had and maybe they will come out with one in the future. But we're gonna create the same Grady int meshed style background, right? So this is the Grady it mesh background we're going to try to recreate. This was created using radiant meshes and Adobe Illustrator. But we're gonna do it an affinity designer and a little bit of a different way. So what we're gonna do is we're gonna create a couple of different radiant circles, so it's gonna get the Ellipse tool and we're just going to sample some of these colors like this blue make that blue and we're just gonna duplicate. It's gonna look a little silly at first, but we're just duplicating six sides. But a grab that nice, bright, vibrant orange in the middle, We kind of have this kind of white color to kind of bring in some highlights. So we're gonna add that in as well, like a little white. So we're just gonna make these a little bit smaller and larger, and we're gonna be able to find Tune this once we kind of blur everything out. So what we're gonna do is we're gonna select all of our little circles and we're gonna go over to our effects panel. We're back here in the effects. Remember Gaussian Blur. We're gonna go ahead and click on Gaussian Blur, and we're going to do the max amount. Maybe not the maxim out, but one kind of blur these together just a little bit. So it looks like they're all kind of blending together as one unit just like that. And we could go back and change that at any time. We could move this up. Let's go ahead and move all of these in the background behind our logo to see our logo looks on top of it. So now I can see how we kind of created a pretty close version of that. So we just have to kind of shift a lot of thes things around and make some circles a little bit smaller than others. I was just gonna take some work to kind of get the same effect. No, it's not quite the same as McGrady Int Machin. It's definitely a tool. I want a offended a designer to really focus on and future updates so we could might even be able to blend these in a little bit more. So let's see if we can't blend these together more and more. Okay, so now we want to crop it. We don't want to have all this extra fluff around. We want to crop it to a nice square. So let's group together all of the circles we just created grouping together and let's do our cropping that we did earlier. So there's the shape you want to kind of crop it into, Let's take her circles and we're gonna drag our circles as kind of a nested layer in our rectangle. So just doing a nested layer and we cropped it. That is pretty darn close to the original that I created. Using great mesh is the tool that affinity designer currently does not have. But there you have it. We have a colorful background. We created something. This is what I created an illustrator When I first was trying to get an idea for the type of project we were gonna create defending a designer and we were able to create a pretty close version. You can see what we created together in this class. I mean, there's some small differences, but we were able to accomplish everything that you could do. An adobe illustrator in affinity Designer proving that offended the designer is a powerful local design tool. And I'm glad that you're learning it with me today. So we're gonna do a couple one more lesson. We're gonna do kind of some final touches to show you how to add a little bit of texture, a little bit of grain, just those little final finishing touches to make this even better. 16. Logo Design Project - Exporting: Let's say we want to add a little bit of grain texture to our illustration to make it feel a little more rich. It's not just a flat, solid color. It's got this little bit of graininess to it, and I kind of show you what I mean in here in a minute. And Adobe illustrator has his grain future. But what I love about affinity designer as it has this nice built in tool, we can add grain to it. And I believe it retains its vector qualities, which is really cool. So I'm gonna go ahead and on Group of just got a little grain to these Popsicles. So just gonna run group this and we just want to add a little grain to this orange color. So what we're gonna do is in your color panel and you go ahead, drag it out here. If you were to select double click on this little button right here is kind of a peach button and says, Switch, we're going to switch from being able to change the opacity to all of a sudden being able to add noise so noise and grain are very similar. You can interchange those words. So we're gonna add a little grain or a little noise to this. You can add as much for as little as you want. So just adding a little noise kind of adds a little texture to that illustration, and we could do the same thing to this as well had a little bit of texture. All of these don't have too much grain. It starts to get too, too busy, just a little grain. Little pop. We could add some grain to the type of we wanted to, but I kind of like keeping that nice and fresh and clean. Maybe just keeping that exactly how it ISS. We could even add grain tower white, a little texture to our white, and we could even do it to our images. Well, so just little things that you could do to really add. It's a character to your illustration, So let's practice exporting a file. Since I don't believe we've done that yet. Together, let's export a couple of different logo variations and and files. We're gonna use the art board system, which we haven't used that quite yet. We used it a little bit in that file that I sent you for the first project. But we're gonna create our own art boards. So we're gonna be make sure where that we're in, Um, the designer percent or we haven't even talked about the pixel persona yet, but we will soon. So we're have been in the designer persona this whole time, and we're going to get the art board system out. So the art board tool right here, we're gonna click on that. We're gonna create a couple of different sizes for us to export. So when we create a couple of different sizes, it's good kind of change the background color a little bit. Don't be alarmed. We're gonna just create two different versions of the logo. And when we export, you're gonna be able to export. Are all the art boards Let's bring just our logo in? We don't need the background. We just want to have the logo that we can use to place on objects. We also want to. When you're finalizing a logo, there's a couple things you want to do. So right now we still have these strokes around everything. We want to make sure we don't have any strokes when we send a final logo design. We don't want to have any active strokes because we don't want someone to make it bigger and the strokes get bigger. We want to really finalize everything. So I have everything selected, and I'm just gonna go up to layer and just expand the strokes on everything. It just really helps when you're sending that final file in. Okay, so let's just make sure it's as big as we can get on this area. We're gonna do it probably a PNG so that people can put this logo on a colored background. If they want or put it on a white background. We'll have that option. So let's do another version of the logo, a version without the circle just to give people options. We can even create mawr art boards just kind of by press the Insert Art Board tab right here. And this could do the same document size. I thought we do a version of type only. Just getting rid of that and doing a type only version because you never know when you might need to have a type only version of your logo and also the background to be nice. To export this, we might have been need to make that art board a little bit bigger because we want a nice, high resolution size for that background. Great. So we have the background we can export. We have just the type only we have the full logo and we have the logo without the bubble or the background, and we're ready to export this kind of a very quick version, you know? Well, obviously have more lessons and more classes that go way into detail about this. So there's something called the export persona, and we're gonna be playing around with all of these personas very soon. And this is the export persona is going to give us a resolution of each one of our art boards that's gonna tell us what the sizes and kind of what the color motus of these RGB. So that would be great for digital kind of logos or versions of the logo. Of course, you could make them bigger, and it could switch the preview mode. You get the pixel modes. You could see what it looks like from as a from a pixel perspective. It's gonna take away that doctor and kind of show you what I because when the export is a PNG or JPEG turns out in the pixels, So it's a great way to kind of preview if you need to, uh, decide to make it a bigger, higher resolution. Looks a little gray near little pixelated. You could increase the size of art board, therefore increasing your resolution. There's the retina preview mode, so that's gonna be kind of your high Kriss vector mode. It's always gonna look crisp that way because it's gonna be at Vector and then outline mode , which is really handy to see all your different strokes and object paths. This is going to show all your pass and objects as strokes and as outlines, and it's really great to be able to see. You know, if there's anything you want to connect or anything that doesn't look right. I could go back a double check that oh, to see, maybe I didn't join the inside and the outside of the stroke. That member when we went back and did that, I might need to join those together just to make the object more simple. You want have simple, simple lines you don't want have anything too complex because it would make it hard to reproduce that logo when you get met metallic signs when you get polo shirts with embroidery on, it would have nice, simple lines of being able to check that an outline mode is really nice. So I like to go into the export mode just to kinda see everything we can go ahead and select what we wanna have. We do a PNG J peg. You know, let's do P and G's because I want to have that transparent background rate. So we're ready to export. We're just gonna goto file. We're gonna go to the export option, and we have we can export as vector, which is gonna be your spg es. Your GPS is sometimes even your pdf's can retain the vector quality, and you're gonna want export a logo as an E. P s, which is gonna be able to be open in Adobe Illustrator. And you're also gonna wanna have P and G's and J pegs. So let's do a vector version of all of these. Let's do an E. P s for print and let's do a 300 d P I, which is a nice print resolution. And let's go ahead and do Let's just do art board one for right now. And you could do all the are our boards and do the whole document Oregon to select one our board to export. But let's just do the full logo and export it, and this is gonna be vector example, and this is gonna be a dot GPS is gonna be a live edit herbal file. This could be what a lot of preachers will require you to export in. Let's go back and export some standard J pegs or, in this case, P and G's, because we want a transparent background. We don't want a white background. So PNG's and let's do a PNG worker to do. If you were to click the whole document, it would do the entire document. It would just be one big. It would show everything. So if you ever had, let's say you're doing a mobile app design and you have maybe 30 different art boards, and you wanted to have a picture of all of them put together, you'd want to export the whole document, but if you just want a single art board. You'll just select the art board and export. So let's see what we were able to export. Here we have a couple of P and G's that looked pretty good. That's transparent background. Great. We could put that on any kind of color background. It's gonna look great. We don't have a silly white background that's gonna get in the way, like J. Pegs, and we have a vector file E. P s file. Let's see this. This will be easy to drag into a Fendi designer, and we have kind of access to this so we can take a look at the layers and we have access to all the different elements. So everything is vector, so that's great. So anybody can open that up and what's great about a GPS. Let's see, Let's do a test here. I'm not quite sure what's gonna happen here, so this is a mystery. Let's see what happens if we open this up and adobe illustrator because I think it's really important to see, you know, because not everyone uses offended to designer, and not everyone uses Adobe Illustrator. But how did these files share between programs so we're gonna You can't open up a eight of affinity designer photo file. You can't open that in Adobe Illustrator. It's a totally different program file, but you can export is the GPS and open an E p s and illustrator file. Let's do that. Let's see kind of what we have here. This is Adobe Illustrator that I'm in right now. And let's see kind of what we have. Beautiful, beautiful vector lines. Everything is in vector Aiken ungroomed this and I have access to everything. I can't change the grain or stings that were created in affinity. Designer I can't change it because it's a different program. So there's some specific things that I can't change like the green. So what I might do is export. This is E. P s and leave out the grain because you can kind of see how on Adobe Illustrator it kind of makes it very pixelated and look super good. So that's just those little tweaks that you have toe do. So the grain is not really looking as good adobe illustrator. So that could be kind of some issues you run into with the different programs and trying to share files between the two. But the good news is you can work with someone who has Adobe Illustrator and send them files and send them all the vector files I need for a logo design. No problem. Just send. Send them a GPS and they'll be able to open it. And Adobe Illustrator. So it's kind of neat how they're a little bit backwards compatible. You won't be able to do those little edits like taking away the grain, But you have at least access to those vector portions of the logo. So there we have it. We exported. We did This entire project together took a little longer than I wanted, but that is OK because I wanted to really focus on some of this extra tools. We have not gone over yet, and we've gone over the good majority of this program. But there's still one major thing we haven't gone over yet, and that is the pixel persona, which is basically like a little insight photo editing portion of this program. This is something that Adobe Illustrator relax. Adobe Illustrator does not have a little cool raster editing mode, and we're gonna touch on that a little bit in the next project. So I'm excited to see there 17. Affinity Designer - Type Only Poster Project: Welcome back for our poster design project. This is gonna be a typography based poster design, and we're going to do this all in affinity. Designer, we're gonna reproduce this poster. You see, right here I wanted to do a project that we could really get an in depth into the grids and the guide system and offended a designer because I think it's really well done the way they set it up. And we're also gonna get a chance to go Maurin depth with working with typography and the type tool. So let's go ahead and get started with opening up a new document we're gonna open up in a 10 which is gonna be very similar to maybe a two by three foot poster if you're working in inches. But we're just gonna do the standard 8 10 size, we could do a large poster that we can print and put on our wall. We're gonna have these settings here. We're just gonna keep it an RGB for right now. Eventually, we may need to convert it to see him like a if we're gonna be getting it printed or rgb if we're gonna keep it a digital poster. We're still not sure. So let's just keep it in RGB. And we can always add bleed in a little bit later if we're gonna get this professionally printed. But let's go ahead and leave them off. For now, we're gonna click on, OK, we're gonna open up our new document. You could see grids are already on, but I'm gonna show you how I kind of got the grid system kind of going. We're gonna be able to modify those grids to. So let's get everything set up. I have our character panel out. We're gonna be using that extensively. When were doing all of our typography work. We're gonna have that panel somewhere out here, and I'm gonna find her layers. Panelas. Well, we're gonna go ahead and create a black background, some just creating a new layer. And I am going to be just doing a black square. You do a nice, dark background. We're gonna lock this layer so we don't accidentally shift our background, lay around, and we're gonna create a new one. So we have everything set up. What I want to do is get the grids set up because we want to do a nice poster that has some nice alignment of the typography to a grid system. So grids air fantastic to use for layout design in anything dealing with graphic design projects. As you can see here, grids can really make or break a design, and we're gonna learn how to go ahead and get that grid system set up so you can use grids on any type of work, whether it's digital or print. So there's lots of different guides and grids we can use to get all the set up. We're gonna be living in our view panel. This is where we're gonna be able to customize everything. Let's first start off with grids we're gonna go to view and then the grid and access axes manager. Right now we have show grid on, but most by default, it has toggled off. So go ahead and tuggle that on, and you can set all sorts of presets for the kind of grids you want to use. You can use a larger one centimeter square. You could do a triangular, which is really great. If you want to do kind of geometric patterns and designs, it could be very helpful. They even have isometric grids, which are really great for doing isometric designs. This is an example of isometric design. I did using the isometric grid where he can build almost these three D worlds and buildings , and it's quite exciting, so you'll see any time you see isometric. It's just kind of this diagonal three D plane, which you can build upon. So it's really great to have this as a default option because an adobe illustrator you have to create your isometric grids manually and with affinity designer. It's out of the box, and you could just do a few clicks. And you can create your own isometric grid very quickly by using this grid manager. So let's stick with regular old squares and let's make them. They're much, much smaller you to click on automatic, and it's going to kind of do kind of an automatic standard grid system. And let's go ahead and click on close. So I just did show grid. The mode is automatic, this kind of kind of be your default setting, and you can also change it so you can make it more dramatic in terms of the color and how it shows up. So if you want to make it really white and bright, you can. You have grid lines, so these are gonna be your main grid lines. And then you have the subdivision lines, which will be the amount of boxes that make up the main grid line. So these your subdivided boxes. So let's say we really want to customize this on our own. Let's go back into view. Let's go into the grid and axes manager, and you can go instead of doing automatic right here. We're gonna go into basic courses, advanced options where you can have even mawr control. We're going to stick with basic for now and for spacing. Let's try. Let's let's really tighten the spacing and have it be smaller blocks. So let's do one millimeter. And so there's the main block. So then you can have your subdivision and have even further breakdown of your grid. So, for divisions, right now, there's just one. If we were to go to, it would divide it in half. So let's try eight. So now it's gonna divide. You see, eight squares in here is gonna be an eight by eight. So you have some subdivision here, which is really nice to have a grid and then in subdivisions, and we'll kind of show you why That's kind of nice when we're working with typography. So let's zoom out to see if we like the spacing. And there's also this extra thing called show axes or access editing handles so you can have that toggled on. And you can shift this around a little bit if you wanted to kind of move the grid if he wanted to have the grid not be aligned. But I kind of like it where it starts and then ends on the left and the So now we're ready to add her typography. We're gonna go ahead and add or typography. We're gonna get the type tool, make a make a selection, a solid color white selection. We're gonna take our type tool over here, and we're just gonna draw in a and we are gonna do a The total poster is going to be a study and typography. So we're just gonna type out the words it's gonna be very kind of a raw just holding down option and dragging a study in bi pas graffiti so we have these big words will wanna make kind of a cool poster out of it. So how can we break this down even further? When you have a group of type, you have to hold down shift to do it dimensionally. But if you have a single letter and you hold down shift, it's not gonna do it. So it's a little bit jerky when you hold down shift and when you don't when you have a group, hold down shift. But if it's an individual tight box, you don't have to hold on downshift for it to scale dimensionally. So just a little added tip there. So how could we break this down further? I want to have a nice central alignment of all of this type. And there's a way. Typography is a very long word, so let's find a way to break this down most efficiently. So with how it reads typography, we want to break it down by syllables. We don't want to break it down mid syllable, so why don't we do taipa and then gras and then fee? So basically breaking it up by syllable and we can do that easily by duplicating it. So just kind of breaking down everything on a nice central way and can make that even bigger and weaken study styles a little bit. So instead of being stuck with, let's say this is a different size and this is bigger and we want to make all this the same type size. What we could do is we could select the type size we like. So let's say we want everything to be that type size we can right click and go down to create a style opens Gonna create a style. So we have this style panel we have not talked about yet right down here and click on these , and it kind of adapts different styles. They have some really cool default ones that adds lots of kind of layer styles to it. It'll add all everything from this effects panel, and you could see how some of this is clicked when we do different styles. So I would do this gold rust. What's going click on this and then make it a gold rust. It adds kind of some neat effects go in your effect panel. You could see exactly how they did all that which is kind of a neat way to study how to do some really neat type effects on. We'll get to that in a little bit, but let's go down to the style we created. All we have to do is right. Click and say, Create a style. We're gonna select everything we want to be the same size or same style. It'll apply Grady INTs and blurs, and an outer shadows was due style 26 now everything is the same size. I could do this with anything. So if I want to make select 15 different things across multiple documents, I can have the saved style and have it all be the same. So it's really neat way to kind of save certain settings with your typography and even your effects and your effects panel. We can save all those you have to do all the same effects on each layer, over and over. If you want to have the same style 18. Type Only Poster Project - Layout: So let's elect a tight face for this project. We want a nice, bold typography typeface that we can overlay a texture on or have some kind of effects and have it really show up with that nice, bold typeface. We don't want anything to thin. We want to be very bold. So to save some time I want hadn't picked one out ahead of time. It's called impact. It's a fairly popular one. But you can find all sorts of fonts on Google fonts that are free to use if you could find maybe not impact there. But you could find something really close to that, just like a nice, bold typeface. We're gonna go ahead to start using our grid to go ahead and line all this up and have, like, this nice kind of replicate what we see in this example. Poster here kind of have this nice center alignment where everything is aligned on the left and the right sides. So we're gonna make the type a little bit of different size and line it up on the grid. So what I'm gonna do, so you'll notice when it's white. You can't see the grid on top, which I kind of want to see the grid on top. So what we're gonna do there's gonna make this a different color for right now, so it's gonna color, maybe make it a little bit of a gray. And the great thing about that is we're gonna be able to see that grid on top. It's gonna help us lay out our typography. So let's start with the A and what we're gonna dio going Zoom in. We're gonna make it a little bit bigger and try to align it up on the grid. So you notice how it's lined up on this left corner box and then lined up also on this right corner box and let's keep working our way down. Let's do study, Do you study? And what's great about having these subdivisions is it kind of helps us with spacing between characters so I can have one box between this character and have one box between the next word or character, and kind of have this even spacing throughout the entire piece. There's my character panel. He was hiding there. So this is what we're really gonna use to adapt the spacing between the characters, so it's gonna be done right here. It's called tracking, and what we're gonna do is we're gonna tighten the tracking a little bit. Let's do a negative. I don't want the type to get so close that it creates that thin little line between the tea and the U. So let's do very tight spacing, but not so tight that it creates will of a division. So let's keep that one box between the different words and let's make it. Let's continue toe tighten. It was just a guy that doesn't have to be perfect, but it just kind of gives us a starting point with how we do our typography. So in is gonna be a lot bigger so we can stretch out all the way across here, and then we can tighten that spacing a little bit between the I and the end. We just do a negative 10. We're just addressing the tracking and shifting everything around. We can keep it one box between character, so that is all consistent. So a study and typography, So we're gonna make this a little smaller. I was having this nice, blushed left right look learning how to kind of work with type work with grids. I really wanted to bring up the grid system here. So Taipa and then graft so it could be a little bit bigger Also helps if we didn't have the grid. Sometimes it's hard to eyeball right and left alignment. But when you have the grid, you have it right there. You could be able to tell exactly where it lines up. What I thought we do with the H and the why we kind of have this larger h in the white. I can keep it all like this, a study in typography. But, you know, I think would be nice to do something a little bit different to shake it up. I thought, What if we were to flip this? So what I'm gonna do is I'm gonna go up here to rotate clockwise. I was gonna rotate it and make it bigger cause I really want to make this longer and chunkier. And let's see how it looks, because we may need to widen the gaps between each character toe, loosen it up because right now it's really, really, really tight. So perhaps instead of just one bar, perhaps we have two bars or 1.5 bars. Our rose. I guess you could say that. Separate the type. That kind of put a little bit more spacing there. And sometimes you have to optically adjust. That means just kind of adjusting with your I kind of manually. So I have a type layer selected. I'm just gonna do up on my D pad or the up arrow on your keyboard and kind of move kind of slightly shift things up and down. So I think we got the type down. Let's position it in a nice place. On the totus is the total poster. So it needs to be a lot bigger to have a higher impact. And we have the grid so we can find out a nice even spacing. So since this is a group of type, I just kind of clicked on this and held downshift to select multiple layers. Or I can go into my layer panel and select him all that way. And since it's a group, I have to hold down shift to scale dimensionally. Now we're gonna find a nice even place to put this and there's something called and this could be very helpful as well. I wanted to go over this. Sometimes I leave it off because I'm stubborn that way. But you guys might really find this useful as the snapping manager. So what snapping does and snapping to grid is if you haven't element an object, a text box and you want to be able to snap it to the grid, this is exactly how you get that set up. So I'm gonna go to snapping manager and I'm just gonna click on enable snapping I'm not gonna touch anything else. You can really customize this quite a bit, but I'm just gonna click on enable snapping. And so what this does is this Instead of just having a drag halfway to a box, it'll click and go right to a grid. So it's gonna help us snap to the grid boxes instead of us trying to guess. And you also get this nice handy guide. So when I drag this over, I'm gonna see this vertical green line that lets me know it is center aligned to the document and the red line lets me know it's centered a line that going that direction as well, so I know that's probably a really good CenterPoint of the poster. So if you want to have that option on and it could be very helpful for beginners, just go down to view snapping manager. So let's go ahead and make our type 100% white once again. And any time you're done with grids and you want to toggle the toggle them off, you just go to view good of your grid and access manager, and you could just toggle off show grid. And there's also a keyboard shortcut that you know you can use to toggle the grid on and off. So we don't need the grid at this point anymore. Now we're gonna be just adding texture and kind of finalizing all of this type things we can do now. With this, we can kind of do what we did with the original poster idea and have this line that kind of runs in and out of the typography, and that would really kind of show you how we do layers and kind of get that done and masking. So let's do that next. So we have one have this line that kind of runs through it. We're going to do that with the pin tool. We're gonna get a nice stroke going here. Let's kind of see what our stroke looks like here. We wanna make this around it, cap. We already have that by default. And let's make it a different colors. Who can really see our line darting in and out. Great. So what we're gonna do is we're gonna kind of layer this line in and outs to kind of go down. We're gonna have this line go through the letter a and then over here, the somehow go through what? Some of those characters we're gonna have a dart somehow either behind the end, but still be in front of the I. This is gonna kind of dart around here, kind of show a layering effect, and then have it click off. So right now it's got these jagged lines. We want to smooth those at a little bit. What tool that we use. We use the curvature tool, or in this case, it's called the corner tool and we're just going to round some of the edges here. We could select multiple points and round them at the same time, so I don't want to do all three of these. I don't have to sit there and select one at a time. I could do them, So let's have this wrapped in and out. This is kind of work. It's a little bit tricky. 19. Type Only Poster Project - Line Effect: so there's a lot of ways to do this of kind of cutting this in and out and weaving and in and out. So one easy way to do it's a little bit tedious, but you could just create a white box and just mask manually a little line so it looks like it's going behind the and coming through the A. That's kind of the effect we wanted to dio. And he would also block this one right here. And you're just manually covered up with another Dr object just like that. So it kind of gives you that weaving in and out effect. But that gets a little bit tedious when you have to do it so many times with all these little letters, there's a little bit of unease ear way to do this. So what we're gonna do instead, as we're gonna actually cut this line out in those areas so we're gonna use kind of our pathfinder shape, divide and and add and subtract tools up here. We're gonna do those tools to kind of cut objects out, so don't have to sit there and hand trace everything we could this kind of copy and then cut out and then bring it on top of the line. And if you were an affinity photo, you can always just do a layering mask and easily erase that line. But we want to try to keep everything vector in this. So we're gonna do this where we can try to keep everything vector and scalable in a high resolution. So there's there is a way you can do kind of a layering mask and affinity photo and put this on top within our race. It using kind of that brush tool what you've learned about in the first section of the course. But we're gonna do this mainly. So all I'm gonna do is this hold down option of its duplicating the A. Let's make it a different color. So we can kind of see what is the new copy. And I'm gonna take this line and I want to make sure I like the thickness of this line because I'm going to be outlining the path by going toe layer and expanding the stroke. So expanding the stroke announces to regular object. I'm gonna be able to use our shape tools to cut it out. Now What I'm gonna do is I'm gonna select the new copy and I'm going to select what we did with our final stroke and I'm going to hit divide. So now everything is divided up in these little sections. So now I can take that and remove it, and I could take this little bar and remove it and look at that. It looks like it weaves in and out. If you had layering mask, it's a little bit easier, cause with layering mass, you can kind of go back and change kind of angles very easily by brushing over with the tools, But that would make it rester. So trying to keep everything vector. So the same thing with study, and we could do all these at the same time. We don't have to sit there and do one word at a time, but let's try to do studies. Who can kind of see what we're doing here? Let's make a different color, put it right on top. Now, we could have our flying here and we're gonna do divide, and now we're gonna be able to go. And in this case, we have not outlined the type yet so we could just convert this to curse by doing a right click convert to curves, and I can right click it and group it just like we did in the logo design section. And now I have control over these individual type, and I can just bring those to the front just like that when it comes to doing whole letters . That's easy because you just bring it to the front. You don't have to cut it out. So let's have this dart under and that over and that under. So let's do the same thing we did before. Let's copy and paste make it a different color. What select are in and also select our stroke. And let's do divide, select this one and have it. We out with this one we might have to duplicate again. Just no big deal. And you could do this manually as well, like we did before where, let's say I want to have this be behind. I could just do a shape tool draw overtop. I could just leave it like that if I wanted to and not even cut it out. Or can right click convert to curves. Select these two I can subtract or divide and then erase it. Lots of different ways. We can use those kind of tools toe we've things in and out. So I'm gonna do the next couple of letters the same way this one's gonna be easy after copy and paste, I can convert toe curves and then I could ungroomed it. So now I have each letter of control over each letter, and this one's easy. If I just wanted to go across the P in the O, I can just arrange to put this on the top and then make that white. So that's kind of unease Either way, toe layer on that so you could just leave it like that. I just have this extra object floating around. But if you were to do that, I just don't like having complex objects. Like if I goto outline, which is arrived flipping into my outlined view mode, I just don't want too many complex lines. I was going to switch back. We're gonna select our object selector, Pink Stroke, and I'm just gonna divide it so that I could go ahead and get rid of that and get rid of that and look at that. It's just one solid. You and I can go to outline mode and you can kind of see how simple it is. And if you go to outline mode, you have kind of a complicated project like this. I could be able to kind of catch little things that you can delete, just like little things. So let's go ahead and switch back. It's a pretty difficult project. So if we able to handle something like this, it's already an intermediate to advance kind of project. So let me finish this up, weaving in these in and out, and I'll show you the next step. So here we are. We're done weaving this complicated line in and out, and we're ready to add a simple Grady in background to our black background. So here we are. We're gonna unlock this black background. We're ready toe at a little bit of a Grady into it to kind of give it some sense of light. So when we add the texture on top, it will kind of bring out the texture Maurin the lighter highlighted areas and bring more of a dynamic background effect. So let's try a linear Grady int can kind of see how that looks. And we can, of course, change the color on this. It's double click and change the color once kind of keep it too dark. Let's do a dark black, a deep, dark black and then a lighter grey. So we have this. This kind of an idea is kind of flat because it's just a simple, linear Grady int. We can add more highlights to this by adding Mork kind of points and changing it, or we can see what a radio looks like. It's gonna give more of a dynamic source of light. So if we want the light to come from here, we can click and hold like that. It kind of have some or dynamic effect. We're gonna click on this clicking and holding. I did a radio radiant, and so now we're ready to add a little bit of texture. So you know the built in adding texture that we have that we did in our local design project. We're over here in the color panel and let's go ahead and click right here at a little noise, so I'm gonna zoom in so you can kind of see how that looks. So this is before kind of flat and was adding a little noise at a little texture to everything which is really nice. And we do the same thing with our typography. Once you have a lot of little layers here, Private needed, group that together. Now we can also add noise to our type kind ads, but of that cool, greeny texture to it. So I think it needs something Mawr. One thing we could do is we can group together and we had to divide all this so can keep it vector and scale it really big if we wanted to. I'm selecting all of our lines here. And there's a really cool tool in Adobe Illustrator that has select this similar color, which you can select one color and then you can select the same color in the whole document . But I do not believe offended designer has that option source gonna manually selected all. If you know of that option, please let me know. I'd love to know all the options. I'm missing an adobe illustrator and all those things I wish offended designer had. So I just grouping all these together because we can add ingredient to this line as well. Make that more dynamic. So I'm just grouping these together as one group, and let's add ingredient to it. I'm just clicking and holding, and we can add a really cool pop of color here. Let's do kind of the similar purple we had was do like a pink and purple. It's pretty dynamic. 20. Type Only Poster Project - Blending Modes: and I can see kind of how it transitions from like a lighter pink to a darker purple Kind of gives it a need look. So let's add another pop of texture. Let's at a realty texture raster image. We are here. I'm on pixels dot com. I love to be able to find textures on here cause they're totally free to use for any type of project that you have. And I was just trying to think of a really good background photo. I am gonna download a few of these and see what looks really good for this particular background. Something really gritty. Perhaps this one right here, the concrete wall. Let's go ahead and get that concrete wall. I think that will probably look really, really dynamic. It's got a lot of sharp textures to it were, You can do a place, so you have this little place we're gonna go down to document you, bring it in a click and drag and arrange it on top. So let's have it as the most we want. The texture to show through on the type is well, so we're gonna have this as the top most layer. I'm gonna drag this layer all the way on the top. And so I gotta go over what's called blending modes. And I'm not sure if you've reviewed that yet or not, but we're gonna review it again. Here. Ah, blending modes can be found here in the layers panel, just like an affinity photo. They're usually in the same place on the layers panel. So right now we have normal mode. So right now, there is no nothing Being let through the image and went blending modes does. It allows certain pixels to shine through behind the photo so it lets certain pixels through. Depending on the type of blending mode you use, it'll let through highlights. It'll let through just shadows. And so we're going to cycle through a couple of these and see which one looks really good and has kind of a nice pop. So just leaving this little mistaking here so you can avoid making that same mistake. I had our little standard background rectangle. Now it's a little Grady int black. I had that for some reason. It kind of got brought up with that texture, so I wasn't able to kind of see that effect properly. So I'm just making sure that black textures at the very bottom and just this little texture is on top. And we have our type player right there in the center. So I'm just clicking on the new texture that we brought in. And now we get to see the beauty of blending modes. So look how it's letting through a lot of that cool texture through. But it's not doing it all across the board. It's only doing it in the lighter areas. So that's the dark and blending mode. Of course, all these air gonna have a different effect. I would I like about Multiply is it's able to bring on both, but it's stronger on the white than it is on the black, so it gives a nice contrast. It doesn't overwhelm, so a lot of these is going to be hard to decide. It depends on the kind of affect you going for, so I think it looks like multiply might be the winner, because I like how it shows on the black background to So let's click on Multiply. So now we have multiply on top of everything little strong, so you can always reduce the train of the opacity of the transparency and make it a little less strong. So this kind of reducing the capacity right there, So I'm gonna add a little bit of an outer shadow. So I selected all of her type elements, which is a lot, because we had to divide them to be ableto we've that line in it out. But I have kind of all these different layers selected at this hill downshift and kind of selected all of them. What we could do is we can go over to the effects panel and weaken do an outer shadow, and this will just add a little bit more depth on top of the background, cause right now it's flat. We're going a little bit of a blur on here, and we're gonna offset it a little bit, and it kind of gives it a little bit more of a layered look. And you can even see the shadow casting on top of the little line. They're giving it even more depth and dimension. But at any time it can kind of back off the capacity, so just adding some depth and dimensions using our FX panel courses. Lots of other effects we can add to this. So there we have it. We used textures, grids, the type tool. We've given you some of our object cutting out tools so we can kind of do the divide tool and add to and subtract. Tools can do some very complicated weaving in an out work, which could usually be done with layering mask. But in this case, everything is in vector weaken Switch outside of the raster texture that we used, everything's in vector weaken scale this up. It's not pixelated. It's just a beautiful vector graphic. We could switch to outline mode to kind of see the outlines that we created for this class , and you could see how that's actually cut out. So that's not anything behind there. It's nice, simple lines. This could easily be used on the T shirt design or anything else. Once you remove that texture, and we have one more small, quick project to do before we move on to other things, and that's gonna be a front back business heart design for a made up freelancer, a graphic design freelancer, and you already make kind of a really simple logo, and then we're gonna use that Lobo and kind of create a layout design. We haven't done any huge layout design works. We're gonna be able to worked with lots of different typography. That's different sizes. And we're gonna be able to create our business card. And we're gonna talk a little bit about bleeds and kind of how to export final files for the print. So we're gonna do that with this really small with 20 minute project coming up. And then we're gonna take that business card and go into affinity publisher to make all sorts of great stuff for that particular freelancing brand. So I'll see you there in the next project. 21. Affinity Designer - Biz Card Project: first. Welcome back today. We're gonna do a different type of project. We're gonna do a front and back of a business card. As you're seeing here, we're gonna be able to reproduce this and really kind of work with blending modes a little bit more and create some basic layout and work with some basic text. So what we're gonna do is great. A new document we're gonna goto file new this time. I'm going to use inches and said a centimeters for my friends in the United States. And those who use inches will just do one inches. We're going to, ah, standard business card size. We're gonna make this a print or oppress ready document. This is going to be, ah, business card that's gonna be sent off to the printer, and we're gonna go through all the steps to make that happen. And for color format, this is a print documents. So we want to make it in see him? Why? Case was gonna be a little bit of a different color profile then We've been working with before, so C m y que is print anything that's gonna be sent out and print on a piece of paper. Everything else can remain default and what we're gonna do. Let's switch two inches. So up here. And I thought I switched it two inches. There's inches, so a standard business card in inches is going to be 3.5 inches wide and two inches in height. We're going to keep it a nice high. Resolution 300 d. P. I is standard for anything print, and lastly, this will be a little bit different than what we've done before. We're gonna add a little bit of bleed, and I'll go into what bleed is when we get ready to export this document. So the standard bleed for the United States for a business card of this size and any kind of ah, smaller print documents could be 1 to 5 all the way around. So when I click on that, it's gonna update this globally cause they're all linked. So now they have the same bleed on every side, and I'll show you what bleed looks like in a minute. For those who do not know, some of you may already know. OK, here's our document. This is the hardest part is already done so you'll see. This is the bleed. This is the part that will need to extend our design to So this is gonna be trimmed off so it gives it gives you that nice all the way printed to the edge. Look, okay, let's go to the art board system and create a backside. So I'm gonna click on art Board and we are going to click on Insert Art Board. Okay, so that's gonna insert the first art board. It basically went from a regular document to an art board system, and now we're gonna click on it one more time. That's gonna create the back. So now we have a front in the back that we can do and let's get started. So what I'm doing is some basic blocking and figuring out what side needs, what information. So you can actually download this template and the lesson here so that you can have a jump start on having the template already set up and some basic text that we're gonna be working with so you can work with me through this project. I also have the two colors that they established during their brainstorming branding process and I walked through the whole branding process and another class called the Freelance masterclass for creatives. Where we take a creative brand, we develop a logo. We could develop a mood board and a color palette, and we develop an entire personal brand business cards and letterheads. This is just a little taste of that. I went ahead and develop the logo because we wanted to kind of. We've already kind of did some local designs. So now it's time to do some layout design. So I thought, we have a front and a back. I thought the front would be great to have mostly be visual mostly be the brand recognition . Perhaps we can have this logo into selecting all holding down option. Have the logo be a little bit larger and on the front just to have some brand recognition and then having everything that he does. He's more than a graph of designer. He does graphic design illustration and Usu. I design is going to find a clever way to put all that on there and make it look really nice. And ah, professional. I thought the other side would be all the technical information. The email the website. The phone number is really nice to keep all those clustered together. And the logo does not have to be quite as big because we already have brand recognition on the front. So I could make this a little bit smaller and figure out a good way to block that out. So I wanted to show you kind of a neat trick with this logo design. Gonna go ahead and zoom in on this. So I want to angle this entire logo to give it a little bit of a dynamic feel. So it's not just straight left or right. It's got this kind of angle going on. And I thought we take that angle and use it as a theme for our whole business card design. So I'm gonna select the logo, selecting all of it. I got a right click and make sure this is grouped as one unit and I am going to kind of go over to the side here. It's just a regular grouped unit. Not gonna wait till I get a little icon. There it is. There's the icon. He sees up and down arrows a little bit to the right of the bounding box and I'm gonna zoom out. So you kind of see the overall effect. I'm gonna click and hold up, and I'm gonna be able to give it a little bit of an angle so you can kind of see how you can add just a little bit of a flare with adding an angle. So doesn't that make it look a little bit more dynamic? Just adding that slight angle to it. And also what I want to do is add a little bit of a bounding box to this logo so it doesn't feel like its floating out in space. So what we can do is go back to where we were. I just wanted to show you that little trick. We're gonna end up doing that again. Let's do a little bounding box. We're just gonna take the regular rectangle tool, and I'm just gonna create a border, creating a simple border. Let's make it a stroke. Go over to a stroke. Pain will make it a little bit thicker. Let's make it have sharp edges. I'm gonna do a miter join, so that's gonna give it a nice, sharp edge so it doesn't have the rounded edges and I got to take the corner tool saying It is cold down, see or oppress See and click and hold. Just add a little bit of rounded edge and I thought I'd just do it to two sides. So it also gives a little bit of the dynamic pop and maybe make the stroke a little smaller cause we don't want the stroke to compete with the logo. Just want something to kind of help really bound or boxing or logos who can put it on some colorful backgrounds, and it really stands out a little more. So now it's cool is weaken, select everything, group it just like we did before. And we're gonna find that icon. There's little arrows. We're gonna click and shift it up, and there is our little dynamic logo, just adding a little bit to it and making it a little bit smaller. And now we're ready to go. So what I'd like to do with the typography instead of having it stack that could just go up here to my center line panel and kind of center aligned those I could put some more spacing Here, let me get my character panel. I'm really gonna be needing that when I'm working with typography, I can add some more spacing between the type, you know, kind of stretch it out a little bit. There's a lot of things we can do here, but what I like to do is have it be a line and maybe have, like, a little box that follows this diagonal area. So here's what we're gonna do. We're just gonna take a box, the box tools, which that to a Phil. And I'm gonna find the same angle, match it with the logo and have it stretch across, maybe have our type kind of go in a little bit of an angle here. We're gonna make this white. Make sure this is on the top layer and go ahead and stack. This was putting this all in one text line inputs of nice spacing between each one before she could sell, separate each one and find Do it that way too. But I'm gonna keep it as one because it's easier to kind of find the right angle for all of these. And you notice little angle. It's 4% 64% 4% that I can match that do 4%. And so with type size, you don't wanna have it be so small that when you print it, you can't read it. So when I look at type size, it's eight points. And for the business card, that's usually the minimum. I like to keep it at any smaller. You risk it being a little bit difficult to read. 22. Layout: So I increase the angle a little bit more to add more of the dynamic angle. And at any time you're doing a layout project, you can always bring up grids and go to view and get those grids. Go when you can create one. Do a show grid, do a one centimeter square, and we could make it even tighter. Make this square smaller. Let's cut that back to 1.94 and let's even just do a one even. And then we can have subdivisions do eight. That just kind of helps us here. And what's great about this is we could put on snapping, So we'll go to our snapping manager and enable snapping, and I have a snap to the grid enable. So then each time I move around an element, it'll snap to the grid, and it's gonna help me find the center point a little bit easier on this. So there we go to that little green indication that means that a center aligned we could also kind of snapped this to the grid, too. Just got helps at any time. You could toggle off that grid on and off, and sometimes only to go into snapping, and when I'm kind of doing some custom movement, it'll snap it. Which can be great if you're trying to get perfect alignment. But when you're just trying to get some design work done, sometimes that snapping can really get in the way. So if that ever bothers, you can just always disable, snapping and then move on. And there's a little keyboard shortcut, command and then quotation, and you could just continue to do that to toggle. There's on and off so you don't have to go through the mini system each time you want to talk all that on and off. So let's add something here. Its stark We need to add our brand colors, so I like a business card that has lots of contrasts cause it really grabs your attention. So let's create a large color and let's make it purple and bring that all the way to the back. That's right, clicking and bringing it to the back. So now let's make our local white toe have contrast and readability, and I thought, What we do is make this gold. Let's make that gold for contrast, was bringing in our brand colors, and what we could do with this is we can add a little texture right here, an affinity designer. By going up here, we're just clicking, toggling between capacity and noise and will noise not too much, just a little noise. That's a little bit of texture and richness. I also went over here, and you can go to the effects panel that are effects panel, and we're just adding a little bit of that. Drop shadow outer shadow to the bar so it looks like it's part. It's kind of layered on top of that that doesn't look flat, so that looks really flat. That could look great if that's a look you're going for, but I thought a little our outer shadow, Little small outer shadow look good. So something's missing. Here we have a lot of purple. Let's break up the purple once more. We do that with the gold bar, but let's do it again. We don't have too much of one color, especially a strong color like purple. So let's bring in some white and add a little noise and let's in this backwards. I'm just doing my command left bracket and sending it back, or you can go into your layer panel and dragged at all around if you want to do it the long way, And that really kind of broke it up. So you have this really deep, rich color on the top, and you have this light neutral color on the bottom with this wonderful gold that pairs very well with the purple. So I think this is working as an overall designed for the front. So let's kind of move on and do the back. We're gonna keep this original straight logo, just in case we need it. But we're gonna replicate this and make it smaller. Let's make it black for now. So you kind of see it doesn't need to be as big as we already have a big logo on this side . So this is the information we have to work with. What I thought would be neat is to get a process photo. So I want to see James Black. I want to see a picture of him drawing, illustrating whatever he does. So let's bring in a photo, and I found this photo on pixels dot com and you can use any photo you want. You don't have to use a specific photo, but I'm gonna be using this photo right here. Ah, Photo of man drawing. You can easily find it on pixels dot com Any of the photos that I use in this class are found on pixels P e x e l E s dot com Go simply dragged that photo in or I can place it by doing my place tool, Place it in here. This is great as it gets me kind of control over where, how I want it cropped. So at this photo, and I thought it would be need to have a continual theme from the front of the business car to the back. So any time you have multiple sides is really nice to have some sort of continuous theme, and in this case, we have this kind of diagonal are and I would love to continue that. So let's duplicate this because we're not gonna be able to drag into the other art board because when you have one art board, it will keep all the objects cropped in that art boards you can't necessarily dragged out across. So what we're gonna do is we're just gonna duplicate it and match the angle. And then we could have all of his information the same way that we person it here and have a continual theme. So I'm just making a duplicate, and I'm gonna replace all of this email information into the bar. So we now have this continuing theme from left all the way to ride up front all the way to back. And one thing I noticed with the type here is it's fighting. So you have this angle, everything is angled and then you have this kind of straight type that it doesn't quite. I'd love it to have that same a right angle, and we could do that easily by switching this from bold if this is actually far too called no bill, and you can use a different typeface because I believe this is a license font from Adobe Fonts. But if you don't have the adobe subscription, it could easily find a substitute font on Google fonts. And we're going to just do a simple, bold italic and so notice how that really helped it goes with the flow of the design. So the italic kind of brings that kind of angle to the type, and it kind of matches the angle of the type itself is ready to the same thing over here. Just make it a bold italic, and that just feels better to kind of go. It's going with the flow of design instead of going against the flow of design. So what we want to do is we really need to tone down this image because right now I'm not able to see the logo very well and it's a little strong. And it's actually covering up this nice kind of picture that he's drawn to see to crop this photo in a certain way. That's really gonna bring more attention to the photo he's drawing. We also want to be able to screen this back or to lessen the impact. So what I'm gonna do is I'm just doing a regular rectangle tool, and I'm gonna apply our beautiful purple to it. The eyedropper tool. And here's what I got to do. I'm just doing command left bracket, or you can drag it on your layering panel and then just gonna bring this to where everything. The photos at the bottom So the photos at the bottom. We're gonna do a blending mode on this top purple layer and let certain pixels through underneath to give it a really cool effect to come to make it purple. But to still see the image underneath. So I'm in my layers panel and we're going to do kind of toggle through these blending modes . Gotta see the effect each one has. We're gonna go down too hard light. So it kind of gives it that pinkish, purplish vibe. But you're able to see all the main components of the photo. This is great, because now I could see my local very well, but making it white and making it a little bit bigger, making a little bit bigger. We can also toggle on the grid and do command. And I'm doing my little quotation. So I think we did one and eight. Yes, there's our little grid. So we could go down here and just make sure things were lined up nicely. Maybe. But that up to that little line and the maid put the logo there as well. Little small things we can do to make this better. So that's got three boxes on the right. Let's make that three boxes on the left. Something else is missing. Toggle off grids. We need some kind of divider between the type because right now the type just looks like there's a mistake like there's a big gap between each one. Let's really finish this off by adding a bullet point. And we have lots of great ways and affinity designer to add lots of really neat icons we can put instead. But I'm going to get a basic ellipse tool, make a circle, and I'm gonna make this a stroke and make that rather small like kind of a cool bullet point. That kind of has a little empty space there, and I'm just gonna copy and paste this between all of my gaps. So I'm just holding down option and dragging and seeing how that looks and then doing that on this site to bring that into this art board 23. Exporting: So there you have it. A business card front and design back in about 20 minutes. I wanted to keep this a very short but engaging project. And also some things I decided to do is flip around the gold in the white. We have now kind of this interesting contrast between, Instead of having the gold bar go all the way across, it still has the theme of going across and having the same treatment with the type. But it also has this nice, interesting change of color, and I just thought that was interesting. I really like the white in the middle because it kind of added the most contrast between white and then those darker colors right there in the middle Strip. So just kind of doing some slight tweaks with the color, but nothing major and dramatic. We have a little blending mode. Here's we have a little purple layer that has are blending mode on, which was hard light, and that is pretty much it. It's a pretty simple business card, added some grain kind of texture, some noise to some of these layers. Now we're ready to look at the bleed with the bleed an affinity designer. We have this little extra fell boundary right here in the boundary. The area between here and the actual live art board is the bleed. And we want everything to extend outside the bleed because the printer is going to request this plead to be able to trim this off to have a nice finish. Look where it looks like the anchors runs off the page. There is no white border. It's just a beautiful all the way printed to the edge professional piece. And this is usually only required with professional pieces that you're gonna send to a printer to get printed on material. So we need to make sure everything extends outwards so you could see the bounding box of this little purple photo, and we know that it's everything is outside of it. So that's good. So we have this little area and we just need to extend everything outside of it just like that. We're gonna go around our entire document and just verify we're also gonna go over here and do the same thing that's extended out. That needs to be extended out a little bit, and that is extended out. You can always take your no tool and you have a certain shape extended out. But that's already, uh, efficient. So now we're ready to get this thing exported. So now that we have everything extended out to the bleed, we need to take all live text and create outlines on the type, because we don't want to have it be an issue with the person. The printer opening up the file They don't need to have this Nobel typeface if we outlined the type because it won't be live type anymore. So that's the issue is they don't you don't want to have the printer have to have all their your fonts installed. That's not what they like, so they need you to create outlines. That's what it's called in Adobe Illustrator's creating outlines. That's the industry standard term, but an affinity designer is just right clicking and converting to curves. So now you'll see I can't edit the type anymore. It's been outlined, you know, so I can edit it anymore. But I'm done. I'm ready to go. It's already been done to the logo. We need to do all live, type and create outlines and or in this case convert to curves. So right, click convert to curves So everything is extended out to the bleed check. We converted all the live text and outlined it so he created curves converted to curves. And we have we know we're in san y que mode So we know that our color profile is good for printing. We're ready to export this and send it to the printer. So what we're gonna do is we're gonna go file and we're going to do a pdf go over to pdf. Pdf We want to do pdf for print. Since this is gonna be sent off to a printer, we want to make sure anything that's gonna be raster like the photo that we used is at least 300 d p I. And so we're gonna go ahead and set that. And if you ever wanted to check a photo and find out what resolution it is, all you have to do is click on the original photo. You're gonna go up here to the upper left, you're gonna be able to see the size, and you're gonna be able to see the DP I. So anything above 300 is pretty good. So this is 15 99 dp I and that's dots per square inch. That is excellent. Anything over 300 is great for nice, crisp, high resolution printing. So if you ever wanted to kind of know what the size of a photo is, click on it and go to the upper left. So let's go back to export. And we want to include the bleed if they require it. And we're gonna preview the export when it's complete, so we could pick a look at it and we want to do old document and let's export. But this is our document. It should be two sided. So we're gonna go over here, look at our pages. I'm an acrobat pro, and we're gonna zoom out here. The front here's back. So when we exported this back, you could see it kind of got a little more pink. That's okay. Blending modes are a little bit tough toe work with when you export them for print so we can go back and modify that. That's no big deal, but everything else looks like it's in place, and it's got the bleed added. I could tell there's extra bleed all the way around. So I went ahead and adjusted this little purple layer on top. And I just added a little bit more shade, a little bit of a darker tone to tone down when it exports as a PdF, it was a little too pinkish and the final pdf preview. So I just kind of dark in that a little bit, So you can kind of see there is something called Proof Colors and Adobe Illustrator and I'm in Adobe Illustrator Right now it can go up and prove colors right here. They don't really have that option in affinity designer. So I'm trying to do prove colors. You can kind of see how it exports of the pdf for how it would look printed, and it kind of just the colors for you. But affinity designer doesn't quite have that yet, And if they do, I have not been ableto to locate that. So we just have to kind of go back and manually adjust colors toe haven't export the weight like so I just went to file export and just doing my pdf again. And I was a little bit happier with the colors when I darkened that purple layer on top of the photo, so let's go ahead and zoom out. So there's the front, There's back. We have bleed added everywhere, and anybody is gonna be able to take this file and use it. Any professional printers gonna be able to use it? So there we have it. There is our business card designed front back for our pretend freelancer, and I'm glad I was able to kind of do a layout project and kind of go that extra step of how do I prepare for printing how doe I exported. So now that you have a good idea, just a general idea of what bleed is and forces get way more complex and more intermediate advanced courses where we really get into complex multiple panel documents. 24. Affinity Designer - Trifold Project: So who wants to do a try? Hold broke shirt. We're gonna do this fall indefinite designer. We're going to the outside and the inside of the trifle, and this is kind of what a trifle looks like. Open it up. You kind of have this inside right panel and you can open up to the big inside spread. And when he turned it around, you'll notice how it's laid out different. You'll have the front cover as the right panel and the back is actually the middle panel. So if you kind of study a trifle to get a good idea of how everything bends and folds and you can kind of get a good idea of how you need toe lay that out. An affinity designer. Well, the good news is I have a template for you to download. It can download this very template that you're seeing. All the hard work has been done for you. We have everything divided into columns and we have an inside and an outside spreads of this will be the front cover. This will be the back and the left will be that little panel you see, when you open up the document and also have two different color palettes. Utkan work with This is gonna be for a yoga studio Balance yoga. Finding your balance. It's just good to be a general brochure for a yoga studio, and he can use any color template you'd like. You can use thes two or bring in your own. So I wanted to spend about five minutes showing you how I created this template. So if he needed to create your own trifle template or more complicated layout, our template, you'll know exactly how to use grids and guides were gonna go for guides now. So let's go ahead and open up a new document. I did a print document just didn't 8.5 by 11 and I unclipped portrait. So now it's gonna be Landscape is gonna be horizontal and just sticking with that 300 d p I and added our standard bleed for inches, which is 3000.25 on each side, 1 to 5. So I clicked. Okay, so this is just a standard 8.5 by 11 and landscape mode, and what I wanted to do is I wanted to find out where the exact point would be where the trifled folds. So that will be exactly 1/3 they're each gonna be three panels across would have the middle on the left and the right panels. So one way to set that up easily, we're gonna go upto view and we're gonna now go to the guides managers is a little bit different than grids, this guides and we're going to create three columns, one for each panel, and then we're gonna reduce the gutter all the way down to the minimum amount, which I think is point one. So that automatically made a division for us. And if we're seeing them as solid columns, that's okay, just go to style. This is how it is by default. We want to be able to see our design really good when we design on top of this guide. So we want to make sure it's set to outline so we could still see our design as we're doing it. So that's all we did. We have three column layout and we're doing an outline, and we're just closing it down. And you could toggle those off at any time and it can go down to show guides or you cantata Gle that off and there's actually a short cut for that. So now we want to set up grids, so it's gonna go to grits, and we're gonna kind of do a standard one centimeter. Whatever. The default setting is where to click on show grid and let's make it a lot smaller. Let's do point to and what's do divisions. Let's do eight boxes in the subdivisions and click on close Weaken. Toggle that off by doing command quotation and toggle that on and off. So we have a grids. And one more thing I wanted to dio as I wanted to do, snapping When we're kind of arranging type and we want to make sure everything is kind of snapping to a grid, we want to turn on snapping, could scoot or stopping manager. I'm enabling, snapping, and I'm snapping to grid so I have snapping on Have my grids on and then I have my guides on. So the guides are gonna help us know when the folding points are in the trifled. Then, just like the business card, I take the art board tool and I create another art board click it twice. I have the inside and I have the outside. So now this is that where we are at the template. I loaded in some basic text in a little logo in just a little tagline so you don't have to sit there and come up with all of that, or you can fill it in with your own companies, stuff or your business. But this kind of gives you the basic set up. We have our guides in place, So one thing I went ahead and just grabbed some default type the lorry, um, Epsom type, which is just kind of gobbledygook. It's not real tight, but I just wanted to have some filler type. So what I want to do is you'll notice by default and affinity designer. There's this kind of auto spellcheck, which is actually something you should appreciate because Adobe Illustrator does not really have this feature as a default, and you have to kind of spell check Ah, lot on your own outside of Illustrator. So this is a nice feature that affinity designer has, but if it's bothering, you can simply go up to type spelling and just click off check spelling why typing? And then it eliminates all that. So once you feel like you have your spelling and all that done, you can toggle that off and we're ready to get designing. I downloaded several photos off of pixels dot com I just typed in yoga. I downloaded probably about 10 of these photos that I thought would really work well with the brochure so you can feel free to get your own that you feel like would work with this brochure. You don't have to use the same ones I'm doing. We're gonna do is very quickly. We're gonna try to do a nice basic layout in 20 to 30 minutes. So that's a tall order. So let's go ahead and get started. So you notice everything is kind of in a default type face and I think this is Ariel and I chose that because everybody has aerial installed on their computer. So I want to do a type face that didn't have any problems when he opened up the template. But we're gonna change all this to the typeface we think would work best with this brochure , and you'll notice two different ways to add type So we have just one line of type and we have a paragraph of type. So how I added the paragraph of type is I went down to my type tool, and I went to the Tech the frame text tool, and he could actually draw this and be able to create framed type, which is really nice toe have, because it actually changes when you bring it down or for just like a affinity publisher, which is gonna have a lot more options when it comes to framing and and laying out large blocks of type and copy. Let's do the front. Let's find our front hero image. This could be your front hero image. We can either drag this end or it could do the place image. We're just gonna drag this in and what's great about having our margins as we know exactly where it's gonna fold and we have snapping on. So it's gonna be snapping to the grid. Now we can put this to the back and just find a really good place. We could make this white bring her down, make that wide as well, and we can bring in a box here and bring in one of our colors. So let's see what color palette we'd like to use. Let's bring in this nice aqua color. Bring that to the front, just kind of doing some basic blocking. 25. Outside Design: So let's say I want to crop this because I don't want that to extend over to the other side . Let's go ahead and make this all the way large, and I want to kind of trim that up. So what I'm gonna do is I'm gonna draw a box. Let's make that a different color so you can kind of see what's happening to take our photos just got to do a simple crop. So we have the shape right here that we want to crop into and we have a photo. So I'm gonna drag my photo right underneath, and it's gonna crop it for us. So that's really nice to have that, especially when you're doing trifled work and you want to keep everything in its particular panel's. Now we're gonna have to find a way to put this. So perhaps we can add a little drop shadow and our effects panel and in this case of cold outer shadow, do a little bit of an offset. Well, a bit of a radius, just a little bit to kind of set it set the tone for this to finding your balance. We can add curves to this we can get. The no tool we can click anywhere on this, of course, is is a shape. So we want to right click and make sure we convert to curves, and we can add some kind of curve here with you. There's a curve. We can even duplicate this and change the shade a little bit at a little shade to it. And we can even change the curvature. Using are no tool who's changing the angle. So it's not like a perfect copy kind of flows like a river. We can even make this a different color, have even make it blue. There we go. So if I just very quickly were able to kind of put this together and of course, it's snapping, so you can move this until you find that center point and just aligning it So it's even on the left, and right sides have kind of similar spacing. Maybe arrest that on the grid line right here. Great and a lot of times one of doing concepts, and I'm just kind of doing some basic blocking. I'll keep grids off, and when I'm ready to kind of get things a little bit more aligned I'll put on the grid and kind of do it that way. Okay, so let's do the outside or guessed this would be the back of the trifled. They're gonna get one free class. So let's make that rather big if they bring in the brochure. And so let's kind of set some styles for type so they don't don't have to sit there and set the same style over and over for tight base. So just for the sake of having a typeface, I know you're probably gonna have I'm gonna set this all to Helvetica. So I'm just doing a very standard default typeface. Let's even do light because I think light kind of looks pretty good. So I'm just doing hell, that acolyte and what we can do is when we get a certain style for a headline. So we have a couple headlines in our trifled we have cost. We have why we're different and then different types of yoga we offer and typical daily schedule. I'd love it if we had two different styles, a headline style and then a regular body copy style. So let's kind of set what this looks like. We could make this a little bigger and put this on two lines and then weaken center, align all over headlines. We can even make this bold and then make everything else light and we can change the color as well. So let's find the color that would look really good for headlines. So maybe the aqua color. So now we can set kind of a basic template. Let me bring out our character panel and see if I can't maybe tighten that up a little bit . Just a negative 10. Just doing some small things to the type. So this is very basic. You can always finesse this when we have a lot more time, But I'm gonna set This is a style. So I'm gonna right click and I'm gonna create a style So now when I go to styles, here's my style panel When go down and there is style 28 course would probably rename that something a little more exciting like headline. So when I go to all these just like that, look, all these that are gonna be headlines and voila change them all. So now they're all that same heading so you could do the same thing for this particular type. Weaken. Set all this. Go and change the color on this. Let's see here. Let's see if we can't do our dark blue. That might look nice and I got to set this as a list, too. Horizontal horizontal alignment. And let's go ahead and right click and set a style, So there's gonna be a different style that's going to be kind of four are bigger type, but not our headlines. So now we can go down and set that as a style, said all of this as that same style. So, just like that, it also center aligned everything for us, so we don't have to sit there and do that over and over and over and over. So now our body copy. Let's finesse this a little bit. Let's create a style for this. Let's make this kind of a dark gray just like that kind of lightens it a little bit. Doesn't make it look so heavy. And let's make this a smaller size, so we probably just need 10 point typeface for this. We don't need anything super large but or character panel. Let's put some spacing between these sentences are very, very tight. Let's loosen that up a little bit, going to the letting override. We're just gonna expand it. So right here is letting over wide. Letting is the spacing between sentences. Source could expand that from a 10.3 to Let's try a nice See how it gets really elegant when you put more spacing between there and we have lots of room. So why don't we do a 15? And also let's see if we can't go to our alignment up here and let's do a justified left. So what that is going to do is I just click down to them or align options, and it made everything on the left and right look flush and even you don't have the ragged nous to the right side. So it looks really clean. When we're happy with this, we can right click and make this a style. So now, anytime we have body copy, we can emulate the same style. So we developed or three styles. We have a headline style. We have kind of your larger type style, and then we have a body copy style, so now it's gonna be very easy to switch our text around, so let's go ahead and ungroomed. This is just a element that I created that you can use. I'm gonna un group this and I'm changing the color of this little that actually created this by getting the cog tool. I did the cog tool and I kind of change it to make it look more like a flower using kind of what we learned already. So let's get a color here. It's maybe do are lighter color, even kind of our gold. I haven't really used gold yet. Who? That really kind of brightens it up, doesn't it? So this limit one per customer list is Make that a talek and make that Helvetica and make it a little bit smaller. Buying type can be seven points or smaller. That's just like a little extra thing that we need to put in there 26. Part 2: So let's bring in some dividing lines between cut some of these elements. So we have When you bring in this brochure we have we want to kind of connect these two. We want to have some kind of separation between this kind of block of information and this block of information. So I'm going to take the pin tool. I'm going to select hold down shift, and I'm just gonna make a simple dividing bar gold, make it a stroke. And there's lots of different stroke options you have here. You can create some really neat looking ones. So I'm gonna go up to my stroke panel and let's see if we can't add some start endings to this to make it look kind of cool. Adding some circle ends to that. We can even lighten this color a little bit, adding a little bit of white. But even that triangle looks kind of neat. Let's do the triangle nudged that up. I'm not snapping to the grid. Sometimes that's driving you a little crazy, cause not everything is gonna conform to the grid perfectly to use that to divide other elements as well or make this a little smaller. We can make certain things bigger like this 109 per month. It's probably going to be nice to make that bold and going ahead and making that this color just kind of add some definition and breaking up that type even further. We can make this headline type so we can go to styles and find our headline. Make that a little bit bigger. We can divide these elements and more spacing between them. So now I think we can benefit from a little bit of styling with a photo. Now let's see what kind of photo we can bring in. So it's pretty neat. We're ready to crop this just like we did before. So if we're gonna crop this, we're gonna need to draw right where panel is gonna be and go to our layers panel and drag it in. And there it's cropped. I couldn't leave this white to have some contrast. We could make it a different color, but not a super dark color, because we already have two dark images there. So why don't we make this kind of this light color just kind of playing around with color choices? Seeing what works out well here. Bringing that all down since have snap to grid and getting all sorts of indications of where the true center is on this panel. And I'm kind of dragging its kind of like smart guides and adobe illustrator. So what we could do with this type is we could even override the styles and make it white and have it brought up a little bit bigger just like that. And I think it would look really good there. So you have this nice, dark background. Let's make sure all that a center aligned to selecting all my elements and doing a central line we could even do if we want to kind of tone down that yellow because it's not really going with this. This is a really bright color, and we have very chill colors. What we could do is we can kind of do a blending mode for this. So I just put a I'm gonna put a white background here, but let me make that our gold. We'll see what gold looks like. So I'm putting our image on top and I'm taking our image and I'm making I'm just changing the blending mode in the layers panel, so averages looking are luminosity is looking really good. That's gonna kind of make just that one background color shine through. Let's see what another color looks like. Oh, yes, that aqua color looks really good there, especially with the gold. And we can even do the deeper color, see what the blue looks like. We like the blue better, kind of like the aqua stick with Aqua. And so now we have kind of our indication of where it folds. But it's not perfectly exact. It's it's kind of a guesstimate because you have these gaps here. So what we want to do is when it we want to go halfway between these two lines, that's gonna be where it's actually gonna fold. So we're kind of doing this. We want to make sure it's kind of halfway in that point, and same thing with this. Just this is just little fine details. Make sure folds right where we wanted to fold. Looks like I had a stroke on there. There we go. So that's about halfway pretty close off to take off snapping toe. Fix that perfectly. But we'll do that later. We got to move on. That is the outside we can add a little grain texture to this is Wells. What's not flat seems to click on this and add a little noise. I can add a little noise to some of these other elements is we don't the add noise to everything, but I think it kind of helps in some cases. Let's go ahead and save her document and move on to the inside. So now we will also want have contrast with her inside. We don't want to have the entire inside be the same color because then everything blends together. We want certain things to really be highlighted. First of all, this needs a lot more spacing. So let's go to our character panel and add a little more letting. We could even make this a little bigger. That 18 kind of override her style here, bring that town probably about right here. We can even bring in our cool little line here that we have as a divider line between each one of these and make it a lot smaller and make maybe even do circles. So what the circles look like and make the stroke smaller. We just need a little dividing line there. And I'm just holding down shift and clicking and copy. You could make sure all that a center aligned even highlight one word and keep the other one a skin, your tight base. So just making all of these bold. So just making sure we have type hierarchy. So that means certain things are bigger than others to kind of further breakdown the information. So all I did here was just make these bold in the different color. Just so everything just didn't run together and look like one big block of copy that all look the same. So it just adds a little extra professionalism. I also decided to do bold on the left and light on the right to kind of offer. That contrast is well, And then all I did was I thought, you know, this really needs something to break up this entire inside spread. Why not make the middle kind of a darker color? And the outside's a different color, maybe a lighter color. So all I did was I drove drew just a box and made all of that white and kept all that gold so very simple. So let's continue to bring in photography. I think photography is a great way to tell a story from a design standpoint. Let's do a class food because you don't have any pictures of a class going on. We just have kind of people doing yoga. So let's find a way to kind of crop this and work this in here, and you can crop in any kind of shape. So if we wanted to do a kind of a water droplet and we want to crop this photo in there, somehow we could do that. Or we can bring in a better photo for that prop that, in their words, could do the same thing we've always done with cropping. We're gonna goto layers and bring on this right inside as a nested element just like that, we kind of have a really neat way to crop photos so we can do a tear shape. You do any shape imaginable to kind of make it a little unique. We have it's class photo work. We put this class photo, let's try toe, break this up. So we have this a line to the left and right Let's break this up a little bit and bring this down, remembering that down so we can have a photo right up top, but are a little teardrop right there. And let's make sure this is halfway. So we need to turn snapping off. Turn it off. No more snapping. So now I can come to drag this out halfway because that's really where it's gonna fold us halfway between these guides. Same thing with this photo. So great we could even do a background pattern to This is well, but let's add a little noise. Since that's what we've been doing a lot lately. I'm just holding down option and dragging to replicate that. And I just wonder what a lighter color would look like. So let's see what we have here. We have our kind of peach color, and we also have our blue aqua color that we've been using a lot different enough where you see that contrast. So all this will need to be made white kind of keeps with the balance of everything we can do. Keep this color as well and make that white and make that white. You could see how things really gets changed up their stoop. Locate that little line so it could have some kind of consistency on both a drop shadow here to this little teardrop. Make a little bigger and go to affects and do a little outer shadow. Nothing big. There's a little bit maybe do more but radius and then back off the strength. So this is what we have so far we can apply the same curves that we have here. So let's bring in these curves. I think I like how these curves look. I think we need to bring that in, so I'm just gonna bring that into here so we could have some consistency with the look of it. So just get bringing in curves. Nothing big Make that a little bit lighter. We can add the same curve here. What we could do is we can bring this on top, bring it down and add similar curves. And I think we did that by right clicking, converting to curves and then getting are no tool and making sure that set the curve. We had kind of a curve like that. There we go Now. We could send both of these to the back and we have our little curve and then change the angle, just like we did before, nothing new. 27. Exporting: So there you have it. There is the outside of the brochure. This is gonna be the back it's gonna be. The front is gonna be the panel, though. See, when they first opened up the front cover, we're gonna move on to the inside. This is the inside spread which I thought had a little bit of contrast. I wanted to use more brighter, wider colors, but really, for this type of mood I wanted to set for this yoga. I wanted it to be rich, elegant. It's a little bit pricier than most yoga places, so I didn't mind kind of sticking with some of the darker colors. There's only they still had some contrast with some of my background, so they just weren't all the same color. So just having contrast in continuing that theme of kind of the swoosh of the swirls or that guess the curves kind of continuing from one side to another. So now that we're ready, let's go and get this ready to send off to the printer so we can make these a really reality. We want to make sure everything extends out to the bleed. So this is the bleed it's going click on this art board first. Everything needs to extend out there that is going to the edge. So with this photo that is extended out great, just gonna go through each element and make sure it is. And if it's not, I just make sure that it does. So I'm just kind of extending this out a little bit across the bleed. Continue to go around each one and doing so. So now that everything's been extended to the bleed, we're gonna be ready to export this for print. We want to make sure the type is outlined, especially fonts that you don't think the printer is gonna have installed on their computer . We could select all the different type and right click and make sure we convert to curves. It's the same thing, is creating outlines, and now we're ready to go. Let's go ahead and export this as a PdF PdF we want the whole document we want include bleed 300 d. P. I. We can always go back. One more thing if we really want to be detailed here we go and click each photo and I know they're high resolution because I got in from pixels, but I can click on each photo and this is cropped. So I might need to uncross that to be ableto toe, locate the image. So I'm just gonna one crop that really quickly and kind of check the image so it looks like it's 555 dp I That's fantastic. So all these photos are looking good. That's 300. As long as they're above 300 you're gonna be fine. So great. So let's go and go back to export. Pdf. Okay, everything is set. PDF for print export. Let's see what this looks like. So here's what it looks like. It looks like I need to extend that out to the bleed. So it's a great way to kind of double check to make sure everything's extended because this does include bleed around the edges. So you just need to understand to go back and correct that and then going down to the bottom, Same thing here, just need to extend that. But there it is. There's our final Trifled. It's probably been what about? It was definitely more than 20 or 30 minutes, maybe close to 40 minutes, but we got to show you how to set up a complex template on inside and outside and folding, and it's a little bit more complex or intermediate of a project. So we were able to finish this affinity designer section with that, like there's one other small section left to do. But then we're gonna find ourselves an affinity publisher. Affinity publisher. Why didn't I use a vanity publisher for this? This has a and inside and outside, but really, it's just one piece of paper folded out, so it's okay to do that in a minute decider. But when you have multiple pages like a magazine or a flip book or a book, you really need to do that. And Infinity publisher, because affinity publisher is, can handle large amounts of text really, really well, it could also have lots of different pages. It's a little bit easier to manage than managing a bunch of art boards. You just have way more control. So any time you have a complex multiple page documents, really look at affinity publisher as your option. We're gonna be creating a cookbook. We're gonna do a front cover, but then we're gonna block out you know a good amount of pages to create a cookbook together. And we're gonna do that as our one big final project, an affinity publisher. So I'll see you there. 28. Affinity Designer - Pixel Persona Section - Part 1: All right, folks. Welcome back to affinity designer. Now, Lindsay's already taking you through the vector portion of affinity designer. I'm gonna augment with the Rastra portion. Now the Rastra portion, We're gonna begin with Brush creation. So now let's go to the pixel persona. And now I'm gonna go ahead and move these back over here, all right? And I was working on something earlier. All right, so let's go ahead, move everything backwards, Supposed to go. All right, bring it on back. Okay, so the pixel persona, let's goto file new. And the first thing I'm gonna do here is I'm gonna show you how to make brushes. So we're gonna go 2000 by 2000 pixels on brushes. Now, brush making is one of those dark arts. Like said, I like to make them some people don't a lot of people by him. So I'm gonna show you how to make pixel based brushes here in affinity designer. So make sure you're in the pixel persona. Get 2000 pixel by 2000 pixel workspace, and the very first thing you're gonna want to do is go to downloads for this lesson and place an image in now. I've included in your downloads to flare designs. Let's go ahead and grab this one. All right, So this is the flare designed to get him off from any website, right? Just look for anamorphic flares and this one I really like because it's got a bright center , and it's kind of this shape, this oval shape. I like that. But now what I need to do, I need to get the black part to show. So the first thing I'm going to do, I'm gonna come over to my layers panel. And the first thing that I want to do is I want to add a levels adjustment and a black and white adjustment. So let's go ahead and make this black and white just like that. And now let's go ahead and crank up the levels. So we go to adjustments levels, boom. We pushed the blacks, only push the whites, and I think we're pretty good there. All right, now what you're gonna want to do now is you're going to want to grab everything that is not white, and you're gonna want to invert it. So to do this, make sure that the levels adjustment is inside of here. Okay, so we get levels adjustment inside, and now come over here. Come over here and what we're gonna do first, we're going to invert. And just like that, there is your flair, P and G. Now, make sure you have a room on the sides here. You don't want to brush to go all the way to the edges. All right, so now we've got this. Now what we do, we go to file export. You want to export it as a P and G. Now you're going to do the whole document without a background, and you're gonna export that. What's called this flare brush? One. Okay, cool. So the big deal when it comes to intensity brushes, it has to be black on white. It's got to be PNG, and you export without a background. All right, so now let's go. To brush is where are my brushes? Now? Open up a new set of brushes. Come over to these little four lines, create new category, and it created a new category called brushes. Click on this again and renamed category. Let's call this flare brushes I made. Okay, cool. Now we're gonna make what's called an intensity brush. So add this to new intensity brush, find the PNG and hit open. All right, now, what does that look like? It doesn't look really good, Does it take the size was crank the size up, take the spacing, crank the spacing up, and now you have an isolated image. Now, I like when I do this to set my blend modes to screen. You can say don't said blend mode on a brush. That's fine. And we close Now look at what happened. Now, watch this file new. I'm just gonna open up any old document. And this is gonna be coolest when I kind of throw in some sort of background. Oh, let's go. Color. Okay, View studio didn't even have a color panel open. All right, now watch this. Come over to pixels. Grab my brush, grab my flare brush, crank this bad boy up. Now, color do I want to use? She'll use a kind of an off white. There we go. And you can change the color up on this all day. See how now multiple iterations gives you a different effect. One brush down. All right. In the next lesson, we're gonna make one more of these, and then we're going to use them in a pixel based image, so stay tuned. It will see in the next one. 29. Affinity Designer - Pixel Persona Section - Part 2: All right, folks. Welcome back to affinity Photo. Actually, this is a finicky designer, but we're dealing in pixels, so sometimes they blend. Alright. Affinity designer with the pixel. So in the last lesson, we made one flare brush. Now, repetition is the mother mastery. So we're gonna show you exactly how this works again. Let's go ahead. Now. Goto file place and grab the second flare open. Now, remember, this is a 2000 pixel by 2000 pixel workspace. You always want to make your brushes square. All right, So what do we do with this thing first? Well, remember our training. We come down and we first make it black and white bone done. Then we come in and we do a levels adjustment. And this just makes the blacks blacker. Makes the whites whiter and give some good differentiation for the brush. All right, good. So now we come in and let's drag that inside. And now we're gonna come in and we're going to invert the entire thing and invert adjustment comes out Move just like that. All right, so there is our new flare now. In order to fix this, we go to file export. Remember that everything is PNG. So going to call this flare, too. Save perfect. Now let's come into our brushes and let's go ahead and create a new intensity brush. Remember, intensity brushes work off black on white, so come over there. Boom! Now that doesn't look too good. Crank up the size, crank up the spacing, and now you have a good isolated flare. Now let's try it. File. Ah, file new. Any old size will do. Just trying some stuff. Grab a rectangle color. Do I want the rectangle? I wanted black because these really show up. Well, come over to the pixel. Grab the brush E and let's try this off. Red color. That's pretty cool, All right. Successful brush made so you can go ahead and set the blend mode. If you ever wanted to come back into just the brush, grab your brushes. Tab, which could be found from view studio and you see brushes is right there. And if you double click, all of the options of a pixel brush become available to you. I can change the size. Now watch this. You see? Now I'm painting these little dots. These are actually flares. I bring it back up now in painting signs of LeClair's accumulation is a fancy way of saying opacity. All right, if you have low accumulation, you see how these don't look as bright as those I use my accumulation usually all the way up. And I had just my brush settings Spacing, spacing is how far these things come together. If you were to bring them all together, you could make a line. I don't know why you'd want to, but you could. Whenever you do in stamps style brushes always make your spacing as large you can. And then you can actually set the blend mode now for flares. I like screen. Same thing when I'm doing like brushes. Now let me show you something cool. If you go to dynamics, you can take the huge inter and you could turn it all the way up. Now watch this crank the size up. Now look at that huge inter. What huge it or does is it really alternates all the different colors that's found in your dynamics here. I personally don't use it a lot, but I do see a use for it sometimes, and this is the texture the PNG that you created. We'll deal with sub brushes in a more advanced course. I don't want to cover them here. So in reality, four pixel brush is This is how you adjust him. This is where you find them. And if you have a set as an example, I've included the seventh season studios fog and smoke brush, as well as the pro flare set in this pack as a special gift. Therefore, followers of Lindsay Marsh. So you've got these. When you find him, just go to import and import the file, and it will put the pixel brush is right there. I have a ton. I like Frank in tune stuff. Livio has given me some. I've downloaded some from the Internet. There's a lot of different places to go and get him in this course. I'm only gonna be using the ones that we make. And the ones that come stock with a finicky designer are enough would be talking. Let's go ahead and get into a project where we use these 30. Affinity Designer - Pixel Persona Section - Part 3: All right, folks. And welcome back to affinity designer. Now, I've been taking you through the pixel persona, and we made some flair brushes, so let's go ahead and explore the pics of persona through doing an actual project. So I'm gonna go to file new, and I'm gonna go Web animal 10 80 which is 1920 by 10. 80 and I'm gonna go ahead and hit, OK? All right. So I got my layers panel out that way, I could just illustrate it. And I like to start my pixel work in affinity designer, even with vector. So I'm gonna grab in the lips, and then I'm going to hold shift, and I'm going to make a round circle. All right, so now let's grab this ellipse and let's find a color. So we're gonna come to colors and I'm gonna come about halfway up, and that's gonna be the color of my lips. And now I'm gonna come over here. I'm gonna swirl around the outside to the blue, right. Lindsay already showed you how to do this, and we're gonna go to maybe this color here, make kind of a wide ish light ish. All right, That's good. All right, Now let's bring this ellipse on top. And now we're going to duplicate, so right, click Duplicate. And now select that ellipse and crank up the gray here on it. All right. Now let's nest it. Grab it. We're gonna nest it inside of the other lips. And now let's pull it down a little bit an instant. Three D effect. All right, cool. Let's drop that a little bit further here. That don't was sitting a little bit proud. All right, we have a spaceship, folks are a good deal. So now let's go ahead and position this spaceship. I'm gonna click and drag. Don't put it right about here. All right, now I'm going to create three circles. One. Let's go ahead and place that right about here. Let's do two over here and I'm holding shift while I do it. So I get a perfect circle and let's do one on over here and three. All right, let's make this one actually wants smaller for a shift. All right, now we got three circles and we got a spaceship, and now I'm playing with the atmosphere. This one is closest to the viewer. This one is in the middle ground, and this one is furthest away. All right, so now let's go ahead and color these. We come over to the Phil and let's make this 1st 1 kind of a mid blue. All right, let's make this one kind of a mid read. Let's say right about there and let's make this one kind of green and you notice how it's kind of that White ist green. They're all right. So that looks pretty good. All right, so these are all of our shapes that we've got for Vector. Now, we're going to kind of switch over to Pixel for a while, So I'm gonna switch over to my persona and the first thing that I want to dio one more thing. Sorry. In the draw persona, let's add the blackness of space. I'm gonna put a big ole rectangle down that Why isn't that snapping? Hey, snapping is not on good for me. All right, So now let's go ahead and make this rectangle black. Pull it down until it fills the frame and drag it to the back. All right, cool. Now we're all cooking. All right, folks, let's go ahead and swap into the pixel persona when we get back and we'll take the next step 31. Affinity Designer - Pixel Persona Section - Part 4: All right, folks, walk back to our projects. So we're going to switch officially now from the vector persona or the draw persona, which is right here in the upper left hand corner into the pixel persona. All right, now I'm gonna leave the layers panel out because what you really gonna want to dio is you're gonna want to create pixel airs nested inside of these vectors, toe form, what are called clipping masks. Now, that's a whole lot of words. We're gonna show you how this works, but I find undocking the layers panel to be extremely helpful during this process. All right, so let's go ahead and start by adding a new layer. Now there is the ad, the pixel air area of the layers panel. And when you click on it, you get a pixel air. Let's drag this down in between the rectangle in the ellipse. Let's call this background. All right? Perfect. Now in your downloads for this lesson, I've included the seven season studios fog and flame starter pack. So let's go over to our brush panel and I'm gonna go ahead and pull mine out so you can see it. You don't have to undock yours and go ahead and install. Now, if you've never installed brushes before, all you really have to do is come over here import brushes and then find the file, and then it will add them as a category. So minor already in here, and we're gonna use the seventh season. Well, let's see. Where are they? Here. Smoke and fog starter. All right, Now, I like to use these fog brushes here. Now there's a variety of Let's go ahead and try fog brush to Now. To do this, we're gonna grab our paintbrush. And now you see the kind of effect that it gives. Now, I want to increase the size of this. So I'm gonna come up here and I'm gonna make this bigger. All right? So if you wanted to, you could write bracket key and make it even bigger still, let's go ahead and move this over here. We're done with this panel for now, and you want to lay down a little bit off, Say space smoke. Now let's pull out the color panel and this is kind of where we are here. Let's go ahead now and put in some deeper purples. All right. And let's go ahead now and even put in some blacks. Now, if this is a little bit opaque, you could always come appear to dress to the flow down a little bit. You can work with even 50% flow now. 50% flow flow is how much of the ink comes out every time you touch the page. So lower flow means less ink is going to come out. So I think that I'm pretty good there. Now, why would I want to do I want to put in some whites Now? I'm gonna crank the float up a little bit. All right? That looks pretty good. All right. You've got good differentiation in the background now. Noticed. This is not a vector. Layer this a pixel air. So if you were to blow this thing up to billboard size, it will. In fact, pixel ate, and that would be bad. All right, so when you work in pixel, you really want to think about your end of dimensions. This is a computer screen size, and so you really want to work close to the dimension that you're gonna work in reality. All right, So now let's go ahead and add some texture to these planets. Now, we're gonna do this for the blue lips. Make sure you're on the ellipse layer. Let's add a pixel air and drag it inside of the Ellipse. So this is termed nesting. Right now we're gonna change the brush up. All right, let's bring out our brushes. Now, I'm only gonna work with brushes I gave you, and I'm only gonna work with the ones that are native to affinity. So this one here, I like to use the texture brushes. So we come over here and let's look for the texture brushes, watercolor, grunge. Let's go with grunge. And now let's picks a grudge three. Uh, let's go ahead and do this. All right? Now, let's go ahead and work in kind of a darker blue. All right, now what I'm looking for you see down here As soon as I run my brush over this, it kind of shows what's going to come up now. What I want to Dio doesn't want to come over here. And I just want a paint on this particular planet. Now notice that it's not painting outside of the planet. And why? Because I have the pixelated nested inside of the Ellipse. All right, cool. So now we're gonna do this similar thing with the Red Planet. We're gonna come over to the Red Planet, We're gonna add a pixel air we're gonna nested inside of the Ellipse. And now with the pixel their selected I'm gonna come over. I'm gonna choose my red, and I'm gonna go with a little bit darker, red. All right, now we're gonna move this brushing, and I think we're pretty well, good. Now, what I like to do when I do this is I like to put in a little bit of texture. And then what I like to do is I like to shrink down my brush size a little bit, and I like to kind of texturizing a little heavier on the areas that are going to be away from the light. You see how this adds a little bit of different texture to it. So now let's go do the green click on the Ellipse lair, add a pixel there, drop it down inside of the green, just like that. And now we're gonna come over to our color tab gonna swing around the outside to green and we got the darker green And now let's just texture it up Now what I'm gonna do with the green, I'm gonna go one step further because the green is pretty far away. I'm going to come in here and I'm going to make sure there that we get a little bit more depth on it. All right? That looks pretty good. Now with the blue because the blue is closer I'm gonna come back to the blue I'm gonna come back to my pixel air I'm gonna come back to blue And now I'm gonna grab almost some white. I'm gonna go ahead and bring this up and I'm going to put some white also on this planet now. Notice. I did not do that with this planet, right? I want this to be white. I want this to be the darkest and that's somewhere in the middle. All right, so let's go ahead and call it on this one. Now, there's a little white line that I see here. Let's go ahead and crank that up. Just a little boom. All right? I just brought that layer up a little bit to fill the frame. All right, so in this lesson, we added pixel layers to all of our planet's. We also added a background in the next lesson, we're gonna detail the spaceship, and I'm gonna show you had some really cool effects to your plan. It's all right. We'll see in the next one. 32. Affinity Designer - Pixel Persona Section - Part 5: All right, folks. Welcome back to affinity Designer. So we're working in this pixel project here. In the last lesson, we started doing some detail on planets. Now, what I'd like to show you is how to add some effects to pull off some really cool stuff on these planets. So let's go ahead. And it started. The first thing we're gonna do is we're gonna work on the Blue Planet, and I'm gonna come over here to the effects tab now affects air applied to layers. So we're gonna apply this to the entire blue layer, were to start with bevel and in Boss. Now, if you click on it and you check it, notice that this halo arrived. All you got to do here is click on outer, change the radius up right to where you like it, and then you can soften it down or harden it up as much as you want, right? You can make it really firm if you want that really whole, uh, plastic look or you can soften it down so that it gives it kind of a nice glow. And then you can change the profile to whichever you really like change the profile here. Change to this changed that. I personally like this for my art because I want this to be kind of a way. And then you could even change in the type of color. So we wanted to do something say, in a purple type halo You absolutely could. I'm gonna go ahead and stick with blue, and that will give it a nice blue glow. All right, so I'm very happy with the bevel of boss. Now, check this out. If we come down to the pixel air that's there and we click on three D notice what just happened there were able with the three d layer. We can increase the radius up so that we can do whatever we're going to do there. We can then change up the shadow, right? We can change in a lot of the three d light sources that come in. We can even change the color and the number of lights so we can even change the profile there, so that gives us a completely different other Look, now what I will probably do here. After adding the three d in, I will probably go in here and I will also add a blur. Effects will come into effects, adding a little bit ago, Schindler and kind of kick it around there so that it doesn't look so super weird. All right, cool. So that's one possibility. Now let me show you the other one. Weaken, do Let's do this with the Red Planet. Come over to the Ellipse were working in effects. That's what this whole lesson is about. And let's do an outer glow. Okay, now, notice. I click. Did nothing happened? You've got to click on the outer glow and then crank up the radius, All right, and then let's change the color up. Go ahead. I'm gonna change that in to something. Maybe in a light orange. I think that that's pretty cool. All right, good deal. Now you can crank up the intensity if you want, and it could be an intense glow. Or it could be a mild glow. And let's go ahead and do the same thing. Now with this layer, click on outer glow, crank up the radius of that glow, and now let's give it a green glow. One of the reasons I do space scenes when I teach This kind of stuff is because you can do anything you want. You can stylized like a Children's book. You could be super technical with it. I like it because now we can do whatever we want with the planets, because really, there aren't a lot of rules. Let's go ahead now and let's test that by creating an electrical storm on this blue planet . So let's go ahead and add a pixel air inside of the Ellipse that nested in there and let's grab our brushes were in the grunge set. And let's grab this one for 300 pixels. Now we're gonna grab the brush for now, you can see it kind of milling around there. What I want to do is I want to make this a little bit bigger. Okay, so we're kind of doing this, all right? And I'm kind of painting in a purple. And now the reason that I did that watch this. We're gonna change the blend mode up. I think we're gonna go with kind of a color dodge. That's kinda cool. And now let's go ahead and throw a glow on it. So we're on here. Let's go ahead and grab in effect, Let's do an outer glow. And then let's go ahead and apply this over. All right, now we got that white. Let's change that color a little bit. All right? That is super cool. You crank up the intensity as far as you want to go with it, go ahead on a crank down that intensity just a little bit. And now, because it's a pixel air, watch this come over to this layer. And now, because it's a pixel air, we can move it and reposition this. The electrical storm can cover the whole face of this planet. That is pretty cool, all right. I'm actually quite thrilled with that. All right, Now, let's go ahead and add some three d into this red planet. Let me go to the pixel air. I'm gonna add in effect. And what we're going to do now is we're going Teoh three d it, and we're gonna go ahead with the three D and we're gonna crank it up a little bit. All right? That'll work. All right. Good deal. Now, last thing that I want to do here is I want to show you how to detail this spaceship. So we're going to come down and I'm gonna grab my brush. And now I'm coming over to my brushes and I'm gonna grab just my normal old basic brushes. So literally go to the basic category and I'm gonna show you how to do this with a soft brush. I'm not gonna use my Wacom because I want to show you that this could be done with the mouse. We're gonna come over to the gray. I'm gonna put it a little bit of gray. I'm coming over to this ellipse and I'm putting in a pixel air and then I'm nesting it inside of that ellipse. All right? Now watch this crank up my brush a little bit. I turned my flow down, and now I'm going to subtly rush along this area. Now, you might be saying, Why didn't you leave a highlight? Watch this. This is part of working with the mouse. All right? We're gonna go a little bit deeper here. We're gonna go a little bit deeper there. All right? Perfect. And now what's going to bring that up on top? Look at that boom. Just like butter. And now gonna come down here. I'm gonna grab my eraser. I'm gonna bring that down and I'm gonna use the side of the eraser. Okay? Now, why is that erasing in a nonstandard fashion? Well, because much like anything else, you can apply brushes to your spacecraft so you can get a really cool type of look to it. If you so wanted to, just by adding a little bit of texture to it. I actually like that a lot. Now let's do the Ellipse. Same thing. We're now going to create a pixel air. We're gonna taylor it and tie it into the ellipse so that we use it is a clipping mask. I'm gonna come over to my brush. I want to start with my darker grey and I'm going to start moving around like that. Okay, now, that's the start. And what I'm gonna do now isn't the kind of a harder edge on this. And now I'm gonna come over with my Tulare, my eraser. I'm gonna swap over to my round brush for my eraser. I'm going to raise it up, and I'm just going to use the side to rim this thing. See how this is working now? now I might turn the flow down quite a bit on this one. Yeah, let's go ahead and take a little bit out of the summer, all right, that's pretty cool. Now, the last thing that'll probably do here, Let's go up to here. Let's grab brush. Let's grab a texture brush. So I'm coming over here to my grunge and let's grab some of this. Grab a little bit of white, keep my flow down, and let's just add a little bit of texture into their all right folks. That's it for this lesson. Let's go ahead and read. Dr Brush. Boom, Move the layers panel over and let's call it on this lesson, and the next one we're gonna finish up the spacecraft. We're gonna put in some flair and we're gonna be close to the finish to this thing up. All right, we'll see the next one 33. Affinity Designer - Pixel Persona Section - Part 6: All right, folks. Welcome back to affinity Designer. So we're rounding home on this pixel image here, right? We got probably one more lesson left. And so now we're gonna work on this dome. Now I'm bringing up my brushes paddle. I'm gonna come back to my basic brushes, so I'm gonna go basic, and I'm going to go with a soft round brush. I use a soft round brush or a hard round brush for probably 90% of what I dio Make sure you're on your brush layer and let's go ahead and find kind of Ah, light, light, light blue, right? You don't want to make it Stark White. And so we're gonna come over to the Ellipse. We're gonna add a pixel arian, And now we're going to make sure on the pixel air, and then we're gonna paint onto that pixel air. Now you go all the way to the edge, just like we did before, right? And then how do you come away from that edge? Grab your eraser and slide off it. All right. Now, if things around and things air domed, you're also going to want something that might be a little darker. So let's go ahead and try something dark. And I'm just kind of ribbon that through there. Now I want to kind of soften that up. This is a nice way without a wacom tablet to make your point here. We're gonna go ahead and we're gonna crank that flow all the way up. I tend to work with oversized brushes because it allows me to sculpt the kinds of lines that I want. All right, that looks pretty good. And now what we're going to do, we're gonna put a big old white area here, right? We're gonna go up to 100% flow radio straight up White Put that guy right about there and bone. That will just about do it now what I might also do. Let's try this. I don't know if this is gonna be too much. Come over here and we'll lighten this edge of just a little bit. Very good art. Mentor of mine once told me when you think you've finished a piece, go back, grab your 10% lightest places and see if you get him 10% lighter than that. Grab your 10% darks. Sieving getting 10% darker. That's really help me in my art career. All right, so I think that we're pretty good there on the spaceship. Now, let's add some vector. And I know we were just going to kind of focus on raster, but let me show you something. That's kind of cool. Grab a pen tool start here. 12 three, four. All right, Now, what do we do? Did you just hear right? Let's go ahead and find our layer that we just added this to bring it up to the top. And now let's fill it with yellow. All right, Cool. Now, with that layer, let's add in effect, Atago, Schindler. That'll soften that beam up quite a bit. That's pretty cool. Let's add an outer glow radius. Looks like that Drop down the intensity a little bit. All right, And now let's drag it down below everything. Now, I want to keep it on top of here, though. All right? So we just dropped down below that planet. All right, so in order to make this work, let's do this. I got to reorder just a little bit. I'm gonna grab my spaceship, and it is going up above. Everything all right? Cool. Now we can do this. Grab. You know, tool, bring the node up like that. And now it looks like something's coming out of the spaceship. That's really what I was trying to get to. And now if you wanted to adjust where this thing it's, you can easily come down here and you can adjust it as you want. Now, let's kind of change this one more thing here. Let's change the blend mode. I'm gonna go ahead with a color Dodge. I think that's going to be a nice look. Yeah, Color Dodge is where it's at. Okay, so that's going to strike there. And now let's do one more vector while we're here. Pen tool one to three four. All right, No tool swing down. Swing across what I want to do. I want a line this thing up almost so it looks like it's swinging out of left field here she a That looks pretty good. Now let's fill it white Phil, and now we're going to play with the transparency tool. That's pretty cool. All right, Now let's do one more thing here. Let's try to outer glow this right because, well, why not effect outer glow in some ocean blur? That looks pretty good. Let's try some outer glow. That'll look good once I get it where I want it there. Yeah, all right, that's good. All right, let's go back to that outer glow here. Created the radius a little bit. Mawr crank up the intensity a little bit more and let's go ahead and throw kind of, ah, light source to it. That's pretty awesome. All right, that's looking real good. All right, so I think that's enough vector for right now. Let's go back to Pixel. 34. Affinity Designer - Pixel Persona Section - Part 7: All right now. We made some flair brushes earlier, right? It's time to use those. So we're gonna come down and find the flare brushes that you made. Now, in order to do that, you're going to come over here, you're gonna import the brushes, and you're gonna find the file. When you exported the brushes guy. So you should be able to find those we've included Just is a bonus. We've included the seventh season studios pro edition. Off the brush packs is the pro flare brush back. You can use yours, of course. And so we're gonna put a couple of these in. I'm gonna go ahead and I'm gonna put in flare six. I'm gonna grab my brush, and I'm going to go in kind of a light yellow, and I'm going to create a new pixel air for this flare. Now, that is way too yellow. Let's go ahead and come over here. All right? That's pretty cool. Let's go ahead and start right there. All right. Now, can we get better than that? Let's try kind of like that. Actually, that's kind of cool. All right. And now let's go ahead and blow this planet up here, right? We're gonna blow this planet up. Something to come down here. I'm gonna create a new layer, and this one is going to be kind of an orangish red. Let's say go ahead and drop that capacity down a little bit there. Go ahead and change the groups, Dad. School. All right, Now let's go ahead and throw some white in there. Now I'm gonna show you a trick. You could combine these flares here. There's one that I'm gonna use. And now if you run another pixel air, add that in, huh? And then we can add a little bit of blur to it. All right, Cool. I'm gonna do the same thing here. Now, what's missing here, Stars. Let's go ahead and add another layer. Let's drop it all the way to the bottom But on top of the background And now we're gonna add in the oh, let's do sprays and spatters. Let's pick this fine spray here, Grab the brush, grab white. And now I'm gonna dock all these because I want to be able to see what I'm doing. And you want to kind of move some of the particles around you want to make some super small . That looks pretty good. All right, now we're gonna add one more thing to this Green Planet. Now, I'm not going to try to make this brush. That's tail for another time. But I did include the fog and, uh, smoke and fog Starter pack and derecha. I did include the Seven Seasons studios Smoke and Fog Starter Pack. So we're gonna come over here. We got this brush going on when a crank or flow up to 100%. And the color I'm gonna use as kind of a green. Now, for the layer, we need new layer. Let's pull the layers tab out again. Adul air. You can add it at the top, right? Doesn't really matter where. All right, So now we're gonna go ahead and we're gonna grab some of this green here that's looking pretty cool. Let's go ahead and make it a little sicker. All right? Come over here and we do a little bit of white. All right? That's gonna be cool. Alright, folks, let's go ahead. Call it on this lesson. We got one more to go here to finish up our spacey. All right, We'll see the next one 35. Affinity Designer - Pixel Persona Section - Part 8: Alright, folks, let's go ahead and finish this thing up. So in this last lesson, we just kind of want to hit on some of the things like this spacecraft problem needs a reflection from the area below it. So we're gonna pull out our layers panel again, Come over this the lips, and I want to put this reflection on this ellipse. So let's go ahead and grab pixel air, bring it in and tie it into the vector layer. All right? Was put it above the shadow for a minute. Gonna show you how this works. Come over to our brushes, and I'm just going to use the standard old basic. And we're going to describe a round brush perfect return my opacity to ah, 100 Craig, my flow down about 40. And now the color that I'm gonna use I wanted to reflect the electrical storm a little bit . I'm probably going to grab this. Yep. Let's go a little bit lighter than that. All right, Now, let's go ahead and drop this all the way down here. Probably. Yep. Okay. We're just gonna put that on top of that, Just like so And now what are we gonna do to sculpt those edges? That's right. We're going to erase it away. Okay, That looks pretty good. Now, that layer of it gets a little bit crazy. We can drop the opacity of that layer. And now I'm gonna go ahead and change the blend mode of this layer to be a multiply that see, where is my multiply and I'm gonna crank down that capacity as well. G o There we go. That's pretty soft. I'm actually quite happy with that. All right, that's one. Now, these planets, they need a little bit of roundness to them. So what I'm gonna do here is I'm gonna come into each planet. I'm gonna come to the Ellipse. I'm gonna add one more pixel air. What a drop it below the technical air. And now with my round brush selected the same one that I did. I'm going to work in my gray. So you see that I move my color gray. Now, let's go ahead and try this. Now, why is that working? It was crank up the opacity about that. There we go. Now we're getting somewhere. You see how now that's becoming a lot darker. All right, let's do the same thing here to this planet. Grab that. Bring that to the base. All right, let's go ahead and change that blend mode over to multiply. And now let's go ahead. Drop our flow a little bit, and I want a bigger brush that I'm gonna use. Yeah, that's looking good. All right. That leaves this area largely unchecked. Let's go ahead and put that over there. That looks cool. And let's do that one more time. Now on the Red Planet and in a pixel air, drop it down below the texture. Change the blend mode to multiply. You go ahead and drop this one up above the texture. All right, tool. Let's do this. Drop this guy here. All right? What's working on Earth here? That's actually pretty cool. All right. I'm actually quite happy with that. All right? Now, the other thing that we could do just one more last thing here, Let's find the pixel layer that we used when we did. All of these stars picks a layer click on click off. Yep. That's definitely our star lair. Let's go toe effect. Let's put an outer glow on these stars. Our little goes a long way there. I think that we're pretty good shape there. It's crank up the intensity a little bit. All right, Cool. All right, now, I could go on all day with this. I think I am done, and I think you probably are, too. So that's a little bit on how to use the pixel tools in affinity. Designer and all of these tools were covered in the affinity photo portion of the affinity mega course that you currently in. So if you're wondering how to dodge how to burn, how to flood, fill how to select, definitely check out the affinity photo course, even if you don't have affinity photo. All of these tools are in affinity photo, and we have detailed lessons on each one of them. All right, folks, that's it for me. Thank you for taking a look at affinity designer. I'm glad you spent some time with me in the pics of persona. I'm interested to see what you make. Feel free to drop it in the area where we put assignments. All right, let's go ahead and take the next step 36. Affinity Publisher! An Introduction! : I'm really excited to introduce affinity publisher to you today. So when do you use affinity publisher? Affinity Publisher is a multiple page layout programs. So what that means is anything that requires more than one printed page. It's a good chance that laying it out an affinity publisher is a good idea. So that means editorial sprints, magazines, flip books, books, anything that exists on more than one printed page, so that could be a wide variety design projects. So I came up with the idea teaching you this program while also working on a project at the same time. That's gonna be a cookbook for deserts. So desserts first is gonna be the cookbook idea kind of seeing what we're gonna be producing in the class. We're gonna learn the program and do this at the same time. I have some downloadable files that are gonna help you get started. Here's the final file. We're gonna be able to create this together. You can download the final file so you can kind of see how everything is set up properly so that you can kind of double check your work. So there's two different files. There's a final finish file and then there is gonna be an unfinished file that's just gonna to contain all the basic text that we're gonna be needing for the project. So if you haven't been in affinity publisher before, it is a joy I really and have loved being in this programme. I have been an adobe in design for about 18 years, and this program is kind of a program that can replace in design. And I could totally see that there's a lot of similarities. And there's a few differences that I actually prefer. I really do. I kind of prefer the affinity publisher version over and design in some cases, and we're gonna explore the differences between the two as we work on the project. So let's kind of spend about three or four minutes and get used to the basic set up of affinity publisher. So if you've been in any other affinity program you're gonna feel right at home. You have your toolbar on the left, which is all the similar tools that you're finding affinity photo and affinity designer. You have your panels on the right, which are exactly the same as some of the other ones, they have the same options. If you look in the character panel, everything is exactly the same. So gonna be very comfortable if you're used to any of those other programs. If you're used to adobe in design, you're gonna also feel at home. Oh, there's a lot of basic set up that is exactly the same with the tools on the left and your panels on the right. There's just one little difference if you're an end design user is usually your pages air over here. But you have this kind of left column, which is a little bit newer, and this is where you have your pages tap. So this is where you gonna be able to scroll and add all your pages to your magazines, your books, your flip books, your pdf documents. And then you have your master pages, which we're going to go over and learn as we move through the project. So that's one of the biggest differences. Just this extra added panel where you have the page access to the pages and I actually prefer this. I think this is a nice set up how they have it here because you always need access to those pages of your switching around. You're changing the order of the pages. I do prefer this loud A lot better. What a really enjoy about the affinity publisher over in design. Is this really need stock tab? So what you can do is you can load in free photos from about three different sources unspool ash, pixels and pixel bay, which is where we've been getting all of Oliver photos for a lot of my classes. But it's already built into the program. And what I love about this is with Adobe products. They try to sell you the Adobe photo subscription are the Adobe stock subscription, which is an added cost on top of your adobe subscription. So they're trying to sell you photos that are paid. What I love about this software is they're not trying to sell you other photos. They're trying to help you integrate. Free resource is such such as thes three websites, which all offer the photos free to use, which I think is just super duper help with people who are on a budget. And they don't have a ton of money to spend so and go right here two pixels and I can type in desert, which we're gonna be sourcing all over photos from this little stock panel and you could drag in photos. And these are all free to use. Open source. It'll kind of tell you who the author is of the photo and what the sizes, which is super duper helpful. I sure wish Adobe had something like this built in, but they do have the adobe stock, but that's an added cost that you have to do to be able to integrate those photos in. So let's kind of get started with this is the downloadable final version. I suggest you download this when you're done to kind of cross check your work or if you get stuck anyone to kind of see how it was set up by me. You can go ahead and download that it has all the master pages set up and all the regular pages set up, so we're gonna do a couple of spreads and we're gonna do kind of inter changing spread. So we're gonna do kind of a front cover. We're gonna do a kind of a welcome page because you don't want to put your first recipe on the front page. This is when you first open your your book. You're gonna have kind of this welcome message, and then we're gonna do a recipe, and we're gonna flip it around is to change things up from an editorial design standpoint. We're going to switch that around and I'm gonna show you how to use master pages to be able to easily replicate that same formula over and over to do a couple of different spreads very quickly. So let's go ahead and get started. I'm going toe load the cookbook. Unfinished template. This is just to be very, very basic text. We're going to get a few things set up first. 37. Affinity Publisher - Cook Book project: No. And for those that are brand new to the program, I'm gonna show you how how I created this template was gonna go to file new and just gonna do a print press ready document. And we're just doing a standard letter. But I did a 8.5 by 11 because I'm in the United States and that's the sizes I use. But you can use whatever default size you think would match kind of your standard piece of paper 8.5 by 11. Although cookbooks concomitant all sorts of different sizes depending on the publisher and the printer, I did about 10 pages, but you can easily add pages. So this is not a huge worry. I wouldn't hadn't just have this click the default master have that selected 8.5 by 11 making sure this is a nice high resolution document and doing our 300 d p I and also have facing pages which will be helpful when we export the pdf making sure color is unseen. Why cakes? We do plan to get this cookbook printed. If we did a digital version of this cookbook, it would be very easy to export it as an RGB document later on. Let's go ahead and put our margins at 0.5 inches. We, of course, can change the margin and increase those if we want to a little bit later and bleed. Let's do your standard 1/8 of an inch bleed all the way around the documents. Everything is pretty standard. One hadn't clicked, okay? And opened up this document. So what we need to do now is at our guides in guides are gonna be very helpful. It's gonna be able to add the columns for us to be able to know how to place all of her recipes and lay out our basic items. We're gonna go up to view. We're gonna be going to view a lot here in the next couple minutes. Let's go ahead and go to guides manager. We're gonna set up some guides so you could do all sorts of different columns, just like affinity designer and some of the other programs have been in. We're gonna set up a three column layout because I wanted to have a recipe that existed where we have the ingredients down on one column and we had the door of the directions for the ingredients on to calm, so kind of do a 1/3 to third layout. So I'm gonna just do that by using three columns. I'm gonna use a pretty wide gutter. I like to have lots of space between my columns from doing a 0.3 and then we have our margins as well. So I'm gonna go ahead and click instead of filled. I'm gonna do outline so it doesn't bother The design too much is just a little small outline. I gotta click on clues. So any time you want a toggle off your margins, they're getting in the way and you want to see what it looks like without the lines. There's a quick little shortcut you could do control W and then controlled w to toggle these on and off. Or you could go up into your view and go down to preview mode. That's a little shortcut. I just did. And you could go ahead and toggle that off and on whatever you prefer, sometimes it gets in the way. You don't want to see all the bleedin lines and you want to see what it really looks like you could easily toggle that on and off, but we're gonna have it on for a while. So to make things a little bit easier for you guys, I went ahead and created the main logo for the front cover of the book. So I'm going to switch over to Affinity designer. So I'm an affinity designer, which is where we were able to learn how to do everything that you see right here to put together a little seal logo. I went ahead and did that, and I have this as a downloadable file for you so you could be able to have access to thes little logos that we could place on the front cover of her cookbook. Also here have a couple of logo palette color ideas that I got from color dot adobe dot com . I was able to pick three different color themes out. You can use whatever theme you'd like, but that's how I derive some of the colors you're seeing in these logos. So when it hadn't got stick with one that I tested all these out in about an hour and I finally kind of stuck with that what I thought would be a really rich color palette, which will be this kind of gold, tan and navy color. So this is how you kind of bring something in? Let's say you have a vector work. This is a vector logo, and we want to bring it into publisher. I'm just gonna highlight all this. I'm gonna group it together because it will make life a lot easier when we bring it in. And I am just do go to do command, see, or going up and going to edit copy, just copying it. I'm going back into affinity publisher and I'm just gonna paste it and voila, it stays in Vector. You can go over to your layers panel to kind of see it right here. It's this grouped object, and you have kind of these different groups here, but we brought it in as a vector layer. So we're going to go ahead and make this a little bit bigger. Kind of haven't right here in the middle. Of course, we can use our our lines, guides or margins, and we won't have this about in the center. So what we want to do is we want to make sure snapping is on and we can talk, Will snapping on and off at several points during this lesson if you'd like if it bothers you. So we're gonna go to our snapping manager and this is gonna help all over objects. Snap to the different lines we have. We're just gonna be working with margins and guides. Not really grids for this project. So we're gonna have snapped guides on and also snapped margin. We're gonna go ahead and enable snapping. So now I can move this around. I get some indications of what is gonna be the central point. See how you have the two different lines. I know that is the center point of the page. I'm gonna go ahead and release and we have just one thing we need to put on here since and we're gonna go ahead and toggle off. Ah, couple times here controlled W just so I can kind of see what it looks like. We just have one item we need to put on the front cover. And that is the author Recipes by Sarah Green, and we can kind of see the best way to to do that. So I like to have this kind of right smack in the middle of it. I'd love to have some pies or some kind of desserts on both half the top half in the bottom half of this. So let's see if we can't move recipes by Sarah Greene If we can't do text on either side here. So let's try to find what I think would be a really good typeface for this recipe. So this is a very fun book. Let's find a script typeface that's really fun. And what I went ahead and did. If you go up here to your this is where you can kind of access your type and change your type, so I have my type highlighted. I'm gonna go down here and there's a couple of tabs here and there's a tab. This is all of them. This is your most recently used, which is very helpful, and there's one called favorites, and you can go ahead and heart any of your favorite type faces. You can heart your top 20 and you can call it out in your favorites, which is really handy if you have thousands of typefaces or fonts and you get overwhelmed. You can favorite your favorite ones and have your have him in a category. So I went ahead. All of these are believed most of these are gonna be free on Google fonts. So if you wanted to locate the exact typeface on Google fonts and download it on your computer and install it fantastic but not required, you can use whatever tight base you want for this project. You don't have to pick the ones that I pick. So the one that I picked for this one I thought was kind of fun and kind of lighthearted was Pacific. Oh, so I'm just gonna select Pacific. Oh, I'm gonna make this a little bit bigger so it can balance with the overall logo. So I'm just gonna go to character, and these panels are all gonna be just like all the other programs. So if you've learned one, it kind of learned a Malsom just increasing the size. And I have us as a separate text box because when I put it in the same line, it didn't have as much control over where the drop of the why went and it kind of looked a little awkward with it overlapping, So I just separated. This is a different text box, and I confined kind of a nice way to overlay those. So I want to have the opportunity. Of course, I can grab any of these and make sure it's centered a line with each other. And if not, I can grab both of these elements and go up to my line panel appear and just make sure they are a line right here in the align panel, the same location as it is an affinity designer. So what I want to do is be able to put lots of colorful photos on here, and I want the type to remain readable. So let's put some kind of background solid object so it can remain readable, and I want to go ahead and samples. I'm gonna get my eyedropper tool just gonna drag and select my lighter color and make that bar a lighter color. And I thought, Wouldn't it be nice to make this an even deeper, richer blue color like more of a navy blue? Because I think that would pop out a little bit more with the gold. Let's see, How can you edit. Can you edit a logo and publisher without having to go back to affinity pup designer to do it? Let's see what we got here. Let's look at her layers panel. We got this group. It looks like we have two different groups here. And so let's go to our cause here. And it looks like it's still keeping kind of the vector added ability here. So if I select on the cog, it looks like I could still change the colors here. So I'm gonna change the color of this inside portion and make it a little deeper. A little Richard is bringing the colors down A. And now I can go ahead and select our object here and take the eyedropper tool and I'm changing our bar. So let's also give a pop to our type. Good. Make it white. For now, we want to make it white because if we made it gold, that be a lot of gold going on. And we want the gold to be more subtle and be for the focal point of the piece. So this is the focal point as well as the photos. So this is not necessarily the focal point, so we don't want to draw too much attention by making it all the same color. So we're doing a little contrast by making it white. 38. Affinity Publisher - Cook Book project - Photos: So I also wanted to add a little drop shadow because when we start to add the photos on top of that, you can really kind of see this is kind of a layered piece. So to do, add any kind of drop shadows or outer shadows, we're gonna right click any object and go down till layer effects. This is also a panel you can call out in your menu system. But going town is gonna be just like the other affinity designer and affinity photo programs. We're gonna add a little bit of an outer shadow to this. So I wanted to add a little bit of a line, just kind of, ah, accent that was in gold. That kind of brought the logo and the type together, and I kind of came up with this. You can go ahead and get this into the template I created and and use that this little zigzag line and I just created that using the pen tool. And there's the built in pin tool, just like you have an affinity designer. And it's got a lot of the same options and what's great about this and in design, you don't really have a full, fully functional pin tool like you do here. An affinity publisher. It's actually really nice toe have this built in pin tool that has always functionality. So I'm just gonna do a little zigzag line. Just going up and down was going at a stroke to it. I'm just using my guides to kind of help me find out when I should click. I was doing his exact nothing too exciting to go back with the no tool and edit everything . So there's our little thing. Of course not everything is really that amazing. So we can go do are no till we actually have a no tool built in here just like we do affinity designer, which is super helpful. We don't have to go back into affinity designer to do all of this stuff. We could do it right here, native into publisher, and you don't have a stroke panel here, But you haven't have access to that right up here, So we're just gonna increase the stroke. We're gonna make sure we have some of our rounded joints and caps on, and we just created ourselves a little accent line. But what could you use. Of course, you could make it smaller. You can add to it we could double the length of this. And this is what's really cool. So let me go ahead and reduce the stroke a little bit. So let's say I want to add to it. I want to double the length, but I don't feel like continuing to draw it. I'm just gonna double duplicate this hold down option and drag. Now, I'm gonna see if I can't join these together. So what I'm gonna do is I'm gonna take the pin tool, but a select this anchor point and then select this one down here. So these air still not connected, I want to join these two is one long line. So what I'm gonna do is I'm gonna select both of these, and I'm gonna join them together. And I'm gonna select the pin till you get a lot of options up here and we have our lines selected and we have our pin tool selected. If you go up here, there is something called joined curves. This could be right here in your actions panel. And you can also do this An affinity designer just so you would know how to join two different strokes together. And all we have to do is to join curves and I'll join all of these together as one unit. Now, these are all one connected unit, and we can double the length of our little zigzag line that will use elsewhere. But I went ahead and I have them ready for you already. So that just a case you can You didn't have to do that. Or I'd love for you to practice that yourself if you can. But if you don't, I haven't already created for you. We're just gonna bring those to the front. These air. Just nice visual dividing bars. They don't do anything in terms of communicating anything, but they help to break down the information for you and bring out a little bit of that gold . That's all we did was just adding just a little flare there. We could make sure these are aligned properly by going up here, toe our line options and aligning those. We have the basic structure ready. We have our logo in, we have our all over type. Let's go ahead, bring in some photography. So my favorite feature about affinity publisher is this stock option. I'm just going over to stock. I'm going over to pecs ALS, and let's go ahead and type in desert and see what kind of pictures come up for us. The thing about choosing photos is we really want to choose one ones that are gonna represent the recipes in this book. So obviously deserts and a wide variety of deserts. So we have these opportunities, and I thought it would be really neat to have a pie kind of go with this pie shape of our logo and have a pie fight on the top that also turned into a different photo of a pie down below. So let's see if we can do this by just sticking an affinity publisher and not trying to do any extensive photo editing work. Let's try to keep this simple. I get a dragon, this little pie here, see if we can't. This is a photo. See, when you drag a photo in, you have handles where it can make a bigger or smaller just like any program, and I'm going to right click and I get a range, and I'm gonna send this all the way to the back. And I know size this up. We can kind of see the top half of the pie just like that. Okay? And we're gonna bring in another photo around top down pie photo. Let's see if we can't find one. If you type in apple pie on pixels, you'll find one that looks just like this. We're gonna use this as our bottom one. So let's go ahead and click and drag and pop it in there and try to resize list. Let's go ahead. I'm doing my default command left bracket to send something down, or I can go into my layers panel and arrange it that way. It's bringing it down below everything. What I'm gonna do is try to make this a continual circle. That kind of just increased this to make it look like the circle continues and it doesn't look awkward. We might need to adjust both halves to make that happen with each other. But these were two very similar photos. They have a very similar backgrounds. They must be by the same photographer. And I liked that continuity. So there is our front cover. We can toggle on and go to view toggle offer Previ mode so we can kind of see how everything's laid out. And we can kind of see her bleed. Need to make sure everything extends out to the bleed. So this little thin area that's gonna be trimmed off, I just want to make sure all the photos kind of go up to the top there, so I might need to go back and edit that at a later date. So I'm gonna do control w to tackle that back off. So I'm very happy with the front cover. We have a lot to Dio. Let's do our first spread. So if he ever wanted Teoh go to your pages to see how many pages you have, you just flip right back here to pages and you can kind of quickly double click and hop down different pages here. We're gonna do the first very, very first spread, which is going to just be a simple welcome message and a nice photo on the left side. So welcome to dessert for dinner. So this page is simply gonna have welcome to dessert for dinner, and we gotta have a nice header or a headline that's a little bit bigger. And we have just a simple welcome message kind of a block of copy here as well. And we have kind of a little signature of our author or a recipe creator. Down below is a very simple, blocked out message. So if you wanted to add so notice how everything is nice and blocked out here. I just have some copy here. I had a double click. I'm just gonna copy this text to show you how I created this box. So I'm gonna go down to my type tools here, and there is just a regular line of type that we can add on. Just type in and we could do a headline. But there's also another one up here. It's called the frame text tool, and this is how you create larger blocks of copy. You can move around like that looking dragon just like affinity designer and paste it in here and you have different alignment options right up here so you could do a left alignment and have what's called a ragged right edge. You could do a central line and this is really good for shorter blocks of copy. I never like to do Central Line on longer blocks because it could look a little awkward and there's right alignment. But there's also something that I love called just If I left and I use this in a previous project, I think it just looks really good. Justify left alarms on the left and right side, and you just do that by access s by doing the drop down menu right here in your alignment option. That's how I created that text box. So let's find a place. I just made this a little bit bigger to have a nice headline. What I thought would be neat is if I used the same type style as that right up here. So let's go ahead and establish that, and we'll get to establishing styles here very soon so this could impede Pacific. Oh, and let's go ahead and make that are gold color. So it's gonna bring that in, and what I thought would be neat is toe have a dark and moody rich background. So instead of just doing it on white or doing it on cream, I thought, we take our background here a little blue and bring this over here. So I'm just gonna create a new box rectangle tool and you have access to all your different kind of shapes. Here, too, it's gonna draw a new box, the sampling, this color and do that here. What I'd like to do is switch over to this and add a little noise. I'm just down here in your opacity in your color panel, and I'm gonna add a little bit of noise. And if he ever wanted to switch your color sliders away from the sliders and back to what you saw on affinity Designer, you just go appear to this little extra venue and change it to the wheel. So if you'd like the wheel a little bit better than the sliders, you could do whatever you'd like. So I'm gonna range and send this all the way to the back. This right clicks into the back, and we need to make this white now. So let's make all of this type white. It's pops out and let's add a little bit of a dynamic curve to this so we can angle this. I'm just gonna take just tell Europe here in my corner and I'm gonna angle it and just extended up. And let's angle it. We can either angle it this way or the other way, because see what works out better and bring it over so we can have the photos spill over to this right panel and kind of connect these two spreads or connect these two pages. Let's kind of shift everything over a little bit and let's go ahead and bring up our margins and our guides. 39. Affinity Publisher - Our First Spread: So let's go ahead and turn on our guides for this spread. So now everything is gonna be consistent with this whole spreads with a toggle this on and off. And if we have snapping an eight enabled, it'll snap it. So if I have these two columns, it's gonna snap it to the side. I was gonna give us a nice placement for our type box here. So let's go and bring in our photo, find a photo that we think would be a wonderful welcoming photo. Let's go to stock it's type and desert again. And you know, we haven't done anything with chocolate in it yet. So let's pick a nice chocolate dessert that we can use and dragged into this photos. We have two pies on the front. Look at this wonderful cupcake right here. I'm just on pixels the whole time. Typed and dessert. What's drag this one in right here? Let's go ahead and arrange and send this to the back. Kind of make sure we have it Extend out to the bleed a little bit. You just kind of frame it nice, nice and in the middle, and I like how the photo cut. It comes into this right panel and really makes this feel like it's one united peace one United spread. So I think we can really find, too, in the type here. And what it's missing is probably a little bit of a division. Right now. You have a pretty big block of copy and you have a headline. So let's go ahead. Put a little space here and let's add our little squiggly zigzag line that we use before we're gonna take her. Who's the little squiggly line and just put it so there's just a little division between the headline and the body copy, and let's add some definition to our type. So this is where character styles are gonna come into play, so character styles are fantastic. Way to have a specific style and save it. So all you have to do is call that style up and turn anything into the same type size type . Wait, it's very handy. So what I'm gonna do is I'm gonna make this a little bit bigger and let's choose a tight face for our body copy because right now it's just set on the default aerial because I know you guys have that on your computers? Let's try to find something that's gonna work. Be a little bit nicer. So I'm gonna go through these and see what might work really well. Open Sands is fantastic. You can find it on Google fonts. What I love about open Sands, it has lots of different font weights all away from light to bolt. So it gives us tons of different options when it comes to adding contrast or variety toe our type. So I'm gonna go ahead and pick a regular. We can go, and we can really finesses quite a bit. So I'm gonna go to my character panel, so I'm just gonna drag the south so you can see what I'm doing. I'm gonna finesse this and add a little bit of spacing between the lines because right now it's really tight. So it's loosen that up a little bit by adding some letting. So here's the letting override right down here. I'm just gonna kind of make a little more spacing between the type. Gonna let it breathe a little bit, and I'm also gonna confirm that this is 12 points. I think that's really good for a welcome message, and I also want to to kind of define this a little bit and make that bold and a little bit bigger. So let's make this top first line a little bit bigger and let's make it bold. I was going to do an extra bold right here. So you notice how, all of a sudden there's a sense of type hierarchy here. So type hierarchy means there's something bigger that that's your headline. Then you have a sub line or a byline, then you have body copy and then you have something else. So it's kind of got this nice hierarchy going on. It's not all the same typeface, so let's do Let's do a nice script font for this. Let's go to my favorites and do what's called Permanent Marker. Just adding almost like a little scribble type, it looks like she signed it. You know, there's probably better ones out there but couldn't find a really good free one. Found a couple of good paid one. So let's leave it at that. I think that's in terms of doing something really quickly. I think that works really well and let's say we want to save this style. So we want to do another page that has the same body copy over and over, so we can have the same type face and same thought size for this. We can actually save this as a character style. So what we're gonna do is we're gonna save this right here. That's a character style. So to create a style for this headline type, I'm gonna go down here to my textiles panel and there's this little you can add, a paragraph styles. You could do this with paragraph alignment, but there's also create a character styles we're gonna click on. This little created character style icon could come up with a box where we can customize this style. So let's name it headline style and we're gonna go down to Font. We're gonna make sure it's specific. Oh, and it could change the size as well. So thought size is 27.9. We could change our color, so make it a fill. So all this is gonna go ahead and fill in what we right clicked or what we selected And that's it. We're gonna click on OK, and it's gonna save it. So What did we do? We style that head. Are we named it? We named it headline, but is headline style. So what I can do is I can switch between basic default, which is the default type where can switch it back between headlines, style very easily. And what's great about this. If you set up styles for everything, you can go to all the different pages into select your styles and you'll have to read you all the type and the size you already established. Okay, this is gonna be our body copy. And that's gonna be the same throughout the whole document, you know, so you can go ahead and set up all your styles once you set up your type hierarchy. So we at least have that save. And we're gonna be doing this a lot more. We go down to our first recipe, which is what we're gonna do next. We're gonna be doing our first recipe page. We have kind of all this set up. We're gonna go ahead and get it set up a little bit further for you and you go ahead and get our photo 40. Recipe Page: let's turn on our margins again and our guides. So we're just gonna get do control W So now we have our three columns laid out. This is really gonna help us find out where all of this belongs. So this is ingredients, actually got this. These are ingredients. I got this from eat. Well, when I one dot com, it's just kind of your I didn't make this up because I'm not a cook, So it's kind of a recipe from them, So I just want to give them a little credit for the recipe. And let's go ahead, bring this in. Let's snap all this together. So I'm gonna snap this to the first column and let's matched all of this to the first column. So I have this in a text box or a text our frame text tool. So I'm able to kind of conform everything to a box. And I have this on just a typical left alignment and same thing with this weaken line. The preparation or whatever you wanna call the directions. I'm gonna have this span two columns. This is gonna be a 1/3 to third kind of ratio. Thought that would look nice. And we have our little headline type, which we're gonna put up there, and we have these little quick tips and I'm gonna show you how I created this little item right here, right here. Natively in publisher. We're gonna do that in a little bit, but we have this kind of quick tip item here that we want to have somewhere on the bottom, and we're gonna have to figure out how best to lay this out once we start to block. It was gonna be somewhere down here just kind of setting it up. You can use the template as a guide to help you, So we want to be able to create some kind of flourishes here. And since I have everything lined up, I'm gonna toggle off our guides so I can kind of really see what's going on here. And I feel like we need some kind of division here because we have these two columns and we we could either put this in a box cutter kind of separate these two, or we need to have some way to kind of divide these even further So these columns don't run together So what we could do is we could just draw a simple, dotted line. So I'm gonna work it, creating this dotted line that you see right here we're going to be taking the pen tool. We're gonna click right at the top here. We're gonna hold down ships would get a nice straight line and then click. So we just have a simple line, and we're gonna do kind of a kind of a medium grey. We're gonna make sure to stroke. So that's the key here. Make sure it's a stroke and we're gonna change this a little bit. So we have kind of our stroke options up here looking to click, and we're gonna do this dotted line you can keep in a straight line, but it's not a dive of line. Might be a little lighter on the AIS. We're gonna go to dash line style, and you can change the dash lines by increasing these items here. So the higher you increase these numbers, so let's say it's too right now. Let's say to 22 it's gonna add a lot of distance between is gonna make them longer, so it's gonna make them longer in length and let's go back to two. If I decide to make this 22 it's gonna add a lot more points. Or it could add a lot more spacing between the different points. So let's bring that back before, so I just have to and four just kind of your simple, basic dotted line as thought would look nice. And let's make that a really light grey. So it's just settle. Just a subtle little dotted line, right? Their course weekend collapse that just a little bit to give a little more room for the dotted line. And this is when snapping, sometimes turning. Snapping off is nice because gonna snap a little bit too close to one of these columns. So I'm just gonna go and turn snapping off. So uncheck enable snapping. And now I can kind of do a custom placement, just kind of eyeball it. I thought that sometimes it's nice just to not have it snap to the grid all the time and do your own thing. So let's do something kind of fun for the top. We've been kind of using this rich navy blue bar. Let's bring that in again. It's a good draw. Another Navy blue bar. I thought we'd add a similar angle to this as well. So let's go ahead. Do command left bracket. I'm sending us all the way to the back. Let's add a little slight angle to this kind of keep with the design theme throughout. And let's make this our headline type So we save this in our text. Textiles. We're gonna go down right here to headline style and voila, we already have. It's nice, consistently styled type that we just were able to do there. And let's also changed the angles and just doing the corner. It's changing the angle here. So what I thought would also be really need is to have some kind of logo here, but not the full logo. Superstrong were just kind of a little watermark. There's something to kind of I kind of have this rustic style. So what I'm gonna do is I'm gonna go up, take our logo, and I'm just copying and pasting or logo in a separate local here. I'm gonna change the color and I'm gonna change it to blue. But here's what I'm gonna do. So instead of just blue I'm going to make it just a little bit lighter so you could just barely see. It's just a little watermark and it looks like I have some kind of drop shadow on there. But that's OK, cause I could just right click and go toe layer effects and just remove that outer shadow What I thought would be need to make it look like a stamp. I'm just gonna turn it to its side and just kind of have it come onto the page just barely and kind of read it. But it looks like it's just kind of stamped their off the side just like that. Just a little watermark to kind of bring a little life to this header. So let's go ahead next. We're gonna style all of this, just like we did were to set up a style and do a couple of styles textiles. So once we have this all set up everything else and the document will go much, much, much quicker once we define what are type needs to be for all of this. So let's create a headline for this. Let's go ahead and click on our headlines style, but we don't want it to be the same size of the headline. We want to go ahead and modify this a little bit. So we just went ahead and clicked on the headline style. But we're gonna do a little bit of a different variation. We're gonna make it a little bit smaller. And I thought, What if we made this the Navy blue instead of the gold? Because it's gonna compete too much with headline if we keep it in gold. But we have this beautiful Navy blue we can adapt that I thought would look really nice there. And once again we can add little divider bars. But let's get our type situated here. So what have we been using for all of her type? We're not using aerial anymore. We're using open Sands and is going to my favorites and loading in a regular open sands. And I thought for the ingredients list, it doesn't need to be 12 points. That's pretty big, So let's make that a little bit smaller. Let's make that 10 points for now. And let's also change the color instead of this just boring, pure black. What's this? Make it a little bit of a dark grey. It'll really add a richness to it. So just making it dark ray instead of black. So you notice how that's really starting to come together. And these air kind of headlines before the crust and the filling these air two different ingredient groups. So you definitely need to put some type hierarchy in here and make this a little bit bigger and is changing it too bold. So let's go ahead and set up some styles for this. So let's say I want to do the same thing. So I want to have for the crust. I want to make that a character style. So I'm gonna go up here to my textile and go ahead and do create character style, and it's pretty much how I want it. So I'm just gonna name it. So it's gonna be ingredients subheading click on OK, and then now I can go down here and click on Click on Ingredients Subheading, and it's automatically going to do it for me and same thing for here. I could go and create a character style here that says ingredients that will be ingredients header, but now I can go ahead and switch between well, so let's say that got switched off default now that have my character style. I couldn't do that again and get called up, so I would do that for all of my main copy. So this would be kind of your body copy for ingredients, so I create a character style here. But once you have that you established your type are key, and it's gonna be so easy to have consistent type sizes and styles throughout the entire document. The hard part is getting all the style set up. Let's do something a little different for this side, so let's still have the ingredients. Subheading. Let's do the same thing for both of these help subheadings. But let's change this pretty much. Have it beat it. Same exact as the body copy here, over here, so I can go over here and just call that out. It gets a little arduous when you're working with maybe 10 different styles, but as long as you name them properly, it will really go far. But one thing I want to do is I want to make the preparation a little bit bigger and size, so instead of 10. I'm gonna do 12. I think we can afford a little bit of that spacing. And I also want to put a little more letting our spacing between the lines. I'm just going over to my character panel is adding a little more, letting so instead of 12. Let's try, let's see how 14 looks and just really helps it to look more professional and helps it to breathe. So now we have kind of a different size here, So we want to save this stylus well, so I'm just going to kind of highlight that. Go over to paragraph, go over to textiles and just add that last one. Is this gonna be body copy? Larger. It's gonna be a little bit larger for our other side. So now that's established. I can highlight all of this and body copy larger boom. Already done. So one last thing I want to do is I want to add a little more emphasis on the numbers, which it looks like I already did by adding the numbers, making them bold. But I want to make him a different color so it could make him the blue color where it can even make them the gold color. Really? Have the numbers stand out highlighting each one. That's when you just gonna have to do manually. Because even if you did do a character textile for this, you'd still have to highlight each one and select it. So I'm just gonna manually do the gold on all of these and we're done. 41. Part 2: So what we want to do now is add some or design consistency. And one thing we've been doing is we've been doing this little squiggly divider lying thing . So I was gonna make sure that's now seeing that's not quite align perfectly. I can come back and do that later. But let's go and copy this little line. And I have a couple of options I have in the default template that have different sizes for you to select by. Just wanted to have a little divider line that kind of separated the headline here and the body copies of just kind of bringing that down, putting a little bit of spacing between all of these elements so they could breathe. So let's do this bottom part. This little quick tip I'm gonna show you how I did this right here. And publisher, we're gonna do our shape. We could go ahead and get our Kaga tool. It's gonna create a cog pull, downshift, create a cog. Let's go ahead and make it this blue color. There's or cog and we can go up here. We have the same options that we have. An affinity designer. We have a built in right here in publisher, which is super duper cool. You don't really have this kind of tools in adobe in designs. This is really neat. So I'm gonna make this pie and make a nice big curve. We're gonna add a couple more teeth to this, and we need to really spread these little teeth out. So let's go to tooth size or not size. Let's increase those. So there we go. Let me dio. I believe this is in a radius kind of loosening that up. So you kind of see how I got that. I think it's 24 teeth, but doesn't have to be its act, but that's kind of your little flower. That's kind of how I came up with that original logo you see on the front cover so we can simply sample or gold have that be a stroke and increase the stroke size. Now switch it back to the lines that were not on the dash line. And then it just added kind of your little Zika ley line and just kind of took our headline type and loaded it in there. So it's kind of how I created that shape And then I just went right, clicked when a delayer effects and added a little bit of a outer shadow to give a little depth and dimension to it. Let's find a good place for this, Cleese Quick tips. They're gonna need to probably be on the same page for each recipe. So we want to make sure we have room for longer type if the tip is gonna be longer on another spread. So we need to give lots of room for this. What I thought we would do is add contrast to her page by also putting this on the color box. But the problem with its go ahead borrow a little box here. The problem with having to dark colors this works, this works. Okay, let's make this white. But what would be really neat is to add further contrast by making this gold instead. So let me grab a hold and make it gold. But that kind of added a little more contrast to the design. We don't need quite as much space since could bring it down and bring this down and bring that down. We want to have enough margin here on the bottom we can call up our margin to make sure it lines up. But I wanted to leave a little room for longer ingredients list because we're setting the tone. We're setting the stage for every ingredient page. There's gonna be probably 100 of these We're not gonna do. All of those just got to do a couple. But we're setting the everything up now so we can replicate the same page over and over and over an avenue recipe. So everything's gonna follow the same structure as this page, and that's why we're spending so much time on it. And that's why we're really got to make sure we're open. Well, this is a flexible design that will be good to adapt longer tips, longer preparation time, longer ingredient list. So we need to make sure we have lots of little breathing room and areas where we can have longer things. So let's add a photo. So let's go ahead and get our bountiful berry tart loaded on desserts and let's go ahead and see if we can't find it here. There it ISS. There's one right here. It is typed in desert. Scroll down a little berry tart seems toe work really well. So this is by Ella. Also, Olson, if you wanted to look her up by the her name on this to help find it, So let's frame and crop this some way. So here's what we're gonna do. We're gonna talk about framing. So right now I have this photo, but I'm not able to kind of put it in this perfect frame. I wanted to fit perfectly in this right panel. So what we're gonna do is we're gonna get our framing tools. So this is a picture frame rectangle, and we're just gonna select this and draw a rectangle when take stroke off That extends all the way out and have extend past the page a little bit for a bleed. And we're gonna drag in a photo now right on top of it. And it's gonna fit right into this box. So now we're gonna be able to position this how we'd like. So we want to have more of this tart. Wanna have more of this start on a frame it right about here. And voila, We have our nice framed option. So let's say we wanted to do a different shape. So let's say we have. We have a circle frame tool. We could do the same thing and put it in a circle. You have a couple different ways to frame it. You could just kind of move it around here, frame it yourself, or there's some different framing options so you can right click, and there's a couple different ways it will automatically cropped the image for you. If you go right click and go down to frame properties, you could do a scale toe scale. The max fit a scaled amend fit a stretch in a none. So you have different ways to kind of crop this automatically. You have it where it's just gonna crop it to the edges here and not go all the way out. So we're back to our photo framed properly on that right side. So I feel like we're really close. Let's just do a couple of finishing touches instead of just the stark white background. Let's do maybe a light cream background gonna get a rectangle tool. Armstrong. A background. Let's make it kind of a light cream, Really like creams kind of better than white could arranged in that all the way to the back and let's maybe lighten it a little more. Just want a very subtle cream. We can add a little noise just a little bit. Don't want to go too crazy with the noise, So I made it kind of more of, ah, cotton color. So if you go ahead, it's hard to tell the colors here. Sometimes you do need toe klik up here and do a slider to kind of see the color breakdown here so you could see how have a little bit more. So I thought that looked better than playing. So if you were toe before and afters at little richness to that page, just really small details. So I think we're done with her first recipe spread. And what we're gonna talk about next is master pages. So how can we duplicate this basic structure over and over again without having to copy and paste? Well, there's something called master pages, so I'm gonna go over to master pages. We're gonna talk about this next 42. Learning Master Pages: so to demonstrate master pages, I'm going to open up a new document, same as before, and let's go ahead and add a few new pages. So I'm right here on pages and I'm just gonna add a few new pages. And let's just add 10 afterwards and Melissa's Click on OK, so there we added all of her pages. Here we force you can shift and move all sorts of pages around. You can move entire spreads around where you can just move individual pages. So let's say we have We want to apply the same header to all the pages. Let's say we're doing a magazine and it has a same line or bar that goes across the bottom , and we don't have to sit there and copy and paste that same bar on each page. So that's what master pages or for so up here in master pages, I'm gonna double click. It's gonna load. This is a master Pages isn't an individual pages, just a master page. So let's say we want to add a little bar at the bottom of each page unless is make it really crazy colors. You can kind of see what effect I'm going for. So just I want that on every single page so you could see by default. Everything goes to the master by default. So whatever I do in the master page, it happens to all the pages. So let's say, Wanna have a bar on the left and a square shape on the right. That's a different color. Notice how all of these pages automatically change according to what we do on the master page. So think of the master pages, a master key page where whatever you do on that, it's apply to all of them. Well, let's say we don't want a certain page to have that. We don't want every single page to have that box. We just want some pages to have that box so you can turn off masters on any of these pages . So let's say for the first spread we want to do a welcome spread. But we don't wanna have this whole set up. We could select our first spread. We can right click it and do clear masters. It's gonna clear any master pages that are applying. When we clear it off, it disappears, and we have total control over this particular spread. So let's go back to Master. What's really cool about masters is you can have multiple master pages so you can have different styles throughout your magazine. So let's say you have a header style and let's say you have an article opening style page. You can have master be master A Let's go and create a new master. We're gonna add a master ride up here. Click on add a master call this master be gonna make it the same settings as master A. So master B is gonna be different. We're gonna do something different for Master A. Let's put a let's say this has some kind of headline right up on the top. So now we have Master B and we have master A and let's put a little shape here just to shake it up a little bit so you can really see it. Let's make this a different color. This one will have ah, solid color box on the right, so two masters would go down here and we can select whatever pages we want and we can apply a master. So let's say we don't want Master A we want Master be Toby applied and we do. We could do just the pages we selected. Or we could do all the pages or just odd pages or even pages so you could see how I can really build out a template here very quickly and not have to do the same thing over over on each page. This is the power of Publisher is when you're doing 100 page book. Ah 100 Page magazine. This is when the master pages save you so much time. Can you imagine having 100 art boards and affinity designer and trying to do a magazine spread without this? This is why it's so good to do multiple page documents here in publisher so I can remove those masters at any time. So let's apply it to a real project. Let's go back to our project. Let's say we want to be able to have this little diagonal stuff on every page because we're gonna have the same basic layout for every ingredient page, so we don't have to sit there and do all that over again. But I want to shake it up a little bit. I want to have two Masters. I want to have this ingredient page where we have the ingredients on the left and the photo on the right. But I want to switch it up so every other page is different. So you have the photo on the left, then the ingredients on the right. So when they're flipping through the book, it's not all the ingredients on the same left page. It shakes it up a little bit and makes the design just more interesting. So let's use masters on our own project right now, we have the ingredients on the left and the photo on the right. We want to create two masters, one that has this layout of one that has the reverse layout. So you have the photo on the other side and the ingredients list on the other side. So we're gonna have to masters a master A and a master. Be. So what I'm gonna do is I'm gonna copy all of this page. What I can do is probably is highlight both of these. We're gonna just understood doing a command C and copying. I get a double click on Master A. So might what I might have to do is just go ahead and select all like this and copy it that way and the double click on Master A and paste it in spacing everything in here. So this is a master. So if I decide to apply all of this to these pages, it's gonna also bring in the type on every single page. But we don't really want the type to be the same What? The type to be switched out. So what we're gonna do is we're just leaving the basic elements, but removing the type. So this is the master page and delete all text. We don't want the same recipe on every single page, but we're gonna keep a little quick tips since that's going to stay the same. And we also get eliminate our photo as well because the photos are also gonna be swapped out. So we just have some basic kind of set up here, and we're gonna have that's master A and then we have master be so we want to do the exact opposite. We'll select all of our elements and then go down to be so this is B. Now we're gonna do the other side and what we want to do here is we want to switch everything over and reflect it. So we're gonna have to do some manual tweaking here. Just gonna change the angle to the other side just like that. So we have master A, which is the left side ingredient Page and Master B, which is the right side ingredient page. That's all we have on here. We don't have type. We're going to be changing that on each page anyway, So let's go down and do our first reverse. So this is gonna be this is our first spread. So now we're down here on page six and seven and we're gonna do the opposite. So I'm selecting six and seven. I'm going to right click, and I'm gonna do apply, Master and I am going to apply it just on this specific pages. For now, we could do all odd pages. They're all even pages. But let's just stick with specific page and we're going to apply this one the one that's on ingredients on the opposite side. Master, be click OK, and voila! We already have this over here. So all I have to do you get a copy and paste the sprain here from the other page. And I could just go to pages, and this ingredient is going to be something different. So what do we have on our page here? This is gonna be It's gonna be in different, a different ingredient. Let's make, like, brownies or something. So this is gonna be a little work, you know? So we're just gonna copy all of the type now copping and the type, and we're gonna bring it down Now we're gonna lay it right into the right places, so we know the right places because we already have a guide to where those places are, and there's gonna be some kind of changes we need to do here. So let's say we wanted to change this. These little lines here of the position. Let's say we didn't quite get that lined up perfectly when we did the master. I did this on purpose. They could kind of see what happens. What we want to do is we want to move kind of all of this over a little bit so I can go back to my master B and make the changes. And if I make the changes on the master, it'll apply automatically to anything any page the master is already on. This seems a little complicated, but we're setting the tone to do a huge book and setting it up. So it's gonna be very easy to Dio. So this one is gonna be chocolate something. This call it chocolate brownie delight. So let's get our stock. Let's look up chocolate or Brownie, See what we get here. That looks pretty good. Let's drag that photo in. It's the automatically populate, and you can crop it, however you'd like. And look how quickly we did this. So this is already set up in the reverse order, and we can even have the ingredients beyond the opposite side if we wanted to. So that means we just need to go up to master and change all that, and that's not a big deal. But we can switch these around and have the ingredients stay on the outer side on each page and then have preparation whatever we want to do. But let's keep it simple. Keep it that like this for analogies so we can learn how to do master pages on these other ones. So this is already done. So all we have to do is get the text just getting the text a copy and paste it into the next one and then with the supplier Master pages. Let's go back to pages, select both of these and let's apply a master. But let's do Master a look How quick that waas! And now I just get or image and this replace everything. So look how quick that Waas And then now I could do the same thing with this one. We have all this type already set up. If we're happy with it, make sure you get it set up How you like before you do this, Just getting the type, pasting it and then applying our master be so yeah, I mean it is It's a little bit of a tough thing to kind of get used to, but to smaller test around the master pages kind of see how they work. You could have 10 master pages. I mean, this could be for really complicated work, but this is why they have those tools. So look, work. We could just keep doing that for the rest of the book and life will be a lot easier to manage. So I think we did a lot here. We did a book cover. We did a inside a couple of different inside spreads. We learned master pages. We kind of learned the very basics of this program courses lots of advanced tools we can get into, but for learning the program and getting used to it and seeing some of the similarities to end designs, it's quite neat. I really kind of prefer affinity publisher over in design in some ways. So that's how you do the basic structure. And hopefully you enjoyed this project. This is what the final project looks like. In the end. Let's go to do some quick print. Perhaps I can kind of show you what it would be like if you're trying to prepare a file to send out 43. Affinity Publisher - Exporting: so to prepare a file for print, let's say we wanted to send this off to a printer. We would want to make sure everything bleeds off to the edge like we've been doing with all of our other affinity projects. So let's just toggle on Oliver guides and just make sure everything bleeds out to the edge . The main main main mean we need toe adjust some photos. But it looks like I've kind of designed this thinking about the bleed ahead of time. So I'm not gonna have a lot of issues with things getting in the way. So everything looks really good and were kind of ready to go, Just making sure all the bleed is intact so we can go up to file export. We're gonna export this as a pdf Gonna make sure it's 300 d. P. I. We're going to include believe if the printer once bleed. We got a preview it when we export it. Now we're gonna do all spreads organ to pdf for prints up when mature, repeated for print, 300 d. P. I. There's a little more option here if you want to have a lot more options more advanced options if you click on more, gonna really give you some details, which we're not gonna go over. But, of course, we would have the highest quality ever that you could think about. And most of these default settings are adequate. This is when you can add kind of more details like your printer marks. So you have crop marks, registration marks, color bars, all those things you can add if the printer requires it. I usually they usually just like crop marks and my and in my experience, click on close. Usually I don't mess with more, but if you needed to add something extra, you can. It's going export. Here's the pdf exported. You could see the little crock crop marks there and everything extending out to the bleed. And we have This is spreads. We just exported it and ready to go. Let's say we want to do this as a digital document. That's not a big deal. We can export this as a digital PdF, and all we have to do is say, PdF and then just go down to pdf for Web and you can change the size if you do 300 DP I That's probably the best resolution you can get for Web, but it's also gonna really increase your file size. So a lot of times I'll just do like a 96 or 72. And I don't want include bleed, because this is a digital document. You just people are gonna be able to download it online, and we want to do so. We're not gonna press on the more button or just get a click on export. So this is gonna be digital. And so I'm doing this because I want to show you a little problem. That publisher has something that I think in design has a big benefit off. And so this is it right here. We're gonna go ahead and zoom out. I'm an acrobat pro right now so I can look at the PD so you'll notice the pdf isn't spreads , which, if you're looking online on a browser, you really want to have single page pdf's. So how do we get single page? Pdf's? Well, this is the issue. They don't have an option when you export, So I'm gonna go up to export back up to PD up. There is no way. Even if you click on more, there's no way to make it just single pages, which is something that in design offers, which is nice. Some printers like you to export in single pages so they can have bleed all around off edges instead of spreads. So it's great for exporting as print documents. It's also great is exporting it. It's digital because not everybody wants to see a big, long spread when they're looking at a digital document. So there is a work around this. I don't like it, but I wish they had a easier option. But that's okay. Maybe they'll come out with it in a later date. So we're going to switch all these two single pages instead of spreads. We're gonna goto file documents set up and work it out unclip facing pages. So we're gonna on click facing pages and click on OK and everything turns into single pdf's , which is exactly what we want it to be for our digital Pdf. So the only issue with this is we have to kind of re tweak a little bit of this. We may not need certain pages like we can could probably combine these two pages into one. If this is gonna be a digital single page, PdF, combine those images and kind of shift that over. So you don't have kind of this random thing here. So now we have our ingredients list. We have a photo ingredients list photo. So now we're ready to export export for Web, Same things. And now when we export, we're gonna have single pages. And I wish they just had a little check box that you could check liken in design to to do single page exporting. It would be a very, very nice. But there is single pages which we're gonna happen. Forget this could be a digital document. I want to do a few modifications to make sure everything looks good. We'd have to kind of switch some things around and make it work for digital. But that's OK. That's just not too many to exceed. Have to do so. If you ever want to switch back, you get a file, documents set up, click on facing pages and we're gonna click on OK, and we have it all back to our spreads again. And sometimes printers like to have bleed on all four sites, and sometimes they'll request you to send the PdF as single pages. That's exactly what you're gonna have to do. You're gonna have to go up, go to document set up and just kind of unclipped the facing pages and export that way. I wish there was easier option, but that's kind of what we're faced with with this. So there's just the one downside have really seen so far with publisher versus in design. But nothing that's gonna prevent me from creating beautiful work and doing lots of different editorial work. Spreads, layouts, digital, pdf's booklets, even your portfolio. You can even make a PdF portfolio as well in this, and I see no problem with being able to build everything with all the tools I've shown you . 44. Affinity Publisher - Reviewing Other Tools: We've learned a lot of basic tools by doing this cookbook and spread, but I wanted to take just a few minutes to go over some of the tools we didn't get a chance to do, because there's some tools that you're gonna be. How do I create tables? Had a weight ingredients? I'm just going to spend a couple minutes kind of going through some of those tools that we didn't use in the project. Just so you can know about those tools. So you have this fill tool. So let's add a tables. We have a table tool right here in our toolbar, and we're gonna just kind of click and drag and create a table. This is where we can input lots of data. So let's say we have data here and all these different columns. Nothing too exciting kind of your Basic Excel document. But let's say we want to add kind of finesse is a little bit so we can click our table so you can right click in our columns. There's your columns and these air rose, so let's right Click A and you could delete specific column. So let's say we don't need to your f So we're just gonna click right click delete columns and we can kind of craft whatever table we'd like. So I'm gonna select all of these is held, downshift and selected all of them. We could even merge sales. So if you want to merge them into one big box, you can create kind of, ah, different length boxes that way. So let's say it was kind of go back to where we had it. Let's say we want to make, um, that a headline. So let's delete that looks like I might have to select the row right click and delete the row. So let's say we wanna have, uh, another box this size. We could merge the cells, merges sales. They could build whatever table you'd like, whatever size that you need for each little table. And you could even add a row after you deleted it. So let's say I want to have four. Now you can click on this do four. So all I did is went to the arrow here, and I was able click and add as many columns or delete as many columns, right click delete as I'd like. So I just want to go to the over the basics of how to create tables, because I know a lot of you guys were doing P d efs, especially for the Web. There might be some data that you need to show people, so you can also do the same thing for color. So let's say one. Have these be a background color? Let's make this. Ah, let's not have it be a stroke. Let's be a fill. We could do background colors. Of course, if you do any type that you want, do your type on here. You could make this white. You could style eyes it, make it gold. So that's kind of how you do that. So that is how you work with tables. So before, when we brought in images, we used these frame tools to go ahead and bring in the image by drawing a shape and dragging it in. But let's say we have an already existing image. It's not in a frame or anything, and we want to crop it. We have the crop tool, which is really handy, So I'm gonna do the crop tool, and I could kind of just hand crop. This, however I'd like It's very handy if you don't want to use the frame to also just kind of be aware of that crop tool right here and then click back on, move and move your object. That's the crop tool, and this is when it's handy to have other affinity programs. So we have offended designer and affinity photo. You could switch between these programs up here, So right now we're in the publisher persona. You can switch into the designer persona, and we can do a little bit more complex things in here and then switch it over so it's kind of neat to be able to switch between the two. So let's say I want to do a local design. I'll do a local design and then I'll copy it like a paste it right here in the publisher. It's need to be able to switch between the programs up here instead of having to go down and call it up like you would Adobe programs. Everything is integrated and really, really love that feature. So affinity Publisher is great with working with large blocks of copy, which we found out by doing our project but we didn't work with huge blocks. A copy. So what I'm gonna do here is I'm gonna get your frame tool frame. Text tool. You draw a couple of columns here, at least draw one column and let's say I just want to have some filler text. I'm gonna go up to text, and I'm gonna go down to insert filler text and oldest answered in a bunch of gobbledygook so we can expand this, Make it larger, bigger We can crop this. So just went ahead and selected this move tool appear or it can press a B and be able to kind of extend it out. So let's say I collapsed this and I want to make two columns out of that, and I want to have overflow tech. So all this text that's being cropped I wanted to spill over into another column. So you have this little arrow here? Seems like it's a triangle right here. I'm gonna hover over it. I'm gonna click it, and I'm gonna be ableto click and draw and notice how these air now connected. So these columns are connected to that line, so anything that spills over this is gonna spill into that column. And this is really good for really large articles that you need to go ahead and spread across multiple columns and keep it all connected so you don't have to sit there and copy and paste each one. So if I have a three column layout here, let's just do a quick three column layout making of different sizes. This is great for editorial kind of stuff. Let's say I have three different columns and I decide to put more text in here. I put more text in here. It's gonna shift this column over and shipped this column over Ulises Copy and paste the sentence. So that's incredibly handy to have all of those connected. He could even connect him across pages as well. So if you have multiple large articles, you could have it spanned different pages and have it all be connected. So all you're doing is you're selecting anything that has overflow or has text that's going outside further down the box. You just go ahead and find it's good. Click over here. There's that triangle. You click that triangle and it could create. Put the overflow box right here, so you got to see how everything goes for close from here to here to here you have this line and it flows to here. But I wanted to go over that because we didn't work with super long blocks a copy. And I wanted to kind of show you how you can manage bigger blocks and and manage overflow of type. Let's say we want to do a text wrap. So what a text rap is is I bring in a photo and the text can wrap around a photo or are objects. So there's you see this? A lot of magazine designs where certain, it almost seems like the Texas carved out with the shape. So we're gonna do that right now. I'm gonna bring in. Let's just bring in kind of a frame tool. Let's just do a circle just doing a circle frame tool. Let's do a circle and let's go to bring in Ah, generic photos. Let's bring in this brownie just gotta automatically crop. So instead of the text kind of being on the bottom, I wanted toe wrap around it, so I have our object here. Just our photo and I'm gonna go up here to the top, and this is gonna be rap. So we're gonna click on that middle button, and it's gonna automatically wrap around so I get our move tool. I could move this around and be able to crop this. However, I'd like it's moving that around. You can kinda see how it's wrapping around so you have it right here in the middle of our article. Or have it be right here and he can change the settings. So if you go up here to the top, you'll have your show. Your text wraps settings and you'll be able to have it be tight. Jump. There's a lot of different options you can have. You can have a square instead of rounded. You can have a square kind of text wrap lots of different options here for text wrapping, and you could change the distance from the text. So let's say I feel like that's too tight. I can always go. Okay, that's the top in the right. So lets us add a little spacing here, and then the right will change it. And that's how you do. Text wrapping over images. One last thing is, I've talked about snapping. How There's a couple of keyboard shortcuts to toggle on your grids in the toggle on a lot of different things and snapping. There's any a button here. If you're not a big keyboard shortcut person on, you don't want to have to go up into view and change all these options. You can actually go here to these buttons, and you could toggle off your guides. Which is really nice. Is little button there if you want to know what that button does, and you can also enable snapping. So this little magnet this is how you could quickly kind of enable snapping or disable it. So if you don't have to go through the view menu and you don't want to do she keyboard shortcuts, this is a much quicker way to enable snapping. I kind of did it the traditional way throughout the class, but I just want to show you this little quick shortcut. That's kind of nice to be able to have that option course. There's a lot more advanced options, but in terms of the basics and covering what you really need to do most of your design projects or layout projects or whatever you got to do in this program. We've covered the large majority of the tools of given you a lot to go ahead and create your own. Ah, project. I want you to create a student project I want to create. I want you to create your own editorial magazine spread and cover. I want you to create a book similar to what we did here. If you want to go through the exact steps we did together, you have those downloadable resource is where you have all the basic type and you can go through all the stages that we went through. I'd love to see what you come up with. Feel free to make it different at a different photo. Make it a different theme or you can do exactly the same thing. If you want us, follow it, step by step, whatever you prefer. But I want you to practice practice practice, especially in this program, because that's how you got to get better by doing a lot of different projects and and producing beautiful work. Each time you do a new project, you get better and better. So this has been a pure joy teaching you this program and any other programs that I've taught in this course and I will see you guys and the next class and hopefully you've learned a lot.