Making Humans with Humaaans - A fun way to make people illustrations to use anywhere! | Helen Bradley | Skillshare

Making Humans with Humaaans - A fun way to make people illustrations to use anywhere!

Helen Bradley, Graphic Design for Lunch™

Making Humans with Humaaans - A fun way to make people illustrations to use anywhere!

Helen Bradley, Graphic Design for Lunch™

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10 Lessons (1h 2m)
    • 1. Intro to making Human images using Humaaans

      1:56
    • 2. What are humaaans

      4:08
    • 3. Using Humaaans in a browser

      6:52
    • 4. Humaaans in InVision Studio Part 1

      12:52
    • 5. Humaaans in InVision Studio Part 2

      6:54
    • 6. Humaaans in InVision Studio Part 3

      6:02
    • 7. Humaaans in InVision Studio Part 4

      5:03
    • 8. Recoloring Humaaans Images in Photoshop Pt 1

      7:48
    • 9. Recoloring Humaaans Images in Photoshop Pt 2

      9:19
    • 10. Project and Wrapup

      1:32
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About This Class

Need a picture of a person? Can't draw? No problem! Help is at hand. In this class you'll learn to make pictures of people using the Humaaans elements by Pablo Stanley. The designs you make are free to use for personal and commercial use. 

In this class I'll show you what Humaaans are, show you step by step how to use them in an online app as well as using Invision Studio on a Mac. I'll also give you tips for exporting the finished designs and how to recolor them in Photoshop.

This class is suitable for all levels of users and it's fun and totally actionable - the designs you make can be on the web in minutes.

More in this series:

4 Illustrator Shading Techniques - An Illustrator for Lunch™ class - Simple Highlights & Shadows

5 Hexagon Patterns in Illustrator - an Illustrator for Lunch? course

Create Color Schemes in Illustrator for Using, Sharing & Selling - An Illustrator for Lunch? Class

Create Patterns in Adobe Capture for Illustrator & Photoshop

Create Wreaths & Other Floral Designs - An Illustrator for Lunch™ Class

Designing with Spirals - An Illustrator for Lunch™ Class

Doodle Flower Design & Pattern in Illustrator - An Illustrator for Lunch™ Class

Draw a Hot Air Balloon in Illustrator - Fun with 3D! 

Illustrator - Design in Black and White - Create Positive/negative images

Illustrator for Lunch? - 10 Interface and Setup tips too Speed your Workflow

Illustrator for Lunch™ - 10 in 10 - 10 Align tips in 10 minutes or less 

Illustrator for Lunch™ - 10 in 10 - 10 Type Tips in 10 minutes (or less) 

Illustrator for Lunch™ - 10 in 10 - Ten Top Illustrator Tips in 10 Minutes 

Illustrator for Lunch™ - 10 Layer Tips in 10 minutes

Illustrator for Lunch™ - 10 Pattern tips in 10 Minutes 

Illustrator for Lunch™ - 10 Pen tool and Path Tips in 10 Minutes or Less 

Illustrator for Lunch™ - 20 Appearance Panel Tips in 20 minutes or less

Illustrator for Lunch™ - 20 Color tips in 20 Minutes

Illustrator for Lunch™ - 20 Gradient tips in 20 minutes

Illustrator for Lunch™ - 20 Pathfinder, Crop and Cutout tips in 20 minutes or less

Illustrator for Lunch™ - 20 Recolor Artwork tips in (around) 20 minutes

Illustrator for Lunch™ - 20 Reflect and Rotate tips in 20 minutes or less

Illustrator for Lunch™ - 20 Things New Illustrator Users Need to Know

Illustrator for Lunch™ - 3D Extrusion Effects - Text, Shapes, 3D

Illustrator for Lunch™ - 3D Perspective Cube design and Bonus 3D star

Illustrator for Lunch™ - 4 Exotic Patterns - Quatrefoils, Moroccan Trellis, and Layered Diamond 

Illustrator for Lunch™ - 4 Handy Patterns - Diagonals, Plaid, Colorful Dots, Chevron

Illustrator for Lunch™ - 5 Cool Text Effects

Illustrator for Lunch™ - Abstract Ombre Background - Color Scheme, Blend, Transform 

Illustrator for Lunch™ - All you need to know about Brushes in Illustrator

Illustrator for Lunch™ - Backgrounds for your projects - Sunbursts, Halftone, Blends & Brushes 

Illustrator for Lunch™ - Banner and Award Badges - Appearance Panel, Masks, Warp 

Illustrator for Lunch™ - Blends and Gradients - Blends, Blend Modes, Gradients 

Illustrator for Lunch™ - Braids, Rick Rack and More

Illustrator for Lunch™ - Circle Based Patterns - Rotate, Blend, Multi-Color Dots

Illustrator for Lunch™ - Clipping Masks, Opacity Masks & Layer Masks

Illustrator for Lunch™ - Complex Block and Half Drop Repeat patterns

Illustrator for Lunch™ - Complex Rotated Repeating Patterns Made Easy - Using MadPattern templates 

Illustrator for Lunch™ - Create a Floral Alphabet character

Illustrator for Lunch™ - Create a Nighttime Cityscape Image

Illustrator for Lunch™ - Create a Plaid or Tartan Pattern

Illustrator for Lunch™ - Create a Range of Triangle Patterns

Illustrator for Lunch™ - Create a Retro Landscape Illustration

Illustrator for Lunch™ - Create a Textured Dot Pattern - Transform, Vector Texture, Patterns 

Illustrator for Lunch™ - Create a Wave Pattern 

Illustrator for Lunch™ - Create a Whimsical Tree

Illustrator for Lunch™ - Create an Ikat Inspired Pattern

Illustrator for Lunch™ - Create an Isometric Cube Pattern - Shape Builder, Align, Pattern Make

Illustrator for Lunch™ - Create Complex Art in the Appearance Panel

Illustrator for Lunch™ - Create Diamond, Harlequin and Argyle Patterns

Illustrator for Lunch™ - Create Guilloche Effects

Illustrator for Lunch™ - Create Hi-Tech HUD rings

Illustrator for Lunch™ - Create Perfectly Overlapped Rotated Shapes

Illustrator for Lunch™ - Create Seasonal Ornaments - Learn new skills while making seasonal art

Illustrator for Lunch™ - Create Stitches and Sewing Elements

Illustrator for Lunch™ - Create with bends and blends - techniques for icons, logos and more

Illustrator for Lunch™ - Creative Half tone Effects

Illustrator for Lunch™ - Custom Corner Tiles for Pattern Brushes

Illustrator for Lunch™ - Cute Furry Creatures

Illustrator for Lunch™ - Cutout Text Effects - Photos, Pathfinder & Text

Illustrator for Lunch™ - Designing with Symmetry

Illustrator for Lunch™ - Doodle-Style Heart - DIY Brushes and Nested Shapes

Illustrator for Lunch™ - Draw a Retro TV - Shapes, Texture & Sunburst

Illustrator for Lunch™ - Draw a Vintage Birdcage - Shapes, Transform, Texture

Illustrator for Lunch™ - Faux Tissue Paper Collage - Blending, Texture, Transparency 

Illustrator for Lunch™ - Flat and Dimensional drawing techniques

Illustrator for Lunch™ - Fun Effects with Graphic Styles - Appearances, Brushes, Styles 

Illustrator for Lunch™ - Fun with Scripts - Download, Install, Run

Illustrator for Lunch™ - Get Creative with Blends and Brushes

Illustrator for Lunch™ - Get Export File Sizes and Resolution Correct

Illustrator for Lunch™ - Going in Circles - Brushes, Blends & Transformations

Illustrator for Lunch™ - Gradient Background Effects - Find, Adapt, Create & Use

Illustrator for Lunch™ - Houndstooth & Rose - Vector Halftone Tracing & Houndstooth Pattern 

Illustrator for Lunch™ - Illustrating Cacti with Custom Made Brushes

Illustrator for Lunch™ - I'm Seeing Stars - Fill, Warp, Clip & Crop Shapes

Illustrator for Lunch™ - In the Frame - Shapes, Fills, Strokes & Color

Illustrator for Lunch™ - In the Kitchen - Cartoon Art with Live Paint 

Illustrator for Lunch™ - In Your Face - Pen Tool Practice 

Illustrator for Lunch™ - Layered Paper Style Collage - Gradients, Graphic Styles, Transform 

Illustrator for Lunch™ - Let's Go Steampunk! - Shapes, Rotation, Textures 

Illustrator for Lunch™ - Make a 2017 Calendar from Scratch - Grids, Layouts, Text, Patterns & More 

Illustrator for Lunch™ - Make a 3D Y Shape Pattern - from paper illustration to digital design

Illustrator for Lunch™ - Make a Lace Pattern Brush - Stroke, Blends, Pattern Tiles, Rotation 

Illustrator for Lunch™ - Make an Organic Spiral Pattern

Illustrator for Lunch™ - Make Art Brushes - Configure, Color & Scale

Illustrator for Lunch™ - Make Art Using Other People's Art 

Illustrator for Lunch™ - Make Custom Organic Patterns - Transform, Scissors, Align, Pattern Swatch 

Illustrator for Lunch™ - Make Retro Shapes - Pathfinder, Scripts, Rotation

Illustrator for Lunch™ - Make Scrapbook Papers to Sell - Patterns, File Formats, Marketing Materials 

Illustrator for Lunch™ - Make to Sell Printables - Stripes, Grid, Lines & Isometric Grid

Illustrator for Lunch™ - Mastering Live Trace - Turn Bitmaps to Vectors

Illustrator for Lunch™ - Meandering Hexagon Pattern

Illustrator for Lunch™ - More fun with Scripts - Text to code, more scripts, more fun (trees too!)

Illustrator for Lunch™ - Multi-Color Faux Pattern - Patterns, Transform, Expand 

Illustrator for Lunch™ - Neon Effect - Appearances, Graphic Styles, Fonts

Illustrator for Lunch™ - On (a pattern making) Safari - Repeating Patterns 

Illustrator for Lunch™ - One Design Concept - Many Variations 

Illustrator for Lunch™ - Pattern in a Pattern - Achieving the Impossible in Illustrator 

Illustrator for Lunch™ - Pattern in Pattern & Irregular Repeating Patterns

Illustrator for Lunch™ - Pattern Know-how - Install, Transform, Recolor

Illustrator for Lunch™ - Pattern of Lines and Dots

Illustrator for Lunch™ - Pop Art Style Star Pattern 

Illustrator for Lunch™ - Real Time Mandala Design

Illustrator for Lunch™ - Real Time Mirror Drawing - Symmetrical drawing

Illustrator for Lunch™ - Road Trip - Custom Brushes and Live Paint

Illustrator for Lunch™ - Roaming Square Pattern

Illustrator for Lunch™ - Seamless Repeating Texture Patterns

Illustrator for Lunch™ - Season's Greetings - Shapes, Brushes, Texture 

Illustrator for Lunch™ - Semi Transparent Flowers - Scatter Brushes, Opacity, Blend Modes 

Illustrator for Lunch™ - Sharing and archiving files - troubleshooting the pitfalls

Illustrator for Lunch™ - Sketchy Image Effect - Image Trace, Swatches, Sketchy Effect

Illustrator for Lunch™ - Something's Fishy - Appearance Panel Tips & Tricks 

Illustrator for Lunch™ - Stipple Texture Effect - Grain, Gradients, Blends 

Illustrator for Lunch™ - String Art Inspired Designs

Illustrator for Lunch™ - Stylish Doodles to Make and Sell

Illustrator for Lunch™ - Type on a Path - Type, Paths, Shapes

Illustrator for Lunch™ - Using & Troubleshooting Bounding Boxes

Illustrator for Lunch™ - Using Photoshop Objects in Illustrator - Images, Shapes, Patterns and more

Illustrator for Lunch™ - Vector Textures - Vectors, Clipping Masks, Pathfinder

Illustrator for Lunch™ - Warp Shapes & Text - Envelope Distort, Warp, Gradients 

Illustrator for Lunch™ - Watercolor Magic - Type, Downloaded Patterns & Brushes 

Illustrator for Lunch™ - Watercolor stripe seamless repeating pattern

Illustrator for Lunch™ - Whimsical diagonal line patterns

Illustrator for Lunch™ - Whimsical Scrapbook Paper Designs to Sell or Share

Illustrator for Lunch™ - Whimsical Text Effects

Illustrator for Lunch™ - Whimsical Textured Drawings Using Hand Drawn Brushes

Illustrator for Lunch™ - Zentangle® Inspired Pattern Brushes - Shapes, Effects, Brushes

Make Ditsy Patterns in Illustrator

Pattern Design in Illustrator Masterclass

Piping Effect in Illustrator - An Illustrator for Lunch™ Class

Rainbow Gradient Shape & Text Effects in Illustrator - an Illustrator for Lunch™ class

Terrazzo Patterns Without Drawing a Shape! - An Illustrator for Lunch? Class

 

 

 

 

 

 

 

Meet Your Teacher

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Helen Bradley

Graphic Design for Lunch™

Top Teacher

Helen teaches the popular Graphic Design for Lunch™ courses which focus on teaching Adobe® Photoshop®, Adobe® Illustrator®, Procreate®, and other graphic design and photo editing applications. Each course is short enough to take over a lunch break and is packed with useful and fun techniques. Class projects reinforce what is taught so they too can be easily completed over a lunch hour or two.

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Transcripts

1. Intro to making Human images using Humaaans: Hello and welcome to making humans with humaaans. I'm Helen Bradley and I teach over 200 classes here on Skillshare with over 80,000 enrollments in total. I'm also a self-confessed admirer of cool stuff and this course is all about really cool stuff. I'm so excited to introduce you to this. It's cutting edge and it's so much fun. In short, this class is the answer to making awesome images of people if you can't draw, or if you simply don't have time to make the designs yourself. Designed for you by Pablo Stanley, humaaans spelled with three A's are a set of elements, heads, bodies, and legs that you can mix and match to make a complete human design. Think of it as a mix and match game for adults. The designs are free and they're licensed for personal and commercial use. Now Pablo Stanley designed humaaans, but he made just the shapes, not the tool that you use to actually do something with them. So you need not only your humaaans, but you also need some software to actually use them. In this course, I'll help you put the pieces together. Literally, I'll show you how to get access to the free software InVision Studio and how to download and use the humaaans designed inside InVision Studio to make people illustrations. Because at this time InVision Studio isn't yet available for the Windows PC, it's only available for the Mac, I'll also show you a neat browser-based tool developed to allow you to access much of the functionality of the humaaans designs to create people illustrations from a browser on a PC or a Mac. So regardless of your computer, by the end of this course, you'll be designing your own humaaans and using them in your own projects. If you're ready, I suggest we waste no more time and head over to humaaans dot com and get started. 2. What are humaaans: Right now I hope that you're really excited of the possibilities of this class. Now the foundation elements that we're going to use are from a website called humaaans, and it's got three A's in it. This is a website that showcases the humaaans elements that you can download and use, and it also gives you some ideas as to how the entire process is going to work, and what you can do with them. We're just going to scroll down this page and you'll see that there are a whole lot of little remixes here that we will be able to create ourselves in just a minute. This is a small preview of the humaaan elements used with InVision Studio. Now, InVision Studio is only available for the Mac right now, but it will be available for the PC at some time in the future. I'm going to show you how you can set it all up in InVision Studio, and I'm going to show you how you can use a certain portion of InVision Studio to actually work with these shapes. If you use a Mac, you'll certainly want to look at that part of this course and later when it's available for Windows, that will be really helpful to you too. Then we can have a look and say of the kind of things that you can do with these characters. You can also add scenes, so we're going to have a look at the scenes that are available, some of which will be available to Windows users, all of which will be available to Mac users. These are some examples of the elements. Down here you can go and get the library, so when you click on this link, you're going to be taken to a Dropbox location. Now humaaans can be used with the sketch application. I'm not going to be covering that in this video, but if you do use sketch, you would go ahead and download humaaans sketch to get access to all the characters and all the elements you're going to use. Now if you're on a Mac or if by the time you watch this video, the InVision Studio product is available for the PC, then you're going to download humaaans studio. I'm just going to click on that, now you'll be taken to a link and you'll just click to download it. It's not a particular large file and it's a.studio file, so you just want to make sure that you can locate it in your downloads folder once it's been downloaded. Now in a later video, I'm going to show you how you can set up InVision Studio and get access to the file, right now what you just need to do is to download it. Now, if you're on a Mac, you're going to also go to invisionapp.com, and you're going to click here to get InVision Studio. It's a free application and you need to download it, and install it on your Mac. Now when you click to download it, there are some really basic and very simple instructions for installing, it's very simple to do. What you need to do is to get InVision Studio onto your Mac and you also need to install it. But don't worry about the fact that you won't get access to the humaaans, because I'm going to show you that myself. If you're on a PC you're still going to go to get InVision Studio free forever. Because what you want to do, is you want to sign up, to know about when InVision Studio is available for Windows, you'll come here and click and put in your email address, so that InVision will alert you when the Windows tool is available and you can download and use it. So you want to do that even though you're on a Windows machine and it's not yet available. If you are on a Windows machine, then the very next video is going to show you an online site where you can get access to quite a lot of the humaaans elements and put together your own characters. Does have certain limitations, but we're going to go through those. You can also of course use that if you're on a Mac, but I just think InVision Studio is a much better option for Mac users. For Windows users, you don't have a choice, you either use Sketch, which I'm not covering in this video or you use this online tool, and probably for simplicity, the online tool is a good place to start. 3. Using Humaaans in a browser: Let's have a look now at the web interface. Now, the web interface is the only way that you're going to be able to use these illustrations on a Windows machine because at the time of recording this video InVision Studio was not available for Windows. It is available for the Macs. So on the Mac, you've got two choices. You can use InVision studio, or you can use this application on a Windows machine. This is all you can use. Now, this tool, well it's nice and handy. Thank you to the person who developed that. This is not the Humaans organization that's developed it it's somebody else who has come and put together an interface to allow us to be able to create these illustrations using the Humaans designs. The tool itself does have some limitations. The limitations are these; firstly, you can't rotate things, so you won't be able to pull the shoe off this foot and replace it with a different style of shoe, because while this shoe would go on this foot here, it won't go on this foot here unless it's rotated and you can't rotate. So you can't change shoes on, for example, moving people or where the shoe is not flat to the ground. The other thing you can't do is you can't re-color this there's no re-color option. You can't flip these characters, so you have your character facing in the opposite direction. There are lots of things that you can do, for example in InVision studio that you can't do in this application. But you could finish your design and take it to another application and make some of those changes at least. Let's see how we're going to use this tool. Understanding that it is relatively rudimentary. Well, everybody has, or every body has three places that has a head, it has a body and it has what's called a bottom. If you know them as head, body and bottom, that's going to make it a lot easier when you come to putting these illustrations together. I'm just going to reload this page because I want my original shape. If we want to replace the head, we go and find a head. Now, there's all these objects here, but if you want a quick start finding a head, you're just going to type in here, head. This filters out the shapes to show only the heads. We could replace this head with this head. What you'll do is just click on the "Shape" and it's inserted into the top corner here and then you can move it. Now you can see that this person is much smaller than the head, so we're just going to size the head down. Now, I think this head was a little bit small for my taste, so I might opt to keep the head just a little bit larger and moving this head out of the way. Let's just place this head into position. Now, you may already see a problem and that is that the head is on top of the clothes. Well, we can put the head under the clothes by targeting the head and click here on this icon which is move behind. Now, I found that sometimes that's not always successful, so you might have to come to the jacket itself and move the jacket to the front. Rather than moving a head behind, moving a jacket to the front might be the better alternative, and then you can just position your head in position. Next, we'll have a look at replacing a jacket and hands and for that, we look up body. Here our body options, there's everything from hoodies through coats. There's a pregnant belly. There are all sorts of things you can use. I'm going to use this trench coat, so click on it to insert it in the document. You can see now it's a bit smaller than it needs to be. Let's move the other body else away. Let's put this body in its place. Again, you can size it to suit, and then get rid of the body that you don't want. Let's go and find a set of pants that we're going to use. I'm going to type in bottom, because that will give us the bottoms if you like. We've got some seated legs that we can use. Now, they can be sitting on something or I think there might even be a wheelchair in this set of objects, there certainly is in the original humans set, that you could put your character in a wheelchair. I'm going for these pants here, so I'm going to click on them to select them, size them a little bit. I'll probably move them into position here and just test them out against the original bottom to make sure that they're pretty much the right size. Get rid of the original one and put this in it's place. Again, we're going to have to make sure that it goes underneath everything and not on top. The easier way might be to take the jacket itself and put it at the front. That's looking quite good here. But as I said in InVision Studio, we could actually re-color these if we wanted to, we can't do that here. Once you build up your person, there are some scene objects that you can use. If you type in scene, you'll be able to see what scene objects there are, and these are sort of household objects. Now again, there's a lot more available in the original set, but this is a subset that we can use. Let's just go and put some furniture in around her. Now the furniture is going to appear in front of her, again, we might want to move it behind. If that doesn't work, we might need to bring the legs in front of it. Just be aware that, that can be a little bit tricky. There are some plants and things that you can use as well. Once you've created your human, you're ready to save it. Now I get two choices here, JPEG or PNG. JPEG is always going to have a background, so it's going to have a white background. That's going to make it tricky if you want to take this human and put them in a scene, for example, because you would have to remove the white background. If you want to put this human on top of something like a colored background or into a scene, then PNG is going to be your better choice, because PNG is a transparent background. Just click on "Save PNG" for example, and you'll get your image saved. Now they're just called Humaans and then apply a new number to it because I've made quite a few there. This one's up to four for the PNG image, let's go and just double-click on it. This is the PNG image opened in the Windows Photo Viewer. That will be accessible for me to use in another application at another time. Even with its limitations, this is still a handy tool to use if you're a Windows user, that's what you're going to use. If you're a Mac user, I would probably opt for InVision studio, but this is also available to you at any time. 4. Humaaans in InVision Studio Part 1: In these next few videos, we're going to be looking at using the humans designs inside InVision Studio. So I'm assuming that you have already downloaded and installed the program but before we begin, there's a proviso here. InVision Studio wasn't built for how we're about to use it. InVision Studio is a screen design tool for developing prototype apps and digital products, so on one level it's total overkill as far as we're concerned. But we have got a studio file full of our humans and the way that studio works in terms of managing design assets like our human body parts, makes it easy for us to create our humans here. So to use studio for this purpose is pretty easy but you're only going to be learning a small part of studio as we worked through this. Now in terms of how long this is going to take, I'd never used studio before and a few hours of research and playing around gave me a good enough handle on it to be confident that I can teach you how to use it so you're going to benefit from all the mistakes I made along the way and your learning curve is going to be much, much faster than mine was. So right now this app is very, very new and our requirements for using it are so specific that there isn't a lot of information out there for learning studio for our purposes. So this is going to be a hyper fun, I'd suggest that you fasten your seat belts and let's get going. So I have studio already opened here and I've downloaded the studio file so the first thing we're going to do at this opening screen is click here on "Open Studio or Sketch file" and then you go to your downloads folder and locate your human studio download and just click open. So we are going to have a quick look around at what we have here. If you click here on "Samples" so that you're in the samples area, you'll see that you've got a whole series of what are called art boards, now that's familiar terminology from, for example, Photoshop and Illustrator. Now on these art boards are whole series of these humans characters so what the designer did was that they made a video to introduce humans to the world, if you like, and set it all up inside studio. So they've just given us these elements so that we can say how it might all go together and this is a really good price for learning a little bit about studio. So let's have a look and say what we've got. The functional part of studio is based on pages, so we've got a whole series of pages here. We've got the samples pages and we've got a sticker shade and the sticker shade is just all of the elements that are in this pack. Now if you want to size something, you've obviously got a Zoom here, so you can click on it and we're going to choose, in this case Zoom to fit so that the sticker sheet fits on the screen and the sticker sheet is just one art board. If we go to samples, then we have a whole series of art board so if we choose here "Zoom to Fit, " we're just going to save all of the art boards inside the work area. Now if you want to say a particular art board, what you're going to do is select on that art board. Now these art boards have got a sort of panel of the top so you want to make sure that when you're selecting them you're selecting the actual art board itself so here is the basic art board selected. I'll click here and choose, "Zoom to Selection" and what that does is it brings up this basic humans art board at full size so that we could work on it for example. When you want to go back to saying everything, you'll just click here on "Zoom to Fit" and then you'll see the whole of this samples page. So we're looking at pages, two pages here. One has just one art board, samples has a whole heap of art boards and we know how to Zoom in and out. Now, I suggest that at this point before you do anything with these elements that you save them, so what I'm going to do is go and save them. So I'll choose "File" and then "Save As". I'm going to put this in my documents folder because that would be a handy place to find it, and I'm going to call these helen's. So this is going to be badged and identifiable as mine and it also means that I haven't overwritten the original studio file so if I really botched this up, it doesn't really matter because I can always go back to the original so you can see at the top of the screen here that we're working on the helen's collection and that's really important. Now we're going to do a little bit of prep and a little bit of cleaning up at this stage because what I'm going to suggest to you is that once you've had a little bit of a look around at these designs, that you get rid of everything except one of these art boards and I'm just choosing basic as the art board we're going to keep. All the others are going to be delayed because we don't actually need them, we just need to know how to use these humans to create our own elements. But before we do that, I want to save colors because these are some skin colors that we can use to recolor, for example, hands and faces of our characters. So what I'm going to do is make it what is called a library objects so we could always access it later on so go ahead and select colors and up here you'll say, I six-sided element and it says create components. So I click on that and we're just going to call this colors. You're going to leave everything set up as it is and just click done and that creates these colors as a component that just makes it a little bit easier for us to find and use them later on. When you're done, you can just click here to go back to samples. So now we can go ahead and delete the art boards we don't need so here's the intro art board and you just selected and press "Delete". Select the separated elements art board and delete it and just go through and delete all of this. Encoding colors because we now have colors saved permanently in our library. If you have trouble selecting these here, you can always select them in the last panel over here just clicking on the name will select that entire art board and we've obviously got the same plants art board so this is it here and just press "Delete". That leaves us with just basic and so at this point I would go ahead and save this again because this is actually going to be our work file from now on. So I'll just choose File and then save because I've already given it a name. Now to Zoom into basic, we're again going to select it and choose from this drop down list "Zoom to Selection" so we can save the basic humans. Now we can say that there is some text elements here, we don't need those so we can just delete them. We've got two humans, we've got a pregnant human here and a sitting human and we've got a rectangle sitting here. We don't need that either, I would get rid of that. There is one gotcha at this point and that is don't go enlarging things. I'm just going to enlarge this one and show you what can happen. Things like the hair has now burst away from the head and the jacket doesn't fit correctly anymore and our character is actually well above the seat so it's best not to resize these elements, now if you need to undo things because this is a downloaded app, we're not working from the internet you can press "Command Z" to undo things. Now, I'm going to remove this human because I don't want him either, I'm just going to focus on one human and we're going to do our work with this one human. So, we can move this human around by just selecting them and just move them around. Now we can also flip them in the other direction and this is something that we couldn't do in that online app if you looked at that online app, and you can rotate them or flip them here using this flip horizontal icon so the human is now flipped horizontally. Now if we want to have a look at the body parts that are in use here we'll go across to this layers panel again, very reminiscent of Photoshop or Illustrator and here is the pregnant body and you can turn it on or off by just clicking on the eyeball icon. We have the bottom here, which is a skinny jeans one and we've got a head in front. Now, again different to the online application is that these are actually all made up of other little pieces for example, this person has hair and so there's an entire hair element here. There's also the head element and so you can select it and turn the head of and there's a hair back element as well. So we're getting access to a whole set of layered elements so that we couldn't get in the online application, and the beauty of this is that these can be recolored for example. So we can see here that they fill for the hair is black and if we want to recolor the hair, it's very easy to do by just double clicking here you've obviously got the hair selected, you double click on the fill and choose another color to use so I'm going to give them orange hair. Now there's three paces to the hair, there's this pace here, and there's also another pace at hair so we would need to recolor both of them but we can easily give the person a different set of hair. Now we can also change out things so for example, if we want to give them a different body will target the body here and over here in the document library area you can see that we're using body pregnant. Well, we can drop down a list here and start typing the word body because that then filters out so that we can only see in this list the actual body elements that we can select from. I'm going to hit the tab key once and that moves me down into the list and now I can use the down arrow case to just roll through the options that we have for clothing this character. So these are all the body parts that we have but you see that already using studio to make these humans is much easier because we can see the body parts in position and so we can say, well guess, we would like that or we don't want that and so it makes it just a little bit easier to select them. So I'm going to give this one the trench coat and then just click away and the trench coat is in position that's been added to the body and of course, the body trench coat alike the head has a whole heap of elements that can be adjusted and being recolored for example. So let's go and replace another body part here, let's go and get the head so I'm just going to close down the body trench coat. I'm going to select the head and over here in the document library area we can say that we have chosen head front Afro. Well, I'm going to type in head to filter out what our options are, hit the tab key and then I'll just roll through the head options that we have. So there are a lot of head options that way can choose from here so I'm just going to go and select one of them, I think this is the one I'm going to use, click away and the new head is in place. Go back and select our person, let's go and have a look at the bottom options here, at the moment they're wearing sort of shorts so let's go across here, open up the panel, type in bottom to filter out just the bottom options, press the tab key, and then start rolling around the options that we have and you can say here in studio that when we get a bent leg, then we're also getting the person sitting on something. So they're bringing with them things like a wheelchair or a cube that they're sitting on. Of course, we could replace shoes later on but right now we're just going to settle for a walking human or maybe a running human no, I like the skinny jeans so let's go and grab those. So again, I'm like the online application here we can actually change out shoes, so it would be possible for us to change shoes. We can filter down as far as shoes and we can go over here to the document library and start typing accessories and right now I'm not sure which shoe we are using but let's go and see. We could choose a flat simple or a sneaker and we need to do that for both shoes because unless you come out in the morning with different shoes on, you would want to have the same shoes on your foot. Again, the shoes can be recolored you just go into the accessories shoes area, open up the shoe, go and target the shoe and then you would be able to fill the shoe with a different color, for example. Now we're going to go into a lot of this in more detail in the next video but that's the basic introduction to what we're going to be doing in studio. 5. Humaaans in InVision Studio Part 2: In this video, we're going to go a little bit deeper in terms of recoloring elements inside studio. I'm going to raise, select my person here and I'm going to the body trench-coat, going to open up the panels here because the trench coat has some different colors in it. For a start, it's got this front panel, but it's also got a sleeve. So if I want to change the coat color, I'm going to have to do two pieces of it. So here is the coat front. I'll come over here to the fills and I'm going to choose a different color for our truth, this orange here. So part of the code is now recolored, but I will have to go and get this sleeve so that the coat looks correct. Here it is in the back arm. We need to make sure that we've got the right paste selected, which we same to have here. I'll click on the color. I'm going to select the orange again. But you probably noticed earlier that the back arm here is a little bit darker than the coat, but I'm still going to start with this coat color because then I'm going to drag down a little bit to get a slightly darker version of this color. So this is going to be a shade of that color and it's going to look perfect for the back arm. Now you'll notice that when you bring in a top or a bottom or a head, they come in with skin colors. So you may want to adjust the skin color. Here is the skin and is the skin for both arms. Now where possible. Let me just close these up. Now where possible you want to select the skin and not individual arms, because you don't want to color the arms different colors. So always go for the highest possible layer in the layers stack when you go to fill it, because you'll say that the arm has gotta fill and so as this arm got to fill, but the skin has a fill and if you want to make everything look correct, then you're going to have to change the skin color for always elements at once. But you can't do the face at the same time and the legs because they are not in this same group. So you will have to sort of work out which skin color you're going to use and then use it consistently throughout this illustration and that brings us back to those colors that we saved a bit earlier. Let me just move away from this. Let's go up here to what's called the libraries. So we'll click on the libraries and we'll go to Document Library and I'm going to top Colors. Because what we did a bit earlier was that waist size the colors as a usable library. Now, not quite sure why the shoe is showing up here. I have every confidence if we drag the shoe into the document. In fact, we're going to get our full set of colors. So what the document libraries are is just a way of storing things that you want to use over and over again. Now once you've got your colors into the document, we're going to click here to go back to our work area. We're working in Samples, were working in this Basic art board. So now we've got our colors. We can sample these colors for skin times. We're going to do that by starting with the skin on the arms. I'll click here on the currently used skin color and you'll say there's an eyedropper here. So I'm going to click to pick a color from the screen and I'm going to hover over the lightest skin color I have here. It's now applied to those arms. Now if I want to make it more readily accessible in a minute so I don't have to keep coming back and sampling it. I can add that as a global color, so I'll just click on this plus sign and this is now a global color. So let me just click away. Now will go to the face and we need to locate the face in the head front lawn area. Here's the head. Obviously, the head has a color and the neck has the same color applied to it. But if we select the head, then we're going to change both the neck and the head at once. Just make sense to do as little an amount of work as you need to. With the head selected, let's click on the fills and let's click immediately down here because we have saved the skin color that we're going to use. Now we would do a similar thing if the legs were actually showing. In this one, the legs aren't showing, so we haven't looking here, we probably don't. Well, we do have legs, but the legs are actually the trousers, not the leg skin if you like itself. Now at any stage, if you want to move the art board around, you can just hold the space bar and you can just drag around the outboard so you can see the areas that you want to say. You can also rotate these body parts. So let's open up our human here in the last panel. Let's select the trench card. If we want a human to be leaning forward a little bit, we can rotate them. So there's a rotation option up here and we can tilt them forward a little bit so they are actually looking like, for example, they're moving a bit. So once the body has been moved, we can go and locate the head and then we can move the head. Now I'm just nudging at across with the keyboard using the left and right arrow keys. Then I want to tilt the head so I'll make sure that the head is selected. It's got the little handles around it and then I'll rotate it and I'm just using the up arrow key there. Once I've rotated it, can then go back and select it again and just nudge it into position. You can rotate the head, the body, and also the bottom. Each one of those is individually able to be rotated. You can also rotate the little elements within the body, for example. So let's go to the body trench coat and it's going to close down this. You probably want to make sure that you close down these panels because it can be really hard to navigate these panels if you've got a lot of open. What I'm going to do is go to the skin and I'm going to go to one of the arms. I'm going to this arm here. Now this arm can also be rotated because it's an element within the design. I can rotate it so that perhaps a point up a little bit more. Once I've rotated it, I'll of course need to go and move it so that it is behind the slave a little bit. So you do have the chance of moving elements around a little bit, should you wish to do so? So you could add a little bit of movement perhaps by even adjusting the photo a little bit. Let's go to the bottom here. Let's go and locate this back forward, which is actually a shoe. Here is the second shoe, that's this one here, then we can just rotate it a little bit. So perhaps looks like she's just about to take a step. 6. Humaaans in InVision Studio Part 3: Now let's address the problem of adding another human to our design, I'm going to remove the colors for now, so I'll just select them and press "Delete". I'm going to get my human from the document library. We'll go across here to document library and you get to humans. You've got a human sitting and you've got a human standing. That's really all you need because they're the starting point for any of your designs. If you want a sitting human, you just select the sitting human and just drag them onto your art board and then to go and continue to work with them. Of course, you're going to go back to the layers area where your art border is and where you can actually make changes to your human. That's how you add new humans and of course, if you want this one to face the opposite direction, you just select them and just flip them. If you want them upside down, that's possible as well. Now, you perhaps saw when we first looked at this humans that they are also scenes and the scenes are also available through the document library. Let's go back to the document library and let's type scene. Here are scenes, we've got a home scene, we've got a plant scene, we've got a whiteboard, and we've got a wire-frame. I'm going to choose the home scene. Again select it here and then just drag it into the image, then swing back to your art board sort of layers view of your document. Now, let's have a look and see what's happening here. This is our basic art board. It has a scene on the very top. Then as humans sitting and then the human standing. What's obviously happening is that these are layered. The scenery is in front of these people. If we want to adjust the layering, we can do so in one of a number of ways so we could select the same home and control click on this layer, and then we can move it that way by choosing, for example, move to back. Then the scene will be moved behind our characters. Now, let me just undo that. It's also possible to pick up this scene and re-position it. You can see probably just under where my mouse is that there's a circle and a line and so that would put the scene in this position. Now it is a little bit tricky to move it this way. It is possible, but you just have to have your wits about you and be prepared to persevere a couple of times if it doesn't work the first time. Then you can always take this human here and move them up if that makes it a little bit easier to have it work so you can drag them or you can use the menu. Again, the menu is accessible by holding down the control key as you click on that layer. Inside the scene, obviously everything is editable, so let's just open up our scene. We've got a planter there, we've got some succulents. Well, here is this plant actually this entire plant. Let's go and grab this plant and let's move it. Now, I'm going to start it by just pressing the shift key and the left arrow key, that moves it a little bit more quickly and a bit more accurately than trying to drag everything with me. Let's go to the plant and this is the succulents on the top here. Every one of these leaves inside the succulent is going to be colored. If you wanted to, you could adjust the color of the succulent. You won't have a single color for it because it's actually made up of all of these leaves. If we wanted to add a slightly different color leaf in, let say that this leaf is dying. Let's go and get the fills and let's give it a sort of yellow color while there is a yellow leaf. The succulents or the lamps and the clock and everything are as movable as the people are, and also can be easily recolored. Now another thing that you can do is once you create a character, you can save that character. You could make yourself as a human. You could set up your human with the hair color that you want to use, the skin color of the clothing, the shoes, and the stance that you want to use. Then you can save your human as you. Let's say that this human is me, I'm actually going to make my own later on because I have red hair and she does not, but let's say that that is my human. Then I would come up here to this same Create Component option and click on it. I'm going to call this me or you can name it whatever you like. Now, I don't really need to go into the component master, so I'm just going to turn that off right now, but I'm going to click done. This means that in future I can get this exact same character back very easily. I do it by going to the document library. I go in here and I type me, and here I am, and I'll just drag it into the document. We have accessible a design that we've created at any time that we want to use it and it's further editable from there. Now the way that those designs work is that the master, if you go to Edit Master, you can click on that and make changes to the master design. And what that does is it changes the master design anywhere it's in use. If we change this master design and we had say this person twice in the art board, then the changes would flow through to that second version of the person. You can unlink them if you like. You could select on this and we know that this is the me human that we got out of the document library. We know that if we edit the master. This one's going to change and any other instance of that human is going to change. But if we go through this element in the layer here and control click on it, then we can detach the component and detaching it means that it is no longer a master. You can see that when we click on it, we no longer have that option of editing the master because it isn't a master any longer. It is fully editable and changing. It is not going to impact any other human on your art board. 7. Humaaans in InVision Studio Part 4: Once we've actually created our humans inside envisioned studio, the question becomes, how are we going to get them out of here? Well, if I want to export the entire art board, I will select basics. That's selecting the art board and over here is an Export option. We can select the size that we want to export it out, either or the current size or we can enlarge it should we wish to do so? I'm going to make it twice the regular size. We can choose the format. We can use JPEG, which is going to give us a filled in background. The background behind all of these objects is going to be white. If we choose Ping, then the objects themselves are going to be on a transparent background. We're going to get all of these objects, but where the white is, we're going to have transparency, and that is probably the preferred option. You can also use SVG, which is a scalable vector graphics format. From there you could potentially take these objects into Illustrator. The problem is, the format is not being perfectly read by Illustrated. I'm going to show you that in a minute. If you really need to do things with these objects in illustrated in, you're prepared to do a little bit of work in Illustrator, then use SVG. Otherwise, if you've got an illustration here and you just want to start working with it, for example, in Photo shop or you just want to put her on the web straight away, then ping or JPEG, or going to be your ideal choices. I'm going to choose ping. Having done that, I'm just going to click here to export that image. I'm going to choose a basic times two insides ping onto my desktop. I'll click Export. Now if we want these two humans, but we don't want the scene, you might think that you would select both the human sitting and may human leave the scene unselected and then save that. But you'll see here that you're not actually getting that option. When you do that, you're going to need to do a more complex export. It's not going to give you these two humans in a single document. Instead, what I suggest you do is you turn off the visibility of the scene and then come back to basic and then go and save it. I'm going to export basic two, I'm just going to rename this with a two on the end so it doesn't overwrite the first one that I exported and click export, and that will export those two humans. The scene is still there, it's just not visible. Now if you want to just export yourself, for example, if I wanted to just export me, then I would select that and I can go and export me as an image that only has that selected humans in it. For any of those, you can choose the size, you can choose the file format, and then, you know now how to select what it is that you want to actually export. Let's flip across quickly now to illustrate where I have one of these SVG files open and so this is where I exported just the two humans. You can see that what's happened in this case is that the heads have gone missing. But you would be able to do something about that because these are vector shapes, you can click on the head. I'm using the group selection tool here to do that. As soon as I click on the head alone, I'll press the letter V to get the selection tool and then I can just move it into position. You might need to have a bit of guesswork as to where it actually did go. You may need to refer back to the original image to determine exactly where that head should be, and of course, we'd also need to do it to this head.I suggest you use the group selection tool here to select the head, press the letter V to get the selection tool, and then just move the head into position. Then you can use the arrow keys just to finesse its positioning. You will say that certain elements do break up when they're saved as an SVG file and imported into Illustrator. In the image where I saved the scene then you'll say that the scenery has all broken up. It's not very stable in the SVG file format. Their heads would, as I said, it is enough to move, but the scenery is pretty much ruined in this format. In this case, you'd really probably want to get out your ping or your JPEG version, at least of the background so that you could drop your humans onto it. But I just wanted you to say how that would work if you did choose to use the SVG file format. Now as for the other images that we exported, here is the version of me that were exported. You not seeing the fate very clearly, but that's because of the background in this preview window. They will be fine inside another application. Here are the two people, the two humans that we exported, and here is the humans with the center. You can see that they're very stable in this ping file format and they're going to be stable obviously as JPEG's as well. That's how you get your humans out of Envision studio so that you can use them in another application. 8. Recoloring Humaaans Images in Photoshop Pt 1: Before we finish up with these humans images, I want to talk about re-coloring them. Now there are a couple of options and one of them is if you're on a Mac, then I strongly suggest if you want to re-color the designs that you use InVision Studio, because it's just so much easier, and the results are really good. On a Mac, my recommendation is to use InVision studio and do all your recoloring there. If you're on a PC, and if at the time that you're watching this InVision studio is still not available for a PC, then this is what I suggest; you create your human and you download it or export it as a Ping image, as I've done here. Ping images have transparent backgrounds, so that's what this little grid is. It's telling me that the background is transparent. Now it's easy enough for me to add a new layer to this document inside Photoshop and fill it with white. Let's just switch these colors on, let's go to the paint bucket tool and fill the background with white. This is what it would look like if it was a JPEG as a ping you're getting transparency and you can always fill in the background with a layer of white. But the difference is when you've got a Ping image, you're not going to have to make a good selection around any of these edges because the background is transparent anyway. So you're going to save yourself a lot of time and effort if you're working with a ping version. So do that before you start. I'm going to show you a quick and easy way of re-coloring and I'm going to show you what I perceive as some issues and if those issues concern you, then I'm going to show you a possible solution. So let's go for the quick and easy version. With the layer selected the topmost layer and you can have this background layer turned on or off, it doesn't matter. You'll go to "Layer, "new Adjustment layer" and then "hue saturation" and click "okay". Now we want to limit this hue saturation to the layer immediately below. So we're just going to click on this option so that if you have another background behind this, you're not going to be re-coloring it. Now for the re-coloring option, I want to recolor the jacket and so I need to pick the sort of colors that are in a jacket. I'm torn between cyans and blues so let's go for blue and see what happens. So when I select blues, I'm going to move this slider around, in actual fact, I'm changing the sweater here and the shoes, so it looks like they're blue, but the jacket itself is not blue. So I'm just going to zero that back out again. If I try cyans, I may or may not get the right colors there. Well, yes, it's all in the area of cyan. So let's just adjust it to a sort of green because green and the sort of yellowy oranges are so close to each other. We're not seeing a lot of fringing around the edges where the green and the orange are intersecting. So this is a pretty good result here, I'm just going to zoom in and you can see that the re-coloring is pretty even all the way around. We're not seeing a lot of fringing, there's a little bit here, but I would not be worried about that at all. That said, let's go for a different color in the jacket. So I'm going to go for a purple and I'm going to hike up the saturation a little bit. Now let's go and see what's happening here. Here you can say that there's some fringing around the edges of the jacket. We're not picking up all the cyan that was originally in the jacket and re-coloring it. So we're getting this sort of mixed area around the edge and it's showing up on the full size version. So when we look at the image, I can see a distinct pattern along here and if you're not happy with that, then that might be an issue. Now potentially, you could try and widen these areas but I found that that has not really had the result that I want. I'm not able to get rid of these areas by just widening the portion of the image that's affected by this re-coloring. We've also gotten around the hands here and we're going to have it at the neck line. There's a little bit of fringing of color there. So if you're choosing colors that you're getting that fringing for, and if that concerns you, then I have an alternate solution but let's just have a look at a couple of recolors before we leave here. So we've first of all managed to re-color the jacket. If we want to re-color the pants, let's see how we would do that. We'll select this topmost "hue saturation adjustment lab" because we want to put our change of color over the top of that new Adjustment Layer hue saturation, click "okay". You're again going to click this icon here because you want to make sure that it's clipped to this layer so that any re-coloring does not affect anything you might have on the background layer. Right now, I've only got white but this could be a pattern and you don't want to be re-coloring for example, cyan or orange parts of a pattern that is behind the subject. So let's go. Here, I'm just going to double-click again. This time the pants are sort of yellowy orange. So let's see what we've got in the way of channels where we've got a yellow channel. I'm just going to adjust that yellow channel and I'm going to pick up a color that I want to use for the pants. I'm going to make them maybe a slightly sort of dull pink. Now you might see already that the skin on the hands and the face has been recolored as well. We're going to have a hard time getting rid of that because that's in the sort of orange area and even if I click the "minus eyedropper" here, I'm not able to remove it from the effect. So I'm just going to ignore that for the moment and just close this down because I've got the colors that I want. Let's go back to the image itself. Let's go to the layer that contains the original human. I'm going to click here on the "magic wand tool". I'll set the tolerance to something like about 20. That'll be fine. But I don't want contiguous selector, so you want to disable contiguous. That means that when you click on the skin tone, you're going to select all the skin tones in the image. Well, all but this one down here, which apparently is a slightly different color. So I'm just shift clicking on it to add it. So now we've got selected the hands, the skin on the legs that's showing here and the face and what we want to do is we want to remove it from this hue saturation adjustment. It's fine on the previous hue saturation adjustment is not being affected here the hands are not changing color when we turn the hue saturation on and off because it's not cyan and the skin colors not cyan, but it isn't the orange shade and that's why when we recolor the pants we're also re-coloring the face. But now we've got this skin selected. So we're going to target the mask here, just this Layer Mask. Makes sure that it's got a little border around it. Make sure that black is your color. So if it's not, you can just click here to make white and black your foreground and background colors then Click here to make black your foreground color and what you're going to do is hold down "Alt" on the PC and press the "backspace" key on a Mac that's option and 'delete' and you're creating a layer mask that has black in the areas where the skin is. I'm going to press "Control D" on a PC, "Command D" on a Mac and now when I turn this adjustment layer on and off, you should see no difference in color in the skin at all because it's been removed from this effect. So as I said, if you're okay with the slight fringing around the edges here, then you can call that good. If you're not okay with that fringing around the edges, then we have to find a slightly better way of doing this recoloring and that's up in the next video. 9. Recoloring Humaaans Images in Photoshop Pt 2: So if the amount of fringing on the previous recoloring that we did concerns you. Let's have a look and see how you might be a little bit more accurate. If you've got a background layer available right now just turn it off so we can focus on the layer that just has the human on it. We're going to look at the jacket first of all. I'm going to the Magic Wand tool here. Again tolerance of 20. I'm going to de-select contiguous cause I want to select everything that is the jacket. Going to click here to add to it or I could just hold down the Shift key as I add these other cyan elements to this jacket selection. I can switch across here to the left tool cause I just want to just drag and add these buttons as well because they are part of the jacket. So essentially, I want the marching ends to be all around the edges of the jacket. Now this is the area we want to recolor but we already know that we're going to encounter some issues if we just try and recolor it as it is. So the new Select and Mask tool in Photoshop is going to help us. If you're working in an earlier version of Photoshop, say CS6, you're going to have a refine Edge tool. It's going to work pretty similarly. I'm going to choose select and then select and mask, but that's also available here from the control bar, select and mask. Now at the moment, let's see what we've got here. I've got it selected to be on white. When I select it to be on whites so I'm saying the selection against a white background. You can see really clearly here that this is the problem area. We've got a problem area down the front of the jacket and we've got some problems occurring around here. You can also have a look at it on black. You may want to have a look at black and white. There is all sorts of ways to look at this selection that you've just made but whatever you do, you want to start seeing where the problems are occurring. Now you've got some brushes here. This brush here is handy because it adds to the selected area. So what I would do at this point is if you're seeing any fringing around the edges of the jacket, I would go and use this brush. It's only of use on the edges where you're actually intersecting with this transparency. So you could use it down here for example. You don't want to use it anywhere you are going to intersect with any part of the image. I think I've got my brush a little too small. That was wishful thinking. So you can just run along the edges here if you think that any part of this jacket has not been a good selection. So if you're seeing any problems with it, you can do that. You can also turn the opacity up. So what we're saying is that we want all this extra area to be added in. That's just fine because right now we're only painting along the edges that are actually butting up against a transparent area but as soon as we get to an area which is going to impact the pants underneath, the trousers underneath, we do not want to be using this brush at all or that's going to be a disaster. So there's your first option. Now for these areas where we're actually intersecting between the jacket and the clothing or the skin, we need something a bit different and this is the tool that we need. This is the tool going to refine the edge for us. It needs to be quite a bit smaller though you want it to be about the size where you can come down and brush over this area. When you brush over at what you're saying to Photoshop is, "I'd like you to have another look at this because I don't think you've done a very good job here. Could you please go and make a better job of it." So I'm making that selection down where the jacket intersects with this sweater underneath because we want a good edge there. I'm going to also make it across where the skin and the jacket intersect. I'm going to see that problem here on the sleeves. So I'm going to also ask Photoshop to re-look at that area and again over here. Look at it again please make a better selection. If you think there's a problem around the jacket, then you can do that here as well. Just run your brush along here. You don't want to run it along something that's okay. So if something is okay, there's really no point to asking Photoshop to look at it again but where it's not okay, then it is of concern. So I'm happier now with the result that I've got. I've overcome the problem with the sleeves and the arm and the problem around the neck line here. I've got a better intersection between my selection and the sweater underneath. So what I'm going to do is go down to output settings. I'm going to choose output two, new layer with layer mask. You may or may not get some value from selecting decontaminate colors. You can try that. I'm not going to do that. I'm just going for my new layer with layer mask and I'll click Okay. Now what that does, is it gives me a brand new layer that on it is only the jacket selection. The layer underneath is the original human. So this is layer here only involves a jacket. Let's see what happens when we recolor it. New adjustment layer will go to hue saturation. Click Okay, we're going to make sure that the layer adjustment layer only affects this layer here not the whole image underneath. Let's go find a color. Now this time we don't have to pick a channel. You can see here I'm just working on the master channel because all we're affecting is the layer underneath. So we don't have to say that this is blue or cyan or whatever. We can just go drag this around until we find the color that we want. Then you can adjust the saturation and the lightness for example. I think that you get a slightly better result using this technique. It's still not perfect, but it is better. If you wanted to recolor the pants then you'll come back to this original layer. I would turn everything off for now, and I would make a selection of the pants. Just click on it with the magic one tool shift click. Make sure you've got it all selected. Then you're going to click select and mask. You want to make sure that the intersections that you want to be really tight are tight. So they're not going to be good around the legs. We already can estimate that this is going to be a problem area so I'm going to get Photoshop to re-look at that area. Again over here, have a look at where that's intersecting. You can definitely add these areas in because you know that they're butting up against an area of transparency. Now to make my brush go, I'm just clicking once and then I'm shift clicking in that brushes in a straight line. Over this area where it's intersecting with the jacket itself, we may want Photoshop to have another look at this selection. So we'll just brush along that area, remembering that we're looking at a selection for the trousers here. So we're only concerned about where the orange bits either intersect with the transparency. In which case we're going to use this brush here or intersect with another area of color, in which case we're going to use this refined edge brush where we're asking Photoshop to have a better look at the selection. Then we come down here, new layer with layer mask, click Okay. Now we have a layer here that's just the orange pants. Let's turn everything else back on so that we can get an idea of our image. Let's go to the orange pants layer. New Adjustment layer hue saturation. Again because we're going to be limiting this to only the layer below, we can just select the master channel and adjust the colors to suit. So I'm going to go for aqua blue here. When I'm happy with that, I can just close this panel. Now when you're looking at the final result, you may get some mileage from taking the lab that just has the pants on it and moving it all the way up above the layer that has the jacket on it. So reversing those two layers may give you a better result. It may not, but it's certainly worth looking at. Ground here I've got a definite edge, but it's nowhere near as bad as the edge that I've had previously. I've been happy with the results I've got since I've been using select and mask to just make sure that the edges are good. Then with the results that I was getting just using the hue saturation adjustment layer but it really depends on what you want to use these for. If these are going to be fairly small on the web, then you don't need to be finicky about how they look. If you're going to be printing them in a larger size then, yes you probably will want to be concerned about how you're making your selections and re-coloring them. Of course all of us hope that very soon Envision Studio is going to be available for Windows because that would solve all of these problems and we would be doing all our re-coloring in Envision Studio and not in Photoshop. 10. Project and Wrapup: Now that we've finished the video learning portion of this course, it's time for you to go and make some humans illustrations yourself. If you're on a Windows machine, you'll probably need to at this stage use the online service to create your humans. If you're on a Mac, I strongly suggest you look into using the InVision Studio application, make a few illustrations that you can use and download them. If you're on a path say then I suggest you also look at the options for re coloring those humans in your application of choice and if you have access to Photoshop, then that's a really good option. Post an image of some of the humans that you've created as your class project. What you might like to do is to create a human who is you, so try and create a human that looks like you. Now as you were watching the videos in this course, you will have seen a prompt which asked if you would recommend this class to others, please, if you did enjoy the class and learn from it, would you complete the class review? These reviews really help other students to see that this is the class that they might enjoy and learn from. If you'd like to leave me a comment or a question, please do so. I read and respond to all of your comments and questions and I look at and respond to all of your class projects. Now if you see the Follow link on the screen, click it to keep up to date with my new classes as they're released. Until next time, thank you so much for joining me for this skill share class and I'll look forward to seeing you in an upcoming class soon.