Shooting and editing mock ups in Affinity Photo | Jeremy Hazel | Skillshare

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Shooting and editing mock ups in Affinity Photo

teacher avatar Jeremy Hazel, Education Through Creation

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

71 Lessons (8h 46m)
    • 1. Introduction to the Mock-up Course

      2:58
    • 2. SHOOTING MOCK-UPS- Introduction

      1:07
    • 3. SHOOTING MOCK-UPS-Tools anyone can use to shoot a mock up

      5:01
    • 4. SHOOTING MOCK-UPS-How to plan your mock up

      3:29
    • 5. SHOOTING MOCK-UPS-How to compose your mock up - part 2

      3:49
    • 6. SHOOTING MOCK-UPS-3 resources for color pallets

      5:38
    • 7. SHOOTING MOCK-UPS-Setting up a Lay flat T-shirt image

      3:39
    • 8. SHOOTING MOCK-UPS-Setting up a simple white space mock up

      3:16
    • 9. SHOOTING MOCK-UPS-Shooting a curved Mockup

      8:01
    • 10. Explanation on course project structure

      3:52
    • 11. WORKING WITH PREMADE MOCK UPS- Introduction

      0:53
    • 12. WORKING WITH PREMADE MOCK UPS-The Coffee cup

      2:50
    • 13. WORKING WITH PREMADE MOCK UPS-The hard cover book

      11:01
    • 14. MOCK UP SKILLS-Introduction

      1:11
    • 15. MOCK UP SKILLS-Setting up and shooting poster mock up

      3:18
    • 16. MOCK UP SKILLS-Layering the poster mock-up

      6:38
    • 17. MOCK UP SKILLS-Adding Shadows and masking the poster mock up

      9:07
    • 18. MOCK UP SKILLS-Adding images to the poster mock up

      6:26
    • 19. MOCK UP SKILLS-Shooting and Laying out the window lit mock up

      6:17
    • 20. MOCK UP SKILLS-Adding window light and finishing the mock up

      8:02
    • 21. MOCK UP SKILLS-Learning the Mesh warp tool using the Bottle Label

      6:14
    • 22. MOCK UP SKILLS-Adding a gradient layer and shadow to the bottle

      5:29
    • 23. MOCK P SKILLS-Embedded images lesson 1

      8:12
    • 24. MOCK UP SKILLS-Utilizing embedded images in the poster from the course

      4:04
    • 25. MOCK UP SKILLS-Utilizing embedded images on a box mock up

      6:32
    • 26. MOCK UP SKILLS-Adding gradient layers and adding your own embedded images

      3:11
    • 27. T SHIRT FLAT LAY-Editing the raw image

      5:53
    • 28. T SHIRT FLAT LAY-Isolating the modifiable pieces

      9:16
    • 29. T SHIRT FLAT LAY- Texture adJustment

      8:15
    • 30. T SHIRT FLAT LAY- Adding adjustment points to the mock up

      8:36
    • 31. T SHIRT FLAT LAY- Adding embedded images

      10:47
    • 32. T SHIRT FLAT LAY-Adding shadows light and final adjustment

      8:33
    • 33. T SHIRT FLAT LAY- Finishing the labeling

      5:33
    • 34. BUSINESS CARD FLAT LAY- Shooting the business card flat lay

      4:10
    • 35. BUSINESS CARD FLAT LAY- Adjusting the raw and creating the curves

      7:24
    • 36. BUSINESS CARD FLAT LAY- Adding in Modifiable surfaces

      10:05
    • 37. BUSINESS CARD FLAT LAY- Finishing the mock up

      7:23
    • 38. TUBE AND LIGHT POSTER -Preparing the raw image and developing it to a usable background

      8:37
    • 39. TUBE AND LIGHT POSTER-Creating the cardboard tube

      9:19
    • 40. TUBE AND LIGHT POSTER-Adding the end cap and starting the other roll

      11:47
    • 41. TUBE AND LIGHT POSTER-Finishing the rolls and adding shadow

      9:47
    • 42. TUBE AND LIGHT POSTER-Adding in the poster curve

      7:45
    • 43. TUBE AND LIGHT POSTER-Adding the embedded layer and creating light and shadow

      9:23
    • 44. TUBE AND LIGHT POSTER-Adding shadows and rasterizing the tubes

      11:27
    • 45. TUBE AND LIGHT POSTER-Adding the preview image to the tube

      12:08
    • 46. TUBE AND LIGHT POSTER-Adding universal adjustment layers and naming

      10:02
    • 47. TUBE AND LIGHT POSTER-Using the mock up

      6:54
    • 48. COFFEE CUP ISOLATE-Shooting the coffee mug and developing the raw

      11:46
    • 49. COFFEE CUP ISOLATE-Adding in the modifiable layers

      10:59
    • 50. COFFEE CUP ISOLATE-Adding the background and finishing the mock up

      12:34
    • 51. TECH LAY FLAT-Creating the ipad - part 1

      9:43
    • 52. TECH LAY FLAT-Creating he ipad part 2- Adding reflections

      12:00
    • 53. TECH LAY FLAT -Creating he business card embedded images and the paper

      9:18
    • 54. TECH LAY FLAT -Composing the mock up and adding background

      11:41
    • 55. TECH LAY FLAT-Lighting and finishing

      6:40
    • 56. ISOMETRIC BOX-Creating the grid and setting up the box

      6:09
    • 57. ISOMETRIC BOX-Adding perspective and shadow

      8:50
    • 58. ISOMETRIC BOX-Adding atmospheric adjustment

      7:46
    • 59. ISOMETRIC BOX-Making it a mock up

      12:03
    • 60. RECORD JACKET-Setting up the record and compositing

      7:58
    • 61. RECORD JACKET-Adding background

      11:11
    • 62. RECORD JACKET- Artistic lighting and finishing

      7:15
    • 63. Composing the record jacket part 1

      9:36
    • 64. Lightning Addition

      8:25
    • 65. Finishing the composition

      7:05
    • 66. BLENDER SODA CAN- Basics of Blender part 1

      11:03
    • 67. BLENDER SODA CAN- Basics of Blender part 2

      6:19
    • 68. BLENDER SODA CAN- UV unwrap in blender

      11:45
    • 69. BLENDER SODA CAN- Rendering the image

      4:15
    • 70. BLENDER SODA CAN- Compositing in Affinity Photo

      6:59
    • 71. Thank you and goodbye

      0:56
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About This Class

Have you ever wanted to learn how to create those awesome mockups you see everywhere these days? Do you want to present your design work or product designs in the best most professional way possible, making them both unique and polished? Do you want to create stunning presentations for your portfolio? Then this course is meant for you.

This course is massive spanning multiple projects IN AFFINITY PHOTO to create a solid portfolio of mockups for you as the student.

We will first learn basic mockup theory, how to best layout our mock-ups and then I will how you how I shoot every mock up in the project pack USING SIMPLE THINGS YOU CAN FIND AROUND THE HOME like t-shirts, iPads, bottles and more. Learn lighting techniques and photo editing techniques to make your mockups truly custom and unique.

We will go over the basics of pre-made mockups and how to customize those extensively oin Affinity Photo...and we even include the mock up files .

Next We will give you the foundations needed in Affinity photo by walking you through various pre- made mock ups so you have all the skills you need for the main project...so we assume you have some Affinity Knowledge, but you do not have to be perfect 

The main portion of the project will be the creation of 7 individual mock ups to give you a solid portfolio of mock ups for your brand , including 

  • A lay flat T-shirt mock up¬†
  • Business Card mock up¬†
  • A poster mock up where we composite the CGI into an image¬†
  • A coffee cup mock up¬†
  • A tech lay-flat mock up where you make an ipad and construct a mock up from scratch¬†
  • An isometric box mock up¬†
  • A record sleeve¬†

There is even a whole bonus project to using the 3D software  Blender to create fully 3D product mock-ups that are hyper realistic. No prior experience needed in the 3D software, as it is an introduction and we have created the project to make it easy to grasp. 

Also included is a wide array of finished fully customizable mock-up templates compatible with  Affinity products and There are project files included along the way so you can work side by side with us without the hassle of creating your own designs first, giving you time to learn the overall process first.


This course does assume you know the very basics of  Affinity software but only very basic knowledge is required to take this course. It is gentle enough for most learners to follow along.So, if you want to step up your presentation game and produce some killer custom mock-ups using Affinity Photo then let’s get started!

This course has a companion course that has a companion course taught by awesome best selling instructor Lindsay Marsh, we teamed up to bring you the best in both the Affinity world and the Adobe Photoshop world right here on Skillshare....so if you want to learn more about Mock ups using PHOTOSHOP....check out her Skillshare class here https://skl.sh/3064eN2 where she goes through similar projects using the adobe software ...including Adobe dimension.


Meet Your Teacher

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Jeremy Hazel

Education Through Creation

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Transcripts

1. Introduction to the Mock-up Course : now again, Welcome to the scores on skill share. Now, this is one of my favorite courses that I've ever put out. So you're in for one significant journey we're gonna show you in affinity photo how to enter the world of mock ups. Now, if you don't know mock ups are those really cool, pre made assets that really showcase your work there, used by brand designers by creatives to kind of highlight their work. So if you've got a poster, let's say that you really spent a lot of time on and you want to put it inside oven image. This is the mock up that does that. So they save you a lot of time. And if you work through, you can create some really cool ones in a really short period of time. So this court is quite extensive. We start you off with the bare bones basics of what a mock up is, how you should go about planning your mock up, and then I go through and I show you in real time how to shoot each one of the mock ups that will be building. Now let's talk for a minute. About what we're gonna be building, We're gonna be building a set of mock ups that you can use to place your own artwork in or take your own photos and place them inside. So we're gonna be working through a series of pre made mock ups. To begin with that I've made for you, we're gonna be practicing the techniques that you're gonna need to master in affinity photo to do these mock ups. Then we're gonna dig into some really deep type of lessons on this where we're actually going to be even going so far as doing some visual effects and maybe even what I'll call some c g I where we take textures and apply them over to solid objects. So this really is a multilayered course with a defined deliverable. And now let's talk to find delivery ble because after all, this is skill share at the end of each one of these projects, What you're expected to submit is your mock up with your brand image in it. Now I've provided images for my brand, but I want you to take your piece of art, put it in your mock up in your way, and then all you've got a load is the J picks. I'm really excited to see how you guys work with this course. I'm really excited to see the projects that you come up with. And at the end of this course, what you're going to be able to do is you're going to be able to use your own photos, your own images to create totally modifiable backups here in affinity photo Plus at the end , I'm gonna give you an introduction to Blender, in which I have a pre textured model and I'm gonna show you how to use blender to create mock ups. So you're gonna get not only affinity photo, but you're going to get affinity photo tied in with blender to create some amazing mock ups to have showcase your art. Let's go ahead and get started. I'm really excited for this one. Let's go ahead and take the journey 2. SHOOTING MOCK-UPS- Introduction : All right, gang, welcome to this section of the mark. Of course. Now, in this section, I'm gonna go through what you could expect from this section of the mock. Of course, this lesson here is just an introduction. So what I'm going to do is I'm gonna go through and I'm gonna show you how I shoot mock ups and all of the mock ups that I'm going to shoot will be used in the affinity section off the course. So whether you're in photo shop, whether you're in affinity, these tried and true methods with the tools that I'm gonna use allow you to create mock ups regardless of whichever software you're trying to use. So there are common things like using white objects so that you can colorize them, making sure your lights aren't too crazy and making sure that you get the appropriate flat lay in the right shapes. So we're gonna cover a lot of that when we shoot, and I'm gonna show you how to shoot a variety of different objects. So that's what we're doing in this lesson. If you want to go ahead and shoot your own, this election will be valuable to you. If you decide to use predawn mock ups, then you may just want to skip to the section that matches your software. All right, let's go ahead and get started. 3. SHOOTING MOCK-UPS-Tools anyone can use to shoot a mock up: All right, folks. Jeremy Hazel here from Seven Seasons Studios, and I'm really excited about this course. I've wanted to do a mock, of course, for a long time. And my biggest value in the mock up course aside from Infinity photo is showing you how to shoot them. Now you're in my office here. I've got 90 square feet, and this is a standard, just wide old card table. So what I'm going to do, I'm gonna show you how to make the mock ups for this class using everyday materials. So I will be using my Panasonic Limits camera. However, I will a lot of times shoot mock ups using my cell phone, right? Very simple. The important thing with cell phone is you can get camera APS that have raw capabilities. I still like raw, even on a cell phone. So even if you don't have a professional camera, you can snap a professional picture with your cell phone. I'm not teaching cell phone photography in this course. So good news is there's a course for that later on down the line somewhere. But what I am going to do, I am going to forego all of my fancy studio lights. I'm not gonna be using my soft boxes. And I'm gonna show you a little bit about what I work with when I do mock ups because what I want to show you is you can work off from bare bones material and achieve some really awesome results. So one of my favorite places to go is the dollar store. So I've got a couple different mugs. We're gonna be doing some mug mock ups here. I've also got a set of flip flops because apparel markups, air huge. And speaking of apparel, the first thing that we're going to show you how to make is this full flat using this basic white T shirt. Now, you might have seen a theme here. Everything that I'm using for mock ups is white, and the reason is we can apply color layers to the mock ups. But if you have, say, a bloom, aka it's very, very difficult to change the color of blue and a black mock up, that's just impossible because there's no real light and dark values. So I liked working white, so all of my mock ups are done in white now because I'm interested in glasses. Well, we're gonna go ahead, and we're gonna be doing a couple different glass things, right? So we're gonna go ahead and shoot this bottle, and we're gonna shoot this candleholder and because on four going all of my fancy studio lights and such, we're gonna be using these $5 target L E D lights. Right? These things are your basic desk lamp. I like the L Edie's because you don't really have a bright light. You have a lot of diffusion there. But again, any desk lamp of work. What I want to show you is you can make do with anything and to help with spotlight. I've even foregone my flash, and we're just going to use a standard old, ever ready type of light. Right? So this is just a dollar store style flashlight. Now, what am I gonna do about soft boxes? Right? Because a lot of times when you go to turn these on, it's gonna be super bright. I've made my own basic diffusion box here. This is a piece of parchment paper from a cut out T shirt box. So all I did is I cut a square and I stretch parchment paper over it so that this thing when weight is applied will sit in front of that light and defuse that life through. So I don't get the harsh light. So everything that I'm gonna be working with you can buy at any sort of department store, any sort of general merchandise store. And what I want to show you is you don't need fancy equipment in order to do what we're doing with mock ups. When it comes to backdrops, I'm gonna use just a plain old black piece of cloth. And when it comes to different reflectors and such, we're just gonna go ahead right now and we're gonna make just simple posterboard. So what I have here is two pieces of foam board, one black, one white. That's all we're really gonna be doing with this. So everything that I'm going to show you is commonly available. And the goal in these mock ups is to show you how to shoot on a budget, using minimal materials in the space that you have now, the one piece that I am going to use, which helps out a lot. I'm gonna go ahead and move the camera here through the magic of editing. You're not going to see me get up. I have a fixed position to do my lay flat. So what happens is the camera is going to be mounted to that fixed position. There, you'll see my audio panels. So that's the one thing that I am going to use. However, you just need to find some way to suspend the camera from the ceiling. I don't care how you do it, get inventive, get creative. So that's an introduction to the type of tools that I'm gonna be using. Everything that you're going to need. You can buy the department store. I'm not going to use any special equipment. Let's go ahead. And it started with the lay flat now because I have to shoot with my camera. I'm gonna explain everything that I'm doing while I'm getting ready. I'm going to snap a photo of my set up, and then I'm gonna narrate why I made the decision that I made. So let's go ahead and get started in this mock up course 4. SHOOTING MOCK-UPS-How to plan your mock up : All right, folks, in this section, we're gonna be talking about shooting mock ups. So this is a quick three minute theoretical lesson. Before you begin planning your mock ups, the first and foremost thing you want to be thinking about is your audience. Now, if you're shooting mock ups for yourself, the audiences, you. But if you're looking at selling your mock up packs, you want to be thinking about what your customer wants to do with it. And the thing that I'm going to talk to you about very in depth is the power of potentiality. When you think about marketing, the potentiality of what your customer could do is a powerful emotional driving factor. So let's say, as an example, that will give you a real life example. We were going through and we were at the furniture store for the Kobe thing, and they had this beautiful multi piece dining room set up. Looked like a set up for a family dinner. And my wife looked me and said, That's kind of cool and I said, Yeah, I said, we could probably get that. Listen, we could have the family over And she said, How many times the last six years we've been together, have we had family over. And secondly, you're an introvert, so you don't much like people in your home. But it was interesting. The way that they had staged it allowed me to feel that I could potentially have people over. And so it was a real consideration as to whether or not to buy a table that we probably would never use. So when you think about mock ups, think about what your customer or your audience is going to want to do with it, because let's say that you put the mock up in there and then you put some sort of a word in there, right, cause you're selling state posters or something. What is it? Where is that poster hanging? That the person who buys that wants to believe is possible? The same thing with business style mock ups. A lot of times you'll see mock ups with people gathered around an iPad and everybody looking like they've just solve world peace and such. And it's because with that technology, whatever the solution is in the iPad in the way that the products presented, it's possible that that team could achieve a high level of performance. So think about potentiality of the product. What is it that the person who is going to use your mock up wants to believe that they can do also think about giving space. This is important in Les Flats because if I see a lay flat and there's 900 little things running around in there, there's no room for my product, which is why I bought the mock up of the first place to breathe. If I'm putting my designs and my illustrations on, say, a coffee mug and the coffee mug is this much of the design and everything else is taken up with plants and weird stuff like that. That's not going to be the mock up for me. So always consider what your audience wants to be able to do. Think about that when you arrange your mock up, which is a totally separate lesson, and make sure that you are harnessing the potentiality for your product because that's going to drive the emotional response. If they can picture themselves with their brand in your mock up looking the way that they wanted to look, you will have a higher conversion. All right, let's go ahead and get into how to actually composite these 5. SHOOTING MOCK-UPS-How to compose your mock up - part 2: bar I folks welcome back to mock up, so this lesson is going to be more technical in nature. This lesson really harnesses Ah, lot of the mock ups that you see, and I drilled it down to a fundamental Siri's off four things. So we're talking about composing here, mock up shots when you compose your mock up shots what you're going to want to be thinking about first and foremost hardest. The rule of threes, right? In photography, we talk about those thirds areas being essential to point of focus. Now. I'm not here to talk about the rule of thirds, but even in the design world, if you've got three objects on the shelf and they have three different levels, you're going to have more visual interest. Odd numbers, for some reason, tend to work better in design compositions than, say, even numbers. So usually when I look at mock ups, there's no more than three or maybe four things I would say Keep it to three. The only time I see four is where they're trying to create a lifestyle mock up in which they've got the hat, the sunglasses, the boots, the shirt, the coat right, and they're selling the entire experience. Now the other thing, Keep focus in mind. Remember that the I will go toward those things that are in sharper focus. So if you want this customer to be seeing your product at this point, make the rest out of focus. You could do lens blurs, even Go, go. Schindler's you can do anything you want with it. Really? Sometimes the way that I shoot, I tend to have a lot of extreme focus in the back part. And I keep the front part generally hazy. So we're gonna be treating our mock up the same way the third thing that you're going to want to keep in mind. And I mentioned this and other videos make space. Now what do I mean by make space? Do not crowd your mock up when you compose your mock up. Think about what somebody wants to be able to do with it. Then think about the space that they need to present their product and put first things first. Now, the other thing that I'm gonna tell you, I call it angles, right angles and accents. The way that you look at this when you start shooting, look at the angle at which it's presented as an example. If I'm doing a technological piece, let's say on an iPad. I don't want to lay that iPad completely flat because then when the person who's using it has to put their image on it, they have to perspective, warped that thing down until all of a sudden, you can't hardly see it. So think about it. Usually this is reserved more for cinematographers, Let's say, but think about the angle that you're shooting and the accent pieces that you're putting with it so you might have three pieces. They might have good focus in your shot. But yet if the angle is wrong and it's not strong, you may have issues going forward. Your mock up won't be as good as it could be. Now, the last thing that I will tell you you're going to want to pay attention to your lighting . Sometimes you want an ambient soft light. Sometimes you want a very hard light. If you're doing a lot of screens, you don't want a hard light because now you have to take multiple shots or you have to go through and heal the image, and when you put your mock up in it, it could very easily get jacked up. So think about your lighting. Think about your angles in your accents. Think about your focus. Give it room to breathe. And I guess I went to five. Consider the rule of threes when you do your mock ups. All right, let's go ahead and shoot of you. 6. SHOOTING MOCK-UPS-3 resources for color pallets: all right, gang, And welcome to this lesson on mock ups. Now we're talking about the theory of Bacchus, right? So what I wanted to do is I just want to give you a couple resource is that are available free online that you can use to develop color palettes for your mock ups. Finding either a set of complementary colors or try out of colors is one of those things that will make your mock ups pop. You don't want too many colors, and you don't want colors that don't work well together. So what? I'm including here in the lesson that we're about to watch is three. Resource is that you can use online free that will help you. Let's go ahead and get started. All right, gang. So when you do mock ups, one of the things that we really pay attention to is the color scheme. And sometimes it's hard to find colors that are either complementary or similar where maybe you're going for a triad IQ type of theme. So these air three resource is that I use quite frequently, and the 1st 1 is coolers, not CEO. So this is an interesting one and I'm just going to kind of show you the basic idea, the bottom line for this product. And by the way, there is an adobe extension, and such is it's a generator for different palates. So if you come into here, let's just do the basics. One. It gives you all of the different codes. So let's go ahead and start here, right? It's going and close out all of this. Now let's say that you like this color. We're gonna talk a locket and now let's hit space. Now it will pull in other colors. So let's say I like this one in this one. You come in and you can keep working until you have up until five colors that Aaron A palette. And once you've got that, you can export it so you can copy the U R L you can download. It is a pdf you can save. It is an image. Whatever you decide to do, we got xvg. So this is a very simple way that you contest what colors work well next to one another, right? And when I say that they worked well, notice if I want to drag this to the side here. I can drag it to the left. I can drag it to the right, drag this one over, and so this the nice way to pick out some different colors. There's a lot to this, right? You come in here and you can view him as a Grady int. They've got tutorials. They've got a lot you can do. You can create a collage, so you create an image. You can go ahead and check it out in your collage to see how things are gonna work. This site is one of those that I really like. So there's a lot of things you could do with this. Um, we come over here, you get a library in, sign in, and then it will give you the hex codes. HSBC's the H SL's. All of these, depending on your actual colors. So a lot of stuff you could do with that this one is very powerful. And so if you're interested in this, you can go through and check for contrast is well or you could even color pick if you want to. The interesting thing is here, if you upload a photo, you can pick a palette from your photo, so we'll talk a little bit about that here. Next. Let's go ahead and take a look at one where you start with a photo. This is design seeds dot com Again, they do have some things that are for sale, but everything here, The cool thing here is that they take a photo and then they create a pallet off from a photo. Now, affinity Photo has this capability, but it's interesting to see what other people are working on. So notice the color shore they took this. There's the palate so you can use design seeds. This is one that I use quite frequently, and they even give you the different hex codes for this particular palette. Some cool stuff over here. If you're looking to creating a mock up, let's say the green you could go this route major tones perfect and then the recommends mothers. The list goes on and on and on, so design seeds, coolers. The last one, which you guys are probably already aware of, is adobe color. This is color dot adobe dot com. You do not need an adobe account to do this and so you can work on analogous models or what it called color cords. Let's say you want to go monochromatic. If you're working with white mock ups, you go monochromatic and it gives you the RGB codes, the hex codes. So everything is pretty well set up. Here you go. Try attic. You can even go complementary. And now let's say here I want to take this and I want to pull this out. I can see kind of how this would change as I go along. So if you wanted to do that, you could easily do it this way. And then you can change the number of colors. You can change a lot of stuff on here, Would you? Shades. Right now you've just got different shades of the same color so we can come around the circle. There's a lot of stuff you can do with this. If you have Adobe clothing editor back up. If you have Adobe Cloud account, you can save the theme and from the created image. All right, so there's some really good stuff here. These air three resource is for color when you're looking at Bach ups, and I personally love working with all three of these. All right, folks don't want to keep this one too long, so let's go ahead and get with the making of the mock ups. 7. SHOOTING MOCK-UPS-Setting up a Lay flat T-shirt image : Alright, folks, let's go ahead and marry. Why made the decisions that I made? So you might see the camera cord or the microphone court come into the shot. But turns out I'm to get down on the floor here, and I'm gonna be working right alongside you. So the reason I made the decision that I made when it came down to the black background is I wanted a good contrast with the white shirt. So what you're going to see me do here is take this black posterboard and I'm gonna overlay the pieces because what I really want to do when it comes time to edit this thing, I want to be able to just one and done right now. Every time you do a shirt like this, you want to make sure that your caller is pressed really well. I've pre iron this thing, and you want to make sure that you've got minimal wrinkles. Now you see, down here along the bottom, we're gonna go ahead. We're gonna tuck this under a little bit because I like this to be solid. If you don't want to go ahead and do that, you can always just go ahead and cut it out in your clipping mask. Plus, what you're gonna want to do now is this is gonna be wider because it's supposed to be on the side of your body. You want to tuck the sides in because nobody wants to buy a shirt that makes them look frumpy. So what you want to do is you want to make the sides taper in. Okay, so we're gonna put a little bit of taper on it. Gonna smooth that out a little bit. There's gonna be no perfect. If you wanted perfectly perfect, you would have done a vector image. Right. So now I want the front of my sleeves. The top portion here. You see where this is? I want to tuck this just a little bit in, okay? I don't want to flare out a lot, so we might do a little bit more tucking, and we can change this in post. So what I'm looking for here is a nice, solid crease. And I want this crease to be on the same on this side. So go ahead and tuck this in as well. I'm gonna make sure that we're good here. Now, some people will put there to show paper inside of this. I personally don't like that look, So I don't I like my fold flats or my life lacks to be actually flat. And if your sides aren't perfect, that's okay. Turns out the magic of editing. We're gonna be just fine. Okay. Now, don't forget the tag. Make the tag stick down. You don't want the tag sticking up. Get that right where you think you should be. And remember, people are gonna be looking at this shirt to determine whether or not it will fit their body. So that's pretty darn good. I'm happy with that. Let's step back and take a look. Now, why did I make the decision that I made regarding the lighting? Because I want a very bright light down here because I want the wrinkles. Now, looking at this here, I know I've got to come in with this side a little bit more. All right? Maybe not that much. Okay? Make sure we didn't undo any of our work. All right? Now, when you shoot it, make sure you shoot it raw. I like Rob because it gives me the opportunity to go in and post and fixing things so pretty happy with that. Let's go ahead and shoot 8. SHOOTING MOCK-UPS-Setting up a simple white space mock up: Alright, folks, let's go ahead and take a look at how did you just your basic average everyday white mock up So a little bit about my set up Each one of these videos is just going to show you the set up. So these videos air about how to set up your shot. So I'm using everything that we talked about, everything that I said I was going to do. Now we've got this white poster board in the back here. I've got a green screen here. What you don't want to do is you don't want to get so close to the green and you don't want to shoot against the green because it casts a shadow against everything. So you have a brightly colored wall of some color. Make sure that you've got something around it. If you put it up against the wall, whatever the tint is on that wall will come back down onto your set up. And as we want this to be kind of a white neutral set up that would absolutely destroy it. Now, the other thing that I've got here, I've got my led desk lamps and I'm gonna reach over here, and I'm gonna get my handy dandy diffusion box. And I'm just gonna set my diffusion box over top of that light. So I've got one light coming into here. Now, the other thing that I'm going to do, I'm gonna put another light here. And this is another trick that I use a lot of times you can take a paper towel, put a rubber band on it, and that will diffuse this light so that you've got it coming from two different sides. And just to make sure that we don't have any under lit areas, I'm going to take a destroyed cardboard box, right? That's right. And I'm gonna go ahead. I'm just gonna place it right about here so that they don't get any under lit section here now, following our rules of composition to be covered earlier in this course, I've got three objects. I wanted to do a coffee cup because I wanted to do a white mock up. It's on my table, and I wanted to keep it very, very minimal in terms of the color. So I went with my cell phone, which was black, and I found this composition book anybody that's gone to any sort of school knows what this is. So it's something that's also relatable. So what I'm gonna do here is I'm going to set these up now. The thing that I want to primarily show is the coffee Cup. But we're gonna do a coffee cup and we're gonna make this side modifiable So I want a lot of surface area here. I don't want the cellphone totally overpowering it. So I'm gonna go ahead. I'm going to set it right about here. Now, the shadows for this thing are going to be coming this way because this light is a little bit more aggressive, so I think that that's pretty good. So what I'm gonna do, I'm gonna go ahead and take a shot like this. And now remember our lesson from composition when we talked about angle with this one, I'm gonna be right down along here and I want to pay attention to that horizon line where that board meets that table because that's going to be the horizon line when I do compositing leader that I need to line all of my images up against. All right, So that's how I would set up your basic white Let's go ahead and take the shot 9. SHOOTING MOCK-UPS-Shooting a curved Mockup: All right, folks. Now, let's go ahead and let's shoot the most complicated one out of all we're gonna dio we're gonna go ahead and we're gonna take this bottle because I want to show you how to do some curvature. Mock ups. So, in affinity photo the curvature function is not as great as it is in Photoshop. And being able to shoot a curved objects, especially glass curved object, is going to be a bit of a challenge. So notice that I haven't changed my set up much from shoot to shoot to shoot. I like a good ambient light once I get my lighting right. It's just then a matter of manipulating these two lights, figuring out where to put my deflector there so that we get a good even lighting. I tend to do a lot of my lighting adjustments in post. So what we're gonna do here is, first of all, because I want something in the bottle, we're gonna go ahead and fill the bottles. We're gonna have the editor go ahead and speed this up there because quite frankly, I'm gonna be super slow with this Now why am I filling the bottle with colored liquid. I'm filling the bottle with colored liquid because I need a color in order to remove and change inside of there. Not saying you can't do it. If not, but it's one of those things that makes it just so much easier. Now I really like the bubbles in this as well. So I chose a carbonated beverage. The bubbles are gonna add a little bit of atmosphere. We could do some frequency separation on it if we so choose. The challenge with composites is not only do you have to shoot the image a lot of times, but you also have to edit the image a lot of times. So now we have our completed bottle. All right, now we're gonna go ahead. We're also gonna be using this flashlight now the flashlight. When it comes to the back of the bottle, we're going to need something to defuse it, similar to the paper that we've got there. So what I tend to do is I take just some average Kraft paper. You can use whatever type of old paper you want, right? Certainly, printer paper will work. And what I'm going to do now is I'm gonna go ahead and I'm going to trim this paper toe fit this bottle and what that's going to do for me when I shine the flashlight through it, that means it's not going to come in all business. Right? So we're going to get a much subtler life. We don't want the paper to interfere with the bottle, so I think that that's pretty good. They're gonna go ahead and trim out the neck. Just a little techniques like this usually come also, after a tremendous amount of headache in several hours of just being extremely frustrated with the fact that you're lighting isn't going correct. All right, throw some masking tape on the sides here. You don't need a lot of it. You don't really want a lot of it because that will also impact the light that's coming through. So don't go crazy with it. Not trying to adhere to the bottle for the rest of its life. Let's see. Let's do this. Rip the neck off it right there. Go. Okay, go ahead and hug that up. That looks pretty good. All right. Make sure that cap stays on. You don't need a mess, right? Now, the good news is we can go ahead and we can edit out a lot of this stuff in post the goal here. We're gonna be taking three shots and what we're going to be doing, we're going to be combining the three with different lighting to make sure that we get the best shot possible. So what I'm gonna do, I'm gonna go ahead and I'm gonna shut off the overhead light here, and I'm gonna drop down my camera settings in terms of the exposure. I'm going to shorten this shutter speed time so that I get the least amount of room light possible to maximize my set light. Now go and clean this off and I'll show you where I'm putting my lamps. The 1st 1 that I'm gonna want. I want a lot of light right about here. Now, there's a really intense, uh, highlight there. That's OK. What I want to do now is I want to turn this guy off because I want to maximize this. So I'm gonna go ahead and turn that down to right about here, all right? And then I'm gonna take some shots that I'm gonna position the other light on the exact same side. And the third time, we'll actually take four. I'm gonna go ahead and take this light, and I'm gonna shine it through that bottle. Now, you guys are seeing at home what that's doing. I'm gonna position the light right about here because I want the label to be right about here. So I don't really care about this area. Don't like that, which it does not matter. All right, so let's go ahead, take the shot, and then we'll see you there on the other side. All right, gang, welcome back to Affinity. Now, I know we're talking about doing the bottle shot, but I wanted to kind of show you as opposed to some of the other shots which were pretty straightforward, how I went through and how I took these shots so that you understand how you would put him together to composite. So this isn't Photoshopped exclusive. This is an affinity exclusive. These are the four shots that I use to create the mock up. And so what I did really is I kept my camera on the tripod and I took a good back lit shot . You see, my coffee cup there, in the background with the flashlight. Turns out we're gonna be able to get all that out. But the reason that I did it that way is I wanted to make this area lighter than the rest. Then I went through and I grabbed some heavy right side light. Right. This is gonna give it a nice kind of reflection there. That's a little bit intense, but I can then pare it down on the other side. I then did the same thing on the left hand side. You see this little area right here? Notice that I turn this light off. This is on that left side. And then along the top area, I wanted to get some top lighting, and that's gonna help me a little bit with my shadows and grabbing some of that. All right, now, how does this work? Let's go ahead and take a look at what we created here. This is the finished rough for the composite there, So I've obviously taken in some materials. I've added some background in some shadows, but you see the areas of the bottle that we've been able to use notice. There's my backlit area. The label is going to go right around here, so I didn't have to worry too much about these bubbles. But I was able to pull some of the carbonation in and do some clean up down here and along the neck. So that's kind of how you would shoot this thing. I just wanted to give you some guidance in terms of what you could expect and showing you that you could take multiple shots created, clipping mask and then edit them out in post. All right, let's go ahead and get into the next one. 10. Explanation on course project structure : All right, folks. And welcome back to skill share. Now we are at the part of the course where we've gotta talk downloads now, skill share asks us to put our downloads into the lessons down here under the project, Files writes, We come down here to say click and see more. Now what we've got is a variety of files down here. And so you see that we've included the zip files. Now, unfortunately, skill share has about an 80 megabyte limit, and mock ups are incredibly large in their file size. So what we've done is we've laid out in the project area here all of the different projects that you're going to do. So you've got 301302 for a 1402 and some of these were small enough that we could fit them into a zip folder. So, like 0302 which is ah, hardcover book project, it's in the zip file. So if you come over here, everything you need is in the ZIP file right here. But there are some projects that were just so large I could not put them in a zip file for that we placed them in a Google drive link. And so if you're looking for the project, it will say, located into the drive. Now, what does that mean? Well, if you come down here, what we've included here is the link to Gould Drive. So you just copy. Come over here and open a browser and paste and hit Enter and what this will do. This will take you to a Google drive that has all of the projects laid out for you. Now, the cool thing about this is that in each one of these projects, not on Lee have we included the files. You need everything, but each one has the finished mock up. Now, because the markets were so large into the skill share file, we could not include the finished in here. So you guys, as people in skill share, actually get all of the mock ups that we're doing into their finished state so that you can use them however you want. However, we could not include him here, So the thing I just needed to connect with, there's a Google file. It has every single file for every single project. So the isometric box. Not only does it have all the textures you're going to use, but it's got the finished isometric box, so that's a little bit different. It's a little bit different than our normal skill share routine. I like to keep all my files in the class. I think it's cleaner. But due to the nature of mock ups, some of these mock ups air 300 megabytes. There is no compression program out there that will take a 300 megabyte file and condense it into something under 80 megs. All right, I just kind of wanted to share with you where to go to get these. All the projects are loaded up here, and I've got the number, the name and the location so that we make sure we've got it figured out. And then I've got this link down here. Now the last thing is, when we get to the projects, notice that each one of these you'll fill out. So the goal I know I covered it in. The first lesson is to follow along and put your own images into the projects. You don't have to use my images, do whatever works for you. Do whatever works for your brand. And if you want to go off book and do something completely different, Awesome. This course is all about flexibility. And I wanted to make sure that you have a lot of fun doing this. All right, let's go ahead and get into the project based stuff. 11. WORKING WITH PREMADE MOCK UPS- Introduction: All right, folks, And welcome to the section on pre made mock ups. Now we're going to show you later in the class how to make your own mock ups from scratch. This lecture is all about getting you comfortable with working with pre made or pre purchased mock ups. So I've included to mock ups for affinity photo. And I'm gonna go through how the market is structured, what you do with it and then how you can make it your own. So not only have we included a mock up that you would encounter if you purchased one, but we're gonna show you how to customise it. And I've included some images to help get you started along the way, we're gonna go through, and we're gonna do this book mock up. So if you're interested in learning how to work with mock ups, this is the first step of the journey. Is figuring out how to use mock ups that you may purchase and what a mock up actually does . All right, let's go ahead and get started 12. WORKING WITH PREMADE MOCK UPS-The Coffee cup: All right, folks. Welcome to the mock. Of course. So what we're going to do now is we're going to show you what the basics of a mock up are. So we're gonna get you going with your first mock up right off the gate, and I want to show you how to use it. Now, this is going to be a very simple mock up, and all mock ups have similar things. There's gonna be some directions in the layers panel. When you goto open it in this one, it's going to say image curve, and it's going to tell you to nest your image here and then because it's modifiable, it looks like you're going to have some steam layers and you see how the steam is coming off there and the shadows coming here so you can just steam. You can have it. You can not have it. About the only thing you don't want to do with these mock ups is mess with the background. So let's go ahead and practice just some really simple ones. This is gonna be less than three minutes, and it's going to show you the power of mock ups now this image curve was made with the pen tool to match the coffee cup. Now, in your downloads for this lesson, let's goto file place. And right now, what I'd like you to do in your section one downloads is this skull image. Okay, we're gonna go ahead and we're gonna drag this out to be about this big, and we're gonna position it over the coffee cup with the majority of the skull right about here. And then what we're gonna do is we're gonna click. We're gonna drag into the mock up, and that's about it. Now, that looks pretty darn bold, right? No problem. Find a spot that you like. Write. Oops. Don't move the curve. And now make sure you come to the image and change the blend mode to multiply. Boom. There we go. Now, notice all of those really nice highlights and everything from the coffee cup are coming into here. So you've got at some of those highlights. You've got a really nice curve on the side here. The highlights and shadows air good. It actually looks a bit round. So in reality, that's what these mock ups are. It's a place for you to put your images that will twist, turn and bend them into different layers so that you can actually display your products in a usable format. From here, all you got to do is go file export, and away you go. We'll go ahead and save. It is J. Peg and it's going an export. We'll call this Skoll Cup. All right, so in this class, we're gonna show you how to make thes. But I wanted to show you the generals theory about what goes into them, why they matter and how you can work with them right off the bat in affinity. Designer. All right, let's go ahead and get to the next lesson. 13. WORKING WITH PREMADE MOCK UPS-The hard cover book: All right, folks, welcome back to this course on mock ups. Now I'm gonna show you how to work with the mock up pack that I've included this part of the score. So I'm gonna be showing you how to work with mock ups in affinity photo. So Lindsay's gonna go ahead and cover the photo shop side. I'm gonna make sure that you understand Affinity photo. Now, in an earlier lesson back in section one, we went through and we just did a really basic coffee cup style adjustment. OK, so that was a very simple nesting oven image into a mock up just to get you familiar with the power of mock ups in section two. I went through when I showed you how to shoot these mock ups. Now, I think it's really interesting that I actually created this mock up from a photo shoot. I'll show you the original photo. It was this book and all I did is I just took the black and white image in the tones, and then I created this mock up. So that's what we have to look forward to in the next section. We're gonna be covering some basic tools you're gonna need in a boot camp. But for this section, we're going to show you how to work with this mock up. So let's go ahead and get started. Now when you open up the mock ups, I have a very consistent way that I do this. I'm gonna show it to you here in later lessons. But the key that I'm going to give you is generally this, and I'll make sure that it's included in a printed document as a download gray. Anything that's gray here refers to a universal adjustment, So the reason I call them Universal is because the lighting layer is up above all right than anything that's red is modifiable. So you see that the book is red. That means that's modifiable. And in this pack I've included a modifiable background cover. So you come into the background color, and this comes to the customization. You can change the background color. You can change the amount of saturation in the color. You can even change the lightness of the color, so don't be afraid to experiment. Anything that's red is an adjustable piece. Okay, now anything that's yellow is an optional adjustment So if I've coated it yellow appear, it's something you can adjust as an example. Let's say this background texture is a little bit crazy for you. You can come down here and you can turn it down a little bit. If you don't like the texture at all, you could turn off the texture. And now you just have a plane wall. So anything that is yellow, you can change. Now let's explore some of these red pieces here. The whole mock up is held together by the idea of this adjustable curve, and there are two modifiable faces. There's what's called the front face and the spying face. Okay, front faces here. Spine is here now. Notice how I shaded the book to be consistent with lighting. The spine is Maurin Shadow. The face is really facing that light. So how did I do that? Well, if you go into the front face, notice there's a little arrow here. There is a shadow adjustment layer, and it is yellow, so that means it's adjustable. So how do you adjust the shadow? Well, let's go ahead and twirl this down and this thing works on a mask. So if you come down here and you double click on the mask. You can now re mask this thing. Right? So if you wanted to undo it, notice here. I no longer have that deep shadow over here. I could hit Enter. And now notice that I no longer have that deep shadow here. I'm gonna edit. Undo so you can see what I'm talking about. Undo, edit, Undo. You see how my shadow that was here created that little ridge in the book? So every one of the shadow adjustments is modifiable. Now you have to know a little bit about masking, and you have to know a little bit about the greedy in tool. The same is true down here in the spine. Notice it's yellow. You can adjust the shadow in the spine as well. There's the mask. You can adjust it any way you want, So if you have the grating tool, you can adjust the shadow to make it match the light and the reason that we want to do this . There are times when you do want to change a mock up, change the lighting and make the lighting different, maybe to display your product better. So you really want to make it is modifiable as possible while keeping it easy to use. Now you might go all Jeremy, This is all cool. But what about gonna do with the blue Book? Right. This is the heart of mock ups in affinity photo. Now, we've got a lesson later on that will show you how to create this. Right now, you're only gonna be working with this anywhere. There is blue. You see it? I have the instruction here. Double click to insert your image. And in the embedded spine we hear we have it's also blue, so we'll double click to insert the image. Let's double click to insert the image. Double click. It brings up what is called an embedded document. Okay, now I've included a mock image in here. It's my duality image, but I want to show you how this works. You remember back here on the book, the face was blue. You can take any old image that you want, and I'm gonna prove this. I'm gonna go ahead. I'm gonna place down just one of my images from just a peck cell style image. Right? Doesn't matter what it ISS. Let's go to pictures will go to raw images. This is where I stick stuff when I'm not quite sure what to do with it. And let's go ahead and grab this Rose. Now watch this. If I dragged the rose inside of the blue, noticed the roses above the bloom in the embedded image. Look at that. It's almost like it updates in real time. Turn it off. Turn it on. Oh, look at that. That's like magic right there. Now let's say I close this well, How do I get it back? Just double click again. And now let's eliminate the rose. And I've included this duality image in your downloads. I've also placed it inside the file. So if you turn off the rectangle, this comes up and there it ISS. Now notice the perspective below this there is a perspective layer, which is adjustable. So if the perspective you don't like you can always adjust to the perspective, I would not recommend that, but you could. As a matter of fact, I'm probably gonna lock that right now. All right, Now what do you do about the spine? Well, you realize that we're getting a lot of things stacking up here. Find your embedded spine. Noticed that the bounding box came under the spine. Double click. And you see, it's the exact same set up. So how maney embedded images do I have in a mock up in this case, too? And if I turn off the blue revealing the spine art, what do you think is gonna happen on the mock up over here? See where I am? Right here. I've got three documents open. Really? Just like that. Noticed that sexy piece right here where it actually looks like an actual hardbound book with that little div it Now this has a perspective. Layers. Well, I'm gonna go ahead and lock that, but it is yellow. So if you're working with my mock ups anywhere there is blue. Those are things that you can adjust anywhere. There's yellow. There's an adjustment to be made. Even the shadow adjustment here. If you wanted to turn up the shadow, let's say notice how this darkens up. It's coming over right over here. See how that works. So you like that? You can certainly do that. I'm gonna keep it at 75 now. This is important because we don't know what color you're gonna want to use. You're gonna want to use a color that matches your brand. I don't know if you want to use texture or not, you can certainly bring in another texture. And if we remove the background, you lose all the shadow information because noticed that this is set to multiply. All right, now, the last thing that I want to show you when it comes to universal adjustment, all of my mock ups come with a lighting layer. So if you don't like the lighting, you feel free to either delete it. I'm just gonna turn it off and then you get this, all right? Or if you wanted to keep the lighting double click. I think this one looks pretty good with this shining toward this side of the cover, and I'm actually gonna create a second light. Copy this. I'm a slight it on over this way. And then what I might do because it matches my brand, I might want to just turn it down a little bit good. So if you like this, certainly go ahead and use it. And if the background isn't working for you again. Don't be afraid of this point over saturate, change the color, Do whatever it is that makes this yours. Okay, so that's a little bit on the power of mock ups. How? Toe work with mock ups. And we, as market creators, do the best we can to think about all the ways that you will want to modify this thing and we try to get out ahead of it. Are we perfect? No. Will you have to have some photo shop or some affinity photo skills in order to bring it home? Probably. But this is a good way to kind of explain what's going to happen in section four, because making, um aka requires a certain set of skills which we will boot camp. And after that, we're going to go in depth, and we're gonna build a lot of these. All right, folks, hope you learned a little bit about mock ups. I'm excited to see what you create there. I'm excited to see what you bring into the embedded layers. Because if you don't like my duality image, you can certainly bring in your own any time you want. Alright, folks, let's go ahead and call this one and we'll see in the next one 14. MOCK UP SKILLS-Introduction: All right, Gegen, welcome to the boot camp section here in our mock, of course. Now what is Boot camp? Boot camp is a series of lectures which will teach you the skills that you're going to need to build the larger projects that will eventually get into. So I'm going to give you mock ups at various levels of doneness, and each mock up is gonna focus on a key attributes, say, or a set of attributes and techniques that you're gonna need to know. We're gonna be covering things like use ingredients. We're gonna cover embedded layers. We're gonna cover things like using perspective life filters in order to distort images. So if we took this all at once, it may be overwhelming. So what you're going to see is a variety of projects in this section at varying levels of doneness, which, if you follow through this section, will have you prepared for the larger projects that are to come. So this is not designed to show you how to make each one of these individual mock ups. But if you go through the course and you learn how they're structured, you'll find that each of these mock ups you'll be able to read by the end of the course. All right, let's go and get started. 15. MOCK UP SKILLS-Setting up and shooting poster mock up: All right, folks, Welcome back. So this part of the course is about getting you the type of boot camp activities and getting familiar with the basics. You need to work in any mock up. I'm gonna show you the beginning of each mock up how to shoot it. Because while you can use pre done assets, I'm gonna show you for most stuff how you can shoot your own. So this interests you watch it. If not, go ahead and skip the lesson where we already have the photo. So the first portion here, we're gonna take these clips. I provided the poster mock up, but I'm gonna show you how to shoot to clip. All I have here on the table is a very simple sheet of white paper. Put said, clip on the table, place the light down into direction, make sure it's evenly lit and it's going to tell the story you want for the clip and then shoot it directly from above. That's really it. On shooting the clip. Now I've included my shot of the clip, and that's what we're going to use in the tutorial. However, the texture we haven't talked about, I'm gonna show you how to make your own texture. So to do this and replicate a nice kind of a vintage type of grungy texture, I've taken a piece of paper and I folded it like this. And then I folded it into quarters. And then I've got this bag of old charcoal because I do a lot of charcoal illustration, and I know that I am doing this in a white hoodie, and what I'm going to do here is I'm just going to take some style is here, and I'm going to just do a little bit of work here, around the edges and around the folds. What I'm trying to do here is just get a little bit of that look now you could do a certain amount with this type of technique. You see how this is now starting to become something that you can text arise. But if you really want to take it to the next levels, here's what I would recommend. Dig down deep in this bag. It's your hands good and charcoal e and rub your hands down around this piece. Now, if you don't have charcoal, you can go outside and you can grab whatever happens to be around. Now, I've got some charcoal here. We're just going to do this and then I'm gonna bring it in. What we're doing is we're just adapting and adjusting this charcoal around so that we can create this vintage style. Look, there's no perfect answer. And once you're here, even with your cell phone camera, you could do one of two things. You can either take a picture and a picture will absolutely work. But what I'm going to do, I'm going to use this mammoth obsolete printer right here to go ahead and scan this in black and white Bill printer. No problem. Go ahead and just take a picture. So I'm gonna go ahead. I'm gonna finish up this texture so that it's something you guys want to use. And when I'm done, we'll go ahead and pop on over to affinity. Photo 16. MOCK UP SKILLS-Layering the poster mock-up : All right, folks, welcome to affinity photos. So we're going to show you the basic tools that you're going to need to know in order to do mock ups. So this tutorial is not about how to make the mock up from start to finish. We're going to show you some of the tools that you're gonna need in order to pull off the later mock ups that we have. So this mock up is specifically designed to get you familiar with one thing. How to layer your images, how to apply shadow and think about light. So let's go ahead and get started. I'm in the file new and I've got the preset tab open right here. See where it's blue. It's 72 d p I. And let's make this 1200 wide by 2000 tall. Now notice it's in inches. We don't want inches. We want pixels. There we go. Make sure you're in Ah, pixels. All right. 1200 by 2000 72 DP I pixels on right and create. Perfect. Now we're gonna do a rock poster. So the first thing that I'm gonna do is I'm gonna goto file place and I'm gonna start from the bare bones minimum, and I'm gonna put the brick wall down as my texture. All right, so this is an actual brick wall that I shot, so we're in pretty good shape there. You go ahead and stretch it out a little bit. It's not gonna hurt it. All right, So there's our background. Let's go ahead and rename this background to rename Double click on the Layer. Now what we're gonna do now is we're gonna add into the clips in your file for this lesson . I've included these clips, and I've already isolated them because I don't want to show you how to select. We assume you know how to select, and we're gonna go ahead. We're gonna place in two of these clips, so go to clip PNG, isolated one to all right and paste another. All right, cool. We got some clips. Now, what we have to do is we have to put in our poster. Now, when it comes to mock ups, I'm going to show you this later. I just want you to click and drag a rectangle. Okay? Okay. Just like so, bring the clips to the top of the rectangle perfect. And now we're going to bring the clips up toe look like they're clipping on to this rectangular unit. All right, Just like that. Now, let's zoom out and make sure we didn't do anything really super crazy. Oh, that looks good. Now we've got to create some string, right, because the clips can't just hang in oblivion. So what I'm gonna do is I'm going to use my pen tool. I'm going to click here. I'm gonna hold shift, and I'm gonna create what's called the line. Okay? And then I'm gonna turn up the stroke. Now, I'm gonna try 15. This is gonna be a little guess in check, because my line is directly under that. So when im good, move back to your move to and let's see how that line looks. All right. Now that's supposed to look like some string. So let's go ahead and make it white. And let's go ahead and move it underneath. Here, just like that. Now it's a little bit aggressive. Let's go ahead and turn it down to 10. All right, That looks better. All right, Now notice the layer. Right click duplicate. Move it in all right, Just like that. Now, if we zoom in zoom tools right here, this looks a little bit funny here because you'll see how the clip doesn't quite work. I'm gonna show you how to do a mask layer, select the curve that corresponds to that line. So, as an example, I'm gonna try to clip into this thing here. That's the other one. Okay, we're gonna call this left curve. All right? I want to call this right curve. Okay. Now, could I have picked an easier one to start you with? Sure should. I know. Because you gotta learn how to do this. Now we're gonna use what's called a mass Claire, the MASS. Claire. When you click on this button right here, attaches to the curve and we're going to use a brush. We're going to choose from our brushes menu. Just a regular hard brush and you're going to choose black as the color. OK, notice I brought out my tabs. Now what I'm going to do is I'm going to try to paint now. Why is that masking the curve? Because you don't want the mask on the curve. We want a mask out the clip. So let's delete the mask. This is by design. I want to teach you how to work with layers and masks, and we're gonna apply a mask to both clips. Now, see what just happened when I paint with black notice what just happened, Bone. Now let's do the same thing to the left side. Okay? I'm moving over to the left side by using this bar. I'm grabbing the mask button again right here. And I've applied a mask to the clip. I've got my brush selected. It's a hard brush and I'm using black, Remember, Black conceals white reveals, and I've just masked out that image. So now it looks like those things are between those two clip ears. All right, so this is going to give us the basis of our mock up. Now it's far from done. Next lesson, we're gonna show you how to add in shadows because we want this layer of the poster toe look like it's sitting up above the layer of the brick. We need to add some shadows to the clips to make it look like it's going to the poster, and we need to adjust some shadows on the string, so let's go ahead and save this one here and then we'll see in the next one. 17. MOCK UP SKILLS-Adding Shadows and masking the poster mock up : All right, folks. Welcome back to affinity photos. So we're gonna go ahead. We're gonna take one more shot here on this thing. We're gonna add shadow now. Layers when it comes to mock ups. Could not be more important. So what I'm going to do here, we're gonna practice some really good layering habits and you'll find for a majority of the tutorial, my layers panel is going to be out and front and center. All right, so what I'm gonna do here now is I'm gonna go ahead. I'm gonna move the right curve up above or right underneath the clip, Let's say and let's go ahead and we're gonna go ahead and group those. Okay? Now, why did I do that? Notice now, this moves as a group. Okay? We're gonna do the same thing here. Left curve underneath the clip. Let's group amount. Okay. Now, both of these groups will call this left clip and we'll call this right clip. Okay, Now, there's a couple different ways you're gonna do it. I'm going to show you in this tutorial how to do a very simple shadow with a drawn in look . You can use an effect for this. I personally don't like it. So I tend a hand to draw my shadows. And we're gonna pretend that the light is going to come largely from this direction over here from the left, and it's going to be pretty close to centered, so we're not gonna have long shadows. We're gonna have some very short shadows, but they're gonna be a quite intense. All right, let's go ahead and do this. The easiest way to do a shadow like this is go to the rectangle tool. Actually, no, Let's just do it this way. Create a pixel air, put it down below the right and left Clip. Now, let's go ahead and do this. I'm gonna go to my brush. And before we were working in black with a very solid brush. Let's go ahead and bring my brush panel out. Slide down to the light brushes. I'm talking these fuzzy ones here, right? And I want you to turn this flow down super low. Okay, now I'm sitting at about 8%. So what we're gonna do now we're going to go, and we're gonna put half of the brush down behind this layer and we're just gonna brush this area down, okay? Just like that. Don't go overly crazy. Make several passes. Keep your opacity down. And if you want to and you want to expand out a little bit, take the flow down to even 4% or less. Okay? Flow is the secret to this, Okay? And you'll see because we're behind those areas now, it doesn't show up on the strings. Now, what about these clips here? Watch this same process flow down low, and now just take that down a notch. Now notice that we've got a little bit of halo there on the white. That's okay, because where the clip contacts the white. Wouldn't you want a little bit of Halo? I know I would. So let's go ahead and put a little bit of shadow where that clip contacts. That's gonna be important when we start looking at the poster. Okay. Now, if you go a little bit crazy, don't worry. You can always come in with your eraser. Keep your eraser flow low as well, and then you can erase out a little bit of your shadow. All right, Now, let's go ahead and to do another pixel air and let's drag it down behind the rectangle. And let's call this rectangle shadow. We'll call this one clip shadow you will find I am very anal retentive about naming my layers. Because when you're doing a mock up and you get 30 layers deep, you're gonna wish you did. Honestly. All right, let's do the same thing. Brush low flow, make sure the color is black. I'm gonna raise my brush up a little bit. And now if the light is coming from this side here, majority off the shadow is going to be on this side here on the top. You have a little bit of dark, and you're gonna have a lot more dark on this side. Now, if that's a little bit too slow for you, you can always come in. I would not recommend you move the flow past 11 and you're going to want then to put Flo ride about there. Okay? I always add a little bit to the bottom. Not a lot. It seems to make sense to me. Okay, now check that out. That looks pretty good. Hoops. Let's zoom out the right direction, huh? All right. That's looking pretty darn good. So the thing that I needed you to connect with here is you put the shadows below the layers that you want to shadow. You think about your light composition in this one because we wanted to be just a straight on light. There's not gonna be a tremendous amount of shadow and then you want to name your layers. Now, the last thing you want to dio you see how the black is fairly opaque on the brick change the blend mode of all your saddle layers right now to multiply. As a general rule, shadows are best on a multiply layer. Now, I know I have some exceptions for every rule. And if there are a little bit too pronounced for you, go ahead and just the opacity until you get them the way you want them. Now I'll show you a trick while I'm here. You'll see how the white strings maybe don't look too terribly round. Watch this. Go to the string. I'm on the left hand clip and I'm looking at that left curve. Let's go ahead and zoom in. And now let's go. Toe effects. Let's add an inner shadow to this string right here. Clip up the radius, Click the offset. Click up the intensity a little bit, right. And then you can change the angle of the shadow to match the way that it's going to go. Look at that. That is pretty cool. And you get it until you just want it just the way you want it. All right, let's do that to this. Over here, we go to the right clip. We grab the right curve, come to the effect we grab in her shadow. Click on the check box, and now let's do the same thing up the radius. Change the offset a little bit. So we've got some solid whites, increased the intensity to taste, and then we're gonna change out the direction. Just the offset. Just a little bit of radius. Change the intensity just slightly. All right, so now let's zoom out. All right. That is looking pretty mock up worthy. All right. In the next lesson, we're gonna go through, and I'm just gonna place an image in this mock up. I'm not going to show you embedded layers in this mock up because that's a little bit more advanced of a technique we'll get there. This one was all about light and shadow. All right, let's go ahead and call this lesson. And then the next one, we're gonna show you how to add an image and put in textures. All right, we'll see the next one. 18. MOCK UP SKILLS-Adding images to the poster mock up : All right, folks. Welcome to affinity. So for this mock up, we're gonna use the rectangle that we've got here. And I'm just gonna show you how to place an image inside of the rectangle. We'll show you embedded documents later in another lesson. But for right now, we're just gonna do it very simply for this mock up. We're gonna go ahead. We're going to the final place. Pop that bad boy in there, Rivet. Now, let's go ahead and stretch it so that it fits and we're gonna go ahead nested inside the rectangle. Okay? Now, if it doesn't quite feel the rectangle, go ahead and push it up a little bit there. All right. And now why don't we fill the rectangle? Let's find out where is our deviation? Because I'm looking right up here. So why do we have a deviation? Let's go ahead and move it up. Perfect. All right, Now I'm gonna go ahead and turn snapping on if you turn snapping on, it will snap to the sides of the rectangle. All right? Perfect. All right, Loki, mock up right here. All right. Now, let's go ahead and zoom out. That looks pretty good. Now I'm gonna show you how toe add a texture. Because in mock ups you can add texture. So we're gonna goto file place and there's a texture here that I've got We're gonna take this and we're gonna drag it down Now with the texture, you can take it, you can drag it, you can adjust it. This is just a texture that I made on a plain white sheet of paper. Looks pretty good like this. Go ahead and rotated. Just discussed here. All right, Now, what do you do with this? Let's go and rename it. Call this texture. All right. Perfect. Now, with the texture, we can go ahead now and change the type of blend mode. So it depends on what you want. Your poster Look like I really like linear burn. I really liked the overlay. Look, when it comes to textures, I do a lot of overlay, and then you can actually improve this by putting in a levels adjustment. Now watch this. Attach it to the texture. Now, as you start messing with the texture properties, it changes substantially. Now, if you don't like that, you can always come in and kill that out. So you're gonna play blend mode hockey a little bit? You're gonna find the texture that really works for you. I actually like the reflect. Let's go ahead and crank that down a little bit. That's actually pretty awesome. I like the effect that that's giving. Now notice here. We've got a little bit of blowout. That's fine. Maybe this isn't for me. Then see what else we got. Yeah, let's go ahead and just go with standard overlay. All right, let's kick it up. I could add a mask to it. I could do a bunch of stuff to it, but then we would lose the simplicity of it. So when you do this part, that's a nice way to do it. And then you can adjust the amount and you can adjust the opacity as you want. Now, you could add Grady and masks to it and do some other stuff. We're not gonna do that in this lesson. So we've got our poster on that. Looks pretty good. What I'd like to do now is I'd like to go through lighting. This is kind of gonna be the last area that I want to do? We're gonna go ahead now and we're going to come over to the layer. We're going to go to a live filter layer, and we're gonna put on a lighting layer. I want to use a point light. I'm gonna increase the size of this. I'm gonna move it over to kind of where I want it. And then I'm gonna go ahead and I'm going to drop the amount of ambient light, my change of the shiny nous. And then I might even change up the Ambien light color. Now you see how it's only affecting the poster. Why is that? Because that's where it is in the layer. If you wanted to change it and you wanted to affect everything, you could come in, move it to the top. And this is what I do a lot of time in mock ups. I go ahead and I change up the light. I always include a lighting layer, every mock up that I make with you in this class. I will have a lighting layer, and this allows me to unify the colors. All right. And then, if I wanted to change the color of the light, I could even do that. So I wanted to change it up a little bit and make it a little bit more dynamic. I could certainly change the color of the light. Okay, this is one of those things that makes it highly customizable. And it's one of those things that will set your mock ups apart. So once you get a kind of where you like it, go ahead. Call it a day, and then you can even play with the blend mode of the lighting layer to to get just that type of look that you're looking for. All right, I'm gonna go ahead and go with lighter color. I think that that's pretty cool. And I'm going to drop the opacity down just ever so slightly, and I think that will just about do it. All right. So notice the modifiable layers. If somebody were to use your mock up, let's go ahead and change this. Let's say place image here, Boom. Just like that. Now the textures in there, the clips air in there, the modifiable layers air in there, the backgrounds in there You're good to go. What I might do. I'm looking at one more thing here, I might add a brightness and contrast adjustment into the background to drop the brightness on the background of just a little bit across the board. Okay, All right, let's go ahead and do that, all right. I hope you learned a little bit about mock ups. This gave you three or four lessons to get comfortable with it. Let's go ahead and take the next step in the boot camp. 19. MOCK UP SKILLS-Shooting and Laying out the window lit mock up : All right, folks will go back to Mark. Of course. So is part of boot camp. We're gonna go through, and we're gonna show you how to now add artificial light. Now, we're not gonna cover how to make the mock up. We're just gonna show you the basics of the techniques you're gonna need. So I'm gonna make the mock up, and then we're gonna add the artificial light. That's the intent. And my neighbor is mowing his lawn. So good times. Now, in order to shoot this, I just took a very standard piece off white poster board. And the reason that I chose the white posterboard is because of the shiny side here. The shiny side is really going to reflect that light. So when we apply artificial light over it, we're gonna have a good type of look to it, as opposed to a matte finish. All right, now, one of the things you'll notice when I set it down, let's go ahead and show you the image that we're gonna be working with is I have the wood of the floor running one way, and I have the poster board running contrary. That's by design. so that we get that mash up. So let's go ahead and get into it and I'll show you how to use artificial light in your Marca. All right, folks, welcome back to the boot camp lessons for this mock up course. Now, these go a little bit faster. We're not using extremely professional techniques in here. So what we're trying to do is we're going to teach you how a mock up is constructed in these boot camp lessons and we're trying to get you the bare bones basic for the software functionality. So in your downloads for this lesson, here's this mock up. And so what we're gonna be doing, we're gonna be creating artificial light that's gonna run through here like it's through a window. And so I've created some layers. This is a very simplified mock up. I want you to see the layers that I've created. First of all, I've created a curve. Now it's going to turn that on. Okay, Now you see, nothing's happening with it, right? I'm clicking it. Click the pixel there. Boom. Now watch what happens with the node tool. All I did is I corner pinned the corners of the curve to match the white. So nothing special. They're nothing crazy going on. And then I just threw in a blue placeholder. That's it. But now I knew that I wanted the light coming across the way here. So I created a Grady int layer inside of it because I want the light to sweep through here . And I created an hs l adjustment so that I could adjust the hue, the saturation and lightness. So this is how I usually construct my mock ups. And the last thing I did because I wanted this slightly off the floor, I created a hand drawn shadow layer, which is just a pixel air, and I really paid attention to where my lighting was gonna go. So let's go ahead, and I'm gonna teach you about the perspective warp. When it comes to affinity Photo. Let's goto file place. Now, Before we do that, I'm gonna make sure I'm just above the pixel air. So go ahead and be here. Let's goto file place. Let's grab his visualized poster and let's draw it out Now notice that is getting clipped. Why? Because I'm inside of this curve. So it's actually coming into existence, but it's inside the curve. If I was to bring it outside, we'd see the whole thing. Okay, Now watch this. When you do perspective, you don't want to rotate it, because common sense would be Let me just rotate this thing and I'm just gonna shove it on in there. Let's not do that, Okay? I'm gonna control Z. Watch this. We're gonna come down to the perspective. I'm gonna grab the perspective tool. Now, watch. You got four corners and it's gonna be single plane. Now, I'm gonna go ahead, and I'm going to just stretch those corners to be the four corners here. Okay? And here's a piece of advice. Always go a little bit past there a little bit, because what's gonna happen? Watch this. Make sure you hit. Apply if you don't hit. Apply this to get jacked up. You see the little blue halo that exists there? You're gonna wanna pull this guy down just ever so slightly to cover that. Okay, Make sure you don't destroy your image, but make sure that you cover it because you don't want that blue show. And that's another reason why I used that Blue cause if I zoom in, I still see a little bit of it. Let's go ahead and come down here and let's try to corner pin that a little bit more effectively. You see how I came and I added another perspective work. All right, let's check their I think I'm pretty good there. All right. I'm a little bit jacked up on that corner. That's fine. We're going to take care of that. All right, There we go. Look at that pro tip. I use an obnoxiously bright color as my base, so that if my images skewed I know, all right. And make sure you apply. I cannot tell you how many times I've gone through and applied or created it and not applied it. All right, so that's the perspective. Warm now, this is going to be relatively destructive later on. In the course, when we do, the major projects will show you how to work with life filter layers for perspective work. But thing that I need you to connect with on this lesson, you do not try to rotate it and then try to apply the perspective warp. Apply it with thing in the upright position. Now, if you want Teoh, we're gonna do this later when we finish. But you can adjust the hue, saturation and lightness for this, even at this point. So let's go ahead and call it on this lesson. And in the next one, we're gonna go ahead. I'm gonna show you how to create a makeshift window. All right, we'll see in the next one. 20. MOCK UP SKILLS-Adding window light and finishing the mock up: All right, folks. Welcome back to affinity. So in this lecture, we're gonna show you how to make a really simple volumetric light, and again we're gonna practice perspective. All right, let's go ahead. Get started. So what I'm gonna do here were to create a window. OK, Now you see how that drew inside of the mask. Pull that thing out, bring it up large and in charge. It doesn't really matter. Just something around this size. All right, so this is a rectangle shape, right? Were to come in now, and I'm gonna create another skinny rectangle, all right? And we're gonna move it right about here. It's going to increase that just a little bit. All right, move it to the center of this thing roughly. Now notice the rectangle and the rectangle. I want you to hold shift, select them both, and let's perform subtraction. Operation Bone just like that. Now, let's go ahead and do that one more time. Now, this time we're gonna create this rectangle. Gonna right click. We're gonna duplicate hopes controls. Ed, make sure you got the rectangle in the move to allay. That helps. Okay. And you're just gonna place these two rectangles Roughly here. Now watch this rectangle above the curve. Select the rectangle. First, hold control. Subtract rectangle First. Hold control. Subtract. All right, Just like that. Now, let's go ahead and go select D Select. I don't know why we got selection in there. All right, So what this is going to do? It's going to create the window now to do this, we're going to right click, and we're going to Rast. Arise it. So it's going to cease to be a curve Notice. It just changed to a pixel air. Now, let's go ahead. Right click. Let's duplicate this. Okay, So the way that we're gonna do the volumetric light, we're gonna select them both. I'm going to hold control. I'm gonna shrink them down there. All right, Now, this lower one, let's add ago, Shin Blur filter. So filter Fuller called Gaussian Blur ago. Schindler don't really care, all right? And we're going to expand that out quite a ways. And the reason that we made this smaller is because if it touches the side of this pixel, it will cut it off. We don't want that. Let's see if we can't click in there and go upto 1 30 All right, that looks pretty good. Now, let's go to this one. Oh, come on. All right, and apply. All right. Make sure you apply. I didn't apply at my bed. Now let's do the same thing. Filter, Blur, Gaussian Blur. But we're gonna turn this one down. You see how that creates that effect there? All right. We wanted to be blurred, but just not as crazy as the other one. Okay, I think we're pretty good at about 25 pixels and apply. All right, now we're gonna dio we're gonna select them both. We're gonna group and watch this. We're gonna go ahead and rest. Arise it. Boom. We now have window light because we're doing mock ups. Let's call it window light. All right. Now with window light, let's go ahead and rotate it. Something like this. Now, it depends is totally up to you where you want to put this. I'm gonna go ahead and I'm going to place it to where it's rotated right around the center of this thing. And remember, we have this pixel air here, so you really want to kind of align it with that Because you want the lightest piece to be over the poster. All right, so I'm gonna go ahead and I'm gonna bring it up a little bit here, and I'm gonna rotate it a little. Now, remember what we're trying to do with this mock up? I'm trying to teach a perspective warp. So what I'm gonna do is I'm going to stretch that out, and now I'm going to add in perspective. Okay? Now notice what I'm doing here. I'm going to shrink that thing down a little bit, and I'm going to blow this a little bit up and you see how I'm using that side to kind of do it. I'm following roughly the perspective off this image. So we're actually going to do a pretty darn close job here on. I kind of like that. Okay, that's actually gonna be pretty cool. So you see how I'm lining up with this pixel air? If I turn that off and turn this on, I'm dark. I'm dark. I'm light. Okay, cool. So that's a start. Let's go ahead and close that out. Now, this looks like hot trash, right? So let's go ahead and make it may be soft light now it's totally up to you. What blend mode you really like, right? You can go ahead and shop it around there. The one that I'm gonna use, the one that I have a lot of success using. I really like doing the soft light. And now, if you really wanted to kick the intensity up a little bit on this, watch this right click and let's go ahead and duplicate. You can always bring it up again. And now watch what we can do here. We can take this one down a little notch there if it's a little bit too bright. So I think that that's actually pretty awesome. So I'm good duplicating that. I really like the look that that gives. All right, So the last thing that I would probably do, I'm going to go ahead. I'm gonna throw in a little vignette. Now, this is not part of mock up, right? But you can come through with the HSE l adjustment and you can go through and adjusted. However, you want to adjust it to make it look the way that you want it to look, I'm gonna go ahead and I'm gonna crank that down a little bit here somewhere, right about in here. I think that that's pretty cool. Let's go ahead and not make it so saturated. That'll work. And let's go ahead and go layer Life filter, layer color Vignette. Now, I'm just gonna go ahead and bring that overall. And now we're just gonna go ahead and drop this. This is not part of the mock up, so to speak. But I really like it for the effect that it gives there. All right, that is pretty cool. So let's go ahead and call this one here. What you learn. In just the two lessons that we were able to do, we actually created a volumetric style reflection that came out of the window. Let's say and we taught you about perspective in two different ways. So I hope you learned a little bit about this. Hope you learned a little bit about how to do a simple mock up. Remember, we are teaching you the techniques that you're going to need when we go full on mock up. All right, let's go ahead. Call it on this one, and let's get into the next one 21. MOCK UP SKILLS-Learning the Mesh warp tool using the Bottle Label : All right, folks, welcome back to affinity photos. So we remember this is a boot camp lesson that will teach you the techniques that you need in order to do the major projects that are coming up. So we're not going to show you how to do the bottle edit and how to make the actual mock up . We're gonna be showing you in this lecture how to work with the curve, how to apply a Grady int and how to warp so that we get around the curvature of an object. All right, so let's go ahead and take a look at this real quick background layer. We don't have to worry about the background. Is this area here followed by a table? This was just an item that I shot and did a crazy amount of perspective warm. We've got the shadow layer noticed that we've got a normal shadow. We could always change it to multiply if we so chose. And now this is the interesting part. We've got a curve. Now. I want you to see what I did with the curve. If you were to click on the no tool notice that this big area right here is one big curve with smaller curves removed. Now, to do this, what you're gonna want to do is use operations up here. So you create one curve, you create the smaller curve and right here, where it says subtract, you'll remove one curve from the other. I know that's a little bit complicated. You'll see it in the big mock ups. But I wanted to make sure that you understood it. Then what we've got, let's go ahead and zoom out here. We've got a little bit of a pixel air around the bottom here. Just turn it off, turn it back on C where we've got that. And then we've got some universal adjustments. So what we're gonna be doing, we're going to take a label, and we're gonna make the label sit on the bottle. So let's goto file place. And now we need to find the mock up that we're doing. We need to make sure that we've got the right downloads. So let's go here. Go to the bottom aka and you're gonna find the old time logo P and G. Okay, boom. Now let's go ahead and move this thing up into position. And now we're going to come in here and we're going to address it. Now notice here. I want the apple to be prominent, so I'm gonna go ahead and scoot this down a little bit, and I want the thing to cover a fair amount of the bottle. So I'm gonna get pretty close like this, and now notice that it's outside the curve right now. Watch this inside the curve, just like that. Now, what just happened? That curve created a clipping mask, and if you double click, you can see where we can push thes sides in a little bit. But you see how it takes the text and distorts it down horribly and it doesn't quite look right. So what I'm gonna do here is I'm going to come over here and I'm gonna move it a little bit . And what we're going to do now is we're going to mesh warping. So I grabbed the mesh warp tool, and I'm just going to come in here and I'm going to warp the corners a little bit now. What am I doing here? I'm trying to make the text stand out. Look better. Pretty darn close. All right, so we're pretty good there. Now, the last thing that I'm going to do remember that this bottle is round. And the higher your perspective, the more curvature it's gonna have. We're actually pretty flush with it. So while I'm going to do is I'm gonna drop it down a little this way and on the bottom. I'm gonna go ahead and drop it down a little. This way. All right, Let's go ahead and zoom out. Let's see what's up. How It would help if I got the magnifying glass, wouldn't it? All right, now you see how this is a little bit skewed. We've got a center line here, and we're slightly off center. That's fine. Come down here and let's get a little closer to center. All right, Now, I think this corner is a little bit higher than this corner. Let's prove that out. And if you ever want to adjust it again, just come back to the mesh warp tool. Make sure that you're on your label, and let's go ahead and a drop that corner ever so slightly again. There. All right. Good deal. Now, if you so chose, I'm gonna show you something. Don't have to do it totally up to you. If you are working with the wort measurable. Let's go ahead and double click this. Grab the warp mesh. You're gonna add some notes. Now watch what happens here. When I get close to this line, You see how that cursor changed? Let's double click. Okay, now you see, it created a line. Now I'm able to adjust what's on that line without adjusting the rest of the label so I can even warp inside. If I decide to double click here, I can create this intersection point. And now I can pull it from one intersection point. So this is a really, really good tool in order to hold certain areas stagnant. Now, you see what I'm doing there? See where the Black square evolved? You can change and warp it as you want, based on holding certain points stagnant. So there's a lot of stuff you can do. I'm gonna go ahead and control Z because I didn't necessarily want to mess with any of that . I think that I'm pretty good here. All right, next lesson. We're gonna go ahead and add a Grady int layer and apply it over. So you see what's up? All right, We'll see the next one 22. MOCK UP SKILLS-Adding a gradient layer and shadow to the bottle : are a gang. And welcome back to infinity photos. So this lecture is all about use ingredients. And so this is one of the things you want to do to make your labels look a little bit more natural. Let's say now, notice that last lesson. We took this label and we kind of morphed it around the curve, right? And we kind of moved up a little bit down a little bit, made it look OK, now what we're going to do, we're gonna come over and we're going to add a pixel air, and we're going to create a greedy int. Okay, there's are pixelated. There's ingredient now. He doesn't look really good there. So what, we're gonna dio, actually, let's do it this way. We're gonna create a rectangle on. We're gonna go ahead and we're going to bring the rectangle over the bottle. There we go. Let's do it that way. And then we're gonna fill the rectangle. That way we don't have to deal with all that mess of masking out the rest of the pixel there. All right, so when you're working in the greedy INTs, think about where the light is hitting the light is sitting on this side of the bottle. It's sitting down in this side of the bottle, and we're going to be kind of around the edge. So we want to get some good room light, come up to this square and we're to start with white. And now watch what happens when I click the gray. We're gonna end with white now in the middle. Plot that down. Just double click there that's gonna be white. Now what we're gonna do here, we're gonna put down a grey, and it doesn't have to be terribly specific. But you see what's already happened into that? We got about that color gray roughly 50%. Let's go ahead and plug that one over here. All right, That looks pretty good. Now, you can adjust these handles to put the gray wherever you want it. I'm gonna go ahead and I'm gonna keep the grade because I've got some light right here. I'm to keep the gray right about there on this side and because I've got a lot more contrast here. I'm gonna go ahead and keep the grey over on this side right about here. So overall, not too unhappy with that. Now that looks like hot trash, Right? Here's what we're gonna dio. We're going to take the rectangle. Ah, there's the pixel, every created before we complete that, and I'm going to nest it inside of the label. That way, if you have an odd shaped label, you don't have to mess with it. And because it's on top of the label, you want to change the blend mode, then to a multiply or a color burn or whatever phrase or should say whatever blend mode you want to use. I really like the linear burn for this application. I think it looks really cool with that, and then you can go ahead and adjust the opacity to taste. All right, so that's a little bit on how toe work with the Grady int layer. This is a pro move because it is non destructive. You nested inside of your label and even here, then, if you want the mask out certain points, you could come in and mask out certain points of this. I'll give an example here. Let's say that I didn't want the Grady int say here in the center at all. Make sure that black is selected. And I could go ahead and paint all of that out if I so chose. Maybe if that came down over the label control Z to get that back. That's just a example of what you can dio if it's still a little bit too much for him. Like I might take that down on my swath it right down the center. That looks pretty good. All right, so the last thing that I want to show you how to do now you've got your label, you've got your bottle. I'm gonna go ahead and ever so slightly put a little bit of shadow between the label and the bottle. Now, this is gonna be an exercise and finesse here, right? You want just your light brush. You want to use just the end of the brush and I'm gonna turn my flow down to probably 50%. Okay. And now I'm gonna come up, and I'm just going to touch the edge of the bottle just a little bit now, if you went a little far and it's not quite what you want, watch this. We're going to now change this blend mode also to multiply, and we're gonna drop the opacity of this layer as well. So if you got a little crazy, you can either erase it or you can address your blend modes and rapacity notice. There's a theme in all of these boot camp lessons. You're going to be working with curves. You're going to be working with Grady Int maps. Or I should say, Grady, it layers. You're going to be working with blend modes and opacity. And so in these lessons, hopefully we've given you everything you need in order to do the major projects that are coming up. All right, let's go ahead and get into our first major project. 23. MOCK P SKILLS-Embedded images lesson 1 : All right, folks. Welcome to affinity phone. Oh, now, this is probably the most important lesson when it comes to mock ups. This is the end of the boot camp, Siri's. Because if you do not understand this, this is the difference between going amateur and going pro in affinity photo, it uses something called embedded documents. Okay, so I'm gonna show you how this works. I'd like you to create a 1000 pixel by 1000 pixel workspace, and I'd like you to go ahead and fill it with any color type of rectangle, right? We're gonna go ahead. I'm gonna use black now. We're gonna go ahead and we're going to now go to file new. Okay. Stay with me. Let's make a 500 wide by 7 50 tall document. Okay. Looks like that. What I'd like you to do now, bring out the stock window. Goto any sort of image, right? So let's go ahead and go to unspool ash, and let's go ahead and look for any sort of picture of a woman. Let's say Okay, now that's gonna be terribly large, right? Let's go ahead and zoom that down. That we made that super big. Let's go ahead and Zoomer down here, and I know it's gonna be pixelated. That's okay. That's not what we're dealing with here. And then I want you to grab one of a cat and one animal, one human, and bring that down there. All right, So you got a human and an animal, That's all I really need you to dio. All right, so we're gonna go ahead and zoom this up. I know that they're a little bit pixelated. That's fine. All right. We're gonna make it the same size here. And then the last thing that I'd like you to do, I want you to make a rectangle the size of the workspace. So three things And I want you to paint this an annoying color of blue. That'll work. Okay, so let's look at the layers panel rectangle, cat woman, go to file, go to save as and this is important. I want you to save it anywhere on your desktop. I want you to call it embedded File four markup. Okay. Just like that. And save. Just remember where you saved it. Okay? Saving. Now we're back on the screen that we did before for 1000 by 1000. Now, watch this. I'm gonna goto file place, and I'm gonna embed the affinity photo file. Go ahead and open. Okay. So what it's doing, it's now going out, and it's looking for that affinity file photo. And now let's click and drag. Now, notice what just happened here? Usually you're probably most likely used to importing images. Now it says embedded file, not watch this. Do you remember how we used to have the embedded file from aka? I'm gonna close that. Go ahead and close everything. Except for this. Now watch what happens here. When I double click on this embedded file notice another window opens right here. And now what happens if I eliminate the rectangle and come back to my original file? The cat is there. Now. Notice here. If I come back to my original file again and I delete the cats, so to speak, I take the check mark off the cat. The woman is there. This is the power of the embedded file. And the cool thing is now the reason this is important. Butts, DoubleClick, the embedded file, click on the woman and at an adjustment layer. Let's re color her read. Okay, So now what do you think is gonna happen in the original file? She's now red. And now, if you go to file save as so we're gonna call this composite mock up, okay? And let's go ahead and close this all out. Let's go and close it totally out. Everything's going away here. Save close. Close. OK, everybody is gone. Right. File open. Recent composite mock up. And now what happens if you click the embedded vile? The three images are back, folks embedded images. I'm gonna close that out. Now you see him back on the composite mock a file are the reason that mock ups work here? Me very clearly on this at a pro level. You want to put an embedded image in every surface that you expect your participants to modify. Okay, So if I had one file here, let's say let's go ahead and do another one. Go to file new. Let's just make a new one. And this time let's put in a dog and a building. Here's my dog. And again, it's gonna be terribly large. I gotta zoom out. I know there's my dog. And where's my building? Okay, but building in beautiful buildings going on. OK, and now let's make an awful, awful rectangle. Let's go ahead and make this one red. And by the way, you know why I choose really annoying colors for this because then I know where my live by edges are. When I go ahead and these into my mock up, let's call this red embedded Notice how it's in a different embedded file. Okay, I'm gonna close it going away. Boehm File place. Let's try doing the read embedded right here. Just like that. Now notice Red embedded Double click. Let's take off the red. We should have the building. What do you think is gonna happen? Got the building? Let's go to the blue double click. Let's make it about the cat bone building cat. This is the trick, folks. Embedded images are the power behind mock ups because you can add adjustment layers. You can put them inside of curves. You can put life filter layers on them. You can do a lot with them. So all of the differences between what we've done in the boot camp and in the next sections where we go into the live mock ups where we build the whole things we're gonna go from simply placing the image, which is what you did here into creating these embedded documents. Because that's the difference between having a modifiable image and really, truly a solid mock up. All right, we're gonna go ahead and we're gonna take it in the next lesson. We're gonna go ahead and we're gonna take one of them that we did where we placed an image . And we're going to create the embedded image so that you get an idea of where we're headed as we get into the big mock ups. All right, we'll see the next one. 24. MOCK UP SKILLS-Utilizing embedded images in the poster from the course : read, folks. Welcome back to Affinity Photo. So we went through embedded and documents in the last lesson. And now I want to show you how you could use the embedded document in a project that you've already done to do it. Pro. OK, so the way this works in the old version, which have already been through for those lessons, we just grabbed this visualized poster and we just inserted it. Right. So what we're going to do now is we're actually going to create a, uh, embedded layer so that we don't have to do this. So let's go and delete that. I'm gonna keep everything else right. So we're gonna go through, we're gonna go to file place, and I want you to find wherever it is you went through and you hit that embedded file for mock up last time. Okay, We're gonna bring that out. And now what we're gonna do here now you remember what happens when you double click? We got the cat we delete. We got the woman we delete leaving on lee the rectangle. Let's goto file place. Let's go ahead and grab the visualized poster and let's go ahead and bring this full circle here. We're gonna go ahead and snap it a little bit, Okay? Just like that. Now, if we have it embedded, layer, what should happen over here now? Why is that cut off? You're gonna want to come up just like that. And now here's the way that you must must do the perspective. Lair. Okay. When you use a life filter layer like perspective, so distort perspective. You want to apply it to the embedded layer, not the curve. The curve already has a distortion. Right now, let's go ahead and just grab that perspective layer. And let's quarter pin it like we did one to three and four. Now, you could leave it just like that if you want. Right. But we don't then get the benefit of the HSE cell of the pixel air. So what I will probably do is I will take this embedded layer, and I will then drop it inside of the curve just like that. So where is my embedded layer? Right there. Let's go and drop it down to here. All right? That looks pretty darn good. Now, the cool thing is, let's try this If I come back to the embedded layer. I grabbed my building again. Let's zoom out. Actually, that'll work right there. What do you think I should see here? My building. And it's in perspective. So we have a now perfectly functioning embedded layer in my image. So let's go ahead. Let's just grab the building here and let's zoom it down so that you guys can see what I'm talking about here. All right, one more bone, just like that. Now let's say the light is a little bit jacked up. You may want to go into the pixel there then, and you see how it's a multiply. You may want to go through and adjust the pixel air a little bit to kind of get it to where you want it to be. So now, if I was to save this file, I now have a fully customizable embedded layer in that finished mock up. That's the application, and the general consensus I'll give you folks is that you need a embedded layer for every surface that you plan on having your person modify during mock up. All right, let's go ahead and get into the next one 25. MOCK UP SKILLS-Utilizing embedded images on a box mock up : All right, gang. Welcome back to mock ups. Infinity Photo. So we're going to take everything you learned about embedded documents in the last lesson, and we're gonna apply it now. And this mock up is in different stages of doneness. I've done the hard work for the lower box face and I've also done the curved work there. And so we've got the right box Top face Now notice These are grouped. Remember what I said about the layering structure for embedded documents? Take a look at this. The lower box face is composed of the curve and within the curve is the embedded layer. And here are the adjustments for the embedded layer. Same thing here noticed. This is a group. It's composed of a curve. And then you have the embedded layer and the hse l adjustment and perspective. Now notice there's a mask on the HSE l adjustment because I wanted it to be darker in a certain area and lighter was it got toward light. So this is all about structure. This is the structure that I stressed in the last embedded lesson. And so we're gonna go ahead and we're gonna do the importation off an image onto these boxes. So to do that and I'm working professional markups now we go to the embedded layer. We click on it and in your downloads for this lesson, I've already included this image of this skull. Now, if we're following along at home and I've removed the rectangle when I click back to this shirt box mock up here, what should be there? Boom. Just like that. And you'll see that I can now adjust hs l or the perspective again. This is about the structure. HS O and perspective are attached to the embedded layer, not the curve that will never work for you. Now let's do the same thing. Embedded layer Here. This is for this top. Let's double click. And for this lesson, I again included the PNG for the same image. Now notice if I do that, what should happen in the search shirt box? Mock up. Boom. There you go. Very, very simple. But this structure is not Remember. The embedded layer is where you put your perspective adjustment and ate and even hs l adjustments not on the curve. Right. And then you group them all together. The reason I want to include this mock up at this stage is because I want you to have something you can come back to that works. This is your Touchstone now, the piece that I did not include. Okay, we're gonna go ahead and we're going to go ahead and create a shadow there. So let's go ahead and zoom in a little bit. Now where this box overshadows this box notice that's on that curve. And it's part of the lower box face. I want another curve. And the reason I chose boxes is because they're very straight. So you don't have to work terribly hard to put a curve around. Okay, Now, here's what I'm gonna dio. And this seems ridiculous, but it works. 1234 Okay, now, why did I put a curve out here in space? If you start messing with your pen tool over by this curve, affinity. Photo goes crazy. So I always draw my curve outside the box, and then I drag it inside. So there's my one point. I really only need three points. I think. Here's my second point. And here's my third point. Okay, that looks pretty darn good. right about there. Alright, so I've got this curve, we're gonna call this shadow, and now we want to put a fill to this. So we're gonna go ahead and grab our Grady into We're gonna come down to this side, and we're gonna Papa fill right about here looks pretty good. And because we want to switch it up a little bit, Let's reverse the curve, put the gray down here, and I want this thing to be almost black. All right? Boom. Just like that. All right, That looks pretty darn good. Now, if you wanted to adjust a little bit, you could I'll probably move that over just a little. You don't want to interfere with that of the box. And now you're saying, Well, Jeremy, what do you doing with that? Watch this multiply. And now, as we get to the end, let's do this. I'm gonna come back to my tool. I'm gonna come back to here. And where goes toe White? I'm gonna start dropping the opacity down. Okay, That looks pretty darn good. All right, let's see what's up that will work. Now, if you don't like that and you want a mask it just slightly through a mask layer on it. Come up with your soft brush. Hey, See how we're using all the tools? This is why I wanted you to have an underlying background in affinity before we got into the mock. Of course, because we're gonna be using all the tools. Okay, that looks pretty darn good. Okay, let's go and check it off. On, off on. I like it. All right, So let's go ahead and call this one here. You put in the shadow layer above that curve, and you have a Touchstone where the curve is part of an embedded layer with the adjustments in the layer. I know. I've said it 100 1 times. You need to understand it because it is the basics of every mock up that we're going to do once we hit the big time. All right, what's going to call this one at this stage of doneness? And in the next one, we're gonna go ahead and we're gonna have you put in your own embedded layers. All right, we'll see the next one 26. MOCK UP SKILLS-Adding gradient layers and adding your own embedded images : All right, folks. Welcome back to affinity photos. So in the last one, you learn how to put those skulls on top of these faces. We also went through an added in a little bit more on the shadow. So you guys know how to do that in the last one? This one. I want to really focus on making sure that you can put your own embedded layer in this area . So what I'm gonna do, I'm gonna goto file new and let's go ahead and do one that maybe is out of the 1000 by 800 . Let's say now, let's go 600. Okay? And go ahead and hit. Create. All right. Perfect. Now we want to go through and we want to add in our annoyingly blue rectangle So let's go fill annoying blue. That's actually a color now. And what we're going to do now is we're gonna go file, save as, and I'm just gonna go ahead and put it somewhere. I'm just gonna go ahead and put it in the section for downloads for this lesson. Here, let's go ahead and go downloads for and I'm just gonna put embedded four box side and remember, all you're doing with the embedded layer is just putting in a placeholder. Now, let's go and close that. Now we go file place, and we're gonna put into the entire thing here, and we're gonna move it over just like that. And now we're gonna go ahead and move it up to the top, scroll it around and shrink it down. Perfect. Just like that. Now, that's not enough. Right now. We want to come in and we want a double click and what I've given you. Let's go ahead and place in the box, mock up here. I've given you a small logo for the side. So we're gonna go ahead and we're gonna take this logo. We're gonna click off the rectangle, leaving you only the logo. And if we've done our jobs, right? Guess what should happen when we go into the larger document. Boom. There it is. All right, Now you come in and you can position it how you want and the thing that I would highly recommend, especially for something like this, I would come in here. I would then change the blend mode over to something that's a little less threatening and legs, I should say, a little less intense. Let's go a little less intense. And I might even turn down the opacity just ever so slightly. All right. And ladies and gentlemen, that will do it. You have now engaged in your first embedded layer. Now, one thing that I'm gonna show you. When we started doing the mock ups here in the next section, I always go through and I color code. So anything that is embedded ble I make blue. Okay, It's a little thing. We'll talk about it by the end of this course to be sick of here. He said, Alright, folks, let's go ahead and call it and we'll see in the next one. 27. T SHIRT FLAT LAY-Editing the raw image: All right, folks. Welcome back to affinity photo. So we're gonna show you how to do a lay flat apparel mock up. Now, this is one of the most requested things because for those of us that do apparel, this is something that you're going to use all the time. So as I run T shirts, I wanted to do a T shirt one. So I'm gonna show you how to do a T shirt mock up here in affinity photo. So let's go ahead and get started. Now, the first thing that I've done in your downloads for this lesson, we've gotta pull into the raw file. Now, the raw file isn't your downloads for this lesson, and it's called T shirt, Rob. Base image, right Click and open it with affinity photo. All right, this is gonna bring it up in what is called the develop persona. Developed persona is right here. Now I tend to shoot my T shirts with a little less light, but consistent light. Consistent light is the most important thing. I also like to shoot them on a black background. So that's kind of how I shot this and what we're gonna do now is I'm going to over expose this a little bit. Now, why am I gonna overexpose it? Because in order to grab the folds later, we're gonna win the applying multiple multiply layers. And so if it starts out dark, is going to get really dark. So I'm gonna go ahead and crank of the exposure. And that's one reason why I like working in raw is because I have all this data still to play with. I might change the black point to just a little. I'm gonna kick the brightness up. Just a hair. You don't want to lose all of that. And now I'm gonna go ahead and up the contrast a little bit and what I'm doing. I've got a really good isolated image there. All right now, clarity. Let's zoom in here for a second. This is a decision. Now, if you zoom in to the end degree, you can almost see the texture here. Watch what happens when I zoom in the clarity. It gets obnoxiously large, right? Let's zoom out and see what that looks like. Now, if you like that, go with it. We can always added post. I add a little bit of clarity, but I don't want to go all the way through and blow it out like that. So I'm gonna go ahead and crank the clarity up a little bit, and I think the word pretty good shape about there. So I really didn't move past the basic. Okay, All right, So once you're happy with this, let's go ahead and read, Doc this And now let's go ahead and take a look. If there's anything else, we don't want to add any lens distortion because this is supposed to be a fold flat, so we don't have to do anything with that. When it comes down to tones right, you can take a look at tones. Let's go and pull that out. Sometimes I will adjust my curve a little bit right here to get a little bit more dark in the dark. But you see how over in here now that's actually negatively impacting my my T shirt, so I'm not going to do anything with those curves. I'm just gonna go ahead and call it a day on this. So when we talk about anything, the last thing that I'll probably do here, let's crop now to crop it. We're not gonna be super scientific here. Notice how the T shirt said it? A little bit of an angle. Let's go ahead and click. Rotate. Now, when you come to rotate when you go outside of the crop, you see this little double sided arrow. Now you can twist your image up. So what you're gonna want to do is get that T shirt looking up. Right? Come down here. Extend your crop a little bit. I don't need any of this other garbage here. I think that I'm in pretty darn good shape with that. All right, let's go ahead and hit. Enter. All right, That is close enough for horseshoes and hand grenades on the raw. Let's go ahead and develop it. Now what I'm gonna do here we go to file, save as time to call this t shirt flat edited and developed. That way, if you don't want to go through the raw developing process, you can start right from here. All right? Cool. Now, the last thing that I want to do, I'm gonna show you how to do this. We're gonna want to make some duplicates of this Now, when you do mock ups, you want to think about each modifiable piece. And I started here with the T shirt because there aren't many modifiable pieces. There is going to be the T shirt itself. Then we're gonna right click, and we're going to duplicate. I want to call this tag because I may want to make the T shirt of color, but I want to make the tag a separate color. So in reality, here's what you're doing. Once you have edited this image and you like the way that the image is based, you then want to duplicate it for each modifiable piece. So if there are four pieces in a composite in a mock up, how Maney duplicates should you have four, we're going to have three. So we're gonna come down here and I'm gonna do this one more time and I'm gonna call this shadow. Okay, so this is where I want to stop this lesson. We went through and did the raw development. We then rotated it into position and we've got our background. We've got our tag and we've got our shadow. Let's go ahead and stop it here on this one. And in the next lesson, I'm gonna show you how to create the clipping mask, which will be instrumental in shaping our shirt. All right, we'll see the next. 28. T SHIRT FLAT LAY-Isolating the modifiable pieces: All right, folks. Welcome back to affinity photo. So in this one, we're gonna take this and get rid of all of this other stuff. So let's go and get started. Now. First thing we're gonna do you find the pen tool right here. Now, you guys doing mock ups are gonna get very familiar the pen tool. Very quickly. You're gonna want to take this pen tool. And remember, if you click and hold, you get the curved node. And if you click and release you get the sharp note. Now you're gonna need both, right, cause sometimes you want to make a curve. But sometimes, like here, at this point, you want to make a sharp point. So if you ever get a sharp point here and you wanted to curve node, when you're done, you can always come up here and switch it. Okay, I'm going to go ahead and work primarily and curves and you see how I'm just hugging the line. Now I've done entire videos and all of my courses on how to use the pen tool. This is what is called a clipping mask. What you're doing is you're creating a curve and then you're gonna nest. The image inside this is different than when you try to select each and every pixel. I have zero interest in doing that, right? I don't want to try to pixel hell this thing. I'm going to use the pen tool and you'll see that I'm using very few notes. There are people out there that want to use different tools. Like in designer. You can use the brush tool. You can use the pencil tool. In my experience, those always create too many nodes. So usually all do these by hand. It's just the way I like to work. There's no right way. Whatever works for you works for you. Okay, Now you'll notice I'm not being terribly careful there when I'm going along the line. The trick here is just to get the form down. Okay? I'll tell you why. Here in a second now, when you come to the end of it, make sure your cursor goes yellow. You see how that yellow dot showed up? Boehm? That means I have a complete curve. This is going to be my master curve. This is where I'm gonna put all my T shirt information in. Okay, this is very important. This one has to go. Well, now, once you've got this, you see there where not head and pulled on the side of it. You're now going to switch tools for the pen tool to the no tool you're gonna zoom in. Now, when you lost the no tool we go back to here and now, notice how I just added a note. If you click anywhere on the line, you can add a note. I now want to hug this T shirt, so I might have to add some notes. And then I'm gonna play with what are called the handles. Those little blue things air called handles. And it is does take some time. I'm not going to say that. It's something that comes very easy, but it is doable. And you'll get super good at it after you do about five or six of these. So I'm adjusting the handles I'm adding certain knows where I need to. I'm pulling the handles out, and my goal is for it to roughly hug the sleeve. Now it doesn't have to do it exactly. And you see how I grabbed the middle there That's just me clicking and dragging and pushing this in again. I'm going to assume that you know how to use the pen tool. Because this is a relatively advanced course. This one, if you don't might be in Fort. What I'm gonna do here is I'm gonna go ahead and I'm gonna have my editor speed this up because you guys don't want to watch me do note adjustment for five minutes and then I'll come back to you when I actually have something to share. All right, we'll see it a second. All right, folks. Welcome back. So what I did here is I hugged the perimeter of the shirt using my master curve. And now this is why we call it the Master Curve. I want you to take the shadow layer, and I want you to put it inside there. I want you to take the background, and I want you to put it inside there. I want you to turn off the tag lair. Now. What did I just do? I moved the shadow and the background there into the master curve. And now let's move the left of the tag out of the equation. right now for a reason. We're gonna come back to this. Now, you see, I've got some black that showing up. If I was to zoom out, you see where I've got that black? Still, that's not a problem. Because we made this totally adjustable. We just come back in, click on our master curve and then just hugged the sides of this just a little bit more. Okay? That's one of the reasons why you want to use curves. It's not a pixel adjustment, right? Because now look at how nice that edges there. I'm gonna go back through, and I'm now gonna hug the edge now that I've got my T shirts in there and then I'll come back to you here when I'm done, are. So we've got this thing pretty well laid out. Now, the cool thing is, let's look at the group's because when it comes to mock ups, folks, layers, is everything okay? I got one layer that I'm calling the master curve Now. I'm gonna go ahead and reinstitute this tag layer. You see how this all comes back now? Now that I've got my shirt where I want it and I've got my master curve layer. Done. Now I've got isolate the tag. We're gonna do the exact same process. We're gonna come down to the pen tool. But this time we're gonna zoom in on Lee on the tag. Click, Click. Now hold all to swing it back that way. Click and drag. Click and drag, click and drag. Now, what are we gonna do with this? Were to take the tag, were to call this tag curve and we're gonna nest it inside. You see where I just put that blue Boehm just like that? Now, we're gonna have to adjust the tag when we start coloring the shirt, so no worries. So let's recap this here real quick. Master curve should have shadow and background right inside. Make sure it's inside. Then the tag curve should have the tag lair. All right, so this is a pretty good place to start this. Now I'm gonna show you how this works, Okay? We're gonna zoom out, and what I'm going to do now is we're gonna go ahead and we're gonna create the background . We're just gonna put a placeholder in. I'm gonna come up to the rectangle and I'm going to swing this thing out. Now, let's move this to the back. Let's call this background. And now it's totally up to you what you want to do with the background. I'm just gonna come over to the greedy and tool. I'm gonna go ahead. I'm gonna pick an elliptical Grady in, and I'm going to put down something that is white in the center and great toward the outer . Now, I'm gonna go ahead and drop this just ever so slightly. I'm gonna go ahead and just drop that a little bit more because I want to be able to see the shirt. Okay, I know people that use very bold backgrounds. If that's what you want to do, feel free to do it. I know people that do some very subtle backgrounds and go white on white. That will kind of bleach out the shirt. So for this one right here, I'm pretty good. So let's go ahead and call this at this stage. We've got background, a tag curve and a master curve. So now you remember I said we had to figure out which modifiable parts we were going to have, so we should be saying We're gonna modify the shirt. Then we're gonna modify the tag, and then we're gonna modify the background. Those are three modifiable moving parts. All right, let's go ahead and call it on this one. And let's go ahead now and we're gonna get into the texture ing into the next lesson. All right? See the next one? 29. T SHIRT FLAT LAY- Texture adJustment : All right, folks. Welcome back to affinity photo. So we're going to show you now how to texturizing this thing now, hopefully, you've eliminated the fold. You didn't want during your in your photography of this thing. But if you didn't, I'm going to show you a way. You can do this now. We're gonna go ahead and we're gonna work on this shadow there. So here's what I want you to do. You're inside the master curve. I want you to come up, but I want you to with filters. And we're going to apply a frequency separation. Now what this is going to do, we're going to pull out details on this shirt, so we're gonna go ahead and turn this up. Now watch. What happens to the left side of the screen is I go up now. There's a weird halo here. Right that occurs. You need both the high frequency and the low. You don't want to make this terribly awkward, but you see how on pulling out some more of these creases I like to be about nine pixels. I do not put feature protection tolerance on and I hit. OK, now when I apply this. Watch what happens. This shadow there is going to separate. This is gonna be a destructive operation. Okay, Now you see that the shadow there went into high frequency and low. Now let's turn these off. So you understand what just happened to you? I'm gonna go ahead and turn off the background for right now. Now, if I turn off the low frequency Look what we got. If I go ahead and turn on the background, notice that Halo is right here, right? What it did it took the high frequency layer. It's like all the super details. Like if you dug down deeply into this boy, you can see cotton fibers. This is so detailed. So this is like a huge boost in a texture. The reason it works with the low frequency is because the low frequency if we turn off the high, is super vague, right? It's almost looks like it's gotta go Schindler on it. So you need both. But what we're going to do, we're gonna take the areas of high frequency where we have some of these ripples, and I'm gonna show you how to eliminate the wrinkles. Okay. Stay with me. here. We're gonna be on the high frequency layer. We're going to choose our healing brush tool. And to use the healing brush, we're gonna hold Ault and select an area where we think that texture is good. And by texture I mean, no wrinkles. Now watch what happens when we come over here. Boom. Automatic wrinkle remover. Right. That's how that works. So again, over here, we'll go ahead and reduce some wrinkles. Now, this will become really apparent over here. Let's go ahead and choose an area where we've got this. Let's go ahead and crank this down a little bit. And now you see what just happened. All of those deep wrinkles just like butter. Now, you don't want to do too many, right? This isn't designed to be a vector shirt. So you want some character in it? You just may not want this much character in it. So the trick here in the high frequency layer find an area with a texture that you like, and then paint it onto the layer. Okay. I like to use this in some of the areas where I don't want creases like this one here, we can knock those down a little bit. That'll work out. You still have the underlying layer, so don't fool yourself right now. I'm gonna come up here around the neck. I like to make the neck a little bit smooth. You might hear me clicking away in the background. Why? Because right here. If I was to click and drag, it would pull this cross hair up and then a g textures from all over the shirt. This is a nice way to do your post process digital ironing. Okay, So once you have this down and once you like the shirt, the way that it looks now what you're going to do now stay with me. You don't know why yet, Right? Click on the high frequency, duplicated. Now you see, that just added that halo back in. It added a whole mess, right? I want you to rename this. We're gonna call this texture boost, and then for purposes of right now, we're gonna turn it off and we're gonna lock it. You don't know why I just asked you to do that. But I didn't. And now we have to now move this high frequency in this low frequency back together. So I'm gonna hold shift. I'm gonna select in both. I'm in a group home and then I'm gonna rast arise him. Okay, Now, what did I do? I just made a pixel image. Right? So now almost, I don't even need this. All right, all right. So we're in pretty good shape here. Now, what we're gonna do now, we're gonna come over going to duplicate it. I want you to bring it back up here. Let's go ahead and bring that up. I'm going to call this shadow layer. Okay? Now, in reality, what did we do? Because I want you to understand why I asked you to do that. We took the high frequency. We separated it from the low frequency. We made this shirt what we wanted it to be. And then we brought it back together. So the two halfs matched. Now what? We're gonna do this shadow there. When we change the mode to multiply later on, it will match the underlying T shirt. That's the power of this thing. If we didn't do that, the shirt above would not match the shirt below. And the shirt below wouldn't be a smooth as it ISS. So that's why I had to do it. The simple flow is frequency separation. Iron out your shirt, duplicate the texture, layer the high frequency and then bring the shirt back together. Make the two things one again. Now, the last thing that I want to do, because this was a lot for complicated. I don't want to keep going past here. I want to get you a quick win here. We're gonna go ahead and we're gonna add in a pixel air. So let's go ahead and add a pixel air. And now what I want you to do is I want you to make sure that it's inside the master curve . Come over to the flood, Phil. And I like to use red. That's just my preference. Okay, Now, why can't we see it? Well, because the shadow layers on. Hey, look at that. So we're now reek. Name this. We're gonna call this color base layer, okay? And just to show you where we're going, watch this. Turn the shadow there on, but change it over to multiply and drop it underneath the texture boost. Okay, now, that was a lot. I'm gonna go ahead and call this one here. Here's where you need to be. Texture, boost, layer shadow there. Color, base layer, pixel air background. Their tag curve background. Okay, I'm gonna go ahead and leave this up on the screen for just a minute. Let's go ahead and call this one here because I don't want to push it too far. And then in the next one, we're going to start adding adjustments. But right here, this is the base of your T shirt mock. Um All right, we'll see in the next one. 30. T SHIRT FLAT LAY- Adding adjustment points to the mock up : Alright, folks, let's go and get back after it. So the last lesson we added in this color base layer Now I'm gonna say color base layer. I'm gonna say color base. Do not modify because one of the things you're gonna have to do and one of the reasons I've been pushing so hard is you want to make sure when somebody uses your mock ups, you want them to know what they should adjust and what they shouldn't because it's not inherently obvious by the layer structure. Now we're going to adjust the color. This is something I do. In all my mock ups. I add an HS cell adjustment layer right above the color layer. Now, watch what happens with this any color of the rainbow. You want any level of saturation or d saturation that you want any level of luminosity or darkness that you want? There is not a color of T shirt that this cannot replicate. I do have people that like to shoot each and every individual T shirt that they do. I'm not that guy. Right. So we're gonna rename this hs l there, we're gonna call this modify layer four color Okay, let's do this. Remember, if you're going to sell your mock ups, you won't be there to explain what you should do with your mock up. And if you're gonna use your mock up, you want to remember what you did six months ago? I can't tell how many times I have to go back and re watch my tutorials to remember what I did when I was really paying attention. Okay, Now watch what we did with this shadow there. This is important. If I turn this off, turn on. Turn off. Turn on now. Notice what makes this work the multiply mode. Okay, now, what about this texture boost? Right? Because you said Oh, it's important. But I didn't show you. Why? Watch this. This is a modifiable option. If you turn on this texture boost and we kill the lock, watch what happens now As I adjust this I can get his little of it. Is I want I can get is much of it as I want. So if you really want the grainy look and it kind of matches your aesthetic, use it if you don't, don't. So this is done with linear light Now you can adjust it through the multiply or come up to texture boost. And now you can adjust the amount of texture on this layer to. So I'm gonna call this texture boost. In reality, you and I both know that it's just the high frequency layer texture boost. I'm gonna call this a just using opacity. Okay, Shadow there a just using opacity. All right, That tells them don't switch its position. Don't change the blend mode. Adjust it, using the opacity. So if you have an image that you want to really make that a grainy, gritty type of T shirt because that's what it is in real life, crank it up a notch. If you want to bring it down to make it subtle, take it down a notch. Make it a little more fluffy. So these are the adjustments that make a mock up important. So we got a texture boost layer. We now have the shadow there. We have the modify layer for the color. This thing is becoming 100% modifiable. Now, watch this. I don't need the pixel there anymore. Right here, right. We're gonna go ahead and kill that rent now, I don't need the background there anymore, so I'm gonna move it down below the background. I always keep my original image. Well, what do I do with the tag lair? It's hanging out there. All weird. Watch this boom tag lair up. And you remember when I said that we had to adjust it? If you ever wanted to come in, you grab the curve, you grab your no tool, and now you can adjust it Now that you got a really good solid look at what that T shirt is doing. Okay, awesome. So the tag now sticks out. That's actually looking really good. So let's take a look here. Tag curve. There's your T shirt curve. Now, the next thing that I want to show you here is how to add adjustment points to this. Okay. Now, above the shadow there, I want you to put in two curves. Adjustments. Let's do the 1st 1 The first curves adjustment I want you to do. I want you to take this thing down to an insane level. Okay? We're gonna call this bone. I'm gonna show you my technique for a nondestructive dodge and burn. Okay, so That's my burn. Now, remember, this white thing is a mask. I'm not gonna cover masking because I assume you've got basic affinity knowledge. Remember, White reveals the black conceals. I'm gonna come over to my field bucket and I'm gonna black it out. Boom. Just like that. Now I'm gonna add another curves layer just like this, and I'm gonna make it super large. Okay? Super bright, I should say. All right, let's go ahead and close that. Let's call this Dodge, and I'm gonna add instruction. Paints with white to reveal. Okay, I'm a big fan of when I do these. I put the instruction in the layers paint with white to reveal. Okay, Now with the Dodge, we've got to make that black again to hide it. Look just like that. Now you're saying Well, Jeremy, why did you do that? And then black him out? Watch this. Come over with your brush. You grabbed your soft brush and we're gonna do this here. We put things together. I turned my flow down to about 30%. Sometimes less. I'll go about 10 and now watch this in the areas where I want to highlight the shirt I can come over to dodge. Come over the color, make sure I'm painting white, and now I can lighten pieces. Now I'm doing a horrible job, right? Painting on it. So I'm gonna go controls ed controls, Ed. But when we get into dodging and burning, this will reveal those adjustment layers. So your person who's using this mock up can be precise in their application. Now, I'm gonna show you when I do that. That's a thing for the next lesson, right? What I want to end this lesson with is just an awareness that we've added the modification points that make this thing not just a template, let's say but an actual mock up that is capable of uniqueness. Now, I'm gonna add an adjustment here to the background. I haven't touched the background. Really? We're gonna come over the layer, we're gonna come down, and we're gonna use a life filter layer, and I'm gonna add a little bit of noise. What's add some noise and just a little bit. I mean, not a crazy amount. Just enough to let you know that they got there. All right, Cool. Let's go ahead and close that all right. That's looking pretty good. Alright, folks, let's go ahead. These air, all of our adjustment points in the next lesson, we're gonna show you how to use embedded layers to put your images inside so that we can put the images in there and make it an actual mock up. All right, we'll see the next one. 31. T SHIRT FLAT LAY- Adding embedded images: ski shirt mock up. So we're doing a lay flat T shirt mark up. And the last lesson we did all of the adjustments. So this makes it adjustable. Now, in this lesson, I'm gonna show you how to work with embedded documents. This is what makes smart objects, so to speak, from photo shop transfer over into affinity speak. Okay, so let's do this. Here's what I want to dio I want to go to file new. Actually, we'll do this. Let's create a rectangle and say that we want somebody to put their design right here. Now notice the width and the height. Roughly 1500 by 1000 pixels. Right. You see where it is? There on the lower right hand side of that rectangle. Okay, let's go ahead and get rid of that. Okay? Now we're gonna go to file new and I want to create a 1500 wide by 1000 pixel tall rectangle, and let's go ahead and create. Now, here's what I'm gonna do. I am gonna put the most annoying color of blue, right, because we have a red, uh, red base. So we're gonna go rectangle tool Boehm, we're gonna flood fill this thing. It is going to be atrociously ugly, right? We're going for ugly. So let's go ahead. Make it that color of blue. Okay, Now, here's what I want you to do. Goto file, save as. And now, wherever you want to put it, we're gonna destroy it. Here. Image four. Front of T shirt. Okay. Now, you don't understand why you're doing what you're doing yet. I'm gonna show you. It's all gonna come together. It's safe. Okay. You see, that's right there. Okay, Now we're gonna come up here. We're gonna goto file place now. Usually, I would tell you to place an image. Now, I'm going to tell you to place an affinity file. Okay, so we're gonna go ahead and we're gonna place it right about there. And the reason why we wanted to kind of get an idea of size is so that we knew kind of what we'd be working with. Now, you see that this blue? That's why I chose Blue is below the red. Bring it up between the modification layer and the shadow. There. Okay, Now I'm gonna go ahead and expand my layers tab here. This is probably video. You're gonna want to watch a couple different times. This is what is called an embedded document. Now watch this. Remember how we had this was close it. Now the T shirt mod is the only thing in our world. Right? Watch this. When you double click Boehm, it brings it up is an embedded document. Now, why is this important? I'll show you here. I'm just going to do one. And then I've included a download for an image that we're gonna use. So hold tight. I come over here and I place and let's say for me I put down one of these designs safe from my sight. Right. I've got this image. Okay, so I put this down here and I kill the blue rectangle. Right? Okay. Now watch this. What do you think's gonna happen when I come back to my T shirt image bone? There it is. This is what's called an embedded document. And the reason you want to use an embedded document say on a template is because let's say now that I make an adjustment to this, I want to re color this guy to be read, right? That's an annoying color of red. But you get it. What do you think is gonna happen now on my T shirt bone red. So I can work in the embedded document and the changes will be reflected on my T shirt. That's pretty darn cool. This is what's called an embedded document. And the cool thing is, now, if I went to file Save and I saved this, it would save the embedded document with this file. So whatever artwork I decided to use cool 100% on board. So now let's bring back to blue rectangle. There it is. So, in mock ups, when I do mock ups in each of the modifiable areas, I'll put a knitted on Justin abnormal, ugly type of icon here saying, this is where my embedded document iss. So I'm going to say double click to add in your artwork. This is where I want you to put your artwork right? Because now, if you're reading my mock up and you're saying Okay, cool. So I double click here. Yeah. Ah, put my artwork in there. Okay, Cool. And now it shows up here, make sure you kill the blue out of the rectangle in your original document. Right? So this, my friends, is the most important piece for them. This is where they're going to put in their image. Okay, that's what an embedded document does. That's the power of an embedded documents. Now it makes this file little bit big. So let's try this again. Here. Now, I have a download that you've got here for the roadway. Roadway records, space shuriken talk today. File place. Now, I'm just gonna go ahead and find yours here. We've got section four downloads and there is the T shirt boom. Just like that. Now, make sure you kill the rectangle. All right? Don't need the rectangle anymore. You could delete it if you want. All right. And there's my roadway records T shirt. Okay, let's go ahead and put that large and in charge. Okay? Now you see how it's wrapping around some of this area. This is one of the reasons why the location is important. As I'm here in the multiply layer. Watch what happens if I start kind of bringing this in a little bit. You'll see how in some areas I'll turn this off its lending. It's shadow to this layer. So its location here below the shadow is key. Now we're gonna dodge and burn it, and we're also now going toe liquefy this. Okay, this is something that you cannot necessarily put in your template. This is something your user's gonna have to do. So I'm going to make sure that I've got this here, and then what I'm going to do is I'm gonna come in and I'm going to liquefy. Now it's going to tell you you need to double click here to add in your artwork, which means going to do this duplicate. I'm physically going to turn this off, and then I'm gonna rast arise my design because I know which design I want. And now I come in and I liquefy. Now when I go ahead and tuck that in a little bit, took that in a little bit. It's like that in a little bit. All right. Looks pretty good. Now, one of the tricks here in the areas where you're going to want to put your shadows. You see how this shadow swings across here? You're going to want to kind of push some of this up and down in so that it looks like it should be there to see how I'm gonna pull in this up into here. Bring let's go ahead and drop that down a little bit. I didn't drop that down into here. All right? So don't go too crazy, cause then it'll make your peace look like it's half finished, but a little bit of difference there is going to make all of the difference in terms of believability. And let's apply. All right, so we've got our image on there. Cool. We've got a purple shirt with a orange image that is atrociously bad. Let's modify it. All right. I want to kind of make it. Let's go with little gray here. Um, now, let's go. A little bit of orange green. Yeah, kind of like that. Yeah. Yeah, it's kind of cool. Now, let's lighten that thing up a little bit. There may be dark in Italy. Yeah, that looks pretty cool. That looks like it should belong there. Thus the power again of the modification. There. You see how I modified it? All right. So while I'm here, I'm gonna add the noise into the background layer only. So you see I moved the noise inside the background Where? All right, So the good news is you now know how to take an embedded document in. And as you change this document, your template will change. And when I go to liquefy, that's when I rast arise it. And then this is my new norm. All right, so I think that we're good on this one. In the next one, I'm gonna modify with the burn and Dodge. I'm going to then show you how to color code and finish. OK, so let's go ahead and move into the next one and were very close to the end here. I've got two more lessons for you, and then you'll have a completed mock up. All right, we'll see the next one. 32. T SHIRT FLAT LAY-Adding shadows light and final adjustment: All right, folks. Welcome back. So what we're gonna do in this lesson, I'm gonna show you how to do the dodging and burning using these layers. Because regardless of where you place this image and what this image is from the embedded layer, you're still gonna have shadows in the right spot. But the person who's using your mock up may want to change those shadows because maybe it interferes with their design. So I made him 100% modifiable, but we just want to make sure that you know how to use them. So let's make sure you have the white color. Make sure on the burn layer, which is going to make it dark. And I'm gonna crank my flow down to about 11%. So this is a very, very low flow. Okay, Now, what I'm gonna do is I'm just gonna take this, go into the design there a little bit. All right, So and again, I got my flow pretty low there. What I'm trying to do is blend where the design is with my shirt. So there somewhere where this thing should see a crease. I wanted to see a crease. Okay, now, if you want to. You could, and I say could let's go ahead and move this down to 5%. You could do something with the creases here, too. That aren't so. You wanted to make that a little more pronounced. Feel free to make that a little more pronounced him. Now, one thing that I might do here. This is just one of the things you finish up your mock up. I might go ahead and reduce the saturation off my image. So because I vector I rast arised it. I'm gonna have to do with low tech way in the high tech world. I would definitely just change my embedded. So let's go ahead and drop the saturation just on their change Lightness A little bit. All right, good enough. Now what I'm gonna do here, just toe, keep it clean. I'm gonna rast arise that I know that that's destructive. All right, now let's go ahead and go to the Dodge layer. Come back with our brush, come back to her color of white And this is why I keep my layers panel out through the whole thing because it gets terribly confusing. I'm gonna keep the flow down. And now I'm gonna think about where the light is gonna hit my design. The light's gonna hit my design on that side. Okay? And then if there's little spots in my design that I want to just add a little more light to, I certainly can. Okay, a little goes a long way, right? Do a little bit and then see how that works. Always be changing levels. Two. To see how that looks overall, quite happy with that. Now, what about this wacky texture boost here. Notice that as I get a little bit crazier here, I can bring up that texture boost, and it actually adds to this image. So texture boost. About 68% shadow layered, 100% burned. Dodge Done. This thing is looking pretty sweet. All right, so now I think it's time to go through an ad. The shadow. So there's two ways you can do this. Let me show you the non scientific lazy man's way. If you go and collapse the master curve layer and we call this the shirt all right. Cool. Look at that. I just change it, So make sure you if you're changing it involved in long at home. You do that, you can come up to effects. You can add an outer shadow. And now, when you shot this thing originally, that's one of the reasons why I wanted consistent light. You have to decide kind of where this shadows coming from. So go radius offset. Now here's a pro tip. The greater the offset, the higher up the light is right in terms of striding down on the side. So if the light was right above, you'd have minimal shadow. If the light is down almost level with the thing, that's gonna be a longer shadow. I don't like this option because I can't shade it. I do see some people use it, but I think that it's amateur hour. I'm not a fan of the outer shadow. When it comes to mock ups, I'd prefer toe hand, draw them. So that's what I'm going to do for you. We're gonna come in with the pixel air and between the background and the shirt. I'm gonna call this shadow now we're gonna grab the black, we're gonna grab the brush, we're gonna come up here and I'm switching over to my Wacom tablet. You can draw shadows without it. I don't want to. All right, so make sure black is selected. Now, notice how I'm just grabbing the side of this brush. And I wanted to look like this thing is pretty darn close to the table that it's on, so I'm just gonna put a little shadow on there. Hopes that last one went a little far. Just like that. Trying to just make it look like it's slightly off. I'm gonna grab right around this hoops right around this area here. Okay. Okay. And now we need to turn it down even further. Let's drop it down to, like, 5% air. We go now. We getting somewhere. Now you can make some mistakes and not feel terribly bad about it. All right? Cool. That looks pretty good. So we added the shadow. We added this. The last thing that I want to do now is I want to create a lighting layer. Now I do this in my mock ups. If you don't want to do this, you don't have to do this layer life filter, layer lighting and it's lighting over everything. Lighting is going to be universal. And for this because I wanted to be an all over light. I'm gonna go ahead and do a point light. I'm gonna shifted just a little bit there and I'm going to begin to turn it down. So I'm going to defuse it, turn down the speculator a little bit, and so I like to put mine right here. This is totally up to, by the way, your interest in your brand. So if your brand colors are pink and purple and you want to do a pink and purple light Awesome, I'm gonna go ahead. I'm gonna try to kind of get away with maybe some of this because I want a little bit of interesting light. But I don't want to misrepresent the color of the shirt, so I always add it. If you hate it, you can just turn it off. If you don't want to put it in yours, you don't have Teoh. I like it because it tends to make a little bit more sense when it comes to the peace. It's just a matter of getting to a point where you're happy with it. Okay, so it's in there as a modifiable there. My mock ups are all about 100%. The ability to be modifiable for your individual needs. All right. I think I'm good with this. In the last lesson, I'm going to show you how to label this color coded, exported, and we'll wrap this thing up. All right, we'll see in the next one. 33. T SHIRT FLAT LAY- Finishing the labeling: All right, folks. Went back to the last lesson on this thing. So we're pretty close to done. The one thing that I might do here, just for giggles, is I might go ahead and I might group the tag curve. And this shirt, Let's go in group, um, and then to the entire group. I'm gonna go ahead and apply NHS l adjustment. And I want to maybe drop the saturation ever so slightly on it, Change up the luminosity a little bit. I think that we're pretty good there. All right, that looks pretty good. That's a subtle thing. I just kind of felt that I wanted to do that there, and we can call this the shirt I can't spell today and tag group. Okay, so we are officially done with that. Now, the last thing we're gonna do to make the mock ups usable. This is just my color coding. You can do whatever you want to do. I adjust these areas here, the description of layer and I color code them. So for me, the lighting I'm gonna say adjust overall seen light. Okay? Because that's what you're gonna do with it. And it tells it. It's a lighting layer. And then I'm gonna come down here. You double click on it. Oops. Sorry. You right Click. And I like to use gray for anything that is a scene adjustment. So I'm gonna call this one here, adjust the saturation of the shirt. Yeah, of the scene. Sorry. Okay, go. Now. When I come into here, the gray again is foreseen. Adjustment. Now what I have here, anything that's a modifiable piece is red. So I'm gonna come in. I'm gonna right click, and we're gonna go read on the tag. We're going to go read on this shirt. So what? I'm communicating here to these people. Whoever may be using it is these are the pieces that you've got. And in my written instructions, I actually include this color code. No. So the red is done. Awesome. Now let's go yellow. This one is going to be on optional. Right? So when we have things that are yellow, let's say, let's go into the shirt and I'll show you how this works. This should be yellow because it's optional hoops. Let's not be selected, okay? So you can dodge and burn, right? So actually Let's do this. Let's makes the texture layer the only optional. Let's go ahead and make this purple because the purple I used for anything that is mask. So if you ever get one of my templates, you can tell that if it's purple, you're drawn a mask on it, right There we go. And the texture boost is optional. Okay, now shadow there. That's a modifiable piece, right? The double click that's going to be right here. You remember that? Enable document There anything that I have there, I make blue. My blue is for any sort of embedded layer. Now I'm gonna turn it off because I wanted to be that rougher because I did put the pixel aren. But when you get a template for me or if you make your own, I highly recommend in affinity photo that you make one color for anything that is an embedded layer. This right here is a modification. So we're gonna go ahead and make this a yellow, because again, that's a modification. That's a modification. All right, Now the shadow there, I'm gonna go ahead and I'm gonna put a green on it. Green is anything that is hand drawn. And, of course, the background has this modifiable on it. Okay, now, notice I didn't put anything in the background. This is Don't touch it. Don't mess with it. Don't even look at it. Pretend it doesn't exist. But I do keep the end level here in each one of my mock ups just because you never know. So if I'm looking at this year, the shirt and tag group needs to be opened out and the tag curve we've got this. Let's go ahead. And yep, that's a modifiable piece. The shirt area. I know which ones are optional. Which ones are modifiable? Which one's your mask? All right. And the blue one is the most important. Okay, so when you get that template, if you use this one, if you make one, make sure that your reader knows what it is and knows how they interact with it. OK, that's the last time. I'm really to say that. I hope you got it by now. Let's go ahead and call it on this one, and then we'll get into another mock up 34. BUSINESS CARD FLAT LAY- Shooting the business card flat lay : All right, folks. Welcome back to the course on mock ups. So in this mock up, we're gonna be building Ah, lay flat mock up for a business card. Now, I realize that some of you may not have business cards, but if you do, you can use any business card. So I'm gonna take these from any company of USA, right? They've got some text on the front of him. But you know what? Turns out we're going to use in the back. So if you don't have business cards, cut yourself a 3.5 roughly by two inch business card. Different if you're in other countries. I understand every country has their own unique style for business cards and their sizes. And now this is one of the areas where I want you to think about the mock up. So if you are, say, putting together a business card as an example for a museum, take a look at the colors that you're going to be using. Take a look at the font you're going to be using and think about what the user of your mock up wants to be able to communicate about themselves so a lot of times with business cards, if I'm gonna make one for an artistic business, let's say I've got my composition notebook. You may have seen that in other areas of this course. I've got some smaller items here. Just some very simple clips. I've got a coffee cup, I've got a computer. I've got it set of glasses and I've got a bunch of colored pencils. Not why color pencils you ask because if you know the colors that you're thinking about using inter mock up, you can create colors that will be complementary to the colors that you're using. Now, if you're not sure you want to use a muted colors, right. So as an example, I would never take this bright orange and put it in a mock up. Because if somebody is using like a dark purple, it probably wouldn't match their brand. Or if they were using a very soft yellow, they wouldn't want something very bold. So the way I would think about it. Think about your tones. Think about the colors that you're gonna use the Hughes and then think about what the user wants to communicate with their brand. We're gonna be doing a relatively creative one. I wanted to be generally black and white with just a splash of color. Now remember, the important thing in the mock up is the amount of surface area that you're showing and business cards have in front in the back. So position the cards in the front or back the way that you think it looks good and you'll see that my composition notebook keeps opening up, so you might have to go ahead and take that down. Or just like I did with the glasses, it might be advantageous than to just put something waited on it as an example. Something like that Coffee cup might work out really well in the mock up. Now remember, less is more. I have a lot of different things here. You'll see in the image that we use in this class that I may not choose to use the computer . I may not choose to use the glasses. I'm going to kind of test out different areas of composition to balance the areas that I'm looking for in my mock up. So when you do this, remember your odd rule, right? Traditionally three objects is best, and you want to really work with objects of varying size. I also need to be ideally immediately identifiable as what the objects are. And they need to tell a story when combined with your business cards. So I'm gonna go ahead and I tend to be working in say, teal, I really like teal. I really like purple, and I'm gonna go ahead and just kind of stick with these two, and I'm gonna kind of position them so that we see a majority of the mock up, but they're going to clearly be in the shot. So I'm gonna go ahead and middle ranges on the table, we're gonna go through and I'm gonna take the shot. And then in the next lesson, I'm gonna show you how to edit the shot. All right, We'll see the next one 35. BUSINESS CARD FLAT LAY- Adjusting the raw and creating the curves: bar again and welcome back to affinity photos. So we're gonna be doing a business card mock up. So I made an executive decision after I went through and shot this, that I removed the clips over here. So it's got everything else. We just went ahead and removed the clips. Now, the first thing that I'm gonna do, because it's wrong, we've got some light coming from this area that may be cast in kind of a hard shadow. So I'm gonna go over to my basic paddle. I'm gonna go ahead and crank up the exposure a little bit. I'm not going to do a lot because I want to be able to fix it into the photo persona. I want to turn the black point up just a little, and I want to kick the contrast up just slightly on here. All right? Now, I also want to go in, and this is going to require you to kind of dig in a little bit. Let's go to the magnifying glass. You see some of the noise that's picked up that's going to be loom in its noise. I'm going to go ahead and I'm going to crank this up to around 24%. And you really want to be careful? Because the more you kick up that annoys ing, the more sharpness you're gonna lose. So I'm gonna say, right about 35% is good right now. That will do. Now what I'm gonna do here, I'm going to go ahead and I'm going to shrink this down. Now, remember the intent. The intent is to capture the business card as the front and center element. So I'm just gonna go ahead and I'm going to capture the business card in here. And I'm going to probably shrink this down even a little bit past there. That looks pretty darn good. Now what do I have here? I have enough of the composition book, Let's say to make it identifiable. I have enough of the sunglasses to make it identifiable. And I have enough of the laptop leaving me some open space here. Now I have the teal and purple pencil here that's by design. Let's go ahead and click on develop. Actually, let's apply it. There we go. That looks pretty good, right? And let's go ahead and develop. All right, here we are gonna go ahead and file, save as I'm just gonna call it the base image. You don't have to do this, but I don't want to lose this and then have to reshoot what I'm doing now. The reason I wanted to cover this a lot of times with mock ups, especially with business card mock ups, for one reason or another, they're almost stark white. We've got a little bit of yellow tinge. So this is really shot in a way that it was going to require us to use a white balance adjustment. Now, we're gonna come down to the picker, come over the picker, and I'm gonna pick something that should theoretically be white, which is these business cards, right? So let's just tap on that and you'll see the cast that then comes off it. You see how this little thing over here went toward the blue side? Looks pretty darn good. Now I want to crank this up a notch even further. So what I'm gonna do here? I'm gonna come over here and we're gonna add a curve. I'm gonna add a contrast curve here, so I'm gonna kind of turn down the black a little. And I'm especially going to turn up the white almost to a comical sense. You see how that got a lot brighter. Now, this is taking care of our white whites. Let's go ahead and turn up the mid tones just a little bit. You see how we can adjust the mid tones? I think that this is going to give us the contrast that we want. I'm quite happy with that. Let's go ahead and close that. Now, the next thing that I'm going to do, I'm gonna add a levels adjustment. So my goal here is to work the white and black areas to the point where I've got something that