The complete guide to Affinity Designer 1.7 Volume 4 - Pixel Persona | Jeremy Hazel | Skillshare

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The complete guide to Affinity Designer 1.7 Volume 4 - Pixel Persona

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

19 Lessons (2h 1m)
    • 1. Intro to the series

      0:50
    • 2. Introduction to the Pixel Persona Interface

      4:04
    • 3. Basics of selection volume 1- The selection brush

      5:35
    • 4. Basics of selection volume 2 - marque and menu selection

      7:05
    • 5. Basics of selection 3 - Lasso selection

      4:46
    • 6. Pixel Persona Selection Challenge - Photo adjustment

      5:29
    • 7. Pixel brushes - Basics and import/ export

      4:16
    • 8. Adjusting Pixel Brushes

      4:53
    • 9. Pixel brushes Creating a pixel brush - Basic round brush- making a bokeh brush

      6:57
    • 10. Creating and intensity brush-Making a fog brush

      8:12
    • 11. 1.7 Update- Sub Brushes in pixel

      7:06
    • 12. Smudging blurring shaprpening dodging and burning

      7:04
    • 13. 1.7 update symmetry in Affinity Designer

      4:46
    • 14. Making your flame brush

      11:33
    • 15. Making your smoke brush

      7:51
    • 16. Setting up the project

      7:43
    • 17. Making the flame

      7:03
    • 18. Crafting the smoke

      6:39
    • 19. Setting up the backlighting

      9:13
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About This Class

Welcome, welcome, welcome to the biggest and best course on Affinity Designer out there on the market, and what a time to be alive. Affinity Designer is quickly approaching more well known programs like Adobe Illustrator and 7th Season Studios is proud to partner with Video School online to being you the class that taught over 10,000 students to use this amazing program. plus with the upgrade recently to 1.7 it has gotten even better 

This is a 6-part series where we take the program in small bite size pieces, so wherever you choose to drop in we guarantee the best experience learning this amazing software.

In this section we will cover the basics of this amazing program and the fundamental building blocks of shapes, including:

  • Basic Pixel based art techniques 
  • How to work with pixel based or raster tools to add texture and style to your art 
  • We teach you how to make Pixel based brushes to use in your digital art 

No experience and brand new to Digital art ….no problem, Affinity Designer and 7th Season studios can get you up and moving in the very first class….included in this we cover

  • A complete project 
  • My complete working files to follow long with and use for your commercial projects
  • Access to myself to help you long the way
  • A complete step by step of PIXEL brushes ...and an awesome piece of digital art

Meet Your Teacher

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Jeremy Hazel

Education Through Creation

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Transcripts

1. Intro to the series : all right and welcome to Affinity Designer. The Complete Guide of Affinity designer here on skill share. We've taken our most popular course highly rated, and we've broken it down into six individual lessons here on skill shares so that it's easily digestible. So there is a hierarchy here, and we started off with Volume one, where we talk about the basics in the shapes. Then we're gonna get you into vector art. Then we're going to get you into pixel art, and eventually you'll get into text. Now, if you dropped into the middle of Siri's don't worry, you can still learn the techniques you need to learn, but we will assume that you've got somewhat of a grasp on affinity. Designer. Now, if you need help with affinity, designers certainly check out Seven Seasons studios. We've got a basic tutorial out there to get you up and running. It's about an hour long. Other than that, let's go ahead and get into affinity. Designer. The Complete Guide of Affinity Designer 2. Introduction to the Pixel Persona Interface: All right, welcome back to a Finnish designer. So in this lesson, we're gonna take a look at the pixel persona. Now, we're about halfway through this mega course, and so we've taken a look at Vector Art. We've taken a look at the artistic values in terms of effects. We've taken a look at styles, blend modes, all of that. Now it's time to focus on pixel art. Now Bixler is one of those things that if you do any sketching, I always like to sketch in pixel and then finish in vector. That way it's scalable. So let's go ahead and take a look at the pixel persona here and see how it differs. Now we're going to spend a lot of time right now on it because we've got honestly about 20 lessons on it, so you'll see that the toolbar over here for pixel persona is significantly different. Now you've got the same move tool. But then you got these weird ones here. These little dots, right? Those air called marquee selection tools and selection in a pixel persona is absolutely key . So, as an example, when I come over here and I'm in Vector and I grab a line like this, right? Let's go and crank this line up a little bit. When I select it, I can grab the shape or the line, or I can grab the nodes, right. We've covered that in depth. Now let's see how that differs in the pixel persona. When I come over here, I grab my paintbrush and I go to go ahead and say, Paint a line here right now if I go to grab it, I'm not really grabbing the object you'll see here. I'm grabbing the layer and the problem is with the layer. If we zoom in super duper close, we can see that each one of these pixels has some information. So in order to do this, when we select, we have to be able to select the pixel. So the name of the game in pixel persona is selection. Think of it this way, Right. Vector selects the objects and adjust the nodes pixel. You have to grab every single individual square of that color. Now there are some tools they gave you. You've got the selection brush. You've got the free hand. Select. You've got these marquee tools. We're good to go there. We've got entire episodes on selection. There's the brush tool in the erase tool Now, because this is pixel based. Watch this. If I'm on the pixel air, I can come over and I can begin erasing. So the brushes work on a pass. It you see, over here in the context toolbar. I'm coming up and I'm erasing the pixel. Now, if I was to select watch this, I could still select the layer. It's just missing all that information now. There are other things like flood select. And then there's dodge and burn. Now these come from the days of photography. And if you do anything with photos, you're familiar with the dodge and burn process. Dodge makes things lighter. Burn makes things darker. So you grab the burn brush, you come up here and you see how that black got a lot blacker right there. You've got the smudge tool, and you can absolutely smudge away those pixels. So resume in. Let's see what's happening with that. The smudge tool, by the way, folks is one of my favorites. All right, now we've got the blur and we got this sharpen so you can blur out. Some of these mawr find edge things. You got the ever present color picker, the View tool and Zoom Tool. All right. Now, as always, every one of these tools has its own unique context. Toolbar. I think that's enough theory on this one. Let's go ahead and get into the basics of selection, because when people struggle with pixel persona, it's 100% due to the fact that they're struggling with selection process. So let's go ahead and get into it. I know that the selection process is not gonna be the sexiest thing out there, but your ability to select based on your image is absolutely essential to use succeeding in the pixel persona. All right, let's go ahead and get it into the next. 3. Basics of selection volume 1- The selection brush : All right. Welcome back to Infinity Designer. This is gonna be the lesson on selection. So in order to make this happen, let's go ahead and put some stuff down on paper here. I'm gonna grab the paint brush tool, and I'm coming down to whatever brush you guys would normally have here. Let's just go to basic brushes. I'm gonna grab a basic round brush, and now I'm gonna use my right bracket key to crank this up. I'm gonna grab a red color, and now I'm just gonna go ahead and put down a solid patch of red here. Let's go ahead, not go all the way to the edge. Let's just go ahead and do that, all right? Now, remember, pixel layers work on layers just like every other digital art. And so you see that the red layer is here. Now, if I come over with black and I grab another brush now let's grab a brush you guys have here. I'm gonna come up to the spray paint brush, and I'm gonna grab the black spray paint. I'm gonna go ahead and crank this bad boy up, and now I'm just gonna go ahead. I'm gonna put a little bit of black all over this thing here. Right? All right, So you got ready. Got black. Now, let's look at the lair structure because this kid's people turn sideways. This is on the same layer. Now, you remember how I said Vector was about selection and our pixels about selection and vector was about nodes and the object. You can't separate the black from the red at this point, it's on the same layer. We don't have that problem vector. So the pixel persona is 100% based on selection, and we're gonna cover a majority of the selection tools that we're gonna need. Now, the tool that I'm gonna show you first here is the selection brush tool. Now, this is my go to This is done for about 90% of everything that I do. And the reason is it's got two modes. Add and subtract. So think about this. You're gonna add a selection or subtract from a selection. You've got the width of the brush and you can use the right bracket or the left bracket key to turn it up and down. And I'm gonna leave snapped edges on Now watch this. I'm clicking and I'm dragging. I'm in the ad mode, and now you see how snap two edges was on, and after a little bit, it picked up that nice, firm, crisp edge. Now it didn't do such a good job over here. Now we have to come back through and we subtract. Now watch this. If you just rim along the outside and snapped edges is on, you'll get a really nice clean selection. So you see the marching ants I'm gonna use that term that the highly technical term, by the way, the marching ants. I'm gonna use that term time and time again. And now with this selected, you can refine it. So let's say it does a decent job, but not a good job. Not the best job you can say affinity. Designer refined the selection for me. And now the world goes red right near like, what is that? You have some adjustments here and you'll see that there's a little white halo down here. So let's go ahead and come over here and you see the alias sing here. We're gonna come over, grab our brush again. We're gonna ask it to refine. And now we're gonna crank the brush down. We're gonna ask Affinity Designer, do a better job in finding this edge and you'll see that it got a little bit closer so it will refine the edges slightly. And then when you're good, you can set the output. Now, if I wanted to make this a completely new layer, watch this. I can apply it. And now what just happened there, folks? You remember how he had one layer? Now there are two. I mean, rocket science. Right? Go ahead and turn off that layer. Turn that on. Turn that off. Turn that on. Turn that off. They see didn't quite know what to do with that spray. So sometimes the selection tool is a good option. But when you have over spray or you have complex images, it may not be the best fit. So that's the selection brush. And I'll tell you the secret to success on a selection brush just to let you know if you're on a lair and we come to add and we bring this in If I shrunk my brush down and I zoomed in , I would be able to get really surgical with this thing. So my advice to you use the smallest brush possible. Take your time in tracing the line. You see how nicely it sees that shape. Once I kind of get into it. And then if I wanted to, I could even reduce my brush further. I could zoom in further. I could come up with my selection brush, and I could subtract it out to be absolutely precise. All right, so that's a little bit on the selection brush. You use it when you have solid areas of solid color and you want to select them. All right, let's go ahead and get into the marquee selection. That will take a look at the free hand selection. All right, seeing the next one. 4. Basics of selection volume 2 - marque and menu selection : All right. Welcome back to affinity designers. So this is gonna be our second lesson on selection. In the last one, we looked at the selection brush toe. We also looked at the context to a bar to see what we could do with it in this one. I want to show you these tools, which are gonna be the Marquis Tools. And I also want to show you a little bit on selecting and adjusting here into the selection menu. So let's go and get started. This style of courses in your downloads, right? We've been working with this in the last one. A marquee selection. Let's go ahead and just click out a circle. Ah, why didn't that work? Now I want to make sure we're on the pixel layer. And now why didn't that work? We need a new selection. There. We go told shift and now we get this type of circle. Now, if I wanted to paint inside the circle, I absolutely could I come over here? What's painted green, and now you see that it's beginning to even show up here Now, this is not a vector shape, right? This is not a vector. shape. You see that? I didn't leave the layer. So unfortunately, if I was to just de select this, I've now painted on the same pixel air, so be very careful of that. Now let's come up when we're here and let's take a look at what we get here with this marquee tool. You see how there's the marching ants here? We're gonna go ahead and we're going to de select now. Once you de select, it solidifies that as the pixel information it has and you can't really go back without control. Undo. So now the marquee tool has a couple of the things. Let's go ahead and grab this section, All right, so just drug out of marquee. I'm on the pixel air and it's a new selection. Now I can add to the selection. Let's say I want to grab this and now let's drag a new selection here. I want to grab this and I want to add this. Now, look at that. I got this l shaped bracket Well, now I want to subtract this. You see how I just subtracted this out and you see the marching ants running this way? Now there's a weird one. Here, watch this. If I grab intersect and I drag out of marquee now it will Onley grab the weird intersection points between the old selection and the new. So now, once I've got this, if I was to say color on this now, let's go ahead and color on this. Did we leave the pixel there? Nope. So the minute I d select of what's gonna happen de select. And now this is locked in in this pixel air I have irreversibly or destructively done some damage. Now, if you're thinking about doing that and you want to do that Awesome, I tend to work non destructively. All right, so this is a little bit on the marquee tool. Let's do one more here. Now, this what is called a row Marquis. In order to do this, you've got the same modes available. Let's start a new selection. And now we're gonna go to the road and I'm gonna make it a 24 pixel row. Now watch what happens. Ah, look at that. It allows me to select a row. This is super good when you're doing very precise work and you're gonna be down to the pixel once you get here. Now, if you made an adjustment, let's say we painted this red again. It's destructive. You can't go back. Let's go ahead and select De select. And now this is locked in. You cannot go back. All right, so that's a little bit on the marquee tools. This one is just the vertical column selection, which is the version of this. Each one of them, as you've seen here, does have the different modes. There's something called feathering. Also, feathering is you count the number of pixels and you get a little bit fuzzy. We do this a lot in photo work because you don't want a hard edge between your foreground, your background. So you're gonna want to make sure that you've got a feathered edge to keep from looking kind of cartoony and weird. All right, Now, let's go ahead and take a look at the selection menu real quick. I just want to kind of show you how this works. We've taken a look at select. All right. We've taken a look at de select. You can invert a selection. Let me show you how this works. Come down to here and let's say I want to grab this piece here and you see, the marching ants have selected everything inside the circle. If I do this and I invert now, it looks like it's the same. But look at the marching ants that have arrived outside. What this means is, if I go to flood, fill this bad boy, let's go ahead and flood fill it. You'll see that all of the pixels outside the selection then start turning. Let's go ahead and bring that back out. Now let's go ahead and take a look here. We can then select based on color range. So let's go ahead and de Select has come up to select. And let's grab the Reds. Notice how I grabbed all the reds. If you have a photo that has, say, a sky blue background, this is a super good thing for you to work with. Now you can select based on tone if you've got mids, shadows or highlights, and I know this is not a photo course, so we're not gonna go too far into this. But let's take a look at how you can adjust this. Now we've selected all the Reds. Let's go ahead and feather it. Now watch what happens. Gonna zoom in here. All right, We're gonna go ahead and zoom in just like that, and I'm coming up to select, and I'm gonna feather this and it works on a number of pixels, so watch what happens. You see how I'm eating into the green? That's feathering the selection so you can feather the selection, and then if you like it, you can go ahead and hit. Apply. And now this is the new norm. All right, Now, the last thing that I want to show you here on the selection, you congrats. Oh, or shrink the selection. Also, this is a little bit more extreme. Watch this. Now you've got the growing in the shrinking off this mask. So we see this a lot again. And photo work where you've got a foreground background you wanted to say, Zoom out or grow or shrink by, say, two or three pixels just to make sure you don't get the backlight. All right, so that's a little bit on selection. One of this kind of show you some of the tools that are involved, but there is no substitute on selection for actually doing so. Let's go ahead and take a look at this lasso tool in the next lecture, and then we're gonna get into a challenge. All right, we'll see the next one. 5. Basics of selection 3 - Lasso selection : All right, welcome back to a Finnish designer. So in this lesson, we're gonna be going ahead and we're gonna take a look at the last So tool. Now, the lasso tool here is like called a free hand selection tool, so it's not as clean as it necessarily could be. So let's go ahead and look at the context toolbar here first. The first option you have is just a strictly freehand. Now I'm just clicking and dragging. And if I find a piece that I like, I can now click and move it right. That's a simple a zit. Get folks. This is the purest form of selection. We do this a lot when we're sketching. So let's say that I might have the nose into place that I really don't like. I can absolutely select the nose and then make it bigger or smaller. Freon selection is really good when you're doing sketching. Now the other option that you've got. Let's go ahead and de select that you've got what is called polygonal and you click, click, click, and it only does straight lines, so polygonal selection mode is really good. I didn't make sure selected. There uh, is really good for making sure that you've got squares circles or when you have to be precise and cutting out shapes. The last one is a mode I don't use very often, right. This is gonna be magnetic mode, this one. You see how it's hugging the edge of the shape. It tries to find it for you. We see this kind of like a magic selection of magic lasso selection, and you'll see the existence of notes, and you don't even really have to click. If you just go ahead, click follow through. It will grab the selection. Now it's very similar to the selection brush. I don't use it a lot because I find that if I'm already at this point, I'm going to use the selection brush now you can always add, So let's say you've got the same modes. So if I've got this already selected, I can then add Go ahead and add this as a selection. All right, Perfect or I can subtract. And of course, I can feather and refine. We've already covered the refinement, so this is kind of that Freehand lasso selection tool. There's not much more to it other than this. Hey, I've loved to say that I could make it more complicated, but I can't. So you see here the same tools that we have before I'm now painting in black and now with my selection, if I come down here, I can paint this too. So now let's say I want to add to the selection. I come over to my lasso tool. Let's go ahead and stand magnetic mode because I don't want to go over to my selection brush, and we're going to come over here, all right, And then once we've got that, we can now paint inside of that as well. Now the spot where this kind of cause I breaks down and your going, why did we do all of this over here? Affinity designer does not have a great way to do a magic select. Now that's the magic wand that you guys are familiar with from the Affinity photo program. It doesn't have that yet, and so when we look at things like this, it's not very clean. If I was to try to use the lasso with the magnetic tool right here, you'll see it doesn't really do a great job with the unknown. So my advice for you is if you are working in pixel art and you need to be pixel precise in your selection, do affinity Photo Select D Select or one of your options, then, is to come up with the lair selected. Select the total range, Select the shadows Now notice. We filled everything in black. Here it's grabbing the dark of darks notice. It's not grabbing the mid tones, so it's not really clean. It's better, but it's not perfect to get pixel perfect on here. You really have to dig down to an area in which it's relatively ridiculous. All right, that's a real short one on the lasso tool. I usually use the during sketching, and if I'm gonna use the magnetic selection, I'm going to go ahead and I'm going to use the selection brush. All right, let's go ahead and get into a challenge and see what's up 6. Pixel Persona Selection Challenge - Photo adjustment : they are a gang. And welcome to the selection challenge. The selection portion of a pixel persona is very, very challenging. So I've included these two images in which I would like you to isolate the image. And then I would like you to apply a color change or some sort of an adjustment layer. So if you get stuck on how to do it, go ahead and skip to the solution. I've included the downloads for these two images so you can follow along. And at the end, I just want to see if you can work with selection tools in order to isolate the foreground images so we could take the next step. All right, we'll see inside the challenge skipped the solution. If you get stuck, have a good time. All right, welcome back to the challenge. So I'm gonna show you how I do it, and you don't have to do it this way. But if you get lost in such, this is the way that I have found it best to work An affinity designer. I don't want you to think, though this is the only way to do selection. All right, let's go ahead and go file place and wherever you decided to put it. Let's go ahead and download these things here. Let's go ahead and start with the sky replacement here, and we're just going to click and drag. And now I'm gonna go ahead and rotate this out. Now, this is an unfiltered, unedited photo. So don't Don't worry about my photography skills there. We haven't done anything with this, all right? So with this selected, this is an image. Now, in order to do selection on an image, you have to do something called Rast Arise. So in order to do this, we're coming over to the layer and we're gonna go ahead and we're gonna rast arise the layer. Now, as soon as we do that, it becomes a pixel there. So we could do a simple sky replacement. Let's go ahead and stretch this out. I know that I'm messing with the proportions on it were to come up to select, and we're going to select a color range and we're going to select the blues. All right, so that gotta started. Now there's a couple different ways we can do it. I now come over to my selection tool, and I'm going to subtract from said selection, so notice I've got snapped edges on. So I'm just painting inside here. Now, I'm not gonna get terribly close to the wing, because you got the idea here. This is not rocket science, all right? We're just kind of pressing out. And again, if I was doing this for real, I'd be a lot more precise with it. All right? Sounds good to me. All right, now what we're gonna do now, you guys know about adjustment layers, right? Let's go ahead and add an adjustment layer and let's go ahead and re color. Let's go ahead and make this kind of a greenish color here so we can absolutely adjust the sky. Now. I realize this is a pew key type of rough adjustment, but you content the sky a little bit different color here and you'll notice it's only affecting the sky. Now we could do the same thing here. We can come over and we can do a brightness. So let's go ahead now at another adjustment layer, let's go ahead and add a brightness and contrast adjustment to it. Let's go ahead and crank that down a little bit there. Crank up the contrast a little bit. All right. For horseshoes and hand grenades. I'm happy with that. Now, once you're happy with that, you can go ahead, come up to select D Select. And we have a completely different look to this. All right, Now let's go ahead and do with this flower here. We're gonna use file place, and now we're gonna come down here. This is an image file again. So let's just go ahead and try to draw on an image file. You'll notice nothing happens. You have to come up the layer and you have to rast arise. We goto layer rast, arised. Now that we have a pixel air now we can go ahead, make sure you add to the selection. And now I'm just coming around the outside. I'm not being terribly precise with it, but you see how snapped edges is doing actually a really good job. And now we come over just to make sure we're good. Let's go ahead and we can re color it. You know what I'm gonna do, though? I'm gonna show you something else. We're gonna come back to this layer or income to adjustment. And now let's go ahead and throw up on hs l adjustment. So we're gonna kind of saturate this a little bit more, make it a little bit lighter, and they're gonna crank that down just a little bit deeper. All right. Cool ones were happy with that. We can go ahead and de select it. And now we've got a very simple photo done. An affinity designer that looks a lot better than what I took on the stairs. All right, that's a little bit on selection. I hope you did well in the challenge. I hope you got to use some of these tools. We're gonna be using selection quite a bit in the projects coming up. So I wanted to give you a challenge to get you started. All right, let's go ahead and get after it. Get into the next one 7. Pixel brushes - Basics and import/ export : Alright, folks, let's go ahead and talk about pixel brush is now. Pixel brushes are the heart and soul of sketching in a finicky designer. So in my opinion, vector is cool. Vector is sustainable, but some people really feel that pick. So based art is a lot more free form and organic, which I would 100% agree with. So let's go ahead and take a look at how a pixel brush differs from a vector brush because you guys are already pros of that. Let's come over to our brush tool here, and I'm just got any canvas USA Open. And now let's go ahead and just grab a brush show you guys would have. Let's grab a painting brush. All right, I'm just gonna grab this one. And now, when you double click on a pixel or an image based brush here, notice that there are three tabs that's different than Vector and there's no head and there's nobody. So the general tab you would just The size accumulation is a fancy way of saying opacity. You see that the opacity drops as my accumulation drops. Accumulation could be thought of is how much comes out at any given time. Hardness is how hard the edges are. As you reduce hardness, it will get very, very soft, and airbrush has zero hardness around it. Now the interesting thing is, let's look at spacing. If I open up spacing, you'll see here that all of a sudden this pattern just begins to emerge. And now I have just a lot of these individual things right here. These are the individual textures that are created now, we didn't talk about that in vector pixel based brushes have nozzles and textures, and so the shape of a nozzle affects the pattern, and sometimes you'll have a texture inside. We'll be making a texture brush. But right now all I need you to understand is that the brush nozzle forms the shape of the brush and the shape. When you start messing with spacing begins to form the stroke. So if you got the spacing all the way down, this thing is solid. Now you've got flow, right? This is how much comes out in anyone pass. So you've got your rapacity up high and you got your flow down low. You're gonna be able to build up very slowly and then you got this thing called shape. Let's go ahead and turn this spacing up, and now sometimes this has an effect. Sometimes it doesn't. We'll see this in the round brush. This shape of the pattern will be affected through the shape, and then we can also rotate the pattern. So if you wanted to change the look of this line, let's go ahead and change this up a little bit. Let's just go ahead and rotate it. You'll see how that changes the line a little bit now and what we're doing. It really doesn't show up. The line changes a little bit. What to do? Blend modes. I tend not to set my blend modes, so I like to set my blend modes in the course of making art That will, however, change with the flame brush. So that's a little bit about the general tab. Now we have entire lesson based on dynamics. Dynamics will take the general settings, and we'll tell you how to adjust and change them based on what's called a controller. We're gonna show that in the next lesson, so I don't want to spend too much time there. But the dynamics if the brushes of the heart and soul of affinity designer for pixel the dynamics are what makes it so cool is an artist to do what you do now? There's a word of advice here. Word of caution right up early. If you try to adjust a brush, it will not go back to good when you reopen. Affinity designer. Once you modify a brush, consider it modified. That's why, in the next lesson, when we start talking about brush management, you're going to want to duplicate these brushes. Duplication allows you to play without consequence. So just my disclaimer after several brushes where I've had to reload my brush profiles. All right, let's go ahead and cut this lesson here. I'm getting a little bit long winded and let's take a look at brush Management in Affinity Designer. All right, seeing the next one 8. Adjusting Pixel Brushes : All right. Welcome back to affinity, designer. So we're talking about pixel brush is this is gonna be a real short one. Folks. This is all about brush management. So brush management works very much the same way. Didn't vector pull out the brushes tab for me. And now you notice that you've got categories, right? So I've got a lot more categories than you guys do. Probably. Now, where do they get some of these? Check out the affinity designer forum for a lot of brush packs that users create. There's some really good ones on there. And again, I like Frank and tune. Now, that is a premium service there. So I brought I bought those brush packs. I don't want to make it sound like him recommending them, but I do love their brushes and they do make a bad brush back. All right, So when we do this in order to add a category, let's go ahead and create one. We're gonna come up here to the little three lines here. We're gonna go create new category, and we're gonna come over now and we're gonna rename the category. We're gonna call it affinity, course brushes might as well start a new one. And we're gonna go ahead and hit, OK, now, in order to add to a category because this is blank right now. Right? We got a couple options. Let's come over. Let's grab one that you guys have here. We're gonna go to painting, and let's say we want to grab this right click copy to category. I cannot stress that enough copy to category, and then find the category that you want and where to go. Let's check our category there it ISS. Now we can rename, right? We're gonna rename the brush or to call this paint trial. All right, Now, you remember in the last list, and I said, When you modify a brush, you want to make sure that you copy and then edit the copy to brush. This is exactly what I was talking about. So now you know how to find a brush, move it over to the category and let's take a look at this here. See, we've got everything that we've got here. You've got the general tab. It's got a certain amount of accumulation. The dynamics has got some jitter in the flow rotation Jeter. I know we haven't talked about yet, and there's the texture for the brush nozzle. All right, That thing is ready to go, and we can make adjustments now, safely. Now, the other way that we do this, there are export import packs, and we've included one from seventh season studios. So let's go ahead and import brushes. So we're gonna come over where to import the brushes. And now I'm gonna go ahead. I'm gonna save it where I put mine here. This is included in your downloads, and we're gonna go ahead and include this. We're gonna go ahead and include the pixel starter pack for the flare brush. So we go through and it has imported five raster brushes into category. Perfect. All right, Now where to go? Out right here. All right. There it is. Seventh season studios flare brush. Starter pack. Now, let's check it out. Click on here. Well, let's make it red. Why not now? All right. Looks good. Looks like a flare brush. All right. You have successfully imported a set of brushes. Now let's say that you create a set Notice. I said you create a set, not share my set and you want to go through and you want to creative, set and exported, you can come up to here. You had export brushes and now we're gonna go ahead and call this pixel three, and I'm just gonna go ahead and save it here on my desktop and save. And now it's an affinity file that you can send to the people that you want to share them with. So I don't care if you pass this brush back around. Just give credit where credit is due. Other than that, enjoy love to see what you make with it. All right, now let's say that we get to the point where my brushes are getting crazy long, right? We as artists brush orders. So when we do this part, if we have brushes that we do not want any more, make sure you've got the brush pack selected and then come up and then we're going to go ahead and elite category. All right? Yes. I do not want that anymore. All right, let's go ahead and call this lesson here. I know that was the most exciting thing. And let's now talk about brush adjustment in affinity Designer, and then we'll get into makers and brushes. All right, seeing the next one 9. Pixel brushes Creating a pixel brush - Basic round brush- making a bokeh brush: All right. Welcome back to affinity Designer. So then this lesson we're gonna make the most basic of all brushes were actually going to adjust a brush in order to make what is called the book a brush. So the bouquet is an effect where you take a reflection or a light source, and then you make it a little bit fuzzy. It's used a lot in photography. It's a very popular technique. We're going to show you how easy it is to make one of these brushes. So now let's go ahead and go to file new And it really doesn't matter what the workspace sizes for this we're not really going to use it. But let's go ahead and create a backdrop. So we're just gonna go ahead and create a rectangle, and we're gonna make that black because it shows up best along the black background. All right, so we're in good shape now. That being said, let's switch over to the pixel persona. And now I've got my brushes tab pulled out of the studio. You know how to do that now and now I'm in my affinity course brushes. This is the one we modified from the basics of brushes. Now I'm to go ahead, and I'm going to create a new round brush. All right? The most basic of all brushes. So let's go ahead now and double click on this brush. Now, I'm gonna go ahead. I'm gonna crank up the size. I'm gonna call this 3 50 Okay? That's pretty big size. And now accumulation is thought of his opacity in a book. A brush. I want this thing to be super low at max. 70% hardness. I want this thing down as far as it'll go. All right? I want this super vague. See what's happening to the brush preview now, spacing. You can adjust. I'll leave that up to you. I would say it. About 175% is a good start. I'll tell you what, folks. Brush creation is all 100%. Guess and check now flow. This is how much comes out each time. I've already got the accumulation down. You see what happens when I crank this flow down here? I'd never want to really hit a double I'll as an example. If you touch your mouse to they pad, it creates a pixel there. You'll never touch that exact same pixel again. So keep your flow 100% and shape. If you wanted to make these a little more oval, you could I'm going to keep them Is round and rotation in the perfectly round shape doesn't make any real sense. So now the dynamics let's go ahead and set dynamics now jitter. Geter can be translated as variation. So this is red as size variation. Now I want it to jitter, and this is the percent of size. So you see, as we get closer to 100% it gets super weird. I'm going to say the lowest I possibly wanted to be variable is around 69 70%. And the controller that I'm gonna use here if you do not have a pen tablet, I would highly recommend you said it too random because pressure doesn't make a lot of sense. When you're using a mouse, I'm gonna keep mine at random. Because unless I tell you guys, I'm not gonna cheat. Now I'm gonna use the mouse just like guys will now accumulation, Geter. I want a little bit of variation in my accumulation. Some of them. I want less, uh, less opaque. Some of them. I want more opaque, and that's random flow. Some of them I want a little less. Some of them. I want a little more. Keep that about 60% rotation. Jeter doesn't make any sense. Now scatter. This is key to the book. A brush I'm gonna crank up, Scatter. Let's go to 300%. And you see, I'm not being terribly precise in these values and I'm scattering in the X and the Y and now hardness. I never wanted to be more firm than it is here. Ah, let's go. 20% make a little of make a little bit of variation here and shape doesn't make sense now. Hugh is interesting, Hugh Effects color. So if you want the the idea to be multicolored if you want the brush to be multi colored, increase the huge inter. I want to make sure I have a controllable color. So I'm not going to use that luminess Jenner I'm gonna keep down and saturation jitter. I'm gonna keep down now, Sesay. Texture and brush nozzle don't really make a lot of sense, All right? I think this is a good brush, so let's try it right now. The way you do this, come up to your paint brush tool. Let's add a pixel brush and let's grab a color. We're gonna go ahead. We're gonna grab this kind of off, white ish area here, and you see that it's already started. So I'm going to write bracket up the key here, and you see that this one is a lot more bold than that one. And this one is a lot bigger than the other one. Okay, now, if you get this, you might have to shrink down your canvas a little bit, depending on the size of your brush. There we go, because some of those bigger ones may not show up. Well, there we go. Now we're in the business, all right? I like to put the bigger, bolder ones mawr close to the front. All right, that's good. Now let's say that that's a lot too bold for you, right? That's way too bold. Drop that down just a little bit and you're in good shape. Now, here's a pro tip. We're gonna go ahead and we're gonna put another layer in. I want to now alternate my color, but I don't want to mess with the purple layer that I've already created. I don't want to do that. Now I'm going to hide some of these here, and you see that I'm putting the smaller ones a little bit toward the back by the bigger ones now, keeping it so that we don't have those big green ones over here. Getting the right bouquet is definitely just trial and error. And then let's go one more time, one more pixel air. And this time we're gonna go to the yellows and we're gonna go ahead and go to the almost white area here, okay? And I think that will just about do it for me. All right. I'm very happy with that. That's how you make a standard book A brush. Now let's go ahead and rename it Let's put it in your file here. And that was created simply off from the dynamics and the round brush. Now, right, bank, that's a little bit on the book. A brush. Let's go ahead and get into the next lesson. We're gonna show you how to make some more advanced brushes. All right. Seeing the next one 10. Creating and intensity brush-Making a fog brush : All right. Welcome back to affinity, designer. Now let's go ahead and make a fog brush, right, because smoke and fog brushes are absolutely huge. So let's go ahead now and let's goto file new and usually I'd say your workspace doesn't matter. But when it comes to brushes, it absolutely does. Were to make a perfectly square 1000 by 1000 pixel workspace. Now, now, you remember when I said in a vector brush the background had to be black for whatever reason, when affinity designer has you do pixel brush is the background must be completely white. So you must have a white background to do an intensity brush in. Affinity designer with pixel brush is all right. That being said, it's completely different, right? Let's go ahead now and paint in black. Now, to do this, we're gonna use a brush to make a brush. I know that sounds very counterintuitive. Now, the way that this works, you're gonna come down to your brushes and we're gonna pick one that you might already have . Let's go ahead and pick out the texture brushes that come preloaded in affinity, Designer. And now we're gonna go ahead. We're gonna use this grunge brush as part of this. And to do this, we're making sure we're in black, and I'm gonna turn my opacity down to almost nothing. I'm gonna make sure my flows at 50%. Now, I'm gonna turn this up a little bit, okay? I'm just gonna put down some marks, all right? I think that's good. Now, let's go ahead and change up. The brush is a little bit. Now, that's a little bit too opaque. Right? We're gonna take that down about 45. Okay, Now I know what you're saying. You're saying, Jeremy, this is a grunge brush. It's looking very grungy. Stay with me here. No. You notice we got three different layers here. So now when we do this part with the three different layers come down now, we're gonna grab this brush. Let's grab this one. Come down. I'm gonna speckle Cem or texture down along here. And you see, I'm just mixing my brushes up. Okay? Now, in order to make this work now we come to the eraser brush, pop out some of these areas. They're using this eraser brush, so we're gonna crank it up. And for some of this. Somebody's crank my flow all the way up, okay? And you see that we're working on the same pixel air. Now, once I've got something that I kind of like. Here's the next step. I'm gonna take this down and I'm going to begin erasing around the edges. Now, this is going to give me a very soft edge to do this. Let's go back to our spray paints. Let's go to the painting. I believe it's in painting. We're looking for the airbrush. Um, I try basic that I forget where stuff is. Yes, I did the day. All right. And now we're gonna go ahead and crank this flow all the way up. Go ahead. And, doc, my brushes panel back. Okay. And I'm gonna come around here and you'll see how I'm just leaving a nice edge here. See, I'm just kind of clipping the corners over all right? I think that's pretty good. Now you're saying that kind of looks like a grunge brush. Watch this. Come to effects. Go to go, Shin Bowler. And now, at just a little bit of blur. All right, now that looks good. All right, So now we're going to do, We're gonna come down here. We're gonna export. Now we're gonna go ahead and we're gonna export this as a P N g. Right? Because brushes made off PNG's. I'm gonna go ahead and we're gonna export. Now, I'm gonna go ahead and put this in your affinity designer download so we'll go ahead and we'll call this. 0 6-100 Um, fog brush. Master hit. Okay, now, next step. Let's go ahead and create a new layer. Come back to our draw. And now all we're doing is we're creating the brush later, right? We're just gonna go ahead and check it. All right? Cool. We got a canvas. Now we come back to our pixel air, come to our brush tab, come to affinity course brushes, and we're gonna go ahead. We're gonna make a new intensity brush. All right? Perfect. Now it's gonna ask you where you want to save from. Let's go ahead and put that in there. And now let's go ahead and pull this out so we can see we're doing and let's go ahead and tap this in. Now you see, that doesn't look anything like what we just did. Look at the nozzle. Now we're gonna go ahead and set the texture in the nozzle here. Ah, Now let's go ahead and remove it. We'll just keep it like that. All right? We're gonna go ahead and crank up the size. I like to work with larger fog brushes cranked down the accumulation here. You don't want opaque smoke, and you certainly don't want any hardness. And then we're gonna space this bad boy out, turn down the flow a little bit. All right? So I think that we're in pretty good shape there. So that's really the only thing I like to do here. I don't want a lot of random ization here because I want to be consistent. So now if I come over here and I crank this brush up a little bit and I come down to color , let's go and create kind of an off greenish smoke. Oh, that's nice. That's nice. So come up through there and you see that because we have the flow down. The effect is kind of additive. So now you can absolutely place, um, layer games. Let's go ahead and go to pick soul. Let's add a new layer. Let's bring this up a little bit. Now let's say that we wanted to put a little bit of a foreground on it. See how you can layer up this smoke, brush this fog brush to do some really awesome stuff. And, of course, if you wanted to, you could come down to that layer and you could throw some darkness, some brightness and contrast adjustments on it, dark and down that layer a little bit. Get a little bit more ominous. That really the possibilities. At this point, folks are unlimited. All right, let's go ahead and call this one. I know this one was a bit longer. We're currently sitting at about eight minutes, but you now have a perfectly functioning fog brush in order to do whatever you're gonna do . Infinity Designer. All right, let's go ahead and take the next step, folks. 11. 1.7 Update- Sub Brushes in pixel: Alright, folks. Welcome to Affinity Designer 1.7 update. Now the 1.7 update introduced something called sub tools. Now we've already covered how to do pixel brushes, intensity brushes. So I'm going to assume that you've got that knowledge coming in and I'm going to show you how to create and work with sub brushes. So we're gonna come down to our pixel persona and what I'm going to do here, let's just go ahead and a lead that out. I'm going to in a new category, create a new intensity brush Now in your downloads for this lesson are these PNG files. So I'm gonna make a light brushing to make something that kind of gives me the galaxy space Look could be used for a rocket thruster Somebody use a light main brush and now I'm going to double click on it. Now I'm gonna crank up my size to 300 pixels I'm gonna drop down my accumulation to next to nothing. My hardness is next to nothing but I'm going toe up my rotation and I'm also going to drop my flow a little bit and then I'm gonna turn up in my dynamics the saturation, Geter. I'm going to turn onto the rotation, Geter. Turn on the accumulation, Geter. And I'm going to turn up the size Jeter. All right, that's gonna work for me now because I'm making a light brush. I'm also going to set the blend mode. Toe add. Most of your light brushes are done in the ad blend mode. All right, Now, this is common stuff, right? If you're at all familiar with pixel rushes in affinity Designer, this is how it works. Now, you see, we got a texture. So now there's a new panel here called sub Brushes. Sub brushes are ones you lay inside of the existing ones. So we're gonna add a bit. Ma'am, I've got this sub brush PNG here and now you could make some adjustments here. You can do at the current nozzle behind the nozzle. So if I wanted to go behind the current nozzle, I could, or if I wanted to put it on at the end of the stroke, I could I wanted to appear just as I'm painting. So I'm gonna leave this cool. And now here. I wanted to blend with it. I don't want this to erase out of here. That's not the desired effect. And right now, I wanted to sink the size and the spacing with the main brush. But now you can go ahead now and open this up and adjust it just like any other brush. I'm gonna drop the accumulation down, gonna drop the hardness to zero on a crank up the rotation a little bit. I'm gonna crank the flow down, and then I want to scatter the saturation a little bit as it goes. I want to scatter the accumulation, and I want to size jittery it a little bit. All right, let's rotate him, too. Yeah, I get some good variation in there. All right, So I think we're pretty good here. And then what? I'm going to do it. But it said this also to add. And I'm gonna close this and now I'm going to close this. Let's try it. No brush is ever perfect the first time, right? So I'm gonna come down here, gonna grab my brush. I'm gonna grab my color. I'm gonna choose kind of an orange ist color. That'll work. And now I'm gonna come down here. I'm gonna start sketching. Now, that's kind of cool. But you see how really I'm not getting that good centerpiece here. So I want to modify this brush here, but I want to modify the main turn up the center here. And my problem is the sub brush here. I'm going to sink the size and spacing. Turn that off. Hey, and we're gonna take that. Gonna drop that down, all right? Because we had this at a whole different level there. All right, Now you see how that's brought into that. That's actually much cooler. And what this does is it creates almost a secondary texture. So I also want to take the accumulation Now with the primary up a little bit, Yeah. Get some better whites in there, take the hardness down a little bit. And in my sub brush, I want to take the hardness down. Turns spacing up a little bit. All right, Cool. All right. I think that's that's actually pretty cool. I like that. Let's try it. Okay. I'm gonna delete my pixel air. I'm gonna grab my brush, and this is 100% trial and error, folks. There is no substitute for playing with these brushes. OK, and now let's try it now. Oh, that's a lot better. Okay, Now you might adjust a little bit depending on what you're doing. If I'm doing like a rocket blast, this would be perfect, right? Because it's relatively linear. However, if I'm going to do something like a galaxy, I might want to make this sub brush a little bit bigger. Like I would come in here, I would go to the sub, and then what I would do, I would crank up the sub in relationship to the main. And then in the dynamics, I would absolutely scatter the X and the why around it. Alright, let's try that. You see how that change the dynamic close? Yeah. All right. Now you see how you got to different Really? Brush is going on here. If I'm doing a big old galaxy, that's a technical term, by the way. Big old galaxy. Let's go ahead and grab my brush. And now let's go ahead and just paint this thing in. That is sexy. That is really awesome. All right, so this brush file is gonna be available as a download so you can follow along the to P and G's. They're gonna be available as a download if you follow along. So hope you learned a little bit about working with sub brushes. There's a lot more to do with some brushes, but I wanted to give you a taste for it here in this course. 12. Smudging blurring shaprpening dodging and burning: All right, so this one's gonna be a real short technical lesson on the smudge brush. So let's go ahead and go to file new. It doesn't really matter what the file sizes, folks. Now you'll see over here in the vector persona, there's no smudge tool. That's because smudging is really one of the best domains of the pixel persona. You can't really smudge a vector. So once we've talked about brushes, now let's go ahead. Let's grab the paint brush tool and let's go ahead and grab any brush we want. Doesn't really matter. I'm gonna go ahead and I'm gonna pull off book here, and I'm gonna goto one of ours that here we have spray paints. So let's go ahead and we'll just play with spray paints for a second. And I picked kind of a granular spray paint. Now, smudging is one of my favorite things to do, because it's how you make smoke. It's how you do a lot of these things, but it also is an extremely creative process, and the smudging tool is right here in the pixel persona. So let's go ahead now, and what we're going to do now is we're going to look at the context toolbar. You see, here we've got the width of the brush, which is standard. You've got the flow, which is 50% and you've got the strength. So it's how much of the smudge is gonna be applied and how far it goes. So now if we do this, look at what begins toe happen. You can smudge that thing and it becomes this whole swirly mess. All right, now let's go and turn the strength up. What happens when you go from zero to hero? Notice how the smudges a lot stronger as the strength goes up. And now let's go for maximum effect. Let's go and turn this flow up. And now the maximum amount of smudge with the maximum strength is applied each time you see how these air different. Now there's a couple tools that are on the desktop version that are not in the iPad version . And so let's go ahead and take a look at those Here is the blur brush, and here is the sharpened brush tool. Now what are those those air photo tools. Now, if you're familiar with photo right blurring, of course, makes it a little bit. Mawr. How should I say blurry for lack of a better term and sharpen creates a little bit more crisp, Find a detail. So now to take a look at this, let's come over here and you'll see that we're in pixel persona. Now, if I grab the blur brush and I'm gonna work over here, you can almost see in the preview what it did you see where my cursor is? Let's go ahead and just tap on that a couple times. Notice how this got a lot worse than this. Now the same is true with sharpening if I have a spot here and it's not quite is easy for you to see, but you can sharpen a certain area So you see him that I'm clicking here and now this area that I just clicked right here is a little bit sharper than that area. So the sharpened tool and the blur tool affect the pixel air, so you can absolutely sharpen or you can blur your pixels. Now that one actually turned out really well. You can see it much sharper pixel here. Then you can over here, So that's a nice example. Now the last thing that I want to show you here, there's a couple other photo tools in here that are unique to pixel that we need to talk about. Let's go ahead and zip out of here. Were to grab any brush tool USA again, and I'm gonna go off on kind of a reddish area. All right, let's go ahead and just pain in a red, okay? Because the pixels have this image caught within them, right? It captures the color data you can dodge or burn. Now, dodging and burning comes from the photography days of having to develop film, right. You would mask certain areas so that it didn't get exposed, and then you leave certain areas exposed for longer. So it was dodging and burning, respectively. So dodging lightens. So let's go ahead. Now make sure you're dodging Tool is up. We're gonna go ahead and turn the flow up, and now you'll see what it does here. When we begin to dodge, it's not erasing. It's just making it lighter. Now. Dodging is additive because I can now reapply the Dodge effect. And if I keep hitting it, I can lighten it all the way to a racer, but it is not erasing. It's just lightning now. At the same time, the burn brush will make things darker, so dodging and burning lighten and darken. And much like before, you can go all the way to black with burning if you wanted to. Now you'll notice that there's no equivalent for this in the vector tools because they don't work on pixel now. One last thing about smudging that I wanted to cover, and I forgot to cover it earlier. It is entirely possible that you can smudge from the inside out as an example of what we did here, or you can smudge from the outside in. Now, watch this if I'm in the white because the pixel has shown his wife, I can smudge now inside, and I could bring that outside in, and then because this is all on the same layer, I can absolutely create a smudge where I come from red to black and black to red. So one of the things I like to do if I'm having a bit of a creative block, I'll put down some paint on the canvas and then I'll just start smudging away, start swirling to see kind of how things work. Now the last thing that I'll bring to you here. If we come back to this smudge tool I want to show you one more thing. Let's grab a texture. Let's grab a really weird texture here. Let's go ahead and grab this texture. Now we come in here and we grabbed the brush. Hopes we grab this smudge brush. I'm sorry. Notice here. Now we can also smudge using different brushes. This is huge. It does not have to be a round brush. So the same brush is that you have that you've been working with. You can absolutely use as smudging tools to create some really cool stuff. And in a way, that's kind of looking like some weird hummingbird, right? You got to feathers there, you got the two wings you've got kind of redhead, and then you've got kind of an s shaped body again. There's a lot of stuff you could look at here. It's one of those Rorschach tests. All right, let's go ahead and call it a day on this one. Let's go ahead and get into a project will take the next step 13. 1.7 update symmetry in Affinity Designer : All right, Welcome to seventh season studios of This is the affinity Designer Affinity Photo 1.7 Update four Symmetry Now I included designer and photo in the same video. Want to cut down a number of videos? Secondly, it's the exact same in both affinity designer and an affinity photo. So let's go ahead. And it started now we've been asking for symmetry for a while. They listened, but unfortunately it's in the pixel persona. So in affinity designer, you're gonna go into the pixel persona and in affinity photo, you start out in the pixel persona. So let's go ahead and go to file new. You can open any size workspace you want. I'm gonna work with the 2000 pixel by 2000 pixel workspace and in both programs, when you go over to the brush tool here, you'll see now in the context to a bar, you've got the option for symmetry. Let's go ahead and click that over. Now this line appears. Now this line is kind of weird. If I was to draw right now, you'll see how it kind of works. That's not exactly what I want, so I'm gonna go ahead and control Z, and I'm going to hover over the line, and I'm going to rotate it until I get to 90 degrees. That's a little bit tricky to get here. All right, but keep working out. You'll get it. All right, Now, you see, if I start drawing here, I'm going in the opposite direction, right? It's mirroring here. I'm going up in here. It's going down. So I want to control Z again. I want to click on mirror and I want toe lock this line in position. All right. Now, in order to make this work notice, I got a pixel air and the brush. I'm just gonna go ahead and we're gonna sketch. And so now if I sketch using my brush, let's go ahead and turn this stabilizer off. Now I get the kind of symmetry that I want as an artist. So I'm able to create kind of this furled brow line here, able to create some cheekbones, and we're able to create kind of ah, different type of looking skull here. So this is one application for affinity designer and affinity photo. That's been a long time coming. Very excited about this. All right, So that's symmetry. Now let's go ahead and right click and delete that. And now let's show you something else. Let's go ahead and triple down on this thing here. Let's do I don't know. Let's do 10 will do 10 different subdivisions here. Now, in order to do this, I'm gonna switch over to my pen. Let's go ahead and grab any old pen here. We'll just go ahead and grab this pen here and now. I'm gonna go ahead and make sure my flow is up to 100. Make sure my opacity is up to 100. And now coming from the middle Here, look at what we're able to do. Instant Mendola coming on here. This thing is super cool. You could do some amazing stuff with this. There we go. So you're now able to do man Dallas with affinity designer. Now we can go control Z on that. Now we can play around some more. We can do another brush here and here we go. We can go out and come in. How in this thing is pretty awesome. All right, so that's really all. There is symmetry there. It's in the context to of are you? Check the box, you figure out your subdivisions and then if you wanted to, you could come in one more time. Let's drop the subdivisions back down toe. One lesson we don't make it crazy, and then we can unlock it. And then when you hover over this area here, notice now you can make it any way you want to make it. And if you wanted to even draw that way Now let's lock it back in place. You're ready to go right off the bat there and away. You go down in a 45 degree angle now. All right. Hope you learned a little bit about this. Let's go ahead and take a look at some of the other 1.7 features in other video. 14. Making your flame brush : All right. Welcome back to affinity, Designer. So this is going to be the beginning of creation for our candle based project. So this is going to be an intensity brush, but I'm gonna show you how to do an actual ruminants type luminosity, flame brush. So this is a very cool effect. So we're gonna come over to the pixel persona, and I've got 1000 pixel by 1000 pixel workspace, and I'm going to begin with a basic brush, and I'm going to begin with a basic airbrush. So I've got my round brush selected, and I'm gonna crank this bad boy to just a ridiculous size. All right? Now remember that it has to have a white background, and now we're gonna work primarily in this light light White. Now what we're gonna do here, I've got my opacity down to almost nothing. I'm gonna be it, like a 10% or so. Maybe we'll go as high as 20. I'm going to take my flow to about 40. Okay, we're gonna start here now. What I'm gonna do here is I'm going to start putting some marks down now. I'm not cheating. I've got the exact same mouse that you guys do. You probably hear my mouse clicks, unfortunately. And you see that I'm creating kind of like this pattern where it's one leg to leg, three legs came. Now, the further I go with this, the more you see this idea began to develop. Now, once I get it here, I'm gonna go ahead on the crank up the opacity a little more, and I'm gonna crank down my size a little bit. Okay? This is just a low, slow buildup came pass ity of higher, and I don't take quite as many passes on it. Okay, See, we're getting that really nice, gray. All right, let's go ahead and turn the flow of a little bit. And this should be probably the most opaque that this is going to get. All right now, once we've got a fairly good base, you see that there are three distinct legs. Let's go ahead and go 50%. Now that changed a little bit. We want to drop the opacity down a little bit and you'll see how. Now we're working in the center of this design. The center is absolutely huge. Crank the opacity up. We're gonna turn the flow up a little bit, but we're gonna crank our brush down. Okay? Now we come up here, we crank up a little bit more dark, okay? I'm gonna cry my brush size down a little bit. I'm gonna put a little bit more a pass. It e in the middle here. That's looking pretty good. And now we're gonna go for the dark Black. I'm gonna put that at the very, very base. Okay, so that's pretty good There. Now, let's go ahead and smudge it here. Nasty. Where we brought the smudge to allowed No. And crank this up and we're gonna go to flow are gonna turn it up a little bit, Okay, Just a little bit. Just a little bit. Not a lot. See how we're just kind of blending and smudging here. Part of this is going to be just getting comfortable with the idea. This light grey is what will create your luminous. So you're definitely gonna want to take your time with that. All right, now, let's go ahead and smudge that out a little bit. See how I'm creating that light grey halo there and again. I'm just using the same brush you guys are All right. So I think that we're in pretty good shape. They're actually quite happy with that. What I'll probably do now is will come up one more time, grab my brush, I'll come up to my 100% opacity. And now I'm gonna go ahead and right click that bad boy and right there in the center, I'm just gonna put a big bad section of black. All right, cool. Let's go ahead and export that export. PNG Collett Export. Wanna call this luminous brush? I will call the flame brush. We won't even church it up Now. I'm gonna go ahead and I'm gonna put it in there, and you guys will have this in your downloads. If you guys decide, you just want to follow along with mine and away it goes. So now let's go ahead, make brush. Let's go ahead and come back over here. And you guys have seen this show before. We're gonna grab a rectangle, gonna drag out a rectangle. We're going to fill it with a black because I want to try this flame brush idea. And now with our background here so that we can trialist. I'm gonna come over to my affinity course brushes, and I'm gonna add new one for you. I'm gonna go ahead and we're gonna create a new intensity brush. And now we're gonna go ahead and find wherever you save the PNG and we're going to double click. And now that doesn't look like what we talked about there. So what we're gonna do now, we're going to turn down the accumulation. I don't want the accumulation going to turn it down to say 70%. I want zero hardness on this thing. I wanted to be fluid. I wanted to be dynamic. I want to crank it up in terms of size. And now spacing. Um, yes, Somewhere in there, that would be good. Now I'm gonna go ahead and turn down the shape a little bit, and now I'm gonna try some rotation. Notice how? Cause it's a try Lobel type of pattern. When I say try Louisville. That's what I'm talking about. That might work. All right, now, let's go ahead and turn up the size, Geter. Now, I'm gonna change the same way that I've got it here for you guys. So I'm gonna go ahead and turn down that spacing a little bit. All right, The same way I've got it up here for you guys. I'm working with my mouse. So pressure is not really gonna work for me. I'm gonna go ahead and I'm going to set it to the velocity. And then that's really about it. Now, General, here's what makes a flame brush flame brush set the blend mode to screen. Now, I know I didn't routinely say don't set the blend modes. Yeah, I'm now telling you, set the blend modes. All right, so let's go ahead and do that. Kind of like that pattern. I think I'm gonna try that close. And again. This could be dead guessing Check. Oops. All right, so we got our brush. Right. We've got that there. There's a brush pattern. Now what we're gonna do here, we're gonna come over to kind of a mid orange. Let's say I'm going to try some stuff. Now. You see the accumulation that's created as part of this brush? It's actually not bad. Okay? Now saying Jeremy, that doesn't look an awful lot like what we're talking about. Stay with me. All right. Now, we're gonna come over here to the whites. We're gonna throw in some whites, throw in some white tips. Now, I know what you're saying. There is. What are you doing with this? We're gonna throw in some reds now. One of the reasons I like this is because the reds with screen blend mode kind of fade into the back, so you get some really cool effects. All right, so we got our blend modes said here. Now we're gonna come up to the smudge tool and with the smudge tool selected Now I want to come down. I'm gonna just going to start smudging out some of this. - I got a couple air and strokes there. - All right? So in terms of a brush trial, I think I'm fairly happy with that. I think the out of work. All right, let's go ahead and take the next step here. But I might do is I might then add one more picks a layer to it. Let's go ahead and try it, right? You never know how far is too far until you go too far. Smudge that out. Yeah, that'll work for the purposes of what we're about to do. All right, let's go ahead and call it a day on this one. You now have a luminous brush to allow you to create the flame for the next section of the project. All right, we'll see the next one. 15. Making your smoke brush: All right. Welcome back to affinity designer. So in this lesson, we're actually gonna make the smoke brush is part of this lecture. So let's go ahead and open up your 1000 pixel by 1000 pixel workspace. And now, when we do this part, we're gonna go ahead and we're gonna start with Let's see, what would you guys normally have? Go ahead and we're gonna start with this painting area, and we're gonna go ahead and we're gonna choose. Probably this paintbrush here. This is pain 12. That comes with Affinity Designer. Yeah, let's go ahead and start there. So we're gonna go pain 12. And now what we're gonna do is we're gonna create a smoke brush with just a lot of ripples , twists and turns. Now, to do that, we're going to start off in gray, and you want to make sure you have a white background for this. Now grab our brush here. Don't make sure we have the right rushed, selected. Now that is not going to give me what I want. And why is that? Because I have the opacity way too high and the flow way too high. I didn't set my limits. Here we go. All right, Now, what I'm going to do here is I'm just going to create kind of a flow through. I want to consume a lot of the space, but I don't want it to be random. So I'm gonna is gonna come through. I'm gonna flow it out this way. I'm gonna flow it out this way. Flow it out this way. Um, now, when I feel that I've got some dark spots, I'll add in a little bit more of this crank my capacity up a little bit. It's more dark spots going. And part of what makes this a smoke brush and makes this successful is the flow. So once you've got that, we're gonna go one step further here. I'm not quite done. Add in some of this. So you've got some nice white spots. I've got some good dark spots. Okay, Now, let's take a look at this pain 12 brush here real quick, all right? Yep. All right. That looks good. Cool. Okay. I think we're in pretty good shape there. All right, So now we're gonna dio we're gonna come over to our smudge tool. Uh, we're gonna make sure we got a decent brush selected. We're gonna go down now to our Oh, let's go to our texture brushes. Let's like that texture. Now crank this bad boy down. Take this strength down about 50%. Crank the flow up. See how were just breaking up this pattern. Now taking the dark sin taking the lights down. Okay, I think that we're pretty good with that. I'm pretty happy with that. You see, we've kind of got some good smoke going on there. There's some dark areas. I think we're in pretty good shape. Now. I could probably take this in, and I could stand to burn a couple, so let's go ahead now, burn a little bit. Well, let's take that capacity down. Yeah, take the flow down. You have to smudge that out. You see, we're not adding new to the canvas. Were Just go ahead and burning what's already there. Okay, so I think that we're in pretty good shape there. Let's go ahead and go to file Export and PNG, Of course. Go ahead and call this. 06 Stash 1 30 Smoke brush. Go ahead and hit. Save. All right. Now, how do we trial it. Let's go ahead and come up here. Grab our vector tool. Go ahead and put it on a black background here so we could see what's up. Come over to our pixel air and we're gonna make sure we're in our an affinity designer course brushes. And once we get here, we're gonna go ahead and we're gonna create new intensity brush. Now come over to the smoke brush. What? And there it is. And now we're gonna come over here. We're gonna crank up the size of this thing here a little bit. Just turn down the accumulation a little bit because we do want it to be fairly large and in charge. We don't want any hardness. Uh, we're gonna keep the spacing right about here. Take the flow down a little bit. Change of the rotation here. Kind of like that. I think that that's nice Rotation. Now, let's go ahead and add in a little bit of rotation or I should say, a little bit of jitter. Let's go ahead and randomize that randomized the accumulation because we wanted to be non symmetrical. Let's go ahead and change up the Y in the x a little bit here. All right. I think that we're in pretty good shape there, and we're also going to come down here and we're gonna hit velocity. Okay? So I think that we're in pretty good shape. Let's give it a shot. Come over here. Make sure your brushes selected. Let's go ahead and grab that. Okay. It's a good smoke brush like that. Smudging nicely. Applied nicely. Yeah. All right. No, I'm happy with that. Let's go ahead and call this one a day here, and then we'll take the next step, Will make a texture brush. All right. See the next one. 16. Setting up the project : All right, folks. Welcome back, Designer. So we're ready to take on the end of pixel area project here, so let's go ahead. Go to file new. Let's go ahead and create some for the web. We'll just go into a page preset. You could create whatever you really want. I'm gonna go ahead and work 1920 by 10. 80 just because it's the standard screen size and away you go. All right, So the first thing that we're gonna do here, we're gonna go ahead and set of the background for success. We're gonna grab a rectangle, and we're gonna fill it black. Good to go. Now we're gonna grab a rectangle, but I'm gonna grab a rounded rectangle. I'm gonna go ahead and I'm gonna kind of make this a wider, fatter rectangle. And now I'm gonna come over to my swatches palette, and I'm going to go ahead and create a pallet. Now, how do I do this? You come over here and we're gonna add a document palette. And now it's unnamed. So now we're gonna come over. I'm gonna rename a palette to call this candle project. What you guys can follow belong at home. All right. Perfect. Now we're gonna come over and we're gonna throw a red color. Now, I want something kind of the middle of the Reds. I don't want something that's really truly saturated, so I think that that's pretty good. There. Go ahead and just work off my color wheel because, well, I like that more. I think that's a good color right there. Let's go ahead, and we're gonna go ahead, and we're gonna add that to the palate. Just like that. All right. Perfect. Now we're gonna grab a couple tears here. We're gonna grab a tear tool, and we're gonna drag that down, and we're gonna make an adjustment, and we're gonna tilt it. But we're gonna grab a 2nd 1 first, and we're gonna be just that one. All right, so now we're gonna go through and we're gonna tilt him together Were offset him a little bit. I think that that's a good set up right there. Yep. And I think that then this would be a good set up right here. All right, so I'm gonna grab all of these that pesky background. All right, let's go ahead and grab all three of these. And now how do we for perform in addition? Operation Luck. We now have our candle air set. All right. Looks good. So that's gonna be our base right here. Okay, So now, in order to make this work, we've got our shape. Now, let's go ahead and call this candle. Now we have to create a pixel air. Let's go ahead and grab a pixel. There was a dragon inside, and now with the pixel air selected, what we're gonna want to do first and foremost, is we're gonna want to come over to the pixel air persona. We're gonna want to grab our brushes and we're gonna create a texture. So in order to the texture, we go to the actual texture brushes and again, you probably got your favorites. I know I have mine. Now we're gonna go ahead and we're gonna work in kind of a grayish area here. Maybe a dark, blackish red. And I'm gonna change this layer toe multiply now. Why did I change it? To multiply? We know about blend modes. We changed it to multiply because that way, if even if I go to gray, it will still keep the elements off the red. So I can really do some really cool texture in here with this presence. So I'm gonna go ahead and I'm gonna just kind of lay down some texture here. Okay? Looks good on you can hear me. I'm kind of using my mouth still. And then we're gonna come over to this deeper, darker red here. I'm gonna texture that out. Okay? I think we're pretty good in there. Now what? I'm gonna dio I'm gonna create another pixel air. I'm gonna grab a new brush. Now, I'm gonna go ahead and grab my Oh, let's just grab a standard old painting brush Basic brush basic. We grab my airbrush and still with my color selected. Now I'm going to come down and I'm going to paint on that layer. All right? Now, if I wanted to change that a little bit, I could change the blend mode of it to a multiply, which is something I absolutely want to dio you see how that multiply really becomes the color you're looking for. And then here I've got to make those drips. Now I don't like that. All right, let's go ahead and screwing down this way. There we go. See, I'm just using my mouse. I'm not using my print tablet or not cheating here, folks. You can do a lot with your mouths. Every goes, Oh, I need a pen tablet now you don't? And not that I'm endorsing one over the other. But I'll tell you, I don't even use Walkom. I use a Julian 6 10 pro, and I've loved it ever since I got it. All right, so I think I'm pretty good there. Now what I'm gonna do, we gonna come up here and I'm just going to throw a little bit more shade on that. All right? Now I'm gonna turn down my capacity a little bit. I'm a crank up my brush size a little bit. We go. One more. One more pass there. All right. Now, the last thing I'm gonna do here, we're going to set this up because candles, Of course, they've got that area there that's recessed in. So let's go ahead and recess that area. Crank up my opacity again for that. All right. Very, very simple. Here. I'm coming from the outside in, and I'm just gonna take in the under side of that. And now I'm gonna add one more layer, and I'm going to change this blend mode over to screen. Okay? And I'm coming down with kind of like a white ish red there. I'm just gonna rim the outside of that candle just like that. All right, let's see, we got there. Alright, overall. Think I'm very happy with that. Let's go ahead. Cut this video here and we'll get on to the next step. But notice you've got your picks. A layer and screen. You've got a darker, shaded layer and multiply and you've got this pixel air here. All right, let's go and take the next step. Let's cut this video. Get in the next one. 17. Making the flame: All right, gang. Welcome back, Candle project. So in the last one we went through and we just got this candle ready to go. I thought about it And what I'd like to do, like to show you one more thing that you could possibly do. If you come over to that first layer and you hit effects, you can absolutely add a bevel and emboss effect to it in order to lend some realism to the candle. So that's a nice way to add a little bit of texture. And you see the difference that it made in that candle. So right out the bat, you have a very realistic looking candle there to start with. All right, now what we're gonna do here, we're gonna go ahead. We're gonna lock this, and I'm also gonna lock this because I'm tired of messing with it. Now what we're gonna do with this part here, we're gonna now create our flame. So to do that, we're gonna grab a new pixel air, and we're going to grab our brush, and we're gonna come over to wherever it is. You grabbed that flame brush, and we're gonna go to right here. All right, Now we're gonna grab kind of, Ah, starting off mid orange as a base and we're gonna go ahead and crank this bad boy up just a little bit, okay? Now, see, we're kind of drawn off book there. What I've got to do, I'm gonna go ahead, and I'm just gonna drop down. We're not gonna leave this year forever, But I'm gonna go ahead and leave myself some rooms so that I can actually see what I'm doing here with this pixel air. All right, We're going to bring that up top. All right? Good deal. Back to the drawing. I remember flames start out narrower. The at the tip, and they do with the base. Right? So you're gonna want to leave yourself some room. Okay? Now, let's go ahead and add some whites in. Gonna drop that down a little bit, then we're gonna add in some reds. Still me outside. All right, that looks pretty good. Now, how do we fix it from here? We take over our smudge brush tool. We're gonna come over to our let's go to Basic, and I'm gonna grab just a standard old smudge brush. We've got our strength down. We've got our with down and bring in some of that white into the flame. I ran some of that yellow out of the flame. Now let's go ahead and zoom in here so we can see what we're doing with work. All right? Now, I'm gonna go ahead and turn this strength up a little bit. I'm gonna bring it up to 75%. The tip. Swipe. It's wipe. See, I'm contouring here and again. I'm just using the mouse, folks. I'm not using my pen tablet. I'm not cheating it all here. I'm right here with you, okay? I think I'm actually quite happy with that. I think that I'm in pretty good shape with that. All right, so now we've got to create a week for this thing, right? Let's go ahead and create a new pixel there. And now we're gonna come over to the painting brushes because I want something a little bit more opaque, So I've got a standard 43 pixel painting brush. This is known as paint nine. I know affinities. Terribly inventive about that. And then we're gonna add in black. Now again, I'm using just the standard old thing, just like you guys are. And I've created a blacks much. It doesn't look very interesting. Watch this. We take down the passivity, layer just a little bit. And now with this selected let's go ahead and go with an overlay. Look at what just happened there. Now we have a very clear idea that the wick is inside of that candle. Completely different. Look to it. All right, Now, in order to make this work, and in order to pull this off, we're gonna come down and we're gonna group the pixel air. And this particular area were to go ahead and group him. All right, Good deal. And then what we're gonna do, we're gonna rename this flame. So we got the candle and we've got the flame. Perfect. Now, if I take these two together and let's go ahead and shrink these two down here, we have the beginning of a pretty good painting. All right, let's go ahead and call this a day here on this one. Let's go ahead. Put the smokin on the next lesson. All right? We'll see in the next one 18. Crafting the smoke: All right, gang. And welcome back to avenge the designer. So we're gonna put the smoke in. And this one Now what I've done, I've just taken the candle in the flame, and I've given myself some room to work, so it's still there. I just moved into the bass. It's down below here. All right, so now we're gonna create the smoke to do this. We're gonna come up to our brush, and we're gonna grab the smoke brush that we made earlier. All right? Now, when it comes to smoke, I tend to work in about half tone because you can always Dodger burn it from there. So I'm gonna start kind of in this halfway gray, so I'm gonna make sure that my opacity is down. Probably do about 50% or so. And my flow is also down. Now, smoke is a subtle combination of flow and random ization that has to be kind of balanced. So in order to do this, I like to just run a couple different areas here. Kind of makes sure that I've got the flow the way I want it and notice I got my brush turned down a little bit low there. This allows me to make sure that I've got the smoke the way that I want it before we go all the way to Wonderland. Okay, I'm slowly building it up so that it's additive, thus the beauty of the smoke brush. And now there's not a lot of smoke over here, right? You really wanted to kind of come into its own around here. So when I say smoke and randomness or I should say flowing randomness, this what I'm talking about? Alright, so I've got good flow. I think that I'm overall happy with that. Now Let's grab the smudge tool and let's crank the strength up quite a bit here and let's go ahead and crank the flow up to about 50%. So I'm almost at full strength and I'm almost at full flow or about half low, I should say, and now I'm using my mouse right. There's a lot easier on a pen tablet, but it can be done with a mouse. I'm now moving and shimmying and shaking this mouse in order to get the smoke to kind of move. So if I was to shrink this down a little bit, you'd start to see it right there. You see how I'm kind of shimmying the mouse? This is about getting that flow. Now you want to do this in a way that doesn't create predictability or pattern? Okay, Now, if you have some more solid areas like that, make sure that you're following the flow of the smoke. Make sure that you're not over saturating it like that. I really like that. I think that's really cool. All right, now I'm gonna bring this guy down just like that. I think that I'm happy with that. Some of these things I want a bright white, some of them I really want to fade into the background. At that point. What I'm gonna dio I'm gonna crank down my flow, I'm gonna crank down my strength and I'm gonna turn up my brush and bring some of these things then into the background. Not a lot. So I'm leaving some of the smoking texture here, the way it sets. And now I'm gonna bring a little bit of the outside in. Now watch this and a crank up my flow a little bit. Now I'm gonna crank up my strength a little bit. I'm gonna shrink down my brush. And now I'm intentionally going to bring the outside in just a little bit here. I think that it was a little bit too opaque. Air. We g o I really like that stream. Somebody leave that alone. But I'm gonna bring the outside in just a little bit more over here. And I know I'm making this look super easy, but at the same time, realize I've done this a couple 100 times. Okay, See, I'm bringing the outside in. All right. Now, one of the things that you could do if you so wanted you could with this pixel their selected you could add an adjustment layer to kind of do a little bit of re color. Now, what does that do? Whoa. At his way too much, right? Smoke could be kind of a bluish. So you could theoretically take that down just a little bit. And now you've got kind of a nice bluish smoke with this. All right? I think we're pretty good there. Let's go ahead and do one more thing now and again. One more thing is always one more thing. Let's grab the flame. And now what we're going to do, I'm gonna come down to effects, and I'm going to grab an outer glow. Now, you see what that just did, right? That adds a whole different dimension to your flame when you're working there. So I'm gonna go ahead. I'm gonna crank that down just a little bit, crank that radius up just a little, and then turn the opacity down just to Scotia more. And I think we're actually in pretty good shape there. Let's go ahead and zoom this out and see what's up. Layer, pixel, flame, candle, move. Tool. All right. Liking it. Loving it. Let's go ahead and add some cast reflection to get a nice wall going. All right, we'll see in the next one. 19. Setting up the backlighting: All right. Welcome back to affinity, designer. So in this lesson, we're gonna go ahead and we're gonna create all this luminous, reflected light and everything that we talked about here. But in order to do this, we're gonna go ahead and we're gonna do something here to start with, We're gonna go to file, and we're going to change the dimensions of our workspace. So to do that, we're gonna go to document set up, and I'm gonna turn it on its head. Right. I'm gonna go ahead and just go portrait. And now what just happened, right? I'm just showing you this because we haven't really covered how to change a document in mid section. So I thought that this was a nice opportunity to do. So let's unlock the black. Bring this up just like this. And now let's go ahead. And with the candle flame and the smoke selected, bring it on down until we're comfortable with it. And now we can make it the way that we really want it. All right, now we've got this. Let's go down this path here. We could enter all reality. Go ahead and shrink our workspace down. So Let's go ahead and do this one more time. We're gonna go ahead. We're gonna drop this down from a 1922 a 10. 82 A, I don't know. Ah. 16. 20. No, in all reality. If you were working like a pro here, you would never resize in the middle. You do not want to re scale. And now we can go ahead and just crank this bad boy Back up on and off we go. 16. 20 by 1920. Okay. All right. That's a lot better in terms of the actual composition. Now again, if you were doing this pro I z would make sure your composition is right and the size of a right before you start. But we hadn't talked about how to do a document in the middle, so I thought this was a good opportunity. All right, let's go and take the last step here. Now, with the rectangle selected, we're now gonna come up to the pixel air and with the pixel their selected we're gonna come up to the pixel persona because that's where we work. And we're gonna come down to the basics and we're gonna grab this round light brush. Okay, so we're good. Now, you see, that is a very soft airbrush this when I use constantly, we're gonna go ahead and we're in a crank, this bad boy up to a ridiculous size. And now, but my brushes panel out of the way. And now the flame is going to cast kind of an orange ish, but it's going to be almost a dark, dark, dark, almost black. Now, in order to do this, come down here and you just strike on the sides. Now, I literally took two passes with the mouse in order to do this. So you see where my opacity is. You see where my settings are? 100%. But 25% flow is what pulls this off. Now, I want a little bit of a vignette type of things, So I'm gonna come down here and I'm gonna goto almost straight black, and I'm gonna rim the sides now in almost straight black. Okay, In order to do this, we're gonna crank the flow of just a little bit more on straight black. Yeah, that'll get me started there. All right, now, here's how we pull the effect off. We're now gonna come down to maybe a little bit brighter orange, and you see what that did? That is way too much. Let's go ahead and shrink that down a little bit. And now we're gonna drop down the opacity on this. We don't want that that much. Okay, now, I'm gonna start off right about here. Come down Just like that Same brush, Just different color. Come down just like that. And now, here's the last piece. I'm gonna turn down the opacity Super low on this bad boy here. See, that little white is what makes all the difference in the world there. All right, that looks really good. OK, so now what I'm gonna do here, I'm gonna go ahead and crank this up a little bit. I'm gonna do some finishing now Come down to my candle. I'm gonna come down to this layer, Want to come down with my bright white I mean, as wide as it gets. And I'm gonna look for kind of a hard brush this time. No, not quite. That art. Okay, turn down my capacity. Crank up my brush a little bit and you see how I'm just rimming the side of that candle. Now, here I want to turn down my opacity to almost nothing. Come up here and just like that. And now, just to make this happen here, let's go ahead and take the opacity down to almost nothing here. And you see how I'm just going right in the centre. Highlight. Here. Now that doesn't show up. We may have to go a step further, but small, small adjustments, folks. All right, I think that we're pretty good there. Now, what I'm gonna do, I'm gonna come down here and along that edge. We want to make sure that we've got that candle very well represented. So let's go ahead and just go a step further. All right, Let's see, we got here. All right, That looks good. Now, the last thing we want to do with this reflected light here, we're gonna come down and we're going to go with a kind of off orange. We're gonna grab thesis oft brush again, and we're gonna add a new layer. So in order to make this layer, we're gonna come up and we're gonna make a new layer, and we're gonna go down here go to a soft orange, drop the opacity down, and this is going to be the reflected light layer. A little bit more. Ah, a little more yellow. Yeah. All right. So now with this selected, we're just gonna take it just like that. And that's going to kind of cast a little bit of a shadow. Who? That's too firm on this area. Now, see, when I went to the sea when I went through there, I kind of made it a little bit too firm. Cast some light right here, and I'm gonna turn up the opacity just a little bit more on that. I didn't like the way we terminated that. There we go. All right, so I think that we're actually in pretty good shape there. I'm actually quite happy with that. Let's go ahead and call it on this project there, folks, You learned a lot. You made all your own brushes and you went through and created a finished piece. Art. Good deal. Let's go ahead and take the next step and we're gonna get into the next section. All right, We'll see the next one