The ultimate guide to the Affinity Suite- Desktop photo, ipad designer and ipad photo | Jeremy Hazel | Skillshare

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The ultimate guide to the Affinity Suite- Desktop photo, ipad designer and ipad photo

teacher avatar Jeremy Hazel, Education Through Creation

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

50 Lessons (6h 1m)
    • 1. Course instruction and overview

      2:43
    • 2. The basics of the Affinity Photo interface

      5:45
    • 3. Basic cropping in Affinity Photo

      7:11
    • 4. The basics of Layers- and the 5 types

      8:27
    • 5. What is a pixel Image

      3:34
    • 6. Clipping masks and effects

      5:42
    • 7. Masking for complete Beginners

      11:43
    • 8. Endless Summer Part 1

      6:26
    • 9. Endless Summer Part 2

      5:49
    • 10. Endless Summer Part 3

      5:56
    • 11. Wander image part 1

      6:08
    • 12. Wander image part 2

      4:29
    • 13. Wander Image part 3

      3:30
    • 14. Making your first pixel tear brushh

      5:40
    • 15. making your second pixel tear brush

      5:54
    • 16. Laying out the images for the clown project

      7:02
    • 17. Adding lighting and finishing the paper effect

      8:38
    • 18. Adding text and finishing the image

      7:59
    • 19. The creative Youtube thumbnail- Setting up the template

      5:18
    • 20. The creative Youtube thumbnail- Applying the effect

      7:23
    • 21. The creative Youtube thumbnail- Adding text and finishing

      4:39
    • 22. The professional Youtube thumbnail- Working with raw files

      8:49
    • 23. The professional Youtube thumbnail- Adding background

      6:26
    • 24. The informational Youtube background- Laying out the image

      5:24
    • 25. The informational Youtube background- Warping image

      8:59
    • 26. The informational Youtube background- Finishing the image

      3:11
    • 27. Making the inner flare brush

      3:39
    • 28. Making the fairy dust brush

      8:31
    • 29. Making the reflective flare brush

      4:56
    • 30. 08 040 Titan Redo Complete 1

      8:37
    • 31. 08 050 Titan Redo Complete 1

      8:04
    • 32. 08 060 Titan Redo Complete 1

      11:26
    • 33. 08 070 Titan Redo Complete 1

      11:18
    • 34. 08 080 Titan Redo Complete 1

      9:02
    • 35. 08 090 Titan Redo Complete 1

      7:23
    • 36. 08 100Titan Redo Complete 1

      8:13
    • 37. Introduction to the AD for ipad interface

      5:58
    • 38. Makig a basic octagonal shape in Affinity Designer

      7:48
    • 39. T shirt design How to Lay out an image for Tshirt design

      6:24
    • 40. How to lay out the plan for the image

      8:15
    • 41. Laying in your base image and clipping mask

      7:46
    • 42. Adding your other tones

      9:44
    • 43. Lining and detailing and exporting your vector image

      9:54
    • 44. Finishing and exporting

      13:58
    • 45. The basics of the interface in Affinity Photo for ipad

      7:20
    • 46. Laying out the image and adding a levels adjustment

      6:17
    • 47. Adding contrast filter and masking layers

      8:40
    • 48. Dodging and burning non destructively

      10:29
    • 49. Adding focus and blur

      6:29
    • 50. Lighting and finishing

      8:07
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About This Class

Master the Affinity programs for Photo, and the mobile versions of Designer and Photo by making Advertisement layouts, thumbnails, movie posters, T shirt mock ups and more….

Are you ready to learn the entire suite of Affinity products and up your design game? This course guides through learning the many tools in Affinity Photo, Affinity Designer for the ipad and Affinity Photo for the ipad

In Affinity photo, we will build 3 popular advertisements using the Affinity Photo program, as well as 3 separate Youtube thumbnails….an essential skill for any creator using the software. Lastly we will be building a complete movie poster using custom made brushes ...so you learn everything you need to build the poster.

Lastly, Jeremey Hazel will cover the mobile Affinity apps - Both Designer and Photo where you will build out a complete Tshirt mock-up for use in multiple projects. We will show you how to do a digital illustration in both vector and pixel personas. In photo we will take an image and create a cohesive themed portfolio for placement and display on instagram

If you are looking to learn affinity DESIGNER , this course is co-taught by Lindsay Marsh Click here to jump right to her course and get started https://skl.sh/2PLrXgI and  will work through all of the major tools and work on an engaging downloadable tracing worksheet, so you can master that pen tool, shapes tool and create a series of icons in your very first hour! We then conquer a bright and colorful logo design as we work with typography and learn how gradients work. Next, we will focus on layout design as we create a front and back of a business card. Want to create a cool type only poster? We will do this and learn how to work with layers and textures. Lastly, we will create a practical tri-fold brochure and learn how to prepare and export files for print.

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

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

This class is HUGE! With well over 6+ hours of video content, downloadable project files, software instruction and practical fun projects, Both Lindsay and I are both proud to present this course to you today. Not only will you learn and feel comfortable with all of the software taught in this course you will also be able to create a wide variety of awesome practical projects. I will see you in the first lesson of the course!

Meet Your Teacher

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Jeremy Hazel

Education Through Creation

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Transcripts

1. Course instruction and overview : All right. Welcome to the skill share Affinity. Sweet here. So this affinity suite is a complete package. We cover the designer, the publisher of the photo affinity photo for the iPad, as well as affinity designer for the iPad. So across the entire offering of affinity products were to cover them all. So I'm gonna be your instructor for the community photo affinity designer on the iPad and affinity photo on the iPad. So we're gonna walk you through the projects that we use, and me and my co author, Lindsay Marsh are going to be walking through the entire affinity. Sweet. On the way skill share works. It's much easier for us to go through teacher individual sections. So I'd like you walk you through what you could expect from my affinity photo affinity designer for iPad. An affinity photo for ipad section of this course in the affinity photo section. We're gonna be building three distinct advertisements that you see in national marketing campaigns as well as we're gonna be building three YouTube thumbnails, one creative, one professional and one that scared to position you as a relative expert in your field. So you're gonna be able to get best practices as well. A scream. He's three thumbnails along the way. We're throwing some really cool projects. You'll be building your own pixel rushes to create your own even twisted clown image. Here you might see on a book cover, and then it's gonna culminate in the creation of the Titan, so that's always a lot of fun. Then we're going to turn our attention over to Infinity designer for the iPad, in which we're actually gonna make a T shirt mock up that you can use as well as create the skull vectors that goes on the front of the T shirt. So complete from zero to bring you all the way through to a T shirt mock up you can use on your own site. We're gonna do it all in affinity designer for the iPad. And lastly, we're gonna take you through affinity photo for the iPad toe, walk you through exactly how to do photo editing on your iPad with affinity photo. So it's gonna be a good time. We're gonna edit in Instagram Square there so that we can work on a square image and then my co author Lindsay Marsh is gonna take you through the affinity designer. Now, if you want to learn affinity designer first on the desktop, we've put early to her course down in our course description so that you get access to the complete affinity Sweet she's gonna be walked me through many designer as well as publisher to make sure that you get the complete experience. So regardless of where you want to start, regardless of what software you want to start with, we've got affinity covered on skill share, and we hope to see inside of our class anything that we can help with. Long Way, Don't hesitate to ask. Other than that, let's go ahead and get started. An affinity sweet. 2. The basics of the Affinity Photo interface : they are a gang. And welcome to this lesson on affinity photo. Now, affinity photo is constantly updating, which is awesome because it makes it a very versatile program. However, it's not really cool when they go ahead and add tools or subtract tools or modify where things are. But the Big three in affinity photo are not really gonna change. So what I'd like to do in this very first lesson ID like to show you the 1st 3 main areas of the affinity photo interface so that you know where things are historically. Now, this isn't to say that you're going to get all of these areas and know where everything is at the end of this lesson, that's only gonna come with practice. So let's go ahead and I'm gonna show you the big three areas. So the first thing I'm gonna do I'm gonna goto file open, and it really doesn't matter what you open here. I'm just gonna open a standard photo. And now the big three areas here there are the tools which air down here along the left hand side. There is the tool bar, which is up here along this axes and Then there's the studio, which is over here on the right. So if you understand that these are the tools on the left. Up along the top here is the toolbar, and the studio is on the right. These big three areas will remain constant. So let me show you how to add or subtract certain features so that if I have a future, you don't you know how I got there. So you customize all of these through the view. So let's go ahead and take a look at the studio. Now. If you go down to the studio, you'll see that there are certain areas with the check marks on them. That means that there is a tab, so as an example, you see the adjustment tab is marked. If I go over here and I looked through the tabs in the studio, I see the adjustment tab. So that's there. Now let's say that I decide I don't want that anymore. Go to view studio. Let's click off it, and away it goes. So if I tell you to open your adjustment tab and you don't have it, that's fine. Just go to the view. Go to studio and click on Adjustment. There we go. There are some that come by default in affinity photo. And then there were some that you have to add in as an example. If we go to view and you go to studio, you'll see the batch tab is not necessarily selected. That's because if you're not doing a batch import where you're importing, say, 200 photos, you won't necessarily need to do that. So let's go ahead and turn that off. All right, so that's good. Now let's take a look at this tool here. This is the toolbar, or, I should say, the tools area and we go to view. And now, if we wanted to customize tools, you could come over here and you could pick certain tools. You'll notice that what I have is the default, but there are so many more right you could use the background. A race brush here. Now a lot of these air nested inside. You'll see where there's a little triangle. Here, you click on that triangle, and it will give you some of these other options. As an example, You see the background eraser brush is over the eraser But yet it's hidden. So anywhere you see a little triangle in the lower right hand quarter of a tool. There's a sub menu. So if you wanted to do this, you could easily customize the tools that you have available to you. Let's close that out. Or, if you wanted to, you could undock the two. Omar, let's see you like working with it on the right. You could under Doc the toolbar. Now, if you ever want to undo that, come over, Doc. Tools, boom, problem solved. Problems stay in salt. All right, The last thing that I want to show you here is this toolbar area to customize this, you go to view and you're going to go to customize toolbar. And if you see something that you want to add, let's say that there's an insertion area that you want here or you want to intersect. You can always come up and plugged that in, and then, if you want to bring it down and remove it, Okay, close that out. That's how you fill out the toolbar. Now, the last thing that I want to show you here every time you have a tool so Let's take a look at just a standard brush. The paint brush tool is here. Notice here. I've got the width of the brush, the opacity of the brush, the flow in the hardness. This is what is called the context to a bar, and you'll see that as you swap tools now, I'm gonna swap tools. Now, noticed. This changes so all of the adjustments for every tool are shown in the context toolbar. So this varies. Tool the tool. And so you really need to know which tool your on. And then this is where we're gonna go to make all of our adjustments. All right, this video's running a little long. This is the fundamental basis of affinity photo, these three areas, your tools, your toolbar and your studio. All right, we're gonna be working with these three things for the next 10 hours, So let's go ahead and get started here. Learning affinity Photo 3. Basic cropping in Affinity Photo : all right votes. Welcome to this introductory lesson on cropping placing and opening an image. This lesson will get you up and running in affinity photo right away. So let's go ahead and goto file open now the first thing you're gonna dio is you're going to find in the downloads we've included A picture doesn't have to be this one, but this is what I'm going to use. And when you open an image, this is what happens. Now Let's look at this little hand tool, the view tool. It's got the 4500 by 34 48 that tells you how wide the picture is. 45 92 how tall the picture is. 34 48. How many megapixels it is? It's 15.83 megapixels. What profile? It was shot in what the camera was. So you get some really good information on this now? How does this differ from placing? Well, let's place we go to file place. Let's bring up the same image. And now first thing out noticed the icon changed. The icon is now this downward facing arrow with a blue circle and you click and drag to bring your image into existence. Now let's look at our layers panel and I'm gonna undock this so that we could bring it out . I'm just clicking and dragging it and you'll see that this image is now on top of the background. Okay, so make sure that images selected now what's the difference? Notice here that if I drag this off camera, let's say or outside the image it disappears. It still exists. You can see the bounding box. And even if you clicked off it, if you click back on it, the bounding box is still show. Now, if I drag it back in camera, we can see it again. That's the difference between placing an image and just opening an image. We're gonna handle how to create a custom sized image here in a little bit in a later lesson. But right now I just wanted to have you opened up an image and get comfortable. Now let's say you want to delete this the easiest way with the lair selected right click drop down here to delete and make it disappear. All right, now let's read Dr Layer, bring it over here until it turns blue. Click it in somewhere. There it is. All right, so that's how to place and how to open. Now let's deal with cropping. Cropping is the first part of my work flow because I'm not going to adjust to a feature of an image if I'm not going to keep that feature once it's done, so I always crop first. The crop tool is over here in the tools panel, and now when you bring this up by default, you get 1/3 grid and you can choose that right here. I'm gonna work with the thirds grid and the thing I want to cover here. There are four modes that are in the basics of cropping. If you drop down in the context, two of our right to hear the 1st 1 we're going to deal with is unconstrained mode. So in unconstrained mode, I can grab a corner and I can drag it. I Congrats atop and I can drag it. I can make this thing super skinny. And then if I go in the middle of the grid, I can move it anywhere I want. So that's the unconstrained mode. Now, once you get it, where you want it? If you wanted to, you could hit, apply. And now don't do this at home. And then whatever you show is there. Now, if you don't want to do that, you could always control Z and come back out of it. All right, so that's the unconstrained mode. In reality, you can grab whatever size of the picture corner the picture you want, but it's very unscientific now. The other option is the original ratio. Now ratios air weird things. Let me show you what a ratio is here. There's some pre done ones here. Oneto 15 to 78 to 10. Right. So one unit toe one unit, five units to seven units, eight units to 10 units. And it doesn't matter what the unit is. As an example, if I went with the original ratio, it's 574 by 431 units. Now, if I grab the corner, it won't allow me. I'm moving the mouse up and down, left and right, and it's still maintaining the same ratio. When do you use this? You use this in an area where you want to maintain the ratio because of, say, size limitations or something in a WordPress site or in certain printing applications. So let's give you an example here. Let's make what's called a custom ratio. So now I'm going to show you that we go to custom ratio and let's make a widescreen 16 units by nine units. That is a common widescreen ratio four monitors. So if you have a monitor, it's a 16 by nine. You could grab pieces here of this image, and if you were to crop it right here, this is what would show on your monitor. So that's what a custom ratio is. Now let's say we want to save that ratio. Come down here at a preset and we call it with 16 by nine. Done and done. No. How do we make a square one? Well, that's already done for us. We can go into the 1 to 1. And now it's square one unit by one unit. And this is what will show now notice in instagram, right? They like the square images for the tile images. So if you're working on tiles, you want 10 80 by 10. 80. But how big is this image this image is 4000 by 3000. If I give him this and I have a 1 to 1 ratio, that's gonna be massive, right? That's far bigger than what Instagram will do and they'll shrink it down. So what we're going to do, we're gonna create what's called an absolute dimension. Now, here you can choose your unit. I'm gonna go ahead and choose pixels because I'm thinking about Web and I'm gonna go 10 80 by 10. 80. All right. And enter. All right, So now I want to save this preset. I'm gonna go to Absolute Dimension. I'm gonna add a preset. Yep, 10 80 by 10. 80. And I'm gonna hit. Okay. And now, if I was to take an instagram photo anywhere I place this will show up on Instagram. Now you're saying, Jeremy, that is atrociously small, right? What is the problem with that? Well, the problem with that now is our document. All right, but more on doing instagram photos here later in this course for now, all I need you to identify cropping is a thing. There are four different modes to crop, and this is the context toolbar for cropping. All right, we'll see in the next one 4. The basics of Layers- and the 5 types : All right. Welcome to one of most fundamental lessons on affinity photo right in any graphics program . This is the discussion on layers. Now, we're gonna be talking about layers throughout the rest of this course, but I wanted to give you an idea of the five types of layers that, if you know these five types, you will be epically prepared to go into any graphics program. So the first type of later we're gonna look at is what is called a pixel air. Now, I've just opened this image, right. So there's my move, tool. There's my image, and you'll see that in my layers panel. I'm gonna go ahead and pull this out so we can undock it. There is my pixel image. So in affinity photo, it absolutely lists the type of layer it iss not a renaming lair. Just click on it. Let's call this the clock layer. All right? Perfect. Now, the first type of layer that I want to show you is how toe add a pixel air. Because now you know what one of those are Down here, you'll see the command for ad pixel air and you'll see that one comes into existence, so I'm just gonna call this drawing. Okay? So first thing we're gonna do, we're gonna draw on this layer to do that. I'm just gonna grab a paintbrush. I'm going to go to my color to choose red, and I can paint. Now, let's say that I wanted to leave that in order to the legal heir. You just right click and elite. Alternatively, you can just hit delete on your keyboard. But I don't believe in shortcuts when we're doing these types of courses. All right, so you're familiar with the pixel air Now, layers have a hierarchy, right? If I was to undo. So we go to file or edit a new drawing. I noticed this layer is on top of this layer. And if I click and drag now, it goes to the back. So that's how you reorder layers. So that's actually pretty cool. So layers stack just like pieces of paper. All right, let's go ahead and lead that again. Right? Click delete. And now I'm gonna show you a new type of layer. The next type I'm going to show you is what is called an adjustment layer. So let's go ahead and click on the adjustment layer. And now these are super cool. These allow you to create some really awesome effects. As an example, you could transition this to black and white. Let's go ahead and click on that. All right, look what just happened. Now you have to know kind of some of the colors. If you there were some red in your design or your image, you can drop the reds. If you knew there was more blue, you could drop the blues so you can adjust the black and white. Now, once you're happy with it, click the X. All right. Now, where does this layer exist? And now double click this white real quick. You can always bring it back. And look at that. You can now adjust. This is live adjustment right here. This is nondestructive. This is sexy. All right, so that's what an adjustment layer does. How do you delete an adjustment layer? Right click delete. So you know about pixel airs? You know, about adjustment layers, the next type of layer that I want to show you. If we go up here two layers, we can go to live filter, layer Now what is this? These are super powerful live filters that allow you to do some pretty cool stuff as an example. Let's go ahead and just grab a vignette filter. OK, let's put it in yet on this thing. Now you see you've got adjustment sliders. We crank down the exposure. You can increase or decrease the hardness. You can increase or decrease this scale, so this is actually pretty cool. And when you're happy with it, you just hit the X now looking where it landed. Notice. There's now a little toggle down here. There's little Arrow, and if you click on it when you see a layer inside another layer like this, that means it's tied to it right in Photoshopped. This is called Megan in a smart object, really kind of grouping it. Now you can click this and you can move it up above, and now this will apply to any layers below it. And if you ever wanted to come back, just double click just like that. Now let's go for double points here. Let's create an adjustment layer. Let's go back to the black and white and let's drag it down below the vignette. Now I'm gonna go ahead and crank down some of my yellows here. That's actually pretty cool. I'm gonna crank up my greens a little bit. All right? So let's look at our layer clock black and white vignette that things looking pretty cool. Let's do one more live filter layer. You guys, we're building here as we go. And let's go ahead and add some noise. So let's add noise. And now where did that position it Notice it went inside the vignette. We don't want that. We want to drag that out. So that's the structure we want. And then let's crank up some noise here. That's pretty cool. Okay, awesome. So notice that all of these different layers are adjustable. So now you know about the pixel there. You know about the adjustment layer you know about the life filter layer. The fourth type of layer that I'm going to show you is the text layer. So now let's go ahead and create a text layer. And now, if we just click and drag were to call this timepiece, Okay, Now we're gonna select it all, and we can come up and we can change up the look, I'm just going to go with this and the thing that I want to show you here, notice the type of layer that is created so you can make adjustments because you're on text , you can change the fill color. If I wanted to make it white, I absolutely could. So I'm actually quite happy with that. And you, the piece around using the move tool. All right. Now, see, this is a text layer. So the four layers you now know you know about pixel airs, You know, about adjustment layers you know about filter layers and you know about text layers. So what's the 5th 1? It's what's called a fill layer. So if you go to layer, you can come up here and we're gonna go to fill their, and I'm gonna show you kind of how this works. Fill their just creates a literal Phil layer. So the Phil, it could be a solid Phil and it could be read. And why would you ever want to do this right? What's this? If we come up to the color and I make it kind of this Tingey type of look like that, watch this drop the opacity down, and you kind of get this type of look, this type of a ah, old timey photo. Look. Now watch this. Notice how the timepiece is under the fill their bring it up above, but below the vignette. All right, that looks pretty awesome. All right, so that's actually a pretty complete photo in one. What? Seven minute lesson? Simply by knowing the five types of Lares. Now, there's one type we haven't covered. That's a whole different ball of wax. And that's a mask layer. We'll deal with those here in a little bit, but for right now you know how to rename lairs. You know how to delete layers. You know how to reorder layers. That's all you got to know. In addition to the five types. Alright, folks, let's go ahead and get into the next one will see in the next one 5. What is a pixel Image : All right, folks, And welcome to a fundamental theoretical lesson in affinity photo. This is very important for new people to the photo editing space. So there are two types of graphics programs out there when it comes to digital art. The 1st 1 I'm going to show you is called Vector. Now, just to illustrate this, you don't have to do anything. You grab the pen tool and we can trace out any blob shape we want. Right? Come up to the move tool. We can fill it. We could make this salmon color boom. This shape now can be zoomed in, shrunk down, manipulated every way from Sunday. I can shrink this thing so far that it can go on the head of a pin or I can blow it up to the sides of a billboard Because vector art is based on math, it's scalable. Now, affinity photo and the photos that come out of your cameras are all based on pixels. So pixels are not vector. They are not highly scalable. Now, let me explain this. Okay, let's go ahead and draw shape. I'm gonna grab in a lip stool and, um, and draw big old circle right here. How big is my workspace? Well, let's take a look. Document resized document. It's 1000 by 1000 pixels. Okay, so now if I'm gonna make this bright red and if I goto file export and I go ahead and I export this right now, I'm just gonna go ahead and make this 1000 pixel image. This is now gonna rast Arise it right. It's now an image. It's a J peg that's made of pixels. Now, if I create a new workstation and we make it 100 pixels well, let's make it 200 pixels will play fair by 200 pixels. What do you think's gonna happen when I take that image of 1000 pixels? And I tried to force it inside a 200 pixel box. Well, let's see. Look at what's happening around the edge here. This is what is called picks, elation, and it's caused when you take a pixel image and you either try to blow it up to a crazy amount or you try to shrink it down to an obscene amount. That's what all of this jagged nous is under magnification here, using the magnifier you'll see all of the pics. Elation that's here. It's not in here. I can zoom in quite a bit. But eventually, even here, I begin to see the pics. Elation. So the thing that I need you to take away from this in more advanced lessons when we start talking about the document size, the image size, you want to work in a size that is very close to what your final application is going to be . So if it's a 1920 by 10 80 computer screen, you're gonna want to work in 1920 by 10 80. If it's an eight by 10 photo, you're gonna want to choose a canvas that is roughly eight by 10 which you don't want to do is take a wallet sized image and try to blow it up to an eight by 10. That is a recipe for disaster, all right. That's just all you really need to know about the difference between Raster and Pixel based . It's important that you understand that Infinity photo is a pixel based program. All right, we'll see the next one 6. Clipping masks and effects : beginning. Welcome back to affinity photo. So now that we know what the difference in a pixel versus raster is, I want to show you how to open up a new document. You goto file new and so I'm going to be working in the Web type. And then there are numerous presets. Your average screen monitor these days is 1920 by 10 80. That's full HD F h D and a 10. 80 p, which is the 10 80 pixel. So and that's a 16 by nine ratio. So this is the standard for HD. I like to use this because I like to do a lot of screen backgrounds, and then all you gotta do is hit. OK, there's a lot more to within that, but we're just doing the basics. Now I'm gonna show you something new. The first thing I want to show you here, there in the tool panel is this thing called the shape. Let's go and grab a rectangle. There are a lot of different shapes, by the way, describe the rectangle, and now let's see what kind of layer this produces. So where is my layers panel? Few studio layers. There it is. And now notice the type of shape. It's a rectangle. That's the type of layer. It's not a pixel there yet, so shapes have Phil. So we want none. We can come up here to the fill icon, hit none. And then we can come up here to stroke and we can turn on the stroke. All right, cool. We got this rectangle. Now, what do we do with it? So now let's go ahead. File place. I'm just gonna grab this timepiece that we were working with. All right, Now you see how this is hanging out. This is hanging out. Watch what happens now. With this, I'm moving the rectangle to the top of the stack. I'm grabbing my timepiece. And now watch where this blue line goes. See how it's halfway in the rectangle on halfway out. When I release it, this little toggle comes into existence. This means that this image is nested in here. Now what does that mean? Over here. Watch this. I've created what is called a clipping mask. So now I can move this image anywhere I want. I can resize it anywhere I want. And the only thing that shows is what's in my rectangle. This is pretty cool. This allows me to frame up all my art. And if I grab the rectangle, I can now move the rectangle and watch this. I can resize it anyway I want. And that child layer right here that's nested inside has to do whatever that top layer does . So this is what's called a clipping mask, and it's extremely powerful. So if you ever want to unclip it, just click drag. And now you've got separate images. You want to re clip it, click drag, notice where it is in the Blue Re Clip it. That's it. So we're gonna be using this all the time in the first project we're doing coming up next. So this is an important concept. Now, the last thing that I want to show you here, there's something called an effect and the effect is in the layers panel. And right there, you see lair effects. Now, notice the effect. I'm working with them, working with the rectangle there. Let's put an outer glow on this. I was put in outer shadow on it. So you check the box, you make sure this goes blue. If it doesn't just click on the outer shadow and let's crank up the radius. Okay, now, kinda. You see it. Let's crank up the intensity. Now we see it and let's crank up the offset, all right, And now we can make some subtle adjustments to it, a little less intense, a little less intense. That looks good, and we can even change the angle. There's a lot more to be said about effects. We're gonna go through a lot of the effects and be using them in projects. But the thing I needed to connect with, there are many effects every single layer you can put in effect on. As an example, I can select this layer. I can use an effect. I can use the color overlay, and when I go to color overlay, I can go orange and I can drop the opacity. And there's that CP atoned image that we had Cool. There's another way to do it now. If you ever want to change in effect, let's say I want to change this rectangle. Just click on the effect and now you can manipulate the variables again so nothing is destructive. Nothing is permanent, you can adjust it all. So, recapping this lesson, you learned where the shapes are. You learned that the shape is a special type of layer. You learned how to make a clipping mask, nesting one image inside another. And you also learned how to create, in effect, how to come back and modify an effect in affinity photo. All right, I think that's all for the tech. Let's go ahead and get into our first ah project and we'll see in the project. 7. Masking for complete Beginners : All right, folks, welcome to one of the most fundamental projects and processes in all of photo editing, Right, This is masking. So this lesson is going to be the basics of masking. Now, there's probably gonna be a couple of these in the course. This is going to get you up and get you started. So I've included a couple downloads. If you don't want to use my download, you can absolutely do it your own way. All you really want to do is find two photos, so I'm gonna go ahead and open, and the first thing I'm gonna do is I'm gonna find the one where I put these in here, and I'm gonna go ahead and I'm going to open this flower background. Now, This was taken at my local grocery store and one of the things I'd like to do when I'm in the check out as I like to use the camera because it's often said the best camera is the one you have on you to take photos in the flower portions of some of these ah grocery stores because they got some amazing flowers. So I like all of this, but I hate this. So now let's do this. Let's Goto file place. And now, in this download here, let's go to file place, and we're gonna go to all files, all documents. There we go, and I'm gonna go ahead. I'm gonna pull this in now. I'm gonna go ahead and stretch that down a little bit for by design. And now this is gonna revolve around the color panel, and I'm also going to pull out my layers panel. All right, Perfect. Let's drag the flower layer below the background layer. And now the backer on layer, Let's unlock its We got rid of that. And now the way that you mask a mask, Claire is down here. Now, this is 1/6 type of layer. You remember earlier in the class, we talked about five. A mask layer is a special type of layer. What it does mask Claire's work in black and white. Now get this down deep in your soul. Here, Black conceals, white reveals. So let's go ahead and click on this mass, Claire, and you'll see that it creates this white square. And now what a mass Claire does is it tells this layer what show as example, what to reveal and what to conceal. So right now you see the squares completely white. The conversation that that squares having with the layer says show the entire layer of everything. So now watch this. If you come over here and you grab a brush and now we're gonna go to the brushes panel and I'm going to go ahead and I'm gonna grab a soft brush. Most of what I do is with a soft brush, and now we're gonna paint in black. So if White reveals everything, what is black going to dio Black is going to conceal it. So let's go ahead, will ratchet up the brush you see up here, my brush size is changing. And now if I paint what's happening here were actually revealing the background. Now, how are we doing that by concealing the foreground? Now look at what's happening over here to this white square, some of its turning black. So here we can actually take out a lot of this foreground using what is called a mask lair . Now let's say that I go way over like oops, I just consumed most that pedal. If black conceals what is white gonna dio reveal? So in a way, it's a nondestructive process to use masking. Now, if I want to keep working, I just work in black. So this is exactly how mass Claire's work. So this is actually pretty cool Now, if you wanted to, we could get in a little closer. Let's show you how this works. I'm just gonna grab a standard old eight bit solid brush now and now you see the different edge. Now, later in the course, we're gonna show you how to select this. And masking is not a substitute for selection, but it can do a pretty darn good job. So if you zoom in and you then come back to the brush and you've got the black selected, you could get pretty darn close up to that line by just doing a masking job. Now, again, not a substitute for selection. And so I would highly recommend that if you're going to do this and you're not gonna follow this example, you find an image that has some really good solid lines to it, and then you just try to trace out the line. Now I'm not doing the best job possible here because obviously you guys don't want to watch me do this for 10 minutes. But you see how I'm following this line and we're taking out the areas that we don't want. Okay, so in reality, we're masking. Does masking shows what sections go and get shone through. All right, let's finish this part up here now. And this is why we put this lesson after the basics of brushes Because you really have to know a little bit about your brushes in order to do this. Well, all right, grab this area down here. All right? Let's go ahead and scroll this up here and now. I'm just gonna really quickly. I would just go through this area here. Now, we're gonna show you how to do this with selection later in the course. But I just want to show you how this works because you can combine mass clears with selections, and you can actually cut down your time substantially. All right. You see, I'm just doing this roughly there. So if you want to practice this in another way, you can easily go through and find two images that don't share similar color palette and then just manipulate the one until you get it through. All right, let's do that Just a little bit more here. I know. We're just gonna take a little bit more time with it. Okay? So now what happens if you got graze, right? Well, mask layers also work with grace, so their can be black and white, and then there can be shades of gray. Now, let me show you how masculine is work with one more type of there. All right, we're gonna zoom this back out there, okay? Check this out. Let's say that we want to take this image, and I want to change the hue on just this image. How do we do that? We grab the adjustment layer. We do NHS l we bring it inside of this layer, so that only applies to this image. Right. Let's change the name on that. We're gonna call this flower, okay? And now watch this with the h. I sell selected, I double click. And now we're gonna make everything blue. Let's say tie that into the flower. Here we go. All right, So let's say we gonna make everything purple. But now I only want these flowers to be purple. How would I possibly do that? You see how this HS cell adjustment layer has its own white square watch? What happens when I paint black? Because, remember, Black conceals I can conceal any part of a new adjustment layer. So if I just wanted those flowers over here to be the purple, I can easily exclude and mask out those areas of the picture where I don't want this to actually occur. Masking is a fundamental skill. Four photo editors write It is one of those things you just have to learn. And so if you ever go too far, if Black conceals white reveals, you can absolutely just go through and change it right on back. The way it waas, the same thing could be held true. Let's do one more with this background image. Let's throw Ah, brightness and contrast adjustment in it. Tag it to that layer and now you see it's got a white square. Let's double click cranked down the brightness, Let's say, But now I want a mask out its effect sometime. So I come over with the black because black conceals the effect. And now I can eliminate it on some of this sky. Now. This is a key area in terms of your brush adjustment. You remember when I said he do most things with a soft brush, grab the soft brush, drop the flow substantially. I still leave the opacity of 100%. And now watch. What happens is I approach. I'm able to make a nice Grady and blend here. As I approach this, I'm not having a hard edge. So 99% of the time when I do photo editing, the I used the buzzy brush when I do this, so mask layers can be stand alone layers. They are attached to an image, or they can be attached to adjustment layers. There's a little bit more to it. If you were to use a live filter layer, let's say and let's do Let's do an ad noise. We're gonna add a whole bunch of noise right up at the top of this thing, right? Let's crank it up. Okay, that's awful right, But I do need it to show the feature notice how this has a white square. If I grab my brush, I grabbed the black watch what happens everywhere. I paint the black, the noise disappears. I use masks constantly. When I composite, I use masks constantly. When I'm doing photo editing, I use masks for effect, for filters, for everything. This is a skill you're gonna want to get down and get real comfortable with. All right, let's go ahead and get into the next one. 8. Endless Summer Part 1: All right, gang. And welcome back to affinity Photo. So one of my favorite things to do with the mall is take pictures of actual advertising so that we have some really cool projects to work with in affinity photo. So this woman came to us obviously from forever 21. And I really loved the masking that was done in this. I think it's a very simple ad to do so I thought maybe we do it in affinity photo and see if we can pull off this effect. So let's go ahead and get started. First thing I'm gonna do here is I'm gonna file new and let's go ahead and select. I'm just gonna do one for print making 8.5 by 11. Obviously, that's not the size you do it if you're doing a full size graphic, but it will work for the purposes of this tutorial. So now I'm going to begin with one of the new features in affinity 1.7, the stock tab. Now, if you're brand new to affinity photo and you don't have the stock tab, you go to view studio and this is where all the studio panels reside, right? We went through the interface a little bit ago, and you'll see then that we have the stock tab. All right. Now, the cool thing is, this is partnering affinity with a splash, and you just put in what you want. I went ahead and put in palm trees and the palm trees that came up here. I really liked this particular set of palm trees here, so let's go ahead and find a set of palm trees that we like. I'm gonna go with this one. And now, if I double click, it takes me to unspool ash. And so I'm just gonna download this here, and this will be in the download file there. But in affinity photo, you can go directly right over to the document. Click and drag. Okay. Doesn't get much better than that. It gives you a little bit of artist credit, and we're gonna go ahead and it. Okay. And now, if you wanted to re dock thes, you could put it here. So now what we want to do, we're gonna go ahead and zoom this out because this image is a little bit bigger than what we're working with you. See this? Now we're gonna go ahead and we're gonna change this up. It doesn't matter. We distort it, right? The palm trees were already distorted. It's kind of a perspective piece, so I'm gonna go ahead. I'm just gonna move these things up to fill the frame. Notice my snapping is on now. What I want to do, I want to get rid of all this background. I want to isolate these palm trees. So the first thing that I'm going to do is I'm going to Rast. Arise this image now. Notice I said Rast. Arise! Notice. This is an image layer up here. This is an image. And so, in order to make it a pixel based image, you have to right click and select Rast Arised. Now watch what happens instead of an image layer Boehm, it changes to a pixel air. All right. In order to select, you got to be in the pixel. You got to Rast. Arise it! Okay, so now we're coming over here for this particular type of image where I have a very solid background and I've got a little bit of this background all over in here I'm gonna go ahead . I'm gonna use my flood select tool. When you do selection the type of tool you select, it's absolutely essential that you select for the image. So for this type of selection on this type of image, I'm going to use the flood selection. I'm going toe uncheck contiguous. Now what is contiguous mean? Contiguous means touching. So notice some of these little areas of background here. They're not touching this. So if I only put contiguous on, I would have to select all of those by hand and we'd be here all day. So now I'm gonna come over and I'm going to click and drag. Now watch what happens as I drag to the right more and more of the images consumed. Now look up in the context to a bar, you see the tolerance of 8%. What affinity photo is doing is it's pulling all the different pixels that it within a certain percentage of where I originally clicked. And I want to stop when I have all of this background selected. All right, that looks pretty good. Now what I want to dio I have everything but the palm tree selected So I want to come over to my selection. I want to invert the selection. Now I only have the palm trees, and then I want to come over to my selection brush, and I want to refine the selection. Now watch what happens. All right, Anywhere there's red, that means that it's going to be deleted. Say that means everything that's not ready is what I want to select. And I wanna output this as a new layer. So I select the new layer and I apply bone. All right, so now what? We've got notice we've got this image. I'm gonna go ahead and I'm gonna delete this, so I'm gonna take it. I'm gonna drag it down to the garbage, leaving on Lee this pixel air. Now, in order to leave us in a good spot for the next lesson, let's do this. Create a new pixel air. And just for right now, let's fill it blew. So I come over to my flood select tool. I come over to my color palette and it really doesn't matter what color of blue. I come over to my pixel air and I click once whom everything went blue right. But now watch this. We're gonna nest. Come down here. I'm gonna click, and I'm gonna drag inside. Oh, now that is called a clipping mask. I used this selection to tell the blue where to show up. This is going to pull off the whole effect to get to this notice that they used this, the palm trees here as there clipping mask. So the next thing we're going to do in the next lesson, we're gonna apply ingredient to this clipping mask to replace the blue. All right, let's go ahead. Call it on this one, and we'll see the next lesson. And let's talk greedy in 9. Endless Summer Part 2 : All right, game. Welcome back to affinity photo. So in this lesson, we're replicating this forever 21 ad. And in the last lesson, we made this faras isolating the image, making what is called a clipping mask. Okay, so now this blue doesn't look really good, right? So let's go ahead and add a shape. We're gonna come down to the rectangle tool, and now we're gonna go ahead. We're gonna add a nice, pleasant background of this. Now I've got snapping turned on. So you see where my green and my red or snapping. That's because I have this snapping magnets selected. And now notice this rectangle there. This is now underneath there. I want to drag it and pull it. And now what I want to do, I want a flood Fill it. But I want to come up with something a little bit different. So I come down to color. I'm going to come down to kind of a yellowish, and I want to make this really, really soft. I almost want this to be white. All right, that's gonna be pleasant to me. Okay, We're in pretty good shape now, but now this blue doesn't look real good, right? So we need to change it up a little bit. So what I'm gonna do now, we're gonna come to the Grady and Tool. I'm gonna click on the Grady in tool And you see where my snapping is And I'm gonna pull a Grady int across the screen. Now you see here I'm now gonna change. The name is layer to Grady int layer. All right. Perfect. Now, what is ingredient layer now? Ingredient layer is exactly what implies. It's a gradation from white in this case, too grey. And so when you use the Grady and tool, the color appears up here. There are different types. We're gonna use what's called a linear ingredient, and we're gonna use it on the fill of the object. So now click on the white and gray. I want to create something that's kind of little sunsetting. So I'm gonna come over to the white, notice the white color, and I'm gonna choose something in the purples. All right, now, that's bold Purple. So let's go ahead and tone that down a little bit there. All right, I'm gonna go up even a little further here, okay? And I want to be right about here. Okay? Now I come over right about here. Let's go ahead and click. Now, when you click, it adds another circle, and now I'm going to come down, and I'm just gonna put a little bit more in the pink area on it. I'm gonna come over to about the middle of a click one more time, and now I'm going to come down and we're gonna do kind of a reddish. That looks pretty good. And now I'm gonna go ahead and move that a little bit over. That's looking pretty good there. And then I'm gonna come over here, and now I'm gonna click on the color. And now I'm coming down to the orange ish. And lastly, over here, I'm gonna come down to the yellowish. Okay, so we've got a nice Grady in now, these little hashtags in between. You can move these around to wherever you want that greedy into go, and it will adjust the Grady in. You see, in between these two kind of changes how far the Grady it moves. All right, so that's a nice Grady in color. Now, I really like this. So Let's come back to our move, tool, And let's reduce the PSA pass iti just a little bit on the layer. It's a little bit crazy for me here. All right, now, on reducing the radiant layer, that's not what I want to dio. It's come up to the pixel. There a there we dio all right? And if this rectangle it's a little crazy, you can always come up to the Phil and we can knock that Phil down a little bit. All right, Good deal. Now, the last thing we want to do here to kind of wrap this lesson up, we're gonna take this Grady int layer, and we're gonna duplicate it. I'm gonna move it up above everything. So now here's my Grady in Unfiltered. And now I'm going to grab my rectangle tool I'm gonna drag out a rectangle And now I'm gonna hold Ault and I'm gonna drag this down a little bit. Okay? And now with my move tool selected, I'm going to center this thing. All right? That looks pretty good. All right, Now let's remove the Phil. So we're coming down here to swatches. No, Phil. Perfect. And now let's crank the stroke up a little bit. Now. I want a pretty sizable stroke. Let's make it an even 10 pixels. All right, Now watch this with the rectangle on top of the ingredient layer, right? Click on the rectangle and choose masked to below. Boom. Now you see what just happened? It took that rectangle and used it as a mask on the Grady in layer. And because this Grady it layer was a copy of this, the greedy INTs match up perfectly. All right, so that's a good start to this project. Let's go ahead and cut this one here and then what we're gonna do in the next lesson, I'm gonna show you how to use another shape, and we're gonna get in the world text. All right, We'll see the next one. 10. Endless Summer Part 3 : All right, gang, and welcome back to our projects. So the last lesson we went through and I talked about the Grady in tool. So we created this nice border. We also used the pixel art. Here's a clipping mask and we created this Grady int layer Thean affinity photo. So this time we're now gonna add a couple more shapes and we're going to explore the world of text. Now, if we come up to here, right, notice they've got a yellow box, they've got a white box, and then they've got kind of a sort of block its sensor of type of funt, so notice they've got their name prominent, and then this is a little bit smaller in terms of the text sauce. So let's go ahead and work with that. So let's go ahead now and we're gonna come over to the rectangle tool, and the first thing we're gonna do is we're gonna drag out an appropriately spaced rectangle. Okay, Now, let's go ahead and put that up to the top of the stack. Perfect. And now the stroke color. We're gonna want to be this type of bright yellow. Okay, Now notice that this is now losing out on the background, Right? The backgrounds a little bit crazy. Let's add an adjustment layer. So I'm gonna come down here. I'm gonna add on each sl adjustment. So noticed this is now above all, and I'm gonna crank down the saturation on this piece to right about here. I think that it's a little bit too much. Okay. All right. So that really allows the foreground of the background and not compete with one another. Okay. And now I might want to go a little bit darker on my yellow. Here. Let's go to the yellow. Let's go ahead and crank that down a little and let's drop the point count. This has to be, then. Okay, let's zoom out, see what we got. All right, That's much cleaner. You see how before and after That's no longer competing. Four after before after. All right, so let's go ahead. Now, let's just duplicate this a little bit. We're gonna right click copy, right click paste. And now we're gonna grab the corner, and we're going to shift this thing down a little bit. Okay? Hold shift to select and make sure that you're right on the money. Okay, It was Drop that down a little bit that down a little bit and center it up. All right. Now, where did that go that went over here? Let's bring it back. And now we're gonna want to fill this thing with White, and we're gonna take the stroke off. So we're able to do that little box with zero in it. All right, now, we're gonna come over here. Here. All right. Looks good. So now let's go ahead and add some text. Artistic text tool, click and drag in this summer sale. Okay, Now, let's go ahead. Select it. Now, let's center it context to a bar. A line center. Let's find a decent font. Now you're gonna have different fonts. That ideo I'm gonna use something. Maybe in this block text style here and now I want this to really consume that, and then I want this to be maybe a little bit smaller. Okay, carrying Now I got to do something with this gap, right? So the trick is, I select all of this and now what I'm going to do, I'm gonna come over to my paragraph panel. Well, we don't seem to have that up. Let's go to view Studio paragraph under spacing. Let's go ahead and check out the height here. I actually think about 40 points is where I want to be. That looks pretty good. Now, what I'm gonna do now, no head number that crank that down. Come over here and I'm going to make it. Fill that box, go ahead and come in just a little bit. Okay? That looks pretty good. All right, so that's a little bit on how to create this forever. 21 style. Add hope you learned a little something about affinity photo. Now, there are more scientific ways to get the boxes right to get this right. But in reality, what I'm teaching here in Infinity photo is how to recreate some popular advertisements because popular advertisements turns out, are created by professional marketing campaigns. And those actually are selling 11. Wander image part 1 : all right again. And welcome back to Infinity photos. So now we're gonna show you a couple things on Mass Claire's. So let's go ahead and take a look at an image that I saw downtown the other day. This was very similar to what you're gonna see on Instagram or a lot of different advertising platforms. Use this sort of approach where they take a picture. They put some inspirational quote in front of it, and then they use it in different advertising style media. So what? I thought today we'd go ahead and I teach about Mass Claire's and using text while making one of these. Because again, this project, this course is all about making stuff. So let's go ahead and go toe file new. Now, I'm just gonna work in print. It really doesn't matter. I'm gonna use letter and see a which gives me an 8.5 by 11 here, so we get a workspace. All right. Nothing new there. So now I'm gonna go to the stock panel, and now I put in mountain path and what I'm looking for something a little bit darker, a little bit more moody, and so I really wanted to display three different techniques to you. I really liked this misty morning mountain. This isn't your downloads again from unspool ash. And the reason that I use a lot of un splash stuff is because a lot of people that take my courses aren't photographers in and of themselves. But turns out you don't have to be. There's a ton of good stock footage that you can use all around you. All right, So now I don't want to shrink this thing down because I think that it will throw off the perspective. So I'm just gonna go ahead and I'm gonna pay attention to my rule of thirds, and I'm going to keep a lot of my interest in these intersection points. Now, what's the rule of thirds? You ask, You go to the crop tool. You want a lot of your interest points to be in these intersections. You don't want a lot of focus into the main area. So if you go to the crop tool and then you've got your overlay in the thirds grid, you can use that as a guide. All right, so I'm pretty happy with this now. You notice. This is an image layer. The first thing I want to do when we come in is I want to right click and I want to Rast Arise it now it's a pixel based image. Now you're gonna hear me in this class, talk a lot about working non destructively, and I'm gonna introduce you to a filter layer. Now there's two different types, right? You can come up here, the filters and you can go to your blur filter and you can assign, blur, sharpen, distort filters all day long. But they are destructive, Which means once you apply them to the image, there's no take backs unless you undo. Of course, I like to work non destructively, and one of the things that affinity photo allows you to do is work with live filter layers . So you get a layer goto life filter layer and let's apply a little blur. Now I'm gonna apply ago, Schindler. Now, when you click on this notice, there's a box that comes up Now I'm gonna crank this all the way to tomorrow, right? That looks crazy. So now you can shrink it and let's say that I close this out and I want to ever come back to it. Notice this little white box here. If I twirl this down, this Kocian blur is tethered or child parent relationship or nested to that image so I could just double click. And now I can always readjust the blur however I want. So what I'm gonna do now is I'm going to kick this radius up to about two pixels and I'm gonna call it a day. No, we're gonna teach you about Mass. Claire's. And when it comes to Mass Claire's here's the thing I need you to get deep down in your soul on this white reveals black conceals, so you'll notice this is white here in order to conceal the blur in certain areas, you have to paint in black. So we're gonna make sure we're on in this layer. We're gonna grab our brush tool here. I'm just gonna grab a standard round brush. So I go to my brushes tab, click on Basic. I could grab any size. Now if I want to adjust the size, come up to your context to a bar and crank it up or I'm going to write bracket up notice it change the with here. You can do it through the slider. I'm just going to use my keyboard. Now. What color do I want while the whole thing is blurred, right? I want to make this stuff in the foreground a little less blurred. So what I'm gonna want to do, I'm gonna wanna paint in black. So I go to color and I crank it down to black. Now, watch what happens now? We're gonna do this layers panel, watch the layers panel. And now you see how this started to go black right here, and you'll see how this started to come into focus. That's because I am masking the Goche in Blur, and I'm not allowing it to show through in the foreground. Now, why am I doing this? One of the laws of atmospheric perspective says that things closer to the viewer need to beam or detailed things further away from the viewer. Need to be less detailed. So these things should be a little bit autofocus. These things, the closer they get to the viewer should be in focus. So a mass claire tells affinity photo what it should show and what it should not show, and every adjustment, whether it's a adjustment layer or a filter layer, comes with its own inherent mask that you can paint on. We're gonna be dealing a lot more with this throughout the course, but I wanted to show you how to apply a live filter layer and just give you a brief introduction. A Mastic, remember, White reveals black conceals. All right, we'll see in the next video. 12. Wander image part 2 : All right, folks, welcome back to this project. So in the last lesson, we showed you live filter layers, and we added ago Schindler to this image. And then I also showed you the theory of masking. Remember, Masking is about telling affinity photo what to show and what not to show. All right, so let's add some text to this thing, right? We're gonna come over to our artistic text tool chicken, the artistic text tool, and we're just gonna put down wander right that work. All right, So I'm gonna move this over, and I like a big, blocky text for this. You could use a thinner text, but the problem with that is it may get lost in the shuffle. Right? So I think that I'm pretty good here and now what I'm gonna do, I'm gonna add in a little embellishment here. I'm just gonna add in a little bit of a rectangle. And now let's zoom in. We come down to our zoom tool, zing that over here, come up to our move tool. Let's go and put that right about where we want it there. I think that's pretty good notice were centered that green line in the middle. And let's go ahead and make our text pretty darn close to that. All right, that looks pretty good. Now, in order to make this not as transparent or I should say, not as opaque, more transparent. There are two ways to do this. Let's pull out the layers panel, click and drag. All right, So the opacity you could with wander, layer selected, adjust the opacity and that could drop down. And you see that? Now you get that nice feed through, you can see what's behind it. However, we're gonna do it a little bit differently. I'm gonna introduce you to blend modes. Every single layer here has a blend mode, and the blend mode tells affinity how to interact with their below it. So we click on the rectangle, come up here, you can then select the appropriate blend mode. Now, I've been doing this a long time. There is no substitute for playing with the blend modes. Notice how overlay made it a little more See through. I think on this one I'm gonna go with an average and then I'll click on Wander. I'll come over to its blend mode and we're going to choose average. Now I know what you're thinking. How did you know to choose average? Well, it's the scientific method of scrolling thrown and figuring out which one is cool, right? There's a lot of different ones out there. So if I was to grab Wander and I was to come down here, I could erase it out. I could contrast, negate I could glow it. Negotiation gives us an interesting idea. So I like the average. I think that's what I'm going for on here, because remember what we're trying to dio. And now the font you choose, you don't have to choose a block. You fund, you can choose whatever funds you want. But now what? I'm gonna show you how to do I'm gonna show you how to add one more life filter layer to give you a little bit of practice in this lesson. Go to layer Goto Life filter layer and let's go to a color And let's go ahead and slipped on a vignette So we're gonna find a vignette. We're gonna click on that now Where did that go? Notice it nested inside. Bring that up to the top There we go. And now crank down on the vignette. The exposure. You can drop the hardness. You can increase the hardness. You can do whatever you want to do with the hardness. I'm gonna go ahead and increase the scale a little bit. That would change the shape because I kind of got a rectangular type of image. So this makes a little rectangular. And remember, this is a live filter layer. All right, so in this lesson, you added a text layer and you changed his blend mode average. You added a rectangle, and you changed its blend mode to average. And then you added another life filter layer for Devyn. Yet in the next lesson, we're gonna go ahead. We're gonna fish this thing up, make it look a little bit moody, and then we'll get into another one just to give you a little more practice. 13. Wander Image part 3 : All right, folks. Welcome back to Infinity Photo. So in this one, we're gonna show you how to kind of create that cool, split tone, teal and blue type of fact to totally change this image. One thing that's important Note about photos. If you really get the idea that every single photo is made of red, green and blue and that there are really only three tones darks, mid tones and highlights, everything else just becomes detailed. So what, we're gonna show you what? A show. You cut something called Split toning. So when you split tone, we're gonna now add an adjustment layer. Oh, there's a new type of layer, folks. All right, an adjustment layer adjusts. That's exactly what it does, right? So it could be applied, nested, or it could be applied over the entire image. And it, too, carries its own mask. And what split toning does in effect, split toning says I'm gonna take my highlights and I'm gonna take my shadows And now notice how they're kind and not There might be some blue in there and there might be a little bit of green. We can change the highlights. We can change their color. So what I'm gonna do, I'm gonna blow this out a little bit. I'm gonna go my highlights. I'm gonna go with that popular teal and orange look that everybody is so hip on. All right, And then I'm going to saturate the highlights. Now watch what happens. Notice how over here were starting to get the orange. But now let's go ahead and do this. I move it up in the stack, notice what happens. So it definitely matters where you apply your adjustment. So I'm gonna go ahead. I'm gonna move it right below the vignette. And now I'm gonna click on it because it is a livelier. And now I'm gonna come over to my highlights. I'm go for that. Teal look right. We're gonna find that teal there we go right in that teal area, and I'm going to take my shadows up a little bit now. Notice that is a completely different look. Now, the other thing you can do if you wanted to balance out a little bit, you can go a little heavier on one side or little lighter to the other side. I'm going to go a little bit heavier toward the warm. And the reason is I don't have as many warms Now. This is something I do all the time before, after before, after looks pretty darn good. Now, could you move this up above, above the vignette? You bet. Did it make a difference? Might have. Might not have. Yeah, but now we move it down. Below the words. Does that change? Yeah, I don't like that so much. I think I want it up above the words because I want the words to carry with it some of those lights, All right. Speaking of the words, if you don't like where the words are, click both of them and you can move them wherever you want. I tend to put him in the middle there, kind of like where that is. So that's a little bit on split toning your first adjustment layer, and that's a little bit on what an adjustment layer does. It adjusts, so notice it has its own mask so we can click it off, click it on and notice that's a completely different photo. All right, folks, that's a little bit on this one. Let's go ahead and get into the last one on popular ads, and we'll take the next step 14. Making your first pixel tear brushh : All right, folks, welcome back to our affinity photo. So in this next lesson, we're gonna use some of our custom made brushes. In order to do that, we've gotta make custom made brush. Brush making is one of those things that people aren't inherently comfortable with. But I'm gonna show you how to do it. We're gonna make what's called an intensity brush. So now let's goto file new. And now my brush files are always 2000 by 2000. Remember that if a brush is too small and you scale it up, it will rast arise just like any other Rast arise program. So you always want to brush that has a little bit of playing it. I like 2000 by 2000 and always make sure that it's square. All right, cool. So you got this white thing here, right? That's pretty cool. So now we're gonna file place and now in your downloads for this lesson, I've made three paper tear brushes, actually, four. So we're gonna click drag and place one of these. All right, now you'll see that here. Some black. Here's some gray here, some white. So the first thing we're gonna do now. We're gonna come to our layer, and I like toe levels adjust when I do my brushes. So I'm gonna add an adjustment layer. You guys learned about this, and I'm gonna parent it to the tear and having a crank up the blacks a little from a crank in my whites a little. And what? I'm looking for us to get that good paper tear right on the sides. Right? That's the stuff that makes a believable. And now what I'm going to do, I'm also going to add an h s l adjustment. Because you see the yellow tent that's created because literally took these with my cell phone. I'm gonna de saturate this. All right? Perfect. All right, so let's do this one too. Three. All right, We're good. All right, So now let's go ahead with this layer. Selected the image layer. Let's right. Click Rast arising. Now we can select it, and we're going to use our flood select. So I want to grab this black piece here. All right, we're going. We're going. We're going. Looks good. And now you'll see that with the flood. Select as I approach, say, 55% notice that I start getting some of that gray. That's the good stuff. And no, I want to keep this, but I want to delete everything else. So what I'm gonna do, we gonna come over to select? I'm going to invert the selection. Now notice the marching ants now, around the outside. If I hit my delete key, notice what is kept. Now I select inverted back, and then I can diesel ect, That's what De select. All right, Perfect. Now we can blow this thing up to where we want it. All right? That looks pretty good. There. I kind of center it up. All right. Perfect. Now, all of these air built on a P end G basis, we gotta file export PNG. And now we're making an intensity brush. So I want to do the whole document. Export. I'm gonna call this tier Brush three save. All right, now, let's go to my brushes panel. Where to go now? We don't have it. Okay, let's go there. Let's go, Studio. Let's go Brushes. All right, delete these out. Don't worry about this. And I want to delete this category. All right? All right. So add a new category your into brushes. Click on these four lines. Create new category. All right now came over the new category called The Brushes. Terribly inventive. Rename it, Let's call these paper tear. Okay, perfect. And now let's go ahead. Click on the four lines again and hit a new intensity brush. Boehm Tear Brushed three. Now what is this? Right? This says this is a 64 pixel brush. We got to make some adjustments to this because I can't work like that. Let's go and crank the size up. Crank the accumulation down. Let's crank the spacing down. Now we only want one, right? We want this to be almost singular. All right, The accumulation. I'm gonna wanna put up maybe back to 90%. And the flow. I wanted 100 and close. All right, Now let's try this thing. Go to file. New Doesn't matter. What size document Don't care. Let's grab our brush. Let's crab this brush. We're gonna right bracket, So this thing is up. Let's pick a good color here. We're gonna pick red bone. That is a good look and brush. All right, that's one. Now, in the next lesson, I'm gonna show you how to build a 2nd 1 because again, repetition is the key to success. And then we're gonna get a little project where we're actually going to use these. All right, we'll see the next one. 15. making your second pixel tear brush: All right, folks, welcome back to affinity photos. So in this lecture, we're gonna make another brush, but it's going to be an add on to the one that we just made. So I'm gonna introduce you to the new technique and a new selection tool. So let's go and get started. Goto file new 2000 by 2000. Okay. And now in your downloads for this lesson, we're place this image. We call it tear, too. All right, So I got this piece of paper and this is the terror. This the only tear I've got. Really? So now we're gonna use the selection brush. I tell you, I use the selection brush nine times out of 10. When doing a selection. It's my go to tool of choice. Make sure you're on ad because you're gonna add to the selection. Make sure that snapped the edges is on, and you see how crisp these edges are white on black. This is going to be huge. If you start selecting in the middle here and you get close to the edge, affinity photo will sense that edge. Now, if yours goes a little bit crazy, I'll tell you this sensitivity to edge selection is directly dependent on brush size. So scaled down the brush, I guarantee you get a better edge. Now refine it. Now we're gonna output with the new layer and apply. All right, there is our white piece of paper. Now, let's see what's going on in our layer. We don't need this image anymore. We're gonna delete the tear to image. And now we're gonna come over to this layer and we're gonna duplicated. So I right click under the layer and I click duplicate. Now I'm gonna go ahead and I'm gonna rotate it. And now, you could do this a couple different ways. I'm gonna be super nonscientific, and I'm just going to grab it like this. I think that that's pretty cool. All right? No, What I want to do is I want to fill the frame with the white paper. All right? Keep going up. And then here I want to fill this frame with the white paper. I don't care about distorting the paper because the paper isn't what I want. This is the thing I want. And if it doesn't look right, you can always come back and adjust until it does. Think about where you want to be with this thing I want to be right about here. I think that's a good looking tear. The other one was a little bit too. Ah, Finally. All right. No, me Show you how this works. Remember, we need black and white in an intensity brush. So I'm coming in and I'm going to grab a black rectangle now, don't make it black. Grab my field tool with my black click And now I have black rectangle Drag it to the bottom And now this will be what your brush looks like. Now I'm gonna show you destructive operation. Hold shift, Select all the layers. Sorry, Old control. And then right click group. Okay, Now watch this. You can't go back from this. Right click. Merge. Visible bone, pixel air from the group. We can delete the group now. We're gonna take over just like we did before. Flood fill, tool. Click on the black. Go until you get some of that nice. Ah, nice edges. There are about 46% to keep on going here until I get to Probably I'd say 40 or so. All right, that'll work. Now watch this select invert pixel selection. Now it's everything but the black click delete on your keyboard. Select D Select. And now we can shrink the brush down to an appropriate size. Now, you see, we got a little bit of bleed on that. I don't want that some coming over to my eraser, and we're just gonna go ahead and we're gonna erase that out. So I make sure my mom, my pixel air and I use my eraser to take care of that. All right? Boom. There is our image. Now, how do we fix our image there for export file export? Let's go to PNG. And now we're gonna grab only the selection without the background, and I'm gonna export. Okay, Now we're gonna call this terror brush for Yep. All right, let's grab our brushes. It's come over our menu, create a new intensity brush off from tear brush. For now, that doesn't look great. Double click. Crank up the size, crank down the hardness, cranked down the accumulation a little bit and crank up that spacing. That's what you want. You want good spacing on it and clothes. All right, let's try it file new. Any old size will do, folks, brush read. Make sure you're on your new brush and that will work. All right, I've got four that I did today. I'm going to include all four in the downloads for this pack in orderto import them all. Come over to your brush menu and just click import brushes after you've downloaded the file and all four brushes will show up his Seven Seasons studios tear paper brush back. Alright, folks, let's go ahead and get into a project with these. 16. Laying out the images for the clown project : All right, gang. And welcome back to affinity photos. So in this lesson, we're gonna use the terror brushes that we made in the previous lesson to create a really cool cover. So let's go ahead and get started. Now, I'm just gonna go ahead. I'm on open file, new and in reality, on going to work in the print. And I'm gonna make this just a standard. Let's do a full on 27 by 40 inch, right? Boom. We're gonna go big, or we're gonna go home, right? All right, so now let's bring out our stock tab. And now the first thing that I want to do is I want to grab this clown image. So we grabbed the clown image and let's go ahead and blow that up. Okay, so we just have to kind of make it a little larger than it is there. We don't have to go crazy with it, All right? And now let's go ahead and pick a man's face. Now, both of these are in your downloads there, so you don't have to do this. But I wanted to show you how I actually came about getting these. All right, So we're looking for a good black and white image. See, I think I'm going to use this one. All right. Good deal. So let's go ahead now. And now what I want to do is I don't want a lot of this black here, right? Let's go ahead and read, Doc this And so this is something that I haven't showed you before. With this layer selected, you're gonna grab the marquee tool, and we're gonna grab out enough of this that we actually want about their Now what you're gonna do now is you're gonna goto edit copy, flattened edit paste. All right, now take a look at this layer. Enough. I use the move tool. Now let's go select de select notice here. Now I have a layer and I don't need this. All right, so that's how you go about grabbing part of an image here in affinity photo. So now what? I want to dio I want to line it up to where this eye and this eye here are kind of over laid. So in order to do this, we're gonna go ahead and I'm in first position this image, so I'm kind of happy. I wanted to be actually even a little bigger than this. Let's go ahead and start here. I want a little bit of that year there. All right, so I think that I'm pretty good there. Now, I'm gonna come over here. I'm going to drop the opacity of this layer. So let's now drop the opacity. And now we can see this image through it. So make sure you're on the clown now, and let's go ahead and line this guy up a little bit, okay? And now I'm gonna kind of match the eyes eye for eye. And now I'm gonna look at the nose here. I want the cloud to be just a little bit smaller still, and I want to kind of move this over. All right, that's gonna look pretty good. Now, what I'm gonna want to do at this point, I'm gonna want to grab both of these, and I want to move them together now, so they grow as one unit. Now, I'm gonna hold Ault so that I'm sorry. I'm gonna hold shift my bad so that they move as a unit. And that should get meat about where I want to be. Now, let's go ahead and scooch those up. Just a little and one more down here. All right, let's fill that frame. All right, That looks pretty good. All right, so we got this lined up. That's the biggest challenge for right now, so let's go ahead. Now, let's bring this back up to 100%. Now. What I want to dio is I want to grab this foreground. So let's name it foreground, and I cant spell today, all right? And let's add a mass, Claire. So I'm gonna pull out the layers tab because we're gonna be using it a lot. And I'm gonna come over here to the Mass Claire for the foreground. I'm gonna plopped that in. Let's go ahead. Moving over here so I can see this. And now, remember, when it comes to masking black conceals, white reveals. So let's go ahead. Make sure you're on the mass. Claire, grab the brush. Come over to your brushes panel, and you should have imported the paper. Tear brushes. Thes the four that are in the set that are included with this lecture. And let's grab this brush. Now. Let's go ahead and crank this bad boy up. All right. Now, you see, it's kind of his large is gonna get. This is OK. What I'm gonna do now is gonna come over here and I'm gonna click. And now this is a layer. So now I can just distort it the same way I would any other layer, some to hold shift. And now I want this I to kind of be lined up. That's actually really awesome. And now we're gonna bring this guy very similar to here. All right, that looks really good. Notice how I have continued the nose here. I've continued the eye here, and I've got this. I showing this is actually gonna be really good. All right, Now I want to do one more thing that I saw here. All right. I think that the clown needs to come up just ever so slightly. You see that little white gap? Beautiful. Now this guy needs to come up just a little bit. Perfect. All right, so that's going to be the beginning of our paper tear texture. Now, let's do one more thing. Now, let's make this a little more riel. We're gonna come down to the pixel air, and we're gonna place it underneath the foreground, and I want to fill this white. So to come over here, I grabbed the color, I grabbed my white, and now I come into this area. I'm on the pixel air and I flood fill. Now it's gonna take a moment. All right, so here's we're gonna do. We're gonna call this white paper. All right? So let's go ahead. Call this one here. And what I'd like to do now is we're gonna get it in the next lesson, and I'm gonna show you how to pull off the rest of this ripped paper effect and make some adjustment. All right, we'll see in the next one. 17. Adding lighting and finishing the paper effect : All right, So now let's go ahead and take the next step. Let's turn our white paper back on. And now what I want to do is I want to erase, right? So I'm gonna come over to my eraser. I'm gonna grab the brushes, and I'm just going to do a really quick basic brush. But this time I'm going to use my hard edge. So I'm gonna go ahead and ratchet up the brush size and while I'm on the white paper layer , I'm going to begin in racing. Now, I'm going to slow my roll here a little bit once I get close to the edge. This is just about wiping away everything. Because what we want on this paper texture is we want a nice white type of edge, because when you re paper, it's got a little bit of an edge to it. Now I'm gonna go along the edge here, and I'm going to make this kind of a tourney type of thing. Notice I'm not being real precise because when you re paper, you're just Well, you're not all right. This is going well here. Okay, that's pretty good. Alright, Looking good. Now What I'm gonna do now is I'm gonna add another layer. I'm gonna drag it down below the white paper, and I'm going to use my same brush. But now I'm gonna grab a soft brush, and I'm going to use the color black. Crank this up a little bit, and now you want to take your flow down about 25%. Now, notice how I'm going along the edge. You want to use the edge of the brush. Came to crank this up just a little, maybe 40%. Here we go. Can you see what it's doing? It's adding this really cool drop shadow to the image. So we get the idea of depth and you see, I'm putting a little bit more here where it's actually going to show. That's actually pretty awesome. All right, that's looking good. Now what I want to do is I want to come in with my harder brush and just for giggles. I'm gonna go ahead and I'm going to paint on this layer. You have the mask. And now what color do I want from that white? All right, so I'm gonna kind of work through some of these gray areas. I want some of them to show, but not all of them. Okay, that looks pretty good. All right, so that gives us a pretty good paper texture. Now, let's go ahead and add some dynamics. The first thing I'm gonna do is I'm gonna work with the foreground, come down here going to grab a level. And now, when I had this level, watch where I added Boom. Inside the foreground. Now, what I want to do on a crank of that black level a little bit and you see how we're adding some dynamics in crank up that Wait a little bit. All right? That looks good. Now, I want to add one more layer, and I'm gonna add in a lens filter. Now, the lens filter I want to add in. I'm gonna add in kind of just a white light there, something like that. I think that that's pretty cool. Now, you can always change it if you want. And we could crank down the optical density a little bit if we want. All right, that looks pretty good. Now, we've really kind of got a lot of detail here, and this is looking very different than this. That's what we want is differentiation. So now I'm going to destructively edit to this layer. I'm gonna come into my Dodge tool. I'm gonna crank this down, and I'm going to dodge out on this image on a dodge out the eyes. Okay, that's gonna make him a little lighter. All right, Now you see this black image here, we can do more with this. Stay with me. Layer life filter layer. Let's add a lighting lair. Now let's move this out of the way and the type of light I want to add. I want a directional light and actually, let's make it a point light and I want to move the point down inside here. This thing is going to be huge. Now let's do this color. I wanted to kind of be this sickly green style. Yeah, some, like right around in there. I think that that's actually super cool. And now I wanted to cast a little shadow and I wanted to throw a little light. But I don't want it to be the main focus. So let's go ahead and add a second light sweet ad. Let's go ahead and Add another one here and what we're really doing here. We're playing off the light portion here. Now, that's actually going to be pretty cool. All right, so now we can do a little bit more here in your lessons. For this download, I've included the seventh season studio smoke and fog brush back. So let's add a special effect layer. Come up above the clown below the tear and let's go ahead. Actually, let's bring it. Yeah, I think it will keep it right there. Bring it down here. Come to brushes, find wherever it is that you installed it and pick some sort of smoke, some sort of fog. Think that that's going to be pretty awesome. There. All right, now what color do I want? Now? Let's see. Maybe something in a sickly green, yellowish color, something that's really going to help. And now you see, other mask is really kind of coming alive there. Alright, What said that right against there? That adds a whole different, ominous feel, really loving that. And now I'm gonna do one more thing before I call it on this lesson. Come over the clown. I'm gonna grab adjustment and I'm gonna put a curves adjustment on. Now I'm gonna attach the curve to the clown and now watch this crank of the lights in the middle. I crushed some of the blacks here. We're here now. What does the curve do? Right Curve will address all of these different tones here. So let's see what we got here. No more blacks. Here we go. All right, That looks pretty good. So we had stretched a curves adjustment. We added in a lighting layer with a couple different lights. We added in a fog layer, What's go ahead and call that what it is. And we finished up our paper. So the next lesson, let's go ahead, take the next step and we'll add in a little bit more here to make this thing come alive. All right, we'll see in the next one. 18. Adding text and finishing the image : All right, folks. Welcome back. So during the break, and again, I do a lot of these editorial changes on the fly. I want to grab the foreground, and I'm gonna grab the white paper. I'm gonna grab the pixel. Okay. Pixel white paper, foreground. Alright, older control does wonders. Now, why am I gonna do this? I want to shift the entire image a little bit. One way were the other. So I really want to kind of get this image right over to about here. Okay, Cool. That's a lot better. I want more of that. I showing. All right, So now let's take the next step. So now I don't necessarily like this lens filter. So let's come in here. And let's change this up to here. I think that I like the lens filter, but I wanted a little bit. There we go, a little bit more orange. All right, Cool. So let's go ahead and add some text. All right, So with this text, come over to the artistic text tool, click and drag, and let's just throw a title in there. All right, let's pick a font. Now your font can be anything. Doesn't have to be my fund. I'm gonna go with something that maybe is a Let's try this old style now I can't really see it. Right to change the font color. Come up to the black, come up to the white. Now, where did you put that? And then we got to find it. Alright, bring it up to the top. All right? Now, artistic font, you can stretch, So I'm gonna go ahead and stretch this And now the font, we're gonna want to change the color. So what? I'm gonna dio I'm gonna come up here and I'm gonna go to Grady Int. And now, when you do, Grady INTs in affinity. You want to make sure that you click on one color and then you grab the color you wanted to be, and then you condone drag it across as faras You wanted to go. Now I'm actually really comfortable with that. I love the fact that it's starting here and then going to read, but she noticed how this is lighter and this is darker. I might want to reverse the Grady int. That actually looks a lot better. Now I want to add some pop to this. So with my fault layer selected, I'm coming down to effects. I'm going to three D. Now, let's move this over. Select the three D box right there. And now you want to create a profile. So what I'm gonna do, You want to create a standard profile, and I'm gonna crank up the radius. Okay? So extreme radius soft and is not on. And my profile is all the way up here. All right, That looks pretty cool. All right, So now let's go ahead and add in a little bit of outer glow cranked down the intensity just a little bit. Crank down the opacity just a little bit. All right? That's looking real good. And now, because I can't leave well enough alone, I'm gonna add in a new life filter layer, and that's going to be a lighting layer. I love the lighting layers. All rights. Now, this area down here. Where are we? Here. We're done with their effects. Where did that lighting layer disappear to? There it is. All right, Cool. So it's in the right spot. It's attached and parented to this area. So now I want to come down here crank this up and I want to move it Now down over here, I'm gonna flare it out. Position it kind of where I want it. All right. And now I want to add in a little bit of color. Make kind of a yellowish. All right, Cool. All right, that looks pretty good. Now, let's do one more thing here. I like this black area down here, but I think I can add one more little piece of Hiller. Let's go ahead. Go to lighting, he. And now we're gonna come up here. Let's go ahead and make it a point light. Okay? That is way too much. It's going and crank that down a little bit there. Ah, diffuse it a little bit, you know, Here we go. All right. That looks good. Kind of picky about lighting. I really liked lighting the way that I like it, and that's just the way it is. All right. So I think that we're actually pretty good in here. What I'd like to do now is I'd like to just go in one different area here. Let's go ahead and crank of this lighting now, okay? And let's bring this up to the top. There we go. That's see how that made it a lot bigger. Now, one last thing Come down to layer. Come down to life. Filter, layer, go to colors. Let's throw vignette on it. Now, where did I put that vignette? Okay, put it at the top. Perfect. Marries. Crank down the exposure, Crank down the hardness, crank up the scale. Change that. All right, folks, I think that that is going to be good enough for horseshoes and grenades. That is actually pretty cool. Think about everything we did hear. We created a beveled style of text. We added in smoke brushes, we added in a paper texture, that thing actually looks really awesome. All right, Hope you learned a little bit about affinity. Photo hope you like to this project. I'd love to see which made. Go ahead and drop it in the area, depending on your platform. And let's go ahead and get into the next one 19. The creative Youtube thumbnail- Setting up the template: All right, folks. And welcome back to this course and affinity designer. So in this section of the course, we're gonna be building YouTube thumbnails. Now, this is a very useful skill for any sort of content creator. Anybody that's doing anything on YouTube because your YouTube thumb Now, you have, like, 0.5 seconds to decide if you're gonna watch that video or not. Right? So there's a ton of videos, and so yours really needs to stand out being the first and foremost. But also, it needs to consistently represent your brand. So what I've done is I've broken these tutorials down into three distinct types. This first woman is what I would call the creator type. So let's go ahead and throw up three that I thought were good, better and best. All right, I'll go ahead and make this full screen for you here. All right, so in this video, we're gonna be working on creator type now. I pulled these thumbnails off YouTube. They're from different channels that I follow. And this one is what I would call good when you're doing digital creative YouTube. One of the things you really want to do in your thumbnail is communicate the project that they will be able to pull off the Avengers air hot right now. Marvelous hot right now. So you makes the whole with Oreste powers and automatically you get views. This ties in very easily with creative YouTube covers to the power of potentiality. What you need to sell to the people who are going to view this thumbnail is that they will be capable of doing exactly what you did by the time that you finished this YouTube video. So in five minutes and 45 seconds, I should be able to create that. The power of potentiality When it comes to creative YouTube, thumbnails is huge. Now, the reason that I say that this is good, it's got that potentiality there. I personally clicked on and learn how to do it. But this one is better. Now. This one has the software program listed. So if I'm looking for affinity photo right away, this has answered my question. So every one of the videos on his channel has this brand mark. So if I like his stuff from across the room on YouTube, I can look for this in the upper left hand corner and know that it's one of his Dettori ALS . The third thing that I really like about this is that he's got a cool project. If you pick a cool project, a cool photo if you're doing photo editing, that's going to be something that draws the eye. If the photo is not good, even though you have the software and your brand identification, the potentiality isn't there. Right? Anonymous is one of those things that people just love to work with. So the fact that he's got the anonymous style Mass there is something that draws my attention is a cool project. I know what software I'm going to be working in. I know it's from a trusted source, and the last thing is he really covers with expectation how to set the boundary five mask tricks. So I know what I should expect out of here. This thumbnail. I know it's cool, but I don't know what to expect. I don't know what software we're gonna be working in unless I read the description and I don't know, really who's channel it's from because there's no channel identify air now the best one I would say. And this is from the Photoshopped Training Center. You've got the photo shop logo. You've got an interesting photo here. They tell you what's going to happen. I really like the fact he uses two different colors in his descriptions. I think that that is a differentiator. It adds interest and you've got the smooth cut out so you can prove that what he's going to tell you you're going to be able to accomplish. So he's actually demonstrating his technique. And then, of course, he's got his logo consistent in not just one but two videos. So the way that I look at it, the YouTube thumbnail is one moment in which you have to sell your video to the potential viewer. They need to know what they're going to be able to do. They're gonna want to know why they should do it. Well, because you're gonna make the Hulk with superpowers. That's pretty cool. They need to establish trust in you as a content creator, and then we need to know exactly what software we're going to be working in so we can differentiate. Really? What you're trying to do is get ahead of objection and answer questions. So let's go ahead and get started making one of these creative covers. All right, so we're back in affinity photo here. We're gonna goto file new. Now, the ideal size for a YouTube thumbnail is 12 80 by 7 20 So we're gonna come down here, we're gonna goto web. We're gonna make a 12 80 by 7 20 The important thing here is the ratio. It's a 16 by nine ratio. I'll tell you, I do HD thumbnails, right? It doesn't really show up because they're so small. But again, I maintain that 16 by nine ratio. So we're gonna go ahead. We're gonna hit, okay? And this brings up our thumbnail. 20. The creative Youtube thumbnail- Applying the effect: All right. So we have our basic YouTube thumbnail set up now because we're doing a tutorial on how to change eye color in affinity photo. The easiest thing to do. First we go to our stock images. I'm gonna go ahead and type in woman's face, and I'm going to begin with this image here. Now, Why did I choose this image? Well, because it's got really good eyes in it, and that's exactly what we're focused on. All right, so now we got this big thing. Let's go ahead and zoom on outta here. So now the question is, how do we create kind of a template that we can use over and over? So what? I'm gonna dio I'm going to take this image and zip it down. And I tend to always work in clipping masks. Now, I can grab just this part of it in a pixel selection. I showed you that earlier in the course. I don't want to show you that again. So, what we're gonna do, I'm going to show you something new. We're gonna create a clipping mask, so I'm going to create two frames. What we're gonna do now is we're going to bring this image. So let's bring up my layers panel inside of this frame just like that. Then we're going to blow this image up until the eyes are centered, which is what I want. All right, that looks pretty good. Now, if I hold shift, I can move this image back and forth, up and down. All right, Now, I'm gonna go ahead, and I'm gonna duplicate this. So we're gonna come over here, we're going to duplicate, and we're gonna put him side by side, because what we want to show really is the before and the after. All right, that looks pretty good. Now, we're gonna go with a black background because I don't want anything to distract. All right. Looks pretty good there. Why is that different than that? It's just duplicate that. I don't know how I ended up with two images of two different sizes, but I did All right, so we're back. All right, So now what I'm gonna do here, I'm just gonna add a little bit of destructive. We'll call this one the before. We'll call this one the after. And the technique we just used. Here's we call this a clipping mask. We created a shape and we nested inside the shape. All right, now let's get our brand identification. We're gonna goto file place, and I'm gonna grab one of my logos. Let's grab the black one. Since for light one. Since we're working in black, it's going and put that down there so that it's identifiable. And then let's go ahead and grab our software identification. Now, the software identification. If you go when you search for a p N G, you can easily find all of the software logos for all the different stuff that you teach. So I've got all my affinity stuff for my blender stuff. Everything that I teach there, I've got in that folder. All right. Now, make sure you find a high quality one, because it will Rast arise. All right, so we're pretty good here. Now, what I'm gonna do is we're gonna come in and we're going to add in the adjustment, so we're gonna go to the after file, and the first thing that I'm gonna do here now is I'm going to toggle what is called Quick mask. Now, where do you find quick mask you see there where it says toggle quick mask, Go bone. Now that blacks out, everything, actually reds it out. And now what you do with quick mask, you grab a brush, I'm going to use a soft, round brush. And what it does, it allows you to just unscientifically select stuff. So it's great for quick adjustments, the color you want to be white and you want to zoom in to your work area. And now with my brush selected, I'm gonna come down here and I'm just going to unmask the I what I'm doing, I'm creating a selection. There are more scientific ways to create the selection. Don't need those. Right now. All I need to do is focus on these eyes. All right, so now we're gonna come in. Let's go to our layers panel And inside the after on top of the image you see how this election is here. Now, if I missed a spot there, grab the selection brush tool ad. If I didn't go far enough, I can always add snapped the edges off or I can subtract so you can always adjust a quick mask Now, on top of the after image. Come in here and let's re color. Now, let's go ahead and bring in purple. Let's say let's make arise. Purple was dropped. The saturation on these Let's crank up the luminosity on these a little bit. All right, that looks pretty good. Now, what we're gonna do here, we're going to make some adjustments because you see how it spilled over into the pinks. When I come down here, I'm gonna shrink down my brush a little, and we're just going to adjust our mask a little bit and you could be assigned to because you want to be. I'm not gonna be terribly scientific on this one, because the purpose is not to show you how to do a perfect I've selection. The purpose is to show you how to communicate through YouTube. So now we can select d select and you have changed eyes. Now, let's do this. I want these guys to be a little bit bigger, a little bit bolder and a little bit batter. I'm gonna come in and I'm going to dodge now. What Dodge does It's going toe. Lighten up certain areas of the image. So it changed it over to a raster based image. I want to turn up my flow on this one, and you'll see how I'm able to make the underlying I much brighter. Now. This is a destructive operation, right? So a little goes a long way. We're putting some highlight. All right, let's see, we got that will work for the purposes of communication. So in this lesson, you learn how to use quick mask. You learn how to set up your template with the clipping mask you learned how to put in your brand identification and your software identification. In the next lesson, we're gonna go ahead and add some text to this thing and wrap it up. All right, we'll see in the next room. 21. The creative Youtube thumbnail- Adding text and finishing : All right, folks. Welcome back to our YouTube thumbnail. Now, I thought about it over the time, and I'm gonna take this re color adjustment layer. I'm gonna change the blend mode out to a screen. I think that I'm going to go. Probably a little bit lighter on it. All right. Looks pretty good. All right. So let's going in some text now with text. One of the reasons that I wanted to kind of put everything up here is I then wanted to come in here. And now when you communicate text on YouTube again, the success of your YouTube thumbnail will directly depend on how many questions you answer in this one image. We know what the brand is. We know what the software is. We've now shown what we can do. Easy, I color adjustment. Okay, so I know you guys can't see that. So let's go ahead and make that white and let's bring that up. Oh, all right. We need to make that way too. All right. And now, because this is artistic text, we can move it down here and now I'm gonna go in affinity photo. All right. Easy. I color adjustment. in Affinity photo. All right, let's go ahead and change that. Now I like to use a certain fun for all of mine. And so I like to keep my brand specific there and consistent. Let's go ahead and do this. All right, so I think that I'm pretty good there. You could even bring that over a little bit. I tend to keep everything pretty blocky, so really, I just want this side to align with that side. All right, so that's a pretty good one. I think my daughter might do is they might deal a before and after. Let's go ahead and grab an arrow. So we go to the Air O Toole and we come over here. Go ahead, put none down, and let's go ahead and let's fill this just straight up white. Okay? Now I want to make this a little fatter. Want to make it a little shorter? I don't want obscure the I. So we're gonna come down here, and now we need to add a little bit of zip to this. Let's go ahead and grab an effect. Throw on a outer shadow drop. Shadow it. Alright, let's try three D We don't know how far we can go until we got to far right. Carrie was grabbed profile. Okay, that looks pretty good. So I think that we're in pretty good shape. I think they know what to expect. And I think that that will communicate very easily and effectively. The trusted brand of software. They're working in what they could expect to do and exactly what it is. Now, If I wanted to push it a little further, I could probably put eye color adjustment with quick mask in under two minutes. So let's go ahead and do that. I adjustment in under two minutes. Okay, Let's go ahead and shrink that down a little bit. And that. Why did we want to do that? Sometimes you're not looking for the 20 minute way to do things. Sometimes you're looking for a quick way to do things. So always be thinking into YouTube. Thumbnails. What is that they want to be able to do? All right. I'm gonna go ahead and save. This is a download in your lesson for this one. Let's go ahead and get into the next one 22. The professional Youtube thumbnail- Working with raw files : All right, folks. Welcome to Affinity Photo. So we're making YouTube thumbnails. And so the second type of thumbnail that I thought we'd make today is we're gonna go ahead and make what I would call the authoritative thumbnail, right? The personality thumb. Now. And this is used. Traditionally, when you have thought leaders, people who are building a personal brand to get out in front of their audience, this is different than the creative thumbnail. Right where the creator is all the time behind the camera in this one too. Or my favorite Gary V, who you should be familiar with. And Kerwin Ray. Both of these guys are using the same technique. They've got a background here, and then they've got some sort of a halo. Right? So here, when Kerwin ways interview in Grant Cardone, they've got a halo to separate the foreground from the background. So I'm gonna show you how to create this kind of cut out here in this lesson. So now we're gonna go ahead. We're gonna go to file now. Here's the interesting thing. We're gonna goto open in your downloads in the head shots. There is a file. Now this is over here. I'm gonna go to Portrait's and there is a raw file. Now you're gonna ask what is a raw file, right? The raw file is a file that has larger file size. Noticed. This is about a 15.96 megapixel style file. That's huge, but it's got a lot more color information. So I'm gonna show you how to work with raw file, how to take a raw file into processing because notice we are in the developed persona. Affinity photo has a specialized persona to develop raw files. Now, I intentionally took this photo under exposed. This is an awful photo, right? This is the worst of the worst. And the reason that I included this is because we've been dealing with good stock images. I want to show you how you can take an under desirable photo, let's say and process it raw. So we're going to start here, and the first thing that I'm going to do, I'm gonna go to a basic style adjustment, right? So in the basic style adjustment, I'm gonna pull this panel out. Now you'll notice that there's no selection style tools. There's masking tools, but there's no selection. You don't select in a raw file raw file. You're going to adjust the exposure values to bring him back up. You can adjust the black points. The whole reason you work in raw is because there's a lot more color data. A lot of photographers will only shoot in raw. Now, that takes up a lot of file size. And now I'm going to go ahead and crank the contrast up just a little right about there, and we're gonna boost the clarity by a little. All right, now, remember, you don't have to be super passionate about this one because you're going to be editing this, and it's going to be a thumbnail, right? So don't get crazy on doing the adjustment. Making it perfect. The whole purpose of me bringing it into this persona is to show you how to work with the raw file. So basic is done. I'm gonna go to tones. I'm gonna grab the curves adjustment, and I'm gonna go ahead. I'm gonna tweak out my mids a little bit to get a little bit more light just in the mids. All right, so that's actually pretty good. Once you're happy with it. And again, don't spend all day on it. Just it developed. And if you're not shooting wrong congratulations. Now you know how to shoot and develop in raw when you get there. Okay, Cool. So now we're in this area here. We're back in the photo persona, right? So the first thing I'm gonna do, I'm gonna duplicate this just in case, and then I'm gonna turn off this one, and the first thing I want to do is I want to select out everything That's not me. So I'm gonna add to selection. Make sure snapped edges is on. I'm going to increase the size of my brush, which you can do right here. And I'm going to go ahead and select. Now. I shot in front of a green background. You do not have to shoot in front of a green background. The reason I shot in front of the green background was because it was just going to contrast with my outfit now that between my legs here, we subtract. And that should just about do it. You don't really have to be too crazy on this. All right, So we got this thing Now what do we do now? Well, let's hit Refine anything. This red is going to go away. Anything that screen is going to stay. So I've got a little bit of green here that I want to adjust. I don't think it will show up. I'm not too worried about the green halo and what I'm going to do, I'm going to select this as a new layer and I'm going to apply. All right. Perfect. So I've isolated my image successfully, so I'm gonna go ahead and get rid of this. Don't need it. And I'm going to go ahead and get rid of my background here. Don't need it. Now. The trick is I'm going to come in here and I'm going to come to my shape stool. I'm gonna go to my rectangle tool, and I'm going to create a black rectangle. Okay. Dragging down below myself there. All right, cool. Now we can do some color adjustment. Turns out color adjustment doesn't matter. What I want to do is I want to come in and I want to do a black and white adjustment layer . So I'm gonna changes to black and white parented to myself. There and now I overshot with a lot of yellows. So I'm gonna go ahead and drop the yellows down. Gonna go ahead and drop the reds down, and you're gonna go until you get something that you kind of like Let me go. I think I kind of like that close enough for horseshoes and hand grenades. Now, when you do this part, let's grab another adjustment layer. Let's add a levels adjustment cause I want to bump up the contrast a little. It's parented to the pixel air, so we're good. Let's crank the blacks up a little and let's crank the whites of a little All right, Looks pretty good there. All right, cool. So so far, we've taken a really awful image, and we made it something that's tolerable. So now the last piece of this we want to create that white halo that everybody's using, right? Gary's got in blue around him here. He's got a degree, and I'm gonna show you how to create this. All right, we're grabbing our selection brush again, and this is the amateur way to do it. But turns out it's totally effective. Add to the selection, make sure snapped the edges is on and just go through the isolated selection that you currently did. Okay, so that should be rocket science, right? That's not hard. Okay, so now you're gonna come over to the select, and you're going to grow or shrink it. Now, watch this. If I grow it, you see what's happening. You want to put a little bit of white on it, just a little bit, and you're going to apply it. And now we're going to create a new pixel air bone. And with this still selected and the pixel air selected, you're gonna come over the flood fill. You're going to grab your white color, you're gonna come over to the layer, and you're gonna fill it. OK, now, as above drag below. And now make sure you're happy with this. If you want to readjust that selection, feel free here to come over to the selection, shrink it down a little bit if you want to, you can grow it a little bit. I'm actually quite happy with it. All you'll have to do then is refill and redo the pixel there. All right, let's go ahead. Select de select. All right. And we have this really cool cut out now. Edit. Undo. Let's go ahead. Merge these two together. And if you ever wanted to change it out, you could have selected any other color. All right, let's go ahead and go to group. All right, there we go. That works. Let's go ahead and call this one a day here on this and in the next lesson, we're gonna show you how to take the next background step. 23. The professional Youtube thumbnail- Adding background: All right, folks. Went back to our YouTube thumbnail. So this lesson we're actually making something for my other business. Seventh season society, Right? Because part of it, I do. I do digital illustration. But this one is about the business of art. So this one's gonna have a different brand identification. Let's go ahead and go to file place. This is in your downloads. I just used it there because I already created it. Now, you see, this is a J peg. So how do we get this information there? Out. We want the white out. So let's go ahead and pull this to the bottom for right now. We're going to use it, but let's go and pull it to the bottom. And now we want good contrast. So we're gonna create an abstract shape. We're gonna go to Penn Tool, Click, lick, lick, click lick. Okay. What is this? We're gonna create some good contrast here. All right, bring this curve up here now. Perfect. All right. And now you're gonna just curve anywhere you want to go. We wanted to put myself in front of that thing. We could just like that, we could move it over here could just like that. But now, when we bring my logo in, watch this boom. All right? We don't even have to remove the background. All right, let's put that up there. Perfect. So now let's go ahead and add in some of the ink, because kind of what I've got in my brand image is some of this ink. So we're gonna come over to paintbrush, and I want a pain in the black. I'm gonna come over to my color. I'm gonna put it down. It's kind of a gray. I'm gonna come upto layer out of pixel air so that I'm not destroying the rectangle in. When it comes to brushes, we're gonna use spray paints. All right, Cool. So let's go ahead and try this here. Let's go ahead and change of color a little bit, making a little bit lighter. All right, let's add in. Maybe some fine spray, all right? And I know it's a little bit bold. We're gonna fix that here right now. Come over here and we're gonna drop down the opacity. All right? That looks pretty good. All right. So we created the shape we added a logo we have this white cut out there, that's kind of cool. And we added some visual texture so that we get this separate from this. So now we have to put together the message. Now I tend to use two colors, and I also want to use two different sizes of font. So let's go ahead. And we're gonna call this the power of potential, Okay, because the entire thing on this year is the power of potentiality. When you go to sell and a peer to peer business, I need to spell correctly today. That's a good time. And I always keep my fonts consistent. So I want to make sure that I'm using a same easily identifiable fund. I don't want people to have to really struggle to read my stuff, and we're going to align center, all right? And let's go ahead and bring that up close to the logo over that. Over. No, what? We can do better than that. Let's go ahead and do an outer glow. It's doing our shadow. Yeah, All right. So I think we're pretty good there. Now. What I want to do now is I want to add in a smaller subtitle What? I'm gonna take this down to here this year. You want the most prominent thing? First things first. Right now Let's go and change color on this color we're looking for, so we'll just do it this way. Rgb X I want is a 27 c 00 That's consistent with the rest of my brand. All right, we can really bring that up a little bit. I don't want to keep it in the white there, All right, so I think overall, that's fairly good. So that's kind of how you're going to do this. This white background halo is the entire reason that we went through this tutorial so that I could show you how to put together something. If you were a creator, let's say that was trying to sell your own image. This is a very popular thing that a lot of them are doing on YouTube. Alright, folks, let's go ahead. Call this one. A day can get into the next one 24. The informational Youtube background- Laying out the image: All right, folks woke back to how to create YouTube thumbnails here in affinity photo. So this third and final project is going to be how to use some of the simple shapes to create kind of some instructional software based YouTube thumbnails. So there's common things as an example, I really like they're little use of the flare brush, embellishment. And of course, we made a flare brush in this course, so we're gonna use it. And this is interesting because they've got the screens. I'm gonna show you how to create clipping masks, how to work with warp, how to skew some of these shapes so that we get these subtle offside type of effects as it example, you see how this is kind of skewed, a little bit twisted, and this one has a substantial skew to it. So we're gonna show you how to do that, how to liquefy and also how to skew out text. All right, so let's go ahead and get started. All right? So let's go ahead and bring up our standard thumbnail size. We're gonna create a new thumbnail. We're gonna call it a 7 20 p 12 80 by 7 20 It okay? All right. Perfect. Now we're gonna go ahead and we're gonna bring in the stock images, so let's go ahead and find a stock image we could work with. Here. Let's go ahead and do this one, all right? Yep. And what's going to zoom out until we get it where we want it? That's a big one. All right, cool. So this one's gonna kind of consume the whole area. Now, why did I want to do this one? I think that this one is neat because there's not a lot over here. And we get good, open real estate over here to kind of get it across what we want to get across. So I think that this one is where I want to be. I'm gonna go ahead. I'm gonna save this just before I go too far. And there we go. All right, so now let's zoom back into her work area. All right? So the first thing that I wanted to you here is I want to come in and I want to create a clipping mask. So the first thing I'm going to dio gonna come in here and I'm going to create. Let's go ahead and round the rectangle here. But I want a different radi I So I'm gonna click over here now. Top left ready. I I want rounded top, right. Radi, I I want rounded. And now what I'm going to do is I'm going to match the radius of the computer screen. Look at that. All right, cool. So first step match. Computer screen check. Now, let's go ahead and bring up our layers panel going to call this screen image. All right? Now what I'm gonna do here, I'm gonna go ahead and just change the screen image to black. Somebody go to fill, and I'm gonna go ahead and change this over to a black. And the reason is I'm gonna put in image in there. That may not fill the frame, but that's OK. All right, So now let's go ahead and find somebody fill the frame, right? I don't really care what it is. I'm just gonna go ahead and I'm gonna go. Ah, fantasy. And if you have a piece of art or something that you've created works out really well, I'm gonna go ahead and I'm gonna scrabble this image right here. Oh, no. Let's grab this one. All right. Oh, boy. All right, let's drink this bad boy down and we're gonna place this now inside of the clipping mask. That way, we get it where we want it. All right? Perfect. Now what? I'm going to dio and you see how Now we've got that nice black border around it. Take this image will take the entire screen image, and I'm gonna drop it down in intensity just ever so slightly. All right, let's go ahead and put our software logo in their place. That way, everybody knows what software we're working with. And for me, let's go ahead and software local masters and plopped that inside of there. All right. Looks good. Okay, so I think that we're pretty good on this one, So I think they were pretty good. Now, the last thing I want to do here is I want to leave some open room to do some really cool stuff. So let's go ahead and grab two of these rectangles. And now here's the thing we're gonna do with the rectangle. We're gonna do one here, and then we're gonna go ahead. We're gonna create a smaller one down over here. All right. These are gonna be the two that we're gonna be working with their for our description of our YouTube. All right, let's go ahead and call it on this one. In the next one, we're gonna show you how to add a little bit of screen texture to this. We're gonna add the text to here, and we're gonna start skewing warping and liquefying. All right, we'll see the next one. 25. The informational Youtube background- Warping image : All right, folks. Welcome back on how to create YouTube thumbnails. So, in the last lesson, we kind of set this thing up. We put an artificial image on top of the computer monitor. We added in our brand identity, and we kind of laid out some of the big blocks. One big block, two big blocks. All right, In this one, we're gonna show you how to kind of skew this out. So the rectangle we're gonna go ahead and we're gonna add in some text. So this one here, So let's go here. Better color. All right, so we're gonna show you better color. And so we're gonna come in, and we're going to shrink this down. We're gonna center it that school. All right? We're pretty good there. All right, now, we could do a couple different things here. I'm gonna show you how to do this a couple different ways. So watch the video and then figure out which one you really want to dio. So the first thing I'm gonna do I'm gonna grab this better color, and I'm gonna grab the bigger rectangle and I'm gonna group them now. What I'm going to do I'm gonna show you in the transform panel. We haven't seen this before. We're going to skew them. Notice now you can skew your text the way that you want it. So that is how you skew text in affinity photo. And the reason that they both skewed together is because you actually have grouped them and you're applying the transformation to the entire group. So this is one. Now I'm gonna go ahead. I'm gonna go back to zero. So if you like that, you can definitely do that. Now, the other thing that you could potentially dio if these text layers are group to remember we have a group. We can perspectively warp them that. Watch this, you can warp them so that it looks like you can move them down and they could be coming towards something. All right, now that's pretty cool. So if you like that, use that we hadn't covered any of the war functions before or anything like that. Now, if this gets a little bit skewed right, you can always come in and you can adjust it the way that you want it. But now look at what just happened when you worked it, Unfortunately, because warping only works on pixel. You're now kind of confined to a pixel air. So if you're gonna warm, make absolutely certain that your text is the way you want it. I always do all of my adjustments to my text before I do any of my war functions, because you can't go back. Unless, of course, you do what I just did, which is under All right, so that's a little bit on how to warp. Now, the next thing that we're going to show you here is how to liquefy. So we're gonna go through here and we're gonna say better color adjustment. OK, now, I know I'm not holding very true to making sure that it's valuable in terms of the message and all that. But you know what? This is about figuring out how to do this software portion of this how to do the liquid vacation portion of this. So I don't really care at this point about that. All right? So let's go ahead and do this. Let's go ahead and do the same thing. We did hear group rectangle, all right, and group them up, so I'm gonna call this small text. All right, now, when you do this part, there is a function called the liquefied persona. It's right here. We haven't talked about this. So now I want to come into the liquefy persona. Oh, wait a minute. It only works with pixel airs. So spoiler alert. If you want to liquefy the text with the black background, right click and rast arise. Now, those that are paying attention at home know this is gonna be destructive, so make sure your text is the way you want it, All right? I just took a step. I can't get back. I come into the liquefied persona now the liquefy persona works off a grid system. You can bracket down and bracket up, right? Right. Left brackets to increase or decrease the size of your brush. Or you can come over here. We're not gonna go through the whole persona. We just don't have time. But I want to show you the most useful tools that I use. Right, I personally like to use the liquefy twirled tool. Now, if you do this part notice here, you can start adjusting that in some really interesting ways. Now. You could always go back so we can come back here and reset the mesh if you don't like it, and then I would like to use the pinch or the punch right? So there's the pinch tool. There's the punch tool. Let's go ahead and do the punch now up my brush a little bit. And if you click and hold, you see how now that's retreating because you punched it. Let's go ahead and reset the mesh. Now let's go ahead and pinch it. Now let's say you see how it's affecting Onley the middle, reset the mesh and now make this much bigger notice. It will adjust the whole thing, and it's on Lee adjusting the layer. It's not adjusting my better color. It's not adjusting my computer layer. So somewhere between this extreme and the micro is where you really want to be with this thing, I really like the liquefy tool. I use it in a lot of different applications. Go ahead and go to reset mash so you could do a lot of different things with this. If there are pixels in the mess, you do not want to find affected, you can freeze them or you can thaw them. You could reconstruct the mesh in certain areas. If you did a bad job, you could clone the mesh in certain areas. So you make an adjustment over here and you wanted to make the same adjustment over here. And then there were these two tools You can push everything left notice here. You could kind of that cool flag effect. Alright, Reset the mesh or didn't come in here and use this tool. This is the push forward. Now, if you double click watch this. If you keep it clicking, you can run this thing all the way to Wonderland, right? Every time you click it, it's a new experience, right? I should say it's a new application of it. It's similar to flow in brushes every time you adjust the flow. Every time you touch your stylist to the paper, it's going to add another application. So if you like this, I'm just gonna go ahead. I'm gonna pinch this thing out here and now I'm gonna shrink that down. Punch out the sides. Now the cool thing is here. Now let's go ahead and apply this. This is kind of interesting. I didn't intentionally set out to do this. But you could apply this then over top of so no speaker. And you could adjust the liquid five dimensions to actually flow with the speaker. All right, let's go ahead and adjust all that. All right? We're back to group. So that's the liquefied persona. What I'm gonna do here, I'm gonna stick with just a standard skew. So with that cause elect selected, I'm going to change this over, and I'm going to subtly adjust that. All right, Good deal. Let's go to file Save and this wiener downloads as an example. There's some of the tools we haven't covered in this course yet. So now you know all of the different sodas associate with affinity photo. All right, let's go ahead and take the next step, folks. 26. The informational Youtube background- Finishing the image : All right, folks. Welcome back to affinity Designer. So we're finishing up this YouTube tutorial, and I thought that we would add one more thing. So in the last one, we did the color, which was good. We did the adjustment, which was good, but I want to kind of work this screen a little bit more. Now, this is just the finicky person to me coming out. We're gonna add in a pixel air inside of the screen image rectangle, and we're to call this reflection. Okay, so we're gonna add in a reflection now to do this, I'm gonna add ingredient tool, and I'm going to go from corner to corner. So here's the way this is gonna work. I'm gonna work inside of here. I'm gonna add in four different circles. I'm going to go white and every other one. I'm going to go black, white, black, white, black. Now, make sure these air white I tend to be a shade of gray here. Okay, So what we're really doing here, and I'm gonna go ahead and make this one. White is we're making some different reflections inside of this thing here, so I'm gonna go ahead and I'm gonna make the Wu. Let's not do that, huh? Go ahead and grab these middle bars and I'm gonna bring a very close to the blacks. All right, now that looks like garbage, right? You just really want to make it. So it's white, black, white, black. So now we're gonna come in here and we're gonna change the blend mode, Toe lighten. And now you see what just happened with this thing? We now have some stream reflection, and now we're going to crank down the opacity of this little bit. There we go. All right, so that's a little bit on how to add a screen reflection. I hope you learned a little bit about this one. Remember, the point of a YouTube thumbnail is to get people to click on the thumbnail because they think it is valuable. And the number of people that click on your thumbnail are going to be looking for how effectively you have answered all their questions and handle their objections before they even watch your video. Alright, folks, let's go ahead and take the next one. This was a short one. Let's go ahead and get into a bigger project here in the affinity photo. Of course 27. Making the inner flare brush: All right, folks. Welcome to Affinity Photo. So we're actually going to make some really cool brushes, some light brushes that you're gonna use to create the Titan poster. So this is actually making your own tools. So we're gonna show you how to make pixel brushes. You've made intensity brushes before. If you follow the clown activity, you made some paper tear brushes, so it's gonna be the same process. Let's go ahead and get started. I'm gonna work in the web persona. And when I make brushes, it's always 2000 by 2000 pixels and we're gonna go ahead and hit, OK, Now you want the white background and where I'm going to begin now, I'm going to begin with our flare brushes, so I'm going to show you how to make something out of nothing in a way. So the flare brushes we made in the affinity designer section of the course. But if you're joining us now, I have included my pro flare brushed set into the downloads for this lesson to get to them . You just find the file in the downloads and import the brushes as a category someone away. We're gonna make light brushes out of flair. Brushes. All right, so we grabbed the flare. Let's go ahead and grab the pro pack. All right, so we got the flare brushes up, We're gonna go ahead. We're gonna use this one. We're gonna come over here. We're gonna be painting in black. Come over here. One to three. All right, So now let's go ahead and move these over. And now what I'm going to do, I'm going to go to filters. Distort. There is no ah, life filter layer for this, and you're gonna go rectangular two, polar and boom. There you go. There is a round brush. Let's go File export. Remember, they've got to be PNG, and we'll call this round light one Right now I'm going to include my set of these so that you have my set that I actually use. But this is how to make your own. Now, when you do this, come over here to create a new category. You can go ahead and call them light brushes. You can call it whatever you want to call it, right. So I'm gonna go now. Go rename. We'll call it light trial. I'm gonna call it like trial. You've got my brushes. Call it whatever you want. Come over here making new intensity brush. Find where you did it and open it up. Bingo. Crank Open the spacing. Crank up the size in for my light brushes. I like to change my blend modes to either a screen or on add. All right, so let's go file new. I'm just gonna try this. You don't have to do this part of home, right? We all got this part, and I like to try my light brushes on a black background Soldiers scope file. Grab a rectangle. Yep. All right, let's try this Boom, Boehm, And let's see how this works. Oh, that's quite large. Oh, that thing is cool. That thing is super awesome. All right, That is an awesome brush. Love it. Love it. Love it. All right, folks, that's this one. Go ahead, create your brush. And now, when the next one were to show you how to make very dust All right, we'll see in the next one 28. Making the fairy dust brush: All right, folks. Welcome to affinity photos. So, in the last lesson, we started our like brush set. This is just going to be a continuation. And in this lesson, we're going to do three. And I'm gonna show you how to build these into different textures. Where is before we use the flare brushes to make brushes? Now we're gonna use shapes. So the first thing I'm going to do here is I'm gonna start with the double star tool, and I'm gonna go ahead and pull some of these down. Now, this thing will ask you how many points you want this thing tohave. And then there will be these little orange areas. We're gonna go ahead and we're going to do that. We're gonna crank it down, and we're gonna fill it black. Now what we're gonna do here, we're going to come up here and we're going to add a layer, a live filter layer, and we're going to blur it. So go Schindler and blur it in. All right, Cool. So that's kind of how that's gonna work. Now we're going to do a couple. We're gonna do a total of four this way, so Let's go ahead. Some of them are going to be large. Some of them are going to be larger than others. Right here. Lair life filter, layer, blur. Go, Schindler, Crank up the blur. And why air we blurring it? We don't want hard edges when we go in to do this because we're trying to make kind of a fairy glitter. Now, I've got my brushes included here. So if you wanted to just follow along with my brushes, you certainly could. I'm going to reduce the number of points there, and we're gonna come down through here, and then we're gonna go toe layer. We're gonna live filter, layer, We're gonna blur it. Motion blur. And then we're gonna come over here. All right? Perfect. So let's start here. You notice these air of varying sizes and they exist in various places, so let's go file export. This is the first of three Export. We're gonna call this fairy dust one of three. All right, so now I like to leave this where it is, because now what I want to dio is I want to come up and I want to change to my star tool. I'm gonna now go with a single star tool, and I'm going to crank down a couple of these and I'm gonna place them in other areas. So when I place it here and what I'm going to do with me Goto layer, I'm going to go to life Filter Layer. I'm gonna go to Blur. And it's still gonna be ago, Schindler. But the reason I leave these three is so I know where to put these two. Now I'm gonna show you this copy paste. And now we can just kind of place them wherever, however, willy nilly, right? Copy paste and randomness is the key. The more random they are, the better off you're going to be. And now the reason that we put him on different layers is because that way, that randomized in terms of different approaches. So we're gonna go file Export and PNG were in export. This I'm gonna call this very dust. Two of three. Beautiful. All right. Looking good. Feeling good. All right, Now, this kind of where we had it. Now let's change up the to a little bit. I'm gonna come down to our brushes. We want some spits and some spatters and some sprays, so we probably will find that in the spray paints. Let's see what we got here. Yes, we do. Right here. All right. Make sure you've got the color black selected. Make sure you go through and do this part. And why isn't that working? All right, let's Ah, come down here. Let's add a pixel there. And now I just want to dot a couple of these here. Okay? Now, a couple of things that I just did there. I don't want to come this close to a edge. Okay? I just don't. All right, let's take this. Let's eliminate the stars and let's call this file Export. PNG. Very dust. Three of three. Beautiful. All right, now, let's bring out our brushes tab again. Let's go to the stack of those that we have already made. So we'll call it like trial. That's we were calling it. Come down here and let's create a new intensity brush. Now we're gonna grab all three now. Watch what happens. Open now home. Let's take a look at this size creep up accumulation. I'm good at 100% hardness. I want to take that down quite a ways spacing. I really don't want to adjust. I might even make that a little more dense. The dynamics I want to scatter the X, and I want to scatter the Y randomly. And because I'm using a pen tablet, I do want to deviate the size by pressure. So I wanted to be Let's go 90% now. Accumulation, jitter. I do want to have a little bit of gender. I don't want any Hugh or any shape jitter. All right, Perfect. Let's try this. Now. I'm bringing out my walk home for this, so you don't need it, but because I have pressure set, I'm going to try it. Okay, so I'm coming over here to the yellow. I'm making it kind of what? Wou All right, There we go. Brush first. Hey, look at that. Select the brush we go. Good things happen when you do with the right way up. All right, let's grab this before we do that, don't forget to set the blend mode to add. All right, so now let's see. I should be able to start very small and that I should be able to swipe this quite large. All right. That's kind of cool. So what's going to bring that over? Let's duplicate this now. What happens? That's awesome. Okay, let's go ahead with the layer. Let's see, Where is my layers panel? It must have closed. Studio Mount Layers is over there somewhere. There it is. All right, let's just go ahead. We're not nesting him. And let's change that to screen. Change this to screen. And now let's give this top one or the bottom one. Let's give that an outer glow. So I'm gonna come over here. We're gonna goto effects outer glow, crank up the radius of that glow. No, there we go. It would help if I put the effect on the right. Larra. That's pretty cool. All right. I am thrilled about that. That that brush is awesome. And then because it's additive, you can just add and add and add. That's pretty cool. Okay, so now let's take a look at this brush real quick. Double check. Take a look at the textures. How many textures you got? Three. That's why we did the triple texture. We're not gonna deal in sub brushes. We're gonna call it a day on this one. Let's go ahead and close, and then we're gonna show you how to build one more, and then we're going to get into a project. All right, we'll see the next one. 29. Making the reflective flare brush : All right, folks. Welcome back. So this is gonna be a spin on technique. You already know. We're gonna do something where you can look and bounce a flare, Say off from something solid. So we're gonna grab the brush tool. We're gonna grab the pro flare brush packed, we're gonna grab the 300 pixel flare. You've already seen the show, and you're gonna want to just pop a flare in there. Don't get close to the edges. Because if you go to filter, distort and we go rectangular two polar, the closer you get to the edges means more curvature. If you've got to the edges, this thing would have touched itself. All right, so we're just going to kind of make this work. I'm gonna grab my eraser, and I'm just going to kind of go, and I'm going to erase a little bit. Awesome. So now we're gonna go ahead and we're gonna pull that a little bit. That looks good. And now what we're going to dio is I'm going to come over my picks. A layer over here, right click, duplicate rink and place. Right click Duplicate. Right click. Duplicate. Right click duplicate. Oops. and shrink it there. I accidentally deleted it. My bad. And then we go right Click duplicate. Alright for will be enough. So now I just want a line these up so that they're relatively square and what this is going to do when you place them into the positions where they're going to exist, it will actually give the illusion when added to ingredient mask that you have some light bouncing off from Ah, hard object. It's kind of a cool effect. All right, cool. Let's go ahead and bring these Severin Center Oops at it. Undo Grab mall area. Go. Gotta be like Pokemon. Gotta catch em all, man. Why? I'm a missing that undo. All right? We're gonna do with the unscientific way here. We're gonna go layers and I'm gonna hit control on a grandma. Here we go. File export. PNG. Same thing you've done before. Let's call this flare stack. Alright, let's try my brush. Come over to the shape, grab a rectangle boom. Black rectangle. I like to test light brushes on stacks of black. All right, come over to the category that you have created. This is your light trial category. Let's go ahead and build a new intensity brush. Bring that bad boy into the stack, crank up the size crank of the spacing, drop down the hardness because we really don't want the hardness there. And this is really more of a stamp for us. So I think we're pretty well done. We set the mode to add Close that out. And now let's give it a shot layer. Let's go ahead and add in a pixel air. Oh, that thing is cool. Ah, color. Let's go ahead and go. Kind of on off blue white this time. All right. Now, you remember what I was saying about the Grady It Look, if you had something that this thing was gonna bounce off, right, let's say that you maybe had a circle. I'll just put a circle in here. We're just not gonna do anything with it. And you wanted to bounce this thing off the circle. You could easily do this. And now you could mask this layer. Watch this with layers selected. Come over here and you pull a mask. And now with the mask lair selected toward that down grabbed ingredient change ingredient. Reverse it from where it is right. And then the gray goes to black. Drop that down. You can even drop the opacity on the layer. Thing is good to go. All right. So you now have this brush set. You've made the brush set. You have my brush sent. So I have gone through. I've tailored them. I've tweaked them. Those are the ones I'm gonna be using into the Titan project. Let's go ahead and get into the Titan project, folks. 30. 08 040 Titan Redo Complete 1: All right gang and welcome to the rerecord of the Titan. Now that it's been about two years since I did the original tighten and we're working in Affinity Photo 1.9. So my finished version of the Titan is going to look a little bit different than what we did for the promos for this course, because it's been three years. I'm never gonna get the settings exactly the same, but I'm going to stick to the same type of true nature of what we're trying to do, and yours will be very close. I am going to work in Affinity 1.9 and be taking up some of those upgrades. So I'm going to take advantage of that. Let's go ahead and get started. Now I'm going to go to File New. And the first thing that I'm gonna do, I'm gonna change my document unit to inches. And a traditional movie poster is 24 inches wide by 36 inches tall. Now, I don't do a lot of large format printing, so I'm going to make it 16 by 24. So I'm gonna cut it down by a little bit. And because I do plan on printing this someday, I'm going to make it 300 dpi. If you're only going to make it digital, you don't need to go to 300 dpi. 72 will work just fine for the internet. All right, so this is our original file. So the first thing that I'm gonna do now that we've got our original file, let's go ahead and Save As we're going to call this tightened one. All right, Perfect. Now we're going to make some composition here. So I'm going to go into your downloads. And I'm going to go ahead and I'm going to open. Now in your downloads, you will see raw images, okay, should have downloaded this file. And I wanted to challenge myself. So I went out and I took a picture of glass, and I bought this little glass thing here. Let's go ahead and open this up. And when I shoot my own glass, I got some reflections in there and I got some green color. So I thought this would be a great challenge to show you how you can take an everyday object. If I got this at ikea and make it something that you can use in your compositions. So the first step, let's go ahead and make this raw file into something workable. So the first thing that I'm gonna do, I'm gonna go to Crop and I'm going to go to straighten. Now, straightens up here in the context toolbar. And when it comes to straight and I'm going to look for a line. In this case it's my table. And we're going to make it straight, just like that. Now let's go ahead and close this in. I don't need any of this background. Okay? So we're gonna go ahead and we're going to crop this thing down. What we do when we composite is we work the pieces. So let's hit Enter. And so we're left with this dome. Now, the first thing that I'm gonna do here. All I'm really gonna do when I work in RA is I'm going to adjust some of the exposure. So I'm going to bring out my basic tab. And if you do not have the basic tab, go over to View Studio. And there's where you can click on all your studio tabs that you want. For me, I'm going to need basics and I might need tones. Now, when we do this, I want to be able to work in some dynamic. So I'm going to drop the exposure a little bit. And I'm going to raise the black point just slightly. And I'm going to want to up the contrast a little bit. I don't want to mess with the clarity, the saturation or the vibrance. So I'm making just subtle adjustments. And then I'm kinda come over to the tones panel. And I'm going to go ahead and bring up a curve. Now let's drop that down. Now, the curve. I want to increase the dynamics a little bit. So I'm going to go ahead and just do a traditional S curve. And I think that I am pretty happy with that. Alright, now I'm getting some noise from the way that I shot it. So I'm going to go down into two. Let's go ahead and go to detail. And now it's always a balance between removing noise and keeping detail. So let's go noise reduction. And I'm going to turn off a little bit of this luminance. Now if I go extreme, I lose a lot of detail you see down here in the brass. So I really want to keep it right about there. Let's go ahead and crank up the detail a little bit. I think that that's good for me. I hope that comes through at home the way it looks here on my setting. So I think that overall, I'm pretty good. Let's go ahead now and develop this. Alright, now, the last thing that we wanna do is make a clipping mask. So I'm going to show you how to do this. And then we're going to have my editor speed it up a little bit. And at the end of this video, you'll have this thing clipped. Now you'll notice this is a pixel layer. We're going to go ahead, we're going to grab the pen tool. And I'm going to start right here in an intersection. And I'm going to click, click, click, click, click, click. Now this dome, watch this. Click and hold. Click and hold. Click and hold. Okay, And then I'm gonna come down here and you'll see how this little node turns yellow. That means you're going to close the curve bone. This is now a curve. Now. I'm not gonna go too far into this. You don't need to do too much about this in order to be effective. The piece that I want to show you instead of the Pen tool. Now we're going to switch to the node tool, which is right here in my toolbar. And nodes are these little white things and you can move them, adjust them, and they have what are called handles. So if I pull this handle, you'll see how it adjusts the curve. Now this is going to take some practice. Do this for a couple hours, for a couple days, and I guarantee you you'll get better at it. But to begin with, that is going to be a little infuriating. And the trick here is to get the curve to where you can clip. So you'll adjust the position of the node, just like I'm doing here on the left. You'll adjust the handle of the node. And if you hold all, you will get a very sharp corner. And there are different types of nodes up here. You can have a sharp one around one, or what is called a smart one. I use around node for most of my stuff. And between these two squares, if I go ahead and pull this down, I can get a very nice type of curve for my glass. All right, so what I'm gonna do, I'm going to be adjusting this until I'm relatively happy with it. I'm going to have the editor go ahead and speed up my workflow. And then I'm going to come back and I'm just going to show you how to pop the background into the curve. So we'll be right back. Ri votes, welcome back. So what I've got now, I've got a curve and I got a background. Now watch this. Okay, in the background, I'm clicking and dragging. And I drag it into the curve. That now forms what is called a clipping mask. Now for those that are astute and paying attention, you'll notice down here in the lower area, it's not quite level with this side. That's okay. I'm going to hide that in the poster, so I'm not too worried about that. All right. Let's go ahead and stop this one. You've got this thing now adjusted in wrong, isolated inside of the curve. And you've got your original poster ready to rock. All right, we'll see the next one. 31. 08 050 Titan Redo Complete 1: All right, gang, let's go ahead and get started. Now, we're going to come down to our poster. Now, I'm going to put in a placeholder. You don't have to do the same place holder I do. I'm just going to come down. I'm going to grab a rectangle and I'm going to fill it with black. Okay? Because I know that finally, I'm going to want a final black background. And I'm going to make this black background a little bit bigger than my poster. And lastly, because I don't want to accidentally selected, I'm just going to lock it. Alright. So now I want to bring in my glass. So let's go ahead and let's grab this curve and there's a 100 ways to do it. I'm going to right-click and I'm going to copy. And then I'm going to edit and I'm going to paste just like that. Now I'm going to bring this in. I'm going to hold control so that I'm moving it from the center. And I'm going to center it kind of where I'm going to want it in my final image. Okay. I think that we're pretty good there. Don't get too exact with it. Now, notice this is still a curve and I have the background still inside. So what I have to do now, I have to bring my Titan image into the curve. So let's go to File Place. Grab this image with the Titan here and bring it up. Okay? Now that's bigger than it is. And what I wanna do now, I want to bring it first and foremost inside the curve. Why? Because I want to resize my Titan to make sense. Okay, so the goal here is to get the Titan where you wanted. Okay? That is pretty close. Now I'm going to go ahead and change the aspect a little bit on that, but it's not going to change anything. Rye, Cool. So I think that I'm pretty good here, right about here. I'm happy with that the Titan is front and center. I think that we're going to be able to put some cool reflections into here. So overall, I'm happy with the placement. So let's go ahead now and now here's the trick. I'm going to go ahead and move the background layer above, which makes the Titan disappear. And now, here's what I want to do. Alright, so I moved my background up. Now watch this. I'm going to go ahead and I'm going to take the entire curve, right-click Duplicate. Now, I'm going to delete the Titan from this one, and I'm going to call this base. Okay. Now why did they call this base? And I'm going to name this other one glass. What I'm intentionally going to do is I'm going to change my curve to only have the base. So we're going to come down to the node tool. And I'm going to pull my curve down. Now it doesn't look like anything is happening, right? I'm going to delete this node. I'm going to delete this node. And I'm also going to delete this node, leaving me this base. And the reason why nothing is happening is because this base layer still has the full on Glass underneath it. So you won't really see a difference yet, but you will in this next piece, what we have to do now with the glass is we have to come into the glass. We have to come into the background. And we have to change the blend mode of the background because we have to get rid of the green. So the easiest way to do that is to come up here, come down to the blend mode, and start playing with the different blend modes. And you're going to want to look for the blend mode that gives you the best color in terms of removing that green. For me, I really like the overlay. I think that the overlay is pretty cool. But what I would encourage you to do, go through and take a look and find the one that you like the most, because you don't want it to be like bright green unless that's what you're going for. What I really am looking for is I'm looking for ones that give me a really good flow down. And I'm even going to show you how to overcome the green. So if I can find one that gives me a really good look, I really like this one. It is a bit too green, but now watch this with this background selected. We're now going to come over to adjustments and I'm going to put an HSL. Now watch this attached to the background. Now why did I do this? Remember the blacker up the background is green. If I adjust the hue now, I can adjust the amount of greenness or not green. And I can play with the saturation levels. And I can even play with the lightness levels. I really like that. So there are my settings and you'll see how I've got that nice blue. Okay, so that looks pretty good. Now, let me turn it off to see how it was green. Now it's not. Alright. So overall, I'm quite happy with that. So the problem is that the Titan looks like he's sitting on top right of the base. You see where the base is right here. So the next thing we've got to do, we've got to eliminate that. So what I'm gonna do, I'm gonna come over to my curve. I'm going to go ahead and I'm gonna grab my Node tool. And this is why we duplicated the base. Okay? That looks pretty good. Now, notice that I'm not too thrilled with that. We got this weird gap here. That's okay. Watch this part. We're going to come now, now. And we're going to kind of extend this area and we're going to make it match. Now it's do that when it come down to the base. And let's go ahead and rasterize the base. Okay, now, coming down to perspective. And we're going to change up the perspective just slightly. Again, there's a 100 ways to do this. That looks really good. You see how now that's hugging the glass. That's actually a really good look for it. So what I'm gonna do for the purposes of this, we're gonna go ahead and we're gonna call it in the next one. We're going to remove some of these artifacts. Let's say we're going to take some of these and we're going to go ahead and soften some of the reflections. All right, we'll see you the next one. 32. 08 060 Titan Redo Complete 1: All right, getting and welcome back to our project. Now, the trick here with this is we've got some really nice highlights that I shot. I'm not too worried about the overhead light. I'm not worried about these. But they're a little bit crass, they're a little bit edgy. So what we're gonna do is we're going to use a simple selection brush. And I'm going to come over here and I'm going to make sure I'm on the background, right? And remember the background is a pixel layer. And I'm going to select. And then what I'm going to do, I'm gonna come over to Filter and I'm going to blur. Now. We're going to use Gaussian blur. I don't know it crank this bad boy up quite a bit and apply. Okay, Now if I wanted to, I could grab all of these. Now notice I'm only grabbing the hotspots. We're not done with these yet, but it's a good start. And now we're going to come over to Filter Blur, Gaussian Blur. Let's go ahead and just knock them down just a little bit and then apply it and then select, de-select RI, overall. Quite happy with that. Now I'm going to show you how to add some blur because there are things we can do. You see the hotspots of Bloom? One thing that we're gonna do is we're going to come over to our dodge tool. And I'm going to crank the opacity up just a little bit to about 50 percent here. Actually, let's make it a 100 percent and drop the flow will do it that way. And I'm going to drop the flow down. And the flow is the amount that comes out every time I apply this. And what I'm going to do is I'm going to paint out some of this. You see how I'm getting rid of some of the blue. Now, not all of the blue, but it's in reducing these hotspots that we get it closer to what we want. Now, I am going to do some more here, so don't think that's the end of it. But what I'm doing is I'm treating the undersurface so that I get where I want to be later on. Now, there's another way to do this, and I'm going to show you another way if you'd like this. This is what the smudge brush. I'm still on the background layer and you see these hotspots here. The lights were going to go ahead and we're just going to smudge those away. So there's a lot of ways to do this. What I'm really doing here is I'm treating the surface as a prerequisite for later. Okay? So that's kind of one way you can deal with some of those reflections. Now what I am going to do, I'm going to add a new pixel layer inside. And I'm going to call this highlight. And I'm gonna go ahead and when to change the blend mode over to the screen. And now with my paintbrush selected and a soft brush, I'm now going to paint in white. Okay. So we're going to come over to color. We're going to pick out the white. And we're going to turn the flow way down. Now we are going to address layer opacity here. But we're just going to trace the sides of this thing. K. Because remember glass curvature has highlights around the side, right? Okay. That looks pretty good. Now I'm going to come over to layer. And I'm gonna go, and I'm going to drop that down ever so slightly. That looks good. All right. I haven't with that. So let's go ahead and put the background in because I want to do some adjustment to the background and I'm laying out all my pieces. Now, the background for this thing and I know I haven't addressed the green and the base. We're good with that for right now. Let's go ahead and place. And I'm going to grab my raw images, loops, all documents. Now what I've chosen to do is I'm going to take this same image, but I'm going to use just parts of it here. I'm going to go ahead. I'm going to use these guys here in the foreground. Just like that. I think that is a really cool background image. So I'm going to go ahead, I'm going to take this into the background and then I'm going to position it kind of where I want. Okay, now what I'm trying to do, notice what I'm trying to do here. I'm going to go ahead and I'm going to position this thing in the snow berm so that I have part of it exposed, part of it behind the Snowbird. And I really want the background moon to be the lighting source. So I think that this is going to give me a pretty good look. Now, why did I do it this way? I think that this part of the story is important with the people. I think that the moon is going to give me a really cool style of light source. And I really wanted the background to be not repetitive. The Titans over here somewhere. I don't want to see that. So what I'm gonna do, I'm gonna play around here with a little bit of some blend modes, see what I can get started. Lets rasterize it because I know I'm going to have to mess with it and see what I can get going on here. You never know sometimes until you start playing with these things. Just like that. That is super awesome. All right. I think I'm going to keep that right now. And now you'll notice that I have two different shades of blue. This is fine. Because when I get ready to colorize this, I will actually make this color of greenish blue match the background color of greenish blue, which is one of the reasons why I wanted to do the background now. Now I'm going to try something here. Stay with me. Yeah. Now you see we're doing here. We're just in the Titan a little bit. We dropped the opacity down a little bit. Now we're getting a little bit closer. This is awesome. Now what I wanna do here with the Titan Fantasy Image, okay, stay with me here. I want to add a levels adjustment. So we're going to come up to levels. And I wanted to only apply to the Titan. So I'm linking it to the Titan. And now I want to play with the darkness. This thing is awesome. And what I'm trying to do, I'm trying to add more contrast and more interest to the tightened as a foreground image as opposed to the background. That's pretty cool. Okay? Now, the last thing that I wanna do for this, and we're starting to put our images together. We're starting to see how it all works. We're starting to see how it plays out. The last thing that I want to do with this one now is I want to come in and I want to, in a way, color match some of the Titan and the glass into my image. So let's go ahead and do this. There's a couple different ways to do it. The first thing I'm gonna do, I'm gonna come over to adjustments and I'm going to try it first and foremost, a selective color. Now what is selective color does? It allows you to pull certain colors, such as my greens, and allows you to add a little more of something or a little less of something. So if I wanted to make my greens a little less, I could do that. I can adjust over some of these. I'm going to just over the blacks now, if there's not a lot of color in there of certain colors, you'll see different adjustments you see now I've hit the science. That's the magic bullet right there. Let's see we can do on this. And you'll see how on color matching the ear. This is why I wasn't too worried about the greens. If you have mismatch and colors, don't worry about it. I guarantee you you'll be able to match it using tools like selective color. Now you'll see how I lost a little bit of this in the background. That's okay. Watch this layer live filter layer color vignette. Here's what we're gonna do. I put the vignette above the Fantasy Image. And I'm going to drop the vignette down. I'm going to drop the hardness. And I'm going to increase the scale a little bit. So what I'm doing is I'm starting to darken the background. Now if I wanted to darken the background is an aggregate, I come down to the Adjustments, Brightness and Contrast, and drop the entire thing down. Now, I want to make sure I don't lose sight of my little guys. So what I might do, I might reposition this glass here a little bit. So stay with me. Glass and base are gonna go. And we're going to shift them down here to right about here. Right? Perfect. All right. For this one, I think we're good. Notice what we did. We kind of knocked down some of the highlights and the Titan. We added some reflective light in the glass, which by the way is a 100 percent and modifiable. So if you wanted to bring that up a little bit more large and in charge as you go you could. And we then positioned it kind of in the background and we've got a good flow from the foreground into the background. So right now, I'm happy with that. Let's go ahead and cut this one and we'll see you the next one. 33. 08 070 Titan Redo Complete 1: Hi again, Welcome back to the tightened. Now we got this thing floating in space. We got some people, we've got some background. This thing is starting to come together. Now, the next thing that I wanted to do is I want to show you how to mask so that it looks like this thing is kind of buried a little bit in the snow berm and a little bit outside. We're going to add a little bit of shadow to it. And I'm going to be working with my mouse now if I was doing this for real, I use a Wacom tablet. But a lot of times my screen, your coordinators and capture the Wacom. And you don't need one to do this. So let's go to the base unit. Let's add a mask. And now I'm gonna do something a little bit different. I'm going to go to brushes and I'm going to choose a pretty soft brush. I'm not going to use a hard brush, but I'm not going to choose a very obscure one either. So it's somewhere in the middle because I want an edge, but I don't want a really hard edge. And in terms of color, I'll change my color to black because remember on a mask, black conceals, white reveals. I'll move my brush up. And this is always the way I do it. It's just the way I like to work. When I mask out. I mask more than I need, right? You see how I just exposed all of that snow. Now, the way that I like to work, I come in with a color and now I move it in with the white where I wanted to be. So notice how I'm following this little snow berm here. And then as we get closer to these people, I'm bringing in everything. There we go. Now it looks like the Titan is partially hidden and partially there. So now I've got some layers. This is kinda cool. And when you do a poster like this, you're telling a story about maybe this group of explorers finding this tightened somewhere. All right, now let me show you something that's bugging me. If you like this and you find it in your own work, steal it. The curve that I created originally up here has a sharp point to it right here and it has been bothering me as we had been working. So what I'm going to do, I'm going to come down and I'm just going to adjust that out ever so slightly. There we go. And folks, this is one of the reasons why you work with curvature masks. Because now if I find that I don't like the curve of the glass, I'm not married to it. Alright. Alright, let's see, we got here. Much nicer. All right, So little things like that. Now another trick. Let's say the base, I have this green, it's time to adjust the screen. One of the things that I do a lot of times is I don't worry too much about the details because I can always adjust them here. I use the Selective Color Option a lot. So I put the selective color inside the base. And now let's move to the side dance. And let's drop the cyan. It's out of the base. Let's increase the yellows and the base. Nope, nope, not that level alone. Messed up the layer stack. Here we go. And let's go ahead and drop the greens as well. Now you see how the greens disappeared in there. We're going to increase the cyan is at that point, we're going to increase the yellows. And what we're doing, we're pretty much just eliminating the green out of the base. I use selective color a lot. It's used as my scorch, the earth option, if you like it, steal it. If not, you never have to see it again. And a lot of times I'll also play now with the opportunity for the neutrals to see if I can get kind of a richer look to that base because it's not required that we stick with the traditional colors that I have here. So a lot of times I'll play with this to see if there's a color combo that I saw that I might like. As an example. I kinda like that. I think that that matches the way that I want this thing to read a little bit better. Alright, So that's the trick, selective color adjustment applied to an area that really helps you make sure that your colors show up. We've already kind of color graded roughly the glass. We've added them in yet. So this thing is really starting to come together. The next piece that I wanna do, I want to show you how to add some lighting. So there's a couple ways to do this. I'm going to show you my way. And my first way is to grab the ellipse tool. And I'm going to go ahead, I'm going to grab this ellipse and I'm going to fill it with white. So let's go ahead and fill this tool with white. Where that ellipse it's buried inside, bring it to the top. Now what I'm gonna do, I'm gonna grab a filter and I'm going to blur it. Gaussian blur bone. Okay, this is a nice way to add highlights. And because it's still relatively modifiable, you can adjust it as you want. So what I'm gonna do, I think that this Titan needs a bigger highlight right down the center of them right here. And it's a little bit bold. So now what I'm gonna do, I'm gonna play with my blend modes. Which blend mode gives me the look I'm after. I'm going to try screen. And I'm going to drop that down a little. And that looks pretty good. Now watch this. There's one more thing that I can do. If I want to see how this is a pixel layer there, I can erase it away from different areas. Or if I want to, I came to duplicate it to make the shadows or the highlights a little stronger. So the same works and shadows is it doesn't highlight. So I think that for the one I did, I'm quite happy with that. I think I might turn it down just to Scotia more. And this is a nice way to add some highlights into your image. Now you can always draw them, not opposed to that. But I usually start with something round. And the other thing you can do, click on the Pen tool. If you wanted one that was a certain shape, you could create a shape with the pen tool. As an example, I've now created this weird kind of crescent moon shape. And I've now made a shape. And so if I wanted to, I could come in and adjust those nodes out. And when I'm happy with what I've got, I can do the same thing filters. Now let's do some the new, let's go live filter non-destructive. Let's add a Gaussian blur, non-destructive. Now I know you've seen Jeremy, What's the difference? Notice, when I applied the filter to my pixel layer, it destroyed the lips. But with a curve. Now, if I add a live filter, I can now still adjust this curve. Any way I want to adjust it, it is still a curve. So the live filter layer is a nice way to practice non-destructive editing. And it allows you to work with your curves and your shapes a lot more effectively. So for my side, what I'm gonna do here is I'm going to take this pixel layer down. I'm going to reduce it down ever so slightly some more. I'm going to take this curve down and I'm going to reduce it ever so slightly some more. And then I'm going to stop with the lighting because I can easily go from 0 to a 100. Now along the 0 to a 100 line, I'm seeing this highlight layer. I want to change. I'm going to do the eraser. I'm going to grab a very soft brush this time. I'm going to increase the size and I'm going to keep my flow pretty low. And I'm going to come back in here and I'm going to knock down a little bit of that. All right. Once I got those other highlights in there, I was not thrilled with it. Alright. So I think that we're pretty good. I'm happy with everything we've got there. I'm looking at those. The last thing that I wanna do here is I want to add a shadow layer. So let's practice some naming. We're going to call this highlight. We're gonna call this highlight, call it highlight two. We got the base named. Okay, so the next thing we're gonna do, we're going to add a little bit of shadow. So let's add a pixel layer. And we're going to grab a soft brush, just like the one we've been using. And this time we're going to grab black. Okay? So we're going to bring this up and I'm going to keep my flow very low. We can always adjust the opacity or we can adjust a lot of variables. But I'm gonna go ahead and I'm going to just do that now you see how I put that over top of everything. Watch this. Down below the glass. It goes. Okay. So now let's turn it on, turn it off, see what we got. Right. So I'm pretty happy with that. I might turn it down just slightly. And I might also take it. And I might expand it out just a little. Right? And then if I want to, I can always come in and increase the opacity a little bit. All right, I'm not worried about losing the figures too much in this because I'm going to make a subtle adjustment here for the lighting. So that's going to be the next thing we're gonna do in the next lesson, we're going to add some of that ferry lighting to it. We're going to add in some moonlighting to it. And we're going to highlight those figures in the foreground to make the story come alive. All right, we'll see in the next one. 34. 08 080 Titan Redo Complete 1: Hi, right gang. Welcome back to the tightened. So we're going to go ahead here and we're going to add in some modification. So now this is going to be, we're going to add some very light. We're going to add some reflected light. This is 100% and artistic discussion that you can have with yourself to determine exactly what it is you want to do. So I'm going to show you how I would do it if you like this steel it. Now this is going to use the brushes that are in your download. So if you haven't downloaded them yet, go ahead and go to this little brush studio tab. Go to the little hamburger menu and import the brushes. And the brushes that you're going to import are the brushes for poster. So these are the ones I'm going to be using. We've included these as a download and we made them earlier in the class. So just in case you haven't made him, this is where we would go to kinda get them. All right. So let's go ahead and get started. Now I'm gonna show you three types of light. Take it or leave it, do whatever you want to do with it. The first one I'm going to do is I'm going to grab my circle here. I'm going to hold Shift, and I'm going to draw out a circle a little bit bigger than this moon. All right? So I've got my circle here. It's a little bit bigger than the moon. I'm going to hold Shift as I move it around. So I think that I'm pretty good here now the first thing that I'm going to do, I'm going to grab my Gradient tool and I'm going to go ahead and make this a radial gradient. Now what this is gonna do, it's gonna put the radial and the center of the circle. I'm going to come up here. I'm going to grab the gray little circle. This is the one-year on. And I'm going to make it white. Okay, Now, if this is white and that's why or why not put a gradient on there? I'm going to come in now to the white circle here. I'm going to switch over to my grays. And now I'm going to kind of do this number. Alright, so I'm pretty good there. Now, what am I gonna do with this, right? Why did I do that? I'm going to now change the blend modes. Okay. And I'm gonna look to my lighten. And we'll look to my screen and now watch this layer live filter layer gaussian Blur. Make sure it is a live of filter layer. And we're going to bring this up just like so. I'm now a 100 pixels is kind of limit. I'm going to manually override that to 200 pixels. I might even go to 300 pixels. And you'll see what I'm doing here. I'm actually bringing the reflection, or I shouldn't say the light into my area here of my moon. Now, in order to do this, we can change the blend modes up a little bit. I always like to go through and see if there's a blend mode that I didn't necessarily know about, that's cooler than what I had. And that linear light is looking pretty sweet to me right now. So I might just go ahead and do that. Shift this down a little bit. This is why we continue to make it a circle until I'm right about where I want it. That's actually pretty awesome. Yeah. Now, notice how it's a little bit big behind here. So what I'm gonna do, I'm gonna go to the ellipse. I'm going to grab a mask layer. I'm going to grab a brush. And I'm gonna go with the black color. And I'm sure my flow down to about 10. And now I'm just going to tap it. We're just gonna do a little bit here. Now. You see how I went a little bit too far. I think I probably wanted a little bit of it to show through. So what I'm gonna do now, and we'll come down here. I'm bringing it back. And now let's tap it back just slightly. Okay? Alright. Because I don't want it to obscure the Titan. All right, I kinda like that. All right. Fair enough. Let's go ahead and clear that out. So that's one way to kind of get that type of look to the moon. Now, the other thing that we're looking at here is we want to now create a pixel layer. And we want to create a couple of different lights now totally up to you how you want to do this. This is an artistic decision. I'm going to go to brushes. I'm going to go to this type of light. And I'm going to change my color up to a white now. Because I just did that with the moon. I'm going to go ahead and I'm going to pop that in just like that. And now it's wherever you want to put it. If you want to put it, you can change it, you can do it, you can not do it. I'm quite happy with this. I wanted to kind of frame up the Titan. I liked that a lot. So I think that it's a little bit bold. So let's change out the blend modes. And again, I played the blend mode gain because you never know until you know. Alright. I'm just gonna go ahead and we're just going to go with an overlay. I kinda like that. And let's go ahead and drop that down a little bit. Yeah, that's cool. Alright. Now that overlay gave me a blue shadow there, not a fan, right? Soft light it is. Okay. Yep. That's a good one. Now, I'm also going to add in a new layer. I put all of my reflections on my own layers because I don't want one reflection to limit what I can do with another. So now I'm going to change the color of this just slightly. I'm gonna make it a little bit cooler. Alright, that looks really good. And we're going to switch that up. Okay. Now, I liked that and I don't like it at the same time. So here's what I'm gonna do. I'm going to use the Perspective tool. And I'm going to change it so that it warps a little bit. There we go. All right, Yeah. Now the other thing I'm gonna do, I'm going to mask it a little. Watch this. This is a trick. I come over here. I add a mask layer. I add a gradient to the mask layer. White reveals, black conceals. So you see how I pull a gradient. And now I can get that nice far away fade. And what I'm gonna do here, I'm going to take the vignette that I added only to the background. I'm going to move it up above. No, I'm not. All right. Will do something different with it. Alright, overall. Quite happy with that. Let's go ahead and just change the blend mode, play the blend mode game. I like that lighter color, I think I'm gonna go with that. Yep. Something a little subtle. That looks good. 35. 08 090 Titan Redo Complete 1: All right folks. So with this, we're going to come over to our brush. I'm going to be using the fairy dust. Now. I'm going to be using my Wacom, so I'm going to turn on a controller and I like to work with the stabilizer on totally up to whatever you guys like to do. And the color that I'm going to choose is a slightly cool white. It's still very, very bright. I'm going to turn this down a little bit. And now I'm going to kind of shoot the moon so to speak. Okay, I'm gonna do another one here. And what I'm doing, I'm blurring the line around that so that we're in pretty good shape. All right, Now watch this. I'm coming down through strategic areas so that I get a nice type of flow in here. Now I'm going to open up a little bit and I'm going to pepper in some swirls. Alright, that is actually really cool. Alright, I'm happy with that. Turning off the Wacom. That's the only thing that I use a tablet for. You don't need a tablet. You could have done that with your mouse. The stabilizer would be a huge asset in that. Now, the reason why I moved that onto its own pixel layer watch this affects Outer Glow. Let's go ahead and drop the intensity down a little bit. You can make the radii on this, anything you want it to be. And you can make the color on it, anything you want it to be. So I'm gonna go ahead and match that out a little bit with what we've got going on. Increase the intensity of that global little. Drop, the opacity of the glow down a little bit. And there we go. All right, now I'm also going to do an inner crease, the radii, increase the intensity. And let's play with the color modes and that inner glow. And I will keep it on screen. And let's try some different color. Shall we change the center to the edge? Is there anything else that I want to put in there? No, I think I'm quite happy with that. Ri probably the last thing that I'm going to try, just for giggles. I'm going to go ahead and I'm going to put a gradient map inside the pixel layer. All right, now what is this do? The gradient map will look at the lights and darks. And it will give me an idea of what I could do in terms of color changes. So I'm going to delete that out. And I'm going to come over to this one, and I'm going to make this a little bit lighter, Let's say. All right. And let's make this a little bit darker. Right? Now. I'm very happy with that. I think that that's a good look. Now, last thing that I'll do, this one here has changed a little bit. I'm going to drop that down just ever so slightly. And I'm going to see what I can do with the blend mode. And I will keep it at linear light or not. All right, Now, one more thing. Let's go to Layer by filter layer lighting. Now, this is an important one. Folks. Bring it up above all. Okay? What I want to do is I want to highlight those little folks down here. So I'm going to grab this and I'm going to bring it to the fantasy layer right above the background. That's an effect. What I did you see how this isn't affecting the foreground? And I'm going to bring this down to here. Alright, that's really awesome. Okay, I'm very happy with that. Now let's swing this. Now. Watch out for hotspots. Now I'm going to drop that down just slightly. And why did I do this? Because now you see where the fairy lights should be illuminating the groups. I've got a hotspot there in the center. So I've used the fairy light to highlight where my cast on the walking party. Let's take a look. Off, on, off on. Now, this is going to be important. Why didn't I really push it in terms of the moon? Because I'm going to be looking for that to be darker. Because the next step, I'm going to add the text. So let's go ahead and go into the next step. And let's add the text to this poster. 36. 08 100Titan Redo Complete 1: All right, folks, welcome back to the title. This is the last little bit here. We're going to add some Artistic Text. Now, when it comes to text, there's a visual hierarchy. And so you want the title to be the primary, any sort of taglines to be secondary. We're going to show you how to just do some real simple Artistic Text here. So we're going to come down to the Artistic Text tool, which is in the toolbar. And we're going to drag out tighten. Okay, so that's the name of our fictitious movie here. And we're going to come down here and find any old fonts you want. I like to work with this font. It's one that I use a lot. So I'm going to go ahead and bring this up large and in charge. I'm going to use my move tool. And I'm going to click it to center it and I'm going to put it toward the top. Now, this is a trick that I use. Take it or leave it. If you create a pixel layer, drag it down below the text. Grab your gradient tool and whip it from the bottom to the top so the light is toward the bottom. Watch what happens when you change the blend mode bone. Now, you can still adjust the gradient so that you don't obscure your Titan. But yet you can make sure that that is necessarily got enough dark so that it looks good. All right, I'm happy with that. Now on my Titan, I'm going to show you how to do a 3D texts. Now. We're going to come down to effects. We're going to go to 3D. And let me move this out of the way. And in 3D, we're going to increase the radius of this 3D. And it doesn't look great right now. So we're going to go to profile and we're gonna make it a hard linear profile. Boom, just like that. So the profile now gives me the text that I want in the way that I want. And now we're going to add some outer glow to it. Just a little bit to separate it. I'm going to drop down the intensity. Alright? And I might even drop down the opacity a little. So I'm happy with that. Now, one thing I like to do, take it or leave it, go to Layer, life filter layer and lighting. When I do really dynamic lighting, I like to really add my own lighting layer to it. I think that it adds a little something to it. If you like it, use it. If not, don't have to see it. I'm going to push it a little bit here. Now you can use the traditional spotlight. I'm going to try a point light, grab the perimeter, pull it down, and then I'm going to go a little bit off camera with it. Yeah, right about here. I think that's pretty good. Happy with that. Notice the lighting is tied to the text layer only. Now I'm going to show you how to do a glow text and a knock the color out of text. So now I'm gonna grab this and I'm going to put my tagline in. I'm going to go with believe right now. When we do this part, we're going to go ahead and just do a white. So there's no sort of fill is just a solid fill. Let's bring a solid white over. Oh, come on. All right. There we go. And now once we've got a solid color and fill, we're going to go to effect. And we're going to grab Outer Glow. I'm going to crank this bad boy up. You can always change it later. And what makes this work now is the change in blend mode to darken. Look at that folks. Everything that is lighter than white now disappears. Or I should say, replaces the white in the text, leaving you this text. Now, you can change it up a little bit. You can do the multiply. When you get into the light you see it doesn't work. So what this blend mode is telling affinity is anything that's darker than the white show through. So you can adjust the text a little bit. I'm going to drop down the opacity a little because I think it's a little bit crazy. And I think that we are pretty darn good. All right. Now, let me show you how I finish this thing. So there's a couple steps. Usually after I get everything the way I want it and I'm relatively happy. The last thing that I'm going to do is I'm going to unify it with some color adjustments. So this goes above all. If you like these, you can use them. I like to finish my piece with adjusting the curves just to get it the way that I've wanted. Get it looking sharp, right. So I think that I'm pretty happy there. I'm just darkening the darks a little bit and I'm lightening the lights a little bit. It's kinda like an extended S curve. I think that that's pretty cool. All right, pretty happy with that. Now, the other thing that I will normally do, I'll play with the colors. So I'm gonna go ahead and do selective color. But I'm going to do it on the whole thing. You know what, let's do color balance. So right now we've got a lot of cyan. Let's kick the reds in a little bit. I don't know if I like that purplish look to it. So I'm probably going to leave that alone. But I might make some subtle adjustments with the green. Or I might add in a little more magenta. I think it's a little bit calmer, tamer than just the red. Now with the yellows, I really like the way the yellows kinda look with this. But I also really like the way the blues hit on this. So for color harmony, the way that I want this thing to look, I think that I'm going to balance out the color this way. Now the last thing that I'll do is I start looking at this. If I was to do this again, I might use a stock moon to bring the moon back around to the back side of the Titan. But I want to add a little bit of detail to the Titan. Now, this is your choice. I know that it's under glass. Usually things that are under glass or not really necessarily clear. So a lot of times what I'll do is I'll add in a clarity adjustment. Now this is for me. If you don't like it, you don't have to use it. But I'll crank up the clarity just to differentiate the Titan as the thing I'm looking at. Now you can do it this way or let me just show you something else. You can come down to Layer and go to live filter layer. It's still a clarity which is sharpen. But let's go ahead and take a look at the Unsharp Mask. Look at how much clarity that brings to it. Now that's an insane amount. Use it sparingly with great power comes great responsibility. And so do it to the point where it makes sense to you. These are two things I use to sharpen me personally. I like the Unsharp Mask. I like the over-exaggeration, especially if I'm going for visual pop. All right folks, I'm just glad I got a chance to rerecord this for you using some of the features that 1.9 in Affinity Photo. Let's go ahead and continue on with the course. 37. Introduction to the AD for ipad interface: All right, gang, And welcome to affinity designer on the iPad. So when you first open up your iPad there and open the affinity designer for ipad app, you're going to be taken to what is called the gallery. Right? So your gallery has all of your pieces that she worked on in affinity designer on this iPad and the thing that you want to do first and foremost, you want to go up to the upper right hand corner here where the aero is, and you're gonna want to hit on the plus button. So when you hit on the plus button, you'll be taken to a variety of different documents. Now, the first thing we're gonna do here, we're gonna go over a brief overview in this lesson. So it doesn't really matter what the size of the document is. Let's just click on new document. Now, when you're selected with the document, you can either choose to put it on your device, work with a photo work with Web. I'm just gonna go ahead and work with device, or if you've got certain presets, you can create a certain preset. It's gonna be a 12.9 inch iPad. You choose the orientation to There's portrait and there's landscape. You see how those air toggle in blue and you can choose to have a transparent background. Now by default, I usually work in transparent background and let's go ahead and hit. OK, all right. Perfect. Now with gestures, you're gonna see me shrink and expand my screen quite a bit here in these lessons. To do that, to take your thumb and your forefinger, put him on opposite corners and then bring your fingers together. This allows you to shrink and expand, and then it allows you also, if you rotate your wrist while you have your fingers on the screen to move it. There's an entire lesson on gestures, so I'm not gonna go through a lot of them now. And now let's take a look at the interface along the lower left hand side. Here are all your tools. You see how I'm clicking on them here. When you click on a tool, a little yellow thing comes up that tells you what that Tulis. As an example, I'm clicking on the vector brush toe, so this is similar to the desktop version, your tools are on your left hand side now. Things like snapping and the delete are down here. So you see, I'm toggle ing snapping on and off. You see how the blue circle goes on enough Where it gets a little bit weird is where the context toolbar is. The context to a bar is located at the bottom of your screen. On the desktop version, it's on the top. So if I'm here in the vector brush tool notice along the bottom of my screen, I have the width, and now I click and drive with my pencil to change the width of my brush opacity. I click in the circle and then I move it left and right to change the opacity. I can change from the brush editor. I can change the stroke color. I can change the controller now if the context two of our gets a little long notice here, there's an arrow, This one here. When I click on the arrow, the only option that comes available to me is the stabilizer, and I can use the rope stabilizer. All right, Now you see, here is I begin to draw on the screen. That's kind of how that works. And now if I want to change my next stroke, I just click on the width and I could go 52. Okay, now it becomes 52. So context, two of our was on the top in the desktop, down on the bottom in the iPad version. All right, Now, let's take a look at where all of the cool studio stuff is. This studio is on the right hand side, just like it was in the desktop version. And I've got my color tab here. You see where the black circle is? I've got my stroke panel. I've got my brush panel. There is my layers panel. I'm going to use this constantly. There's the appearance panel. I've got all of my assets here. Symbols. The effects were going to use the effects a lot in this class. There's all my adjustment layers that I'm familiar with. There's all my textual adjustments. There's my transform. There's my navigator. So we've got everything here that we're going to need. All right, So now watch this. If you click on this little tab, appear this little one that has the two triangles. Notice how it hides everything and then brings it back. All right, The last thing that I want to cover here is up the top. You've got your personas right here. I'm in the draw for some of them. Now I'm in the pixel persona now in the export persona. So the same personas that you have available in the desktop are also in the iPad version. The three little dots, the three little dots have all of your operations. What they call it is the geometry. It's got your clipboard. It's got your selection, your grouping, insertion options. And then here, when you click on the little document, it's convert document resize, exports save print, place, image, all of those sorts of things. So that's just a quick tour of the interface. Now you know where to get a lot of this. And if you want to come over here, you could always click back and get back to your gallery. All right. To get back home to your iPad screen, Of course. Go ahead and click the home button and there you go. All right, let's go ahead and get into the next one and start working in Affinity Designer for the iPad 38. Makig a basic octagonal shape in Affinity Designer : All right, folks. Welcome back to affinity designer. So in this lesson, we're gonna show you how to create a very simple stop sign using just shapes. This is designed to get you familiar with the interface and get you thinking in terms of shapes. So you know how to create, say, strokes and pills. All right, we're gonna come over to the plus sign, were to create a new document. Now I'm going to in the Dimension Circle. Click on 2000 by 2000 pixels. And because I'm thinking about print, I'm gonna want this to be 300 a d. P. I print work is traditionally 300 g p. I. To get a good, high quality print. All right, let's go ahead and hit. OK, now, let's go ahead and shrink this down a little bit. I'm using my thumb and my forefinger to do that. And now let's go to the tools menu. Grab the square. Now you see that the rectangle is not what we want. Click on the little arrow in the lower right hand part of here and grab the polygon. All right. Now, polygon is a fancy way of saying many sides. Right. So now notice that right now I'm able to take this lower right hand corner, and I can manipulated and distorted all sorts of ways. Put your finger down in the iPad screen. It now constrains theosophy pecked ratio to make it a perfect polygon. So if you want to constrain the shape, use the finger. All right, let's go ahead and put it in the middle of the screen. Now I want to make this polygon into an octagon. To do that, I've re select my shape tool. And now you see, in the context toolbar, I have the number of sides. I'm gonna type in eight. I'm gonna hit. Okay? All right. That looks pretty good. Now, I'm just gonna create another shape. You don't have to do this, but I'm going to grab a rectangle and I'm put a rectangle down here. And now what I want to do with my polygon is I want to rotate it. To do that, I'll come up to the move tool, and I rotated. Now, this is gonna be unscientific. I'm going to want to connect it now over to my my rectangle. Now, why would I do that Because this line should ideally line up with this line to make sure that I am perfectly aligned. All right. Now, with my rectangle selected, I can just go and delete that. All right, this thing is good. Now, let's add a color to the shape color is over in this studio and stop signs or traditionally bright red. Now, why isn't this showing? You have to have your polygon selected. So now I come over. Hey, get that good red color. All right. Perfect. Now let's add an outline to our shape. So now I come over here. I have the black outline, but you see, it's not really showing up. Well, come down to the stroke panel, making sure your polygon is selected. Grab the width. And now, up the width. Now there's an advanced option. Let me show you this. If you toggle down to the advanced, you can align your stroke to the inside to the outside or center it. I'm gonna malign my stroke to the outside. So this is where the advanced options lie. There's more to it than that, but we'll start here. All right. Now what I want to do is I want to create an inner stroke to this. So now what? I'm going to dio I'm gonna come over to my layers panel. All right, so I got this polygon layer. What I'm going to do now is that we were to come in. I'm going to duplicate, said layer. And now this layer is on top of this layer, right? This is gonna be called the top. So let's call this the outline layer to rename a lair, Click on the three arrows, come over to the top where it says polygon, and I'm gonna say inside lair. All right, notice how that change now. So that is how you rename a lair. And now with this, let's go ahead and change this layer. I'm gonna come over to the red and I no longer want to fill And I want Thea outlined color to be white. All right, now, why did everything changed white? Well, let's look at the layer. This layers on top of that later. So now watch what happens when I move this layer down. Click drag, Bring it down below. And now this top layer is at the top. This is how you reorder layers. Click drag. Bring it back. All right. Now, put a finger on the iPad screen. Let's shrink down this layer, not grab the blue handle and drag it down. Making sure your fingers on the iPad screen that is going to move it and constrain it. And then we're gonna come in and we're gonna move it, and we're going to align it just like that. All right? Now, there were two things that had happened there. One you had to use your finger so that you didn't skew the design. Secondly, you had to have snapping on so that the red and the green lines show you that again. Right? If I'm moving this layer, notice the red and green lines lineup once it's centred. All right, so now the last thing we're gonna do with this here is we're gonna add text. So we're gonna come down. We're going to add a text layer, so we're gonna add an artistic text tool. Wanna click inside on the whole shift? Actually, let's move. Caps lock on and put down. Stop. Now. That doesn't look really good, right? We have to click and drag, move it out and Now I want to change the font because that doesn't work for me. Some of the click I'm gonna drag across, and then I'm gonna come down to my text layer. And now, when I use my text, I can now pick a nice block font for that. That looks pretty good. All right, Now, how do we sent or something? Well, if snapping Zaun, affinity will do it for us. Now, let's change the text color. Come over here, grab the black. We change it toe white. And that looks pretty good. All right. Now they can get a little more complicated to this. It's certainly well, but in this lesson, you learned how to create a octagon from a shape. You learned how to add a film to a shape you learn how to Adam outlined the shape you learn how to create a duplicate layer. You learned how to adjust the layers. You learn how to rename the layers, you learn how to then add text to your image in the next lesson, we're going to do one more very similar to this to get you familiar before we move on to the next step. All right, we'll see the next one 39. T shirt design How to Lay out an image for Tshirt design: All right, gang. And welcome back to affinity designer for the iPad. So, in this lesson, what we're gonna do is we're gonna begin our T shirt design, so let's go ahead and open up, Affinity Designer and we're gonna go ahead and we're gonna open up a new document. Now, with this new document is going to be what is called an art board. Now, aren't boards are like, say, documents within one document when you're doing T shirt design, it's not uncommon if I have to do a pocket a sleeve and back that I have them all in one affinity pile, But it might have several different art boards. So to do this, we're gonna go ahead and we're gonna go to new document. So let's go ahead and click on new document. And now we're gonna go, and we're gonna start with a print document. Now, when you do t shirts, make sure you talk to your printer. Your printer has different plate sizes or different capabilities for sizing, and some are able to print in RGB. Some are able to print in C N y que. So you want to know what color profile your printer is going to be using for mine here. I'm gonna go ahead. I'm gonna choose print and I'm going to go into inches and I'm going to make a back of a T shirt image. I'm going to choose the c m y que profile and my width. I'm gonna go ahead and I'm going to make customs. So you see none of these fit. So we're gonna go back into inches and I'm gonna grab 12 inches wide and hit, OK. Now, to change these limits, just click in a circle by 16 inches long. Now that's a little bit long, but they might have to shrink it down a little bit, but it's not too bad. It's not like I'm making a four inch image and trying to stretch it to 14. Now the orientation obviously set up. I like to work in a transparent background and then I like to click on Create Art Board. So make sure all three of these blue things are checked and go ahead and hit. OK, Now you'll notice the interfaces different that it is in traditional affinity. Designer, you've got this thing called a dartboard. And if we open up the layers. You'll see that you have an art board, not an actual layer. So let's go ahead. We can rename it, same as we always do. Click on here and we're gonna call this image and we're gonna hit. Okay. One of the reasons I work with transparent images is because I want to make sure that I account for the T shirt. Whatever color the T shirt is going to be underneath is going to bleed through. So if I have a red T shirt and I'm really counting on a blue ink, I need to make sure that I have blue ink, not just counting on a blue T shirt. So I work his transparent images just to the best practice so that I see exactly how it looks on a shirt. Now, if you're designing a shirt, you're going to want to know that the more colors you add, the more cost increases Now. That's not always true with, say, director garment printing, because they have a an ink cartridge similar to a printer. But in traditional screen printing, every single color use needs a different screen cut. So the more screens, the more cost All right, so let's go ahead and get started in your downloads for this lesson. I've placed an image of a skull, so let's go ahead and place image. Now, I put mine in my photos. You could put yours anywhere you want it, and I'm gonna load it onto this art board. All right? Now, I don't want the whole thing. There's a lot of background here, so I'm gonna come down here now, and I'm gonna go to my crop tool. You see him tapping on the vector crop tool, and I'm going to trim it down so that I just get the skull and then I'm gonna click on my move tool. You see my move tool here, and we're going to go ahead and blow this up and center it. All right? Perfect. Now what I'm gonna do with this point, we're coming down to the layer now. I've got this photo and it's got this crop applied to it. What I'm gonna do now is I'm going to come up to the lair and I'm gonna rast arise it Now this is gonna be destructive. And now when I come back into my lair, I just have the photo. That's how you compress your crops and everything. If you're sure you there right now, let's go ahead and hit the three dots with a circle and let's drop down the opacity here because I want to work in three colors. I want black. I want white and I want one shade of gray. So the first thing that I want to do is I want to get consistency. So let's go ahead and set up. Are paint by number. Now, how do we do that? Let's go to layers. Come out of this layer. Let's go ahead and lock this down. To do that, we come back up to the same circle and we hit the lock. So now you know how to lock aware. And now we're gonna go ahead and we're gonna add a pixel air. Now, right out the bat in Affinity. Designer, I'm taking you to pixel persona. All right? You see, pixel persona now is highlighted across the top. You see where I'm toggle in these I mean pixel persona. I grab my paintbrush tool. So my paint brush tool down here along the left. See how that's coming up in flashing and you see the little blue marker. And then I'm gonna come over to the right hand side of my studio, and I'm going to work in red. All right, Now, if I did this right, there we go. I've got my red pixel air on top of my photo. All right, let's go ahead and stop this one right here in the next one, We're gonna show you how to do a paint by number, and then we're gonna show you how to get your palate set up for this particular project. Because when your screen printing, it's very important that you have your colors figured out. All right, we'll see in the next one. 40. How to lay out the plan for the image: All right. Welcome back to our project. Now we put a mark on this image. Last time if you wanted to erase that, you just come down to the eraser tool. You see that too, and you just run over it with your stylus. Now you see, it's not fully going away. Go down to the context toolbar. Here, crank up the opacity. Hey, look goes away. That's how you erase a mark in the pixel persona. So even in the first lesson here with affinity designer for iPad, you've learned about the vector persona, the pixel persona you placed in image you've added, renamed a lair and created an arc board. You guys were well on your way. All right, now the way that I tend to work If I'm limiting my colors, let's go ahead and go to say three colors. If we have to use 1/4 we will. And the first thing that I want to dio with my brush selected is I want to figure out where these colors go. So I want to think in terms of tone as an example. There are darker black parts here. So what? I'm going to dio I'm going to come into here and I'm going to fill in the dark parts. Now, this brush is not ideal. I go to brushes, I'm gonna go to my mechanical pencil, and now we're in pretty good shape there. All right, So what I'm gonna do here, let's go ahead and erase that out just so we can start again. I'm gonna come in, and I'm gonna start marking where I want and I'm gonna go. Colors. One equals white. Two equals black. Three equals gray light. All right, so 123 everything is gonna be shade of 123 So the first thing that I'm going to do let's crank up this size of this just slightly and let's go ahead and draw out the eye sockets. So here, I'm gonna make this too. Here. I'm going to make that a three. Now, I'm gonna come over to this one. This is three and added to all right, make this a too in. That. It too. Come over here. Make this a three. It's actually doing four color. I'm gonna make this one dark gray. All right, so let's go ahead and make this too. And that of four. Here we go. That it to in this? A four. This is three. All right, We have to go ahead, and we're gonna trace out of shape here. Called out of one. The one cool. Is it to glad to actually, let's make that a four for you. See how we're planning our attack when it comes to tones here for three. For and the reason this is a three and that's a four. You want the rim light to be a little lighter. This is where a majority of the light is going to strike. So let's go ahead and make that part of the one. Go ahead and make that part of the one. Let's go ahead and make that part of the three. Since when? Make that part of the three. You know, I didn't make that part of the three as well. That's part of one, obviously. And we're just drawing on it here and we're going. I think that's gonna be a three. That's gonna be a three. That's gonna be a three. That's gonna be a three. It's gonna be a four. I'm just gonna go ahead and I'm just gonna put all these teeth together right now. In my illustration, call that a one slash two one slash three. Yep, Go three. And the three continues on to here and we've got a three here. Let's go ahead and keep that role, all right? So that kind of works out. That's a rough plan. Now I'm not holding to that plan. Right, Weaken? Certainly leave it open. But this gives me an idea what I want to do. Now. Let's go ahead and take the next step and let's figure out what these colors actually are. I'm now going to come into my swatches area, which is color swatches. And now I'm going to create a new palette. Come over to the four lines. Add in a document palette. Now, what is the difference between a documentation palette and an application palette? Document Pallets Onley travel with the document. This document in its entirety is in the last lesson off this section. And then if you have an application palette, it will be available throughout everything. Infinity designer. Now we want to rename Let's call this skull. Okay, perfect. And now we want to come over to swatches. Let's start with black. And now we want to make the Phil Black become or just watches back out until you find your skull. And now tab and add current filled the palate black, white at current filled the palate white. Now we need to figure out our light grades in our dark grace. I put my light grey right about here. Yes, I think that's good swatches. Add curry, fill the palate and let's put the dark raisin right about here and go ahead and tap That hit a little four boxes and current fill the palate. Boom! All right, now we have a palate. Those are the only four colors in our world. So I went back to my drop persona And now what? I'm gonna dio I'm gonna go ahead and minimize my swatches again here, and I'm gonna come down to my layers. I'm gonna go ahead and turn down the capacity on this pixel there. Perfect. So in the next lesson, we're gonna show you how to use the pen tool toe, Lay out your base shape. Infinity designer. All right, let's go ahead and take the next step 41. Laying in your base image and clipping mask : All right. Welcome back to affinity designer for the iPad. So we're working on this skull. In the last lesson, we laid out our pixel image, and we got our plan of attack here for what we're going to do with our vector. So what I'm gonna do now is I'm gonna show you how to lay out your base skull shape. Now, I talked to you in the last lesson about the pencil tool in this one. I want to talk about depend too. I'd like to start in the quarters, and I like to put in areas where I think I'm going to have intersection or where I need to change up and you'll see where I'm putting these nodes. They're all square. They're not at all where I want them, but that's okay. The goal is to trace out the image. All right, so we're pretty close now. What? I want to dio I want to come over to my move tool. Actually, to my no tool. I want to select all these nodes and I want to change your to smooth notes. All right, So now, with smooth notes, the reason I like smooth notes is because now, with my no tool selected, I can grab each node and I can pull on what are called the handles. So you see how I can reposition these where I need them where I want TEM now in these intersections. You see how this intersection, if I pull on this handle, the other one moves, Put your finger down on the pad and now I'm able to move one note only. But look at the different type. It now became square intersections. Square nodes, air completely. Fine. I'm good with that. Come down here. But that square node, I just kind of shift out the jaw line a little bit on this guy. Okay, turn this one. Now along the context toolbar. If you wanted to turn it into a sharp node or a square note just hit sharp note, Boehm. Now it's changed. That's how you transform a note. Okay, Now you see, down here on the chin, the chin looks a little bit weak, right? I want to over exaggerate it. Let's go ahead and put a note in. It's making a sharp note, and now we go ahead and we just make it a little bit more pointed. That's pretty cool. I would actually go with smooth note on that one. Let's get a little bit of movement to the chin. That'll work. That's cool. I don't want to make this thing extremely symmetrical because, well, schools really aren't. Everybody has a certain amount of variation in their head. All right, so once I get this pretty close to where I want it, I really now want to under fill it. Now, the piece I want to show you here, I'm going to teach you something here called Last Is First. When it comes to vector art, you want to make this very easy on yourself. So the last layer, theoretically the lowest layer in the stack you really want to do first? Think about layers of pieces of paper and think about the last one you're going to do. So I'm going to have my base layer under everything, so I'll just go ahead and I'll call it that. Let's go ahead. Come up to the three dots of the circle on. Let's call this the base layer hit. Okay, Perfect. All right. Now, what are we going to do with this now? Let's go ahead and come over to our film. So we come over to our color. The empty circle is the stroke. The full circle here with a line through it is the fill. So let's go ahead and fill the shape. We're gonna fill it white Boom. All right, now we can make some adjustments here. All right? I'm gonna added note in here because I want to kind of blow this out a little bit. I want to add a little bit of style to it. So I'm gonna come in here, put a note in here. Yeah, I kind of want to blow this child just a little bit. All right, so I think that I'm pretty good there. Now, here's the trick. I kind of want this thing to be above the base layer. So let's go ahead and pull this above the base. You see how that now gives me my marching orders, and then over here, I kind of want this thing to be up above the base as well. Now, that's going to be problematic. So we come over here. It was a drop down the opacity. We're going to select the photo select the A pass ity. We're going to drop it even further. All right? Perfect. And now we want to grab this pixel there. We want to raise up the opacity a little. All right, so in this lesson, you went through and you created your base layer. The last thing that I want to show you now is how to create your deep, dark black areas. Because again, last is first. So you're gonna want to start with the most recessed area first. So let's go ahead and come to our lair. Let's make sure that we are just up above our base layer. Now, I am going to grab my pencil tool. I'm going to come into here, and the first thing I'm going to do is I'm going to come in and I'm going to trace out my black image. Okay, Now I come over to the circle and I feel it black. Perfect. Now we start over here and I always tend to starting intersections when I do vector art that way of my lines don't add up. Not the end of the world. I'm I Come over here, black boom! Come over here. And now, if I overshoot my graze No worries, Right? Cause the grades are gonna go on top of the blacks. Oh, it's all thought of in terms of layers you were really want to be thinking in terms of layers Boom. Where else are my twos Here? I don't want to come into here, and I know that's a four, but I want a little bit of a to All right, so last is first. Then we went in and we found our deepest, darkest blacks. Now, how does this work in our layer stack? We've got all these different curves. What I'm gonna do, I'm gonna go ahead. I'm in a group thes. And to do that, click with your apple pencils slide across. Hit the little puzzle piece here in this groups. And what I'm gonna call this, Gonna come up to my three dots. I'm gonna call it black Areas because now I know if I wanted to change up one of those black shapes where they all are. Alright, folks, let's go ahead to take the next step. The next one we're gonna show you where to start filling out the threes and fours there to kind of bring this thing to life. All right, we'll see the next one 42. Adding your other tones : All right, folks, Look back through Diviner. So the last one we filled in your twos, right? We did the blacks. So we have the ones in the twos. Now we have to go. Really? With the force. I want to go with the dark grays next. All right, So we're going to do now is we're gonna figure out what's Dark Gray. Now, in order to do that, we've got to take this layer and I'm gonna go ahead and turn this layer down in opacity. You see how we're revealing some of these areas here? All right, so now what? We're gonna dio we're gonna come over here, and we're going to start creating different layers. So let's grab our pencil tool. Let's go ahead and zoom on in here and let's go ahead now and trace out one of the four areas. Um All right. Perfect. So now how do we fill it? Just like that? Okay. When we come over here and you see how I'm going over top of the black area, that's completely fine, because this gray is on top of the black. That's one of the reasons why you always do last is first. Perfect. Now we're gonna come over here and I'm gonna make sure that I consumed the black area so that there's no white showing. You see how I'm just crying to crafting and creating some shapes to kind of cover the dark blacks? That's really the name of the game here. And as we start filling this, you see how the shapes that I use really come up? This is a good example. Watch this. Now. I'm intentionally gonna go outside of lines, okay? See how I got that curve there. Now watch this. I add this in, and I'm intentionally going outside the line. But the reason that it doesn't matter to me when we get all of these fours put together, I'm going to nest it inside the base layer. Somebody's the base layers, a clipping mask. So don't worry about going outside the lines. It's not going to matter in the end. Now, I'm gonna go outside a little bit on here, and I'm gonna add in another four. I know that one wasn't part of the plan. That's okay. We can always erase it if we don't like it. What do I have down here? Where's my force? Looks like my fours are right down in here. So this is gonna be part of the Shaw area. One to three for five, six, seven a knowing 10. Okay, let's go ahead and sweep this thing back here, okay? And fill it. I'm also going to come in here, and I think that I'm going to do a four right here and now we're gonna come in. We're going to do kind of little light greys in the threes. So let's go ahead and do what we've done before 100 times. Let's go ahead and click on the where Let's grab all of our force and then let's go ahead now and let's group them and we're gonna rename the group were to call them Dark Grace. Okay. And the reason that I'm doing that now, I want to get the shapes right. We may have to break those groups later, but right now I want to get the shapes perfect. All right, so we're in pretty good shape here. No pun intended. And so now what we're gonna do is we're gonna do our threes, So let's go ahead and grab our pencil tool. See where we've got some threes going on here. And now we're gonna come down and we're gonna trace out our threes. Can you see how I'm kind of covering my to there? That's one of the reasons I didn't get too crazy about the twos of the fours. Oh, I missed it. Okay, Now what do I do here with this? Come over to, like, great. Putting the light gray. All right, Perfect. Now you see where I miss the four over here. And the two I'm not too worried about that. What I'm gonna do will adjust the node when we start doing the finishing. All right, where else do I have threes? All right, let's see what else we got. And you see how figuring out that initial tone study was so important And also the way that we're crafting these shapes is gonna help to tell the story of the shape of this skull. All right, good deal. So let's go ahead. Now, let's add in all of these and let's group him and let's go ahead and call this light grey. So we come up to the three dots renamed the group Light Gray. Okay. Perfect. So what I'm gonna do now is I think I've got most of my shapes in their notice. I didn't say all Select, select. And then we nest them inside of the base layer, just like that. And bone. There we go. All right, Now, let's see what we got here. It's going Turn off her pixel air. Go ahead and turn off our image layer. Now, why did that release the base layer? Because the base layers nested inside of the art board. Let's go ahead and bring that up. So where is our image? That is actually looking really good. All right, so I think that I'm gonna drive the photo out of the stack. So now the photo on the pixel totally locked out. Don't need him anymore. Let's go ahead and start figuring out how we start manipulating this to make it a little bit better. Now, to help me out with this, I'm going to just create a rectangle and I'm just gonna put it down and I'm gonna fill it with the color that's going to be scrapped eventually. Right? That's a noxious. It's awful. Let's go ahead and say we can't get a better image. All right, so just something to show some contrast now, also as just a temporary measure. Right now, I'm going to put in the base layer. I'm gonna come up to here, and I'm going to make sure that have a black stroke, And then I'm gonna come up to the stroke panel, and I'm gonna make sure that my stroke is on. So this just gives me an idea of what I might be working with later. All right, Now it's time for a pure, artistic look at this thing. Okay? So if there's anything that you wanted to do at this point, you definitely could. And so now I'm gonna use the shapes to tell the story. I'm gonna finish up some of my layering. I'm gonna make sure that this thing is ready for adding transparency and some of these embellishments. Hey, that one looks pretty good. All right, let's go ahead and stop this one here. You got the idea what I'm gonna do? I'm just gonna go ahead and I'm going to adjust all of the rest of these nodes using the no tool until I get kind of the shape that I want for this skull. 43. Lining and detailing and exporting your vector image : All right, folks, working back to affinity designers. Now, what we're gonna do is we're gonna come in and we're gonna start adding it's a really cool pen work. We're still gonna be using the pencil tool, so let's go ahead now. Check our layer. And now I don't want to be on this layer. You see how it selected? I don't want to be in the inter lairs. I just want to be on the art board. You make sure the pencil is selected and now what? We're gonna dio we're gonna come over and I want to start a 20 point. So I come over in the stroke and I hit, OK, And then what I'm going to do, I'm going to drop this little blue circle down Now. What's that going to dio? Watch this. You'll see now that we get a nice, smooth stroke. Now I'm gonna be working strictly in black. I'm gonna come over here, and this is why I didn't get to terribly crazy about where these two things joined. Okay? And then if you needed to, you could always come in with, you know, tool and adjust where that thing is that is gonna look pretty awesome. All right, so let's go and do this again. And if the 20 point is too big for you, don't think you have to use 20 point, right? And you see, I'm intentionally going outside the lines. That's completely fine, Because what am I going to dio? Eventually take thes curve layers? I'm in a group home, and then I'm gonna put him inside of these clipping mask. All right? Now, if you ever want to change the size of these no worries. You could do that too. Just click there. Click here, and you can drop it down to 10 point. Go ahead and go. 10. I'll split the difference with you at 15. Okay, so let's go here, you hear? Drop it down to 15. Two ways to changes. You can use the slider, or you can use the actual value. Just tap on the 15. All right, So now let's keep going. I think I want one of them a year. Okay. Now, if you ever want to change it, manipulated up. Now, I'm gonna go ahead and I'm gonna finish up all my entry level ones here. Mm. I tend to work at the tip of the stroke and then back it into where I want the rest of the stroke to be totally up to you. Though, if you want to do something different, why did that change color all of a sudden? Because my fat fingers tapped on the side. - Now , let's go ahead and add in some corrects. All right, folks. So now we've got a pretty good start here. I think we're in pretty good shape. Let's go ahead and pull all of these together. So we're gonna grab all these many curves and all I'm doing with my apple pencil isn't swiping, right? They had We're gonna group, and we're gonna pull this group inside here and boom! Instant clipping mask. All right, we're gonna call this group. Let's rename it. Let's call it stroke. Okay, folks, let's go ahead now and release that rectangle. Go ahead and come over here. Toss it. All right. And then we're gonna come over here and we're gonna take the photo off, and that leaves us our skull vector. All right, folks, book back. So now we're ready to export this thing. Right? I'm gonna show you how to export it, and then I'm gonna show you kind of what we're gonna do with it, and we'll start setting up for our T shirt. So let's go in here and let's grab our move tool. And now grab all of the image, right? Come over here and let's go to the export function. All right? Now, if you're gonna do transparency, you gotta do P and G. Then you change the file name. Let's call this skull. I'm gonna call it Skull, too, because I already have School one. And now here, the return key. Now go to the document and you're gonna selection without the background. That's what's gonna make this thing work, and you're gonna go ahead and it. Okay, Now it's gonna ask you where you want to put it. I'm gonna put it on my iPad in designer and add. All right. And there it is. That thing is officially export. So now let's go ahead and set up a T shirt design. So I'm gonna come up in here, and I'm gonna hit the plus sign. I'm gonna add a new document. And now, when you do t shirts, every single platform of marketplace is gonna have their own ratio, their own image guidelines. So just make sure you know what the image guidelines are for, say, Wicks versus woo. Commerce versus Shopify. If you're thinking about putting it up on your platform No, your pixel dimensions. This is gonna be important because the part we're going to do now is pixel based, so it will distort. It will picks late, if it's not right. All right, so let's go ahead, check device. Now, I'm gonna go ahead and I'm gonna screw working Web, and I'm gonna make this. Let's go with the with the 1500. Actually, let's make this 1000. Let's go ahead and back that up. 1000 by 1500 pixels. Now, how am I doing that? I'm actually just touching inside the circle and I'm changing it. That gives me a portrait orientation, and we're pretty good. Now I'm gonna want to create a transparent background. Let's go ahead and bring that up. All right, so this is gonna be the image right for my T shirt. Now, the first thing I'm gonna do is I'm gonna add in a rectangle the reason I used a transparent background and then do my own background rectangle is because then I could control the colors, the transparency and all the stuff around it. And I'm gonna go ahead. I'm gonna put that in his black Now, in your downloads for this lesson, I've included a T shirt template. So let's go ahead now and go to file place and let's I'm gonna import from cloud. You can import from photos if you stored it in the photos. When you do import from cloud, it just looks in your iPad. So I go in my iPad in designer because that's where I haven't put it. The blank T shirt file. All right, so we bring this up. Now let's go ahead and zoom in using our gestures. And now what we want to do is we want to create a clipping mask because let's look at her layer. This is an image layer to given image layer to be selectable. You have to first raster rides, so let's go ahead and Rast arise it and now you'll see that I have a pixel air. In the next lesson, we're gonna show you how to create a clipping mask, which is key to pulling off this illusion. So let's go ahead and stop right here with your export with your beginning T shirt file selected and the image on it. And in the next lesson will show you how to create the clipping mask. All right, we'll see the next one. 44. Finishing and exporting : All right, books. Welcome back to our projects. So now we have to find a way to create what is called a clipping mask. So we only get the T shirt because, you see, it has a white background on a white T shirt. That's not gonna work for us. So we're gonna come into the panda tool. So let's grab the pencil. And now what you're going to do, You're just gonna trace the outside of this. Now, watch what I'm doing here. I'm gonna start in the armpit, and I'm going to just create nodes wherever I think the material changes location, direction. I don't put too many in. I can always change him. I can always add them, and then I get a completely closed image. All right, so now what I want to do, I want to come in now. I'm going to zoom in and with my no tool. This is the exact same thing we did with the skull. We're gonna grab this. We're gonna begin adjusting lines, handles and nodes to get a good, clean mask. Okay, So in these areas where you had square, you can change them to smooth. I use mostly smooth nodes and everything that I do, especially when you're dealing in fabric, right, cause fabric doesn't have usually sharp corners coming. So it's looking good. Change it over to a smooth node. Change that to a smooth node. You can change him into smart notes if you want. I'm just gonna go ahead. I usually changed into smooth notes. I don't usually use smart nodes a lot. Right now. You see here we've got a corner. I probably need to create another node. Now, Also, remember that when this thing blows up and you compress it into the format for your online store, nobody's really gonna notice all of the little little details. Now, if you're putting together something in selling this as a mock up template, you're gonna want to do a good job, because turns out, then your client is somebody that's going to use this. But for right now, I don't get too terribly crazy about it because, quite frankly, by the time it pixelated and such and gets brushed down to, you know, 50 pixels when it's in the marketplace, nobody's going to notice. And now let's go ahead. Make sure that that has zero stroke on it, and let's go ahead and pull it in. So come over to the layer, Come over the blank T shirt file, and now bring it inside the curve. Boom. This is why I requested a black background. Because it becomes very, very easy at this point to see where you're missing on your masks. I'm gonna come over the curve. I'm gonna come over to my mood, and I know tool. And now, because it's nondestructive workflow. I just come in and I make my subtle adjustments. And this what I was saying, right? You can agonize over it all day, but a certain point, nobody's going to notice these little things. Okay, let's see what else we got. Looks pretty good. If we need to change it, of course, we always can. All right, so now what we're gonna do is we're gonna come in and we're going to create a solid rectangle, and we're gonna bring the rectangle in. Did we just created? Nope. Tool switched out halfway through. And I'm gonna go ahead and fill this Read. It does not matter which color you use, and you're gonna want to bring it inside of the layer inside of the curve. Okay, Now notice how it's outside. You gotta grab it and you gotta move it up until it's blue in the middle and boom, just like that. Now that fills the whole thing. Red. Right. But what do we want? Well, let's come over here. Let's bring this layer up above this layer. And now watch this. We're gonna change the blend mode to multiply because we want to get rid of all the whites . But we Onley want to keep the shadows. So let's go ahead and change it. And just like that, we now have a colored shirt. Now let's do one more thing because we're not done yet. Let's with the rectangle. Add in an adjustment layer and grab an H s L adjustment, all right, and then parented to this rectangle. Now, what just happened? The reason we filled it in any color didn't matter what color is so that we could then adjust the hue of this shirt. If it was just solid black and white, there was no Hugh, this wouldn't work. And now we can reduce the saturation which I would highly recommend. We could also reduce the luminescence to be whichever you think is representative of your shirt. And now we have a completely highly functioning T shirt template. So let's go ahead and hit the three buttons. We're now going to place the image. I've got mine in the cloud. Of course it's on my iPad. You have it in your downloads. I've included my skull. In case you didn't do it, I'm gonna come down. I'm gonna find Skull two because that's the one that we did. And now we just click and drag. Now check this out. Notice where it is. We want to click the image, and we want to bring it up between the rectangle and the T shirt. This is where this must reside because now look at what it's doing here as I move the image , it's working with the shadows and such off the shirt. All right, so this is a good start. Now, the next thing that I would probably do here, I would probably then match the saturation. Now, this isn't going to be a replacement for, say, affinity photo, because affinity photo has this really cool liquefy tool. But we can get this done in affinity, Designer. Let's go ahead now and in the skull lair. Let's add on adjustment. Let's add an h s l adjustment. Okay, Now the h s l adjustment. We're not gonna change the Q because it's black and white, but we might change the level of saturation. Oh, what just happened? Make sure that hs l adjustment is parented to your skull and we might change the amount of brightness, make it match the shirt. Notice how that's a lot different than what we had before. That makes it look like the images actually natural to the shirt. I hope it didn't take. All right, so now I think the school is pretty good. Now we can increase the contrast on this shirt. Let me show you how this works. You come over to the blank T shirt and we're gonna go, and we're gonna add another adjustment layer, and I want to grab in a curves adjustment. So let's go ahead and grab a curve, come over to the spine. And now the way curves work over in the left hand are the darks, So watch what happens. Darks become riel dark. All right. Notice how we lost detail in the skull. Over on the right hand side, it's lights, lights become riel light. What we want to do is probably tweet down the mids just a little bit. Okay, Now let's see what that just did four after before, after kind of like that. But I want to add in a little bit mawr contrast. Even still, you could do a curves adjustment or we can come in and we can add what is called a levels adjustment Now, levels adjustment. We could crank up the blacks. Now, that might be a little bit strong There. You could even reduce whites in a little bit. I think that that's actually pretty good. Let's check it before it after that, actually looks pretty good. All right, let's add a cool type of background. So we're gonna grab these two, and we're gonna come down to this rectangle. That's one of the reasons why I wanted to do the rectangle. And I'm just gonna grab Ingredient, Phil. So now the grating Phil, I'm gonna pull up. And now you could make it run black to white. I want to reverse the ingredients cc down in the context toolbar I want to make it look like that. All right, That looks pretty good. And now what I'm gonna dio I'm gonna come to my rectangle tool. I'm gonna grab my lips, and I'm gonna go ahead and I'm gonna grab in the lips. I'm gonna put it right down here to make this look like this thing is floating here. But now that's a little solid, right? Watch this. Come down to your effects on that layer. Grab the go, Schindler. Crank up the blur a little bit. That looks pretty good. And now, because it's nondestructive, you can reposition it, right? And if you don't like the effect, you can always come in and redo the effect. There's zero commitment to this thing. All right, so that looks actually pretty good. Now, the last thing that we want to do here is we're gonna come in and I want to add a little bit of ink spatter. Kind of make it just a little bit interesting to look at around the frame. Now, if you like the clean look of this, go ahead. What I'm gonna do now is I'm gonna come in and I'm going to add in a pixel air. So I go to layer pixel I come over to my pixel persona now I grabbed the brush, I grabbed my sprays and spatters I grabbed my ink spatter tilting brush and I've got black on there right now and now what I'm gonna do I'm just gonna kind of pencil in Just some dots Don't make crazy. Don't make it so Don't make it a thing And don't make too many of them, right? You don't want to pull away interest from your design. You're actually framing in the design, so don't make it too crazy. I just do a little bit of gray and then I do a little bit of white. All right, so that actually looks pretty good. I'm actually happy with that. And if we wanted to, we can even add in a little bit more. We can add in some glow. We come over to the curve layer, come over to effect, click on Outer glow selected and then let's go ahead and crank that up a little bit. There, crank down the intensity just a little bit. We don't want to look comical, and we even crank down the opacity a little bit. All right, that's pretty good. This also is going to be saved in your downloads so that you have the template and you know exactly where everything is here in affinity. Designer for the iPad Hope you learned a little bit about affinity. Designer Hope you learned a little bit about the pixel persona, some of the tools and the vector art, and you learn how to create a T shirt mock up using affinity designer from an image. So this is really my processes. I go. You could spend hours and days on Vector art, or you could spend 30 40 minutes. It totally depends on you, but now you have the tools between shapes, between lines between Penn Tools to get whatever it is that's in your head out on the paper and hopefully even out onto the T shirt in affinity Designer. All right, folks. Hope you had a good time. Let's go ahead and take a look at the affinity designer for the iPad photo addition to this course. All right, we'll see the next one 45. The basics of the interface in Affinity Photo for ipad: All right, folks have welcome back to affinity photo. Now, this is affinity photo for the iPad here in this course. And the purpose of this section is to get you familiar with the interface off affinity photo for iPad, and it really augments the desktop version we talked about. So if you don't have the desktop version of Affinity Photo, that's completely fine. All of the lessons from the desktop version, which is far more in depth and probably six solid hours, are absolutely applicable to the iPad. And so the purpose of this is just to kind of walk you through the interface, get you familiar with the basic features of affinity photo for iPad. So that way you can use the desktop version lessons to augment what you doing on the iPad? So I thought that what we probably do here is we do an instagram set there, and we create a series of images that we could use to post on Instagram. And I thought that possibly we would actually create some of these images from a recent photography trip. I took over to Chicago and Milwaukee area, so let's go ahead and get started now. on your iPad, you'll find the affinity photo app, right? Hopefully you've downloaded it by now. And so we're just going to start real quick with hitting the plus sign. Now, if you're not sure where to go notice that here there is a plus icon. Let's go ahead and hit that. That is first thing out of the gate. Now we're gonna be working in this course specifically in single exposure images. So we're not gonna be doing hdr merging. We're not gonna be doing batch processing. We're not gonna be doing Panorama. We're also not gonna be importing from cameras or doing anything really crazy like that. We're actually just gonna start with new documents and all of the images that I'm going to use here are available in the ZIP file in the beginning of the course. So let's go ahead. Just checking a new document. And now let's say that you're bringing on an INSTAGRAM portfolio. Let's say you want to make a square document, you can come up to new document and you can come up. And if its print click print, if it's going to be photo click photo and you'll see once you click photo. You've got a lot of very common photo sizes. Now, the way you kind of read this, take a look at the 2nd 1 Down here, the four are six by four. Inch, 3 to 2 ratio, right, 1.5. So, in a way, you've got your ratios. You've got your inches, and so it really tells you kind of what the standard sizes are. And then you can even choose your standard unit of measurement. Now we're gonna be working primarily in RGB eight bit. So you can definitely change the color profile here If you wanted to, we're gonna be working in mostly web. I'm gonna work almost exclusively in Web. I don't think I'm gonna change it at all. And now if you find a preset that you like, you can always come over to this little document that has the three lines in it and create a preset so not required. We won't be necessarily creating a lot of presets. But you absolutely could. And if you wanted to do custom dimension over here, just click inside the circle and you can put in whatever custom to mention you want. As an example I'm gonna work on Instagram. They accept square images so I might do 1000 by 1000. And when you're working in Web DP I of 72 is completely okay. But if you're going to print it, you're going to want 300 DP. I Now what's the difference? What's the risk? It's purely file Size 300 dots per inch is a lot more data than 72 dots per inch. And then you could create the image with the transparent background or with the orientation you like, because it's square. It really doesn't matter to me and you're gonna hit. Okay, All right. The interface is very simple, actually. Did a really nice job of keeping it true to the desktop. Over on the right hand side, you have the studio panels. So you have layers. You have color, you have your brushes, you have your adjustments, you have your filters. Now, for those that are familiar with the desktop, somebody's gonna ask. Where did the live filters go? There is a toggle right here. You want to turn on life filters and for those that have no idea and just got into affinity photo filters are usually destructive in nature, like you apply the filter and it damages the photo. You can't really go back short of undue live filters. You can come back in May. Constant adjustment there. One of the most powerful things in affinity photo. And they're similar to what I would call smart objects in photo shop. So you're layer effects your text camera, including your instagram. We're going to use that a couple times you're gonna be looking at your channels. You transform so pretty much your studio is on the right hand side. So when I say go to the studio, go to the right hand side on the left hand side are the tools. So tools on the left studio on the right, You got your move. Tool your view tool, your color picker, your crop, your film your radiant and you'll see as I tap on the side. It tells you what tool it is. This is going to be important. So when I say go to the stamp tool, right, there's a clone brush tool. Go to your selection. Brush the undue brushed and tool, the rectangle, all your tools air along here. Now, this little document with three dots has everything relating to your document. You could flatten. You can change the orientation, you can change the canvas. This is where snapping is. That's a little bit different than affinity. Designer on the iPad And now over the $3. This is where you can go through duplicate stack the group merge. Um, Rast arising, converted to curves. So anything having to do with the modification? So this is modification. This is document and the last thing that I want to show you here in the Big Three for every tool noticed the tool brush. What happens down along the bottom? Here is what is called the context toolbar. The context toolbar has all of the options for each one of the tools. Now watch this. If I'm on the brush, I can change the width of the brush. I can change the opacity of the brush. But now if I go to the flood, fill notice the options change. So the flood fill is a different context. It has more options or different options than the brush. Same thing with the eraser. Same thing with the clone brush. So context to a bar at the bottom tools on the left studio on the right and up along the top or what you call the personas, we're gonna be working in each one of these. You've got the normal persona. You've got the selection persona notice. When you have the selection persona, you now have new tools. You have the liquefy persona again. New tools. When you go through the developed persona, that's how you work in raw. You can tone map and then you can export. Alright, folks, let's go ahead and call it on this one. Let's get it or first edit in the very next lesson, see them. 46. Laying out the image and adding a levels adjustment : All right. Welcome back to affinity photos. So in this lesson, what I want to show you, we're gonna begin by specifying the document size first. And then we're going to work around it. So in the last lesson, I created an image that was 1000 by 1000. So let's go ahead. Let's create a new document. So we're gonna make sure we're in the Web persona. We're gonna be working in pixels. We're gonna be working in 2000 by 2000 so I'm just gonna click inside. There you go. 2000 by 2000 and I'm gonna go ahead and hit, OK? Now, as a photographer, when I do photography, one of the things that I like to do is challenge myself sometimes to make square photos because we can use to certain ratios. We get used to the rule of thirds. But it's interesting sometimes to take the photo and then crop it to a square to figure out exactly what piece and what store you want to tell. So let's go ahead. Now let's go over to place. So now notice here. We don't see this anywhere in the document, so we come over to the three dots. Three dots has the place command, and we're gonna place from photos. All right, so in the photos in my camera roll, I've got a series of photos that I took. We've got some textures. We've got some graffiti. I'm gonna go ahead and grab this Goyeneche. All right, so what's gonna load it up? And now it's gonna ask you to drag in place. Okay, so now we can move this photo anywhere we want. So my question would be what is the story that I want to tell to my audience and the story that I want to tell to my audience? I want to show that hand at the back being present, but I don't want it to be the focal point. And I really want this area where the light is striking on the front of the trunk to be my focal point because, quite frankly, I don't really need a lot of the year. I think that the trunk is going to tell the story of the elephant. But if I wanted Teoh, I could shrink this in a little bit and get both those areas so that might be what I want to dio. Let's go ahead and shrink it just a skosh more All right. And that would be a good square image. All right. You have just officially placed your first image into the document size. So let me introduce you to the layers panel. This layer right now if I click on it is called an image there. Now, image layers are not really selectable there just a thing in order to get affinity photo to translate an image into pixels, you have to do something called Rast. Arise So to rast arise an image. You come up to the layer right here. You see how that was blue right there and hit Rast. Arise! All right, cool. Now my whole thing, I go 100% non destructive workflow. Any chance I get? So one of the reasons why I didn't rast arise it and trim it is because I want the ability to manipulate the image. Even if I'm done Now you see how I just kind of moved it around? Put two fingers on the screen. Two fingers is the undue Congratulations. You're often running here. Infinity photo. So the first thing that I do in my workflow is I like to adjust my contrast. I like to get my darks of my lights right. It helps me out. So first I crop, then I balance my tones. So when we do this part, I like to use adjustments. So let's go toe adjustments. And now when you goto adjustments, you can add a ton of adjustments. So let's go here, Let's go ahead and add in. I'm gonna just filter through here a levels adjustment. Now I'm gonna come in and I'm gonna dark in it. Now watch this. Notice the context to a bar. It takes this and let's go ahead and take a look at our history, Graham. Now notice how far to the darks we are. So now watch what happens As I increase, the blacks hissed. A gram moves toward the right toward the black area. I don't want this much dark. I want more contrast. So what I'm gonna do is I'm going to just kick it up about 9% and I'm going to reduce the whites a little bit here, maybe to 94. All right now, you could work in different color space. You could adjust each individual channels say, I know there's a lot of green in this thing. I could decrease or increase. The blacks are increased blacks in the Green Channel, and it would change substantially. So notice how that changed the entire look of it. I kind of like that. I'm gonna keep that. So rgb And then I made a level adjustment to the Green Channel, making the greens a little bit darker. All right, Good deal. Now, if you ever want to see how this works, notice if we go back to the levels panel here or the layers panel of toggle in the layer, click the check mark before after before after. That's actually pretty bold. All right, so that's our very first adjustment. I'd like to call this one here. Notice. Here we created the square document. You placed an image inside of the square document to crop it, creating what is called a clipping mask. And then you added a leveled adjustment to try to balance out some of the tones. All right, we're gonna keep adjusting the tones the next level to make sure I get my darks and lights right before we take the next step. So let's go ahead. Call this one here and then let's get into adjusting the brights and the contrast. All right, we'll see the next one. 47. Adding contrast filter and masking layers : All right, folks. Welcome back to affinity photos. So we are actually editing this vote over finish. This is an image that I took actually in a museum. I like taking pictures of different cultural statues. I think that statue three D sculpting is really one of those things that interest me. And so to go to a museum and see how hundreds of years ago people were creating these these things out of stone is really cool to me. All right, so let's go ahead. Now, take the next step. We're gonna keep working in adjustments. So now we could do it this way, or we could go in and we can go to adjustments and notice. Now, if I've got adjustments as a menu, I can choose from them all. This is the way that I prefer to work now. I can always go back to here, but notice if you go to adjustments is in aggregate, you now have access to all the adjustments. Now, the next thing that I want to do, I want to make certain areas of this image more pronounced than others. So what I want to do, I want to come in and I want to add some clarity. Well, we don't really see adjustment, right? Well, what are we gonna dio? Let's go ahead and up the brightness in the contrast. And we do that through creating a brightness and contrast adjustment layer, making sure we're on that layer. Notice now I can increase the brightness. So now I could go crazy. I could blow this thing out. What you don't want to do is blow out pixels, right? That's not good. But notice where the trunk is here. If I just drop it or raise it about 19%. You see where the trunk is in that focal point, we get a really nice area. Now I'm going to go ahead and crank up. This contrast is Well, that's gonna augment what I did with my levels adjustments. So I upped the contrast, I up the brightness. Now, let me show you something here. That's kind of interesting. You see up in the upper left hand corner there, the brightness contrast has a white square that is a mask. Now mass glares. And we cover this in the desktop portion mass glares Tell the layer what to show on here. and they work in black and white. Black conceals white reveals. So watch this. I'm gonna come over to my brush. I'm going to come over to my brush studio, and we're going to pick a very basic brush. Basic brush round, soft brush. And I want to paint in black, so make sure black is selected. Make sure you were on the brightness and contrast layer. And now watch this. I'm just gonna show this Tiananmen. Show you how this works. If I paint on this layer, it's not really painting black. It's actually hiding the adjustment of the brightness and contrast. And if I go too far, I can paint in white and I can bring it right back. Masks work in black and white. And so if I only want this brightness to occur in some of the area, I will come over. I will grab this black. And now I'm gonna go ahead and Craig my size up a little. And now I'm just gonna paint over by his scepter. Here. You see how that went dark? Now the arm in the lower left hand corner Watch the arm. And with the iPad pencil Here I can get really surgical on this, So notice what I've just done. Let's go see this. Notice the mask before, after before, After and what am I doing and why did I do that? I want to pull the eye toward the trunk area. I do not want the I pulled toward the back scepter. So the way that you worked this to guide the viewer to where you want them to go, you really want to work on focus. You want to bring the things you want them to pay attention to, that are closer to them into sharper focus. You want to make them for writer, and then you maybe want to make them a little bit warmer. So we'll be talking a lot about atmosphere. Perspective as we go, this is not a course on how to take a photo or how to edit a photo per se more. It's more about the software, but without those techniques, you won't get the results you're looking for. All right, so brightness contrast Dylan. Now let's go ahead and add in some sort of a clarity, because I want the things closer to the viewer to be more clear Well, we didn't find an adjustment layer for that. But we do have a filter. So now I enable life filters. And now I kind of look around for Hey, there it is the clarity filter. Click on it. Okay, now let's see where it ended up now. Clarity Filters nested inside the brightness later. Don't want that. Bring it to the top. And now let's go ahead and crank it up in percentages. Let's go extreme. Now, if you go up to 100 notice if we zoom in, you get some pics. Elation. You get some artifacts and some noise we shrink down to 60 somewhere in the middle between getting too much noise and too little clarity is the right answer. All right, I'm gonna go about 70% and I think that that's pretty good. So I'm actually quite happy with that. We could even go up to a little bit more so clarity. Those things closer to the viewer are going to be more clear now. If that is closer to the viewer. What do we need to do with the stuff further from the viewer? We probably damask it out, so I'm going to do this again. While I'm on the clarity layer, I grab my paintbrush, make sure I'm painting in black, and then I just paying out the over clarity filter that I just did in the background. If I need to check there it is. Good. Now, let's check in before and after. Just so you see what happens, Click on the check. Click off the check, click on the check, click off the check. That is actually really cool. You see, the night and day difference that made all right that one more thing I want to do. I want to add some customers age to this. So to come down to my adjustment and I'm gonna add curves, notice my adjustment layer, and I bring the curves to the top. It's there. And now I'm gonna work in the spine. And now I want to bring my mids up a little bit. I want to make my darks a bit darker. I want to make by lights just a little bit lighter. A little bit dark. Okay, now notice. If I was to go too far, I start blowing stuff out. That's not what I want. I want to go just a little bit darker. Just a little bit lighter to get a little more contrast. Okay, Now, let's check it before after looking good looking good looking a lot better. All right. So I think we're in pretty good shape on this. Now what we're gonna do in the next lesson, I'm gonna show you how to dodge and burn non destructively to really target the lights and darks. And we haven't even gotten into color yet. I am still working on balancing where I want my lights and darks. So let's go ahead and pause this here. And then I'm gonna show you a very advanced technique in the next lesson. All right, we'll see the next one. 48. Dodging and burning non destructively : All right, folks. Welcome back to affinity photos. So in the last lesson, we went through and we added in a curves adjustment, clarity, adjustment of brightness adjustment. All right, so now I'm to come down to the photo here, and I'm going to duplicate this twice. Duplicate, duplicate. All right, now I'm gonna show you how to dodge and burn now, dodging and burning the tools are actually over here. You'll see that if you click on the little arrow, you've got the burn in the Dodge Tool. The problem with this, though, these are destructive operations. If you dodged something which is a fancy way of saying, lighten, you will destroy the underlying image. If you burn it, you will destroy the underlying image. Once you burn it, you can't go back, right? It makes it darker. This comes from the days of photo developing where you used to either expose some areas, mortar, the solution or mask some areas from the solution. So what I'm gonna do is we're gonna show you how to do this non destructively. So I've replicated or duplicated the photo twice, and the first thing I'm gonna do I'm gonna come up to this top one, and I'm gonna call this darkened. Okay, let's go or burn. Dark inner burn. That way we get the nomenclature. Correct? And then I'm gonna come over this one, and I'm gonna hit the three dots of the circle, and I'm gonna call it Lighten groups, not photo, lighten. Just lighten or Dodge hit. Okay. All right, let's check it out. Perfect. Now what I want to do with his dark inner burn. Now that you know what adjustments are, let's come on, diverted adjustment, and we're gonna take curbs. And now take this curves adjustment and parented through, dragging it. And then with the blue line hits middle, release it. Okay, now this curves adjustment. Watch this. I want to darken everything. So I want to take this guy down just a little bit, and that's going to darken it. All right, Perfect. Now watch this. I'm gonna show you how to do a complete mask. Layer of an object. Click on the pixel. Hit the plus sign mass. Claire, bring the mass Claire into this gray area. Right? So selected. And that Watch this. If white reveals this layer, what is black going to do to the entire layer. Conceal. So I grabbed the flood fill. I grabbed my color black and just tap on the picture. That why isn't that working? Here we go. All right. Make sure you're on that mask layer. Now, what did you do? See how it just hid the entire image? It's still there. Now let's do that one more time for light. Now grab the lighten layer. Come over to the adjustment. Grab a curve in this curves layer. Let's crank up the whites a little bit. Okay? And now let's parent that to the lighten layer just like this. Make sure the blue lines in the middle. All right, Now we want to hide this thing. Come over to the flood fill, make sure you're on black to conceal it. And now you need a layer hit the plus sign mask. Clear. Now, look where the Maskell areas You need it up above their parented to the lighten layer and then tap on it. All right. So those layers technically have disappeared. Now we're gonna bring him back. Watch this. If black concealed both of these layers here you see on toggle in autumn and one has some really dark darks, and one has some really light lights. How do we bring him back? We grab the brush, we grab the color white, we come to the layer and we're gonna paint on the mask layer. And I watch this. I'm on the mask layer of the darkened. Think about the areas on this image where we would have some good darks, like on this side of the tusk. I'm gonna turn the flow down to maybe 15%. Now, what's flow, Flo, is the amount of color that comes out every time you touch the stylist to the screen. Heavy flow means the trigger to get a lot of that effect every time you touch the screen, light flow means that it's going to kind of come up. Now I'm gonna crank my hardness to zero. I'm gonna crank my brush size up a little bit. So notice I've used my context toolbar. Now watch this as I paint notice. This is getting darker. I'm gonna go and crank the flow up just to show you watch that side of the trunk here where the light is. See that what it's doing, Its revealing that darker layer. So I'm dodging. I'm sorry I'm burning, but I'm doing it non destructively. Because if I don't like it, how do I fix it? Bring back the black and then just paint over and white Notice how I can eliminate everything I just did. Okay, so let's work on the mass. Claire. I'm going to reveal in white I turn my flow down, turn my size up And now all I'm doing here is I'm adding in a little bit more contrast strategically. Now, if I wanted to see this one more time, watch this. Let me show you a trick out of black and white layer. Bring it to the top. This is a good way of kind of getting an idea of what you're doing. So with this black and white layer, I come back to my mask and now I can start painting, and the black and white layer is gonna tell me when I've gone a little too far. Show you this kind of will crank this up a little bit and then I'll wait it out. You see, on the trunk here. How on darkening. Now if I want to change that, come over here, and I could take all of that away. The black and white layer is a good technique to make sure that your tones air relatively. Right. All right, I'm gonna go ahead. I'm gonna delete that layer cause I like to adjust. Kind of just doing a free form here. All right, White reveals, and all I'm doing is I'm just tapping on some dark areas. Take my flow down. And what I think what? I do this Actually, I really think a lot of times what do I want my viewer to see? What do I want them to pay attention to as an example, what I'm working with over here. Notice how I'm adding some darks over in this lower left hand corner. That's because I want a good differentiation between the trunk and the rest of the arm. So I want a good differentiation in that line. Now, when I got the darks the way I want him, I get out of my dark inner burn. Now I come into my lighten. Now watch this. We're gonna taken area Tusk. I'm gonna shrink that down a little bit and now notice I can increase the lights in certain areas. So now I'm saying what dough? I want my viewer to pay attention to. Now, be careful here because you can blow out the pixels, and then it just looks like garbage paint along that edge. There pain along this edge here. Okay. Got a little bit crazy with that there. Okay, so now the cool thing is also let me show you one more thing here. I know this one's run a little long. If I ever want to make an adjustment, I can come back into the curve because it's a live filter layer I come up to supply. Now watch all the areas that I revealed the dark in. See how now if I wanted to make an adjustment, I could easily make an adjustment. And it's still going to be in those light and dark areas. All right, that will do it on this one. You've got a darken layer or a burn layer. You've gotta lighten or a dodge layer. Let's go ahead on this one, and let's go ahead now and get into some of the more finer points of adding some focus. All right, we'll see in the next one 49. Adding focus and blur : All right. Welcome back to affinity photos. So we're now through the adjustment layers. We've added a clarity filter. We've had the brightness and contrast in the levels. You've gotta darken and burn layer and a lightning dodge layer. I think that we're pretty good here. What I'd like to do now, I think we're good in the tones and the dynamics. Now, I want to work on focus because focus is gonna be the second thing of atmospheric perspective. So let's go ahead now. And I want to show you how to do a filter. So again, it's a live filter. I'm under all filters. And one of my favorite things is I really like the depth of field blur. So let's go ahead and add that now. The way this works, let's see where it added it. Um, where did it at it added. Somewhere down here. All right, grab it. Drag it up. If it's not working for you, double double, check your layers. Okay. One more time. Up to the top. All right. Perfect. What I'm gonna do now is I'm just gonna go ahead and lock these. I'm gonna come down to they're gonna lock come down here and I'm gonna lock. So now you know how to Locklair. All right, So the depth of field blur DoubleClick, and now this works. This is actually really cool. I'm gonna crank this up to an extreme area bone. All right? We come in and we just get crazy with it. Notice. Whatever is in the center of the circle is perfectly in focus, and anything outside of the circle is out of focus. So what I want to do, I want to figure out what I want my audience to focus on. And then I want to figure out how much transition I give This, you see, is I'm moving the centre circle. We get a more Grady in transition as we go a little bit in now. I want to push this out a little bit, and now I don't want the extreme radius that is really extreme. This actually mirrors the use of a prime lens right where you've got, say, a very shallow f stop. Okay, so I want to grab some of this and you notice how I got a little bit of blur there. Go ahead and I'm gonna push that toward the center just a little bit. That's actually really good. Now I can change the clarity up. I can increase the clarity notices I increase the clarity gets really crazy. That's actually super awesome. And then I could also increase the vibrance. So is things get out of focus With this depth of field filter, it really doesn't become It's clear it doesn't becomes vibrant. This is one of my one stop filters here. All right, I really like that. I think that that's going to lend us a very nice type of look to it thing that I don't like , though about this it's obscuring the trunk. So we're gonna take care of that right now. Notice here that we have a white square. This is a filter. It's a live filter. We can add a mask. So we come down with our paintbrush, we grab our black, and we just paint away that filter at that area. Perfect. Now, I'm gonna do the same thing here because the filter gave us a little bit of a halo, so I'm gonna take care of that. All right. That thing is actually pretty awesome. Notice how I'm able to bring the trunk front and center. Let's go ahead and add another filter and let's add a lens filter. Let's add some distortion. Now where did that put it? Notice it. Nested it. Bring it up now. Lens distortion. There's really only two different ways you could do this right? You can. I like adding some lens distortion. I like to punch it up a little bit. I like to put first things first. That thing is super sexy. We're good to go. Now let's add one more. I'm gonna add in what is called a lens filter. So I'm down in my adjustments and I add a lens filter. Now, where did that go? Okay, that thing now is up at the top of the stack. And what a lens filter does The lens filter really portrays that this thing was shot with the colored lens. So I want this thing to kind of be a little bit cooler. So what I will probably do is I will work in a dark blue type lens filter, and now you can adjust the optical density. Optical density is almost like how much of it is actually there, so I might go in a dark blue. All right, so that's actually pretty cool to go ahead and crank that down a little bit. Now, you can say preserve luminosity or don't totally up to you and the amount of lens filter completely again up to you. Now, when I do color correction, I like to color it first. Because the next thing what we're gonna do, I'm gonna show you how the light this thing and the light will bounce off from this lens filter. You want to get your lens filter? Correct? If you're gonna use one because the next thing you're gonna do, you're gonna add some lights around it. All right, let's go ahead. In this one, we added lens distortion, and we added a lens filter. So we're starting to color this thing. Let's go ahead, call this one here, and then in the next lesson, we're gonna show you how to create your color. All right, we'll see the next one 50. Lighting and finishing : all right, back to the lighter layer. So you are last left. We added in the lens filter the lens distortion, all of that. So let's go ahead now. And let's add another filter. Were to come down Teoh live filters, and we're gonna add in the lighting layer. All right, so let's make sure we got it. Yep, Right there. Lighting going to the top. All right. Now, the cool thing about lighting is it allows you to create some really dramatic effects for your peace. So what I'm gonna do here is I'm going to go ahead and create this lighting layer. Oh, I got a little bit crazy. Gotta zoom out. And now there are three types of lights. Really? There's a spotlight. And now this is in the context to a bar. There's a point light, and there's a directional light. I'm gonna go ahead and use the spotlight, and you can create light of any different colors. So I'm gonna go ahead. I'm just gonna work in kind of a yellow, and I'm gonna make you kind of Ah, light yellow here. All right. That looks pretty good. But now, if it's a little bit strong. Feel free to come in and knock down the opacity a little bit. Okay, so that looks pretty good. Now, how does this work with lens filter adjustment. If you've got lens filter adjustments and you had optical density set, you come up and add in a little more optical density for that lens filter, and it will interact very nicely with this yellow light. So it's a nice way to kind of bring contrast where you want it. Or if you wanted to change it up, you most certainly could. The last thing he could do with lighting layers, you could come in here and you could adjust the blend modes with it. So depending on what it look I'm looking for, I might do something a little bit differently with this light. All right, I'm just gonna go ahead and find the normal Normal. All right. So that's kind of how you work with lighting layer. And now I'm gonna show you kind of an advanced technique here. Let's bring my lens filter back to blue. All right, Now we're gonna come in and we're going to take all of these. We're gonna go ahead and come over here, and we're going to duplicate the image, so come over here, Duplicate. Perfect. Now, what we're gonna dio is we're going to de select all everything that is on the left hand side here. So watch this. We're gonna come over. I'm gonna come over to our selection persona. We're gonna go ahead here and want to grab the selection brush. We're gonna create a new selections. We're gonna add to the selection, and I want to make sure that snap two edges is on. So now this is what it sees now. It's not gonna be perfect, so I might want to shrink down my brush. And when you select, you want to come back along the side. You want to tell affinity photo, do a better job. Okay, I'm gonna add to this election. All right, subtract again, because I want to get that tusk just right. All right, So notice the selection. Now, is this dark part in the left? I don't want that to be the selection. I need to invert it. So what I'm gonna do here, I'm going to come up to my three dots on the invert, the selection, and now I'm going to refine. Okay, now what refined does is it will tell affinity photo do a better job at finding the edge. Now, I can have different previews. I could do an overlay. I could do a black Matt. I could do a white man. Depending on how we do it, I will use a variety of different mats. And then what I want to do is I want out. Put it as a new layer. You see how I'm toggle ing this around, and I hit, OK, and I apply. All right now, it doesn't look like anything happened. Right, But notice what happened? My layers. There's my new layer. Here is my old layer. Let's go ahead and just delete that. And now here. Let's go down here. Let's call this background. Let's change name. All right? Perfect. Now what we're gonna do is I'm going to apply a lighting layer directly to this layer. And now let's make it a point like and now we can make it a completely different color to the layer that I currently have. Then we can drop the opacity like a rock there. All right. That looks actually pretty good now, What's the difference in lighting show you here? We got the lighting layer in the background. We got this light. Notice how I now could adjust both of those lights independently to get me different results. That is actually pretty awesome. Now notice how icap But I caught one of those elephant years there if I ever wanted to, because this has a mask on it. I can come back over here. I can grab the paintbrush, I can paint in black, and I could bring that right on back. All right, folks, that looks pretty good. I'm actually quite happy with that. Let's take a look at everything you did hear you learn how to use your brushes. Learn how to use an adjustment layer. You learn how to use a filter layer. Alright, folks, let's go ahead now and export this. We come over here, got a file export. Let's go ahead and just grab a J peg and let's call this ganache one and return. Hit. Okay, I'm gonna go ahead. I'm gonna put it in photo ad, replace and away. It goes here, folks. So that's kind of how you do that. And if you wanted to save your working file. Come down here. Save a copy. Grab it. Call it Gyanesh. One return save. It's gonna ask you where you want to put it. Save it in your photo hit ad. All right, folks, that'll do it.