Ultimate Graphic Design Course: Create Facebook Covers Part 1 | Chris Barin | Skillshare

Ultimate Graphic Design Course: Create Facebook Covers Part 1

Chris Barin, Certified Photoshop Expert

Ultimate Graphic Design Course: Create Facebook Covers Part 1

Chris Barin, Certified Photoshop Expert

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26 Lessons (2h 20m)
    • 1. Welcome & how to use this course

    • 2. Graphic Design – A Down-to-Earth Explanation

    • 3. ACTIVITY: Create your first Facebook Ad Design

    • 4. Using Photoshop for Every Project

    • 5. Design Assets Explained

    • 6. Best sources for design assets

    • 7. Optional – Setting up Photoshop

    • 8. ACTIVITY: Mix and Match Design Assets

    • 9. What does it take to create beautiful graphics?

    • 10. Introduction

    • 11. Project Settings & Aspect Ratios

    • 12. Optional: Creating Text Assets From Scratch

    • 13. Selecting Image Assets

    • 14. Arranging the Assets on the Canvas

    • 15. Designing the Cover

    • 16. Typography for the Facebook Cover

    • 17. Fine Tuning the Cover

    • 18. Conclusion

    • 19. Analyze your assets and options

    • 20. Setting the project’s foundation

    • 21. Creating a neutral background with a noise texture

    • 22. Sizing up the products correctly

    • 23. Creating shadows for the products

    • 24. Fine Tuning the Cover

    • 25. Using vector graphics to create version 2

    • 26. Creative Facebook cover iteration

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About This Class


Let's design awesome Facebook covers in Photoshop while having fun! You need to follow certain rules and your covers are going to be fantastic. This course will take you through all the steps and it will show you all the requirements.

About Christian Barin

  • I'm an Adobe Certified Expert in Photoshop;

  • Bestselling author on Udemy with 6 years of teaching experience and over 160.000 students;

  • Incredible course reviews that are way above the category average as well as more minutes consumed by my students - this means my content kicks ass!

  • MOST IMPORTANT: I'm a business owner and content creator. I constantly need high quality designs for my projects. I know what people and businesses require in today's social media age so I created this course around those needs.

Meet Your Teacher

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Chris Barin

Certified Photoshop Expert


Chris Barin is a professional web and app designer with nearly 10 years of Photoshop experience. By being self-taught, he managed to gain the trust of over 190.000 students from all over the world through his Photoshop courses. A staple of his materials is a hand-on, down-to-Earth approach that focuses on getting maximum results with minimal effort.

Chris started out as a freelance web designer and built a loyal client base, earning over tends of thousands of dollars by designing sites part time. Today, he runs his own Android design studio, 20+ strong, creating fantastic looking apps for clients; his apps have over 100 million downloads to date.

Passionate about teaching, Chris teaches because he has been disappointed in the quality of training materials available... See full profile

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1. Welcome & how to use this course: welcome to the only graphic design for sea level need on Chris Barron, your instructor, and it's my pleasure to teach. You have to design all sorts of practical projects from scratch in photo shop. The goal of this training material is to get you to create quality content for your business, career or personal projects. I'm talking about Facebook ads. Instagram posts, YouTube thumbnails, social media covers with also newsletters, CVS an old sorts of promotional graphics, both digital and physical. No, we're talking design, not marketing. So I won't teach you how to set up campaigns, optimize your budget and things of that nature. Nope. In this course, we're talking about creating beautiful graphics that stand out and produce results. I've created this material based on what I see people need most often either for their businesses or their personal ventures. I really want you to have the best possible learning experience. So at best, mark for some help. If you've taken any of my other courses, I'm sure you're familiar with him. If not, know that he handles the audio because he has that silky, smooth British accent. Just have a listen. Hello there. I'm mark rise As Chris just said, I'll be covering the audio for this entire course. My studios are based in the UK, and I'm quite a well known British voice actor and TV presenter in my free time. I like to work on fun projects as well, Like helping Chris with this course. We're excited to get going, and I hope you are too. So that's Mark, but you'll be dealing with me on a constant basis. I'll answer all your questions, critique your work, and you'll also hear my voice from time to time. Know that Mark always speaks from my point of view. So when you'll hear him say from my photo shop experience, know that I'm talking to him. It's just easier to phrase it that way. With that being said, I'm now handed over to Mark Welcome and how to use this course height. Let's jump straight in for this course, will use photo shop, since it's one of the best known programs on the planet. Ideally, you should have a creative cloud subscription, which means you're using the latest edition of the program. If you have an older version, that's fine, but there will be slight into face differences and also a few hot key changes, especially if you're using photo shop CS six, which was launched way back in 2012. Nothing major, though, so please don't worry about it. The techniques shown here aversion independent so you can follow along without major problems. If you ever get stuck, just ask for help. Photoshopped elements or like room are not okay. You could use free programs like gimp, but that's not the best way to use this course. In case you don't have photo shop installed, go to adobe dot com, create a free account and install it. It's free to use for seven days, which is enough time to finish this course after that. Free week Photo shop starts at $10 per month. Give or take, depending on your location will also use Adobe Illustrator here and there. But overall, we're talking 95% photo shop, 5% illustrator. In terms of hardware, you need a computer, be it a desktop or a laptop. I strongly suggest you use a desktop just because they tend to be more powerful. Mac A Windows. It really doesn't matter when I call out Ah, hockey for example. Controlled T. I'll always post the Mac equivalent on the screen. To get the most out of this course, you'll need the following approach. Watch electro once without any interruptions. Give it your full attention and try to understand why we're doing what we're doing. Don't try to work along. Just watch and take notes if needed. Understand my thought. Process on where my focus is. Then rewind from the start and watch it again, this time by pausing as often as you need in order to work along. This is by far the best way to go about it. Why do we use this approach for the same price you get? Double the projects. Double the explanations, basically much more content for your hard earned money. Another thing. Make sure you manually set the video quality to its highest setting. This will ensure the videos and nice and crisp. You can't download any of my courses, but you do have lifetime access so you can learn at your own pace when you need help. Just use the Q and A feature. You can browse through other people's questions, or you can ask your own when you want to show off your work, please upload J paygo PNG files, not the actual PSD. When you need help fast, try our discord community. The link is attached to this lecture. Discord is somewhat similar to Skype. It's basically a chat room where people interact, and it's a much better fit than Facebook. Regarding the resources for this course, make sure you download them. You have a bunch of assets that will help you work along. You can get them from the next lecture is a full archive for the entire course, or you can download each one step by step as you go through. Each lecture on Essential Point is to download and use the workbook. This will provide additional help, and it will act as a guide for the entire course. Please use it. One thing to note in this first section will set the stage for the rest of the course. This means the next few lectures won't be as exciting or his hands on, but they're very much needed. So we're both on the same page. In case you get bored. Just skip ahead. Moving on. I'm from Bucharest, Romania. My time zone is GMT plus two so I may be sleeping whilst you post questions. Please be patient. Read other people's messages on. Try the online community to get some quick answers about your photo shop skills. I don't assume you have them. We'll take things slowly and throughout the entire course. I'll repeat myself regarding certain things. That's because I know some people may be interested only in certain parts. For example, Facebook ads. So with that in mind, please understand There's going to be quite a bit of repetition, but you can use that to your advantage. Finally, this is not a marketing course. I am an entrepreneur, and I've done my fair share of online advertising as well as through physical banners, flyers and what not. I'll teach you how to design them, but I can't say much about what will increase your sales and where you should invest your money. I'll give you my insights and what I've learned, but that's not the focus of this course here. We're concentrating on the design side of things, and with that let's get going 2. Graphic Design – A Down-to-Earth Explanation: welcome in this course will talk about graphic design. But first, what is it? The formal definition isn't exactly simple. The process of visual communication and problem solving through the use of typography, photography and illustration. Okay, now, here's my take. You see a restaurant's menu that's graphic design. You handed a flyer or a business card? Graphic design. You see a billboard, a logo or a banner on a website. Yep, you guessed it. Why should this matter to you? Well, assuming you don't want to live in complete isolation, graphic design is important because it's an extension of yourself for your business. Think about your social media profiles that feature an avatar, recover image and whatever else consider your resume and how its design impacts your chance of getting a job on the business side of things. Just about everything you do requires you to have some type of visual identity, from the company's logo to its newsletters or flyers from its website to its Facebook or Instagram posts, T shirts, menus, brochures, the works, I'd say design makes or breaks of business. His wife. I get excited when I get handed. Beautiful packaging. I stop in my tracks. When I see a store with an outstanding visual identity, I'm drawn to things that look nice that I made with attention to detail. I appreciate quality designs. While I may have more passion for these things than the regular Joe, I'm sure you kind of feel the same way. It's natural to be attracted to beautiful designs, no matter their shape or form. This is a huge factor that influences our decisions once we realize this is how we draw people in the logical step is the hone our skills. If good design makes the world go round, then we need to hop on that train and get to work. I created this course from the perspective of an entrepreneur of a person who wants to grow a business or his own personal brand. Here's an example. Say I want people to know who Chris Barron is, and I want to give my business of face. I want people to associate a certain feeling, a certain color and mood when they think of me or my company. This is the modern world that we live in, and as such, we need the skills to create that image. People do business with other people, not with faceless Solis brands. This is why you need graphic design no matter where you're coming from. I'm not sure if you're familiar with the name Gary Vaynerchuk, but he's one of the major proponents of creating a personal brand on working around the clock to build it up. But you can't do that unless he use graphic design. So that's my proposition to you. I want you to use all these practical projects from this course to get you going in the right direction. I want you to build a portfolio, practice your skills and get better at creating beautiful designs. We'll go through all the modern, up to date projects that are required in this day and age. A Facebook cover image on Instagram Post creating a fantastic resume, a a business card, YouTube thumbnails channel are you? Name it. We've got it. In the year of social media, these air an absolute necessity. With that understood, let's see how we can get to work 3. ACTIVITY: Create your first Facebook Ad Design: Welcome to this lecture where we'll create our first Facebook at design. Please watch this lecture twice, once without any interruptions. Please don't try to work along. Just understand what's happening, then a second time. Rewind and follow. My steps pauses often as you need to. All right, let's get to it. The first thing we'll do is create a mock up. This will allow us to test our ideas fast, but more importantly, see the adding context. You'll see what I mean in a few seconds. Here's how this goes open Facebook and scroll down a little. It won't be long until you get to an ad. You can see it's not a regular post by checking this sponsored message. Next, I'll grab my assets, meaning those resources that make up my advertisement. That's the page title, the icon, the description, the image and this other description here. These are attached to the course, by the way. Now here's what I want you to do. I'm using Firefox, but this works in Chrome and just about any other browser. Right Click over the pages title and you'll get a list from here. Choose inspect Element. This is going to bring up a panel that's full of information, but don't worry about it. All you need is a little patience. Enlarge it if needed. And among all this code, look for those words that make up the pages title, then double click it and you'll see vented editing mode. This means that you can use the backspace key to delete what's there and type in your own message, argues Christian Baron. As my title hit. Enter and take a look at your result. You've just made your first mock up. Well, this is only the first step, but will use this principle to test our ideas. Let me switch browsers this time on. Use Google Chrome. It doesn't take long to find an ad. If you're using an ad blocker, you obviously have to disable it for this exercise. For the text, select a couple of characters, then right click from this list. Choose inspect. The panel is going to show up. It may be in a different position, and it may look slightly different, but what's important is your on the elements tab. You can see there's a line highlighted. Click once to expand that area and you'll find all those lines of text. All that's left is to double click them and replace them, right? I'll go back to Firefox so we can finish what we've started. The title is done, so I will quickly replace the description. Highlight a few words on right click. Inspect that element and pay attention to this panel. I immediately spot the area that needs changing, but in case you can't see it, there should be an arrow next to it that expands or collapses that area. I'll zoom through the other elements, since there's nothing new. In the meantime, I'd like to tell you why we're doing it this way. From my experience, the people in my marketing team sometimes have ideas that are practical long titles, boring descriptions, inappropriate photos and so on. To make sure your Facebook ad is on point, the best way to go about it is to see it in context, meaning If we take away this mock up that we're creating, we're left with what an image and a few lines of text a deconstructed. Add if you will, that's like eating flour, eggs and butter. Sure, those are the building blocks of a cake but it's not exactly the same thing, right? So we're taking the time to create this mock up because it shows us how actual users are going to see our ads with all the distractions of the sidebar, chat and other elements on the page. By the way, Fair warning. Please don't refresh this page. The changes. You're making a local and they only show up for you. If you're going to close the page or refresh it, all, your work is going to be lost, right? This is done. All that's left is to replace the two photos. Here's how we do that. Take a look at your keyboard and use the print screen button. Next, Fire up photo shop. Start any random project, though I suggest you use something standard like 1920 by 10 80 with no art boards Now hit Control V. If that doesn't work, go to the top menu toe Edit from here, Scroll down to paste in case none of these options work than your print screen button didn't do its job. Firefox has a built in screenshot saver, so you can also use that click here next to the star icon, then use the save visible button. Finally, you have two options you can use the copy features. That's this icon here, or the download arrow, which will create a PNG file. I'll go with the second option. You can drag it into Photoshopped like so, Or if that doesn't work, go to photo shop and use control. Oh, then locate the screen shotting question on. We'll be good, right? We're in photo shop, and we need to replace these two images. I'll only tackle the 1st 1 in this video. Get the rectangle tool from the left side of the screen from the toolbar. If you click and hold, you can see it has other tools underneath it. We want the 1st 1 Next, we have to click and draw a new shape that says Bigas the ad. So click. Hold on, drag. You might not get it right on the first go, but that's not a problem. Let's say I'm going to make it to Big. Something like that double click here to change its color to black, though that's optional. While we're here, take down its own pace ITI to something like 60%. This is done by focusing your attention here. Type in your new value just like that. Take it step by step. Don't worry about nailing everything on your first go. Great Now hit controlled tea and some handles are going to show up now one by one and grab them on Resize your shape again. It doesn't have to be perfect. Take your time with it. We have a long road ahead of us when you're happy with it. Just hit Enter. Okay, Bring back the A pacenti to 100% from the top area in the layers panel. Nice work now weaken drag in our image. Initially, this is going to be too big, but use any corner handle to resize it. If you're using the latest Photoshopped version, the images aspect ratio is going to be constrained by default. This means you won't distort it by mistake. If you're using an older version, hold down the shift key while you re size, I'm always up to date, so that's not needed in my case. Resize it a bit, but it doesn't have to match our shape because here's the key hit enter to get rid of those handles. The magic combination is Ault Control G. And just like that, our image has been applied to that rectangle. This is called a clipping mask, but that's not important at this point. You may need to resize it some more years controlled T for that, shrinking it down may not be enough. So click and hold to reposition the image so it fits perfectly. You'll need to be on the move tool for that to work. After a bit of tinkering, this is what you should end up with to make sure you're viewing this at a normal zoom level . Use control one. See this number here. This tells you if you are at 100% now, all that's left to do is replace this small avatar to help you out. Click the rectangle tool in the left panel on hold your mouse click to reveal the Ellipse tool selected and add a circle to the advertisement by holding down the shift key. This will give you a perfect circle. Repeat the steps with controlled T when you're happy dragging the attached image and use Ault control G. All right, this is your first exercise. I want you to take it from the top and to follow my steps. If you manage, please do the exercise once more. But with your own resources. You're very entitled description and photos. Use whatever you like. Just make sure the ad makes sense. Please only upload your own version. That's what interests may. If you ever get stuck, Please just ask for help. The value of this mock up is immense because you can use this method on any website. Your options are endless. And honestly, I used this technique in all my projects. It's extremely useful, and now you know how to use it. Congratulations. 4. Using Photoshop for Every Project: Hello. Hello. In this lecture, I want to address a potential elephant in the room. If you have any previous design experience, you might be struck by the fact that I'm proposing. We use photo shop for all our projects. After all, certain designs require 100% vector based artwork, and this means Adobe Illustrator is the best program for the job. Same thing with flyers, business cards or CVS. Adobe in Design specializes in those cases. So then why are we using photo shop for all the projects in this course? For starters, the program is very flexible. You Kenis Photoshopped to get rid of skin imperfections, enhance breasts and shrink waistlines. But you can also use it to create websites, logos, mobile app, design projects, Web banners or restaurant menus. Though it doesn't excel at all of those tasks, it does a good job through and through. In that sense, I like to think of it like all those knife sets. You know there's one for bread, one for fish, one for steak and so on. But to be honest, I tend to use the ones that are clean and available. This is how I propose we use photo shop while chefs may roll their eyes while I'm cutting my steak with a bread knife, it gets the job done in a reasonable fashion with little downsides. To that end, Photoshopped can help us create everything in this course, even though it might not be the ideal tool for every job. Keep in mind, we're not using a book instead of a hammer. Most were using the wrong type of four. Could a fancy dinner table, I for one except all the stairs I might get from people in the know. But the thing is, I'm doing it on purpose with little to no drawbacks. That brings me to Point number two. Photo Shop is one of the best known programs on the planet. If I were to create a course that takes you through photo shop illustrator in design aftereffect, Adobe X'd believe May your head would be spinning. We get bogged down in all sorts of tools into face issues, workflow troubles and so on. So that's another reason why I chose this path. It's much easier to get up and running. After all, you may not want to become a professional graphic designer, maybe you have a few small jobs here and there that require some design knowledge. This is why this course is a perfect fit. Plus, here's what I've done in the past with great success. Say you created a beautiful banner in photo shop, but it needs to be printed and displayed on the side of a building. So something absolutely huge your design in photo shop is not appropriate for production because the printing company is likely to say they need something in a pure vector format. Here's how you do it. You hire a freelancer that knows his way around Adobe Illustrator or coral drawer, and you pay him to transform your Photoshopped project into the right format. This is going to cost you very little in terms of money, but you get to have everything under your control. Thing is by doing it yourself in photo shop, you can create AZM any versions as you want. You can explore various ideas and concepts when you get it right. Only then do you talk to a specialized freelancer. If you hire him from the start, the cost is going to be much higher. Trust me, I've tried it both ways by giving him the end results, or at least a good idea about what you want done. The freelancer won't have to work that much. This is especially true since we'll be using best practices that will ensure your designs will require minimal edits. Overall, we're going to use Photoshopped 95% of the time because a it's good enough for most projects be will use best practices that will ensure maximum quality. See, it's easier to get up and running with it, and that being said, Let's move on. 5. Design Assets Explained: this'll lecture. We'll talk about design assets, what they are, where you can get them from and why they matter. We'll start with the assumption that you want to create some type of graphic design. This could be physical or digital. It could be a flyer, a restaurant menu, but it can also be a Facebook ad or a banner that you want to place on a website. It doesn't matter if it's for your own business or if you're working for someone else. So what is a design asset? This is a resource that comes in two shapes. A text. Be images. To put it another way, if you want to design a banner that advertises a product, you'll need a the product's name, a description and or some type of selling point and be one or more images of the product itself. Without these components, you can't design anything. No matter if you're working for yourself or your hired by someone, you can't start a project without at least one of these assets. How do you get them? Well, in the best case scenario, the client already has them. For example, I'm an entrepreneur and I have a physical product I want to sell, Let's say, some type of cheer based dessert. I hired a photographer to take high quality snaps of the product. That's part B of the equation for the text component, which is usually referred to as copy. I have a few slogans high in protein, low in fat, nutritious yet delicious. With these assets, I can now hire a designer and he can come up with various designs for all my needs YouTube , Facebook newsletters and so on. But it's my job as a business owner to provide them. This is the best case scenario in certain situations. The client will only be able to provide the copy a k a. The text component, but he'll ask you to handle the imagery. This is a bit more difficult, but it's doable, especially if it's a digital product. Take my photo shop courses. I may hire a designer to create some nice graphics for me because I don't have the time toe handle it. I don't have any images, but I can provide loads of information about the courses, title description, selling points and so on. So at least 1/2 of the equation is solved you as a designer will have to fill in the rest. The same applies to the flip scenario where the client has great photos but no text to speak off, though not ideal again. You can manage, but you should never, ever start from scratch. You shouldn't take on a project that doesn't have anything in terms of assets. It's like someone asking you to design a website for them. You ask what it's about and they say, Oh, I don't know a website that sells things, Obviously, that's not good enough. You need some information to go on, so stay away from those projects because they bring nothing but trouble. There's only one exception to that rule. When you are the client, we'll talk about that. So stated. Here's an example of the wrong way of going about a project. One of my students told me he wants to create such a design. So a brochure of sorts for a supermarket, this is his inspiration on. While it's in another language, we can see it looks decent. I give it a six or seven out of 10 so far from impressive, but overall it's pretty OK. Now let me show you his starting point. These air, his assets see a problem. On one hand, the client didn't provide him with adequate product images. Sure, but the designer didn't have the guts to throw this out and demand better ones. Or he could have increased his fee. And he could have tracked down better photos on his own, no matter the choice. This is not something you can work with. The products are very dark, but they're also very small. If we check out the image size we can see, it's tiny as a comparison. Here's our high quality photo of one of my products or his a random photo from unspool ash . This is what you need in terms of imagery. Sure, it may not be perfect, but this is where we can apply some Photoshopped magic and improve it. On the other hand, this is rubbish and useless. My skills as a photo shop instructor would be wasted on these assets. Try as I may, I won't be able to turn these into beautiful products. The conclusion is, you always need high quality photos and an image size of at least 800 by 800 this is the absolute minimum if we're talking about printing large physical banners that's considered tiny. Thus, if you're handed small, pixelated, distorted images, just say no, ask for better ones or look for alternatives yourself. Here's another example. This is a Facebook, And so someone created this design and they paid good money for it to be shown to thousands of people. Do you think it's money well spent again? This is terrible because the designer didn't have the right assets, you may say, but Chris, he has lots of text. Yeah, that's the problem. You see, when you want to create any type of graphic design, you don't need tons of text. You need quality copy. High in protein, low in fat. That's a good slogan, not miles of text that nobody is going to read. So while it may appear the client has provided the designer with some assets, this is actually not the case. You can think of these lines of text is roar ingredients. We as designers want cake, not flour, eggs, butter and whatever else. Again. I have some copyrighting experience, and I'm happy to bake these ingredients into a finished product, but now I'm actually doing another job, and I'll require additional pay. As a designer, you can't succeed unless you start off on the right foot. Both these projects were failures from the start. The designer in the second case also made a mess with these rainbow colors. But even without them, this would still be a modest Facebook ad. To wrap up this point, always ask for good copy or high quality images. If you're provided with raw ingredients, charge more for the project, especially since the client may not like what you come up with. And in case there are no building blocks to speak off. No assets of any kind. Then don't consider the project. If it's for your own business during this course, I'll teach you how you can produce some assets from scratch, especially on the image side of things that wraps it up. Season. 6. Best sources for design assets: design resources are all over the Web, it's essential you know where to look. But more importantly, you have to know what you're looking for. Let's take it step by step. If you want high quality photos, there are two choices free and paid. Let's take them one at a time. In the free category have websites like unspool ash dot com, pixels picks, obey and so on. I'll give you an ample list of websites that you can browse so you don't need to write these down. Most of them are completely free to use, no strings attached. More than that, their photos coming. Generous sizes. This means you can use them in all sorts of formats without being worried you'll lose quality. The downside is it takes a lot of time to find the right image. The search engines on these websites aren't stellar. They're fine, but they're not as precise as the ones you'll find on paid websites. The bigger problem is that a lot of people may use the same photo now. Was that an issue? Well, imagine being dressed the same as everybody else. It makes it hard to stand out, especially in this competitive environment, we're all part off. This is especially true when you're trying to sell something and you're using an image that's featured on tons of other websites. There's yet another angle these free images, or sometimes not the right fit for your design. The best designs have photos that a tailor made for that occasion. Take this image of my product. This is unique to my brand. While others may use the same concept, you can see this is original and high quality. On the other hand, some of these free images a generic. They fit in lots of places because they're somewhat vague. While this makes them flexible, it also lowers their wow factor. So that's freaky images for you. You can use them, but there are clear downsides for paid ones. Adobe stock is the best source. Their library is absolutely massive, and their prices are competitive. You may be surprised to see how much they charge, but that's the cost of a high quality photo that can make or break your sales. Adobe Stark is directly tied into photo shop, and it's a breeze to make purchases. What's great is that you can try them out in your projects for free. Sure, they'll be smaller and they'll have a watermark, but you can still make a judgment call and decide if it's the right fit for you. The difference in quality between paid and free images is often immense, but you can also screw it up by choosing a mediocre photo from Adobe Stock. Just because it's paid doesn't mean it's better suited. Feel project. It's all about making smart choices, but we'll get to that later in the course. So that's images for you both free and paid. Topography is a huge factor in any design you'll surely want to use awesome looking funds. There are two choices as always free and paid in the first category. We have Google funds. You have about 1000 typefaces to choose from, and the installation process takes a few minutes to master. You use thes filters to narrow your search results. I strongly suggest you use the categories. Section is that's the most important one. Next you click on the plus symbol of any typeface that sparks your interest. A new window is going to show up, and from here you want to start the download through this icon. You'll get a ZIP archive that needs to be extracted, or you can download as many as you want. No worries about that one final step. You have to copy paste the dot TTF files inside your operating system's fonts folder for me on a Windows machine that's placed by default in C Windows funds. After that's done, all that's left is to restart photo shop and you'll have those typefaces installed for the paid version. Adobe Fonts is the way to go. If you have any previous design experience, you might know by its former name type kit. He have similar filters, and functionality is the biggest difference is the way you install them here. Instead of downloading a ZIP archive, you have to use your Creative Cloud desktop application. This is why this is a paid resource. You have to have a valid adobe subscription, but as long as you're paying for photo shop, you get free access to this library. Say we're excited about this typeface. You simply used this button, and after a few seconds the fonts will have been sink. In most cases, you don't even need to restart photo shop. Please be aware that the more fonts you install or sink, the slower photo shop is going to run. Don't go overboard with it, so those are your two main options regarding your typography. Next, on my list of resources icons, there's one clear website that stands out above all the other ones. Flat icon dot com. They have a very large inventory of icons and icon sets. They come in all shapes, colors and styles. This is the best place bar none, but and there's a big but there's a catch you have to pay to use them. Their subscription, though, is well worth it, especially if you plan on creating designs on a constant basis in the upcoming months. If we're talking about one single project, then yes, subscription is probably not a good idea. You can use some of these icons without paying, but you'll need to credit the author. This is described on their website, so I won't get into that. In short, if you want my advice by the subscription, I'm not affiliated with them. But there's clear value here. There are a few other websites that offer free icons, but they're nowhere near as good as this one, so I won't waste your time with them. Moving on. A great source for high quality custom graphics is free pick dot com, which is handled by the same company that manages flat icon dot com. Here you can find all sorts of design resources that are stunning, literally just about anything you can think off. What's great is that in both cases you can download these graphics, try them out, and if they're the right fit, then you can pay for them or give the author his due credit. I have a subscription here is well, and I consider it money. Well spent free pick offers, images and PSD files, but they're best known for their illustrations. Their website is filled with beautiful artwork that you can mix and match and integrate into your designs. I especially like their abstract backgrounds, which can spice up your otherwise dull projects. The only potential downside is that these require Adobe Illustrator. If you check the archive in general, you'll find dot E P S or dot ai files. What I usually do is open illustrator and I copy that part of the design I'm interested in after that's done, I hop back into photo shop, and I use control V to paste it. So Illustrator is just a small step in my design journey. You don't need to learn how to use it, just the basics of selecting and copy pasting. But back to my point free pick is the best place to get all these high quality vectors. You might want free alternatives for icons and custom graphics, but sadly, I can't give you any reliable ones. Those websites that do offer free design resources. Like my own blawg. This looks great. .net tend to have a small inventory. That means you'll be forced to browse 5 10 50 websites and gather various graphics from all over the place. I did that for quite some time when I couldn't afford any subscriptions and believe May. It's extremely time consuming. You could create them from scratch, but that's like you needing a sheet of paper so you decide to chop down trees and process the wood yourself. It's much better to buy the finished product than to deal with all that hassle. You might think this is cheating. You might say. This is wrong. Are we designers or are we scavenges. If we just assemble things we find on the Web, then where's the creative side of it? Well, as you're about to see, it's not that simple. All these resources have to be carefully selected, processed, edited and sorted before they conform. The final piece. One. You could just throw things together. The end result is going to be just that during the many projects will encounter, we'll see how we refined the semi finished components into one cohesive design. You'll see. This is far from sticking things together and calling it graphic design on that wraps it up for this lecture. 7. Optional – Setting up Photoshop: thin this optional lecture. I want to set up photo shop so that we're both looking at the same thing. It's not a mandatory lesson because you can work, however you like. I, for one, am very set in my ways. Regarding my program settings on, I feel my preferences make my life easier. I suggest you copy my steps on your second viewing so Photoshopped will act exact clears you see in these videos. Monty, this is the latest version off the program. If you're using an older one, your interface might be slightly different, but the main options are still there. Let's go through the checklist. Activate the move tool from the toolbar on the left. Focus here on what's called the Options Bar. Uncheck this auto select feature and change this drop down toe layer. This will allow us to select layers without moving things around by mistake. If this showed transformed controls, feature is activated. Disable it. We don't need it, and it clutters our canvas. Activate your preferences through control K. If that doesn't work, go to the top menu to edit from here. Scroll down all the way to preferences. Let's take it step by step in general, this is how things need to be set up. No major changes here on the interface. I like to use the darkest color scheme as it's easier on my eyes. I also prefer to use large for my you only font size just so I can read things without squinting. Next Workspace doesn't offer us any interesting features. His tools again. This is standard, but I will say I strongly suggest you not use zoom with scroll wheel, though it feels natural. I prefer we use our scroll for something else. You can skip history logs so we can get to file handling here. Make sure these are all checked, but more importantly, your automatic save should be set at five minutes. Photoshopped will crash from time to time, so this is a godsend. Export is only available in certain cc versions. I prefer to keep it set to PNG with the transparency featured checked under performance. I let photo shop use anywhere from 60 to 75% of my ram. Focus on these three buttons and choose the 1st 1 Even though our projects are going to vary a lot on the history, states I recommend anywhere from 20 to 50 depending on the strength of your computer. I have a great workstation, so 50 it is. This sets the number of times we can undo for scratch disks. It's best you place your fastest drive in the first position, but only if it has enough space on it. I'd say around 30 to 40 free gigabytes should be the absolute minimum. In case you have an empty A drive, select it and use these arrows to re stack them. There's a lot to say about these settings, but we're operating on a need to know basis so we can get to our projects as fast as we can . Skip all the way to units and rulers here on the Left column. We want pixels for both cases. Finally, the last on my list is type from here. We need to have the following options checked. The escape key in particular, is very important. Adobe changed a lot of things in recent times, and a lot of users air confused and upset by the programs were behavior. No worries, though, is I'm here to help and will manage just fine. It's okay and you may want to restart the program. I'll continue with my workspace set up in photo shop. You can drag any panel from its place. Um, put it anywhere else. When you want to open a new one, you need to go to the top menu and click on window. There's a big list, but we're only going to use a handful first. Let's reset everything by going to the top right click this icon here, though if you have an older Photoshopped version, it may look different. We want essentials on just so we're looking at the exact same thing, click again and choose reset essentials. Now, if this isn't exactly what you're seeing, don't worry about it. Here's what I want you to do. Grab this learned panel and drag it away. Just click. Hold and drag it anywhere. Now use this X symbol to close it. I'll do the same with libraries. We only want a couple of things. We want the Layers panel, which is right here. The properties panel, which is here on the character panel. But that's currently not activated. Go to the top menu on Look for it right here it is. The panel is going to show up in this narrow column. This collapses and expands. All you have to do to toggle between those two states is click on its icon like so, but I'd rather see it all the time. So grab its title and drag it here. We're looking for a blue line this indicates will place it on its own. If you see a blue rectangle, that means your docket here amongst colors and swatches. Even if you do that, it's pretty easy to sort out. Just drag it away, put it in the right position, meaning the top of this column now close thes other panels. One of them is quite useful. From time to time, that's properties instead of removing it, will reposition it here on this narrow column. Great stuff closed the adjustments panel if you haven't done so already and we're golden. This is our workspace to permanent Windows character and layers andan expandable one properties, or we also have the history panel here in the first position. Activate it and resize it. Just look for this symbol and drag it away. Lovely stuff. The paragraph panel can remain here that we won't use it that much. When all is said and done, photo shop is ready to rock and roll. You might want to watch this lecture again and pause multiple times to make sure you got everything right. In case you're overwhelmed, you might want to watch my other cause called ultimate Photoshopped Training from beginner to pro There I spend a lot more time explaining everything. The pace is slower, and I explained just about all the settings we've gone through here. I'm not trying to sell you anything. I want to make sure you're watching the right course. 8. ACTIVITY: Mix and Match Design Assets: welcome to this activity where I want you to roll up your sleeves and get to work. I want you to experience what it's like to browse those design galleries I just mentioned and mix and match various design elements. Here's what you have to do. You have this PSD attached that's called design assets activity. Open it and you'll find a pretty basic design. This is the top area of a website. We have a logo, a main menu, a headline and a bit of text. What I want you to do is beautify it by using all those websites. Change up. These funds replaced the dull background image at a few icons if you see a good place for them. The works. I know I haven't shown you a lot of techniques, and it might feel like you're diving in the deep end too soon. But the idea is to have fun with it and see how you do. Let me quickly show you a few things and then I'll pass it over to you. Say we want to replace the background right. Click it in the layers panel and switch to one of those websites. I'll go with unspool ash dot com. For now, I want a beautiful background photo that will allow my users to clearly read the text. Contrast is very important. I also need it to be fairly wide. Here's my choice, though. You should download at least four or five images and try them out one by one. Drag the photo from your desktop into photo shop. You'll get some handles that will allow you to resize it. Take your time with it. And don't worry if things don't go exactly as you'd like them to. This is still very much early days in this course. When you're done hit, enter and check the layers panel to make sure your photo is above the background layer, but not above all the other ones. If that happens, click and hold and reposition these layers as needed. If you want a light background, you'll need to change the text color. To do that, select them one by one in the layers panel. Next, identify the character panel in your interface. If you can't find it, go to the top menu toe window from here. Choose character. The list is sorted alphabetically, by the way, right From here, you can change just about everything. If you've installed a new font type in that name in the first field, you can also change its weight, size or color. The sky is the limit. Do your thing. If you want to use free pick dot com, you'll have to work another way. First, search for something like background and take your time with it To select a few graphics that suit your design, I'll go with this one on all. Download it here. You'll find you have two choices Inside the archive. You'll find a J peg file, but also a dot E. P s file. The 1st 1 is very easy to use. You just drag it into photo shop and resize it. While that straightforward, you'll also get any additional elements like various text components that you might not like. That's a clear downside. On the other hand, you could open the dot EBS file. If you have Adobe Illustrator installed there. Things are a bit more complicated because you'll need to select that extra bit of text and delete it. Only then can you copy paste the graphic back into photo shop again. That's a bit more complicated at this point in the course, so you may want to stick to the J Peg version or unspool ash dot com. Icons are a great addition, but you have to place them correctly. While it may be more time consuming, it may improve your design by a whole lot. Take your time and play around with it. Explore all your ideas, and when you're happy, you'll want to export your work so you can show to may and to the rest of the students to do that, go to the top menu to file. That's the Photoshopped tab on a Mac from here. Scroll down toe export export as if you don't manage. Please check the workbook for some alternatives from here. Set the format to PNG or JPEG and leave the rest of the settings as they are on hit export . That's it. Now you can upload it, and I'll give you some feedback on what you can improve. Above all, please have fun with it. If you don't manage, don't worry. We'll have a ton of similar projects throughout the course. Pause the video right now and get to it 9. What does it take to create beautiful graphics?: based on the previous lecture. You may think if the client already has high quality photos off the products and the text for the project, why does he need a designer? Well, you might assume the job is halfway done, but it's all in the details. I can show you loads of examples of big companies that totally screwed up their brand identity. By not hiring experienced designers, I've seen countless cases where the designing question could have been a slam dunk. Yet the end result looked absolutely terrible. That's because any social media cover any banner, flyer, CVI or business card requires certain rules to be followed. That's my next point. Creating these things doesn't require talent. It's not something you're born with. No, On the contrary, it's something you develop over time. It's a skill that requires practice. In this course, I want to teach you solid design principles that, when applied, will give you consistently great results. I'm talking about symmetry, contrast, hierarchy, cohesiveness, great typography and so on. So there's no discussion about whether you're creative or not. It's not a matter of knowing how to draw a or if you can use a tablet, it's all about these principles on knowing your way around photo shop, and that's what I'm going to teach you. We'll go through tons of cases and will design tens of projects so you can gain experience , get a portfolio and learn those principles by applying them. No memorizing, no boring theory, just hands on work that produces results. Moving back to those two components needed for any project, text and images. You'll see. You might need other skills, too. For example, if the client has the physical products, but he doesn't have great photos off them, you might have to snap them yourself. Or maybe we're dealing with a diet supplement, but the project manager doesn't have any copy for you. Does that mean you have to be a photographer que se but also a copywriter for case Be? Well, yeah, that's a possibility. But seeing now we're talking about something else. We're talking about services typically offered by a marketing agency. If the client wants you to handle the whole thing, instead of charging $500 for a Facebook banner, you'll have to double triple or even quadruple that some. But again, that's another discussion. This course won't take you that far on between you and May. I don't think it's something you should pursued doing everything yourself, though it can be very lucrative. You should focus on creating beautiful graphics for those situations where you're given the right assets. If it's for your own business, I suggest you pay people for their expertise. Get a copyright of your products, get a photographer for some high quality snaps. Then you can do the rest of the work yourself. This is what I've done. I've had several businesses, both physical and digital, that required a social media presence, all sorts of banners and graphics. Guess what? I did them myself and I say thousands of dollars in the process. I'll show you how you can do the same to get to that point. I wanted to set the stage both regarding those assets you need as well as your expectations regarding the skills that I needed to get the job done. This is what will design in the upcoming minutes stay tuned to see how it unfolds 10. Introduction: Welcome to this section where we'll talk about creating Facebook covers in photo shop. We'll talk about using the correct size and template design concepts. Placement on how it all ties together to form the face of your business or personal profile in this first project will recreate my personal Facebook cover and will dust set what makes it tick. As we go along, we'll talk about all sorts of Photoshopped techniques you have to learn, as well as design principles that formed the cornerstone of any project. The thought process applied in this section can be used in just about any scenario that's related to a personal brand. I decided to start with this type of work because more and more people are creating businesses based on their image. I'm sure you've heard the term influencer, whether you like it or not, this is the world we live in, and as a designer you have to be able to execute great cover images for all sorts of people , yourself included. Keep in mind you don't need to snap photos of your behind to have a good social media profile, plus more and more companies that checking out public profiles of their potential employees or business partners. This means that you might benefit from having a well put together social media presence, even though you're not an aspiring influencer, no matter how you throw it, this is a good skill, tohave. Let's get to it. 11. Project Settings & Aspect Ratios: Welcome to this lecture where I want to get our hands dirty. First there's the classic question. What type of document should we use? Well, creating new project by any means used to create new Britain, the Hockey Control n or go to file New. All these options will bring you here. This new window may not look the same on your end, but the basics are still here. For the resolution. We want 72 pixels per inch RGB color mode, eight bit color depth on the white background. These air the standard settings for any Web project, and they shouldn't change. We are going to use our boards because they're not useful for small projects. These are best used for Web or APP design work, so leave that feature unchecked. Now about the size, this brings up an interesting point. The short answer is this. Facebook recommends we use 8 20 by 4 62 pixels. This will give us a Facebook cover that will look great on both mobile devices as well as on desktop computers. But I like to design at a much higher canvas size either 12 80 by 7 20 or all the way up to 1920 by 10 80 because this gives me better flexibility and quality. These air tremendous advantages. But this brings up a concept you have to understand right from the get go aspect ratio. I have another Photoshopped project where I have a few art boards. If you're not familiar with them, don't worry, that's not the focus. They're just here to illustrate my point. Say I create a design, right In this case, I'll use a random photo, but imagine we spent a lot of time on it are used. Facebook's recommended size of a 20 by 4 62 Those numbers are interesting because they give us an aspect ratio of 16 to 9. Simply put, we're dealing with a wide canvas that's fairly short. Most of our TV's use the same aspect ratio. Let's consider the Facebook cover completed, and now we want to handle other social media platforms. But they're asking for 1920 by 10 80. Can we upload our design? No, of course not. Enlarging a project is never a good idea because the result is always going to be sub optimal. The more you enlarge it, the more quality you're going to lose. Let me show you an exaggerated version. Consider this image our baby, our project that we've created over the course of many hours. We created it based on the lowest dimensions specified by a platform. Now we have to enlarge it for YouTube, Twitch linked in Twitter or whatever other platform. I'll resize it, but notice what happens. This is called up. Sampling photo shop is forced to create additional pixels based on the existing ones. And even though the program has got better at it over the years, this is still not good enough. Just think about it. This is for your personal brand, your new business or any project that's important to you. Do you really want subpar quality? Do you really want this to represent you? Of course. Know this is why we never enlarge our work. Instead, we use the principle of aspect ratio when we design it a larger size instead of a 20 by 4 62 will use 12 80 by 7 20 or even better, 1920 by 10 80 on when we scale it down. The quality is going to be great, but here's how I got to those values. Fire up a calculator on divide these numbers 8 20 by 4 62 gives us 1.774 12 80 by 7 20 Gives us 1.777 So not exactly perfect, but very close to it. 1920 by 10. 80 again 1.777 How about 16 by nine? Yep, You guessed it to put it another way, if you designed up 5000 by 4000 that would be a tremendous size. Quality would be fantastic, no question about it. But if you divide those numbers that will give you 1.25 that would be the wrong aspect ratio when part of the image would be thrown away that all the entire thing would be distorted. Let me show you what I mean. First, I'll follow the correct aspect ratio by using this photo. If we enlarge the project while maintaining that aspect ratio, the result is going to be perfectly proportional. Let me show you. I'll hold down the old key and that will create a copy over here on the 12 80 by 7 20 Art board. Now we'll use these tools to left on top of line it next, I'll resize it. I'll quickly do it from the campus so you can see it will fit without a hitch. This is the great thing about understanding how aspect ratio works perfect to make it even clearer. I'll input my measurements manually. Let me undo. Okay, I'll do that with the help of controlled T. All right, click here in the options bar, and I'll change my unit of measurement two pixels. This has to be done each and every time you close an open photo shop, no matter your settings. Right now, I'll type in 12 80 by 7 20 I'll make sure the images nice and centered Great. It occupies this place perfectly. Let's do the same for this other size, which is popularly called full HD will increase its size yet again. You don't have to work along. The important thing is you understand the principle behind the concept of aspect ratio. As you can see, the image doesn't get cut off. We aren't losing any information, which is the ideal situation. But look what happens when you don't follow this role. You hear that the design is supposed to be wide and short right? So you create a canvas of, say, 1000 by 500. You work your hands off when you want to upload it to various platforms. Let's try out our image here. Created copy and left and top. Align it. See the problem. There's a ton of white space that's not being appropriately used up. If you upload it to various platforms, there are two options. One a part of it is going to be cut off either the top bottom or somewhere in between. This is not ideal because you may lose valuable info from your design. Option two is the image is going to get distorted. That's a grave sin. As far as graphic design is concerned, you should never, ever distorted image to make it fit. That's absolutely terrible practice. All of this is because we used an awkward aspect ratio of 2 to 1. Just to recap. Aspect ratio is important because it allows you to design at a bigger size without fearing the design won't fitted a smaller scale, you may ask, but why should we design it? A bigger canvas size of Facebook is happy with only a fraction of that quality and flexibility will start with the latter. 1920 by 10 80 is a very popular format. This means you'll end up killing more birds with one stone. You design your Facebook cover image, but you simultaneously get a head start on other projects, like a website, a wallpaper, other social media profiles and so on. That's because that specific sizes so universal. I'm not saying you can immediately upload your full HD Facebook cover to Twitter YouTube Arlington. But it sure does make your life easier. But the bigger factor is quality. You want crisp, sharp graphics that look stunning. You should never allow these platforms to play with your dimensions, designed at the highest size they'll accept in PNG format on that will maximize your chances of getting a great looking photo. Even so, most platforms will still try toe optimize your photos, and there's no getting around that. But at least you'll start off from the best possible quality. I hope this lecturers shed some light on this important topic that I know is far from glamorous. But it's the cornerstone of every project design at a higher size and maintain the aspect ratio. Take the low number that specified on the platform in this case, Facebook on multiply it to a point where you get to a standard former like 12 80 by 7 20 or 1920 by 10 80 Let's continue. 12. Optional: Creating Text Assets From Scratch: there. It's time to get to work and round up some assets, and we'll start with text in this situation. I'm the client, so there's nobody else that supposed to hammy resources. With that in mind, I'll take you through my entire thought process so you can do the same if you're in this position. The objective is to create a cover image for my personal brand. The first few questions of the following Who am I? And how do I want to portray myself? I'm Christian Dora Baron. I'm an entrepreneur, teacher, photo shop user and certified expert. I teach photo shop on you Demi skill share, YouTube and other platforms. I have various social media profiles a block on. I also create content for other businesses. Right now, I'm listing everything I can, and it's a good idea to take notes. You can use any medium pen and paper, a simple note pad, Microsoft Word or even photoshopped. These air. The roar ingredients don't miss. Take all this information as the final bit of text that needs to be included in the cover. These need to be refined. Otherwise we'll end up with long paragraphs. And that's not what we want. Not only are they not approved by Facebook, they also look terrible as a pointer. Facebook says that no more than 20% of your design should feature text. We won't waste time. Doing the maths, instead will focus on aesthetics and solid design principles right back to the text element of my design. I have to decide what's the critical point that has to be there no matter what. Well, my name clearly falls into that category. I can't expect people to recognize me by face alone. In Romania, we tend to mention our last names first and then our first names. That sounds completely backwards, but it's an interesting observation. People on the Web tend to use the first name they read. I don't wanna be called barren, so I have to break away from what I'm accustomed to. So I should start with my first name, but I actually have to. As is the custom here in Romania, Doro is what most people call me. Yet that name isn't universally recognized. Christian, on the other hand, is much more familiar to most people. Chris is even better. It short, easy to write, and it has a nice ring to it. I'm considering this point so carefully because my audience is extremely wide. I have students from the U. S. A. U K Canada, but also from Pakistan, India or Singapore. So Chris Barron it is. I don't need to include Dora because there's no chance of me being confused with someone else. If my name was John Smith, then yeah, that would be a problem. But in this case, I'm golden. Next. What's the second most important point I want to highlight? Is it my 10 years of experience? My certification, my 150,000 students from all over the world? I think that's a bit ego centric. I actually don't want to show off. And I don't want to be perceived as arrogant. A reliable and trustworthy teacher, Yes, but not on ego driven character. I also don't want to alienate people if you're coming from you to me. But I put some other platforms logo here. How would you feel? I also don't want to crowd the design by listing everything about May. Hence why I'm focusing on the most important bits. I think Photoshopped training is one of the best things I can say. It's no longer about May. It shifts the power towards the visitor. He gets something out of it by visiting this page. What? Well, it says right there. Photoshopped training. If I were to say Photoshopped expert, some might scuff it it for the reasons I just mentioned. But this way I'm turning things around, right? What else do I need to include? Well, considering this is a personal brand, I definitely need to show myself. So a picture of me is needed. I could keep the avatar for that, but my face is a key piece in establishing trust. People want to see you, even if you yourself don't like being in the spotlight. Believe me, I totally know the feeling. We'll talk about imagery in another lecture, though the last thing we could include is some type of call to action. A website is ideal in this situation. I've never put up a phone number or an email address because I don't think it's very professional. Now. In my case, I don't have one specific website I operate on. Even if I did teach on you do me alone, I wouldn't include a link to the likes of what you see here. Keep in mind this is a photo. People aren't going to be redirected to that website. If you're thinking people will painstakingly right this u r l in their browser, you're mistaken on this is a fairly simple example. I'd say less than 5% of your visitors are going to do that for other situations where you have a physical store and you want to show often address or other information. Check out the other Facebook projects for this personal brand, we have enough to go on. Let's focus on the image assets in the next lecture. 13. Selecting Image Assets: in the previous lecture, we took care of our text component. Now it's time to switch to the other. One image is the star of the show has to be may or better put a photo of myself. I gathered a few viable options. Now analyze them one by one. I need something fairly serious and professional. I have fun ones, but you should never use pictures from your vacations, parties or otherwise informal settings going through them. You'll notice summer in portrait mode, while others air in landscape mode, both of al adoptions. But we'll have to experiment and see what looks best. Let's start photo shop so we can see things in context. All use 1920 by 10 80 with the art boards feature unchecked. Okay, next, drank all of them inside the canvas, like so in the layers. Panel disabled them one by one so we can see what's what. This 1st 1 occupies quite a lot of space vertically, but the images bright. My skin looks OK. It's well saturated, so this is a good option. Click on this icon to temporarily hide it. The fourth image is a bit more serious. It's aside. Photo a bit Granier, less vibrance. Overall, not my favorite. Hide this one, too. Number three. Well, the quality is spot on, and I like the suit, but the hands are a bit problematic right here. You can see the light is hitting my fingers and they're a bit too bright. Leaving that aside, If I don't include the entire thing, it's going to look weird. There's no decent cut off point for those reasons. Let's move on. Okay, this is pretty friendly, and it fits the project, but I'm a bit to town. This is from you to me, live in San Francisco, and that son was merciless. We could try to correct my skin, but I don't think it's worth the effort. In the first picture, I'm smiling, but my posture isn't ideal. You can see this shoulder is higher. Up in the left part of my face is pretty duck, not to mention my nose rivals Rudolph's. So I think we can delete photos one and to hold the control key to select them in the layers panel when clicking on them. Make sure you hit this area here, and not this part where you can see there thumbnails. In case you do that, you'll get a selection like so notice a liner shown up on the canvas. This is popularly called the marching ants. Disable the selection through control de so we can continue is that's not what we want to do. So with these two selected hit the Delete key, do the same with number four. Now it's a battle between three and five. You'll notice they have specific backgrounds, but they don't cover the entire width of the project. We could use some Photoshopped trickery to extend them, but it's gonna be quite difficult to pull off. Even if it were easy. I'm not sure these backgrounds would be ideal for a Facebook cover image. This means we need to remove the background so we can work with isolated photo of myself. Cutting out someone from their background is a tricky task. The Internet is filled with all sorts of tutorials, but let me tell you, it's hard work in the end result won't always be perfect to make your life easier. Use images that a big, preferably huge. In this case, Number three is 1865 by 2726 pixels. Five is 3337 by 3000 120 pixels. So this is bigger and subsequently better. There's another thing to consider. My blue jacket makes for a very strong contrast between me and the wall. Photo Shop will do a much better job because of it. For the other one, it's the exact opposite. The colors are from the same profile, so we're short. Have more trouble with it, considering these two points size and contrast will drop, this one will focus on the Blue Jacket photo. I'll provide you with the original version, but also the one where I'm already extracted. We won't get into removing backgrounds right now because it's a long and fairly difficult task on. I'd rather we focus on the objective, creating a lovely Facebook cover. If you're interested in this topic, I'll create a bonus lecture at the end of this section, where I walk you through all the steps rights back to our assets. I want to gather a fume, or I think the photo shop logo might come in handy because it's immediately recognizable and we can place it in any corner at a fairly small size. I'll go on google dot com and search for photo shop CC logo. You have to be aware Photo Shop has been around for a long time, so there are lots of variations. When in doubt, just look at the current icon from the task bar or from the top left corner of the program . Using an older one would be a big mistake. Finally, I'd like something for the background. I already tried various things on my blog's, So I have a pretty clear idea about what I want. A photo with some type of office setting with nice desk sleep displays and maybe a personal , too. For this case, I'll far up free pick rather than unspool ash or any other image website. That's because I did a bit of research before I started recording so things could go smoother. Okay, here search for designers and the first result is pretty much spot on having said that, I'll look for other ones just because I know a lot of people might also use this particular photo. I know I can't find something unique on these galleries, but at least I won't choose the first result. All the most obvious one. This is a good opportunity to show you these filters. In case you don't have Adobe Illustrator, you should check all these other options except vectors. In this case, all I want is photos. The list immediately refreshes, and now we can explore some options. There are two ways this can go A. You can bulldog it and simply select 5 10 15 photos and try them out one by one. This means no particular analysis. Just bang him out and see what looks right just through the process of elimination. Or be maybe we can think about the composition as a whole and how the image would relate to my own photo. I'll go with B, but the condensed version. I don't want to be associated with these color swatches. I think they're a bit cliche, and I never actually used them in my work. I don't need to display with its screen turned off because I won't attempt to place my own image inside it. On the other hand, I don't want the screens to be to in focus if that makes sense, as the viewer might get distracted by them. This is not a team effort, so it's not appropriate to show more than two people by going down that train of thought. I selected this image. This makes sense for multiple reasons. It's fairly bright. The people's clothes are very different, so even if I apply various effects, you can still recognize them. The guy is pointing at something, and he's in a power position, which makes sense. Photoshopped training. So someone is teaching you the active Pointing, though a bit crude does get the message across. Some will download this one, but just so we don't neglect the other option, I'll download a few other ones that might make sense. Overall, we have several image assets. One great photo of myself. The Photoshopped logo on a set of images for the background will try them out in the next videos. I'll see you in a second 14. Arranging the Assets on the Canvas: in this lecture, we're going to use all our assets to create our Facebook cover for my personal brand. You have all these resources attached, so feel free to work along on your second viewing. First, drag this PNG of myself inside the 1920 by 10 80 project. Right now I'm taking up the entire height of the canvas. But that's fine for now. Next at that photo shop icon, this one is far too big, so make it considerably smaller. You do that by going to one of its corners, clicking and dragging. If you're using the latest Photoshopped version, the aspect ratio is going to be constrained by default. If that doesn't happen, hold the shift key while you re size. Without that hockey, you're bound to distort it. Place it anywhere, say the bottom right to wrap up the images, grab any of these photos and place it inside photo shop. I'll go with my first choice. Notice how it tries to fill my canvas. This is a nice feature. The program wants to help us out, but this only happens when the image is bigger than the canvas. It doesn't work the other way around it doesn't blow up small photos. Even so, we can see quite a lot of empty space on the edges. That's because the aspect ratio of the photo doesn't match our aspect ratio, which is actually imposed by Facebook. You know our options. We can distort it, which is a dreadful sin in the design world, or we can cut off a part of it. That's the only viable choice. So let's make that happen. Hold the old key and grab any corner handle. Now drag outwards up until the edge of the photo matches the edge of the canvas. I usually like to go a little bit further just so I don't risk having a white vertical line by mistake again. If you're using an older Photoshopped version, you have to hold down both Ault and shift while you do this. In the latest version, you can just use Bolt, and that helps us resize the photo on all sides in one go. Okay, hit. Enter and you'll notice this is covering up all our other components, not a problem selected in the layers panel and drag it down. Just above are empty background layer in photo shop, all there's were arranged from top to bottom. The lead that's on the top is always in front of all the other ones. This means that if I move the Photoshopped logo above my photo on the canvas, it will be in front of me because of their order here. But if I raise myself like so, then of course the order changes. That's simple enough. But here is where it gets interesting. Sometimes their order in the layers panel doesn't matter if I separate these two elements on the canvas and they no longer overlap there, stacking order in the layers panel becomes irrelevant. Great stuff. Now let's add some text. Make sure you have your character panel opened. Now I want us to follow the same steps. Click here in the top right corner. A list is going to show up, and we're looking for reset character. Now all the settings have been reverted to their default values. This means you should have myriad pro regular show up. Activate the type tool by hitting T. When in doubt, go to the toolbar room, verify you're using the right one. There's actually a bunch of them here, but we'll never use them as there are ducklings. Click anywhere on type Chris Baron when you're done, hit the new Miracle. Enter not the regular one, because that's going to move you to the next line. If you can't manage, just use this check mark from above. Or, by the way, in case you clicked and you got some strange text that says Laura MIPs Um, you may want to revisit the preferences window. Here's my suggestion. In a few words. Under type, you should have this feature disabled. This will stop photo shop, adding dummy text. But to fault when you create a new text layer all good. Okay, moving along, let's click again and this time we'll write Photoshopped training on the canvas. This should be placed above my name because I feel that's more important in the grand scheme of things right. These are our components laid out in a somewhat random fashion. In the next video will start designing the cover through typography, color and proper placement 15. Designing the Cover: way are with all the elements laid out, but it's a bit of a mess. The question at hand is, how do we arrange them? Well, though, on the star of the show, you never want the hero element to be placed in the middle of the composition. Though that sounds counterintuitive. Here's the deal. There's a fairly well known principle called the Rule of Thirds that says you should divide the image into nine equal parts by using two vertical and two horizontal lines on use rectangles with a stroke that have their fills set a 0%. The technique doesn't really matter, so don't worry about the steps. Instead, let's concentrate on the principle. The rule of thirds says you should place important design elements at the intersection of these lines. This means my face should be placed somewhere around here or here. In general, I have a tendency to go towards the left side. There are several examples of the rule of thirds in action, but even if you're not a fan of it, it's still very much practical. If I were to place myself in the middle of the screen, all the other elements would fade in comparison, they'd have to be shrunk down and scattered to my sides. Hardly a good look. So with that said, I'll keep my photo on the left side regarding its size, use controlled tea and focus on the options bar. By default, you'll see percentages, but you can right click them, and that will show you a list were only interested in pixels. Okay, now make sure the chain icon is pressed so the image will resize proportionately. This means I'll type in any number in one of these two boxes on the other. One will automatically change in order to maintain the images aspect ratio. Thus we won't distort it. The value I ended up using is 875 pixels for the whip. This, in turn, makes the height of very reasonable 1000 pixels or so. Why this size? Well again, I am the star of the show, but I don't want to overpower all the other elements. I don't want to span the entire height of the design, nor do I want my hair cut off. This moderate size will give us a good balance. Next, we have to talk about our text component. To quickly select a layer directly from the canvas, hold down the control key and click it. You need to have the move tool enabled on this auto select featured disabled asi. Click on various layers. You can see how they're highlighted in the layers panel. This means they're selected resized both items to about 80 pixels or so. Here's an important thing in case you use my rectangle technique for the rule of thirds, make sure you group all those layers and temporarily hide that folder. That's because even though the rectangles are mostly transparent when you control click a lair on the canvas, you'll always select the layer that's higher up in the layers stack. In our case, those there already tangles because, as Faras Photo Shop is concerned, they occupied that space. We perceive them as being transparent or punched through, but photo shop sees them occupy that space, right, So we have our text layers, but they're not formatted in any way, even though we have a decent amount of contrast from the light background. I'm not happy to use black text. It doesn't fit my personality or the feeling that I'm trying to convey no matter what color I decide to use, it's not going to look great on this detail. Heavy background image That's what I propose is a popular design technique. We can apply a color overlay. Actually, this is the exact name you'll find under this FX button at the bottom of the layers panel. Make sure you select the background image first, though otherwise this won't work is expected. Now. The default settings aren't going to cut it. The easy way to go about it is to use pure black. Then we can lower the opacity bit by bit, to around 50% or so. By the way, I'm using my mouse scroll wheel and I'm holding down the shift key. This is how I'm adjusting this value in 10% increments. Now black can work is it's universal, but again, I want something friendlier. I ended up with a nice blue it's color coded 00 for a D zero. This will improve our projects. Look, even though the change will be fairly subtle instead of playing with it. So pay city. I decided to raise it up back to 100% and experiment with various blending modes now, these air somewhat unpredictable. So what I suggest you do is you try them out one by one by using your mouse wheel. This is a matter of experimentation. You can adjust the opacity or the color scheme, but what you want to do is narrow down this list to about two or three choices. To keep this short, I was torn between hard light and linear light. This 2nd 1 is a bit too saturated, though, so in the end I went with hard light. Now this is better. There's a slight danger that we might be using too much blue, but will counterbalance that through our text layers. Thing is, I'm not very happy about this guy that's behind May. So what I'll do is I'll apply yet another popular technique. The Gulshan Blur. Again make sure the background there is selected, and ideally, it features this icon here. This tells us we're dealing with a smart object, and that has many advantages. If you've been following along, you should have that symbol too, right. Go to the top menu to filter from here. Choose Blur, Gaussian Blur. A new window is going to show up on what's great about it is it immediately shows you the end result without committing to it. We want a small amount. We could crank it up to get a diffuse look, but I'd rather go with something subtle so you can still see what's going on. Five pixels should do the trick, he told Carrie. And look at the Layers panel. The reason why I mentioned this symbol is that smart objects give us the ability to adjust our effects in this case, the Goshen blur, so we can double click it on that window is going to show up again. This is how we can maintain flexibility and change our mind as many times as we want. Great. The thing is, you can still see quite a lot of his face, so I'd like to change that or hit Zed to activate the zoom tool. Now I'll hold Bolt and I'll get this minus symbol on my cursor. This means I'll zoom out right now. I'll hit controlled tea and I'll increase this layers size photo shop is going to tell me it's going to temporarily disable the Blur while I'm re sizing. But that's fine when you're using a blur filter. You no longer have to fear enlarging the image. The effect is going to cover up any imperfections. My idea is to bottom allying the picture so you can see a big part of the displays. But cut out part of this person's head. Take your time with it. Don't rush. Yeah, something like that. Beautiful. Moving on to the Photoshopped logo, I want to resize it to about 300 pixels in width. I'm not dead set on that size, but we'll see how the typography part is going to go based on the text will adjust it further if needed. After you resize it through controlled T, you may want to activate those rectangles to see those intersections. If we want to follow the guide, we should place it here. Initially, I wanted to place it more to the side, but for now, that's fine that you go. Overall, we've made good progress. Let's take a break and I'll see you in a second 16. Typography for the Facebook Cover: welcome back to our projects. We need to take care of our text component, and we wanted to stand out. The first question is, what typeface should we use while Google fonts or Adobe funds formerly loners, Adobe type kids are the answer. Google's library is totally free, while Adobe requires you to have a creative cloud subscription. This means that if you're paying for photo shop, you have it included. Let's go with this one. The library is massive, with nearly 1000 typefaces to choose from. How do you approach such a vast amount of fun families? Do you try them out one by one or what? Well, here's what I suggest you Do you want to think about the overall vibe of your cover photo? In this case, though, I'm fairly friendly. I am an instructor and a teacher, and that does impose some sort of authority and respect. I'm also pretty big on working out, and I tend to have a strong stance. I'm not whimsical. I'm not creative. I'm not overly personal. This excludes certain typefaces from the start. Going back to Google funds, we can exclude handwriting as that's not appropriate. Display is another category. That doesn't make sense because it's too over the top, at least for the headline. I want something powerful, clean, robust and fairly thick. I'm in tech, so sans serif is the way to go. If you look at the serif category, you'll see a bunch of lovely typefaces, but those are more appropriate in other settings. Not for a photo shop instructor there. 40 elegant and fancy for my taste. This is not the look and feel. I want to portray mano spaces, a small category that isn't worth jumping into. Overall, this leaves us with sans serif. Now. The first few choices are extremely overused. Keep in mind, we're currently seeing this list based on what's trending besides that. More importantly, these first few options a flat in terms of their message, their dull, and they don't tell me anything. On the other hand, I've seen Design Modo, a popular design website, using Monserrat in some of their presentations. I've been blown away. This particular style, shown here isn't all that impressive, but noted has 18 variants. If you click on see Specimen, you'll be taken to this details page here bold and black or exactly what I'm looking for their strong, detailed in a subtle way thick, powerful. The works. I already have it installed on my system. But if you don't just scroll up and hit this, select this font text or you can go back to the home page and use any one of these plus symbols. Next, click on the small window on the right side of the screen toe. Open up your collection. In my case, we only have one typeface. Download it by clicking on this downward zero. You'll get a ZIP archive that has to be extracted inside. You'll find a bunch of dots TTF files. Those need to be copy pasted in C Windows funds back to photo shop. Make sure you have those rectangles disabled and select the first line of text. Focus on the character panel on the first field. Click once and start typing Monserrat. You only need the first few letters, but no Photoshopped made drag its feet for a bit. I'll go with Monserrat black from the get go at 82 pixels. It looks pretty OK, but let's drop it toe 80 pixels because I want to enable all caps to really make it stand out. We'll see if this is the right way to go. As for its position, enable the rectangles and try to place it somewhere to the right of my ear. Well, it looks kind of big. Might overpower the entire thing, but let's take it step by step. For its color, we could go with whites that's fairly safe and standard. But during my last course of really used one color in particular orange I even though it's code by heart. FF three d, 00 It's bright, strong and very saturated, But using it directly on this blue background isn't ideal. So here's what I propose. On one hand we can keep this white version as a backup on for the 2nd 1 will use orange, but will place it inside a white rectangle so it will really stand out. Get the rectangle to and click to input. The following measurements. 10 50 pixels for the width. 125 pixels for the height. This needs to be pure white, and it has to stand underneath our text layer in the layers panel right now for that orange . As I'm arranging everything you might be struck by an idea. How about we make the rectangle orange on the text white? Yep, that works to At the end of it will place all the options side by side, and we can choose the best one. Okay, here we are. Remember to use those rectangles only if you feel they help. If you constantly run into trouble, just approximate these positions for the text underneath. All duplicate this white rectangle and short on it a lot. Maybe 4 50 pixels, also for the width. Make sure it's placed correctly in the layers panel. Now here's my idea. I want this shape to be orange to create some variation in the design. DoubleClick its thumbnail and use that orange. You can sample it from the canvas manually type it in, or maybe grab it from the toolbar. Right now, we could use monster at yet again, but I want to mix it up. This time I want this text to look like it's hand written. I wanted to balance the strong text that's above it. The way I look at it is like a cake. I enjoy chocolate. I like caramel. I'm open to funding moose and ganache but too sweet is not enjoyable. At some point you get saturated than the entire thing becomes unpleasant. You need balance. You want something to cut through the sweetness so you can enjoy the whole thing. It's the same here. Too many powerful elements will take the project over the top. We need diversity to balance it out. I went ahead and looked long and hard on Google funds. One of the highest things on my list was allege ability. I wanted a typeface that could be easily read. Hand written, yes, but easily recognized. This took quite a while, so I edited that part out. In the end, I went with a farm family called Zada, make it pure white and drop it size to 65 pixels. I also think it's a good idea toe. Add another word here by I think it not only sounds better, it also looks great due to this Weigel. If I take a moment and center it, but you'll notice it's going to be vertically offset due to the low hanging. Why? Here's how you get around it. You temporarily delete it and commit your edit. Then you use the alignment tools from up top to center it vertically. Finally, get the type tool and add it back in. That's it. Quite a simple work around for a nasty problem. Let's stop for now and think things through. We'll continue in the next video. 17. Fine Tuning the Cover: welcome back to our Facebook cover project for my personal brand. We want to find Teen are designed to make sure it's well sorted. For starters, I think the text element is far too big. I suggest we tone it down. The first line should be dropped to 70 pixels, then the 2nd 1 to 55. We'll have to reposition them inside their respective rectangles. But I think those are on the heavy side, too. To quickly re size shape players. He can use the properties panel instead of the free transform command, better known as control T. All you have to do is select the layer in the layers panel, then open the properties panel. I have it docked here, but if you can't find it, go to the top menu toe window. Scroll down this long list, which is sorted alphabetically, and you can find it here, right? We're looking to resize it to 900 by 1 10 Take your time with it. I did my fair share of experimenting before I arrived at these values. Once that's done, select both layers either from the Layers panel or from the campus directly. Next used the alignment tools from up top. In case you're using CC 2018 or an older edition, these icons will be arranged differently. But you're looking for two things. Align. Horizontal centers underline vertical centers. Adobe decided to change their design and order, but they're exactly the same. All right, looking good. Of course, there are a ton of variations that you can apply for this first line, but let's keep things simple moving on down. The second text layer is 55 pixels, but it needs its rectangle resized. The value I came up with these 3 50 by 110 pixels. Give me a moment while I reposition this element immediately underneath the first line. As a rule of thumb, you should never place two rectangles that have the same color immediately next to each other. Instead, leave a gap of at least two pixels because we use different colors that's not needed Now here's that simple trick that will allow you to vertically aligned text layers that have low hanging letters. In this case, this why is really throwing this alignment off? Here's what you need to do. Grab the type tool and temporarily delete the letter next, go back to the move tool, select both layers and use the align. Vertical centers command yet again. Now it's going to be placed correctly. All that's left is to manually add the Y back in. But that's easy to handle. Not exactly the most elegant technique, but it gets the job done. These two layers need to be aligned to no question about it. Regarding that specific rectangle size, I chose it based on one thing. I wanted my to text layers to be left aligned. When I see any designer, I always try to picture imaginary lines going through it both vertical and horizontal. If your layers are aligned, that makes the whole design more aesthetically pleasing. Right? Let's have another look and see if we can improve anything. Always take a few moments and zoom out through control. Zero. In order to look at the entire project, I have the privilege of working at 25 60 by 14 40 which allows me to see more of the canvas right. What I'd like to do is try a different position for the photo shop logo. I want to write a line it with this white rectangle select both layers and use the appropriate command. This creates yet another imaginary vertical line, but I want to take it even further. First, hold down the control key whilst you have the Photoshopped logo selected. Hover over the background and you should see some pink lines show up along with certain measurements. This is the one I'm looking for. Keep in mind, this feature is not available in CS six. Now I want to match this value here underneath the lair. To do that, simply use the arrow keys from your keyboard on Dad. Shift into the mix to move the layer in 10 pixel increments as you make progress, constantly tapped the control key to check the measurements. In case you want an alternative, you can always use the properties panel specifically this Wally Field, which controls the vertical position of the lead. In any case, what's important is we have the same amount of empty space on both sides. Okay, when you're done, I want to do one final thing. I want to slightly change my skin tone. Since I was quite pale in the photo, we won't go into anything advanced. Instead, I'll show you a neat technique that you can always use. The first step is to select the right layer. That's this one, in my case. Next, go to this young yang symbol and click it from this long list. Choose vibrance. A new panel will appear, but things are straightforward. All we want to do is crank up the first slider toe plus 70. Notice how my skin immediately looks better. This is what vibrance does. It targets those colors that are washed out or otherwise muted. In case you want to see a before and after shot, click on the icon to temporarily disable this adjustment layer. You'll see this is a lovely improvement that takes no time to apply. Now here's something you have to be aware off. I'll drop this slider back to zero. Next, I'll raise the saturation value. Toe plus 70. Notice the difference. This effects all the colors in the composition by the same amount. The overall effect isn't anywhere near is good. That's the difference between these two sliders, vibrant stargates, those specific colors that are a bit washed out while saturation blows everything up. Keep that in mind. Here's the second step of the process this isn't needed in my specific situation, but it's always a great idea. Create a clipping mask by using Ault control. G. Notice the changes. For starters, the rest of the design isn't saturated anymore. Instead, only my layer is targeted. This is what a clipping mask does. It tells Photoshopped to apply this specific adjustment layer to the layer underneath it. If I use control G yet again, the mask is released on. This means all these layers are now being affected by it. Okay, let's get back on track. Use the hockey yet again and flip these values around plus 70 for the vibrance. Zero for the saturation. Like I said in my specific case, the clipping mask isn't needed, but your projects may require it. And that's our design. I'll see you in the next video for the final words of this project. 18. Conclusion: Let's make sure everything is nicely organized and buttoned up. I recommend you keep the four layers that make up these two elements grouped because that will allow you to quickly try some variations before we get into that. Let's export this project as a PNG czar. Re nice and crisp. I'm using the latest CC version, so I'll use the hockey Ault control Shift W. If that's too much for you, go to the top menu and click on file from here. Choose Export than export as there are a few options in this panel. But we're looking for the PNG format, and that's about it. Save it and thats version number one in case you want to try it out. Fire up Facebook and try it out, argues my Photoshopped group. To see what this would look like, you'll notice I already have something quite similar set up, but this new design is a bit more balanced. Okay, this is it. I'm quite happy with it. It checks all the boxes. It's professional. It's powerful, bold, bright. Overall, I'm really happy with it. You might notice the Photoshopped logo doesn't feature that bottom margin we set up, but This is the regular version. When you click any cover image, you'll get the bigger one. But just in case something feels off, go back to photo shop and make the required adjustments. Now let's try an alternative. Identify the group that has our text components or make a copy through control. J. You can double click its name and put in something more appropriate, like alternative or its oration. Here, I'll quickly change the top rectangles, color toe orange, DoubleClick, its thumbnail and sample a color straight from the canvas. You rarely need to memorize any color codes. I'll quickly handle the second line. In the meantime, I hope you've enjoyed the course. Up until this point. We have loads of projects to go through. When will follow about the same process in some parts will slow it down while other times will plow ahead. No matter the case, I'm always here to help, so please ask away. Okay, this is done. What's your take on the variation? Honestly, I'm not feeling it. The first line is a bit too in your face. It's harsh. It's far too bold. But the bigger issue is with the second line that elegant text apparently becomes fuzzy and unpleasant. In essence, the quality hasn't changed. But the perception is what matters. For that reason, I'll stick to my initial version, select the entire folder and trash it through the delete key. Enable the initial group and we're good to go. This is our Facebook cover image. What I want you to do is create your own. It doesn't matter if you don't have a need for it. Just try it out. In case you don't have a nice photo similar to mine, go toe unspool ash dot com and randomly select one. I'll also include a few isolated ones, but you should snap a good photo of yourself as it's gonna come in handy in lots of situations, no matter the casework on your version and posted as a PNG in the comments section, you also need to create a perfect replica of what you see on my screen, but you don't need to upload it unless you made some type of variation, like a different type face, a different arrangement, other colors and so on. I hope you have fun and I'll see you in the next project 19. Analyze your assets and options: Like I said, we need to start the project on the right foot, and that means we need great product photos. In this case, we have them 14 in total, broken up into three categories. First, natural juices that come in four colors white, red, yellow, green. Look how nice and crisp they are. These Orender is not really photos, but that's beside the point. Each client has his own take. The second category has five snacks that are based on oats and the 3rd 1 same five flavors , but this time they're based on Chia seeds. The packaging is beautiful, the colors are striking, the product is adequately shown, so overall, this is a great starting point. But here's the twist. That client gave me even more photos. These are all gorgeous, and they really stand out. Trouble is there in portrait mode, while all Facebook covers should be set in landscape mode. Even so, we still have a big decision on our hands. Do we include all 14 flavors in the cover image going along that line? There's another question. Do we need to include some type of slogan, logo or any other contact information? Those air the rial key points here. Let's break it down into smaller parts. It's quite unprofessional to show off contact information in a cover image. There are very few cases where that makes sense. If this were a car shop with only one physical location, then yet that would work. But for most brands, for most companies, their presence varies dramatically. They might have tons of stores, but they might only sell their stuff online. With that in mind, I'd rather show off the products and keep everything else down to a minimum. You should show a website if it's not readily apparent. In this case, this specific business has a unique name, so there's no need to slap a text layer in our cover image. If this were a company with a more common name, then you should include it to clarify this point. Think about my name, Chris Barron. It's extremely unlikely there's another guy with my name so that when you do a search, whether it's on Google or some other place, he almost certainly find May. However, if I were called John Smith, then that would be a problem, and a website should be included going back to our specific project. The photos look lovely in the company operates in the food sector, specifically desserts and snacks, so the product should take center stage, No question about it, but the question still stands. How many items should we include To get an answer? I've selected three cover images for businesses that are somewhat in the same nation. The 1st 1 is Little Tyke, which is a food delivery service that focuses on raw vegan sweets. They have a beautiful logo, no question about it. But what about the cover image? Before you answer, let's move on to another business called Roars. I'm not exactly sure that's how you pronounce it, but here's their take. Finally, one more cake shop. How do you feel about this one? To get a better sense of things, I'll place them all in one project so we can analyze them, seeing them stacked one on top of the other. There's no question in my mind that the third cover image is the best of the lot. But why is that? Well, the 2nd 1 is far too busy in the 1st 1 is to zoomed in. The thing is, when you enlarge that won. The photo becomes more pleasing to the eye, but I'd say only a small fraction of visitors actually click on the cover image. The key to our question is with this 2nd 1 though they included all these products because , most likely this is their entire menu. The person behind this decision probably, said Chris, We offer a wide variety of products I want people to see. We don't just do cakes. We have pie soups, tofu, veggie meatballs, creams, dip snacks, rolls and a bunch more. If we don't show them all, we might miss out on business. This is the type of thought process that gets you into trouble. This is going to be one of your biggest challenge is dealing with the client. To get a great cover image, you need to show off a handful of products. Pick the best ones, the most representative ones, the ones that make a lasting impact. Would you have seen the third business only handles cupcakes, doubts it. Of course, there is that small risk, but that's a small wager compared to what we see in this second design. I wouldn't even call this polarizing. I think most people aren't going to be drawn to it on the country. I believe most people are going to see this is busy and disorganized. Those are labels you want to be associated with your brand that's having gone through these cases. The best way to go is to show off a handful of products will most definitely not show all 14 off them. We won't include working hours, a photo of their store, a slogan or anything else. My approach is to show off the products and maybe include their logo in a corner. In the next video, we'll get to work so stated. 20. Setting the project’s foundation: let's start photo shopping, create a new project for our canvas size. Let's go with 1920 by 10 80 in terms of aspect ratio we already established. There's no difference between this 1 12 80 by 7 20 or what Facebook asked for right. Let's think about our background. We saw the product photos a diverse, and they feature loads of colors yellow, green, red, brown and everything in between. This means using a solid color is a background similar to the third case we analyzed is out of the question. Put another way, we're forced to use a neutral background because of the wide range of colors shown in the products. Even though we're only going to use a small subset, we can't go pure white because that would be a bit too plain. So I'm thinking we use a light gray before we get to that point. Let's select our photos for the natural juices. I'll drag all four inside the project. I'll hit enter a bunch of times because I don't want to resize them individually. Instead, I'll select them all through the use of the shift key as a quick reminder. Here's how this works you select one layer that will servers one end. Then you hold shift and select another layer that will be the second end. All the layers in between will be selected. In this case, there's only two. But this works wonders when you're dealing with tons of layers. Okay, years controlled tea. And for now we can work in percentages. Something like 70% should be okay. For starters, I like to use shift yet again, this time to change this percentage in 10% increments. Of course, you can always type it in. Now we need to distribute these four bottles, but that's easy to do. Simply grab any one of them and move it to the side to keep it on the same line. Guess what you need to hold down. Yep, shift now. Select all four layers yet again and use the distribute command, starting with Photoshopped CC 2019. These are arranged differently than in all previous versions, but just look for this command. Distribute horizontally in case there to bunch Din's, select one of the outer bottles and repeat the process. I'm happy with this amount of space, but I need them placed in the middle of the canvas. We'll deal with the horizontal axis first. Here's the trick. Before you use any command, you have to group the layers that tells photo shop. It should treat them like a single element. Next, select the entire canvas through control A. Now the alignment tools will become available. Use this icon and we're good to go. Keep in mind this is just the initial placement. We're bound to repeat this process several times until we get it right. Moving on in terms of shadows were in a bit of luck here. The products already have them sorted, so that's one less thing to worry about. Let's have the jars. We have 10 in total, but visually, they're quite similar. For example, this top part is nearly identical here. All this one here with this one. On the other hand, this particular flavor seems quite bland at this size. Mind you, I'm looking at them this size because this is what people on Facebook are going to see. I could check it out in full screen mode, but I'd be fooling myself. That would distort my perspective because I'd make a decision based on small details that only I'd get to see. That's not the right approach going back to my selection. It doesn't make sense for me to include pairs that sort of look the same. This is good news because it makes our lives easier. Overall, I think I will choose four products in total two based on notes to based on Chia seeds. This will show variety without cluttering the design too much. I'll select a subset that says, different as possible, but that's also attractive. These will do just fine, dragged them in and hit. Enter a bunch of times. Next, repeat the process as before. Use controlled T to scale them down to about 50%. Don't worry. These are smart objects, so we can enlarge them without losing quality. Next, move one to the side and distribute them. Considering their size, you may want to repeat this process a few times. You're looking for a bit of space between them. Not a lot, because that would mean the products would need to be quite small. They shouldn't overlap, though, at least not at this point when you're fairly pleased, group them and sent to them horizontally. The idea behind this foundation is to see what we're dealing with by seeing this wide range of colors. I'm certain we can't go for any fancy background. Even if we dropped a few products, we'd still have a hard time making a striking background fit. This gives me confidence that a neutral gray is the best route for this situation. Let's take a short break and pick this up in the next lecture. 21. Creating a neutral background with a noise texture: Let's create a simple, neutral background for this design, though it won't be that impressive. It will teach us a couple of interesting techniques. The first thing that I want to do is to maintain full control and edit ability, meaning I could get the Grady Int tool and swipe a few times. But if I ever change my mind about it, I don't have any options to find. Tune it. That's not how you should work. Undo through controls ed on. Do this. Go to this ying yang symbol, and near the top of the list, you'll find Grady Int. Please check the layers panel. A new layer should have appeared above the background lair. If the Grady and Phil is at the top of the last AC, you won't be able to see anything else. Okay, back to this new window, we want to set a few things. Style, linear angle. 90 degrees scale. 100% enable the dinner option. Now the most important setting is the Grady int itself. To change it, simply click in this region. This will create another pop up window, and this means you have to be careful about how you work That's because this Grady intend ITER is considered above this other one on. That means you can't change the angle. For example, if you try it, you'll hear Photoshopped Ding to let you know that's not possible. This is potentially confusing because there's no error message. But, no, you can't edit this window until you close this other one. Okay, now let's choose a simple Grady in the 1st 1 From black to white, the left side sets the bottom color while the right side handles the top part. This applies only if you follow my instructions. We want to change that pure black to something softer. Double click this small symbol and that will launch the color picker. So 1/3 window I know this could get a bit confusing, but as long as you're paying attention and you don't try to jump from panel to panel, you'll be good for the color chooser. Very like gray of tried various codes are know by heart, and I settled with B C B C B C. Hit. Okay, once, twice, three times. Now, let me explain what I've done first. In general, darker colors should be placed at the bottom of an image. This is why you never wear a black T shirt with white jeans, dark colors, air considered heavy. When you place white colors at the bottom, it's like you're placing a pyramid upside down. Another reason why should place the darker color at the bottom is because of the shadows we want the products toe have done mention and wait shadows and needed to that end. But if you're editing them to a pure white background, it becomes difficult to get the right balance between subtlety and actually being able to see them. The next thing I want to explain is why we chose a Grady Int Phil adjustment layer. Like I said in the beginning, Flexibility. If I ever change my mind, this is what I can do. Double click this thumbnail on we'll get the same window is before click here, and now you can choose any other Grady in from the list or make up your own. This is how you should always work by leaving yourself options. Now, if you've ever seen any of my other courses, you'll know I love layer styles. Let me quickly show you the alternative. All temporarily hide this Grady int fill their next. I'll quickly add a regular rectangle to my canvas. The thing is, I have to make sure it doesn't overflow. I have toe perfectly nail it size. Next, I can use this FX symbol from the bottom of my layers panel. From this new window, I can choose Grady and overlay. Now. This is very familiar, and it does the same thing. You can work like this without any problems. But here's the final twist and why I prefer the Grady in Phil. I'll quickly resize the canvas through the crop tool. Don't worry about the specifics. That really doesn't matter. Notice how the bottom part is pure white. That's because our rectangle has a certain size. It doesn't expand with the canvas size, but let me hide this alternative and re enable the Grady Int Phil notice the difference. The Grady infill always takes up the entire canvas, no matter how you resize it. So if I decide to shrink the projects height, the Grady INT will reapply itself to the new size. Overall, this is why I prefer to use the Grady int fill their versus using a rectangle with a Grady int overlay effect. Give me a second more like back things up through controls. Ed. To give this background a bit more character, I want to add some texture to it. Noise is a simple yet effective style that gets the job done. It may have a bad name, but it's actually a popular effect. Go to the top menu and click on filter from here. Look for noise before you hit. Add noise. I want you to notice something. I have the Grady int layer selected. This noise effect is going to be added to this layer. But if we're not careful will lose our creditability. Photo shop has our back, though click and noticed this message. Essentially, this tells us that if we want to be ableto edit the Grady Int in the future, we have to convert this layer into a smart object. So the essence is this. If you want to add filters, it's best you convert. Those lays in question too. Smart objects. Okay, a new panel will appear on from here. We can choose various settings. I'll go with 5% this preview boxes checked, so this means we can see the effect already applied in the background. If you're not seeing it, crank it up to 10 to 20% because we have this panel opened. We can't use the zoom tool, but we can use certain hot keys like control zero or control one. Use them to get a better sense of things for maybe 5% with a uniform. Distribution is the right way to go. But you can play with it, especially with this monochromatic feature that changes the overall look of the effect hit . Okay, and let's see what's up. The background is nothing to shout about but the stars of the show of the products and they indeed stand out. So while this isn't impressive, I'm happy with the outcome. Take a glance at the Layers panel. You may have noticed the Grady Int fill their now has a different thumbnail. It doesn't look the way it did before. That's because we converted it to a smart object. You may not be happy about this level of complexity, but look what it brings us because this is a smart object. I can do two things. A. I can change my mind about the noise filter. I can click on this icon to temporarily disable it. Aiken double click it and that will show me my existing settings, which also means I can adjust them. And B if I double click the layers thumbnail, I'll be brought to a new document where I can see the original Grady int fill their. This means I can now double click this thumbnail and adjust it. I'll choose something crazy so you can see the difference hit okay a few times. And when you're happy, use the hockey control s to save your edits. Now close this tab and this will bring us back to our regular project. Notice that crazy Grady and has been applied. So while we've gone through a lot of steps, we have maximum control and we can change our minds at any point in time. Please see the workbook for more details and a breakdown of each step to go back to my Grady int, I'll double click again and go through the motions. Truth be told, I could use controls ed to undo, but I want you to see how easy it is to go back and forth and perform all sorts of edits. That's it. for this lecture. Take your time with it and see how you do. If you have questions, use the comments section, the Discord Group or the Facebook community. Have fun with it. 22. Sizing up the products correctly: they remember that Facebook cover that was to zoomed in. That's the type of thing we want to avoid. So let's start re sizing our products and placing them appropriately. I have to tell you this is a trial and error type of process, but the vast majority of beginners do one thing. They make the products to big, so if ever you're in doubt, just make everything 20% smaller and you should be good to go. Let's start with the bottles, use controlled tea and focus on the options bar this area here above the canvas for the W and H fields. We want pixels instead of percentages, as that will give us a better understanding of our sizing. I suggest we go with the width of 2 40 pixels, select the existing value and replace it. What's great is that the chain icon is pressed by default. This means the height will automatically update itself to match the new width. Hey tend to run, repeat the process for the other three. Take a second to think about the height of the project. 10 80 pixels. The bottles height is about 600 pixels, so about half that considering we have this other line of jars, I wouldn't go over that height. When this first line is done, we'll move on to the jars, and only after those air resized will start to arrange them on the canvas here. I don't want them all lined up. Instead, I want to show a bit of depth in perspective by setting two jars closer to the viewer on the outer to more towards the back. This means will use two different sizes for the first and fourth jars will go with the width of 300 pixels. Always make sure the chain icon is pressed. It doesn't make sense for us to manually calculate the height. There's something to be said about the proportions of the products placed side by side is the jar half assed tall? Is the bottle mawr less? In this case, we won't worry too much about it, but you should always factor in the actual proportions of the products. Okay, for the other two will go with the width of 3 70 pixels. These are not set in stone, so feel free to experiment. The reason I went for this approach is to show some variety in the cover. If everything was perfectly lined up, it would have been boring. OK, now it's time to redistribute these items on the canvas. Here's what I propose. Move these two products close to one another. They should just about touch. You'll feel Photoshopped help you position them. As for the outer ones, bring them close in so they're partially hidden by the other ones. The essential point here is to be aware of your layers stacking order. Otherwise, put these should be placed underneath these other two in the layers panel horizontally. You should aim to just about touch the edge of the label. You don't want to hide too much of the product, but you also want it tucked behind the front bonds. So something like this is what you're aiming for. You can still clearly read the label, but we're getting that nice effect. Okay, let's go back to the bottles for a second. What you want to do is bring them in so you can imagine a pyramid like structure. Basically, the outer ones should be placed in the middle of these two jars. When you're happy with it, select all the layers and distribute them through that specific command from the Options bar. Make sure you're on the move tool. Otherwise you won't see them. And if some of these a grade out, that's because you didn't select all the layers. It's the small things that cause the most amount of frustration. But once these work flows, click for you, you'll be flying. OK, moving on. What we want to show is the top part of the label where we can read the flavor. I know this isn't in English, but it really doesn't matter. Thing is, we can't show the full bottle because our perspective would be thrown off. So if we raise this line like so, this would make the bottles huge. And I know for a fact they're not that big in real life. They would tower over the jars, and that's not what we want. To get a somewhat realistic look, we have to hide a part of them. Okay, here's what's next. We need to group everything together and use the align horizontal centers command. Overall, this is taking shape, and the great thing about it is we can use this foundation to create all sorts of variations with different backgrounds, different products, more items, fewer items, you name it after a bit of buttoning up. This is what I came up with. Notice. There's quite a lot of room on the sides as well as above the bottles. This is not a mistake. You never want to cover the entire surface of the design. Instead, you need to give it breathing room. This makes it more elegant. Mawr visually pleasing again. You saw that previous Facebook cover that didn't have any white space, which is, by the way, the official term on the result is what it is. A cluttered mess. Even though the products themselves look nice, everything is off balance and too in your face. Let's further refine our project after a quick break. 23. Creating shadows for the products: the's four jars need shadows, and I want to show you my technique that produces great results with minimal effort. The sub optimal way of doing it is to use a drop shadow. Here's how this goes. You select one of the products and you hit the FX icon from the bottom of the layers panel . From here, you enable drop shadow and you start to play around with settings. Trouble is, this rarely produces realistic results. It can work, but you'll need to pile on more shadows and tinker with it for quite a while. Here's what I propose. Instead, select any one of these products and create a copy through Control J. In the Layers panel. Select the original there and through the use of your arrow keys, move it down five pixels or so. Apparently, nothing major has happened, but to see what's really up, go to the FX symbol and enable the following effect. Color overlay. We're looking for pure black with 100% opacity, with the blending modes set to normal. Now you can see a black edge on the canvas. This is going to be transformed into our shadow. But before we get into that, I'd like to do one extra thing because the products overlap with each other. This means there should be a shadow on this background jar, right? This means we need to extend this layer through control. T go to one of the bottom edges and hold the Olt key. Now slowly drag away, and this will increase the black outline that will form our shadow. We don't want too much at the top of the jar. Instead, we're focusing on the sides. Let's stop right here because we can always further refine it at a later point. Next, go to the top menu to filter from here. Choose blur. Gaussian blur. Now the value you put in can also be adjusted. So you confined. Teen it as much as you want. Let's go with 10 pixels for the radius. This is pretty nice and soft, but it's too in your face. To tone it down will drop the layers opacity to 20% maybe even less to quickly change a lens Opacity. You can hit its number two for 20% 5 for 50% and so on. This is much more like it, by the way, feel free to rename this layer to shadow or something similar, so you don't get confused. If you want to extend the shadow more towards this background jar, simply hit control. T. Photoshopped will let you know it will temporarily disable the blur effect, but it will be reapplied once you hit. Enter used the's handles in combination with Colton Shift, depending on what you want to do and what Photoshopped version you're using. I won't play with it too much since I'm pretty happy with it. Next, I'll show you another great technique. We already have a big shadow, so it doesn't make sense for us to perform the same steps for this other product, right? Here's what you need to do. Select the shadow layer and create a copy off it through Control J. Next Control. Click that other product on the canvas to identify it in the layers panel. Here it is. Now I want to do two things. Your copy of the Shadow needs to be placed underneath that layer in the layers panel. Drag it underneath it and you'll be good to go. The second thing you need to do is position it exactly in the middle of it. You could potentially use the move tool on the canvas to try and figure it out, but that's not exactly precise nor fast. Instead, here's what I propose. Hold the control key and click on the products. Thumbnail. This creates a selection, and you can figure that out by looking for these marching ants. Next, select the shadow layer. Finally, whilst on the move, Tool used the align Horizontal Centers command, and that's it quick and extremely precise to wrap it up de select by using control D. I'm going to continue to work in the background for these other two products, but I want to talk about these techniques. Creating a shadow by using color overlay and the gash and blur filter is useful in a ton of cases, especially if the layer is fairly complicated. This alignment technique based on control clicking the thumbnail is also extremely versatile and valuable. I use it in a bunch of situations, and I believe it's worth learning. Sometimes Doing things the easy way isn't the best way to learn the way I like. To go through these projects is to explore various techniques that you can later apply in your day to day work. I know it makes it harder to follow, but believe may the trade off is worth it. By the way, for the outer jars, you could go with the five pixel radius because you want to show a more diffuse look. You can also leave the duplicate claret its original size because we don't want too much out of shadow. Overall, this is where we're at. But let me point out something that a lot of beginners screw up. I went for a low pay city under 20%. This is how shadow should look subtle. What you want to avoid at all costs is this. Look 50% opacity. This is way too strong. It's similar to wearing perfume. You want people to notice a hint of it, but not get hit by your scent like a brick in the face. So less is always more when it comes down to shadows. By the way, when you have all foreshadows selected in the layers panel hit this are parro to collapse their effects. It's really important to have a well organized layers panel, so you can quickly get your bearings. Okay, this is our progress, we could do a much better job with the shadows, but honestly, it's not worth it. There are 20 hour courses just on this subject alone for May. I'm looking for a strong eight out of 10 and I believe we achieved that. Mind you in only a couple of minutes. This is what you want. Solid results in a timely fashion with minimal effort. I'll see you in the next lecture. 24. Fine Tuning the Cover: welcome. We've made great progress with our Facebook cover, but I want to take a few moments to try to take it further. For starters, I want to create some type of floor so the products don't float around like they're in space. Grab the rectangle tool and click anywhere on the canvas. I sometimes prefer this approach because I get to type in my measurements. I know the exact width of the project 1920 I can approximate the height that I'm looking for. It's about half the total height, so I'll go with 500 pixels. Reposition this layer through your mouse, or you can also use the alignment tools along with control. A. No matter how you do it, this is what the floor should look like. As for its color, let's go with something neutral like E B E B E B. Now this is the moment of truth. When it comes down to our shadows, how do they look now for me? I think I need in the Pacenti level of around 15% or so. But keep in mind, this also depends on the KAOS and blur level you used. Take a moment to see if there's anything else that might need your attention. I'm really happy with our progress so far, and we're nearly at the finish line, considering we have quite a lot of space to work with. I think we can include their logo without sacrificing aesthetics. This is also a good opportunity to talk about sizing yet again. The original logo is huge. That's to be expected. If the client gives you a puny logo, then you're in trouble. Most beginners do this. They dragged the logo inside our project, and they scale it down to about 400 pixels in width. With this size, you could place it in the horizontal center of the project, but you can also use it in a corner. I like the second option better. But here's the thing. Even though it fits at this size, it's overbearing. Ralph Lauren, the company behind the popular brand Polo, got a lot of backlash a few years ago when they enlarged their logo dramatically. There were several means going around the Web that pointed out how obnoxious this move really waas. Sure you want to show off the brand, but do it in a tasteful way. Don't go overboard with it. Well, that same principle applies in graphic design. So instead of having this huge company logo will scale it down to 200 pixels, some might say it's too small, but I beg to differ. It's all about establishing a clear hierarchy, and in this case, the star of the show is the product you don't want these two battling for attention now regarding its positioning, Use the following technique. First, place it at the top right edge of the canvas. I always use the alignment tools for that as it's fast and precise. Next, use the arrow keys from your keyboard in conjunction with Shift. This will move the logo in 10 pixel leaps. Start to count out your taps. I want six towards the left and six taps towards the bottom. This is going to give me a margin of 60 pixels on both sides. In case you're not sure about the amount. Tapped twice horizontally, then tap twice vertically repeats until you're happy. Thing is, even though you may think you've nailed it, we still need to upload it to Facebook and try it out. I'll go through the motions fairly fast as there's nothing special going on. Ideally, you don't want to see a little bit of the bottle caps at the top, no logo and a little bit of this ribbon that tells the flavor of each jar. Keep in mind, we can always reposition this cover by using our mouse. You might be surprised to hear that I don't want the logo shown in the initial state. That's because for that to happen we'd have to move the logo somewhere around this area. That would look totally weird, so that option is off the table. Overall, this is our Facebook cover for a company that sells physical products at least version one now that we can try out various things if we have other ideas, though, truth be told, that clean look is always nice toe Have still let's see what's what. In the next lecture 25. Using vector graphics to create version 2: way have are clean version done, But maybe the client wants something with a bit more sizzle, right? Let's progressively turn it up a notch. Before you do anything, make sure you group everything into one folder and you rename it to something like initial design. After that's done created duplicate through Control J and Hide the first group. Okay, let's see what we can do. My first idea is to give the background a bit more personality while keeping it non intrusive. While we could create something from scratch, free pick dot com is every designer's secret weapon. During the break, I spent a lot of time searching for white backgrounds that aren't too harsh. Most of them are geometric or features, sharp lines or angles that's not in tune with this brands vibe. We need something fairly friendly and approachable. Here's my choice. It's not perfect, but it's pretty close to what I was thinking. Here's how this goes. First, you need to have Adobe Illustrator installed. If you don't have it, you'll be forced to use the J Peg version, which is problematic. Use the download button and that will give you an archive inside it. You'll find a couple of files. But what we're looking for is a dotty P s or a dot ai file. If you double click, it illustrator should launch in a few seconds. By the way, using both programs plus a browser is quite intensive. So please make sure your patient with your computer okay, you don't need to know a lot about illustrated to get the most out of free pick. What you do need to do is delete any extra layers that aren't needed. In our case, that's these two lines of text. Select them one at a time and use the delete key. It's a simple as that. If it doesn't work, you can either double click them a few times. Or, better yet, go to the top menu to window from here. Open the layers panel. While it's not exactly the same as our photo shop one, you can use the familiar I icon to play with each layers visibility. In this case, we have a group called Elements that contains both text layers, hiked them, and now you can select the entire thing. Next we need to use control, see to copy it switched to photo shop, and I always recommend you zoom out a bit. By the way, an easy alternative to zooming in and out without using any hot keys is to drag your mouse towards the right to zoom in, respectively towards the left. Resume out really easy to understand. Okay, now that we see the entire project, use control V, you'll get a new window that will ask you how you want to paste that lair. Always choose smart, object and never have this option checked. Okay, here's the situation. In some cases, the pasted element is huge, while other times it's tiny. No matter. We're in free transform mode so we can adjust it as we see fit. When you want to quickly in larger lair, use a corner handle but hold all tas well, this hockey will make the element expand on all sides. Keep in mind, I'm using the latest photo shop addition, where the program constrains the aspect ratio by default. If you're using photo Shop CC 2018 or an older version, you'll have to use both Ault and shift when re sizing. That's an important step you shouldn't overlook. Okay, once you've made this abstract background as biggest the canvas hit. Enter and reposition it in the layers panel. What you want to do is place it above the Grady Int Phil Smart object. Now bear in mind. You can always move it up or down. The width is the essential part. The floor hides a big chunk of it, so there's no problem with offsetting it. Okay, looking good. Except one point the floor gets lost, but I have a simple yet effective solution selected in the layers panel and enable a stroke . We're not looking for anything fancy, just a pure white stroke that set to outside. As for the size two or three pixels, will do the trick just fine and that's it. That's our first alternative. It's not a big leap from our initial design, but it's a bit more interesting. 26. Creative Facebook cover iteration: Welcome back to our Facebook cover project. This alternative is going to be the one you're probably interested in a realistic one where the products are placed on a shelf for a wooden table of sorts on there's a beautiful nature seen in the background. I initially didn't want to go this route because it's difficult to pull it off correctly as you're about to see. So be warned. It's going to be a lot of fiddling with it. And even so, it's still not going to be a 10 out of 10 because of time considerations. All right, let's dance. The first thing we want to do is get a wood pattern or photo. The best place, as always, is free pick, but you'll see you'll be flooded with. Choice is my advice is you stick to parallel boards that a fairly dark This will make your perspective that much easier to nail. After a couple of tries off camera, I decided to use this one. In these cases, you don't need illustrator because the resources just a simple J peg back in photo shop. Make sure you select the floor layer before you drag the image in. That's because we're going to create a clipping mask after we size it up correctly. Let's do that now, though. Make sure you're fairly zoomed out before you start. Okay, grab a corner handle and drag outwards whilst holding down. Bolt on, depending on your Photoshopped version. The shift key as well. Great. Let's create the clipping mask through Olt Control. G. Enter free transform yet again, and now we'll make the floorboards much shorter. Now the shadows aren't really visible anymore, so we'll have to adjust those. But let's tackle the top half, since that will be easier to handle. While we could look for something abstract, I believe the key here is to find a photo that reflects the brand's values. In my mind, this should be a photo rich ing green to implying natural flavors, maybe a park with some kids playing or a family picnic of sorts. That's pretty tough to find, but if you spend 10 to 15 minutes on unspool ash dot com, you should find some decent candidates. Then it's just a matter of trial and error. Drank them inside something. To be aware off is the position of the background you wanted above the Grady int fill their but underneath the wooden table that has the clipping mask. After you've placed your options, you'll have to resize them so they fill the entire width of the canvas. Then you'll have to blur them through the filter menu. Goshen blur, of course, but at various strengths, depending on the photo, a good starting point is 10 pixels and then work your way up the one thing Make sure you disable the white stroke because that's really messing things up. I'll cut this short out. Of all my choices, I think this one is the best. It features lots of shades of green and yellow. It's cheerful. It provides a good amount of contrast to the product. So for those reasons will continue with it. The logo has to be removed because it gets lost, and considering there's a lot more going on, we'd best hide it instead of trying to integrate it. Okay, now let's focus on the shadows, select all four of them and crank up their opacity to 50% here. I'm pretty happy with it, though I might change it up. A We go along. Okay. Now I want to apply some effects to the wood that will enhance the idea of depth. Please select the rectangle in the layers panel or not the photo because the layer styles will have totally different values. If you mix these up right, start with a Saturn effect, which will help us darken the top and bottom parts for the settings. Let's take it from the top, starting with the color, which should be pure black Theo Pay city 20% or so should be fine, so pretty subtle Blend mode. Multiply angle. 90 degrees Distance. 25 pixels size 15 pixels. Make sure anti aliases checked while inverted should be turned off. It doesn't make a huge difference, but these incremental edits will add up next. Enabler Grady Int overlay Here we're looking for a pre installed one that goes from black to transparent. The darker part should be at the top of the table, and that makes sense since it's further away. I know in a previous version, they said the darker side should be at the bottom, but in this case that doesn't apply. Okay, have a look at my settings Normal blend mode with a low pay city somewhere around 20% or so should be fine style linear with an angle set of 90 degrees. Reverse should be checked only if the darker side isn't at the top. Okay, this is starting to take shape, but there's one final thing that will really make this stand out. Go to the bottom of the layers panel and add a new layer. Next, use the hot key Shift F five. If that doesn't work, for whatever reason, go to the top menu toe edit from here, scroll down near the middle and look for Phil. You can see it's hot key to the side from this new panel. Choose the following for the contents dropped down. Go with 50% gray. Keep the blending mode to normal on the apace ity at 100%. It's okay and you'll see everything is going to be hidden. But don't worry. Go to the top of the layers panel and click here. This will change the layers blending mode. We're looking for overlay. It magically went away, but it's still actually active. Here's the drill. Go to the tool bar on the left side of the screen and look for the burn tool use the hockey Oh too quickly. See where it's at. It may be hidden underneath other tools, so click and hold to select it. This is going to act like a brush that will enhance and create shadows in key areas. First, let's have a look at the options bar. We're looking for a fairly big brush, maybe around 100 pixels or so that has ah Hartness set 0%. Click here to adjust it if needed for the range. Go with mid tones next to it. We have exposure. This controls how big of an impact. Our brushes going tohave will start at 50%. Even though that's on the high side, I want you to see what this does now. Start to brush at the base of each jar. Notice what happens. Theo. Entire thing gets darker. You can, of course, moved back and forth to enhance the effect. You can also quickly change the brush size on the fly by using your square bracket keys. The left one shrinks the brush, and you can tell that's what's going on by noticing the cursor. But you can also take a look here in the top left and you'll see the number will constantly drop. Is your tapping the left square bracket. On the flip side, the right bracket key enlarges the brush. This is a good flow to master because it keeps your mouse in this key area. What comes next is a bit of trial and error. Brush around and see if you're on the right track. If that's not the case, use controls ed. Try to avoid very long brushes, meaning you could click and hold and do the entire thing in one go. But if you undo, you'll lose all your progress instead. What makes sense is you do an area, and if you're happy, you release your mouse click and you move to another one. Basically, you break it down into smaller parts so you can confidently use the undue command. The goal of the burn tool in this case is too dark in certain regions that look fake, that look too bright and out of place. Even the middle region where we have our bottles will benefit from a bit of brushing that you might want to drop the exposure down to 20% or so because the products are grouped together that part of the table needs to be darker because less sunlight is going to shine through. Thus, this entire radius should be darker than the left and right sides. One thing I really hope you're looking at the video at 10 80 p. Otherwise, you won't be able to pick up on the difference. Still, to help you see the benefit of this tool, Argo bit overboard with it and really accentuate the shadows, just in case you're watching this on your phone or at a lower quality when it's your turn, please don't use 50% exposures. That's a bit too strong. One final tip. Use a small brush. When you're dealing with the brown creams that are at the bottom of the jars, you can see they're fairly bright. They have a highlight, probably because of some strong studio lights. But that looks weird in this scenario, so take your time to mellow it out. Overall, this is our Facebook cover. It does take a lot of fiddling and refining, but the more love you show it, the better the result. I'll stop here for time considerations, export it and test it out on Facebook and see how it looks. While it's much more impressive than the other versions, it also requires more time and more skill. From my point of view, it's important you go through all these versions and you find your balance between the amount of work you're willing to put in on the type of quality you can produce. Please be aware that because of the 50% gray layer, you won't be able to select layers from the canvas through control clicking. That's because the layer, even though it's invisible, covers the entire canvas. So what you need to do is you hide it. You make whatever adjustments you need in the new re enable it. And just in case you move a jar to a totally different position on the burning doesnt make sense anymore, grabbed the razor tool and put it to good use. The hot keys. E. This works exactly the same. You have a size and various levels of intensity here in the options bar, but what's cool is that you can brush away any mistakes. This means you can go back and forth between burning and a raising until you get it right. My preferred method is still based on controls ed. But no, the rays. It'll is a valid alternative. Thanks for working along, and I look forward to your versions. I know it can be a bit daunting, but please stay positive and have a cheerful attitude. Even if you get stuck or something doesn't work as expected, you're bound to run into trouble sooner or later. But remember, I'm here to help. Have fun with it.