Transcripts
1. Skillshare intro: Our IT folks and welcome to Skillshare. So this is an exciting thing. You actually found one of the biggest baddest Affinity Designer courses out there for the iPad. So we've taken eight hours worth of material and we've chunked it down today, eight projects, specific projects that you can utilize. And so there's eight volumes total in this thing. We would recommend that you take them in order. We start off with the basics of shapes and then we move up to things like pixel. But if you feel uncomfortable and you want to learn a little bit about a certain functionality, feel free to take the volume that matches your skill level. So we're very excited to be here on skill share and we hope that you learn a lot from Affinity Designer. And if there's anything we can do to help you along your journey, when it comes to infinity, hit us up in the comments and we will respond. All right, thank you very much. Have a good time.
2. Basics of color and free resources: All right, folks. And welcome back to a fitted the designer. So the name of this section, as it implies, is all things color, some advanced color concepts. And then we're gonna talk about masking and adjustment layers in this section. So we're to take the vector art that you're familiar with. We're gonna take the lines and the curves and shapes that you've created, and we're going to begin applying color at a deeper level, masking and really throwing in some really cool artistic elements. So let's go ahead and get started. The first thing we want to talk about here is some basic terms in color. So you might have heard the term H s l right, hue, saturation and lightness. Now, when you open up, affinity designer, we're gonna be working here in the color tab. You see how I'm moving that in and out? Hopefully by now. You know where the color tab is. There are a lot of different ways that you could look at this. I tend to use the standard color wheel, which is where I'm at. But if you toggle to the right, you'll see that you can choose an H s L slider. Now again hs l hue, saturation and lightness, so the hue could be thought of as the color. The saturation could be thought of us. How much color is there? And the lightness could be thought of as how bright or how dark the color is now. While we might be on the H S L slider, let's skip back to the color wheel. You'll see the same things or present. Hugh is around the outside, so that changes the color. The saturation is going to be kind of on a scale moving this way. You see that over near this point of yellow, it's highly saturated. As I get further and further away, it's less saturated. And then if we move to the up down direction here, you can see that lightness comes into play. So if you understand hue, saturation and lightness, all colors that you could potentially see are included in that area. So that's your first big win here. Now you've got the HSE l sliders, and even if you've got color where you want it, let's say you can adjust the opacity of that color as well. Then you've got what are called the R G B sliders. Now, as we said before earlier in the lessons RGB stands for red, green, blue. These are the colors that your monitor shows up. So when you're working in Web persona or when you're working on a digital project, you're gonna want to be an RGB. Now, on the contrary, notice if we click one to the right, you've got the C M. Y que now see M y que matches the color cartridges that are found in your printers. You see the science magenta, yellow and black, therefore the C M y and then the K so you'll see here that c m y que. You can adjust these sliders to and every color that you could see that's conceivable. Out there can be translated into C M Y que coordinates. You see the scientist 44%. The magenta is nine and the yellow is 12. So when we do this part, if we wanted to make a custom adjustment, we just tap on the 12 and we could move this over to 63 and you'll see how it changes the color. So in each one of these sliders, you can tap on the numeric calculation if you knew where to go to get the numbers for this . Now let's show you where to go to get that. I'm gonna go ahead and I'm gonna leave affinity for just a moment. And I'm gonna come in here to Google. There are three. Resource is that we want to give you here to show you where to go to get some really cool color ideas. The 1st 1 I'm going to show you is the adobe color wheel. Now this is adobe color C C. This does not require an adobe subscription. This is a free service, you see color dot adobe dot com and there are different types of color palettes. You can have the analogous you can have the monochromatic. You can have the triad, so you pick the color combination that you want and then what adobe will do for you is it is an example. In the triad, you have three colors that are equal distant apart on this color wheel. So you see now if I shift the yellow, it will keep the distance and it will come up with the triad IQ color scheme for me now if I wanted to adjust it, make it a little more white, which is a little more light. Right? Notice how all three of these things now converge toward the center of the color wheel. So if you wanted to say work in pinks and you wanted to use the triad IQ method, you could then say adobe, What colors are directly at that third area for this particular color. And now the important thing is take a look down at the bottom. The screen. You see the RGB value? This particular code is 2 50 62 to 55. Now watch this. Come over. RGB 2 50 Okay, 62 okay. And to 55 now. How am I doing that? I'm just tapping on the numbers and look at what comes out. Look at that pink color. That's exactly what we're seeing right here in adobe. So this is a huge win for you. If you know what color you're trying to achieve in affinity designer, you can enter the c m y que or the RGB value, and it will find it. The one thing that we do not have into the iPad version. We have in the desktop is hex codes. Hex code so far have not caught up. All right now, another option you've got. Let's take a look at coolers dot c o. This is a really cool custom generator for colors. And I use this a lot when I'm looking for colors that might be complementary. Now, let's say that I like this particular seafoam green. I can lock it down, and now I can move around and I can look for alternative shades of some of these other colors in order to determine what I like. And if I wanted to adjust them notice we've got the hue saturation in lightness. We've got the RGB values that you can get. We've got the c m Y que values that you can get. This will give you all of the values for these additional colors. So if you like this one and you want to copy the C M. Y K, now you know how to do it. Once you get this the way you like it, we can lock this one down. Once you find a palette, you like, you can save it as a pdf and then guess what happens you can color pick from this color pictures in the next lesson. All right, The last thing that I want to show you is a site called Design Seeds. They take pictures and they go through at every season. Every so often they'll make entire collections around, say, here's autumns, right? So we go to autumn, and now this is going to be designed seeds for autumn, and they've got different colors of grays. And if you like these, you can certainly color pick from the design seeds as well. All right, folks, that's a little bit on how affinity identifies color, how you can use C. M. Y que and RGB to choose color in the next. Lessons were going to go ahead and show you how to do this with the color picker tool to grab some of these pallets and take the next step on a ride. Folks will see the next one
3. The color picker tool: All right, folks, welcome back to offended the designer. So we're gonna talk about one of my favorite tools in affinity designer. And that's the color picker tool. Because sometimes you get handed a piece of art You don't know which color of blue they used, but you needed to match. Exactly. The color picker tool is going to be a lifesaver for this, so there are two ways to do it. So let's go ahead. And it started in your downloads for this lesson, I've included a picture, so let's go ahead. Come to her document panel. It's going place this image and I've already moved mine into my photos and I'm gonna put in this skull here, So we're gonna go ahead and put this skull in. So let's say you're giving this piece of art and you want to know what color of blue is up here in the skull? The first way to do this. Come over to the color picker tool and let's look at the context toolbar. Make sure auto apply is on. Now you can choose other radi I so five by five pixels 17 by 17 65 by 65 I'm gonna make it just a single 0.1 picks along. That's it. And then if you wanted to use current layer versus global, you could I'm gonna use global. But if you had 10 layers and you wanted to choose the base color, you could absolutely choose the lowest, most layer. For the purposes of this tutorial and the purposes of 99% of what I do, we're gonna make it super easy. All you do now drag out this color picker and now look at what happens under here. You can become absolutely surgical with this Now the little dot in the center is the color that it's choosing. And what you want to pay attention to is that outer ring, because that's what's going to change in your studio for color. Watch this when you release it. Look at the studio for color right here. Look at the color that just came up. So if you're not really method, um, how should I say disciplined in your pal? It's the color picker tool will save your bacon quite a bit because if you forget which color was used, you can always pick it. Now, here's and nuance to affinity. Designer. This is a known bug as of October, so this is not uncommon. The color picker is also present into the collar studio, which is where I am right here. And you'll see that the color picker the eyedropper exists up here in the upper right hand corner. Watch what happens just so you see. All right. So let's say we got this square and it's red. And now I want to find this color of red again. Right? So I go through and I add a couple more things. And maybe I've changed the color of red. All right. Now, theoretically, what you should be able to do is grab the eyedropper swing down here. But you see how this is becoming black? One of the nuances of affinity designer for iPad. The pencil does not work here in the color studio. Now, if I do this with my finger, watch what happens? I'm using my finger now. Hey, look, the finger works just fine. Now I can hand pick this color of red. So this the nuance they know it exists. They know it's a bug and they're working on it in affinity Designer for iPad, but I don't want you really being frustrated with it and saying this method doesn't work into the color studio. You must use your finger to use the eyedropper, Which is why I use my eyedropper tool 99% of my time in affinity. Designer. All right, folks, that's it for this lesson. Just a real quick one on how to work with the color dropper. Let's go ahead and take the next step.
4. Color Pallet Management : All right, folks, welcome back to offended designer. So I thought, maybe what we do here is I want to show you how to take images and use the color picker tool now to create what are called pallets. Now pallets are like predetermined collar sets that are composed of swatches in the desktop version of affinity Swatches created pallets. In the iPad version, it's a little bit different, so your swatches are found here in the color studio. At the bottom, you see where it says swatches. Let's go ahead and take a look at this. Now swatches are like small samples of color that you can choose and select. And if you travel over here to the right, there are a lot of different pallets that are composed of swatches. So what I need you to understand right now swatches form pallets, so let's go ahead and create a pallet. Now you're a professional designer. Usually every project you'll create a palette for that project, so let's go ahead now. And if we click on the three bars up top, there are what are called application palettes and document pallets, so an application palette is a palette that will be applicable to all of affinity. Designer. So whether it's this file or another one, you will be able to access that pallet. However, for most the things that you'll do, you will use what is called a document palette. Now this is a disclaimer. Affinity designer as of the recording in October does not allow you to import or export pallets between your desktop and your iPad version. However, if you do have a document palette, that palate will travel with that document. So I used document pallets a lot. Let's create a new document palette, so we're gonna add one now. It was terribly inventive. Unnamed, too. Let's go ahead and rename. Hit those three lines and let's go to Rename Palette. Let's call this. I'm gonna call this skull palate. You can name yours whatever you want, and we go ahead and hit. OK, now you see, there are no swatches in it in your downloads. For this lesson, we've included the J Peg. It's one of my common stylized skulls, so let's go here and place an image. I've already got it in my photos, and I'm just gonna go ahead and pull that image in. And now this is gonna give you practice in the color picker tool as well. So this is the image that will be working with, and we're gonna pull some colors out of this image. Now, this is extremely essential to this activity. Make sure you de select after you import the image, so make sure you hit that X. If not, it will start trying to color it. It's super weird like that. All right, so let's grab the color picker tool in the tools area, swing it over and just pick any old color. I'm gonna pick a color of brown here that I want to use. So let's go over to this bone here, and I'm gonna pick Brown. Now, you see, the outer rim is brown. Cool. Now let's look up here. You see up in this upper right hand area, that color of brown came into existence. So when you do this, all you have to do in order to get this into the Phil is just tap on it. You see, once we tapped on it, the Phil came to life and now you hit on the three dots and current filled of the palate power. There you go. Let's add some green. Grab the color picker tool. Find this I here, which could be a little bit tricky. Pick any color green and you'll see that the green comes up. We got the black. Actually, we didn't get a good enough. Hold on the green there. All right, now we got green. Perfect. Now tap on the green, the green comes up and add current filled A pallet. Now you got green. Now you got Brown. One more time. Makes it really right. Grab the color, picker. Let's grab some of this rusty red color. Here. See, we get that air, we go get some red going on. Now you see how the outer line is Red? Hold it. Perfect. You see how now the red has transferred up to the color palette tap on the red, and now you'll see that the pill is enabled, and then you're gonna hit the three lines. Add the current field of the palate. So that is how you create a palette. And now let's go ahead and long press on the skull palette. Notice here that there are document pallets and there are application palettes and the skull palette has been created as a document palette. All right, folks, that's a Sfar. As affinity designer is going to let us go right now. In the desktop version, you can import and export pallets, which I think it's super helpful. But a limitation right now at this time is you may have to recreate your pallets off from the images when you get them in there. So it's an additional step. It's certainly not perfect, but again, I don't want to take away from this wonderful program. All right, folks, that's it on this one. Let's go ahead and get into Grady inside. I'm gonna show you how to create a greedy and palate.
5. Mask layers: All right, folks. And welcome back to affinity designer. Now, this lesson is going to be one of the most important I would consider to any digital art. This is our lesson on Mass Claire's. So let's go ahead and open up. A document. Doesn't matter what size I like to stay square, so I'm gonna go ahead. I'm gonna make this 1000 by 1000 and we hit. Okay. Now, I want you to discard everything you think you know about color because color and mass Claire's don't work in the same vein. Mask Claire's work on black and white on luminous on shades of gray. So the thing that I need you to understand right off the bat black conceals white reveals OK, get that down in your head There Black conceals white reveals. Now let's see what I mean. Here in this workspace, let's go ahead and drag out a rectangle and make this rectangle red. Then, with the rectangle still selected, drag out another rectangle and make the upper rectangle blue. Okay, so let's check our layer structure. The blue rectangle is above the red rectangle. Everybody on the same page. Now, mass glares are special. So you come over to the plus and we're going to put in a mask. Lair. Now, notice the mask. Claire, is this white square that is beside the Blue Square Mass glares are tied to the layers. You can't separate the's at this point. And the white means that all the blue is visible because, remember, white reveals black conceals. So right now you can see all the blue. What a mass Claire does is it uses black and white to tell the layer how much to show. So let's try this. All right, so we got our layer structure set up right now, we're gonna flip over to our pixel persona. Masking works in the pixel persona, folks, we're gonna grab our brush. We're gonna grab any old pixel brush. Let's go ahead. I'm just gonna grab this scattered shock and I'm gonna crank up the size of this scattered chock brush. Now notice we are working in black. So if black conceals and a mask layer tells affinity designer how to deal with the blue? What do you think is going to reveal through you? See how the mask layer has revealed the red underneath and Why is that? Because it's concealed some of the blue. Now let's do this. Let's go toe white, Keep everything the same and now paint with the white color. Now I know what you're saying. You're saying, Jeremy, I'm not painting and white. Why am I getting blue? Because you're not actually painting on the layer. Your painting on the mask lair. So the mass Claire tells affinity designer what to do to the blue rectangle? All right, so now let's go to a shade of gray. All right, let's go here to this lighter shade of gray. Make sure you are on the Maskell air. And now what happens with this lighter shade of gray? Not a lot, right? But now, if we go to a little darker shade of gray, make sure we're on the mask layer. Look at how mawr of that red shows through. And then when we go to the deepest shade of gray, which is black, look at how much of that mask shows through. So a little bit of grey, mid tone grey, a lot of black. That's how a mask layer works. So in order to create a mask lair, you choose the layer you want. You come up to the plus side in an amass Claire to delete a mass. Claire, you do the same thing. So I'm asking is one of those fundamental concepts that you're gonna want to get down because it allows you to add texture to your art. All right, that's a little bit on mass. Claire. Let's go ahead to take the next step. I'm gonna show you how to make a clipping mask. We're gonna be working with mass glares quite a bit in this course to get a lot of practice with it. What? I need you to just get deep down into your soul. Black conceals. White reveals when it comes to mass killers. All right. Folks will catch in the next one.
6. Clipping masks : All right, folks. Welcome back to Infinity Designer. So we're gonna show you really easy how to make a clipping mask. This is literally going to be a three minute video. If it takes longer than three minutes to explain it. I've done something terribly wrong. So let's go ahead now and grab a shape so we'll grab a triangle. Now, let's go ahead and let's grab a rectangle and we'll bring this rectangle out. And I want you to make the rectangle bigger than the triangle. All right. In the rectangle, change the color to whatever you want, right? I'm gonna go ahead and I'm gonna work with my color wheel. I make it red. Awesome. Now, this is what is called a clipping mask, and you've already done this. So this is not a new thing for you. See how the rectangle is bigger than the triangle? Click and drag it down inside. Okay, That made the triangle a clipping mask. So what I'm gonna do, I'm gonna rename this clipping mask. And again, this is a nice way to make sure that you've got the shape you want. Now I've got a minute and 1/2 left So let me show you something else. Knew We're gonna go to the vector brush. I'm gonna grab my standard old vector brush. I'm gonna crank up the pixels here, and I'm just going to make a jelly bean style shape. All right, let's go ahead and crank that down here. Come up here. Crank that down a little bit. Come over to my no tool. Close the path. All right. Perfect. Now let's say that we wanted to put our rectangle or triangle inside the curve. Bring it in now. Where to go? It's definitely there. But see that the jelly bean shape is now the clipping mask. So you've got a clipping mask of a clipping mask. And the cool thing about this is now, if you grab this jellybean shape and move it around, it will resize everything that's in there. So this is another way that you can mask. If you only wanted the red to be shown within this curve, just put it inside the curve. Clipping masks save you a lot of time trying to figure it out. How to make mass. Claire's so clipping masks super easy. I got 10 seconds left and in under three minutes. You understand the idea of making clipping mask. Alright, folks, let's go ahead and get into the next lesson.
7. Gradient and Transparency masks : Alright, folks, let's go ahead and take one more look at one other way to deal in masks. None destructively here. An affinity designer to add one more tool the arsenal. We're gonna show you the transparency tool and how to use the Grady int layer with the mask lair. So let's go ahead and take a look at this. So let's go ahead now and just drag out a very simple rectangle. And now we've done this before 100 times. But now let's grab this little glass here. This is what is called the transparency tool. Now the Transparency tool works like the Grady in tool. Now notice it works in black and white. So black conceals white reveals. All right, so now it works on opacity. Right. So you see where this is dark up here. It's very, very black. You see where this is white transitions. Now you're saying, Why is this different than a Grady and fill? Watch this. If I come up here and I drag this from corner to corner now I come up and I grab a new rectangle and I drag it to the bottom. Let's change the color of this two black. Get some good contrast. Watch this dragon to the bottom. How that's how it's different. It's not a Grady and fill it is straight up transparency. So now if I'm on this rectangle, I can come back to my transparency tool, and I can adjust the transparency of this particular shape. I could bring it in and almost create a very solid line. I can create a really nice gradation, and I can change it a lot of different ways. So the transparency tool is huge. You could reverse it if you wanted to. You could rotate it if you wanted to. And you can hold it to the aspect ratio if you wanted to. And then you can do different shapes very similar to the Grady, a tool. But you were asking how it was different from the greedy and tool. It is not opaque. It literally is transparent. So we're gonna use transparency a lot. And now why do I bring this up? It really is a mask. Clear because if you wanted this, let's go back to a linear. And you wanted this portion to be well seen up here in the red and you wanted it to fade in gradually. You could do that with a mass, Claire. As a matter of fact, let's show you how to do that. So I'm gonna take this rectangle here and I'm gonna trash it. I'm gonna grab a rectangle tool and we build another one and I'm gonna bring in the same red cool. But this time now with the rectangle selected, let's grab a mask. Lair Now again, White reveals black conceals. So everything is revealed right now. Let's do this. Let's add in a Grady int, Phil. Now you're saying, OK, I've seen this show before, Jeremy. Yeah, you have, but not necessarily on a mask. Lair. Now White reveals, we're gonna keep that dot white, but black conceals. We're going to make this black and you'll see because it's on a mass Claire. It's doing the exact same thing that the transparency tool does. So a mask lair functions the same way the transparency tool does. Transparency is a way to mask. So wrapping up this area on Mass Claire's Before we get into the project, you can use a an actual physical mass, Claire, which is up here in the layers panel. You can use the Grady and tool on a mask lair, or you can use the transparency tool to create the same effect. The only difference is what you really wanted to do. So there's three ways home here in affinity Designer. However you grasp this concept and we're gonna do a lot with mass killers coming up in a project, you're going to want to get familiar with them because mass glares are awesome. Now, let me show you how this might also work. Here. We're going to go ahead and delete this one last time. I'm gonna put a mask layer down, and now I want to show you how you can get there the traditional way you come over to your pixel persona, grab your brush and we're gonna grab a very simple airbrush. We're gonna go to this airbrush for I'm gonna crank up the sides of my airbrush. And now I'm just going to start etching down the bottom of this thing very subtly, very slowly. You see how it's doing the same thing only with the texture of the airbrush that the transparency tool was doing that the Grady and Tool was doing so when I say Pick the right tool notice. It's not quite a smooth in greed ation as some of those other tools, but you're getting to the same place. And this is key because it's a non destructive workflow. And when I say nondestructive, you didn't destroy the rectangle. Just delete it. Rectangles back. All right, folks, that's a little bit on Mass. Claire's go ahead. Whichever process you want to use, it definitely is dictated by the effect you're trying to achieve. Let's go ahead and get into a project and we'll show you what you mean.
8. Setting up the project -Step 1: all right, folks will go back into the project. Now, this is gonna test everything that we know about the artistic nature of affinity. So this is not gonna be a mechanical lesson on vectors. We're actually gonna put together mass glares, blend modes and everything in between in order to create an actual project that you would see, say, in a Children's book. So let's go and get started. We don't come up to a new document. Now, it doesn't matter what size the document is. I'm just gonna go with this default. Whatever you decide to do is completely fine. And now we're gonna go ahead and we're gonna hit, okay? And I'm gonna go ahead and zip this thing down a little bit, make it look a little bit better. Now, the first thing that I'm gonna do here is I'm gonna pull out a rectangle right now. We're gonna go ahead and let's go ahead and make a palette. So to do this, we come over to the swatches and we're gonna go over here and we're gonna add a document palate, because this should be in your downloads if you so want. And we're gonna come up here and we're gonna rename the palate, and we're gonna call this balloon project, and we're gonna hit. Okay. All right. Perfect. Now the first thing we're gonna do here, we're gonna come over to our sky here. We're gonna make this the sky layer, and we're gonna make it kind of a background issue. Blue. All right, that looks pretty good. Let's go over to swatches. Swing over to the right, find the balloon project and add the current fill to the palate. All right. Perfect. Now I'm gonna show you how to work with a mask layer right off the bat. We're gonna come over to the layer, and with the rectangle selected, we're gonna hit the plus sign, and then we're gonna come up over here, and we're gonna go ahead and add a mask. Lehren. Well, let's go ahead and zip down. Make sure you've got the Maskell air selected. And now let's come over to the pixel persona here, grab our brush. And in the brushes, let's go ahead and choose a brush to kind of make some clouds. I'm going to go ahead and I'm gonna choose a grunge brush here and I think I'm gonna choose this first Karanja brush. I'm gonna tune this up a little bit. And remember, Black conceals White reveals. So in order to do this, we're going to start drawing just ever so slightly. And I'm gonna go ahead and turn my stabilizer off around, and we're gonna put down some clouds. Now, there's a lot of ways you can do this. You could make clouds with white. I'm choosing instead to use the mask, Claire, because I want to show you guys how this actually happens. All right, so we're gonna go ahead now with our brush selected. Were to turn up the flow just a little bit, just for a few. And I'm gonna turn down my size and I'm gonna paste in a couple more clouds. Indie here. All right, That looks pretty good. So we've got a very simple background simply by making a Maschler. All right, so we got them basking done on the background layer. Let's go ahead. Now and with the pixel persona still selected, come over to the brushes. Let's go to sprays and spatters, and I'm chooses airbrush three. Now I'm gonna crank this bad boy up quite a bit. And I like to keep my opacity low when I paint. And now we're gonna go ahead and we're gonna choose in our swatches. Oh, let's choose something in kind of a darker blue. So I kind of want something in a darker blue That looks pretty good right about there, I think. Now, let's go ahead and add that to our palate in ad current. Feel the palate power. There it is. All right, cool. Now we're just going to go with very light pressure. I'm gonna just crank the opacity down about 30%. We're just gonna come down along the bottom. I make sure that I have my rectangle there selected, and then I'm going to come in just like that. All right? That looks pretty good. All right. You see how we're kind of painting out some of this sky area here, and I put a little bit of it in here. All right, so we're pretty good there. All right, so I think that that's a pretty good first shot. Now, what I'd like to do, let's keep this video very short. Five minutes and we're gonna come up and we're gonna drag this up just like that and we drag that over to the top. All right? I think we're in pretty good shape. Let's go ahead. Stop the video here. We'll take the next step in building balloons.
9. Building the basic balloon -Step 2: all right, folks won't go back to affinity. So in this lesson, we're gonna show you exactly how to create a balloon through using grayscale. No, this is different than anything that I showed you. So first of all, let's go ahead and build this balloon. Now, I'm gonna go ahead and I'm gonna make sure that I'm into my vector or draw persona. And I'm gonna come over here to my lips and I'm going to drag out and the lips. Now, in order to do this correctly, you come over here, you come over to your color and we're gonna come over back to swatches and now only working in Gray's. So I'm gonna make this a middle of the road gray balloon. Now I know what you're saying. This does not look extremely sexy. That's fine. We're gonna come over here and where they add the current field of the palate. And here's a pro tip. If you are working in Gray's, you can always add color to them. They're controlling blend mode. So this is gonna give you a chance to create all sorts of really cool balloons. Now, in order to make the balloon knot we're gonna come over to the Ellipse tool. We're gonna go ahead and zip on down here and let's instead of using an ellipse, let's mix it up into a rectangle. Now I'm gonna go ahead and I'm gonna drag out a rectangle and I'm going to make it have round corners and I'm going to pull down that little orange dot there, let's zoom in a little bit And now I'm gonna go ahead. I'm gonna put this right here. I'm gonna come over and duplicated and I'm gonna come down and I'm going to do the same thing right here. And then lastly, I'm gonna come down. I'm gonna find the trap. Is oId Oops. Let's not do that, huh? It's going to put that back where we were supposed to put it. There. Now come down. Grab the trap is oId and with the trapezoid selected were to come down here, and we're gonna put this in where it's supposed to be. All right, that looks good. So now let's go ahead and zoom back out. And now with the move tool selected, we're gonna come over to our layers. You do it a lot of different ways. I'm just going to select all of these and we're going to do a bullion operation where we go through and add Pau. We now have a curve. You see how all those shapes moved over to a curve? Now here's where we're gonna use the transparency tool and we're come down with the transparency tool. And now we're going to go ahead and create an elliptical transparency. Make sure your aspect ratio is off because you want to be able to drag this arm independently of this arm. You see what's happening now? That's not quite the way the real world of balloons work right there, opaque on the inside. So we'll reverse the Grady int, and now we're gonna come down just a little bit, just like so. I think that that is a really good look. So let's review what we've got. We've got a curve with the transparency effect on it. Now, the very next thing we're gonna do we're gonna come over to the pixel persona. We're gonna hit the plus button and we're gonna add a pixel layer now in the pixel persona . We're gonna go ahead and we're gonna choose with swatches we're gonna go ahead and we're gonna choose a color that is quite a bit darker. So we're gonna be right up about here with this color. Now, to add this to the palate, we come over here and we had the current field of the palate and Pau. All right, now, from there, we're gonna come over in de pixel persona. We're gonna make sure that we have our spray on in our airbrush four on and then with the pixel air selected, we're gonna make sure that we have the multiply Lair on. Now, watch what just happens here. I'm to drag this layer down inside the balloon, making sure him on the pixel there. I'm a crank up my capacity. I'm gonna crank down my size on this particular brush, and now I'm going to start sketching on this balloon. Now you see what's beginning to occur. I'm starting to fade out some of the roundness of this balloon. Okay, now, why did we put the pixel layer inside? Watch this over here. We're gonna go ahead and shrink this bad boy down and we're going to go ahead and put in some details around this balloon not here down in this area. Let's go ahead and bring her brush up. Just a Scotia here, and you'll see why we did this. Now, if we weren't to bring this inside, we would be all over our background right now, and we don't want that. Okay, so let's go ahead and check this out. See how it looks. That looks pretty good. I think what I'm going to doing to do one more thing here, right down here. A to the base. I think I'm gonna put down just a little bit of shadow there. All right. I think that's pretty good. So now let's recap what we got. I got a pixel air inside of the curve and the pixel layer has a multiply blend mode that the last thing we're gonna do while we are still inside the curve, I'm gonna add one more pixel air. I'm gonna come up and I'm gonna change this pixel heir to a screen and then still in gray tones, I'm gonna come up here to almost white. Okay? See, I'm just short of pure white. And then to make sure I added to the palate, I come down here and I add the current filled to the palate. Pau. All right, now, same airbrush groups, same method. But now on this side, I'm gonna want to put this down. Now, we're gonna want to make this a little bit bigger here, okay? And I think that's pretty good. And now I'm gonna go ahead and crank the opacity just a little bit, just to get a little bit more highlight. All right? I think that we're in pretty groups. Pretty good shape there. Okay, Let's see what we got there. All right? That looks pretty good. So you see how we made a balloon, Theoretically, out of nothing. All right, Now, let's go ahead and rename this curve just to be safe. Let's click on it. Here. We call this balloon master, and we're gonna hit. Okay. Alright, folks, let's go ahead and stop this video here. And then in the next lesson, I'm gonna show you how to finish up your balloon and how to add color to this. All right, we'll see the next one
10. Finishing and Detailing the scene-Step 3: I ride, folks. Welcome back to affinity designer. So we're working on this balloon project. We're about three lessons in, and now it's time to add a string to our balloon. So to do this, we're gonna come over to the vector layer. We're gonna go ahead and we're gonna grab the vector brush tool. I'm gonna come over to my brush, and I may never have the straight up pen. And now we're gonna make sure that we just got straight black in terms of the color. And now what we're going to do is we're just going to add a very simple string onto this balloon. Now, you see, it's not quite in the layer structure we want. So the first thing I'm gonna do here is I'm gonna bring it down, be low. So the balloon in the stringer there together. All right, So you're saying Jeremy, this doesn't exactly set the world on fire. What do you do in here? Right. Come over here. Make sure the balloon is selected. Come over to the color, and now you can turn it any color that you want to create the effect that you want. This is the power of working gray scale. So regardless of Hue, you can bring it in there. You can make it as red as you want. You can make it as yellow as you want. You can make it as green as you want. This is why you worked in gray scale. And it's the blend modes that are allowing you to do this. So that's the whole power of this effect. Now watch this. We're gonna come over here. We're too sweet. The Balloon master and the curb were in group it. So now we've got a group. Let's do this. We're gonna come over here with the group and we're gonna duplicate. What do you think is gonna happen here? Up to balloons. Now, in order to fix this right, we go to the group that we've got. I go to my balloon master, and now I can change it up to a red balloon. If I don't like that, I can make it a whole different color. You see how doing the work once using vector art has changed the whole game Now gonna blow your mind one more time. Watch this. You can shrink the balloon. You can bring it all sorts of ways. You can hold it to make it however you want to make it. Now you see that our string became detached there. We've got the group. Now, if we wanted to move the string down, we grabbed the curve. Grab are no tool. And we can make this note whatever. We wanted to be there. We can make it do this number. We can do a whole bunch of really cool stuff with it. So let's go ahead now with the group selected for the red one. Let's go ahead and duplicate it. Grab or move to bring it up and let's go ahead and make this one again. Grabbing the balloon Master, Let's go ahead and grab this one and make this one blue. Now we're gonna pull off some little distortion effect here. We're gonna make this one kind of begin to float away. So we're gonna go ahead and shrink that bad boy down and because that doesn't quite make sense, we're gonna take this group. I'm gonna move it behind everything. So we probably off the transparency effect and we're making it look like the balloons floating away now, Composition wise. I want to scoot this one over a little bit. I want to scoot this one down just a little bit more. And I think we're in pretty good shape on this one. Now, the last thing I'm gonna do here, you could do some really cool stuff. With the background of this, I'm gonna work on the background just slightly. So I'm coming down to my pixel air and I'm gonna come over here. I'm grabbing my airbrush. So I'm sticking with my brushes coming down to my airbrush. Yep. Check. And then I'm gonna come down here and I'm gonna put in just a little bit of yellow. Maybe just a little bit just like that, and I'm gonna make it very subtle. You seem to turn the opacity down white low, and then I'm coming down to my base layer cranking up the size of my brush here and now this is such a subtle effect, I might have to go up just a little bit more for it to kind of show through. So we're getting a little bit of that yellow in there. And why am I doing that? The very next thing I'm gonna do? I'm coming over to my vector Art coming over to my lips. I'm gonna go ahead. I'm gonna pull any lips. Now I'm gonna unp in this out so that it'll shrink. And now we're gonna use our Grady int approach coming over to my Grady and tool the fill tool. I'm going with a simple radial Grady int. I'm gonna come over here. Let's go ahead and pull this in. Now, I need to be able to get to this other Grady int here, and we're gonna go ahead and we're going to pull in this particular son. Now that's a little bit bold, right? Let's go and do this. Go, Schindler there. We ggo but can pretty good. And then if we wanted to, we could push it for outer glow. We come in with this fact here, and we could throw a little bit more outer glow on it if we wanted Teoh. All right, so let's go ahead and recap for just a moment. Think about all the techniques that we just did here we used blend modes you've got multiply and you've got screen. We use the transparency tool. We use some effects we used a mass Claire. We did a tremendous amount of stuff to this. And in only 12 minutes, we've got something that looks actually pretty cool. So I'm interested to see what you did. Go ahead and drop your own project in there if you made some adjustments into the assignments folder below and let's go ahead and take the next step, folks. But now you've got enough the knowledge and affinity designer for iPad to be dangerous. All right, we'll see the next one.
Jeremy Hazel, Education Through Creation
