Affinity Mega Course: Complete Beginner's Guide — Series 2

1. Introduction Series 2: Hello, everyone. Welcome to this Affinity course. Graphic design software with powerful complete features, and it's free. This course is continuation of preface class, which I divided into two series. In the first series, we learn about the different tools available in Affinity and how to use them. We also learn about the Vector Mode and Pixel Mode, two important modes that you need to understand when using Affinity. In addition, we learn about the adjustment layers and how to adjust and manipulate colors based on the needs of our design. Now in Series two, we will continue our journey and explore more Affinity features in greater detail. First, we will learn more about filters. Unity provide many different filters with interesting features and function. We will explore them one by one, learning how to use them and applying them to our design. Filters are important because they allow us to change the appearance of an image and create different visual effects. By understanding how filter works, we can explore many creative possibilities. Next, we will learn about the plane modes. These features is closely related to the adjustment layer and filters. In the preface class, we learn how to use adjustment layer and to manipulate colors. With blending modes, we can also change the appearance of colors by controlling how one layer interacts and plans with the layer below it. Then we will take a deeper look at the brass tool. We will learn how to use a different type of brass, create custom processes, and apply them to different design needs. This course is not only about learning theory, we will also practice what we learned using the files and material that I have provided. The main goal of this course is to help you build a strong foundation in using Affinity. Once you have solid understanding of the tools, you will find easier to use the different tools, understand the available features and continue improving your design skills step by step. Everyone, please do not forget to leave a review for this class. I really appreciate every review you share because your feedback can help me evaluate the course and create better class in the future. Also, do not forget to upload the project that you created during the exercise, including both the main projects and the other exercise that we completed together. By sharing your work, you can also inspire other students. As a final tip from me, learning design may take a long time. And during the process, there are maybe times when you feel a challenge or even i bored. However, no matter how much progress you have made, do not forget to appreciate your own work and achievement. Every design and every project that we created is part of the learning process and a sign of progress. Each experience will help us move one step closer to becoming better design. My name is Fathoni Ashari and I'm excited to get you learn Affinity software together. So see you in the next session. 2. Important Information: Hello, everyone. Before we begin this Affinity class, there are a few things I would like to share to avoid any confusion during the learning process. As I mentioned earlier, this class is a continuation of the Affinity Service one, which I published previously. If you have not taken that course yet, you can access it through the link in the description or visit my profile to find it. In the Affinity Service one, we learn the fundamentals of Affinity. We explore the various toes available in Affinity and learn how each of them works. We also learn about the Vector Mode and Pixel Mode. The mode has different and others. Creative words As are completely different. Each mode has its own functions and characteristics that are important to understand. In series one, we also learn about the adjustment layers. With adjustment, we can modify different visual elements such as shadow, headlight, brightness, contrast, saturation, and many more. We also practice applying adjustment layer directly to our design. Throughout this course, we will focus heavily on practical exercise. The goal is not only to understand the theory, but also to help you develop your skills and become more confident using Affinity. For that reason, have prepared the material you will need throughout this course. You can download them from the project section. I have included a link to download the required files. Once you have downloaded the files, please extract them. And the inside, you will find photos and files that I have organized based on the topics covered in each lesson. I have also organized the course material in a systematic way so that you can follow the learning process more easily. However, if there are certain sections that you have already mastered or already familiar with, feel free to skip them and focus on the parts you would like to learn more about. The most important part of this course is the practice. We will spend a lot of time applying different tools, features and effect to our design. Practical sessions are very important because simply watching and listening is different from practicing by yourself. By training the toes and technique directly, you will develop a better understanding on how they work and when to use them. I also want to remind you that learning Affinity takes time, so there's no need to rest. So you can take your time and study two or three lessons at a time so that the learning process does not feel too overwhelming. So you can then continue with the next lesson at another time. The most important goal of this course is to help you become more familiar with the tos and features available in Affinity. Better understanding of features such as adjustment layer, filters, len modes, brass tool, and many others. Learning graphic design takes time and practice. However, every time you practice and try something new, you are taking another step forward in improving your design skills. So enjoying the learning process, take your time and do not be afraid to keep experimenting and good luck to everyone. 3. Gaussian Blur: Make the Bokeh Background: Hello, everyone. I'm glad to see you again. In the previous session, we have learned about the adjustment layer, and we have learned one by one how to use the adjustment layer and explanation and theory behind it. In this session, we'll move to the filter layer. In this filter layer, it is very exciting because there's a lot of effect that we can apply to our design. As you can see here, when we click in the pixel and then go to the filter, in this a filter, there's some category from blur, sharpen, distort to astrophotography. Or maybe we can still using the frequency separation, apply image and to the tone map or plug in. So in the filter layer, we're focusing on this one in this area, from the plur to astrophotography, and we learn one by one. As you can see here, in the pure category, there are so many option lure we can choose. And also in the sharpened category, dis start category, noise or disart as you can see, a lot of dis start here, and we still have noise. We still have lighting, colors, and so many things. And we will learn one by one. It's not all of them, but mostly the filter that available in this category, we will learn by one. You can access also the filter through here, this filter. And then this one almost cover all of the feature that available in this filter tab, also available in this filter ayer. And it will take really long time because to learn one by one, to explain the theory behind it, it will take long explanation. But it's very exciting because I also implement it. I also show how to implement the filter into into the object or into the image. And so you can understand the function of this filter and how to implement it in the design. So let's move to the filter number one. We will discuss plu filter. In the plu filter, consist of average caution plurTifus globe, Bloom, and so on. And then let's move to number one. We will discuss Caution plu. This is just for example, maybe I will click Pile, click New and choose the Timo SepenoTVI that we have created in the preview session and create document like this. It's basically the same document with this document with this document, but I just delete this one. Delete and then left this document that we just created recently. In the filter layer, I'm going to import this image. This one is basically the same image we delete. Just. I'm going to scale down this image. And I'm going to change this photo from UnsplasTks to Unsplas and then the author to provide this photo. And then I'm going to change the name to Sakura Sakura Braun. This is the cherry blossom, though. Go. And then how to implement it in the filter. There's two ways to implement in the filter. We can using this pixel and then click Filter, click click Gaussian plu this one. And then in the Gaussian plur, it's only available while setting. The setting is use. This one. If we slide from the left to the right and then increase in the use, if I increase in the two pixel, for example, and then this is the result, split few. This is before and this is after. Here. So the cotan lure it just give the blur effect. It just gives the blur effect to the image like this. And I just click No spread view here. When I click Apply, right? So the image, the sakura Bicron or cherry blossom Bicron, it will damage with the filter because I can edit or re edit to back to the original image because the filter will damage the original. So I can re edit again. But sometimes I will return to the original one. It cannot. So this is the consequences of filter. So what if I want to use the filter, but I can still edit in the middle of editing? I just realize that, oh, I need to re edit in this one and then it will very sometimes it's very annoying if I can't re edit in this picture. So there is a second way to use the filter. The name is the live filter, so I need to redo redo. To the original one, this one. This is the live filter. This one. If you click the filter through this icon, it will offer the live filter. When you click the CaucionPlor here, through here, Caucianblu, it will create the new layer. This is the filter layer, and then the filter layer will influence the layer behind it, right? So the Caucion plur will influence the sacra papron. The rest of it, you just click here to choose to choose this number you want and the value you want. And there is no few or split view because we can view within this one. This is before, this is after. This is before, and this is after. So we can still pack to the original image or we can still we just click Close this window. Engines and also we can infer, for example, like this, and then we can add a sun brass to make, you know, like, which area that content of blue like this. Maybe saturation. Like this is to make it more smooth, right? So we can edit like this. And then if we want to revert to the original one, just hide this layer. I just filter layer like this. And then picture will pack to the original one, and we can still bring back the blur with the caution blur with invert, something like that. So I just steal it. I create using the caution blur. And then this is how to implement the caution blur number two. Like this is to make the whole picture. I will blur. So if you're wondering, what is the prepha preserved Alpha? So if we increasing the value and the number value, as you can see, in the edges of this image in the edges of this image, there is a line. This is the result that we unwanted result because it will produce some line in the edges, even though we can actually, we can make a little bit like this to make the line coin. But the pers off layer, when we click this one, it will make the line edges cut. This is PFO, this is after. This is BFR, and this is after. So this is better when we click the preserve Alpha to avoid the white line here like this. Okay, so this is the gaussian blur is actually also suitable for the Background blur. Like when we take a photo with camera and then bring the Bouquet effect, you know, everything behind our Baron is blur. So I'm going to, you know, practice about that. So I'm going to import this picture, this one. And I bring this one into new tocoen because I'm going to select my selection this woman with this umbrella, right, with this kimono. It's very suitable, I think, because it's also the same vibe. The behind it is a sakura flower, right, and similar to this one, so I need to cauchinblRmove the caution blue. Back on here, I'm going to make selection using Object Selection tool. Here, please wait. And to make a tighty up, I will using the selection press tool here. Maybe some object is, you know, is not selection perfectly, and we need to make it make correction little bit like this. That's okay. After we satisfy the result, we click the mask layer here, and then we have this one. This one, this selection, woman selection. The rest of it, which is click rasterize like this, and I copy back to this picture and I paste to here and make it a little bit smaller scale down, and then maybe click little bit Jess this. This one, this pecron should be plu right? So I'm going to utilize this cauchenblu to make the saca pecronsblur. Maybe I will woman object or woman. So I'm going to use the cauchionblu to apply the peronblu. So just click on this one, filter, go to the cauchionblu and like this. Like this. First of Alpha, don't forget. And maybe I will choose maybe five p x, five pixel. Like this. Yeah. And the result will be like this. This is before, this after. This before, this after. So here, guys, so I will a little bit make explanation. When we click this layer woman, and then we directly click filter, the caution blue. So the caution plu the filter automatically inside in this layer. So it's like creating cliving mask. So the filter only influence this layer, right? So when we not selected any layer and then we click you know, the the filter. So the filter will create is not inside the layer, but to stand alone to creating to creating new layer and influence all of this image behind it. In order to get, you know, synchron with the spacron, I'm going to using the white balance, just simple editing, little bit white balance, bring to the inside of woman layer, little bit cold like this. Like this. So this before, this after. Yeah, I look suitable with the Bicron, with the object, the Picronblur and then focus only in the woman. So this is the Gaussian blur. And I save this one filter. I will save with Gaussian. Right. And let's move to the diffuse glow. 4. Diffuse Glow: Brightening and Broadens the Hightlight: Hello, everyone. So let's move to the next filter layer. The next filter layer, we still in the blue category, and then we talk about Tifuse glow. So before I explain about diffuse glow, so I'm going to tilt this layer. I don't need this object, right, because I have this object Blu. So for this TifuseGlow, I'm going to use this picture. This picture. This picture. What is this? Oh, this is waterfall. Yeah, you can see here, this is waterfall. And I'm going to copy in this layer. I delete the objec and I'm going to import again this this waterfall too. And I'm going to change this document from landscape to portrait. Like this. Let's move to this picture number one. So for this layer, I'm going to add the defuse glow. The difuse glow will automatically inside of this layer. It will different if I just click nothing, just click in the artboard one like this and then click Live filter and just Diffuse glow. Diffuse glow will created standalon layer, and then it will in the top of this layer, just like this. But just click here, just click devious glow. So I'm going to explain about this one. So the devious glow is basically it will post the headlight. It will post the het light. But it's not only the heat light only, but also make it more subtle and then make it more devious. So it's a very soft result. I will increase in the t use, this one. I will increase in the t use. So the result will as if in the wet area is a spread to the around them, the spread, but in a subtle way. So it's like we died the fog effect, right? This is fog effect. Like if like this. Maybe I will in the intensity, I will just maybe just keep it low. And then the the opacity I will bring to life like this. So this is before, this is after or maybe it's too much. I will reduce the tives and reduce the opacity. So this before, this after this before, this after. It will make you know, the headlight in more booster, but at the same time, it will also spread the headlight in a subtle way and make it it's more like defuse the headlight and diffuse the headlight to bring the glow effect. This is before, this after. And then if you pay attention, this object around this headlight, like these leaves or this tree is not really affected, as you can see here. So it will only apply in the headlight area on the headlight area. So the re use like usual, the red use will bring how strong the defuse glow effect. The opposite in the more lower number is close to the original one. And then this is also make it strong. And the intensity, it will make the, you know, like this one, if you pay attention, how much we can set the smooth or from like this threshold, more from. So basically, the threshold and intensity is the opposite setting. But actually the intensity will increase the edges like this and then threshold when we click reset, for example, click right use. When we click the threshold tune the 100%, is close to the original one. And then threshold, bring 0%, it will, you know, make the defuse effect more firm. And then it will cover almost the entire area when we threshold set to zero. It's like opposite with the intensity. But the intensity is actually to, you know, bring the the devius glow is a subtle or foam, especially in the edges. This is how we use live deviusGlow, right? So we will move to the next picture, this one. This is also applied at the same result. We click move to the tbod maybe in this port too, for example. And then click this image. Click devious glow like this. And then, yeah, it will automatically post the waterfall effect and then the sky effect. So again, this object will boost the headlight area, make it more glowing ratius. Increase the ratuse keeping the intensity low, and then increase the threshold like this, for example, and the opacity and increase increase the threshold like this. So this is I'm going to show you this is before, and this is after. This before, and this is after. This before, and this is after. So this is the Diffuse glow, the diffuse glow. Again, we can still utilize the plane mode and then using the darken multiply so many things Lighten screen to bring more, you know, brighter when it comes to the headlight. Then lighten is more natural before, after before. And after. Yeah, like this. This is how we use the live devious glow. Okay, we will save the devious glow. We move to this one. Bloom, right? Bloom, boxplre, motion blur, so many things. So many things we can discuss one by one. And then each effect will exciting to discuss. So see you in the next session. 5. Box Blur: Blur Based on a Box Region: Okay. Hello, everyone. So with the prefs lesson, we have learned about the fish flow, and let's move to the next live filter, BoxPlur. Let's create the new document, click New, click the most Append TTBI and create the document. Like this. And from the Box Blur, I'm going to using this one, this picture. This cross picture, put in here. More or less likings. So before I apply a box blur, I'm going to explain about the blur about this brief explanation about this blur. Especially the difference. As you can see here, this is the Cauchienblur, and this is the box blur. At a cleanse, this is the same result, but actually it's different. When you look at the Cauchienblur, when you zoom in, here. This is the gaussian blur. The causienblur will only affect the plur and it will, you know, general plur in general. So plur in general here means the transition from this black to this white is very smooth. And there's no other any effects behind it. But when we look at this, this is box blur. This is box blur, right? The box blur. This one, this is the box blur. This rectangle. This is box blur. Here, there's some edges from edges like divided between these edges start to transition. And this is also the line. The line is form, and this line also from a edges. Between this white area to this white this transition area and this black. So as you can see here, this is the difference. And in the corner, you know, this is like consists of similar or resembled to the box AFI like this. So in this box blur and this is caution blur. Again, caution blur is a blur with blur in general. Box blur will blur with little bit like this. Result. So let's apply it to the image. We click Live filter, click Box Blur like this. When we look at this, when we increase the retice, maybe similar to the causionblu. Don't forget to purs Alpha. It's similar to the causionblu like this because this is also giving the blur effect. But when we increase in the blur, more, more pl, more blur, as you can see here, this is start to resemble the box, you know, like this is like this square area. As you can see here, this is like square area like this. This is like square area. Here, like square area. This one has a square area. So it will change the headlight, especially the circle objeck, what do you call it too, I will convert to the square area. This one. This is square, this is square, this is square. So basically, that the object that contain the height light, you will convert to the square pl square effect like this. This is the BF after. So basically, it's the same function as a cauchianblur, to make a blur the object, but using the different method. And then for example, to implement that, I'm going to import this butterfly like this, just like this. Reduce the for example, I will put the butterfly in here. Which one? This one? And then, yeah, this is the same method like the caution blur to make the background is blue. Maybe I will inert one, carpe and using the brass tool like this to make it blue. Don't forget we move to set weight to the foreground and start to increase the opacity. Like this. Increasing the opacity, like this. Like this. For example, like this. Maybe a little bit reducing the opacity and this. Yeah. More or less like this. This is before, after. Using the box blur. This is basically the same as couching blue, but different method, different method to make the object blur. So I will save this project with box blur. Box blue. Here. Next, we move to the Oh, from the previous club, we moved to Fox Blue. But actually, we left this one Bloom. 6. Live Bloom: Produce a Vivid Glow Effect: Hi, everyone. So let's move to the next Bulter layer. The filter layer we want to talk about is plume. This one. This one. So before I can explain about the plume, let's import new documan, create a command, and I'm going to import this one this flower. This flower. And also, I'm going to copy this artboard. Telet me object, import. Oh, no, no, no. Yeah. So I'm going to explain the plume using this picture. So basically the plum or it's like the vibrant and make it the color more pop up. So to be more precise, let's we start with this picture first and click here, click plum. And yeah, like this. So it's basically to, you know, to blend the shade of meton and headlight. It's similar to yeah, HH. Something like that. We can choose the method, contrast or write. Who the contrast, it will post the contrast from the shadow plan when we increase this one or midtone plans in the mid ton in some area in the area, it will boost and height plan. Yeah, the headlight has become very substantial because mostly in this area is a consist of headlight. And the color, we can boost the color like this to make it more because the color is dominant, is a yellow, green and purple, so the color will boost like this. So it's very subtle though. Shadow plain is not really much because it's not much of shadow here. Or maybe we can click strong this one, and then the effect is more stronger. Click reset, click contrast when we click bright. So it will make all of the images brighter. So the difference of the color is not much as the contrast, right? Because when you use the contrast, the color will more light. Here. And this is before, after. And this is before after using the contrast. So more or less like this, how we can use the plume. And let's move to the next image, this image. We click here, click Plum. It's also similar. We just increase the shadow plane first, we choose the method. We can choose the contrast or pry, we click the contrast and increase the shadow plane. Maybe it will only affect in this area because this area contains a shadow, especially in this wood or tree area. It's contain a lot of shadow here. So it's more effective in here and midtones here and also hatelt plan here and click strong here to make more color more pop up. And then oh, no, no. Before, after before, after. So it's basically, quite similar to, you know, like hue saturation, right? When we slide the saturation or increase the saturation, it will give the similar effect. So this is the plume. When we look at this icon, it's like flour, you know, make the flour or the object is more colorful like this before, after before, after. You can reduce opacity here. This is close to the original one. And this is like after we apply plume with contrast method. This is more or less we use a plume pluur it's not blur. There is no blur, but yeah, okay, more or less like this, explanation about the plume. And then let's move to the motion floor. Before I move to the motion floor, let's save this one. Plum. Save. Okay. See you in the next motion blur discussion. 7. Motion Blur: Blurs to Simulate Directional Movement: Okay, guys, so next move the next filter layer. We were discussing about the motion blur, this one, the motion blur. So before we talk about the motion blur, let's create the new document here. And I'm going to import this image. Which one? This one? This one. So I'm going to use this image to explain the motion blur. So the motion blur, it will make the blur like the caution blur. But so let's explanation the motion blur. So the motion blur, we can adjust the direction. We can adjust the direction of the blur effect. For example, this one, the rotation, this motion blur is a zero degree. So the Ic is the motion blur only at the side, the left and the right. When we move the rotation to here, so the motion blur will be like this. Like this, for example, like this as if the plur is moving as if the blur is moving. So back to the example, I'm going to select this pole. So I'm going to use the object section tool to select this pole like this. Okay, if we satisfy with the result, Ctrl plus T like this. So we have the ball selection. And for example, so I'm going to make a little bit bicker, you know. So This one. I will type the shot fall only like this. All right. So I have the copy of fall like this. And I think I will duplicate the can and put in here. So this is like if the picture will communicate. The picture convey the message that this man is the shoot the ball, and then the ball is moving from here, here to here. But we can add a little more dramatic with this one. This one, this ball one, this ball two. We can apply motion blur here. You can apply the motion blur, this one, first, a little bit zoom in like this. In the t use, we increase the red juice. The result will be like this. So in the ball as if the ball is moving, right? Or move faster like this. And we can just rotate the rotation. Maybe I will set to 340 like this 1048. And in the ball two, I also apply some motion this motion pure, this rotation and this red juice is to how much the strong ball is moving. And then rotation will rotate like this direction, this direction will rotate this direction. Maybe too much? I think. With this effect, this picture will communicate that this man kicking the ball and that the ball is moving fast. But the certain moment, the ball capture perfectly, the bull capture perfectly. And then there's no other setting here. Just provide this tuse and rotation setting, just like this. In the previous project, we also learn about this motion blur in the project in the pixel mode, right? Remember, when pixel mode when we moving the leaves into the pixel demo, right? We also using this motion plur. So the motion blur here means when we look at this one, the caution blur is a general plu. Box blur will create the plur using the box method. And the motion plur creating the plur but we can adjust the direction of the plur. Yeah, I think like this, you can utilize using motion blur. Or maybe we can also combination blur with caution blur like this. For example, I'm going to apply, this is the caution blur Timo, right? I'm going to apply motion blur in this Sakura Bicron. I think I will click the Motion blur here, to edit like this. I like this. So it's a plur but it's like the Bicron is moving. All right. The Bicron is moving. Before? After. It's like the picron is moving. So that's how to use the motion blur is to give the plur on the moving object. Let's save this docomen I will give name motion plum. Like this. Next, we move to next adjustment, the filter layer, blur. So see when we talk about blu. 8. Raadial Blur: Gives a Circular Blur at a Chosen Position: Well, everyone. So let's move to the next filter layer. We talk about the rat plur. And then to explain the rattle blur, I'm going to use this image. This is the fan, right? The fan for PC for calling the PC or calling the CBU, this is the fan. Maybe you family report that because I'm pretty family reporting this one. Now I'm going to make effect as if this fan is rotate or this fan is rotate, and I'm going to make this proper. It's like rotate. It's like rotate with this one raleblu. When we just click raleblu like this, this raleblu when we slide this angle, the result will be like this. The result is worse. Like this is worse like this. So before we apply rattle blur, let's create the selection for this fan. But I'm not using the selection with objection tool or something like that, but I'm going to use this circle Ellipse tool. I'm going to make the ellipse tool to cover the propellers, this propeller. I click City RL plus circle to make a selection, right? And I just hide the circle, and I have the selection the circle selection in here. I click the pixel, this one, the obje, the layer obje and then ceterlPlusT to create new layer from the selection. Right? And just set plus d to delete the selection. So I have two image. This one is two. This one is the original one. This one is a selection of plers like this. I just undo back to the place. So I have this one, so I will rename with N T one, this one, rob and this is circle. Okay. So the player that wants to apply in this rater plu is this one. Prop ler. So click filter, click plu and then start to at this one at pluri this. But the result is not good, right? The result is not good. But actually, this one, the ratalPlur, we can adjust the center the center point. So we can just move in this is, like, offside, offset, and we move by gradually until this one like this. Until, you know, like this circle, plex circle is pesible clearly, like this. And then the rest of it, which is regs this is before.This one is, you know, like, rotate faster and faster and faster. And this is gonna be slower. And when we slide, it's more faster and faster. Like this. So we can also, you know, give the additional effect. I'm going to duplicate this propeller, right? And for this one, a little bit make it different like this. So it's like creating the sum effect, right? The rotate is really fast. So this is before, this is after. This is before, this is after. So this is how we can use the RTL plur to make the objeck it become a radial blur effect. And then if we utilize it in the fan case, it's like we can create the pan like rotate faster using the ratalblu. So the key is using the radial blur, we can use it to make the object moving or rotate, right? So we need the rotate object like fan, for example. And then when we apply the ratalblur, don't forget to choose the center point. And then we also adjust the angle. So more or less like this, how we can use the rata Blur. Before we move to this one, lens blur. So I'm going to set this one first. Rata. Alright. And then next we move to the ins plur. All right. So see you in the next session, we will talk about the insplur. 9. Lens Blur: Simulates Blurring From Wide Aperture Lens: Let's continue our practice. Let's move to the next filter layer, lens blur. So the lens blur is basically is similar to the caution blur, but it's like different kind of method. So to explain the lens blur, I'm going to borrow this asset from the caution blur a woman and sakura Baron. I just copy here. So in this caution blur, I delete and I replace with lens blur. So here, I'm going to explain the lens blur. This is the relatives, usually in the relatives will provide how much stronger the blur the blur apply. The more bigger number, the more plur but the lens blur is utilizing the different method. This number of plate. So if we increase this number, it will more subtle. For example, when we using three plate, it will create the rectangle. As you can see here, this is similar to the rectangle. It's consists of rectangle, overlapping rectangle, right? Overlapping rectangle. When we increase to four, we will create square. Yeah. I will create square. It's not rectangle anymore. It's more square. When we create five, it's like pentacon. For some reason, it's look like pentagon. It's a five blade. So in the plate curvature, it will create, you know, the blade has, you know, similar to bend bending like this. For example, like this. This is a number of blade here means and then plumed result. It's not effective much. And plume factor here. Similar to have the 66 plate here, as you can see here. It's similar to the six plate. When we using the three, it will close to rectangle. When we choose the six, it will close to six plate. So it will convert the bulb on the lamp into six side of blur like this. This one, this one, this one. Yeah, one, two, three, four, five, six. This one, one, two, three, four, five, six. As you can see here, one, two, three, four, five, in this one. This is four, this is three. This three, four, five, six, 79. The more this one, the number of plate is close to circle, right? Maybe it will go with five. Yeah. Like this. So next in the result, it will make the more pretran brrter and then plum factor. On this one, make more pretend BterPlum color. Here. Here. Here, as you can see here, it's like blm color. Some headlight will create more pop up color. Increasing the rate. This one. So more clear example, I'm going to import this picron new Byron, this one. I'm going to put directly to this one. This is, you know, like lamponPgron, a lot of lamb and suitable to become, you know, the Byron. And I put in here under the woman, and then maybe I will the sacra picn I will hide first. Yeah, this is not affected anything. So in this, you know, lm pacron I'm gonna apply the lens blur like this. And then it will very very exciting result. Don't forget to preserve Alpha. And then the blade curvature, I'm going to set to five, yes. And then bloom factor like this. Bloom color. So bloom factor. Rasul this bloom factor. Like this. Yeah. That's what I mean. This is the lens blur. It's like similar when when we're using the camera, the paron is really blur. But sometimes in the pagron has some lighting. So the result looks like we like this. So more or less like this guys. And because the color of this woman is not suitable with the background, so we just uh change the white balance like this. It's very simple, right? It's very simple, like this. So this is the lens blur. Like we create the bouquet effect from a photo, like we using the lens. The blur is similar to the lens doing here. I think plum factor need to plum factor like this. Yeah, more or less is like this. So this is before, after. Before, after. This is very, very, you know, exciting. If you want to make the background, blur. But it natural blur, like when we use the camera, you can use this lens blur because the poke is close to the result of the camera blur because the blur can you know, make the headlight into circle or into the number of plate, based on the number of plate and make the color is a pop up or maybe the headlight is more stunning with plum factor. It's not only plum factor, but also plum color to enhance the color. It's not only enhance the headlight, but also the color, too. So this is how we use the lens blur. Let's save this one, and I'm going to name lens. Blue. Mode. Okay, this is very interesting, one of the best, one of the interesting filter. Next, we will explain about depth of field. This is very exciting to do. Actually depth of field and field blur is quite similar result, but using different method. So let's see into the next discussion. 10. Depth of Field: Applies Elliptical or Tilt Blur Gradients: Hello, everyone. So let's move to the next filter layer. The filter layer we want to discuss is the depth of field and field blur because this is, you know, a little bit similar. Let's discuss both of them. We create the new document. But click New docoenTO 72 TBI. Create document, and I'm going to use this picture, this one. This one. And also, I'm going to duplicate this artbordRotate this document to 2000 by 3,000, like this. And then I till it, and I'm going to import this one. So I'm going to explain the Okay, so let's start with this picture, this one, the port one. I'm going to name arco two this one. So this pixel, rpo one depth of field. So after we click here, this is the circle, right, two circle inside. And surprisingly we can adjust the picker of this circle. We can make it smaller or make it larger. In this area, in the inside of circle, it will become the mind focus. And then this one, this area is become the transition between focus to plu, and we can adjust. Surprisingly we can adjust this one right, we can adjust this is the circle becomes oval like this. And we can put this one in this area. So when I set like this, this area in the inside of this in this circle is become the focus area. While this one is become the transition between the focus area to plur area. And then the area outside of the circle is become blur. So this one actually cratus like this. Here. And I click vibrant, for example, and clarity. Clarity Because sometimes some area is following the blue. But also, we need to improve the clarity. I think it's too much. I think it's okay, like this. So the result will be like this, don't forget to preserve Alpha, right? The result will be like this. This is a P four. This is after. This is before, this after. We can also increasing the tics maybe to 30, for example. Let's say we set to 30. So the result will be like this. By attention this area. So the focus area is in here, well, this is become the area of transition between blur and focus. We can also reduce this one if we make it more shorter the transition like this. So as you can see here, so we still preserve this area like this head of butterfly, the butterfly, some wings, some area some wings area is, you know, focus and this is blur. So this is the depth of field plure. The tus is to value how much and how strong the plu is. The vibrant sometimes when we apply some blu, maybe some color we lose or some color is not correct, like the original one, we can fibrin we can improve with vibrance and clarity here means some area that apply plurift we lose the detail and we can use the clarity. This clarity to improve the detail. Yeah, absolutely detail in the focusing area. So this is tipped field. So we can we move to the elliptical to tilt sift. This is also on the same. The tilt sieve, we can, you know, tilt area. This area, maybe I will make it more smaller. This is blur, right? This area is a focus point like this. Because the butterfly is a little bit tilt, so I'm going to improve this adjust this tilt this rotation like this. Like this. So this is before before, after before after, as you can see here in this area. Before after before and after. This is how we use the tabbed Blur, like this. Next, we move to the second picture. The second picture is also the same. We will make this area is a blur with taped off field like this. We set this area, make it offal like this, maybe just like this. Make sure that the tital in the t of birth and somebody some area this more or less. And then clickpa increasing the rat ice. Little bit vibrant and a little bit clarity. Maybe it's too much, we can t this like this. Yep. So this is this is before, after before, after as if in the focus area is only in the head and the some body part. Maybe this is the camera or the focal length is really precise to shoot the head. And then there's some body area will aluOr maybe we can set this one. Yeah. Yeah, more or less like this to be more smooth transition. This is before, this is after. This is before, and this is after. So this is the way we use the depth of field. We choose the mode. We can choose the elliptical or tilt sift. Besicallys the same, the method because when the elliptical is like the blur will, you know, create the radial, for example, the radial effect because this is the circle. Well and then the areas become focused, and this area is transition area. Well, tilt sieve is, you know, like tilt. We can adjust the rotation, tilt rotation just something like that. But basically, it's the same. And then after we choose the mode, we can increase the ratuse and certain number we want. And also if the color losing some color due to the due to the blur effect, we can increase with vibrance. And then if the image losing clarity, we can increase a little bit clarity just like this. Next, I'm going to save this one. I'm going to save this one, and I'm going to give the name off. 11. Field Blur: Adds Focal Points to a Blurred Image: All right. For field lure, I'm going to put on this image because the Fildlre is still similar concept, but using different method. So let's create the create document with the most event TBI, right? And I'm going to this one, Rpod one and Rpod two. I copy all of them and paste in here. This one, this RPOd one this is the empty airport. I just till it like this. All right. Let's remove the depth of field plu, like the depth of field plu, like this. I delete the filter. Next, I'm going to start with this image first. Let's apply field plu. Like this. The method is, as you can see here. So in this circle, if you find in this circle, you can put this circle you want because I want to make the butterflies become the main focus, so I put in here. If you want to make this another circle, just click here, this one, and I'm going to make one more this one. So I have three circle. This one, this one, and this one. So with this circle, we can edit individually or we can edit globally. In the global rat use, if we set all of them, we can set the global ratuse. So all of these pictures become blur. So don't forget to person the alpha. All of these areas become blur because we set the global tus. So I will set the global rats to 40, for example, 42 40, 40, for example, here, this is the global tuss. After that, this is the selected handle level. And select the handle power. So I click here. I select the handle this handle this point, and I will use the selected handle level. Reduced close to zero, like this. So this is the area that close to this point become the main focus. And we can make it more further like this. The selected handle power here means when we reduce the focal and the focus point is only close to this one. And when we increase the handle power, the focus points become more broader close to this one like this. So the result will be like this. This is before, this is after. Again, if we set the global tuss it will set the whole image. And after we set the global ratios, we select the point that we want to make become the focus area because this middle point is close to head, a close to body. So I click here and then ratuss selected handle to zero. I will differen than we click here. When we click another point, the selected handles become 100%. Like when we click here, it becomes 100%. Right? So main point, our main focus is in this point, so we can click here and then select handle level to 0%. We move to the next image. I click this layer and apply this one. Fail clar. Don't forget to preserve Alpha. And in the global tics, we said maybe 40, 39, yeah. Yeah, I think it's around 20, 30, depends on the picture, right? And just click here. This one, the circle. And we click here, and we click here again. This circle is a big combine focus, right? And then in this circle, we select the handle level rats to close to zero, like this. This is how we use field blur this is before, after. Before, after, just like this. It's a very simple but really powerful when it comes to blue, especially the blur the object and the braground, right? So I'm going to save this document, and I with Build BlueMo like this. Next, I'm going to talk about the maximum minimum median blurre because this is like this blur is related to each other. So the maximum and minimum blur, here means it's like the opposite each other, and then it's related to each other. So it will be exciting to discuss this maximum and minimum blur. See you in the next session when we talk about maximum and minimum blur. 12. Maximum, Minimum, Median, and Bilateral: Hello, everyone. So let's continue our practice. We move to the next filter layer. We will talk about the maximum blur, minimum blur. So let's keep dive. Discuss it. So I'm going to create the new document, this one, and create the document. And for the material for discussing the minimum blur, I'm going to borrow I'm going to copy this asset, this butterfly and this cross baron. I just copy this one and paste in here. This is the advert consists of butterfly and this baron. I delete this one. Or maybe if you or maybe you just here, click this one and input this one and this one, put in the document. So this is the butterfly. I'm going to put in here a little bit like I think here like this, more or less like this. And let's talk about the maximum and minimum blur. The first filter on we want to talk about is maximum blur, and then we will talk about later minimum blur, maximum blur. The maximum blur here, it will influence the Pigron. Don't forget to preserve the Alpha and click Rate like this. The maximum plural here automatically will enhance the height light, the headlight area or the headlight or the area that consists of headlight here, headlight, and height light here and here, the height light area. Right? Maximum. Just click like this. I will increasing the headlight, right? So this, it's more brighter and brighter. It's more stunning. So the more the number of ratuses the more the Bicron like this. So actually, this maximum is also suitable choose when we using this Bron This one, I put on this one, this Bron and I'm going to copy in this one. This one, I dilate lens blur and I try to apply maximum Blur. And then here, here, right? It's very, very suitable. When I bring this woman, for example, which one? Lens Blur. I bring this woman to this layer and I hide the butterfly like this. So this is also suitable when we're using the maximum blur because in the previous picture, this is a lamp, consist of lamp, and we will make the lamb is more stunning, more brighter using the maximum blur. So I think, yeah, I just just for the example one. To this maximum blur at the butterfly. And then, yeah, I just reduce and I set maybe to three point. And this is before and after. And this is before and after. So this is how the maximum blur works. And I'm going to duplicate this artboard. To talk about the minimum blur, this minimum blur. This one, I'm going to delete in the maximum blur and add this a minimum blur here. So the minimum blur is like the opposite from the maximum blur. The minimum blur here means to reduce to reduce this flat. Yeah, I think flat. Is similar to flat. Like this to reduce the flat, like this. So it will make the shadow area more darker and darker and then also reducing the height line. This is before, this is after. This is before, and this is after. So basically, the minimum and maximum is literally the opposite, right? They literally opposite. This is more This is to make brighter. I'm going to increase to five, for example, five, and this one is also five. Minimum as of five. And then forget to click preserve the Alpha. So here, this is the opposite. And I'm going to copy again this part to talk about this media. This one. Minimum blur. I delete the minimum blur, and I will add median Blur here, the median Blur. Don't forget to click preserve the Alpha, and I'm going to set five x to see what happened or maybe you'll experiment about the five or maybe more five like this. So the median blur here means it will boost the tons. I will make the blur only in the tons. So and the result is not is more darker or more brighter, is the same. Even the flare is also the same. It's like, you know, like become more painting effect like this. So remember, this is the minimum blur. I think I will increase the minimum blur to add eight like this. And also, this one is also eight the maximum Blur. Here, this is more brighter and the flare is more stronger. This is more darker. The Sato is darker, and the flare is more timer. And this one is not make a brighter or timer. So the median lure here means it will make the gap between Sato and height light is more closer. So there's no area that too brighter or too darker. It will, you know, boost the methian. This is for x. Scope. My Okay, so this is the maximum blur, and this is the minimum blur and then the median blur. So let's move to the next flu filter. And this is the last Blur filter in the live filter here. This is the Bilateral blur. And also, this is the last blurre in al category. So to do that, I'm going to pour on this image. I think this is perfect example. I just copying this one, the artboard and the Bilateral lure. I'm going to delete the methane Blur first. I delete and I start to this is the original one, start to add the Bilateral blur here. So the Bilateral plu will influence this layer, right? So in the setting, don't forget to preserve Alpha Alpha. And then in the tuse if we increase the tuse. So in the bilateral plu it will selection the focus area, the focus object. The Bilateral blur here means it will select it. I will choose or select the focus area, right? They preserve the focus area to keep focus. Well, the plur area, it will make more blur and blur. As you can see here, when I increase the tie the tie number, the pacron will more blur. And then in the focus area is preserved, keep focus, like in this area in front of this one. So this is before and this is after this before, and this is after. We have covered almost all of them, Blur area, lure category, filter, lure from this one Gaussian Blur, maximum minimum plodamtN, we have learned all of them, right? And the next session, we move to Sharpen. The Sharpen consists of unsharp mask, clarity, texture, high pass, and multi pen. So see you in the next session when we talk about this one, Sharpen, filter. 13. Unsharp Mask: Sharpen Image Edges: Hello, everyone. So in the preface lesson, we have learned the filter layer. We have learned the blur filter layer. We discussing about CausianPlur refused blow until the lateral plur. And then it was very exciting because so many filter we have learned and then implemented into the design. So in this lesson, we are going to learn the filter layer, move from plur category to Sharpen category, you can see here. Click Pixel, filter, and sharpen this one. And then in the Sharpen, this is the consist of unsharp mask, clarity texture, High Pass, and multi pen Sharpen. All of these, this is the same function is to sharpen the object. Maybe if our object is not sharp enough or maybe a little bit blur or maybe in the low quality, we can enhance with unsharp mask, clarity texture, high pass, and multi pen. But each of these has different method to, you know, to sharpen the object has different method in this session. So let's continue. We talk about the first Filter layer in the Sharpen category is Unsharp Mask. So let's discuss. We move to Affinity software. As always, to implement the Bilter layer, I'm going to create the new document. So actually, this is the new document, but, yeah, I just delete, click New document here, the most Affinity to DPI and create document here for the Unsharp Mask. So I'm going to use this picture, drag and drop bring to the document like this. This is the eagle head or eagle. Yeah. All right. And then I'm going to, you know, duplicate the airport. And for this one, I'm going to change the dimension and the resolution because I'm going to import this picture. Like this. So we have two image two image here as an example to implement to experiment the Unsharp Mask. Let's do it. So let's directly to apply the Unsharp Mask. First, I click the pixel here, the layer, the eagle head, right? And then click Unsharp Mask here. So if you pay attention closely in the eagle head, I'm going to zoom in. This is the default of Asha mask. And if we click this one, there's no changes. There's no improvement because again, first, we have to pay attention in the right use, right? Right use when we sled to the right and increasing the number, so it's basically to make the shadow to make the dark area is more darker. So of fur the chocolate color here, like line in the fur. So the red use is basically to increase the shadow, to make it more darker and preserve this white area or height light area is not affected only in the shadow, for example, like this. Here, here. It's also make the boundaries more clearly between like this. It's also make the boundaries between the detail more clearly. So the factor here means it will increasing significantly in the shadow in the dark area, right? This is before when we gradually like this. Right. It's a very, very significant improvement compared to the original one. And this is before and this is after, right? So if you pay attention, it's not really natural, right? If you pay attention here in the edges, the factories create the boundaries. There is some outline, right? W increasing much like this, it's not natural anymore. It's like, it's too much, right? So the function of the factor to make more stronger the differentiate between the tag area and white area. But sometimes the consequences is not natural. So there is a threshold. So the threshold here means when we're using the threshold, increasing the number. So the tresots function to the difference between tag area and bright area, and light area is more softer like this here. So the threshold is more or less is like the effect is more subtle. But yeah, I just using it a little bit like this. So this is before, and this is after. If you think that it's still too much, so we can reduce the factor or reduce the tuss. So this is before and this is after.This is before, and this is after. Remember, the principle of unsharp mask in the tuse is a tube boost the tarp area because when it comes to the detailing the object, right? I will preserve this bright area, but also push the tag area because the detail is usually depends on the tar area, dark part like this. And then the factor, it will post more further. It's a very sensitive setting, actually, like this. You can see here, the factor is more aggressive result, right? It's more aggressive result than the rights. And then Tresult it makes the differentiate between Shadow and the headlight is more softer. This is before after before after look at this eyes. This is before. It's like, it's not sharp, and then this is after. Yeah, like this. What if this live Unsharp Mask using in this picture? I'm gonna apply this one with unsharp mask like this. So it's also simply we can increasing the rat ice and then the factor at the same time. As you can see here, when we increasing the radice and the factor, it start to appear the phase pattern, right, the phase pattern. So the phase pattern has appeared. But it's basically, it's not a natural pattern. It's like artificial pattern. So the threshold it will make more softer. After bundy effect. This is like this. This is close to the original one, right? And just when we set to zero or just a little like this, this is before, after. Before, after. Look at the eyes and the hair. Before, after. Again, the principle of unsharp mask, if there is a shado if there is a tag area, it will push in the tag area, it will push in the shado. So that's why in this hair, it will more clearly differentiate between each her. But if this is too much, just reduce the ratuse. Okay, molass like this. The unsharp mask 14. Clarity: Sharpening Image by Increasing Contrast: Hello, everyone. So let's move to the next filter layer. Pre firstly, we have learned unsharp mask and then it's a very interesting filter. Right now we will talk about the clarity. So before I talk about the clarity lays, we create the new document like saw this one. And I'm going to borrow this artboard because I'm still using this material. Maybe I will explain the clarity, still using the same material. Right? So later we will make comparison which one the best to improve the detail, right, because we can still, you know, compare one by one between unsharp mask clarity and the next filter. So this arbod this play artboard, I just steal it like this and then remove this unsharp mask from prefusPjeck. This one, this one. Okay, so I'm going to explain about the clarity. This one, the clarity. So the clarity here means this is the default setting from the clarity. This is 0%. And this is in the middle point, right? If we set this clarity to minus, it will lose the detail. Look, before after we lose the detail, right? We lose the detail. But if we set strength to increase the number maybe 65. This is after v after. So we gain the detail. Because the strength, this is the 0% is a default. Minus is a lose detail and plus is a gain or increased detail. Just simple like that. The clarity, the principle of clarity is simple like that. But it's unlike the unsharp mask because the unsharp mask we have power factor, and threshold, and we can adjust individual setting. But this one is not. The strength is like combination between, yeah, power factor and then also. But the clarity offer the subtle version of unsharp mask, right? The clarity still push the tug area. But little bit bring up this brother area. A little bit bring up the bread area like this. The principle actually is still the same. The Tarkan area is more darker. The pred area just a little bit, a little bit brighter, like this. This is before, this is after this before, this is after simple like that. So if you want to improve the detail in a subtle version in a subtle, just a little bit increasing the detail. Not significant difference between the original one. The clarity is better than the unsharp mask. But again, if you want to make this, your image is significant detail compared to the original one and then make it more stronger, more clear in detail, yeah, I think unsharp mask still better than the clarity. Again, improvement. If you just make a little bit improvement in detail, clarity. Let's move to this photo. What if you're using the clarity in this photo? Just click here. Click clarity here. Again, remember, when the clarity move to zero, it will make the object is more smoother like this. So in the face, it will lose the detail. I will lose the shadow in here, the shadow in here. So the pace is more smooth. And it will happen sometime in the clothe pattern like this. This is before clarity apply, and then after. So we losen some detail. But when we set the strand to plus 40, for example, the face is the pattern face pattern is more up here like this. And then this clothes here, this is before. This is after. So the pattern of clothes, you know, the pattern of clothes is more more detail like this. And sometime in the hair area. Yeah, the hair is also more clear. But the consequences if we're using this in the photograph, the face will like unclean, right? Because the clarity will post absolutely post the shade to. But we can reduce this one with mask layer. So in the clarity here, this clarity, we can apply mask layer in the clarity. For example, I will apply mask layer in the clarity here, and this mask layer, new mask layer has created in the top of layer, we print inside on the clarity, place inside this in the clarity. It is set up clarity. The at and the mask layer. So after that, using the pin Brush tool and make sure the fork cron is flack and then maybe set this opacity to 50% around 50% and start to throw start to press in this area. This is to reduce the unwanted shado and the ted flag area. Meanwhile, we not lose the detail, but, yeah, we can still make the face a little bit more clean compared to when we uh, due to the clarity filter. So this is before, this is after This before, this after. This is the mask only mask. But the clarity, we can here, click here, Tangle visibility. A clarity, this is before. This is after this before, this after. So from the cloth, from the hair, from the face, from the eyes, nose, lips, eyebrow, everything is more detail. It's not resitable when it comes to the face when it comes to the smooth object like this. But when it comes to tailing the animal like this, yeah, I think it will be more easy to apply just like this. Right? We have learned clarity. This is how clarity works. It's really useful to increasing the detail. It's just the clarity. Let's we save this document. I'm going to name clarity. Right. Next, we'll move to the texture. And then later we will talk about high pass and multi pen sharpen. So see you in the next session. 15. Texture: Sharpening Image Midtones and Contrast: And let's create new document. Click the MsapnT TBI and create the Document. I'm still using this material. I'm still using this material. The Airport. Just copying the airport from the previous project, this one, and this airport one in the most bottom. I delete it, and then this one. And then we delete the clarity layer. All right, so let's talk about this texture. So the first image, we want to experiment with texture here, texture. So in the texture, this is consist of strength, tuse and compression. It's similar to the unsharp mask. Very similar to the unsharp mask. This strength, increasing the strength this, the more higher percentage in the strength is on the more tail we proteus. Ratuse is similar to the factor, right? But I think texture here means it will boost this t tile, but it's not as strong as the unsharp mask. It's more satan than the unsharp mask, but more stronger than the clarity. And the compression is the same. Compression is to make the gap between strength and then the dice is more subtle. It's make it more subtle. Detail, but more subtle. So this is before, this is after this is before, this is after. So I think texture, for some reason, is a better than sharp mask because this is we need to increase the strength, increase the retice and a little bit, like, you know, put the compression, increase in the compression. And this is one. This is the texture before and after before and after. It's not too much. The shade is still respectable, maybe different. For example, like this, this is Unsharp Mask. For example, if I write use put in here and factor put in here, here, the result is not, yeah, it's not close to the original. It's like different different picture. So this one, texture is better than the texture. Texture is better and easy to use than unsharp mask. So again, this is the texture is more easy to use, more subtle result. More better result. Not as strong as unsharp mask, but, yeah, it's more easy to use than unsharp mask for some reason, and it's more strongest than clarity. So Unsharp Mask in the top of level to create detailing, but it will create different pictures not natural. Clarity, good tos, but it's just increasing a little bit detail. If you need to push detail more further, Texture is the best choice. As far we learn, right? Then what about this photograph, which is click here and then add the texture. So previously when we apply clarity, the face is, you know, it's like so many Shado and then because the Shado is too much like the whole image and the whole face, what about this one? This one. Again, texture, it will appear in the texture phase, but this is more subtle, more subtle. So the pace increasing the detail, but is not much shado appear, make the compression, the compression like this. This is close to the original of solidly like this tus. So the rate, it will make the shade to area is more darker and darker. So I just leave in here, run here, and strength, just like this. This before, this after we can canine the detail, but not broken the whole image. Detail in the close detail in the face. Yeah. I think texture still outstanding compared to the clarity when it comes to the pace and Unsharp Mask, welcome to the result. Yeah. Texture is better. Before we move to the next Bilter layer, let's save this document. Let's put the name Texture Timo. Like this. Okay, next, we move to the next Sharpen. We'll try to High Pass here, High Pass. So see you in the next session, we'll talk about High Pass. 16. High Pass: Sharpen Image Edges: So in this session, we're going to continue our discussing in a filter layer, and then the filter we want to talk about is High Pass, right, High Pass. So we'll talk about the High Pass. So to talk about, again, I'm still using this material. I think, so in the last discussion about the Sharpen, I'm going to compare to the asap muscularity, texture, and Timo. So let's create the new document, click New Document, click Timor seven DTPI and then click Create Document here. So again, like I mentioned previously, we use this artbodT artboard, copy page here, and then this one RPOdPly Artboard, I'm going to delete this and then I clean up the prefus filter, texture filter. I delete this one, too, and I delete this one. So let's talk about the High Pass. So the High Pass is like when first we click the High Pass, it will convert to the gray color because the High Pass is like we usually to define which one area that sharpen. This is the area, you know, the most area that affected when we apply in the sharpen. Usually, the high pass is combination. When we apply in the high pass, it will also combination with the plain mode. So when we just the result is maybe not we want. I still covered in the gray color, and then it's not good. But when we blending mode, we change in the blending mode, plain mode, we change to vivi light, Vivid light. And then gradually we increase the dice. So we will increasing the detail, for example, like this. This is before, and this is after this before, this after. So we can change the vivid or maybe I will send the rede first like this. We change the vivid, we change the overlay soft light, hard light, vivid linear. Yeah, this one. Overlay, soft light, Hard Light Vivid depends on your need. Overlay maybe it's more subtle. Soft light is more subtle again. Hard Light is maybe strong and the most strong is Vivid. So overlay subtle Soft light is more subtle, Hard Light. So this one, this is before, after. Maybe if you vivid is too strong, you can go with the soft light. This one, before, after. Before, only after before, after. I'm going to increase this one before, after. Before, after. If we not satisfied the result, we can double High Pass. We can using the two layer High Pass like this, and this is before? After before, after. This is how we use the High Pass. Usually, High Pass is combination with blending mode. We can choose from the Olay, soft light, Hard Light, and vivid. So what if we use for this photograph? I think Click here. Click High Pass. Remember, we can apply High Pass with combination with landing mode, we choose soft light like this. And then maybe this is before, after before, after maybe we can increase the tue. Before and after, before and after. And then if we need to make more natural more natural results, we can double this one. We can double in the high pass. So with the double High Pass, we can adjust. Maybe this is not too high, and this is high like this. So this is before and after, before and after. This one. This is how we use the High Pass to make to increasing the detail to sharpen the object like this. This is the High Pass, right? So let's save this for High Pass. The last filter in this sharpen is multi pen sharper. 17. Multi Band Sharpen: Sharpen Image and Detail Enhancements: So the last filter we want to discuss is the Multi Band Sharpen. This is a little bit tricky, but yeah, let's discuss. Let's create new document, right create new document. And then I'm going to copy in this airport. I'm going to copy in this airport like this, and I clean up on this one, Airport one, I till it Airport one, this one. I'm going to clean up the filter from PrefusPjek. Like this. Right? So so click here and click the Multi Band Sharpen. So the first thing we need to decide standard or fine detail. Let's go with standard and the base ratius The more pixel, the more sharpen result like this. And the number of pens, when we increase is also make it more sharpened, right? And then pen range here means it will make it darker in this darker area. Well, the contrast here means, as you can see the contrast will make the shadow is more deeper. Shadow is more tipper like this. Again, when it comes to the detail, it will really depends on how much the shadow will manipulate it by more darker or more deeper, more darker and more deeper. So this is the principle of creating the detail. It's like, to make sure that the area that has a shado more darker, but still preserve this highlight. Right? For example, in these arts, this number of Ben increase and the BN range thing with like this, will keep the equal more natural, right? Contrast, maybe a little bit like this. So this is before, after before, after before, after. Heart plan, it will automatically increasing in everything heartblan. It's not natural because it's too sharp when we use the heart plant. What if we choose the fine detail? The fine detail? So the finta is it will a little bit prioritize the headlight, as you can see here. When we set the tus to zero, it will close to the original one. The pase tus, it will make the headlight is more in the white area. I like it's more firm, right? It's more in fine til compared to the standard, right? The standard, it will prioritize the Shattu. It's not really prioritizing the headlight or the bread area. The Bret four. Fine detail? Yeah. This one standard. Which one you prefer. Maybe for this use gas, I think the find dital is more suitable, right, because this is four, not only the shadow is important, but also, you know, this white four is also important. The separation is more clearly from this white four and then the chocolate four on the tuck four like this. When we look at this one, it's like this is original one. It's a very, very smooth, and there's no you know, when the best tus is zero, there's no separation in each line when we increase. So we can each line create it. And then when we increase the number of pen, it's more thicker and more brighter. The peaches also is more thicker when we set to close to one pixel. It's more thicker, right? From creating the line and more thicker and more thicker. Pen range? Yeah. And a contrast, this is increasing in everything, increasing the shado and increasing the headlight, like this. Maybe after. I think, for some reason, Multi pen Sharpen is a good choice. Good choice, right. For some reason, it's good choice. This is this is after. But if this is too much, you just reduce this one and reduce this one. Pas artive reduce this one. This is before after before, after. So this is how we use this multi pen sharpen and how you use with the face photograph or picture. So let's add multi pen sharpen like this and then click the standard first, increasing the pastus So this is before, this is after. And surprisingly, the multi pen sharpen is not damage in the face, right? It's not damage in the face. And then the texture on the face is also appear. It's not damaged in the face. Like this contrast? Oh, no, I think, just like this. What about the fine detail? Oh, the fine detail. Right? The fine title will boost. It's not only in the shadow, more tipper, but also the the lighter is more brighter. So as you can see the hair, this is more Tita, and then sometimes some hair is conferred to more brighter, right? Like on these eyes or the eyebrow, the iris, sometimes it's it's more brighter. The line between this hair is more firm and more thick like this one, look, right? So this is the multi pun sharpen using piney tile. And if using standard, it's more subtle. It's more subtle. Like these sneezes before, after before, after, right? The detail is good. It's not too much detail like this, especially in this clothes also stunning. Right. Wood is not as good as the clarity, actually, when it comes to the clothes. But, yeah, I think it's better. It's better. With the pundit out. Yeah, I think when we use the fund it out, so on the headlight, it's also pushed. It's not only the shadow, but also on the headlight, like this. So I'm bringing it to standard, just like this. This is how we use the multi pan Sharpen. So I'm going to recap. So we save first use multi Sharpen. So I'm going to comparis between sharp mass, clarity, texture, High Pass, and Multi Band Sharpen. 18. Comparation Blur Filter, Which Sharpen the Most Effective?: So let's we make comparison. First, the unsurd mask. This is the unsurd mask, the most stronger detail. But sometimes if we too much give the edit, the problem in the unser mask is not is, you know, like, change the whole image into the different picture. So I think the unsub mask is the strongest filter to sharpen the object. And then the clarity. Clarity is I think it's good to increase the detail like clothes hair, and it's more natural, it's not much. It's not increasing detail too much, but still respectable. This is not suitable if you need to post ditail because it's only very, very subtle. But the problem in the clarity, when we apply on the face, for example, like this, it will make the face like push the shado and make the face more it's like dirty or unclean result. But it's good for clothes and hair. So we can use the mask layer like this to eliminate in the face area like this to keep the face close to the original like this, a soft improvement. Texture, I think this is one of the best tools for increasing the fetal. Because texture is not much different with the original one from the shadow, from the headlight. But offer the I think the best the best detail. Right? The best dit dieta is so crips, but it's not losing the shado or the area. It's not too much different with the original one. So I think texture, I think is the best. Hi pass. Yeah, high pass is also similar to the unsharp mask. It's a very strong, but still it's not strong as unsharped mask. But actually, this is because I using two layer hi pass. So the result will the result much stronger than the then the clarity or texture, right. But actually, when I using just one, this one. Yeah, I think HPAs, remember that to using the high pass, we need to combination with planting mood. I think this is similar to the clarity, but it's more stronger than clarity. And for pass also safe, it's also suitable for increasing the pace detail, the face texture. So I think for increasing the detail, I think high pass is a good choice when it comes to increasing the phase. The last multi multi pen is more complex than the texture, the texture, and the high pass. But a similar. I think the multi pen sharpen. It's a little bit tricky. But again, this is the most complex setting. We can experiment more deeply about this Basrato number pens, pen range contrast. But again, life multi pen sharpen is really suitable for any. I think it's more suitable for any situation. I think for the pace is also good, good result. Clarity is a good for the pace is more smoother. For example, when we move this one strength to minus, the pace is more smoother. But when it comes to the clarity, yeah, I think texture, high pass and multi sharpen is the best choice so far to make more sharpen object like this. So next we move to the discussing about the filter distort category. There's so many tools here in distort category. It will be very exciting, though, very exciting. We will discuss one by one about all of this and implement it into design. Absolutely. So say you in the next session when we talk about distort category. 19. Ripple: Produces Radial Rippling Effect: Okay. Hello, everyone. So in the perficon, we have learned the filter layer in the blur category. And right now, we're going to continue our practice, our discussion about the filter layer in the distort category. As you can see here, in the pixel, click filter in the distort category. A fred offer a lot of builder layer in the distort. We can see in this list, there are different perspective dural ping bunch, spherical ripple, lens dorsion, lens correction, rectangular to polar, polar to rectangular, plat it display so many things until messed up. And we will discuss one by one. One of these, we will discuss one by one and also how to implement it into the design. So I think it will take longer time, absolutely, but this is very interesting because, you know, like each filter offer unique features. So let's discuss. So let's discuss one by one. The first filter layer in a distort category is a deform. So before we going to create new document and talking about defom as you can see here, this is the layer I created to identify to identify which features that offer in the filter. For example, when I click this one, Live filter, and I click ripple or twirl Ripple, for example, this one. So this is the ripple. And I can see what the ripple doing in the shape or in the picture or in the bond number, something like that in the P in the object like this. So this is just for introduction, and we will talk about it. We will talk about this page letter. So let's create new document, Timo seven duo TPI and create document. So let's talk about this one, the T form. So we create the new Timo second due to TPI and create document. So for implementing the T form, I'm going to use this picture. I'm going to put in this picture like this one. So the D foam is like PPE, you know, like Pape tool. We can create the point, each point like this, and we can def the pose. So let's apply T from a filter. We can click Pixel filter, click the Start and TFoam. We can create point here, and then with this point, we can move in gradually or to change the foam to change the foam from the object. So let's I create the point. First, I'm going to create point in this here. Just click like this. Just click like this. It's like the puppet. Each point, we can adjust each point, and then we can reform this object. For example, in this head area, this heat area, this head area like this. And then this area. So we can adjust each area we need to make a all right more oryzs like this. I have created this point. So I have created this point. With this point, we can move this object. We can move this, you know, this part of the object. We can adjust and then reform. So for example, like this, this hand, I'm going to make the hands more lower, select this one, two point in this one and then gradually, I just gradually like this. I just track we can doing like this, we can do it like this. We can do it like this. But yeah, for example, yeah, I'm just going to like this, for example, like this, this one. So as you can see this body, it tends to leaning to pack and I'm going to make, you know, like, more straight or vertical, little bit vertical. Like this, block all of this and then pack gradually. We can adjust like this. And then we can also change this heat. Change this heat. Like this, right? And then we also make this one more T one. And this one, still, we can adjust one by one. Like this. All right. After we satisfy, just click Apply like this. So when I compare to the original one, so I put the original one once more. I put the original one, this one, this is the original. Right, this is before, and this is after. This is before, and this is after. Sometimes if you want to this is make this as a model, and then you put the object in here in this hand and then you think that, Oh designs need more lower, designers need more lower. This object is too high, and then it's not suitable for putting the text or putting the object like in here, you can make it lower the hand lower like this, right? So this is the function of DFM. Is like it's first we create the point, right, the point. In the area that we want to deform and then pay gradually, we move this point and reconstruct this object, for example, like this. Okay. So this is in the deform. But implement the dirty from actually is a very specific use case. This image, it should be clean and, you know, it's more better if the object, it doesn't has the Picron. So this is like isolated image doesn't has a Picron. And then we can fly to edit the bone and then to stretch the body, for example, to stretch in the hand to stretch in the body. But what if this object has a pagron? It's a very hard to implement it. For example, I'm going to use this picture. For example, I'm going to use this picture like this. I just import like this. And then, so because this object, this person, so because this object has a picronT is playing football in the field, and then the field as a Picron, it's hard to deform this object. It's hard to deform this object, especially when we want to move in the hand or want to move in the foot. And then let's apply apply deform like this. And I create the point in here in foot in here and here. For example, like this, this one in the body two, in the head, in the hand. So if I want to make a little bit movement in the foot, I plop them yeah, the result, it will stretch directly. I will stretch. It's not only stretching the foot, but also stretching the field like this. It's not only stretching the foot, but also stretching the field. Like this. So it's not really convenient. It's not really suitable for moving this object. So that's where t from is not suitable for a picture that has a picron. So let's move to the next distort layer. We talk about the perspective, this one pixel filter. This is more complete this one this step is more complete compared to this one because some filter it can be edited in live filter, but some filter is not be able to edit in live filter because they have to, you know, distraction the image like defrom it will distraction. I will damage the original image. It should. And then so that's why the live filter in here is not complete as this one. Pixel filter in distort this more complete. So we will learn filter based on this list. First DFOmNxt we will talk about perspective. So let's move into the next session. And before we move to the perspective, let's save this from DFOm Like this, like this. Next, we move to the perspective. So see you in the next session. 20. Perspective: Reform the Image Perspective: Hello, everyone. So let's continue our next filter layer. We talk about this what? Perspective. So let's create new document here. The moose a D TPI and create document. Oh, this one, I'm going to delete this one. Yeah. All right. Perspective. In the perspective, I'm going to utilize this image, this one. To explain your perspective. Oh, I think the dimension image is not suitable with the Airport, so I'm going to, you know, like, click the Airport and make it suitable, like in the dimension. Okay, like this, this is the Airport. And I'm going to copy this airport, actually, right? Copy this Airport, and we will utilize this image. This one. Yeah, this one, using this airport, like previous dimension, right? This one. To set to 2000 like this. All right. So if you pay attention, this wall is not straight. It's not tend to lend leaning and then til maybe it's around how much degree. And this is make the images not natural. It's not natural. Like this photo captured with ultra white lenses. So some area is like little little bit curve like this. So with this perspective. We can adjust this one and then fix this one. So we click this perspective and then the perspective inside in this layer in this photo, right. And then I'm going to click view this one, click Show. Click grid. As a help, I'm going to use this grid to as you can see here, this one is not perfectly straight, it's not perfectly horizontal, vertical straight, what we are going to do. In this left perspective, we click this one, this corner. And we move gradually like this, through to the inside, to the left to the right like this and make sure with little bit help of crit, we can adjust this vertically straight like this. Right? And then for this one, we can also set particle straight like this. Like this. So basically, we can adjust more like this. Each corner, we can adjust. We can adjust each corner, right? We can adjust each corner. Maybe we'll make it more white like this, like this. It's also be able to create like this. But for fix this image, yeah, we following this grid like this. Alright, again, like this. So, this looks like when we're using the perspective. And if I compare, if we compare, I'm going to duplicate this layer until it this one, right? If we confir this is before, this is after. This is before, this is after. This is before, and this is after. So I'm going to hide this crib and the rest of it, just click Rasterize like this, and then let's zoom in. After we click Rasters, let's zoom. To see the difference is. So this is before, after. Before, after. This is the function of perspective before, after before, after. We move to the next object, this one. This is also the same. When we look at this building, it's also a little bit lining. It's not perfectly vertical. So let's apply with this one. Click here, click perspective and then show the grid show the grid here. And then just move this one. This one. Like this. All right. So I hide the grid. So I'm going to duplicate this one and one of them, which one? One of them I delete this perspective. This is before. This is after this before, this is after this before. If the building is like more shorter than the original one, right, more shorter, which is click here, stress up like this. Click the RL. Oh, no, click Shift and make it more a little bit higher. So this is before, after before, after. It's like the correction, the lens correction, right? Sometimes it's also depends on the lenses we use. If the lens is ultra white, usually, it will produce not corrected perspective. It will produce a different perspective to the original. So let's more one more example in the perspective. I use this layer. And I'm going to import this picture. Which one? This one. It's also the same. Just click show the grid and then put in duplicate the layer first. This one, duplicate the layer, right. Funny. We delete this layer. Yeah. We have to layer upon this building, right? We hide this top layer. We put this one with perspective layer. With the perspective layer, we can directly adjust this perspective like this. For example, we can set the perspective following the following this one crib. Yep. All right, more or less like this. So in the version of building with perspective correction like this. So let's compare with the original one. This is before, after this before, and this is after. Right. So this is how the perspective works. Learn about perspective with the re picture, and I think this is very useful tools to make the correction. So next move to the next filter layer. We'll talk about Twirl Twirl, see you in the next session. 21. Twirl: Twirl Effect Bassed on Clockwise Distortion: Okay, everyone. So let's continue our practice. Let's move to the next filter layer. We talk about this Toral. So before we continue to our next filter layer, let's save this one. And I'm going to with a perspective Do this. And this session, we're going to continue to our next filter layer. The filtering we want to learn is to start th this one. Tal. So let's we create new document. Create two women here. And I'm going to use this picture, this one. Just drag and drop here like this. And I'm going to duplicate this artboard. So we're using two image to demonstrate the Twirl this one. Yeah. This is the same object, actually. Like this. So when we look at this one, this intro, when I add this thral in the top of layer and I just like this. Look at this one. This one. And if this is the effect of thralR? Sometimes it's also combination. You can. This one, rectangle and circle become one like this, like this. This is Toral. And then this one, this fan become like this. This is Toral. Yeah. Right? Twirl. So we are doing the same with this one. I click here, click Twirl here. And then, so I just click tus angle like this ring to the center of tuse like this and increase the tuse like this and also increase in the angle. Again. The result will be like this before, this after this before, and this is after. Yep, we're increasing this one more and more. Yeah. Like this, if we set two plus the rotation we following the clock clockwise. And then if we minus, it will following the opposite of direction like this. So this is before. This is after, like this. So we also copying the Twirl maybe just click here, move to the second picture, and then click TL. Same like before. This one. This is the center point. We move to this one like this. We're increasing this W, too much, right? Increasing the like this. Yeah, I think the result is not good as this one. I think this is more subtle. And this is like damage the pattern, right? So this is the thr works. Like this one. The throw works when I put in here, even it will combine the blue and the yellow. Shape, even though this one is not combined become one. This is like individual shape. And then because this troll effect, it become like this spiral. So to deep dive more. So let's take one practice more to demon straight the thral I'm going to copying this part. This one, I tilt the acid, the material, and I'm going to import this one. Yeah. This one and this one. All right. So I'm going to make selection T one. This fish using this Pixel mode using this one. Just please wait until Affinity make a selection like this and then click Musk layer, right? Cetera plus D to the select. And for this one, so I give them the water like this. And I duplicate the water and I put here, and I apply the troll like this. Just clip the angle. Yeah. Angle and retice. And I gradually put this in the center. Just increase the tuse increase the tuse maybe I will set to 1,400. For example, or too much, 1,300. Yeah, more or less. And then the angle just a little bit like this. Yeah. Next, I'm going to this one set this blending mode, change this water. So I'm going to rename this water too. Like this and this water. I'm going to change the blending mode to soft light like this. Right. And then Troll. I'm going to copy Torl and put in here and in front of this water. Like this, maybe it's too much. I can reduce the ice. Like this one. Right. So in this water, maybe I will apply mask lyre and then set to black like this, reduce the opacity, increasing the crust and start to throw around this like this. So this is like this fish, make a troll. This water is a spiral because the fish is moving like this. So before, after before, after. The simple implemented using Torl like this. So this is how the Trol works. Next, we will talk about the pixel, filter, distort, pinch and punch this one Pinch and Punch. So before we move to the Pinch and Punch, let's save this one. I'm going to give name l. Tim. So the next we're going to discuss about this one, distort 22. Pinch/Punch: Squeezes or Bulges an Image Area: Hello, everyone. So let's continue. We'll talk about this one. Pinch and Punch. So let's create new document. Click T seven do TPI. Then to explain the Pinch or Punch, I'm going to use this picture. Which one? This one? Before I apply to this image, let's I explain about this one, I delete this tol, right? So what if I add Pinch and Punch in this page like this? You can see here this one. So the pinch and punch is basically to make the object is convex, or if this is a plus a positive, and if we set to minus, it will concave the object like this. So this is pinch and punch, right? Maybe I will increase this. Yeah. So what if I implemented Pinch and punch in this picture? So because I think for this eyes, we can make the ice is more picker with pinch and punch. It's not need to make slicing the ice and zoom in, but using just pinch and punch like this and grease the juice and increase the pinch and punch like this. So it will make the ice is more picker and convex. And then we copy this pinch and punch, and then just move this one to this ice, maybe a little bit red juice. Like this. So this is before, after. I will make the eyes is more picker. Maybe this eyes in the left eye is, you know, still a little bit picker, and we need a little bit picker in the right eyes. So the picker pinch of pinch and punch, it will make the objeck is more convex. And then the use, it will, you know, increasing the broader the area the area that influenced by pinch and punch, for example, like like this. You looks unnatural. Okay? Like this. Oh, this is too much, right? Too much. Just like this. Alright. This is Before after before, after. This is pinch and punch. Because I am is an ICN person, maybe my ice is not really pick tends to, you know, like small eyes, small ice and slanted eyes. So maybe in the photo, we can use this one Pinch and punch to make it more little bicker and a little bit open open the ice. Just like this simple. It's very simple, very easy to use. Pinch and punch. When I apply in this Timo like this, this is more concave. And in the minus and the plus, it will make concave and convex. So we save this one first. Pinch and let's say pinch punch like this. Right? So let's move to the next filter layer. We talk about Spherical, this Spherical. 23. Spherical: Create a Convex or Convave Sphere Distortion: Hello, everyone. So I'm glad to see you again. Previously, we have learned Pinch and Punch, right? And the next we will learn the Spherical. This one, the Spherical. So let's move to the Spherical and we create new document like this, right? So to experiment the Spherical, I'm going to use this picture. Do you know the convex mirror? This is the convex mirror. And usually we found this in the cross road in the cross road as a sign that this convex mirror is usually to cover the plain spot fuse. So when people who want to turn left or turn right, they can see in the convex mirror and then they know what's happening in the side of root. So before I explain about this, so let's move to the intro to start. What if I apply this one Spherical this layer. Now when I increase in the intensity and increasing the retuse like this, as you can see here, if I move the spercle, the result will be like this. So it will create the convex effect. Like we using the convex lenses in the class, for example, like this. So it will create the convex effect. And this is also suitable when we see in the convex mirror like this. So it will create the convex fuse. Like this in this building is a curve. And then, for example, this building is also curve, right. So it's really suitable. When we create like this, this one, too, is also curve. So let's experiment with this picture, right? This is the convex mirror template. So I also import this picture, for example, this one. And bring the so we can move this one, this layer under the convex mirror like this. And we can adjust. Yes, we can adjust. What's wrong? Yeah, like this and we can adjust the layer. For example, like this, we can zoom out a little bit as if this car hitting the convex mirror and they see what is happening. What if we add the sphericle like this we just increase the intensity and also increasing the tuse increasing the intensity. Like this. Again, increasing the If we need more increasing the use, right, which is screw up with mouse, it will create more curve and curve. If the use is just stop in the 1024 pixel, we can scroll up with mouse. We make it more evac Right. But I think it's enough. I'm going to increase the intensity more and more to 100%, I think. So this is the function of Spherical, right? How we can implement it in the spiracle. Like, for example, let's duplicate this airport and I put into another object. This one, I tweet this one and then try to import this one. This is just for example. Maybe just using this picture. This one. And what if I put the spiracle in here and then it is here. This one from here, put in here. So it will create the the convex effect, we like the effects from the lenses, right? Effect from the lenses. So the spherical is like we put in the glass like this. Either we can edit in a convex or in a conveveF example, like this. When the intensity is plus maybe 100%, it will convert it will create the convex, right? But when we set to the negative, like this, it will create the concave image effect. So the spacles like we using the lenses like this in front of my eyes, in front of our eyes. Intensity to negative, it will create the concave. When we create positive, it will create the convex effect like this. So we can move like this, we can increase interactive as if this birth as if we see the bird through the convex lenses like this, more or less like this, how we use the spiracle. Before we move to the next session, let's save this document and put in here with spiracle. Si. So this isn't the Spherical. So let's move to the next filter layer. We talk about this one. Filter, you start a ripple. So see you in the next session. 24. Ripple: Produces a Radial Rippling Effect: Hello, everyone. So let's move to the next filter layer. Previously, we have learned Spherical, and then we next move to the filter layer. We talk about ripple. So let's we move a little bit into layer, introdocument. So let's see in this page back to this page, what if I apply this ripple, this ripple or through this filter. If there is a life filter, we can use this one ripple, like this. So ripple, when we set the intensity like this, the result will be like this, the intensity. If you put the stone in the water in the lake, for example, so it will create the ripple, right? It will create the ripple. And then the wave in the water. Yeah, this is the same analogy to explain the ripple like this. Yep, more or less like this is a ripple. This is when we apply in the center. When we put in the center in the number center in the pan center in the ecle like this. Still, we can adjust the center point in this live ripple. So let's apply it in the example check. Or for example, I saw ripple be able to apply in this flag. You know, this is when we set this ripple to zero, it will create the ordinary flag. And then if I increasing the intensity, it will create the flag is waving, flag is waving. This is also using six intensity, seven. It's like the flag is waving. So let's move to the implementing the ripple into the design. I'm going to create new document. Click Timo 72 DPI, click Create Document. I'm going to import this image, actually, this one. This one. So because this image dimension in the portrait, so I'm going to set this art port to portrait, just set to 2000 by 3,000 like this. Actually, we can set the ripple. I think we can delete this one. No, I think we can use selection, this leg and then bring this a ripple, right? So I think I'm going to duplicate this layer, right? And I hide first. This bottom layer I hide and I'm going to put this one. I'm going to make selection. Quick selection. Maybe I'm going to spit up to save the duration. O. Like this. After that, we click selection. After that, in this layer, active layer, we can click CLG to create new layer from this area we select. Quick click ctr plus D to remove the selection. Okay. So we can apply this layer with ripple, like this with ripple. Set the intensity to this one. Yep. From this ripple. And then this one because this layer is sometimes offsite, right? This layer is offsite. We can create the, you know, the mask layer with this ripple. Click Muss layer here, right? And then we move to the pixel mode, right? And then click Pine Brass tool. Set the four cron to black and increase this one pass size. Maybe too much too much and reduce the opacity. Maybe I will set 40 around 40 and start to not enough. 50? Yeah, start to more 60. Yeah. Start to delete the opposite. This one, I'm going to reuse in order to get smooth ripple. Yep. The result will be like this. This is a ripple before, after before after to give you know, a little bit ripple effect or this use case, right? Well, if we think that this is more need more, just like this increasing to 33? Yeah, I think it's good. So this is before? This is after to give little more ripple, more or less like this. Right, ripple. So we move to the next filter layer, we talk about this one. Lens distortion and lens correction. We directly talk about put of the right? So let's move to the next session. But before we move to the next Wilder, let's save this one as always to document. Why I always save my project is like to reminder that, oh, I have learned about this, and then it will easy to us to maybe sometimes to review about the project that we have learned before. It's easy to review. It's easy to recall. So that's why I always have the document in this course in this class. So I'm going to put this name for Ripple So let's move to the next pixel, a filter, this one. Move to the filter with Taco pot lens distortion and lens correction. So seeing you in the next session. 25. Spherical: Creates a Conves or Concave Sphere Distortion: All right. Hello, everyone. So let's continue to the next filter layer. So we're going to talk about this one. That is to take lens distortion and lens correction. All right. So what if I apply lens distortion, like this to this layer. The result will be like this. So it's similar to the Spherical, right? Similar to the sphericle. Right? And we can also put in here. So this is when we apply in the lens distortion, similar to the Spherical. So when we set on the positive, it will create a convex effect, and then when it set on the negative, it will create a concave effect. So let's apply to the design and we talk about it more further. Let's create the new design and then create the most appended to TPI and here. And I'm going to explain, you know, the distortion you seeing this picture like this. So this is a house. And then my assumption this house was taken by ultra wet lenses, maybe from smartphone or from camera because, you know, the image is have curve effect, like this is the ultra weight. So the ultra wet, they can capture weight range of picture, but the consequences it will, you know, compress the image into the curve curve like this. So the result will be curve like this, copying this at part two, and I want to import the o the picture. This one. This is like the same case. This is also a little bit, you know, a little bit curve in this straight part, right? So let's move to this one first. This one, this home. I I duplicate this to my comparison letter. And this one in the top, I hide this one in the bottom and the top layer, this one, depicts house layer. I'm going to apply the lens distortion like this. And then simply which is put here, increase the lens distortion and put in here like this. So I'm going to use this one. Grip. Yeah. So in this one and this one, it should be around like this. Yeah, I think, more or less like this. So I'm gonna remove the grid. Maybe. Mm. Yeah. This is before, after before, after. With the lens correction, we can correct the position, the position of because this is the ultra weed, you know, we can edit like this. This is This has become more straight, right, more straight. Maybe we can increase. Just Yeah, I think it's perfect. Then we move to the next picture. This is not too much curve, right? Just a little bit curve in this, you know, in the street so we can just a little bit make the correction for this one. And we move here to increase the distortion like this. We can utilize this one. We can show up the grid to help us Yeah. Yeah, more or less like this. We show up the grid, and this is this is before. I'm going to replicate this layer. This one, I delete this one. So this is before, after before, after. So it's not perfect result, right? This is maybe not suitable. Yeah, I think just like this before, after before, after. Little bit correction, little bit create correction. Yeah. All right, like this. This is before after before, after. It's not much, but just a little bit correction. So the point is the points is the same. We can using the lens distortion to make maybe to fix the image result. Maybe when I said this one, when I apply this layer with insistortion, when we set tune the positive, it will create the convex effect, and negative is also like this to create the concave effects. And then this is more curve than previously more concave effects. Let's we save this one, we save put the lens distortion. And let's directly move to the, you know, next layer. We talk about this one. Pixel filter, distort. We talk about lens correction. So I'm going to import this picture this one. This one. So for the lens correction, we can apply through Bilter distort and lens correction. So the lens correction here means is like we can adjust little adjust about the lens we use, especially when we're using the camera because the camera might be the SLR or MAs, we can change the lenses, and then we can apply the camera, the print of camera, the mark of camera, and then also the lenses we use. Maybe we use the aftermarket lenses, and then we can adjust like this. Maybe we can capture specific photos because sometimes because when we're using lenses maybe with low focal length with low focal length, it's also making the ultra weight and making the picture more curve, or maybe we using the long focal length, maybe using more than 100 millimeter. For example, the picture look like, you know, look like pullet, something like that. So we can adjust the lens correction using, for example, if I using the Sony camera, for example, Sony camera, maybe 6,700, for example, and using the lenses Sony E 70 to 350, for example. So we can adjust the vocal in, like this yeah, just like this. Maybe we can just a little bit making correction to tune the lenses pies or the lenses effect we use. It's not much change the object. Maybe we can change to 18 to 108 millimeter, just like this. So it depends on the camera we use and also lens we use. There's so much of Camera Band, from Sony, Samsung, Panasonic Colin Pus nikon, Leica, Fuji film, cannon, I mean, things like including the Apple, Apple iPhone. And then the lenses were using also so a lot of a brand, a lot of aftermarket lenses. And then we can adjust the vocal length. Default vocal length from the software is 1 millimeter to 300 millimeter, but it also depend on the lenses with different lenses, also different result. So this is a four lens correction. It's a very specific features for very specific camera and lenses and for very specific picture too. So next move to the pixel layer. The next pixel layer is no, no, no, pixel layer. This one. Distrt we still in the distort category. We talk about rectangular to polar and polar to rectangular. So we will talk about both of them in the next session. See you in the next session. 26. Rectangular to Polar: Hello, everyone. So let's continue our practice. This one, we will discuss the pixel layer, filter the Pixel. So this one, we're going to discuss the filter layer still in the distort and rectangular to polar. Rectangular to Polar, this one. All right. So I'm going to delete this or just delete this arbor. And maybe I'm going to use this picture. This picture to explain the polar to rectangular to polar. This one, filter, distort rectangular to polar. So the rectangular to polar here means in the simply just to become like this. There's no other setting that developable in this filter just a converting the picture become like this. When I undo, so the rectangular to polar here means it's like to stretch the image to become circle, and the side will meet with the side. So in this side, it will meet this side. So, for example, I stretch this image, maybe I will put in here. Maybe I will stretch this image right and I make it a circle and I make it circle. From this long picture, I make it circle, just like this. So when I apply the when I play this one, fill distort the result, more or less like this. So it's like for example, when I create this one, New pixel, and I will bring the gradation from white to black gradation. When this pixel, I applying the lens rectangular to polar. So this is the plaque area. And then this is the transition from plaque to white, and this is white area. So so this is the plaque side, met with the white side. And then the rest of it, this is the transition. This is the Gratian color we create. So this is like this is how this one rectangular to polar. So what if polar to rectangular? It's like the opposite. So maybe I will hide all of them. And I import this new image. Alright. So I'm going to duplicate this image. I hype to pick up here. Okay, guys, so what if we apply the polar to rectangular? The result will be like this. So the polar rectangular here means decide decide I'm going to bring this original. So maybe I will rename original this one Rectangular to Polar, Rectangular to Polar. This one, polar to rectangular. Alright, so this is the polar of rectangular. I will bring this one. So this is the original, right? This is the original. So the polar here means, so I think this is like divided into two, right until here, and all of them, it will stretch to the circle. For example, for example, we create this pixel layer and click this one, the pixel layer, click the Cretan, like this, and then let's apply polar rectangular. This one is divided into two parts, right? This is the white area, and this is the black area. And wet area is become a, you know, like circle. And then the color in this area will continue in this area. So this from white to gray and continue gray in here to black, like this. And then this one is the transition between white and black. This one, become black white and become white to grey and continue create to black. So yeah, I think the theory behind it is like this. If you hard to understand, maybe this criterion will help you to understand the behind polar to rectangular, right. So before we move, let's we set this one. I'm going to name rectangular to polar. So let's move to the next filter layer. I think this is more easy to discuss. Pixelated it, Displace, glitch, and then the rest of it. So see you in the next session. 27. Pixelated: Creates Blocks of Color to Obscure Image Areas: So next to move the next filter layer. We talk about pixelated. This one, pixelated. Right. Let's create a new document, create new document. And then for the pixel edit, it's a simply to convert the picture into Pixel Edi. For example, I'm going to import this tiny dino like this. Simple. Actually, this is very simple. When we add the pixel edit, it will convert everything to pixel ed. Like this. When we increasing the quantization, just like this. Is to become pixelated. It's like loosen the detail and change to the pixelated, just like this. It's like yeah, low resolution. But this low resolution is not come from the pixel because the image is low resolution, but this is tuned to the filter. And we can reduce the number to make it more theta. When we zoom in like this, this is the original pixel att, right, when we set to this one to pome this the decatt is more and from just like this. We increase to become pixelated, just like this. There is no other option setting in this pixelated. It also be able to make, you know, the sensor or the blur in some part of object. For example, this is the number car and hold by police. Number plot, I become pixelateed. It's, you know, two sens on the numbered car like this. It's easy. We maybe we make a selection. This one, make selection. To censor. Like this. Just make a simple like that. Make selection and copy. S plus G to make a duplicate, plus D to. And this one. This one just applying the pixelated. Like this. Just like this. So it will blur this number, and it's not visible anymore, the number and then maybe if you want to upload on the Internet and then still, you know, give the number car, and other people will identify this number car. We can trace this car about, you know, like the information more further, right? So we need to make it blur right? We need to make it blur before we upload it to Internet, for example, to keep the privacy about the owner of the car or the further information. Make selection like this, eter plus G or don't get in this area. In this layer, Sel G, and then era plus T to Dslect remove the D select, and we got the new layer from this lot number and then click Pixelated. And then increase the quantization. I like this. So before we move to the next pixelate it, let's save this document to pixel So next, we will talk about the Displace. I think this Displace is a unique features that Affinity offers because Displace is very suitable for create a mockup for mockup protact or for many purpose. So see you when we talk about the Displace. 28. Displace: Distorts Using a Displacement Map: Hello, everyone. So let's continue to our practice. We'll continue to learn the next filter layer. The filter layer we want to learn is this one Displace here. This one that Displace. So let's move to the new document. We click the New Document here and click Create New Document like this. And to implement it the pixel layer, I'm going to import this image. I'm going to use this teaser. This because the T shirt is a more portrait, so I'm going to set this arbort to portray refer to 2000 3,000 like this. And then this one, this is a T shirt, T shirt like this. And I think I'm going to add some Bicron each for Bicron, like this. So I'm going to explain how Displace works. So I'm going to create the mockup for Tissert as if the mockup the design is printed in the t shirt using Displace, this one. Displace. So this one, I'm going to import the design. I think I'm going to use this one the prefusTno the preface Dno in the prefusPjq us for example, this, I'm going to set tune this one like this. What if I apply Displace directly to here. So this is the window of Displace. And first, before we slide the string here, we need to click Load Map from layer beneath. So here means that we can load map based on the T shirt, this one. So this one. So this design, this minute, you know, we following the curve of the T shirt. For example, I like this, we click the load map from layer beneath, like this. And we increasing the strength like this. Maybe we close temporarily. So when we moving this design, this design following the clothes, right? The design is following the clothes like this. Wherever I go, I put this design, it will following the Tissar shape, right. But the problem is, if you pay attention, some design is pixel ed it and some edges is broken, right? Some pizzi pixel it, some some area is broken. So I'm going to duplicate the t shirt, this one. Duplicate the thirt. In this t shirt, the top layer t shirt, right? I'm going to add the cauchienblu. So I'm going to use causienblur to make this thirt is more subtle, right? I'm increasing the t shirt maybe like this is, like this. And then using 14 14 pixel and also add the level. This one. I'm going to using the level. So the inside of Tishir, I'm going to put the level adjustment inside of tissut, right? So the Tsir level and caucionPlur, I'm going to increase in the black level and little bit white level. Or just place like this, right? After that, this one, Displace Map, click Load Map from beneath layer like this. So the foam is more subtle, right. The foam is more subtle. So when this cloth whenever this clothes moving, it will following the shape of the shape of, you know, the shape of dessert. If we think this too much, maybe we can reduce to six like this, right? So when I find this Tino is a moving, it will follow on the shape of tissue, right? So the rest of it, which is change the blending mode in the Dino into multiply like this. And then the last, it's not last. In the tis shirt, we will hide. I'm going to hide this tissert and the rest of it. Yeah, just like this. And to make it more, you know, more realistic, I'm going to set the Alps ch, duplicate this Dino and using the soft light using the soft light. But I'm going to reduce the soft light maybe 30%. Yeah. So this is, I think it's perfect. So this is the result. Do the design. So let's try the next picture. I'm going to also put here this one. This is design, right? So this is the same process. Let's say, I'm going to group this yeah. This is for TNO. Oh, wait, wait, wait. Yeah. Yeah. So I'm going to group this one Tino and I hide temporally. So let's be working with this Tsir this design. Like this, we put in here, Make sure the tisser that has left and cogent plu we activate or anhyd then using Displace, this one, Displace. Displace like this and load map from layer beneath. After that, we make it. Maybe I'm going to set 60 like this. And then Yeah, the rest of it, we adjust the design. Like this. After that, we move the adjustment layer to multiply. And also, we hide this one, dessert, and then the result will be like this. And to make it more a little bit, you know, better, I'm going to duplicate this one, set to soft light and reduce the opacity. Yeah, maybe 40, 30, 30. So this is This is the result. I'm going to group set, save the planet name yet. So this is for the SensfPlanet. This is for no using Displace. So this is to create mockup simple mockup. If you want to using the Tsar mockup. One more. Let's do it one more to practice Displace, right? I just going to impart this one. This is doormat, right. So I'm going to type in this one, I'm going to set will come, for example, and then maybe use the phone, custom h the phone. Like this, I'm going to using, for example, the bold phone. Yeah. Christmas size. Maybe in this one, I'm going to set to yeah, a little bit a little bit prawn like this. And the rest of it, just click here, click Displace. Yeah, like this. Again, because the pecron is not smooth, we need to duplicate this one Pecron and help with Gaussian Blur because we still need the detail. After that, we repeat the process, lot map need layer like this. Okay, the rest of it, just convert to multiply. But I'm going to m set the I think the colour is not suitable for this case. And I duplicate this will come with soft light. This one, Multiply set to maybe 76 like this, just like this, right? So it will following the shape of doormat behind this Bicron like this. So more or less like this to utilize the Displace, right? So next, let's move to here and save this document. Displace. Yeah, I mean, we move some file to this folder, Displace them this. So the next we move to next Clitch The filter layer is glitch. And we can also access glitch to here to Live filter. So see you in the next session. 29. Glitch: Add Glitches Effect : Hello, everyone. So let's move to the next filter layer. The next filter layer is cltchPixel filter, distort and glitch. So to talk about glitch, let's create new command. We create new document here, like always, like this. And to talk about this document and this glitch, I'm going to utilize this picture, this one. I think glitch is one of the unique features in affinity. One of the unique features because it's very easy to use. Relative very easy to use, right? And then a lot of option we can choose. So let's create this layer first set up this layer first like this. Mm hm. And I'm going to duplicate this picture this art board, and I'm going to use so I'm going to use this one. Yep, to experiment in the glitch. Here. All right. So I think I'm going to make it more further. Right. So let's start with this picture, this one. I'm going to apply the filter, live filter in glitch. So this is in the glitch. To apply the glitch, in this method, there's lot of options, lot of options you can chooe, right? And then string. And then each option is also using different settings, for example, operation or distortion. When I slide the string, the result will be like this. So in the glitch is like apply perspective, right. This is when we slide the positive number. When we apply the negative number, it will the opposite. This is the operation distortion. This is glitch. It's easy to. And then the channel ordering, we can choose RGB. This is consists of red green blue, as you can see here, this is consists of red green blue. This number, this is red, green, and blue. If there's a purple here is a combination between blue and red, red, green, blue, we can also GRP, green, red blue. This is the composition of color because red, green, blue here means this is maybe red is representation of shadow. Green is for mid tone, and blue is a headlight. When we moved on the GRP, greenhblue headlight. So we can switch. Yeah, we choose the RTP. Later in the operation or distortion, we will make this one and this one is offset. Like we move left and right. Or we can also change the offset to vertical or horizontal. Still now in the channel ordering, we can choose the composition of color. And then the RGB here, this is the channel of a number of channel. If we choose click one, there is a consist of one color. This one is a two color and this one is three color. All right. This is vertical and horizontal. And shred is like the picture will cut horizontal or vertical like this to become small square or maybe we can set to it like this. Maybe just this little bit, this also a little bit, and then mixel like this. Right? This is shred. It's like cutting to the small pieces. Blast. Blast is similar to shred, but it's like the hair cut like this slice slice. It's like slice into square, vertical and horizontal like this. Or maybe the object is slicing into small part like this. And then sow tooth. More or less is like this. Similar to check saw, no, no, no. Yeah, check saw tooth or sow tooth. Yeah, sow tooth. T start like this ripples ripples, similar to wave. Waves, yeah, I waves itself like this. Clitch then still a lot of option here. You can adjust. You can experiment by yourself like this. Click the set. This is how we use the clitch. Maybe we often use this one. Just appreciation, operation of set and using vertical and horizontal like this. This is the usually glitch using act and then actually, we can also create maybe when I moved on the quantization, for example, this is similar to, you know, it's like the row blocks environment. And then we can also combination with mask layer here, mask layer, and then mask layer, we put the inside of place inside of clitch like this mask layer in the inside of clitch inset of filter layer and we can throw to make it unclitch this object. So we can also edit which area that doesn't need a glitch. So again, even though the glitch will apply in the whole image, but we can still using the mask layer to, you know, to exclude some area that not affected by glitch. So it's like a person in the rob block world. Rob block is identical to clich and accelerate like this. So next we moved on this one. What if glitch we apply in the photograph like this? We using the glitch. Apply some glitch. Using the operation offset, like this. Mostly the glitch that often we use often is using these upset glitch, like this, offset glitch. Just like this. Oh, no, no, no. Yep. Just like this is not much setting we can apply here. This is bidirectional. It's too much, right. Number of channel three bidirectional. And then, yeah, it's like, simple to use, but a lot of option we can use. Morelses like this. Okay, let's save this document to restart and I'm going to give the name which So, okay, this is more or less how to use a clich. So we move to the next filter layer with a shear this one. And so, see you in the next session. 30. Shear: Reshaping the Curve Image: Okay, friends, so let's move to the next filter layer. We talk about filter. We start shear. So the shear filter doesn't available in here. We have to using this blist shear, like this. So let's discuss about it. We create new document like this. So I'm going to import which one? This one. This building. So the shear layer is similar to perspective, similar to this one. Oh, no, no. This one. Here, this one. Yeah, here. When we saw increasing the shear to maybe 17%, 24%, 20%, the result will be like this. This is when I said to negative, the result will be like this. This is she available in transform, but this is a little bit different. So let's apply share. I'm going to duplicate this layer, and then click Pixel, filter, distort and Shar. So we can make the pictures leaning horizontally and vertically. For example, when I set horizontally to write this one, the result will be like this and I set tune this one, this will be like this, right. So I think I will hide this bottom layer. This one. So when I little bit make this bottom, it to left like this, to right like this. It's like the result from those from and then the result is the opposite, right? The opposite. And this one, this is the horizontal. To top and bottom, go up and go down like this. So I'm going to use this one little bit yeah, like this. And then vertically. So we can also create the curve like this to create a curve vertically or curve horizontally. This. So more or less is like this, we click Apply here. And this is before, after. Before, after. I think the effect is not strong enough because the example is also not curve. So let's move to the next image example. I'm going to use this curve home. Which one? This curve home like this. This one. So we move next to the second example, this house because this house has, you know, curfew because maybe this is using the ultra white lens. So let's apply shared in this picture. Distort shear like this. So what if I maybe we can utilize this shear like this. For some reason, this is a little bit effective compared to prefus tools using this one call lens correction or lens distortion, right? So this is when we click Apply, I'm going to compare to the original one, this one, the original one. So this is before, this is after before, after. Before, after. So the curve effect is not strong as this original one before before, this is after before this is after. So this is how we use this one. Share like this to make it. Yeah, it's similar to lens distortion. This is how we can use Share. I think this is very effective combat to the lens distortion for some reason. So again, this just depends on the use case on the file. Maybe a little bit So this before. This is before, after. Before, after. Before, after. Look at this field. The curve is a reduce the curve. Right next, we talk about filter, DisttFlter ditart and mirror. I think mirror is a simple tool. There is no need to discuss much further, but yeah, let's some headlight about mirror and afin mirror and afin. So see you in the next session. 31. Mirror: Producing Mirror Effect to Image: Every one, so let's move to the next filter. So we're going to import. So I'm going to import. This one, convert the outboard first like this. So in order to suitable with this picture, right? So the mirror is a simple Blake filter, distort and mirror. So the mirror is just literally mirror. So the picture we divide it into half, right, and top and bottom, and the top will reflect the bottom part will reflect in the top area, just like this. Then we can still edit, for example, the angle like this. Just angle like this or output like this. Just like this. There's no other editing, other option, except this number. If we increase the mirror, the result will be like this. Yeah. The rest of it is like, you know, like a pattern if we increase in the mirror like this. Similar to Mandala. But yeah, mostly we using mirror in the one. Number of mirror is one. This one is the object, and then this one is reflection of the object. And we can adjust the position. This is the mirror, right, but we can adjust the mirror result. So it's basically when we set to the patom, the mirror start with this area. When we increasing this ptom, the mirror start in this area. So it's like similar to parallax parallax movement, parallax move, right? This is the mirror. Simple. Very simple. When we increase the number, it will shape a mandala like this. And we can Oh, this is very, you know, like, very interesting. When we set to the number of mirror to 20, and then we move, this pattern is like animation amazing. So, but again, this is similar to Mandela. Let's set on the one again, just like this. It's just a mirror. Simple to use object into two, dividing the image into two part, top and bottom. And from this case, and top is in the mind area, and then the bottom is the reflection from the top area. This is how we use the mirror. Next, we move to the next filter layer. We talk about thetrtobn. This one. To talk about this, let's create new document. Right, create a new document. And I'm gonna import this one. Do you know this one? This is the pattern. This is a pattern like this artboard. I think 2000 2000 square square. Is like this. So with Avin, we can create the pattern. We can send this pattern into small area and copy paste like this and copy paste like this. But this is take long the time, right? It's very take long the time. Even though we can be able to create like this, but this is take a long time. We can utilize this picture. This one. This one pixel filter, distort and oven. This one. So this one, you have to pay attention. We have to pay attention in the extent mode. We can set to full repeat rub and mirror. So let's we set to work first and then scale down to maybe this one to 20%, for example, and scale X and scale Y, also 20%. The result will be like this. Yeah. Rather than just, no, no, no. I forgot to click Apply start a win. Just click Apply, like this. Rather than we just copy and paste, copy and paste, we can directly copy. So I'm going to import again. I will hide this patty pattern. I will impart again this one. Right here and then I'm going to duplicate. So this is as a pup. So I'm going to apply this another method. We start adving another method, extend mode to repeat what would happen in the repeat mode. Or I will hide this one. So dial will be like this guys repeat. So repeat here means it will take the last pixel and it will repeat the last pixel like this. So it will take the last pixel, the last pixel, and then it will extend the last pixel and the last the last shape here, here, the last shape, right? This is the repeat. So what if we move to full? Yeah, there is no full we can reduce if we reduce the scale, just become like this. What if we move to zero? Nothing change. This is just upset. And then b yeah, we have using b reflessly and mirror. So mirror is basically also mirror. Mirroring this object. For example, if I if I cancel kansa If I using different different object, for example. So I'm going to put this one, this Tino like this and I mirror this one. Pixel, filter, distort, and then AVN click mirror. The result will be like this. This is mirror. This one, mirroring with this one and this one mirroring with this one, this one. And you bring this one. So this is mirroring each other, right? Top layer, mirroring with right layer, top right with memoring with top left. And then this is the bottom right, mirroring the top right. So mirroring each other. Yeah, I think. So I think it's suitable for create a pattern, right? Just set maybe 15 and set 215. Yeah. And offset, this is just for offset. Maybe. Oh, I want to make maybe in this area in the HS area is not perfect. She is not perfect part. You can use this offset to do that. So just click Apply, and this is how we use Aven. We have experiment with Patti and also with Dino. Let's save this one. I'm going to put the name Avin Limo. Like this. All right. Next, we will talk about the last. I think I also for headlight, I will explain I will talk about this one, the start equation. So the equation here means we can input the formula here. But honestly, I'm not capable to doing that. I'm not capable to explanation the equation like this. So I think the equation, I'm going to skip this part. Alright, I'm going to skip this part, and we directly move to the filter mesh wap. So I think mesh wap is a really, really unique features and important features in affinity. So let's talk about mesh wrap in the next session. 32. Mesh Warp: Distort Image Based on Mesh Area: Everyone, so let's move to the last filter layer in the distort category, mess ap. So to apply this one, let's create new document. This one. Yeah, I'm going to confort pot right. Okay. And for this mesh wap, I have this one, this file, snack, snack Shado and snake headlight. So I'm going to import this one. This is the snake Snack Snake package, right. And then I also cani Import this one. This is the snake package. This is, you know, for the shadow, and this is for headlight. I'm going to also import this protoc design like this, right? And I adjust the size, and I adjust this packaging design similar to this one. Yep. All right. After that, in the snack headlight, I'm going to hide first like this. And then this one, I'm going to put in front of this layer. And I think we can reduce the opacity like this to make it in the pesible of a snake headlight. You know. And I think I need to reduce opacity for temporarily to make sure that this is visible in some in the shade is visible in the packaging the packaging model is visible. So than that, let's apply the mesh verb. We click here then chips snack design, re chips. And I'm going to use this one pixel, filter, distort and mess for like this, we can adjust this point as a curve. We can just like this. We're going to adjust like this. We're going to just like this. And then we can also create the point, the point. For example, I create the point like this to create new point, for example, like this. And then this one, this one, maybe in some area that need to curve need to bending due to the curve like this. This one. I think it's too much. So after we create like this, let's edit this these packaging to close to the shape of this packaging stuff packaging template. This one, packaging template and this one. So let's make or edit the form of packaging design to similar to packaging template like this. It's not need to precise, but it's similar. Like this, we can create like this. No need to be precise, but similar similar result. Right. Similar result. For example, like this, this is very substantial substantial. This is we need to curve to painting the shape. Gradually, we adjust based on the shape like this. Right. If this hard to adjust, we can also adjust this one. These two, this point, the number two from the second line, the second line, right? It's not only just in the most in the edges in the side, but in the second line, we can also adjust like this to make it more realistic. And we can also select all of them with local of them like this and reduce, reduce the adjust the curve, the form like this. Like this, this one. Yep. After we satisfied, we, you know, make this packaging from similar to the package like this. All right. After we satisfy the result, we click Apply like this. After we apply, we bring back this one R chips snack design from this one opacity 47 to 100%. So this is the foam we have created, right? After that, I'm going to duplicate this next shadow. I duplicate this one. So we have two layers next shadow. So this aches snack design, I put between the snack shatto. So this next shado one in the top of the re chips neck design and then this one in the bottom. And then after that, I'll bring this one, the sneaxt ShadoPNG in the top one to click Create Clipping mask like this. So this chip snack design will crop following this next shadoFm After that we just click Multiply. Yeah. So this layer, this snack design will reflect the shado available in the snake shad on this one. This one, if we unhide and height this one, right? So the shadow that available in this packaging will reflect in this package. So the design, this one will influence the shadow by snake shado like this. And after that, we unhide the snack headlight here. And this one, I'm going to add I'm going to change the blending mode to add like this. So we have created the protect packaging. The rest of it. I think it is just for a click rectangle, put it here like this. So this one this is the proto packaging or mockup, actually, Map to create mockup with utilizing this one mesh work. But as long as you have this one, packaging motel packaging like this and also headlight like this. As long we have these two, think's easy to create mockup. And then to make the design following this mockup, we're using the mesh work. Like this. I think this is how the mouse web works, and I'm going to save this works nice more like this, more or less. We have learned about distort. Almost all of them. We have learned about distort, and the next session, we move to the noise category. Still, we have noise category, detect lighting and colors. So many things we need to learn in this pixel and then filter category. 33. Denoise: To Reduce Image Noise: Hello, everyone. I'm glad to see you, Ken. And in the preface lesson, we have learned filter in the T star category. And in this session, we will continue to the next category. The next category is the noise. So if you can see here, when we look at the pixel and then filter and the noise category, there are some category. From the noise at noise deviwsP noise to dust and scratches or the interlace. So in this session, we'll learn and talk about one by one in the noise category. So let's move to the first category, the noise. Here. So basically the noise is to reduce the noise. So why it's called the noise. To implement that and to explain about the noise, let's import the material for Timo. For this session, I'm going to use this picture. You go to the filter folder and then this one, this drag andthro and put in the document into document here. This is the Perth picture. Maybe I will little bit zoom in like this. So if you look at the Perth and then look at the background, there are a lot of noise, right? There are a lot of noise. And with the denise filter, we are going to reduce the noise, remove the noise. But yeah, I think we can reduce the noise significantly better. So to doing that, just click the active layer here, I'm going to rename the layer to Perth for example, right, and then got on the pixel filter. Noise and click the noise. Or if you also be able to use the noise or to recall the noise through Live filter here, the noise. But I'm going to explain the denise through here. Filter, click noise, and also click the noise. Here in this window denise window, we can see a lot of settings like luminance, luminance detail, luminance, contribution, colors, and color contribution. In the luminance, when we increasing the percentage in the luminance or track this point or increasing the number, the noise will remove or the function is to reduce the noise, right? This is 0%, we increase a little bit like this, increasing a little bit like this. As you can see here, this is the 0%. A lot of noise here, is like grain noise, right. And then when I sat to maybe 20%, for example, around 20%. Here, here. So to see the difference between refuse and after and before and after, we can click Split View here. This is before and this is after. You can see the difference, right? When we increasing the luminance, to suppress the noise, right? And then the result will be like this. Maybe I'm going to set to 50% like this. So you know you can see the difference, right? This is to remove the noise. This is very clean from noise, and this is still full of noise. But the consequences of reducing noise, some area or some part is losing the detail. If you look at this in the wings, this is the reducing noise, it will lose the detail. It's not like unlike when this area that still has a noise. So in the titil, we can, you know, bring pack the detail with luminance detail. When we increasing the luminous title, the titil is increasing, but the consequences, the noise also appear. When we look at this, what, 50% here, when we increasing, the noise will bring back the noise like this. But at the same time, also bring back the title, right? Luminous titil. Like this. Well, the luminance contribution, the luminous contribution is to give is like opacity to the luminans. So the luminance and luminous contribution, when we increasing the number of luminants it will reduce the noise, but when we reducing the luminous contribution, it will bring back the noise. So I think for the safe setting, I will set to 100%. And then the next the color here, the color, when we set to 0% is like the default color. But when we set to 50%, I think some color is reduced to reducing desaturation, but it's not much. The impact is not really impactful to the object. I think maybe in a su monitor, there is no difference between colors here. And a color contribution is also opposite of this color. So I think for the color is not really important from this case, at least from this case. But we need to pay attention in the luminance, luminous detail, luminous contribution. Three of them is very, very important to discuss, right? So before I'm going to apply, I want to copy this one original. So I'm going to rename this one this one TNOisOTNis per. Right? After that, I'm going to click Apply. Yeah. So as you can see here, this is the clean version of Bird and the background. And then this is before after before, after. Before, after. So this is the function of the noise, as you can see here, before, after. This is the noise bird, and this is when I hide the bird original word. So the next example, I'm going to copy this arbor. I'm going to copy this Airport. And I'm going to using the difference image. So I'm gonna important this one. This picture. So if you if you can see here in the first area or in the background area, there is some noise. So if you pay attention in the detail in this image, there's some noise in here. So noise, especially in the truck area because the tag area is a potential to, you know, like, a lot of noise in the tuck area. Okay. This one. Click pixel Filter, Noise, the noise, like this. So we set to 50% luminance, like in this previous setting, luminous detail, we increase luminous detail. So if you pay attention in the eyes, when we set the luminant to 50, it will be like this and reducing the luminance detail, it will also reduce the detail interesting. Yeah, I think it's quite similar, right. So yeah, I think set luminance detail to close to 100. And then we can see the difference between after and before with split view. So this is before. We increase the dominance. Maybe it's not strong enough. The difference is. Yeah. All right. You know the difference is. But sometimes the detail losing the detail. So I think like this, it's not much difference this use gas, but at least we can reduce the noise. Look at this phase. The noise is reduced. It's not strong as before, like this. So we click Apply. Before we click apply, let's duplicate this layer. This one for original. And this one for the noise. Click Apply in the noise layer and click Apply. So this is before after before, after. Yeah, it's not much difference with the original but at least we can reduce the noise. So this isn't the noise level. This is before, after. Yeah. So this is the noise function. So So that's the denoise works. The function is to reduce the noise, to suppress the noise. And then next we move to the next filter layer in the noise category. The next is at noise. So the at noise also opposite with the denoise. Doing that to explain about at noise, we save this one. Let's give the name denoise. So in this session, we moved to the net noise discussion. And then I'm still using the same material. Like the noise because it's, you know, it's still a relative, still a similar concept because between the denise and at noise is the opposite. When we denise, it will suppress the noise. While the at noise, it will increasing or adding the noise. So let's we talk about it. We could hear, burd and click the pixel, filter and click noise, and click at noise. So at noise is very, very simple. It's to adding the noise. Before we slide this point, we can choose the caution or uniform. Caution and uniform type of noise. Let's say we click the caution and click the monarch just like increasing the intensity. Yeah. It will increase the noise, right? Like this. It is a very strong noise. And this is closing the original. This is original. This is the original. And this one, increasing the noise. And the noise is very, very strong. And yeah, I think the noise. If you wonder what the difference between caution and uniform. When you clean the uniform like this, I think uniform is more stronger than caution. I think the caution is a more subtle crane, and then the uniform is more, you know, more harsh the crane. So when we look at the noise, the noise consists of multicolor from the crane red and blue. I think this is the RGB. I think this is the RGB, but it depends on the pacron the default, I think consists of RGB, right? But when we click the monochromatic here, so the RGP so the RGP noise will convert into Black and white noise like this. So I think if you maybe you prefer the monochromatic noise like this. I think monochromatic noise is, I think it's a natural. So I think it's close to the reality when we choose the monochromatic, like this. When we move to the uniform, like this. And then caution. When we click when we uncheck the monochromatic, we'll be like this. We can see the difference with split view, and this is before, this is after. So this is how at noise works. First, we choose the type of noise. We can choose caution or uniform. So if you want to RGP noise, we can uncheck the monochromatic. If you want to the monochromatic or black and white noise, uncheck this one, and then we apply the noise level depends what we need like this. I think 59. Okay. This is how the add noise works. Very simple, very simple. And then, yeah, I think it's one of unique to add the noise. After than that, I'm going to duplicate this layer, this one. So I'm going to rename this one for add noise. Here and then set the noise to, let's say, 40%, round 40. Click Apply. This is before after before after, as you can see here, before after, before after. So this is the noise works. The same method we can also apply in this picture, right? Let's duplicate this original layer. This is at noise. We rename at noise like this. And then just click Pixel, click Filter, click Noise and at noise. Just like this. Choose the type of plur and maybe I'm going to use the monochromatic or unchecked. Later, which is increasing the intensity, and after that, I think it's better monochromatic like this. Then that click Apply. If we think that the noise is not strong enough, increasing the noise like this. Yes, click Apply. This one after before pf after before, after. This is the at noise works, right? It's very simple, very simple. So let's move to the next filter layer in the noise category. The next filter layer is a defuse, see you in the next session. Before we move to the next filter layer, let's set us this Timo to at noise Timo. Add Noise. Noise, Tim. All right. 34. Diffuse Noise: Add Noise/Particle to Image: So let's move to the next filter layer in the Noise category. So I'm going to click New layer. I'm going to, you know, change the catacor 2000-3 thousand because the image that you want to import is a portray mode like this. Right. So in this session, we're going to discuss about devius and p noise, Diffuse. Let's talk about diffuse first. DeviusT explain the diffuse, I'm going to import this image. Take this one. So the pl noise is it will make the object or the picture become a noise. So the convert the object become a noise. What does it mean? Let's we apply directly. This one, when we click on the noise and then diffuse, simply just like this. So to convert the object to convert this image into a noise. Is. So this is the butterfly and it is the flower sunflower when we, you know, increasing the intensity. So the butterfly and the flour converting into noise. When we look at the devious glue in the filter layer Blur filter layer, when we look at the filter layer in the Blur category, we have learned the devious glow, it will make the blue that contain a heat light become spread around or maybe to spread the headlight. And also increasing the headlight and making the head light in a plu until it's similar a fog, something like that. So this is also the same principle diffuse in a noise category, it will convert the object into a noise, convert the object into a noise. Just simply like that. Look at the split view, for example. So did this before? This is after this before, after. We zoom in, this is before. It's after. Look at the flower and the butterfly, increasing the reducing the intensity. This is before, and this is after before, after. Maybe you can? Yeah, before, after. Just like this. So I'm going to maybe this name, I'm gonna maybe original and I duplicate this one, and this is the I use like this. When I apply in this one, click Apply here, this is before, after. Before, after. So conforting object into a noise. But we will creating something unique with this diffuse because the diffuse is available in the live filter here, Diffuse, we want to make a, you know, because diffuse is available in live filter. We're going to make some interesting effect with this diffuse. I'm going to make selection in this picture in this object in this butterfly, click Object Session two in this original layer, click Object Session two. And let's wait until the Affinity utilize this object. This one, right? And I'm going to use this one, the session plus tool to draw. Just throw like this. It's not need a really precise this as long as it will cover all of this part, this one. After that, click the original layer, this one and CtrausG. We create a duplicate of butterfly, and then cetra plus T. Next, we also selection this, you know, sunflower, right. Oh, this one, click original and click sunflower. Yeah, or making slashing in the sunflower. Yeah, I think it's a perfect. Maybe some area we need to fix. Like this, right? After that, we can click the original and yes, click the original one. This one in the patom layer, click Sara plus G. So right now, we have the butterfly layer, right. And then this one, the butterfly layer and the sunflower layer. The next we're going to remove this object. We hide the butterfly first, and we're using we hide the butterfly and the sunflower first, and this one, maybe I'm going to rename with this one. Sunflower. Sunflower and then. And in this original layer, we utilizing in pending prestolT remove the object. And then throw the Ipenting pustol to remove the object like this. And then remove. It's very easy to remove object like this. So we need a pekron the plain pecron remove the object. All right. So we bring back this butterfly and sunflower, right, in this layer. So this is the original one is a plan. There is no object in available in original one. We put the butterfly and sunflower, the above original. So let's apply with Diffuse, this one, diffuse. We're using the live filter diffuse, and then increasing the intensity like this, right? And then we also apply mask layer in the diffuse like this. Mask layer one, this layer mask layer, bring to inset of the diffuse like this. So this is mask layer in the diffuse layer. After that, we don't forget to set the foreground to plag like this. Right? And you sing the pine brass stool and start to throw. We set the opacity to maybe 250 around 50. Right. And then start gradually like this. Reduce like this. Like this. We want to bring back, you know, bring back the part of noise, set the fcroun to white, and then it will, you know, making the noise like this. Maybe I'm going to this one, this areas close. Yeah, like this. And then we can also apply also this one. Maybe this diffuse, we can still increasing the diffuse like this. Right like this. And then this one, this flower too, we also available we also be able to add the diffuse in the sunflower and just intensity increase the intensity like this. And then apply the mask layer in the inside of diffuse in the sunflower layer. Bring back the mask layer to diffuse here. In the inset of diffuse, here, the diffuse the inset of diffuse, there is a mass layer. Again, we can using the pine crustal to bring back the shape of flour. We increase the opacity, maybe to around 50 and start to throw. Maybe I'm going to start with this one. Yeah. Reduce the opacity. Yeah, more or less it's like this. So it's like the butterfly. And so the diffuse make the butterfly, and then the sunflower is disappear, like from, you know, the tissue. So the Diffuse make the butterfly and then sunflower disappear, like converting into the grain of noise, and then it's like disappear. Here is a very interesting tool for diffuse, right? So let's have this Timo to diffuse. Diffuse. And then let's move to the next Perlin Noise. So pearl noise to KumanParl noise to Perlin Noise noise. Pearly noise got pearly noise. Filter noise, pearly noise. Oh, yeah, yeah, yeah, yeah, yeah, yeah. So let's move to the next. Builter layer in the noise category, pearly noise. So see you in the next session. 35. Perlin Noise: Creating Background Pattern Using Noise: Hello, everyone. So let's move to the next further layer in the noise category. We are going to talk about this one Pearl noise, pearly noise. So let's we create new document here. New document, because the document that I want to import later is portrayed, we set the document to portray resolution like this because the pearly noise is not available in here, you know, parle noise is not available. So the parle noise we can access with true filter noise and parle noise. Before we apply in the parley noise, let's like always, I'm going toport this image. I'm still using the same image like the previous one and this one. This one. So in the pearl noise, next, we click here and then click Pixel filter, click Noise, and click Perlin Noise. So the pearl noise. So I'm going to explain the pearl noise. This is the pearl noise. We will create the pattern or this one. The pattern, maybe we can zoom in, zoom out like this, like maybe cloud, something like that, persistence. This is more harsher, this is more softer and oc tas. This one. So this one, this pattern, it will post it will affect this birth per layer, when we set, for example, to overlay this one. So the persistence will influence this per image. For example, when we zoom in here, when I zoom in. So when I zoom out, as you can see here, this is like this one, this one, it will influence the image. And when we change the blending mode to soft light for example, will be like this. And then when we ging to zoom out like this, becoming like this. So yeah, we can increase the persistence. It's become more harsher or more, you know, more small parlis, and this one is more subtle and the big pearlinis. This one. So the perois in the non mammoth, it will create this one in the dark as become shadow in the pret arrays become het light. This area becomes shadow. This area becomes headlight. This one, when we look at the of light, this is the shado, and this is the heat light, and this is the shato. This is the het light, and this is the shato. To make it more precise, I'm going to change maybe to vivid light. As you can see here, this one. When I zoom in this one, right? This is the duck, become a shatter. This is the bright, become a headlight. So maybe in the past, blending modes is a soft light for this use case like this. Like this. So this is before without pearl noise, and this is after pearl noise. So I'm going to compare to the original one, this one, the original one. This one. This is before, after this before, this after this before, and this is after. So this is how we use the pearly noise, right? First is to create the pattern to create the pattern that's similar to High Pass and then we're using the blending mode we can using the overlay, right? We using the overlay or we using the vivid light to make this filter working. So that's why let's save the pearly noise Sam. So the next session, we're going to talk about this one dust and scratches, dust and scratches. And also later, we talk about a little bit about the interlace. So see you in the next session. 36. Dust and Scratches: Remove Artefacts Like Dust and Scratch: The next filter layer, we talk about dust and scratches. Dust and Scratches. Let's discuss about it. Click a new layer, of course, and click document like this. So I'm going to import this. Which one? This one? This one. This is the old photo that contain some scratches here and also dust like this right. So I think this Airport is not suitable, right? I just adjust the airport. Click Arbord here, and we can adjust the page. Like this. So, so we're going to a little bit clean up this picture with this one. The filter, we're going to talk about the dust and scratches. To a blended dust and scratches, we can also access in here dust and scratches with live filter. So because the left filter is available, yeah, we just create with the dust and scratches with live filter like this. Don't forget to preserver this. And if we increase the rat use, this filter will eliminate the dust will eliminate, you know, the scratches, the dust, the scratches and some small particle here. But the consequences of this filter is we lose the detail, right? We lose ditilF example, like this. When we increase the tuse like this. So some scratches, some tests will remove, right? Maybe increase to ten, increasing more. But the consequences of this we lose the detail. Yeah. Unfortunately, this is the consequences of dust and filter. But a little bit a to make it a little bit reduce this is the original one, right? We reduce the maturity dust and filter like this. And then the tolerance, maybe we can increase to bring a little bit detail like this. So if we see if we see here, this is before, this is after. This is before. This is after. So we have removed a lot of dust here. Maybe in this area, this area is because this is too strong, right, too strong, scratches maybe it's hard to remove. But this one we have removed the maturity. So to bring back the teta, maybe we close this one. We can using the mask layer mask layer, the mask layer in the inside of dust and scratches. And using the Pin brass tool to bring back the area before we apply the dust and scratches, make sure that we use the foreground to clay. Because we want to bring back the fork cron and then start to throw. Set the opacity, maybe to increase opacity or maybe just leave it to around 30%. Yeah. Throw the phase because, yeah, we want to preserve digital in the phase. They use the press maybe around 200 200 Yep. Bring the reattaT one, the ear, the head, like this, increasing the opacity. Like this. Yeah. In this close, for example, this close in this hair, this close right Maybe we bring back to what to eliminate the can. And maybe I'm going to increase or decrease the press size here to remove this one, to remove this one. Y, to make it a little bit reduce this one, too. This one. Yep. So this is before after in the mask layer, right? But in the scratches, this is before after before, after. I did, maybe we lose someth tail, but we also be able to clean up some dust and scratches in here, right? So it's a little bit clean. So this is the function of dust and scratches. Maybe we can still increasing the retice because this is life filter, we can still read it here. This is more cleaner, right? Before, after before, after. Indeed, maybe we losing some detail. Maybe we can revise this area like this rockets. This is before, after this one. Before, after. Before. Again, this is the result of, you know, dust and scratches in combination with mask layer. So this is how we use the tusk and scratches. It's very useful for some use case, especially when we have when we have a odd photo and then maybe we want to clean up. Yeah, maybe we can use dust and scratches like this. So Before we move to the next adjustment layer, let's save this Okay. Before we move to the next adjustment layer, let's save the book space into dust scratches Scratches. T. This is how the toss and scratches work, and let's move to the next adjustment, the next filter layer. The next filter layer is this one. The interlace the interlace, even rows and out rows. So see you in the next session. 37. Deinterlace Odd and Even: Next in this session, we're going to continue the pixel layer. We talk about we're going to talk about this one, the interlace, even row and out draws. I think this is just short explanation because, yeah, it's like the simple too actually. Let's create new document, click Timo, 72 TPA and then here. And then I'm going to import this picture, this one, this one. Yep. So I'm going to set the airport to ptr. Right. Alright. So before we apply even rose and odd rose, let's we duplicate this picture. I'm going to set the original. And this one, I duplicate again. This one, I'm going to give the name even rose. And this one A throws. So let's talk about the even rose. Filter, noise, interns, even rose. Doing that, I'm going to hide in the autos first and then we'll be working on in the even rose. Pixel, Filter, Noise and even rose. This one. So maybe at the cleans, there's no change in the picture. But when we look at zooming in this four, this origina and this even rose. This original and even rose. So the even rose, in my opinion, it will make the headlight. It will suppress it will suppress the headlight, right? And then make it in the headlight area become blue, especially headlight rose. And then, you know, the food that has horizontal has a son layout like this horizontal, it will affected by even rose. Right? Especially horizontal and the headlight like this. So what if the otros? Yeah, we activate the otros layer and applying the otros noise, the derlens and otros, just like this. So in the otros, I heighten the even rose. So in the otros, you know, the difference is between otros and even rose bud. Yeah, I think it's hard to tell the differences because it's like Otros and even rose, they affect it in a different four different individual four, right? Yeah, it's hard to tell the differences, but between Otros and Ivanos they make the, you know, like the four that has headlight is a blur. Is a blur like this. As you can see here, this is the original. Is a very detail. But when we apply even rose or otros, it will make it blur. And this one the blur is also similar actually, but sometimes it's different, but similar. You know, the blur will suppress the headlight area, the headlight PT more or less. So more or less is like this, hot rose, and even rose. We save the interlace like this. So we have learned about the pixel layer in the noise category. And next we talk about the TTc. The D tech category consists of edges, horizontal edges, and vertical edges. Again, I think this is also the tos to identify, right? But to talk about more, let's discuss in the next session. So see you in the next session. 38. Vertical Edges and Horizontal Edges: Okay, friends, so next we continue in the next category. The next category is a T tech. I consists of edges, horizontal edges, and vertical edges. So let's create new documen to implement the edges effect. I'm going to set this one from 2000 by 3,000 Spot. Create acumen here, and I upload the same image. I open the same image like perfuse image. I'm going to use this one, this one, the red panda. The red panda here. So let's apply the B in this here, this is no available no available in the category in this live filter. So we use this one. So I'm going to replicate this layer. I'm going to set this one as original. This one. So let's apply this pixel with filter, filter, detgtgesrizonto, and vertical. So I'm going to add these edges a copy edges and vertical edges. So we apply one by one and how s the difference is. So I unhit three of them. We start with the edges. Okay, we activate the edges. I click the pixel, click the filter, and click the the tag and edges here. So the edges, it will identify the edges of object like this. So if you see here, this is the original one, this is the edges. So the edges will identify the edges of object, right? Edges of part, this is. Maybe if you want to find the edges of object, you can using this filter, it will help us to identify the object, the edges of object like this. Even for this is the edges of objec like this. More or lessers like this. So what if we move to the horizontal edges? Activate the layer, go to the big el filter, and det horizontal edges here. So the difference is compared to the edges, this is the edges, this is the horizontal. So the horizontal is, you know, this is the horizontal edges. I will preserve the horizontal line and then suppress the vertical line. Like this, for example. The vertical line, for example, like this, this vertical line is also reduced or suppressed in the vertical line. So the article is opposite with the horizontal line. Let's see the vertical lines. We applying the vertical lines, vertical lines, particle edges. Vertical edges here. So the vertical edges, it will preserve the vertical edges and then eliminate the resontal edges. And then, this one, this line is also suppressed and then keep the vertical bamboo or vertical four like this line with a vertical four. So this is when I compare the original to the original edges like this. As you can see here, compared to the edges with vertical edges. This one will eliminate the vertical edges the horizontal edges in the vertical edges, right? While the horizontal edges will eliminate the vertical edges and keep the horizontal edges in the horizontal edges. So the horizontal edges is basically eliminate each other, right? And then edges is like the come in the universal edges to identify, just like this, more or less. So this is very useful if you want to know the edges of the object. Right here. And what if we change, for example, when we apply some adjustment layer? Yeah, I think there is not much we can do within the adjustment layer. Maybe soft light soft light. Soft lights so cool when we using soft light in the edges. It's a very firm, right? It's very detail and very firm of light. But the rest of it is no. Not much we can chew with this one. This is how the edges works to identify the edges. We can using the vertical edges, horizontal edges or edges in the universal edges. So more or less like this, we save this one for edges. Oh, I think this is new category, right? New category. I'm going to create edges. So next we're going to discuss about the next category, lighting, consists of lighting and schedule lighting. Filter, lighting, lighting, and schedule lighting. Lighting is also available in here. Lighting and schedule lighting in a light filter. So we will discuss about this in the next session. See you in the next session. 39. Lighting: Create Different Types of Lighting and Ambient: Hello friends, let's continue our journey in learning affinity. So previously, we have learned the filter layer in the D tech category. Next, we move to the lighting category. This lighting category consists of lighting and shadow or headlight. So we learn one by one. We create new document, and Tim 70 to DPI, maybe I'm gonna this one change to 2000 by 2000. For example, like this and create document like this. So the first thing we want to learn is lighting. We can also access the lighting from here. So we import this image. This one. I'm going to import this image. This is the lamp, right? So with the lighting features, we can recreate the light. We can recreate the light, the ambience, the pipe from this picture. Maybe I'm going to make a little bit rotate like this. Yeah. Yeah. Okay, let's apply the lighting. We can apply through Live filter and click lighting or Pixel and then filter and then lighting and then this one. So I'm going to use this one lighting, using the Live filter. Click lighting. This is the window in the lighting. So it's very complicated though. But I'm going to explain one by one and off the switches. So maybe you can easy to understand. All right, this one, when we click in this node and we move or track to the left on the right, to the top to the bottom, it will create the lighting like this. And if you can see the direction here and the distance, it's represent our movement here. The direction here means when we move to how much degree, this lighting will move rotation like this. Oh this is the plus area because maybe this coordinate X NY, this is the positive and this is the negative rights. This is the zero right because this is close to axis zero here. And then this is the 90 degree in the azimuth. And then this one is zero or oh, yeah, close to 180, 180 degree. And this is the minus. Okay. The distance when we slide to the left to the right. The distance between this point to this point is more further, right? To move this lighting, we using this point. Then we can adjust the width and the height of this lighting. I'm going to set like this, maybe, for example, we can also make it more letter with this one. After that, this as to adjust the direction or the rotation of the lighting. We moved on this one. Diffuse specular and shinss. Diffuse when we throw the closet 0% is like literally dark. When we set to 100, it will frater In the shyness, when we set to the close to 100, it's more brighter and brighter. As you can see here, it's more brrter and brighter, right? The specular is become much how much the br of the source and the shins, how much the Again yeah. This is like when we adjust the shins with the sinus, and specular is is like, you know, opacity of the shins, like this. Diffuse is like to control the headlight. It's like the controlled headlight. So I'm going to use this one, this setting. Shans maybe I'm not using 100, maybe just maybe around 70 and specular, I'm going to set 200 and a little bit increasing this one right here. So the ambience, because in this area, it's become dark, we can set this area. We can adjust this area with ambience like this. We can also set the ambience. When we set to 100, it's close to the original one, right? It's close to the original one. So we set to 100. This is the original ambience when we set to 100. And the specular color we can set in different colors like this is like white. We can set to purple, for example, yellow or orange, yellow, like this or orange like this. So I'm going to set to orange like this, right? And then light we can adjust another lighting, for example, this is light one. We can add here to add this one. For example, maybe this one is a more. And this one is yeah, a little bit right here, for example. Like this. And this slide two, this slide two. And when we back to t one, it's slide one. And this slide two here. We cannot add it individually, right? So in this one, the distance we just be able to add the distance. Yes, maybe I'm going to add this light two and add once more to cat light three. Here. Like this. So to remove this one, just click the light we want and click Copy or remove, just like that. Bring back to the light one here. And with distance, we talk about the instant direction and then outer cone this. Similar when we using this one to make it more wider with outer cone or cone this one intercon. Here. Intercon. Texture? Yeah, I think, this is, I think we not need the texture. We set to zero pixel, right? And then this is the result of lighting. Before After before, after. Or maybe we will need to. So this is how lighting works, right? Before, after before, after to recreate the lighting. So next we move to the picture number two. We practice one more, one image more. I'm going to duplicate this Airport. Right here. And then I delete this one, the material, and I'm going to set this one to 3,000 by 2000 here because the picture you want to create is a landscape. Which one? I'm going to use this one. This one. So in this use case, this is area that contain in lamp, the light from lamb for example. And I'm going to make this areas more brighter. So let's do it. The next, we apply this one lighting here because in the top of here, there's a lighting from a lam. I think, we sat here. We can rotate the Azimon like this 90%. Yeah. Maybe make it more red, more whiter. Like this. Alright. And the forget to set the ambience to close to the original one. And then as you can see this is too much diffuser. We can read this diffuser, diffuse specular too much, and this one shines. Specular. Diffuse. Because when we add this lighting light point, the diffuse specular and shines, we cannot edit individually. So the diffuse specular shines sinus apply all of the lighting. So when we just add here, the settings follow like here and it's not suitable for the use case. So I'm going to create this one another lighting. Again, this lighting, I bring back to this inside here. And let's add it in here. So I'm going to make that this is like the lighting from the sunlight. Maybe in the side in the side is a window, maybe. The sunlight is come from window window. The outer cone I'm going to set is here. Like this. Set ambience here. And the sinus, I use the sinus. Tiff is also not specular. This one. So the color also using white? Because this is white, maybe. Yeah. I think more or less like this, guys. Ambience, I'm going to increase the ambience too much. All right, so this is the result more or less, right? We have edited two point. The headlight is from here and the headlight from here. The result will be like this. This is before, after. Before, after. If this is not enough, we can bring here this one. Bring here. Mm outer cone here, and then set to shins or specular. Specular. Yeah, more or less like this before, after. This is a small preter and this is more brter because maybe this is a window and then get the lighting from the sunlight. So we can add it to here lighting to make to modify the lighting from this lamp and also modify the lighting in this room using this one. Lighting here. So I think next to the pixel layer, next is shadow and height light. So you in the next session, we talk about shado and height light. 40. Shadow/Highlight: Manipulating Shadow and Highlight Color in an Image: So the next filter layer, we're going to discuss the lighting shadow and head lights. To explain in the shadow and headlight, I'm going to pour on this material, this matter in perfuse. Session so I'm going to put this material in the lighting material. This one, I'm going to heighten the lighting. So this is the original, right? So what if I apply the shadow and headlight in this picture? The shadow headlight is basically just shade and headlight. It consists of shadow strength and shadow range, headlight strength and headlight range. When we set this one, this one, I'm going to bring the shadow and headlight inside of this picture. Here instead of this picture, the shadow and headlight. You just and drop here like this, right? The shadow and headlight, when I set the shato strength increasing just like this. So in the shado when we increase the shato, it will reducing the shato actually. So increasing the headlight. When we you know, like the shato reduce the shato to the minus, the shato more darker and darker. When the shato range is to influence more widely, for example, the shato this one, I'm going to make the shadow. Well, I'm going to make this shadow is more darker, for example, and the shade range, it will make more darker and darker, right? When we set the headlight, when we set the headlight here, there's no, you know, like the headlight, when we increase the headlight, the lime is more brighter, as you can see here. This is the 0%, the default, and this is the headlight. And the headlight range here, it will also make it more broader and the effect of headlight strain. As you can see here, this one, the area is more, you know, like more wider effect. And also in this area, too. Here. Just like this. I will increase the headlight and headlight range, it will make whiter the headlight effect. When we set on the minus absorbing this reduce the reduce the headlight, simply like that. Shado more picker, more more picker number is more brighter here. And this one is also to make it more range is more wider. When they set the shadow minus, yeah. Here. If you wonder when the shado is significant in this case, because the whole image is mostly consists of shado, right? Shado is a Shadow termination in this image. That's why when we set the shado it will affect all of this image, right? It's more brighter. But it's opposite with the headlight. The heat light is only affected in this lamb in this lighting because this lighting, because this image just has lighting in this area, this area and this area and small lamp. When this headlight is strong, the shadow area is not affected, but they affected on this area and the headlight area like this. So this is the shadow headlight works. We will talk about this one on this shadow and highlight, and next we move to the colors. And the colors contain a lot of those, and then yeah, we will explain one by one. So, see you in the next session. 41. Color Fill: Fill Image With Targeted Color: Hello, everyone. So welcome back, and I'm glad to see you again. In the preface lesson, we have learned the filter layer. And the last session, we have learned the filter layer and lighting category, right? We learned lighting and shadow. And next, we'll continue to the next filter category, colors. As you can see here, in the colors category, a lot of those that available in here, and we will learn one by one from fill auto, gnet and then the fringe. And then also Ambos, Solaris Afton, Pornoi not all of the will learn because so some tools I'm going to skip, but yeah, mostly we will learn all of them. Mostly, most of the tool, we will learn one by one. So let's start it. We start with the field tool, and then we next t the auto tools. So I've created the new document with Lot with 2003 thousand pixel, and I'm going to import the image. So in the filter in the filter of f, I'm going to import this one. Yep. All right. So this is the material that we want to make a discussion. So thanks to Mohammad Azim from Asplice to profit in this picture. And then yeah, let's continue. In this pixel filter Colors, pill. So fill fill with fgron with background is basically like when we fill here, we can fill with custom color, primary color, secondary color, in painting history. In custom color, we can custom the color filter like this. So it's basically to fill the image with the color we want. Primarily color, and this is the white primarily color. This one, primarily color. When we set this one is also change from white. And we set you know, like switch the far cron to picron and here. When we set here, it's be complex. Yeah. And we said the secondary become white. In painting? Yeah, this one. This is one in painting. And history, yeah, it's the same history and painting. So this pie is basically just change this image with this color or primary color or secondary color. In painting and history, just like this. In the custom color, we can change the color, just like this. There's no other tools or my baby, just reducing the opacity here, for example. Yeah. But it's not creating new layer, actually. So it will Tamage the original image. It will image the original image. I not created the new layer. When we click Apply here, it's not created a new layer. So we undo. Next, in the filter, this is fill with the fork cron color. And after that, let's move to the colors. This one, plaque layer, and fill the colors and fill with for cron color or filled with the cron colours basically in the same. When we click the fill with for cron color, this it will This one, we can change the for cron color like this. Right? This has become white. When we set to white, it's become saturation become black and white, like desaturate it or monochrome. When we set to plaques also the same. So it's basically black and white is zero. And then this is the number of color. So it's become red. And if we set to blue, become blue like this. So this is the pcrone while we packed on the original one, what would happen if we using this one filter and then colors filled with perone. So the pcronF example, I'll use a plaque this is a Peron. This is a Picron. It's become like this. Blue. Yellow. So this is similar between pokron and perone, right. Okay, next two, let's undo. Okay, next, let's move to this one. Filter colors, this one. Auto level, contrast colors and auto white balance. To apply this one, I'm going to copy this one. So I'm going to set this one this layer name to original. This one out level out colors. This one ao contrast white balance. And we will identify the difference between out level auto colors, auto contrast, and white balance. So this is just simplify those from those colors, level contrast and balance. Let's we hide the layer. This one original. This one to level, colors, contrast balance. First, we start with the outer level. In the outer level, in this light Oto level, click Pixel, filter, click colors and click Oto level here. So as you can see here, if you pay attention in this Oto level, it will fix in the level this is before, this is after. This before, this is after. So I think the outer level will fix the individual color, individual level. So I think from the green level here means it will push reduce the green level. And also, this is the original, you know, as you can see here, the green level is more darker. And then the red level, I think increasing the red level. And also blue level. So the outer level here means it's similar to when we apply, for example, when we apply this one level, right? And with the master, we can set the green here and we can reduce individually. For example, when I set, yeah, like this, reducing the green and also the blue one, reducing the blue. Oh, no, increasing the blue, little bit. So the result will be like this. This is out level, right? And this level adjustment is influencing the original. This is out of level, and this is the level adjustment. Auto level, level adjustment, similar, right? So again, the outo level, I delete this level adjustment. So Auto level from this use case from this picture, will reduce the green level and then increase a little bit in the blue level, something like that. The software will, you know, make it balance between RGP and then maybe from the Theta, the green is terminated from this original, right? The green is terminated. And software then define that this green is too much and then reducing the green level and increasing the blue level. So the theory pant is like this. So this is the auto level. Okay? Let's we hide auto level. We move to the auto color. In the auto coolor we click Pixel filter and got in the autocolor here, the autocolor. So, we activate this one. Autocolor. So in the auto coolor, it will reduce some headlight. The difference is not significantly, but I think, yeah, there's a significant and there's a little bit very, very little bit difference. It's not significant, though. Yeah, we move to the next step. Autocontrast. Let's read activate the autocontrast. But activating the auto contrast. Click Pixel, clip filter, colors and auto contrast here. Autocontrast, is basically increasing the contrast or reducing the contrast we similar to this one, editing the contrast through pretens and contrast here. For example, when I said heighten the contrast, maybe I will a little bit increasing the contrast like this. Yeah. This is the auto contrast. Or maybe again, increasing the contrast a little bit and reducing the brightness. Yeah. This is autocontrast. This is brightness autocontras, brightness. So when we compare when we compare to the original one, this one, autocontras brightness, autocontrast. So some fog. So as you can see, there is some Shattu or headlight from ShattuFokFk effect like this one. So it will fix the fog effect. Right. This is auto contrast. This is before and this is after. This before and this is after. So increasing the contrast will increasing the detail, especially in a color, especially in contrast. Showing the shadow is more deeper, and then the headlight is suppressed. So the fog effect like in this area, we'll make it, you know, suppress and reduce the fog effect like this. When we can adjust the out of contrast, using brightness and contrast like this. It depends on our setting right here. So let's delete the, you know, like brightness adjustment. And then next, we move to the out of balance. We activate the layer. And then we filter cotton the filter, colors and white palance. So the white palans like the same method, we're using this one, white palance, right. But this one, when comparing to the original one, the white balance, I think the software identify the this is too much too much col, too much cold. So, you know, like this one, when I activate this layer, this white Balance just influenced the original, right? Remember? And I think because this is blue the blue colour is termination. So the software identifying that they need to balance to make it balance. So if you pay attention to this image, this image consists of two color termination, blue and yellow and green, green for leaf and tree like this. But it's not actually green, actually. This is a yellow color. Right? This is the yellow color. No green. Or maybe this is from our ice perspective, this is green color. But when we using this color picker and I just random put here, this is tends to a close to yellow, rather than to green. This is close to yellow. For example, this one, this one, like this one. Tends to yellow rather than to green. So that's why that's why because blue is termination. They super it and they find that, Oh, we need to a little bit make more yellow, right, because blue is a domination. And then the result will be like this is the white palans from the auto white pelans. And this is from the white pelans adjustment or maybe you know, again, it's really high. This is white pelons. And I'm going to heighten this. This is the original, and this is the white pelans using auto pans, remember? This before and this is after this before, and this is after. And we also similar using similar with the wet Balance adjustment here. This is similar. So this is how the tos works from auto level, auto coolors, auto contrast, auto pelans. Actually, we can using this one for more advance, right? We have learned previously in the adjustment layer, but this is just simplifying the tos. And then I think the result is not really, you know, maybe it's better to using manual setting in color adjustment, not in auto. But yeah, I still better to become reference. Maybe when we want to edit the level, for example, and then maybe we stuck and don't know how to set or maybe don't know the setting the parameters, maybe we can use Otoevel to get reference. And then the software will help out level to tuning this image. So something like that from the auto level, colors, contrast and white palons level. So next, we are going to learn pig net, remove Vick net Trine, and then continue the next kilter. So, see you in the next session. 42. Vignette: Remove Shadow in the Corner of Image: Hello, everyone. So let's continue our practice to the next tools. The next voter layer, we talk about this one PignPigN and remove Vignet. So this is I'm going to explain and using still using Oh, wait, wait. Still using this material, right? So I'm going to duplicate this original. This one, this original. I'm going to name Pigma. Pick n. All right. In this knit, I'm going to apply the Vignette, this one. And then here, this is the window, the setting of the Vignette layer. From the exposure, when we set, increasing the exposure like this, it will create the thick net, but it is a brighter color, right? Brighter color. Because pig net mostly when we capture with camera and then the lenses is sometimes using the thick net filter or the lenses is drop. You know, the thick net usually is a darker darker in the corner, right, darker in the corner. So this one. I think the thicknet is maybe tends to darker in the corner, right, because of the pignet. For example, when we set to here, Pignet and hardness, the hardness is, you know, when we set close to zero, we will smooth transition between this area that's not affected by Vignette during this area. It's a smooth transition. But when the hardness is increase the hardness to close to 100 so the transition is is a form. So, you know, the edges is visible between the fignet area and it's not affected by gnet. The hardness is very firm this so they just, like, it's not fignet though. I don't know what they call it, but, you know, like, the edges is so so firm. Yeah, I think I'm going to set the edges to maybe 50 around 50. And yeah. And then scale, when we set to reduce this one is almost cover the entire the entire picture. When we set here, scale up is more wider and wider like this, this inducing this decreasing the exposure like this. Here. And shape. Yeah, we can set the Vignette more offal or close to circular. Circle. This is offal, circle like this. This is the fit, as you can see here, and this is the original after This is before, after before, after after we apply the fine. Maybe it's too much, right? And let's apply this one. Just apply. Vignette is also available in a live filter, actually. For example, we can try using the Live Pignet to create Live filter and maybe you can still red it. This is the Vignette works. And the next in the next color adjustment, there is a this one, remove thicknet. So the remove Vignette is opposite. It's not opposite though, but the remove Vignette is to remove the figte develop, you know, in a picture in the image. So because previously, we have created the Vignette layer that, you know, has a thick net in a corner. So we just remove again. So we create Vignette and we remove. Using the removing net like this. The remove IN is very simple. There is no tos available in here. Just click Removing net and we can set the intensity. Maybe is 3% is a writer and brighter, but we just set to 1% right here. And we can split few. This is before after before before after before after before, after. So it's very simple to remove the thicknet. So this is how we use thick net and remove Vignette. And we just click Apply. Remove kN. Right here. Maybe I'm going to duplicate this one Vignette, and this is remove Vignette. And let's apply in the fgetRmofgnt here, apply. So this is Vignette Vignette. And this is very close to the original one. Right. So next we move to the next Defringe Defringe. So see you in the thief rings discussion. 43. Defringe: Reduce Backlight in the Edges of Object: All prints. So let's continue to the next filter layer. We talk about the rings. So I'm going to create a new layer, a new document. Sorry. And then I said 2000 and then 3,000 here, and then create new document here. And I'm going to import this one. To discuss about the range. So if you pay attention this image, because this image is a peck light, right, because source of the light source of the light is the behind the object, and then the in front of this object in the jacket in the cloth is darker because this speck light. And then if you pay attention in these edges, like in the jacket edges, in the face edges, there's a line, the orange line, right? The orange line. So we can reduce this one using the range. Between that, let's click here in the pixel layer. Click a pixel, click filter, click colors, and then click the fringe this one. So let's we implemented the fringe. So first, we need to decide the fringe color, because the fringe color of these edges, when we set here, this is tends to or orange, right. Set to here, for example, is also orange. So we set to the orange color like this, more or less. And then we increase in the tolerance and also on the tuse Yeah, rets in the g bred stressold. So the key is in the tolerance and the he brightnes stressold. We set tolerance, maybe it's 100, for example. And then if we set here, is close to the original. But when we reduce this one, this one. So as you can see here, the difference between refuse, this is the this is before and this is after. This is before, after before, after. So the difference here means is to reduce the effect of, you know, like the lighting, the edges, lighting edges of the object before after before, after before, after. It's not only here in these edges, but also in these edges too. And this phase in this hair is also affected here. So the difference will eliminate the line edges, yeah, the edges in the line edges of the object. And then first, we decided the color fringe color, and also increasing the tolerance, increasing the use, and gradually, this one, reducing the edge brightness threshold. The result will be like this. So again, before after before, after, like this, we click apply. And yeah, this is difference. Yeah, serve this one. Yeah, I have created the fringe before. I just date this one, the fringe, and then replace with this tarne stemo. Like this. So this is how the fringe works. Let's move to the next filter. We move to the rice wet pepper a rice wet pepper. So 44. Erase White Paper and Monochrome Deither: Friends, let's continue our practice. We move to next filter layer in the colors category. So we will discuss about as waste paper, erase wet paper, and Monochrome titer. And also website for titer. Yeah, we will talk about these three, all of them in the session. So let's start with the ras wet paper. I'm going to create new document, of course. And then yeah, just create the document like this. Tim 72 DPI, create document like this here. And I'm going to import this image sample, minima house minimal house sketch. So I have this one sketch in house house sketch like this, and this is sketched in the white pepper, right? This is the function of white pepper. If I create new layer, for example, new layer and I bring under this minimal house pepper, and this pixel, I'm going to set to, you know, a fill. This one filter colors fill with a click fill here, and then maybe it's not too much red. Yeah, like this. It's just apply. Okay. So if I create the toboen Okay, so we have a two layer, minimal house cage here. And then this one pixel, the pixel layer with color, maybe sends to red or pink. And if we click here, the pixel layer, you know, will cover with the white pepper. So if we apply this one pixel, filter, colors, erase wet pepper, like this. So the erase wet pepper will automatically erase in the wet pepper and then preserve the sketch. And we can change the background, right? I in the previous lip for example, I pack redo, I duplicate this, this one, and I hide and this one will that build the colors eras pepper here, right? And then the pepper color is following the pixel here in this pixel. And we can change the pepper layer, pepper color with the color we want. Maybe we want to move to, you know, like, a blue like this, purple, yellow, yellow like this, for example, yellow or green or blue. Like this, blue, like this. And click apply like this to become blue, right? So the eras dapper will remove the white pepper here. We'll remove this white pepper, right? And to become like this, to become like this. And then we can change the Pitern color. And then actually the pattern of pepper still preserve. So basically, it's to eliminate the pepper pepper transparency, but still preserve the texture. And then we can change the color pepper with a new pixel layer and with color like this. Then we can adjust the color with pixel, filter, colors, and fill like this. So this is the function of white pepper, right? Let's say this is as like this. Next, we move to pixel layer, pixel layer, Monochrome Monochrome there. So Monogram tear, I'm going to borrow this one. This one, the original. So I remove. I hide the remove Vignette and Vignette. This one, the original, I'm going to copy the original, right? And I'm going to apply the Pixel colors and Monochrome Theater. It's basically just simply to remove to convert the monochrome. There's no other setting. Just click Monogram Tater and then convert like this. But when we pay attention when we set to, you know, like to zoom in. So this image is like consists of, you know, like cumulating oft Cumlating of dot from the dot, it will create the this one. So basically, it's two color white and black color white and black dot. Basically just like this. So if you, you know, wonder why this color is different. So this is not different though. This is just white and black color. For example, like this, this is just white and black colored white and black colored. There's no other color. White, this white, 2025, and this is black. Wherever I move this color picker, the color is only two white and black. Even though maybe we wonder, Oh, I think this is with different color. It's not black. It's not white, but maybe gray. But actually, this consists of white and black. So this is just manipulation of Pixel. Maybe in this one in the black, maybe black will dominate in the dock area, black is dominate in the pret area, white is dominate like this. So maybe this for example, in the pride area, the distance between Pixel between, you know, like black pixel and red pixel is more distance in the pixel in the black pixel because wet pixel is dominate. Birds in the tag area, you know, like white pixel is more distance and because the black pixel will dominate just like this. So this is the Monochrome theater. So I'm going to name Monochrome theater like this. Next, we move to the Websaf WebsafTeter. Between that, I'm going to hide the monochrome titer. I'm going to duplicate this one, and then I'm going to web save Tether. So what is websafTiter? When we click the WebsafTeter, right? So Affinity will convert this picture become WebsafTeter. Here, after the process is finished, let's see. When we zoom in, there's like this. Compared to the original one. This is original one, and this is a webse Teeter. The webs titer is like the object experience simplify in the color, right, simplifying the color. When we apply in the titer, it will easy to load in the website. I will easy to appear in the website because, yeah, the simple RTP, let's apply with different image. I think I'm going to try using this one. Yeah, I'm going to try this one. Okay and then apply websafTiter. Web save titer. Just waiting. I think the process it tooks longer than usual filter because this is, you know, like simplifying the color. So it's basically similar to the monochrome titer, but this is consist of just several color palette. I'm going to, you know, duplicate the original one. This is the original So I'm going to set this one, this top layer. I'm going to websfTiter SD. For example, like this websfe Titer. And then in this SD, WSD Colors, websfe Titer. So in the WSD when we compare to the original one. So in the original one, the original is complex, you know, complex. Like each because each pixel has different color, right? So as you can see in the color code, this is different. Even as you can see here, individual pixel has different color code, right? It's very, you know, like varied color and almost not identical, even though this is like beside it is not really the same color. But when the WSD I activate this layer, you know, this is experience simplify the pixel, simplifying the pixel, right? This one, similar to this one, and similar this one, similar to this one. So experience simplify. So this referring this one website titer using typically 216 color palette. But the original image using the 16 million color palette. So the color will far it in the original, but in the WSD. This one, WebstTiter is a simplify using 216 color palette. So that's why the color the pixel is more simplify in Webst Titer like this. So the theory behind it. Okay, the next, we will learn this one. Emboss solarize half done, paranoid, paranoid, right? Well, in the left filter, this Halftone, paranoid also available. So see the next session, we talk about next filter layer. 45. Emboss: To Create a 3D Effect to the Object: Hello, everyone. So let's continue the next Wilder layer Emboss, solarizehf Halftone, and Voronoi. So let's talk about one by one. So for the bus, I'm going to, you know, burrow this material, this asset, butterfly image. The WSD website Tutor, I will hide. This is the original one, right? And I'm going to duplicate duplicate this one, and I'm going to tinameEmbs and then next, I apply inbos layer hood with this inbosT one, like this. So the inbos basically like High Pass can High Pass. To apply the inbos, we need the combination with blending mood. For example, when I try to, you know, increase the rat ice like this. So this is the butterfly look like a treaty, right? Look like a treaty, like the imbus. And the more we increase the rat use, the more it's like something like that. I become like this. So I think the imbus like this I think is enough amount is more tiply like the shadow is a more tip each you know, like this one. This one is a more tip with this amount like this to apply the shadow, right? First, we click apply first, and to implement the Emboss, this one, it will influence the original layer. When this original layer will hide and click the blending mode, there's no change. There's no change. Right? It's not changing anything. It doesn't work. But we need the original layer here, and then maybe we can add to overlay. Yeah, the overlay is like the original one, right? But actually this is different from the original because as you can see here when I hide the invose, this is the before we apply the invose. This after before after as you can see here, before, after before, after. So the butterf looks like a three D. If you think that the evos is not strong enough let's repeat process. Let's duplicate this layer. We click Emboss like this. And you click Emboss layer, click Builder, click colors. Emboss here. The arad will increase the amount of Emboss. I think ten pixel and then amounts like it's more maybe 250%, and then click Apply. And then click Overlay. We change the bending mode to overlay here. This is before after before, after. So the perfil looks like a treaty, right? Looks like Emboss. The surface is ambos, then refuse. Here. This is how we working with Ibs. We talk about next filters Soliz solarizeT one Builder, colors, solarize. Before between that, let's duplicate this original. We changed the name to solarizeT one. Solarize. Let's apply with solarizeFiler, colors, and solarize. Here. So this is the principles, quite similar to Emboss, right? We need to blending mode. And then the blending mode is suitable is ten because when we appl the lighten, the low this is like back to the original one, right? When we set to normal, this has become like this. And if we click Lighten, is close to the original one. But again, the solarize layer still need the original layer. When we hide the original, yeah, Bet in the solarize. So if you paten closely, the solarize is only affected in the height light. You can see here in the background, let's patent in closely in the background. The background is not affected by sola rise, right? So in the background is not affected by Solaraze, only in the headlight area, in the headlight area. So I think solarize will suppress the headlight area. And to bring back the headlight, we need on the lighten. Rather than which is norma, we need to lighten because the lighten it will post the headlight, right? And obsotely we need the original. This one. Solaris is like to suppress the headlight. Yeah, I think maybe this is maybe some certain use case. This is very this can be useful. But yeah, the tori panate is like this Solarize. Next, we talk about the Halftone, see you in the Halftone discussion. 46. Halftone: Convert Image into A Pattern, dots, Line, or Shape: Let's continue to our next pixel layer. We will discuss Afton. I'm going to create pixel create document. So I'm going to import this pixel. Which one? All right. This one. Mm. Yep. I will change the art port 3000-2 thousand by 3,000. Next, let's apply the half tone. Colors half tone here. So the half tone here is like this is basically to convert the picture, the image into several effect like yeah, of ton hoof ton is a different tone, different tone and using combination different tone and certain pattern. So let's explain. In this screen, if we choose the color and in this dot cousin, we can change also round to make this more rounded or circle consists of circle and cell size. Maybe if we reducing the cell size is like resembled to the original one. Maybe I'm going to make a little bit. Things under ten? Yeah, like this. Like this. So using the circle, combination of circle and different tone, Yeah, this is using RGB green blue to make resemble the picture like this. If we change to monochrome like this. So the hop tone consists of circle. Well, circle is a different size, right? When there's a gradation, for example, the gradation between hair and skin, the circle is smaller, smaller, smaller. And then if this area is similar, it will more picker picker. And what if we change to monochrome put using cousin? Yep. The result also will be like this. So causing is similar to, you know, the rectangle. Causing similar to the rectangle. Well, round is a circle. Maybe it's too much, where it used to. Maybe I think it's, you know, ten is perfect. Right? So what if we change the screen to line this one? Like this line. Oh, like this. And then the last is circular right here, circular. What if I add or I adjust this one? So actually, we can also adjust. Actually, we can adjust the color. When we set on the monochrome like this, we can adjust the contrast. When we reduce the contrast like this is a similar to black and white, right? Like this. And cell size increasing cell size like this. Monochrome. What about line here? Or circular here? Contrast. Se size, reduce cell size. So this is like maybe this half tone is maybe if you have a money, you know, like the dollar money, for example, I think in the money sum, they using the specific pattern, specific image, and also using the half tone like this. Similar like this, but in different different setting, actually. So I think this one similar. We can apply for using the pattern in the money, for example, or use pattern for design like this. For recap this half tone, the half tone, we can size, we can set into the monochrome, here, monochrome. We can also set the color here, color line line. We can set the angle of line here, this or circular like this. Maybe sometimes if you want to, you know, to monochrome or color like this, maybe you need to make a little bit contrast. Yeah, small like this, gray component replacement. Compared to the original one, a better than this one. Life halftone, right? So maybe you can set your Photo profile for your social media with this one. Halftone. Next, we talk about this one. This is the last filter we discussed in this layer in this category. Filter colors, photooi. And I'm going to skip the procedural text because it's very, very complex, very complex, and it takes a long time to learn and to explain. And honestly, this is very advanced features, and I think it's also rarely used in reality in a real implementation is rarely to use. And also, interesting, though, but very, very complex tool. Skip this procedural texture, and next we talk about Ponoi. So see you in the next we talk about Ponoi. 47. Voronoi: Creates A Vornonoi Diagram Like Puzzle: Hello, everyone. So next continue to our discussion. Next filter layer, we will discuss this pano, this filter layer panoi. And this is the last filter layer in the colors category. Before we move to the next category in the frequency separation, maybe this one frequency separation. Liquefied, don't map, develop, and then plug ins, for example. Yeah, we'll talk about them. This is, again, the last filter layer in the colors category. So let's talk about it. To talk about the pan paranoi, maybe I'm going to put on this picture, this one. Yeah. Right here. So the paranoid. Then let's apply in the paranoid. To access paranoid, we can use this pixel filter and colors paranoid. Or we can access paranoid using the live filter here. The live filter is available for anoiT one, paranoid. So I think I'm going to use the live filter paranoid yeah. So the phoronoi here means is too Oh, don't forget the airport. You have to hide the airport. Yeah, because we just borrow the image. You have to, you know, like unhide the airport. So the phoronoi here means likes to divided a picture into cells. Like when we like when, you know, ceramic, you know, ceramic like puzzle, something like that. Yeah. Like puzzle like ceramic. Maybe if you want to build or to arrange a certain image like this using part of ceramic this is the similar between that. And if we increasing the line width, so the line between each cell is more thicker like this, more thicker. And then if it's increasing the cell, the cell is more thicker, like this. So as you can see, this is similar to cerami, right? So we can also combination with a level or combination with wet curve if we think that the image is not bright enough, we can using the level like this. Yeah. It's like when we apply in the ceramic floor, for example, is a part of small pitches, and then we can arrange similar to this big image like this. And if you think that the cell size is too big, maybe we can reduce to get more similar to pace foam and let's we try on the next image. I'm going to create new document. Here, the most 772 DPI and click New page. So next after we create new document, I'm going to import this file in the filter, pop and die. Just track entrop here. We have new two layer tile. This one. I'm going to set in here. Because tile is square, yeah, I'm going to adjust the artboard following the tile. Maybe 2000 by 2000. Yeah. And then PCO I'm going to put here here. Yeah. And we will, similar thing. This Pop I'm going to apply for noi. Yeah, this one. Right here. And then we set the sal size, reduce the sal size to, you know, this one, following this one. Yeah. Maybe it's two picks to pick. Yeah. And line. Maybe it's like similar like this. L this. And then, maybe we can change the planting mode and we, you know, duplicate the t like this. Let's bring to the top here. Ca this one. Right, create the line. Like this. Copy. Like this. And then also copy, rotate to n and then bring to here. Copy again right here. And select all of them. Rectangle to here, select. Oh, this one, this one is not perfect. All right. So I'm going to group all of them and group here, and then and then click Etcetera L and click group here. So we have created the selection, and then go to the tile layer and setter plus G. And heighten this one, this grid layer and a rubber si to till it. So we have tile selection in white area, and then just hide this. And a pregans contrast, we tilt pregnan contrast like this. Like this. Maybe this is for anoiforterfore, after. I think if we increasing the size like this, yield, like this. Similar to the when this apply in the tile to puzzle or to arrange the puzzle, you can using this for planning. Yeah, this is for anoi more or less. Okay, guys, this is the last filter we learned in this color. Play the color. This one, paranoid. And next, we'll continue to learn the next category of frequency separation, as removal, liquefy develop, yeah, liquefy, to map. Yeah. And then Astor photography, maybe we talk a little bit about Astor photography letter. And then, okay. So see you in the next session. All right, don't forget to save this. Okay. And then this one Phonoi All right, so you in the next category, we will talk about the next category. 48. Astrophotography and Remove Background: Hello, everyone. I'm glad to see you, okay. So in the preface lesson, we have learned the filter layer in the colors category. And right now in this Asian, we'll continue to learn our next category in the filter layer, the filter layer in the Astrophotography category. So we're going to talk about the Astrophotography. We talk about the move background and also a little bit talking about color map mono layer. So the Astrophotography here means to edit in the astronomic photo, like to edit the moon or stars or collapses. So to talk more about that, let's go into practice. I'm going to create new document here, and using the Timo 72 TPI, like us, like useful. And create a moment. I'm going to use this one, this moon photo. So if you pay attention this photo, I'm going to a little bit zoom zoom out like this. So in this moon, maybe around this moon, as you know, fog, right? So fog. This is white, shadow, white shadow, something like that. And then the function of Astrophotography, especially in the rim of background, it's not about to remove the pgronO to make selection. No, it's not like that. The remove pgrond here in this one is to fix this area, these colors behind the main object or for this uska is a moon. So this moon has become the main object, and then the pgrond around it, the Bron surrounding the moon will, you know, like suppress suppress or maybe just remove something like that. So to apply this filter, let's talk about this remove pagron first. Before I apply the remove Bicron, I'm going to create a duplicate layer and I'm going to set rename this one to original and then this one to moon remove PcronO this one, remove Bicron like this. So in the remove agron layer, I'm going to apply this removed Bicron. So let's talk about it. In this remove picron window, right. As you can see here, you will find this one, this circle. This is very similar filled or tap or field lure, right? Similar. Maybe you can go back and then roughly, you can tap or field and filled. So the method is similar when it comes to the you know, circle point. So let's apply remove this one. So when I click here, click sample at handle position. Here. I'm going to so this software will take the sample color to here and automatically we'll adjust this setting. For example, here, right? So the fog behind the moon will go. But we can create moving this one to take the sample around this moon, like this. Or maybe we can add the point here. The point we can add the point like this or add point again. Like this to get the patter setting. So the point is to take the sample of pron color. When I move this pron this one to the preta area in the main object, so the main object behind it will gone. So, this is a circle represent which area that should be delete. And then if you think that the color of the moon is not similar to the original, yeah, we let's edit with GP here. Like this, maybe this is too yellow. This is too purple become purple when we add in the green, when we add when we add in the red, for example, here means it's to eliminate the red color. And then to bring the Background is become the red when add. So this remove pagron is really care about the pagron. And if we satisfy or we can also click split view, this one. This is prefer and this is after. Here. This is before, this is after. This is before, it's after before and after before and after, like this. And if we satisfied, we just click Apply here and then here, this is the remove Pigron. This is the original or remove pgronOginal remove Pegron. If you think that Oh, the moon brightness is not similar to the original, that's fine. We can help with level, for example, and lip it at the white level. This Yep. Maybe this is I'm going to put in the level adjustment inside of remove playground. And this is before after before after. So the remove Bgron here means it's not removing the black area to become the athletes are transparent. But the remove Pegran is to remove the unwanted color behind this moon, especially when it comes to the space photography, something like that. Yeah, to remove this shadow and to make the space thing. The space things more clearly and yeah, I think, more proper to see. So let's re try with another image. So I'm going to duplicate this artboard, right? I'm going to duplicate this rpart and I delete the material, and I tilt the material, right? And maybe I'm going to set this arbor to portray 2005 3,000 like this. And then let's put the next image. I'm going to put on this picture. This is the galaxy picture, right? This is the galaxy picture. But as you can see here, the galaxy, this one, Okay, right. And after this, I'm going to duplicate again, like refuse step. I'm going to set this one become original. And this one remove pgronPkron remove. Okay. All right. In the remove pagron I apply this filter Astrophotography and remove Paron. Again, I click this sample at handle position and this one, the point, I'm going to track and drop in here, for example. Again, this point will take the color sample and then this color sample will remove from this picture. And I'm going to add another color sample this one. And I think this one. Yep. More or less is like this, right? So the H point will take the color sample that need to remove. Output black level. This is close to the original one, output black level. But when we reduce like this, yep. And after that, we can click Apply. As you can see here, this is the original. This is the removed background original remove background. And we can also help with level to increase the brightness. Yeah, more or less level adjustment here, and this is before after before, after. So indeed, this filter really suitable for astronomy or Astrophotography like this. I think this is the function of remove Bgroun in the Astrophotography, Astrophotography. Well, the color map monolayer, for example, when we talk about color map monolayer, I think this is similar to channel mixer. So this one, a Big cell filter, color mepnlayer I'm going to talk a little bit color mapnayer. So I hide this remote background. I bring the original one and try to apply color met layer. So the color me player is basically similar to channel mixer, because yeah, because if you expert in the Astrophotography, I think this channel mixer has certain burps right, because sometimes sometimes if we change the color of planet, the color of star or the nuance of galaxies is also each color in space is also represent certain things, right? Maybe the color, it's represent the gas material. On the color galaxies, for example, this is the reddish is also represent the certain information. So if we change the color too much, like the color of this past represent the contain gas or the content material. So I think on if you expert in astronomy photography, yeah, maybe you more family record on this. To change the color too much is not wise, especially in Astrophotography. You can go back to this one to the adjustment layer previously. In the adjustment layer, I also talking Tena mixer and you can back to understand the function of color mapping. I think, more or less like this. So before we move to the Frequency Separation, I res this document, and I'm going to, uh given astroography. And next, we will continue to frequency separation to retouch the skin or face or something like that. So see you in the next session. We talk about frequency separation. 49. Frequency Separation: Separate Frequency Layer to Retouch Texture and Tone: Okay, friends, let's continue to the next filter layer. We talk about this one frequency separation. Okay, we create new document. We create this one and we change the resolution to 2000 by 3,000 and create document. So I'm going to import this image. So I'm going to using these two, two of them are to retouch the skin. So I'm going to use this image to retouch the skin in the face skin. Yeah, because some acne available in here. I'm going to convert to 2000 by 2000 pixel. Alright. So the frequencies operation, maybe I'm going to duplicate this layer. I'm going to add to this name layer to original original. And this one, frequency separation. All right. So I click this frequency separation layer and click frequency separation. So I'm going to set this one to six, for example. Yeah, six or seven. I think it's more nine, nine. Nine is okay. All right. We click applied here. So the frequencies apart will divide the preface layer into half frequency and low frequency. Half frequency consists of this one consists of detail. This one I hit love when I hit the low frequency, it will improve the detail. And then when I hit the half frequency, it will give the blur because low frequency represent the blur part like this. And let's be working with the high frequency first. I will heighten the original. Yeah. We try to fix one by one of this knee. Indeed, it may be take long to time, but this is part of the process. And I'm going to put on this one, this pixel pixel mode using paint painting grasstol. All right. I'm going to paint in the high frequency. In the high frequency layer, I'm going to paint in the high frequency layer. Like this I'm going to paint the high frequency layer. Maybe I'm going to draw it carefully here. Indeed, maybe take a long time, but this is part of the process. So the point of frequency separation is to divide the picture to become high frequency and low frequency. The high frequency represent the high pass and the low frequency is a plu, and we're using the caution plu, because the high pass and casien plu, it will complementary each other when it comes to the touching, the picture like this to retouch the skin like this. Well, I just need to fix or make it a little bit better in touching. So not remove all of them, the acne, but yeah just reduce the acne to get more proper image. I'm not saying acne is a bad, but yeah, when it comes to retouching, we need to make it a little bit better. If we're satisfied, let's unhide the low frequency. The result will be like this. This is I'm going to, you know, the unhide the originals. Then the high frequency when I combine frequency with low frequency, the high frequency is edited using in painting pastol result will be like this. Right. But this is not finished yet, because when we look at the closely, it's like it's not natural look like. So that's why we move to the low frequency. And I'm going to hide the frequency first and we move to the love frequency. In the love frequency, I'm still using the inbnding press toool and try to fix this using Impending press tool too. As you can see here, in some area, we can still see the part. So in the method of this retouching, we fix the skin with true method. We fix in the high frequency and also fix in the low frequency. So again, resulting is more better. I think this one is a little bit. I'm going to make. Yep. And indeed, it takes really patient process, right. Right. Let's fight this one. Right? This one. So the high frequency combination with low frequency mixed with using in painting press tool, it will fix the phase. This is before, this after this before, this after. So I think people are not aware this is, you know, apply some effect in the acne because yeah, with high frequency and low frequency, we still preserve the phase texture. Yes. That's quite amazing. That's quite amazing. Before and after. Before and after. So let's practice one more using the same picture in the pixel mode. I will tell it. This one, all of them, and at the reslton to 2000 to 3,000, I'm going to impart like this. This is very, very easy step from frequency separation. Again, I'm going to clic at this layer first. To click at this layer and I'm going to set a name original. And this is corns. Separation. And then click Pixel, filter frequency separation here. Don't forget, we need to get the detail of phase like this. Yeah, maybe it's too much, right? Yep, I think 1013. Yeah, 13 is enough. 13. Like apply, and frequency separation will divide high frequency and low frequency. Next, we working first with high frequency. I heighten the original one, I heighten the original one. And let's we apply some impending prestle here and maybe we'll increasing the size. Yep. So actually, we not we can also fix all of them without height each other. But yeah, I think let's try. In this in the high frequency, fill in the high frequency in the half frequency, let's fix one by one first. High frequency. We still in the half frequency, like this. In the high frequency, right? Maybe with many times we try to remove this acne, but it cannot remove because we still in the high frequency. We not fix in the low frequency. So don't worry, we fix it later. Yep, after satisfied, we moved on the low frequency, and then you sing this one. Yep. As you can see here, in the low frequency, Yeah. That was absolutely effective way to remove the acne, to remove the unwanted texture or unwanted. When we retouching the photo. All right, after we satisfy this one. This is the result. I'm going to hide first. This is the result. This one, compared to the original, this is before after before, after. Very clean, very, absolutely very clean. And this is the function of separation. The frequency separation will divide the picture become high frequency and low frequency. And we can edit high frequency and low frequency. High frequency passed on the high pass and low frequency passed on the blur and then using the caotienblur. And we can fix in the low frequency and also high frequency each other. And then we combine in the end, and then the result will be like this. Let's save this one, two, Mm. Frequency Separation. Right, frequency separation. Continue our filter layer. Later, we talk about this one Haze removal, right? We talk about haze removal. So see you in the next session. 50. Haze Removal: Reduces Haze Often Caused by Mist, Fog, or Strong Backlight: Hello friends, let's continue to next built a layer. We talk about remover. This one, as removal. This one as removal. Click new, click the MusabaTPI create the woman. And this time, I'm going to explain the Haze Removal with this picture with this one. As you can see from this picture. This is like this picture full of folk, right, full of folk, and it's not literally in the face. So as you can see, this picture is full of the folk. Right, like wet shadow, full of them full to cover the image. And then the corner of this picture also has a Vignette, right? So full of white shadow and Vignette and we want to remove or it's not remove, actually, but reduce or suppress the white shadow in order to get more clearly image to clearly picture to clearly object, especially in this person. So let's do it. We using this one, filter has removal. So before I applying this as removal, I'm going to duplicate this one, and then I'm going to name HHS removal. And for this one, I'm going to bring them the original. Alright. So as removal, we click Pixel filter and click Haze Removal. So I'm going to explain about this one. So when we click the Haze Removal, automatically, the removal will reduce the fog or the wedge head too. So in this one in the distance, we can a little bit to make it and the fig Nut is gone. And then yeah, if the distance is too low, it will bring back the wet hedo. But I think I'm gonna okay with this one Yep. And strength, this one. Strength is basically similar to increasing the contrast. It will boost the Plex shadow and a little bit contrast like this. Exposure correction. Yeah, exposure correction. Yeah, I cannot go with this one. So when we click split view, the result will be like this. Right? It's a very, very useful filter. And if we satisfy on this one, click Apply and then here, this is after before before, after. If we think that, oh, I want to remove the Vignette, we can also using the Vignette removal in the colors rapidly, remove Vignette then just click Apply here before, after. Before, after. Oh, I want to make a little bit correction with the level here. Level. Maybe I'll increasing this one, a little bit. Yeah. But Black Yep. If not the level, I'm going to go with curves. This one, little bit. Yep. Alright. Maybe. Yeah, I just using the curve adjustment. I did lapel. Make the curve inside of the Haze Removal. And this before, after. Before, after. It's very useful sometimes when our photograph is full of fog or full of white white shade. We can reduce. It's not remove all of them, but we can reduce. And with combination with Vignette or something like that, maybe we can a little bit fix this image like this. So it's very easy to use Haze Removal. Alright, guys, so let's continue to next pixel layer. We talk about TFL, and then we talk about Liquify and turn map. So this is very important and very, very important. Filter, and we talk about letter. So, see you in the next session, we talk about TFL. 51. Develop: Processing RAW Images Captured by Camera: Hello, everyone. So in the preface lesson, we have learned as removal, and right now, let's move to the next pixel layer. We talk about Develop. Actually, Develop Tone Map is a similar that is to editing the raw file photo. If you have a raw file photo, and if you import the raw file photo into the Affinity, it will automatically move to the Tvelop mode. So let's discuss with the raw photo sample. So I'm going to create new document here. And Tim seven TPI, click Create a command. So there's two things to open or to edit the Rafael photo. For example, I have this photo, this one. I can track and throw up here. Right. And then the photo will automatically fill the page, right, fill in the page. And then if the raw photo is in here in the inside of the airport, there's nothing. There we enter in the ordinary interface, right? So I also be able to import this one. This one and open in the new tab, right? Open in the new tab. And automatically, the Affinity interface change to develop mode. So in this metadata, it will show the information that this picture taken by camera, ILC is seven C. This is Sony, Sony Alpha seven C in the seven compact version. And then using Fe 35 millimeter f 1.8 are using ISO 100 and then focal length, 35 millimeter, of course, focaln 35 millimeter. So this is the meta tata. So again, if we in the Documen mode, right, Document mode. This is also shown that the afile also be able to click to move to develop and we click to Develop. And automatically, the Affinity also change similar to this one here, here. So for this untitled from this document, I'm going to just cancel. This just show you that this is the raw file. So I'm going to using this one, this document. In this developed mode, actually, the toast that Avlo developed mode is similar to the toes in adjustment layer. So the tos from the adjustment layer, you know, will compile into this user interface. For example, this when we look at the basic I'm going to make it a little bit. In this one, in the basic, this is the exposure t curve. Maybe I'm going to here, the exposure or turn curve enhance wet pal and shadow profiles. And then the lens lens correction, aperation reduction, the ringeRmove lens, Vignette. Some of them is from filter, and then also title, this is noise reduction. Yeah, noise reduction, tones, consists of course, black and white, split toning mask. So some of them is also payable in the filter mode, but mostly in the developed mode is consist of color adjustment. Yeah, and then here is a Zoom tool, we balance, red eye, blemisRmoval tool, like this. So let's dit a little bit to make it more you know, colorful and it's not like this. Usually, to increase the brightness, we're using the brightness, not exposure because the exposure sometimes is in a wet area is become white and offer exposure. So I recommended to using the brightness, increasing the brightness like this right here. Maybe 20%. Yep. Remember, when we're using the exposure, it's really high and maybe it's a rush, maybe it's, you know, it's too much of light. In a t curve, maybe I'm using standard like this. So in the contrast, I'm going to increase in the contrast to yeah, 10%, clarity, little bit to 10%, for example, texture. Yeah, for saturation, I'm gonna up to maybe 20% and fibrin. Yeah, vibrant to 10% is also absolutely enough. Because this is in the morning, so I'm going to make a little bit cold like this, little bit cold. And shadow in the headlight, right? In the shadow, I'm going to increase the shadow. Alright, to bring the color in the tag area because this is in the tag area, right? For example, when we look at this Bamboo tree, this is a very tag or taker. So I'm going to increase the shadow. Which one Shado? This shado I'm going to a little bit increase to 10% or maybe just a little bit of five 15%. But the consequences of this one should this is noise should be noice. But don't problem. No problem. From the headlight because this is consists of lighting, I'm going to reduce the headlight to minus maybe Minutes 15. Yep. Example. And in the lens, I'm going to use, and this is the lens using lens profile, using Sony Fe 35 millimeter. Yeah. In the detail, detail noise reduction. Yep, Noise retution zoom in. As you can see this is noise retuction maybe we can using noise reduction. It's too much. Using 30% is enough, I think. Yeah, no retraction. It's a better though, right? And then we move to the tones. In the tones, there's a curves, black and white and splitting. In the curves, I'm going a little bit curves. Using this one. I'm going to make the T one is a little bit darker, make darker. But this one on the headlight, I'm going to make it brighter. And this one little bit like here. Yep, I think like this in the curve. Like in the wet spray tonic, I'm not going to use that. And then, yeah, sometimes if you think that Oh, this one, this one should be more brighter, right, in the bamboo tree. We can also use this one mask paint tool. So we draw in this bamboo tree area, right? In the tuck area. We draw like this. Right here. And then we just using predns little bit prednas and then start to increase like this. So when we increase in the prednas, so it just affected on, you know, in the bamboo area. But it's too much, I think. Yeah, I just maybe set to 6%. Yeah, this right. And if we edit it in this, you know, in the mask layer, we have to pack to the original one or to influence this one. We have to pack to because when we still in, you know, in the mask pain tool, everything that change, it will only influence in the bamboo tree. So to doing that, we go to the mask and click Master here and back to BAC. Right here. Maybe I'm going to continue our mask paint. I'm going to also, you know, edit in the sky in the sky area because the sky area is to satire of exposure, right? The headlight is too much offer exposure. It's simple. And this one redness, I'm going to reduce the brightness. Here, I might be also exposure. But it's too much, right? No, no, no. It's too much. I'm gonna just use 0.1. This one. This one, too. And reducing brightness, right here. Mm. I think I'm going to reduce the There's no opacity here, absolutely, unfortunately. Yeah, but not problem. Yeah, we have to carefully use this tool right here. Maybe just using the, brightness only. Yeah, right here. So after that, don't forget to oe star. And then let's compare to the original one here. So this is before it's very tool, and this is after. This is before, this is after this before, this after. So this is how the develop works. So let's try one more pro check. I have a photo rough photo, this one. This photo, I'm going to edit in the develop mode, still in the developed mode. Here. So this one, just track and drop here to create a new document. New type here. If you think that this photo is a good from the color from the poke from the blur from the detail, yeah, we can still improve in the development. We can still improve. So in the metadata, you can see that the camera using IRCE seven R or Sony Alpha seven R. And then I saw 100 focal line 85 millimeter, absolutely, because these lenses is in less, 85 millimeter. So let's edit this one in the develop mode. First, we, you know, using the basic like preface one, I'm using the brightness. I'm going to improve the brightness, right here, maybe 10%. Yeah. And then the contrast, I'm going to increase the contrast, maybe just a little bit contrast, increase five clarity five texture, saturation. I'm going to improve a little bit, maybe two 5% so fibrin, I'm going to boost the fibrin. 215. White pelansnT is very important. I'm going to set to cold because, you know, nothing's a better cold like this, right? It's around 5,000 elfin. And yeah. From the shadow and headlight. Because in the sato this one, I'm gonna increase in the shao a little bit. Oh, no, no. Just maybe it's too much. Yeah, minus. Minus five. And headlight also minus. Yep. And for the lens, theta, theta refinement, Noise retuction, I'm going to go to the noise reduction increase to luminance, maybe to around 20% right here. This is the flower. All right. And if you think that if you make the object is more outstanding and the person is the color is more standing than the background, we can using this one, this one, using the mask pentol. I'm going to maybe increase this one reduce to 40. And this is I'm going to increase to maybe how much 60, 70. All right. So I'm going to mask this person. This one. So on. So you have to careful when choosing this object. It's like, not too much, not too, you know, too overwhelm and cross the line, right? Because this is very, very important part, very important step when asking here. Right here, maybe this air. All right. All right. All right. After that, we go to the basic and increasing the brightness, of course. Brightness, I'm going to go with five and saturation. Yeah, we have to breath the increased saturation and vibrance. 30% vibrance, right? And then wet balance. I think wet balance is also important. In temperature wet balance. So in the wet balance here, when not in the mustard, when we click the mask in the mustard and we moved on the wet balance, the wet balance consists of temperature like elvin kelvin, like how much calvin right here. When we using mask, pixel mask and pack on the basic pack on the wet balance with confort on the percentage. Yeah. Maybe it too much. I think. Yeah. Just 2%. Yeah, right here. And redness more. Shadow and headlight. Shadow headlight, ration headlight. All right, so let's compare the previous one. This one. I'm going to split two this one. Become this one. You can see here this original, and this is after we creation after we develop with the develop mode. This one, before, after. Before after. It's a very easy to do. And I think, yeah, it's a, you know, I think this is a very important filter and very important mode to edit the photograph or to edit the photo right here. And after that, we just click the develop. And please wait until the Affinity will create the develop file. Right here. Let's compare to the original one. Just put in here. Again, to edit file, it needs, you know, it will take power, much power from your system. Yeah, I think if you feel or I feel liking, yeah it's like normal because it's very, very, very hard. And even my system also sometimes liking to edit the rafle. So this one before after before after, which do you prefer? Later we talk about the Tone Map. So I think Tone Map is a similar development. Develop mood. It is very similar. So let's move to the next lesson. We learn about on Map, and I think I will using the same footage the same photo. So I see you in the next session. 52. Tone Map: The Studio Contain Color Adjustment: Hello friends, let's continue. We talk about the BilterTnmp. Like I mentioned before, the tone map is simplify from Develop. So explain about that, this one, this is the develop we have created previously. I'm going to pro I'm going to hide and this is still original one. So in this original one, I'm going to edit. In this one, if you look at here, this gives us option to use Develop Liquify on our tone map, right? So in the tone map, when we click here, so Don Map will automatically tune in the photo into superalPresat, actually, for the first time. But we can re edit. Here, this one, this is consists of natural, detailed, cool, high contrast black and white, and then dramatic. But we're not using all of them. In the claim to SDR, the total a ton compression, we can set this one from 1% to 0%. This is the close to original, right? So let's be using this one to at I think 40%. Yep. And the exposure, exposure, redness. Yeah, we're using letter. First, the most important part, we go doing the white balance here because I'm going to make it more cooler. Yeah, I just using temperature like this, temperature like this. And using the saturation here, saturation, got on the 50% and fibrin like this. Saturation and vibrance. Saturation to increase in the color. Fibrin is also quite the same, but more softer. Again, the temperature is more cooler, I think. Yeah. This one with a ton compression, I'm just go, I think it's 40%. It's around 40%. All right. And then after that, the shadow and headlight. I'm going to raid this shadow and height light. Yeah, shade to maybe around 15 at like 10%. After that, I'm going to use curve. This curve. Yeah, it's basically quite the same like develop, but this is more simplified. It's more simple, simple step, simple tos here. Right here. And then yeah, more or leses like this. Maybe we balance, I'm going to Yeah. I think saturation. Yeah. Or we can still using the main mask pine tool here to throw this area to throw Let's using the saturation, increased saturation. And then yeah, I'm going to increase the saturation here. Vibrance. Contrast. I'm going to increase in the contrast. Oh, too much maybe 2% is enough like this. Alright. I think it's enough. Yeah, this is just to show you that the tone map and the develop is similar. Well, maybe develop is more complex tool. Well, tone map is a simplify of develop. Yeah. More or less like these guys, you can experiment by yourself. Mostly, all of the tools that develop in here, we have learned in achievement layer. But again, my principle is to learn adjustment layer, filter, and later we're talking about a little much about blending mode. After we learn adjustment layer, filter and blending mode. And then in combination with tools that we have learned previously in the Pixel mode and factor mode, I think maybe we can more understand how to edit in a project. So I think from this use case, I'm going to click Apply here. So we compare. This one, this is a tone map. And this is Diplo so this is before. This is develop using develop right. This is when using tone map. Also, this is like for example, we can explore again more deeply. Yeah. Develop using tone map. So I think develop is a little bit more synchron between the background and the person well in the tone map. Yeah, just a little bit more cooler, right? Me cooler. Morcular. So it depends on the setting, actually. It's not. The result is not like this, not always like this. But when we compare to the original one, when we convert to the original one, let's see, this is the original one. This is original one. This one, right? You can see the difference, right? This is original one. This is using Tn map, and this is using Bloop. It is very useful when we're working with photo editing, photo color creating like in a wedding or graduation or photo moment with a family or something like that, or even photo model and then photo for magazine something like that. We need to maybe more appealing color, appealing picture, appealing photo, yeah, we're using this one, develop and tone map. So let's move to the last filter, liquefy, this one, liquefy. So see you in the next discussion. We'll talk about liquefy. 53. Liquify: Reform Shape of Object with Many Liquify Tool: Hello, everyone. I'm glad to see you again. And the next filter layer we want to learn is Liquify this one, Liquify. So to talk about Liquify, let's import the material and we discuss about Liquify later. For explaining the Liquify, I'm going to explain with two with this object. Here. So this is wet splice and chocolate splice. I'm going to make this place a little bit stretch using this one, Liquify, and then also first, I'm going to make it cross crossing the page, and I'm going to make the pecorn, I think for creating a certain perone. Just hold sift Hold sift and track the mouse. Like this. This one also same. This one, hot sift and track here and make it a little bit bicker also here. So I'm going to make this one across the page like this and hot siefT stretch more like this. And then this one also hold sift and bring like this. This one. Wait what? Which one? This one? Latte pattern. This one. So I'm going to put this Latte pattern here. And I bring to the bottom bottom layer off this artboard, absolutely. Don't bring the patom here because it will create like this. So the bottom splice what's spliced here. And then I also import this picture and put here bring to the bottom layer. Here, here, just like this. Right. And to make it more simple, I put on a pix almd and then crop this Oh, pector and crop this picture, just like this. All right. So we've created a parone. So I'm going to make this as a parone. But I'm going to make a little bit this one, chocolate splice, and this one whitesplice is literally more straight, more straight crossing the page because this is a little picture, and I'm going to make more straight more straight so to do that, that's we're using the Liquify. I click here chocolate wave as a target, and then click Liquify. In the Liquify, this one, this is consist of brush, right. This is NafcatnPrs consist of size. Sizes represent this puss. When we make it smaller, the sizes become smaller. When we make it bigger, the size is more bigger. And hardness, this is containing the hardness, opacity of spit, and then this one. So let's experiment first. So I'm going to make this because this started in the chocolate space, right, chocolate space. So I think I'm going to make the chocolate is more straight rather than just curve like this. So click Liquify here, and the gradually here. Stretch this chocolate and make this little bit stretch straight. Like this. And like this. Ooh. To make it straight. So the horizontal is more, more, more horizontal than before. Like this. It's more straight right. This one. If we satisfy, click Apply. Maybe I'm going to make it a little bit straight. And then after that, we move to the white splice. Next, we move to the white splice. Click Liquify. Here. And maybe we can, you know, hype this chocolate wave. We hip temporarily and click White SplaceT Liquify here. And then we can throw we can throw this liquefy using the, you know, a little bit more straight. Oh. Yep. This one we bring to a little bit straight like this. Right here like this. All right. If you think that this is enough, we click Apply and bring back the chocolate wave. So I'm going to set this one is a little bit here. This one. This is because the area is not included in this page, doesn't affect by Liquify so we just bring All right, so this is the material before is like this, curving like this. And we with Liquify can edit, become like this. And it's not only that, targeting this latte pattern, we can also edit with Liquify with this one. We can edit like this. We can edit in the pattern like this, like this. We can edit the pattern. Like this, right? And if we satisfy, we could apply. Or even we can using this one Liquify Zoom. This is one Liquify the left. This is Liquify push left tool. Right here. Yeah. And then this one is a Turley. Let's make it through through. When we click and then hold, it become throll like this. Like here, it's become troll. We can adjust the pattern of latte with Troll. We can also with pinch tool, either convex or concave, this one. This one for convex and this one for concave. This one. So many things we can edit with Liquify to reform to reform and recreate the form of object. This is the function of Liquify. And if we think that if you satisfy, just click Apply like here. So we have create a payron. So I'm going to actually create a pagron for this use case. Maybe I'll bring here a little bit here and then a little bit here. Alright. This is just back payron to create PgronPt. Just like this, right? And we can put the object or the product here that relate it with chocolate, milk, and leaf. For example, milk tea, milk tea, yeah. Milk tea, chocolate milk tea or something like that, yeah. Macha. Yeah. It could be something like that. To put the product like macha or milk tea. Okay, so this is how we use Liquify. So the Liquify only affected the object in the page. So when the object, a part of the crossing the line, crossing the page, it will not affect it and maybe make broken. So you have to careful to using Liquify. So let's see practice once more, one more. Maybe I'm going to use this one. Just take and drop like this, not creating the pitch just like this. This one, I'm going to explain the tools in Liquify. You know, this is Liquify construct tool, and this is Liquify free tool. So I'm going to make this man on man this person, this astronaut is more smaller or more bigger. How we can use that to make it more smaller without damaging the object around this with Liquify if we just make it more bigger or smaller with selection, for example, is easy. Is as possible, but Liquify, yeah, let's try. So this is the Liquify. Frist is to make the area is not affected by Liquify ter. So the Liquify cristal, we brass. The area that contain the brass or pass the area is not affected by Liquify. Maybe it's too much, I'm going to make it smaller puss. So the planet, this one and then the ring is not affected by Liquify. Like this. And then after that, we using the Liquify punch tool in and increase the size. Maybe increasing the size, please. Just make it smaller, smaller. Smaller. And then liquefy Liquify push forward tool like this to make it sorter, right? So I'm going to show you that with this lucifi we can edit the person. And then to make only the target that affect the Liquify we can freeze the environment or surrounding the target like this. And I satisfy, click Apply here. So let's compare to the original one, this one. This is before, after. Before, after before, after the planet is not affected, the ring is also not affected, but the person is more smaller. So this is how we use the Lukify. And still many possibilities we can do with Liquify, to reform or reconstruct the object, something like that. So this is the function Mao has like this. At the end, we have learned filter layer, almost all of them. Indeed, some filter layer. Indeed, some filter layer will not learn about it. But yeah, mostly all of them from the Blur category, Sharpen category, tostrt noise, detect lighting colors, Astrophotography, frequency separation and to liquefy, tone map, develop a removal, we have learned about them, and we have to learn about them, and then we take a lot of time. One. So I hope you can remember at least, you can decide which filter I use for certain use guess for your needs design. And the next we will move to learn about this one blending modes. So in the blending mode, there's a lot of blending mode, right? And we need to know one p one, or at least the difference between normal and multiply. The difference between Multiply and screen lighten or overlay. So maybe we can know about the blending mode. And then sometimes blending mode is very, very important to control the color, control the effect that we created or we apply it in the design. So next, we talk about blending mode and then it was very interesting, still a lot of practice and implemented the effect in the picture in the image, something like that. So see you in the blending mode session. 54. Let's Learn Blend Mode and The First Blend Mode is Multiply: Hello, everyone. I'm glad to see you again. So in the preface lesson, we have learned the filter layer, and we have learned almost the filter layer that available in affinity. So this time, we will move to the next discussion. The discussion is a blending mode, because when we're learning the filter layer and adjustment layer, we often found the blending mode option, right? Offers a lot of features in blending mode. As you can see here, when we look at the blending mode, this consists of normal pigment, dark and multiply color per linear, pure darker colors until Rs. If I'm not mistaken, this is more than 25 blending mode. And then it will bring the different effect to the color. So it will mostly of combination between tolls and plenty mode or Justin layer and blending mode and filter layer with plenty mode. And the blending mode is not only available in affinity, but also in a Photoshop, Illustrator, coral and then so many things, so many sow using plenty mode, because the blending mode is really related to the manipulating color. So that's where we will learn the plenty mode in this session. And then we will break down one by one, the eI color and then the theory behind it and how to use the blending mode into the design. So it will take a long time like the filter wer, but I think it will exciting to learn. So let's move to the first binding mode we discuss about multiply here. So let's create new document like always like preface. Like usual, we're using 2000 p 3,000 and sect two TPI, like the document that I create like this. And then to explain the multiply, I'm going to import this picture. This one, I'm going to import this picture like this. To explain the multiply here. I'm going to duplicate this layer here. So we have two layer to Airport. We have two airport, two airport and I'm going to import this one, the black, white color palette, and also the rainbow color palette. This one. So let's talk about this airport. I'm going to start with this one in the airport. Let's explain the multiply within this airport. So this airport contains two layer, color palette and the pgroundT one, the picture. So when we apply, so when we put the color palette in the top of this picture like this, this will cover with the color palette, right? But when we choose the plenty mode multiply, the result will be like this. As you can see here, from the color palette from the white, and this is the transition from the white to black, right? Like linear transition, this is white, a little bit gray, a little bit gray to the 15% gray, and then to black. The result will be like this. When the blending mode apply with a bright color with a light color, is not changing much in terms of effect. But when we working blending mode with the dark color, will also change the picture into the dark, more dark. It's like when we using the brightness and then using the pregnant or reducing the brightness, and then the result is more darker, like this. So, what if we using in a different color, different palette. As you can see here, this is the rainbow palette color. When we apply in the blending mood, multiply here. So the blending the multiple not only make it the picture is more darker, but also influence the color too. For example, this one, this is colored, I become like this. This is orange, become like this, yellow, green, blue, and then purple, right? So each color also influenced is not only make it. The picture is more darker, but also influence the color darker blue, right, or darker red, darker yellow, darker blue, and then you darker green, something like that. So it's not only make it the picture is more darker, but also the colors influence the color too. So what the theory behind it in the multiply. If we look at this explanation, this is the base layer in the green color, the paste layer, and this is the plan layer, right? So what if the plane layer we apply the multiply here? When the plan layer applying the Norma, the result will be likenes two rectangles that overlapping, right? When the plane layer in this blue, I apply the multiplane the result will be likens here. So the explanation behind it is like this. Is 100% is equal 255. That's why when we met with the 64, this is percent 25% from the 25. The 64 is more or less is 25% from 255. Then 127 is 50% from 2055 and absolutely in a blue is 255 because blue is dominant, is 100% like in this formula. This one, the plan layer consists of red 25%, green, 50%, and blue 100%. So this percentage will multiply with the best layer, not value. For example, in this this base layer. So this is in the base layer, the base layer consists of red 49, green 155 and blue 115 is 49 will multiply by 25%. That's where 49 multiply 25%, and the result is 12. And then green is a 2055, multiply by 50%. The result is a 127 and blue, 115 multiply by 100% from this one, 100%. The result is 155. When you look at this one, this one, 60%, 64, 127, 25, and this is 49, 155, and 115. And the result will be like this, 12, 127, and 115. So that's when the result is more darker and darker, like this, how the theory behind the multiply. If you remember the prefs projek in a displaced filter, we using this cloth and then this image to creating a certain mockup, right? So when we look at the project, for example, this picture when we apply it to the multiplier like this, so it will keep the shado keep the shadow on the tuck area from the cloth. So it's like the shado will transparent, and then the shadow will appear in this picture. And then it's like the mocha, right? It's not only the shado but also preserve the texture because the texture is also consists of shato. So this is the multiply. And what if we combination toss with multiply? What if we're using press and multiply? For example, I'm going to pour on this picture. So I've created this picture previously. Just copy. Or you can create the new or you can create the new artboard, for example. And then, yeah, just copy. Bring here, this one, this port. So we edit this picture with multiply. So influence this picture, I'm going to create pixel layer, new pixel layer. So in this pixel layer, I'm going to apply brush like this. So when we apply, for example, a white color or maybe little bit gray like this, and then the opacity 100%, right? And then we can start to throw the result will be like this, right? So it's a gray color will cover the picture. So what if I apply the multiply? Pixel this pixel layer, I apply the multiply here, and I choose the color maybe it's plaque like this. And then the result will be like this. So it change like, change the color into the midnight or into the nighttime, right? Completely nighttime. Here. Right. So what if we undo? What if we reduce the opacity? Maybe I'm going to choose around 20% using the black here, and then I just maybe just fix in this area, this area. It's not only color, just in this area. Absolutely, be able to tune that. So I will make it darker in this crust, for example. In this tree, too, and keep the light in the home, like the original one. Just make it more darker and darker. Like, it's more dramatic home, right? And the result will be like this. This is before after before, after. When we using the normal, the result will be like this. It's not only that, when we moved on the peter area, so the area more preters like preter area. For example like this, and I'm going to increase the opacity per example for the preter area. The result is back to peter area. Maybe it's more. Here. Back to the pre area or white, for example. So bring to the original one, close to the original, but it's not original anymore, right? Because, yeah, I influence more with white, more white. When I influence with maybe 100% white. Yeah, this is the original one. The original from the picture here. See? This is the function when we're using the toes rustle with the printing mode. When we play colour, it will change to plaque. When we choose the red colour, we prefer to the original one. So that's why we're using the, you know, like maybe I'm going to set to, you know, like a yellow, little bit yellow, and then make it, you know, it's more yellows. These two. Yeah. And then bring back to white, for example, this one on this area a little bit. Mm Yep. Yep. This one. Right? This is very cool. So this is when we apply the blending mode and combination blending mode here. So this is before after, before, after. We can still manipulating with any color we want with blending mode with multiply. So this is the multiply works to implementing the design. We can recolor, we can recolor the picture using the multiply. We can apply the mockup like this and then press the shadow with multiply as long as there's a shadow on the tack area, it will easy to multiply. And then the blending color to multiply is also dark color. When we using the red color, like white, is not changing anything, but when we move to the dark and darker, it will change or influence in the picture, the picture color like this. So this is the multiply works. So let's save this docomen with kidname the multiply Nemo. Here. So let's move to the Tarken and darker color, right? Darken and darker color. So see you in the next session. When we're talking about darken and darker color. 55. Darken and Darker Color and Theory Behind it: So, friends, let's move to the next blending mode layer. We talk about this one, Tarkan and Targar color. So we create new document and then click Tims 72 TPI here and create document. So from this explaining Targar and Tarkan color, I'm going to import this picture, for example, this one. This one, and I also duplicate here, this is for Tarkan and Tucker color. And then I'm going to import this color palette in each of this layer like this in this Tarkan and also, I'm going to copy to the darker. So we will make the comparison between Tarkan and Targar color because this is the name is similar, but for the results not similar. But yeah, we have to learn one by one and know how the difference is between darken and darker color. I'm going to borrow this, you know, the theory behind Tarkan and darker color because I have created previously this one, the theory behind Tarkan and darker color. And before the pot, I'm going to named darken. And for this one is a darker color. Like this. So we talk about the darken first in the darken. When we apply this color plaque and white colored palette. Here, when you apply the Tarkan, the result will be like this. As you can see here, in the bright area, in the bright color, like in white, is not affected. Again, white is not affected, but they gradually turn the black. It will influence, you know, the Tarkan color. I will influence more darken and Tarkan. And then experience the simplify of color, right? So the titil of color is a los losing detail of color. And then eventually in the end it become the plaque. And what if we apply the color rainbow? To Tarkan here, here. So I think the Tarkin when using the color, it will change the nuance based on the color, but in a more hearses not smooth as a multiply as you can see here, this is like experience the simplified color, the simplify color, right? And then this is also simplify color. And then some theta color is loose. It's like the heat later is being suppressed into you know, dark color. So what theory behind the Tarkan color? Here, here, guys. So on the tartan. I choose from the tar value each color. When this is in the paste layer, and this is the plain layer, right? And this is the paste and plain layer we're using the same as the multiply. When the plan layer has rat 64 and then base layer has rat 49, which one did more targerRt in plan layer or writ in the base layer. The result is this one. Right in a base layer is more darker. That's when the result is using p value is a 49. And then the green layer and the green value. The green value between plan layer and then the green value using the past layer, which one is more tarker? Green in a plan layer or green in a past layer. The answer is green in past layer. So that's why the cream 127 is a choose to become the result in this one. And this one is 2025 versus 115. Which more dark? Which darker 2055-155. The result is one. So that's when the result is 49, 127 is 155. So the darken is choose the darker color between the plan layer and base layer. So that's where the result is become darker, right? It's become darker. And also, it's like simplifying the color. Because this area should be, you know, content of sky color. But for this one, is a very simplified color, very simplified color. And we lose the data like in the cloud color, something like that. And that's why this is like simplified color. So let's move to the darker color. When we using color palette flag this one, like refuse before, and using the darker color, the result will be like this. In the wet era, it's not influenced anything. It's not influenced anything, but gradually turning the pla color, it will experience the simplify. So the simplify that darker color profile is more tarser than the Tarkan. So what if we using the color palette rainbow? We hide the color palette black and white in this one, and then use the darker color. Here, maybe you're wondering why this yellow just influence in this area or this red just influenced this area. So maybe you're wondering why it's not area is influenced by darker color. So why this orange just influenced in this area is not a whole area. It's like artifact, right? The green area is just influenced in here, and this is not influenced anything. Okay, so what's theory behind the darker color? Look at this explanation in this darker color. Which darker layer between plan layer and paste layer? Can you answer which layer is more darker Planlayer or paste layer. So this blue is more darker than the screen. Plan layer is more darker than the paste layer. So that's when the result is following the blend layer value like this. So there is a formula to explain about it. The formula called luminocity formula. So this is the equation that the luminocity is a conscious of 0.3 R zero plus 0.59 G and 0.11 B. So this formula is to find which darker between two color, these two color. For example, like this one, this green color, this has RGB value 49 G 255 and P 115. When we put in the formula to this number, the result we is 0.3 from luminaity multiply 49 for value plus 0.59, multiply 255 for this value plus 0.11, multiply 115 from this value. The result will be 177.7. This is the uh final number. So let's move to this one. This is t is 64. This is 0.3, multiply 64. Maybe you wondering. This red is more higher and this blue is more higher. Why this is darker the area. Let's continue to our calculation. Green is 0.49, multiply by 127, and Blue 0.11 multiplied by 2055. The result will be like this, and the result is 122. So RGP in this green, has the final value, 177, and this blue has value the S value 122. So 177-122, that's why the blue is more darker than the yellow. That's why the darker color experience is simplified because this is just choose darker area, which darker area? Ben layer or paste layer. So that's why when this is only affected in this certain area, because this certain area is a preter than the base layer. So the base layer in this area is like the blend layer is a darker. Well, the base layer is a preter compared to this one. So that's when the darker color works. When this area, you know, is influenced by full of color from the blend, here means that the blend color is more darker than the picture color. For this one, purple, for example, purple is darker than the sky area and then also the leaf area, some of the leaf area, leaf tree area. And then the blue area is more darker compared to the sky. This red is also more darker compared to the green leaf and then this one also. So this is just like which one darker between plain color and face lon. And the result will be like this. So that's why when we using this one, because the sky is so bright, right? When we choosing the white when we apply in the wet color, there's no change because white is more brighter than the sky, right? When we gradually moving to gray, gray color is more darker compared to the sky color, compared to the pilting color. Especially in the cluster on the black is absolutely more darker than the picture environment. So that's why it will cover with the play color or gray color. So the darker color works. Comparison between darken and darker color. So darkens more subtle. The movement, the effect is more subtle than darker color. So this is the difference between those two darken and darker light. So let's move to the next discussion. We talk about color purn and linear Burn. So before we talk about color purn and linear burn, let's save this document in the darken and darker color. We ve name darken and color. This 56. Color Burn and Linear Burn: Darkening and Boost Contrast to Image: Hello, everyone. So per first lesson, we have learned darker and darker color. So let's move to the next blending mood. We're talking about color burn and linear burn. So even though the name is similar, color burn and linear burn, but the result, the effect that offers is different. So let's we move to the affinity. We create new document or maybe we can, we create new document. To explain color porn and linear porn. We ytimstTPI and create document like this. And I'm going to borrow this Tarkan color, Tarkan or Tarka. It's same. Just pour on this one, Tarkan. I copy in the arbor, I paste here and here. So I'm going to duplicaak the Tarkan layer, the Tarkan airport, like this. And then this airport, I'm going to till it. Yeah. So we have two airport Tarkan, right. And I'm going to this name, I'm going to change to Linear Burn. Linear Airborne and this is for Color bun. So let's discuss about both of them, linear per and color purn. We move to the color pern first, color pn. Here, for example, I'm going to using this one to normal to all normal. This one to normal, right? And then for this color pn, this one is also normal and this one also normal. All right, I'm going to add the color color palette rainbow. Okay, here, the color bun, right, when we apply the color, color palette black and white, using color purn, the result will be like this. As you can see here, in the white area, it's not affected. It's like, this is the original one because we apply using white color. But gradually, we move to the black here, this color is more darker and darker, right? It's kind of different from darker or color darker. Linear in the color bun, it's not only make it the color is darker, but also pushed the contrast and also push the saturation, right? Here, the blue, especially in the sky is not only blue like this, blue C, but it is literally blue or dark blue like this. And then this is the linear color bun. So this is the color pn. It's not only make it darker, but also change the nuance based on the color. But at the same time, it's not damaging the object. The object still preserve the building like the original one. Still visible in the roof or in the ornament ornament, still be able to see. It's not destructive the object color. It's not destructive the object. But yeah, it changed the nuance. I make it more darker. So let's move to the linear bone linear bone here. Let's hide this s and the color palette black and white, I choose the linear bun. As you can see here, this is the linear pn. So if you pay attention, maybe I'm going to hide this one and bring back this one. So you know, if you compare this one, this is color linear bun. Linear pn is more consistent. The contrast is consistent. The change, the color is linear. And this is like when we reducing the brightness to more and more and more. So this is a similar linear bone is similar to reducing the brightness and yeah. The contrast is consistent. The color is also gradually convert to plaque and similar to reducing the contrast to the plaque like this. So this is the difference between the color point and linear bone. Well, linear pn is linear, consistent. The changes is consistent, but the color pn is not only making the color darker, but also push the saturation and the contrast. This is the difference between color bun and linear bun. Right. So what if we apply in this color palette using linear like this? The result, y, I think it's more more consistent in here. I mean, it's not destructive. For example, let's we duplicate again this layer color print layer, we duplicate once more, put in here, change name to practice. Like this. And then I'm going to delete all of them, this one, right? So I'm going to implement its tool, plus linear pern and color pern. Let's do it. I create new pixel layer, and then using this one pin bras tool here, I'm using the pin pass tool, this one, using Pine bras tool to a little bit Tucker like this. And I'm going to show you the difference between this one. Maybe I'm going to influence the sky, right? Change the pixel on this one to color pern first, color pn. And increasing the size, for example, maybe to 600. Gradually, you can see here, right? The sky is more saturated than before. Maybe we can reduce the opacity like this, right? It's not only the sky, we can also the tree leaves, these three leaves. Yeah. And then this is the result. Color purn. This is before, after before, after. As you can see here, the difference. This is the combination press and color pn. What if we move to the linear pon? So the linear pone is more consistent the linear bone doesn't post the contrast, doesn't post the saturation. That's why when we apply price with linear bone, the result will be like this because we're using this, you know, like tarker area so the taker area, this one is more tarker. So in the linear boon when we going to apply or make it tarker area, you using the tara area, and gradually you throw like this. Or maybe, maybe we remove first, remove. This is the original one, right? This is the original. When we want to make it more darker with linear pun, you're just using a little bit darker like this and start to throw linear burn. But again, this is not boost the contrast or the saturation, coffering with this one. Or maybe this one, this tree, you want to make it more darker, this area with linear pun or make it darker, but doesn't need to improve the saturation just like this. Here, or make it darker in this, this is before, after. Before, after. So the difference between linear purn and color pn when the color pun on this one. So again, we practice using linear buurnT, we practice with the color burn. Using little bit Tarcar and start to throw like this. Like this. So again, the difference between color pur and linear burn, when we using the linear buurn, the result will be like this. Will be like this. Make it darker area, but not posting the contrast or the saturation. Well, this color bun will be like this. It will make it the darker area, but at the same time, also increasing the saturation and contrast. So this is the different. So if you want to make it the darker, but also increasing saturation and contrast using color pn. But if you just make it the darker area, but not losing the title like the color or the contrast using linear bun with combination with prstol. So that's how we use the color painting, linear pn linear pn and color pn. So next, we move to the different section, Lighten screen color touch at lighter color. So see you when we talk about all of this. 57. Screen: Eliminated the Darker Color: So let's continue to the next blending mode. The blending mode that we are going to talk about is a screen. We talk about the screen. And then in this section, it actually consists of lightened screen color touch and lighter color. So in this section is basically opposite from the prefer section. So the screen is opposite to the multiply. To talk about this, let's move to the screen explanation here. So I'm going to using the same material like perfuse blending mode using this building and also this one. I'm going to change this artwort to screen. For example, right? And I'm going to use this one, color palette, this one, and color palette rainbow. Okay, we start with this color palette black and white first. When I apply the screen here. So basically the screen is opposite the blending with the multiply blending mode, plan mode. The screen is opposite with multiply. Well the multiply in the wet area is change change, and then gradually to the black area is more darker. Well, the screen is opposite. The screen in the black area doesn't change anything. In the black area, it doesn't change anything. Well, the white area is make it brighter. So this area is a black and doesn't change and doesn't influence anything. But gradually we move to the white area in the bright area, and then the bright area make it, the brightness is more brighter and brighter, right? The the press is more brighter and brighter. This is the screen printing mode. It's like when we increasing the brightness, brightness and contrast. When we're using the brightness and contrast, it's similar to we use the screen printing mode, right? And then the changes is also linear, also consistent. There's no saturation or no contrast will increase by gradually also improving brightness. But again, the consequences of improving brightness, the saturation, the contrast is also, you know, it's not outstanding as the original one, this one. So the difference is consistent, like we increasing the brightness. So let's move to the color palette, rainbow, like this. You see, when we apply the screen, it's like opposite and they multiply. The result will be make it more brighter and brighter, right? Make it more brighter. Well, changing to changing the environment, changing the be also make it more brighter. And then especially the color has headlight. The object has satelite, it will post more higher headlight. Yeah. And what form the screen blending mode is. So I provided some material, too. You can also import the material in this one in the blending mode. This is how we can implement it or how we can use the screen blending mode. As you can see here, this is the mountain scenery mountain. And I'm going to add this, you know, this is the moon with the black background, right? So I'm going to both I'm going to make it little like this. So the screen will eliminate the black color, right? The screen will eliminate black color. When L at this one, this is the black area. The black area doesn't change anything, right? I will absolutely go. The black area is absolutely go. And then this is also same. And if we apply in this one, this layer, this moon picture, and then blending mood with the screen, the black area will be gone. Like this, the black area will be gone. And then the consequences of this, you know, like this area in the shadow area on the tuck a moon area is also affected the screen plenting mode on this. Right? Also affected plenty more. But it's like enough to remove the black area. And then, yeah, maybe we can put this moon this moon like this, right? It's like big moon. And then how we can bring the original color of this moon. So I'm going to add the curves for s curves. And this curve adjustment I put into the plus inside of the moon. And then, yeah, maybe I'm going to Yeah, more or lesses like this. The edges, maybe HSL, and bring the edge adjustment into the moon and then increasing this one. This one in the yellow because the base is yellow, a color is a yellow and red, for example. Yeah, yeah, I think it's a hard. Yeah, more or less is like this. Maybe this report, this after. Yeah, this is how we use the screen because the screen is eliminate the black color. And also the same with this case, this is the fire with the black pron. When I put this fire here, right, and apply the screen so the fire will absolutely the black paron is absolutely gone, and I can put the fire in here. Right. It's like, yeah, to add additional fire to this. And then it's very easy. Even though this has a black pacron because black pecron will remove in the screen blending mode, like this more or less. It's very easy to use though. And the next practice using the screen, we will make it more bright area. Right. We make it more preoraaF example, again, we will combination between Pres tool and screen tool screen blending mode. I'm going to create new pixel layer here, pixel layer in the top of this one, this house, pixel pixel layer. And we move to the screen, this pixel layer, screen blending mode, and using Bras tool. And maybe because the black color doesn't change anything, we move to the white color. Maybe using this one, just a little bit, little bit this one. This because this is black, absolutely black, just a little bit too wet, like this and then change the opacity to maybe 50% and then grow through like this. This is maybe we can, you know, make it more brighter. Maybe in this tree area, this tree area is more brighter. Or maybe you can try two different color like this. This is yellow, right? Yellow like this or little bit yellow like this, but reducing the opacity, maybe I'm going to set to 12% like this, Y or more, 20. Yeah. This is how we can utilize screen to manipulating the color. Right, or even more. So this is like a yellowish or orange. Like this. So this is before, after. Before, after. Using screen, blending mode with brass this is how we can use the screen in combination with brass tool. So let's move the next with talking about we will talk about lighten and lighter color. So let's move to talk about that. 58. Lighten and Lighter Color and The Teori Behind It: Hello, everyone. So let's continue to the next blending mode. The next binding mode that we want to talk about is ten and lighter color. So to explain more about ten and lighter color, let's move to the affinity software. Okay, so let's move to the ten first. I'm still use the same material like before. This is ten, right? And then let's apply the this layer using the lighten. This color palette influence this one, and I click Lighten this one. So when we comparing the Tarkan, the Tarkan here means when we set to white color is not changing anything. But when we gradually turn to black, it will more darken and darken. So this is also happened with the lighten. This lighten. When we using the white, it will make it more brighter. And when color is dark, is a black, it doesn't change anything like this. In this area, it doesn't change anything in a color. But in white color, we bright or maybe it will make more brighter. Well, the darken, this is black to become darker and pritate white to close to the original, right? So this darken opposite with two lighten. So what will happen with the lighter color? Lighter colors also on the same. The lighter color is opposite to darker color because the darker color is chose which darker value between layer and paste layer. It's also the same with the lighter color, which the brighter value between plain color, a pen layer and paste layer. This is. Later color. So which preter between base layer and plain layer. So the therapy is like this. The light, this one, this ten, the theory is this is in the plane layer, and this is in the base layer and red layer is 64, and base layer is 49. So 64-49 is more picker 64, right? So the result for red channel is 64 and 127 compared to 255, u it is a more big 2055, and then the green result is 2055 and B for Blue channel is 2055 comparing to 115, so 2055 is more picker. The result is 64, 2055, and 2055. So the result will be like this. I will produce the more brighter and brighter color, compared to the lighter color. So the theory is also behind it. So which area the more preter between plan layer and best layer. The answer is best layer. You can pay attion this equal. In the green layer, the result, luminosity is 177 and the blue layer, resulting luminosity 122. So 177-122 is a bigger 177. That's why the result, when we click the plan layer here and then choose the lighter color, the result will following this base layer because the base layer is more preter than the plane layer. And then also same happen with this one, lighter color because this area, is a more pattern than the sky. For example, this white white area is more pattern than sky. That's when the sky will convert thing into white color. It will also happen in here and here, and then this one because the sky and then the trees live is a more pattern than the black. So the black is a gun and then is not changing anything, it's not change or influence anything because again, darker black color is more darker. It's more darker than the color in the picture like this. I can say that this section, this section is opposite on this section. This section is to make it picture is more darker and this section to make it picture is more brighter. Okay. Okay. So next, we're talking about color touch and add. So to talk about this more further, let's move to the color touch and add lending mode. So see you in the next session. 59. Color Dodge and Add: Brightening the Image: Hello, everyone. So let's move to the next blending mode. The next blending mode we are going to talk about is a color dodge and add. So we talk about the color dodge first. So I'm going to still using the same material like a pfuseblending mode, right? Using the color palette rainbow and then color palette. The white. So on the car touch, when we apply in the color touch, this one, color touch bending mode. So in the color touch, you mean, in the black area, it's not changing anything. This is the original one. When the color touches moved to the white area, so in the white area comfort or maybe the post, the bright area is more bright areas more brighter or I think the color touches will post is more, you know, like, more brighter and brighter. I think it's close to exposure, right? It's close to exposure because this one is 255. And then yeah, it's like increasing the exposure. It's not the brightness, it's exposure. The behind the theory color touch is like this. When we look at this, when we look at this one color touch, this plan layer and then the best layer, when the plain layer apply color touch, the result will be like this 64, 2055, and 2055. Here means the color touch will choose which the bright color channel. The plan layer has 64, and then the paste layer has 49, which more brighter between channel. And then the answer is 64, and then result 64. And then for the green, the green is 255, compared to 127, and then the bigger here and the juice green is 2,055. Well, the blue is 255, compared to 115, the result is 255. So the color touch is like opposite come with this one Tarkan. Color touch opposite Tarkan. Theory from the theory behind it, color touch is opposite to Tarkan. Well, this is the color touch. When we move on to Tarkan here, right? This is darken, and this is color touch. Well, in the plaque area, it will convert to literally plaque. And then this is what a is not changing anything. But from the theory, darken is opposite to the color touch. This is what area is converted to white, well, plaque area is not changing anything like this. And then this is the color touch. We moved on the ad. So this ad let's apply with add plenting mode. We add add here. So this is the add. The result will be like this. In the white area is more brighter and brighter. And then the black area is close to the original. But the theory behind AD is like this. Simply just add value plan layer and phase layer. For example, this one, because this is the plan layer and the base layer, the result, this one is like this one, 13, 2055, and 2055. Like the example of the name of add just add a rat in the plain layer with red in the past layer, green in the plan layer, plus green in the past layer, and then blue plus blue like this. And the result 64 plus 49, 113. And 127 plus 2055 because the result is above 2055, so the result will 255. And then 2055 plus 115, because the result is more than 255, so the result will be 255. So the result will be like this. This is it's like increasing the brightness, increasing the brightness more from this black area to the white area. If we buy the ten plus leap between color touch and etche the difference is that the color touch, while the color touch is increasing in the brightness is also increasing the saturation, right, increasing the saturation. And sometimes for some area, contrast is also increasing the contrast, but so even though the color touch from the theory is opposite from the Tarkan, this one, color touch. From the theory is opposite to the ten this one. But typically result is close to this one. Color pn, right? Because the color pun also same. I will post the saturation and contrast, but in a darkened area to make it dark. While the color touch is a little bit to increase, you know, the saturation, but it will make the brighter, more brighter. So let's implement it little bit this one. I'm going to put on this arbod and and paste in this document. And I'm going to, you know, like, delete this pixel layer and I'm going to recreate the pixel layer. This is the pixel layer, I'm going to apply with this one. Color touch, color touch here to make it, you know, like this picture is more brighter. Color touch at the brass here, Joe the color touch and choose maybe 30 and this one because this is when we choose the brighter, color is more brighter. So we can choose, for example, this one, and the gradually, we can choose like this. So I think this result is more subtle, right? It's more subtle compared to the screen. To make it brighter. Maybe we can reduce the opacity to opacity, maybe 16 like this. To make it, this image is more brighter. The dance is more brrter, the house is more brrter. Yes. Like this. Maybe in this tree, you need to improve this tree like this, right? And maybe in this opacity, you need to improve the opacity to make it more in this area and also in this area like this. Right? So this is before after using color touch. But what if we choose the add? The result will be like this. I will adding a fk. In this theory, color touch is the opposite from the targon from the theory, right, from the formula theory. But I think color burn and linear burn is also similar. It's also opposite with the color touch and add, right? Well, color touch and make it reder, color pn, and linear per make it darker. But in a similar way because color per is also preserved desaturation. Well, color touch is also preserve desaturation and contrast this one saturation and contrast Well linear purn and add is just linear effect. So this is the difference between color touch and AD. Well, the color touch is preserving the preserving some saturation, increasing the sum saturation and contrast, keeping the contrast and saturation. Well, the t is just transition is linear from this original to white, like this. All right. Next, we will talk about the overlay to heart mix. This section is basically some of them is a combination between tar or lane mode and Prater plane mode. It will very exciting to talk about this one. This section, overlay to heart mix. So let's move to the next when we talk about overlay to heart mix. So see you in the next section. 60. Overlay: Make Darkening and Lightening Area: Hello, everyone. So let's continue to the next plane mode. And the next plane mode that we are going to talk about is overlay. This one, overlay. I'm still using the same material I prefer. So the overlay, this is a new plane mode. It's not a combination or not similar to all of them. This color palette black and white. I'm going from the normal, I'm going to choose the overlay, and the result will be like this. Patterns in closely, guys. The overlay. So the overlay is very, very versatile. It's not only make it darker, it's only brighter, but overlay can both of them, cant in both of them. C two both of them. Olay can make it prather or make it darker depends on the color we choose in here like this. So this is the overlay. And not only peter but also increasing the saturation, increasing the contrast here. So the overlays are very, very versatile. Duplicate the arbor, right? Duplicating the arbor and then yeah, I'm going to delete all of them. Deal it, right? This is the original one. So you can see here, the difference is. And I'm going to add this one, add new pixel. And with the new pixel, right, I'm going to apply multiply. No, I'm going to apply in the overlay because we're talking about the overlay, right? So when I choose the color, so I change to wheel. Okay. So when I choose the black color, will increasing as to 100, it will increasing the saturation and also make it the darker, right? When I choose the white color, it will automatically make it right bright up. So you know the difference is. So for example, when I want to make the, you know, the sky is more blue, I can use this one. I can use this one. Maybe I'm going to make the sky is more blue. I can use the dark are a dark colour to make it the sky is more blue, like this. And for some reason, and if I want to make this tree is more brighter because some tree is like, you know, like in a truck area, maybe I can use the bright area like this. So I can improve or I can increase the tree the three brightness, not only brightness, but also saturation, too. All of them like this. So the overlay is very versatile if we want to correct or we're using the pass to fix the color in the design. Because when we compare to this, this is before, this after this be, this is after. So we can using the press with overlay, either to make it darker or make it brighter like this. So overlay is very, very versatile in many cases, right? I can make it darker and can be make it brighter. Brrter. If we want to make it brighter, just like this. Make it darker, just like this. So maybe I'm gonna increase the rs and yep, reduce this one to 13%, for example. Mmm. Yeah, just like this guys. And then the result will be like this. Amazing, right? Yeah. This overlay is very, very versatile. So it's not only increasing the brightness, the height light on the shadow, but also increasing the saturation. This is the overlay. And then we can adjust the opacity or maybe the level of brightness using this one. Using this, uh, color from black to white. This is the overlay. And then next, we move to the soft light. So the soft light here means I can say that the soft light is a soft version from overlay. Duplicate this arbord, right? I'm going to duplicate this Airport. Maybe I'm going to duplicate two in this one. Just for I'm going to give them this one for soft light. This one in this airport, the soft light, I move from overlay to soft light. As you can see here, the difference is the softlight is like the subtle from the overlay. The soft light is sub subtle from the overlay, especially about the brightness, the contrast, the brightness and the contrast. So the soft light is a soft version. So the saturation is not really high, and then the contrast is not really high because the softlt still be able to make it darker in a dark area in a black area. Also make it brighter in a white area. But the improvement or the increasing is not as high in this overlay. You know, from the name is sob light. So the effect of the light is very soft. If you think the overlay is overwhelming, maybe you can using the sof light because the sub light, again, is a soft version from overlay. For example, when we apply this one, this one, this pixel layer that we have grab previously when we move to the sub light, this is overlay and then sub light. You can see here, the sublet is a soft version. But there's some reason the softlt will creating, you know, shadow here. The softlt will create the wet shadow, and then the black shadow or to shadow like this. You can use overlay and soft light to make color correction or color improvement in a brightness or in a contrast to make it brighter or make it darker. And then ptenOla and soft light is common in use, actually, in use in design because they provide a like the representation when we choose the dark color, it will dark, and then we choose the bright color, it will make it bright the color. And then soft light is a soft version from overlay. So this is the soft light and overlay work. Maybe before we move to the next blending mode, so we will set this document first head and maybe I'm going to i name the overlay and soft light. All right. Next, we will talk about this one Heartlight and VVDight. So see you in the Heartlight and Vivid light discussion. 61. Hard Light and Vivid Light: Increased Contrast and Saturated Colors: U Hello, everyone. So let's continue to the next plane mode, we talk about the heart light, and we're still using the same material like before, like before, right? So this is the black and white pattern, and we apply in the heart light, this one, the heart light. Right. So this is the result of the heart light. So the heart light is like the overlay. The heart light can make it darker the colour or make it brighter the color. But it's not like the offline that improve the saturation and then the brightness, the heart let is linear, linear, from the black to the white. From the black color, the gradually is more brighter, brighter, brighter, and then the white color is like convert the color into white. So if you think that oh, this is a very similar with certain blend mood. It's very similar to a certain blenmo. But yeah, maybe you write because the heartlet is actually combination because the heart plot is a combination from multiply and screen. So to prove that, I'm going to duplicate this one, this airport. I'm going to duplicate a duplicate this airport. Maybe it's close. This one. Above this heart light here. And for this one, this color palette, I'm going to stretch into half like this, into half like this. And this color palette, I'm going to copy or duplicate and put in here. So besides this is the two plaque and color place palette. So let's let's talk about if heart this isn't the same using Hartline. But Hatlt is combination from multiplan screen. And when we move when we changed this one from Hatlight to screen like this, and this one changed from heartlt to multiply, the result will be the same, right? Right? So you pay attention, the result of combination between multiply and screen, the result is quite the same with when we apply hard light. So the heart there's combination from multiply and screen because the multiply is converting from the black, right, to the close to the original one. Well, the screen, converting from black to white and close to the original one to white. So this is how hard Light works. And then the next we going to talk about PVD light. So the Fifth light is before I'm explaining fifth light, I'm going to duplicate this material. I'm going to duplicate this material like here, flight. So the vivid light, maybe I'm going to make it more little bit order. All right. So let's apply the vivid light in this picture, right? This color palette. I'm going to apply the vivid light here. Curious what vivid light combination is. The vivid light combination from this one. When this one when I change, this multiple color bun and this screen to color touch. And then this one is color burn and color touch, this one. So this is the vivid light. The vivid light is combination from color burn and color touch. As you can see here, the result is very, very similar from this area, from this blue, and then the transition to close to the original one and then from the original move to the frater and preter white color. So if we going to using the you know, the vivid light or hot light. Yeah. And the practice is quite the same. We combination with Bastol here, this pixel layer, we move to, for example, to vivid light, this one, and gradually, if we set plaque, it will result in plaque, right? It's like resulting in the dark. When we set to bright, it will make it brighter. Vivid light brighter. So if you want to make more create example, set this one to create like this and start to throw like this. So do so I think the vivid light is very suitable if you want to make it brighter but not increasing the white shatto. For example, like this, for this one, usually, when we increasing the brightness, the shadow white shatto is appear or reducing the brightness to make it more darker, the Blackhato is appear. But this is like this is like minimum, you know, like when we increasing this one, so it's like more natural color. Of course, this is the important of planting mood. We can adjust maybe just a little bit in this area, too. Yeah, it's very possible in this using the vivid light. For this color example. Like this, this one, this one. This one, too. And then because the multiplier is here, the range color, this has the white range color from the really black black with high saturation to the white. With oversaturated or a lot of brightness. Again, with the plaque saturate the plaque with high saturation up to very, very bright. So you can increasing the color as bright as you want with fift light. It's very useful. It's very indeed very useful. Maybe I'm going to make it more smaller to make it to make a bras in a small area, for example, like this one. And this one, this one, too. And this one. Make it more righter in this one? No. This is one, this one, too. So, this is the before after before after using Vivid light. And what if we move to the hard light? Here, the heart light, and the result is not good because, again, the heart light is a combination from multi plant screen, and for in this use case, it will affecting, you know, the fog. If you want to make this, you know, more brighter and brighter, then it's not true when at maybe using the overlay or soft light is, you know, more suitable when heart light, yeah, it's like causing white fog, white shed will appear. Maybe with soft light or overlay or the vivid light is very, very useful, very suitable, right? This is how we use the vivid light. So we can say that vivid light is like the more saturated and more contrast compared to overlay. So when the sof light is a soft version for overlay, when the vivid light is a pushed version for overlay. And then, for example, this headlight from this sky is more softer in the soft light, but in a vivid light, you know, like increasing the headlight, increasing the shado and contrast, something like that. So yeah, I think overlay of light and vivid light is very, very important and very suitable for fixing the color for this use case. So this is how we use vivid light. Next, we're going to learn about this one, linear light, pin light, and heart mix. So see you the next session. 62. Linear Light: Darkening or Brighteninig Color Contrast and Midtones: Hello friends, let's continue to the next plane mode. So the next plane mode, we're going to talk about linear light. So in the linear light, still using the same material like before. And then let's apply linear light in this material, right? Linear light. So the linear light will result in this one. The changes of lent mood is a linear. From the tug black til to white is a linear like this. The increasing of brightness and also the saturation is consistent, right? The increasing brightness and consistent. Example I'm going to make this one and bring to here. And then this one, linear light. As you can see here. So the changes is consistent. The changes is consistent. So the linear let is a combination between linear burn, this one, and at this one. So let's prove, that's we find out like the prefus discussion, I'm going to stretch this into half like this and duplicate this color palette like this. So the linear light is combination from linear burn here and at this one. So as you can see here, the result is very, very similar, right? The transition from the plaque to white is very, very similar. So this is how the linear light works. I'm going to copy this one. I'm going to paste here, bring this airport, and then this one has directly a pixel layer. We just move the airport with linear light, this one, linear light. So again, the result is not absolutely good for this use case. So maybe we delete this one and then we can hun recreate. So we will create the new pixel layer, right? The new pixel layer, and then this pixel layer change to linear light here. And think if we change to like this, the result will be like this. It's too, you know, the shadow, the white shadow is too high, right? Maybe, with linear light, we cannot change much with, you know, the result because the result, it will increasing the white shadow, right. When we want to make it more brighter, this is increasing the white shadow like this. Linear light. But again, when you want to make it more brighter, this guy likes. The result maybe is not really suitable, right? It's not really suitable compared to the vivid light and overlay. But yeah, this is the result of linear light maybe it's too low. It's maybe 30%. Because the linear light, when we make it more brighter, it will add the wet shadow, and then it's not also increasing saturation or contrast. Just add the shadow wet shadow. So this is the result is more softer. Yeah. More or less it's like this guys before, after. Before, after. So this is in the linear light. 63. Pin Light and Hard Mix: And the next we're going to talk about this one. Pin Light. To talk about the pin light, let's duplicate all of this material, right? And I put here and I'm going to change this one to pin light. Pin Light, right? So the pin light, here means. So I'm going to reset this one first to normal, right, on this one to normal. So let's start with the pin light. The pin light. So the pin light is a combination ten and Tarkan. For example, this one, when I tried to when I moved this one to Tarkan, this one. And then this one is to lighten this one. So the result is similar, right? The result is similar. So that's why the pin light is a combination from Tarkan and Lighten. And then yeah, how to use it is quite similar. You can use Depress tool with the, you know, with the a refuse practice. When for example, when this pixel layer, when we apply to the pin light, the result will be like this. I think for some use case, you know, for the Sato is converted to dark sto dark setto. And then, yeah, I think it's not suitable when it comes to make it more darker or to make it more brighter because when we apply the pin light, for example, and we choose this, you know, white pin light, okay? And then maybe when we move to the white here, the result is not really good because again, the pin light because when we look at the formula, the lighten is much more preaor in the color channel, right, when we light to lighten. So I think the result is very, very harsh because when we set tune this tune this plague, This doesn't affect it because sky is more lightens more light compared to this one. When we choose the little bit or maybe a little bit white or gray, remember that the pin light is a combination from this one, this darken and the lighten. As you can see here, when we're working with from this color from this color, from this dark and to the middle here, this is in the color range of darken and this is in the color range of lipen. Rsmble this one, when we set to this flack area, it doesn't affect anything in this pride area because we're working with Dargan, right? So it start to start to affect with this. And it doesn't affect anything, right? Because this is Dargan. When we move to the blue on the gray, it starts to affected in the tar area like this. And gradually we move to the light, start to influence the color. Because the lighting, remember, the lighting will choose which one the light color channel because the pacron is a tar, right? The Picron is their targ. So I think this lighting will choose will influence it, then convert into more brighter and brighter. But again, this is yeah, I think it's not suitable for this use case. Right, not suitable for this use case. So, again, this is the pin Light combination between this one Tarkan and ten. Next, we will talk about the Hard Mix. Let's move to the next blending mode. We talk about Hard Mix. In the heart mix, is a simple, actually. We move from the pin let from preface blending modes to Hard Mix. So the darken is a very easy explaining, actually. Look at this color picker. I just in this region in this area, the color channel consists of 255 red and 255 green and 2055 blue. When I move gradually to this area, it consists of rate is zero. Green is 255, and blue is 255. And I close tune this one rate is zero, green is zero, and P is 255, 255. And this is totally zero. It will convert into black. And here, it will convert into the dominant because the dominant is blue, it will convert into blue. And this one, the sky, because sky is bluish, yeah, convert into one color and the rest of it because white is domination. You know, like white is domination in this area, so it will become too white. It's more or less like this. For example, when I set this one, Hard Mix in this one in this layer, let's say when I apply in the level, this level, right? This level, this level will influence the color, right? When I move gradually, this level. This one, right, I'm going to choose the heart mix. Yeah, this heart mix, and gradually when I increasing the you know, I ncratms and the level adjustment and the level adjustment I put inside of color palette like this, and this one will influence only in this layer. So when I gradually increasing the black level. So this color, the black color is gradually move to the right and then domination. When I increasing the wet level, the gradually, the white level will minis. So Hard Mix is actually simplify for the color, but it's only simplified. But for example like this, this is the white, right? 255, 255, 255. And this one is dominating blue. And that's why the blue is 2055 and green 2055 because this is bluish and this is dominating blue. And then red is zero, green is zero P 25. And this is zero. Well, this yellow, yellow is consists of red 255 and green 255, and blue is zero. And then this red, again, green zero, blue zero, but red is 2055. When green, green is green 2055, blue zero or zero. So it's like just simplifying the color. So Hard Mix is some channel color will set to 255 or zero. That's the heart mix. In the color channel, one of them said to so the difference so Hard Mix is like the channel color, either 255 or zero. There's some combination between color channel has 255 or color channel has zero. There is no, you know, the value, the outset of zero and 255. Maybe this can result white color because 255 can result black and 00, zero, can result blue, zero, zero, 2055, can result, you know, like red. So the color value either 2055 or zero. So in the heart mix, B recap, I think manipulating the color, I think the overlay soft light and vivid light isn't the right choice because with overlay of light and vivid light, we can manipulating color more broadly. Maybe we can create more darker or more brighter, but, you know, keep contrast and saturation consistent. It's not imaging the contrast and saturation. Overlay, soft light and Vivid Light. But heart light, linear light, in light and heart mix, yeah, I think I don't recommend it. Or maybe in a different use case, maybe it's suitable, but for mostly mostly a common in use, I think overlay off light, Vivid Light is a common in use. So how we can work with the color with the plane mode and combination with tools like penol like a press tool or maybe different tool. So next, we will, you know, learn about difference exclusion substrate, and divide. So see you in the next session. 64. Difference and Exclusion: Converting to Invert Color: Hello, everyone. So I'm glad to see you again. So let's continue to the next plan mode. Now we're talking about this one difference exclusion substract divide. So this is actually, and some of them is a combination between two plan mode. But yeah, to tip bottle of them, let's move to the software. We talk about the first is difference here. I also using the same material previously because it's more easy to understand and then maybe it's easy to compare, easy to compare to the others. Okay, let's apply in this color palette black and white. We apply the difference here. This is the result of difference when we apply the difference. As you can see here, if you pay attention this image in the black color in the black color here, in the black color, it will nothing change or it's not change anything ors black, this one. This is before after, before after. It doesn't change anything. It doesn't change anything in the color. But in the white color, the picture will convert that into inert. It's like into negative, negative, like negative film or negative color, right? So the difference it will show us the difference between black and white, when Black people is nothing, and then they gradually from black to white to the gray, for example. So part, some area is converted. Right? Some area is converted, especially the area has, you know, as the shadow. In this one in this one, in this three area. This consists of Sha two, actually, right? This consists of Shatt. And then the Shattu will influence the plane mode and convert it into the negative or inverted. So if we wondering what is important, let's I copy in this art port. Let's I copy in this port right here. And then I just till it this one and then left this one. And then the part is when we apply this one, yeah, and we click in for. So as you can see here, this one, this part is similar to this part, right? This part is similar to this part here. Right? So again, in this black area, it's nothing changed, but white area will convert it into the int, this one into invert. That may be very, very similar though, right? You can see here it's very similar. The part of this picture that has a shado well, shado met with the bright color, right? The bright color here means it's this area. This area is a bright color. We'll invert it into the shado into the invert it like this. So this isn't the difference. So I'm going to explain the teori difference like this. So when we, for example, Again, I'm going to hide this palette. And then using this in the difference, I'm going to using this one, and I'm going to stretch and then cover into whole page. And then, yeah, we'll see in the rectangle, we change to difference like this. So in this difference, I'm going to explain the tory behind the pixel the invert. This is the real world, and this is the negative world, right? So because this rectangle, we'll be able to change the color. For example, I'm going to change the white color to the under color because the white color is, you know, like, is a part that influenced by invert color. Let's see. So when we change to green, for example, and then the two part maybe to random color. To part that change is in the shadow. This one. This is the green color is consists of shadow because this is full of shadow because this is like three like this shadow leaves shadow leaves. And then this one, this one is a sky and sky is a representation of headlight, right? So in this part, it's like, divided it into two parts. This area is for headlight and this area is for shadow. So that's why when we moving this wheel color, right? For example, I'm going to choose this one, this green and this pink, right? So when we look at this color wheel, green and pink is opposite, right? Green and pink is opposite. When I try to choose another color, this one, this is blue and red. Blue and this one. This one blue this one blue in this here, this here is opposite to here. This one. This here, opposite to here. When we choose the red, red will opposite to the blue here, blue sky. Green opposite to pink. So in that way, when we choosing the color here, it will representation of shado because this area is representing the shado. For example like this, when we hide this one, this is full of shado and then the sky is representation of height light. So when we choosing the color, it's like we choose the color for a shadow. Big, right? This is we choose the color of Shado and automatically, it will also choose the color for the height light. And then the hett automatically choose by the opposite of Shato. And then, for example, this one, when I choose yellow, the sky will be blue because the yellow opposite with the blue like this. This is the reason the theory behind the inferred world or negative world compared to the original one, this one. I'm going to duplicate this material. Maybe you can click ILT and then justrik drop here. And then next, we're going to talk about the exclusion, the exclusion. Exclusion. I can say the exclusion is sub persion from difference. So the exclusion is sub persion from difference. Maybe I'm going to make it more closer here because the exclusion still converted into in the black area is not you know, impacted, is not changing anything in the black area. When in the white area, it converted into infert, a more softer effect from this difference. As you can see here, in this inert area, is more softer than the difference area. And then for some reason, in this gray area in this gray color, it's also it's not fully converted into the inert or into the transition, but it will, you know, like left the shadow or wet shadow here. This is the exclusion. So the transition between you know, maybe this is area. This one is inverted, but this one, rather than invert it to invert is like covering with the wet shado, right? Wet shado then gradually, it will start to invert it in this area. In this area, start to invert it. Here is a different different color, right? From here, from here, start to invert it. From the original one to the negative world or maybe to invert world here. And then I'm going to this one, this rectangle change to this one exclusion here. This is the middle area. It will cover with a shadow, a lot of shadow here, wet shadow. And then this is like the transition between the real world to negative world, right? So this is the exclusion. And what if we change the color? For example, I'm going to say to here, here, or maybe change the color. It's not only to white, maybe This one, yeah. If it's too pink, to yellow to blue, something like that. Okay, so I'm going to also explain the theory behind this one, this invert. As you can see here, when we change the color and then, you know, to change the color like this, in this area, in this shadow area, in this tree area, and then the sky area is changed, right? So the theory behind it, as you can see here, in the theory behind it, it is like in this sky area consists of heat light, and then the three a consists of shadow. So the shadow and heat light is like the opposite color. For example, when I choose this one, this blue color, for example, blue color like this. So the result of this picture is blue colour and yellow. When we look at the example, when we choose the shadow for blue, the opposite blue is a yellow. When we choose the shade for pink, the opposite is a green pink, opposite is green. So this one when we choose the yellow for the shadow, and the opposite yellow is a blue. So this is the theory behind it the difference, like this in the invert, like in the difference like this, I think, again, the exclusion, back to the exclusion, right? Back to the exclusion that the exclusion is soft version from the difference, soft version from the difference. Like this, for example, I'm going to set, this for blue, and this is also for glue here. So you can see the difference is exclusion is subversion from difference, and difference is more saturated, more contrast and also more strong in color, we convert it into the int or in the invert area. So you know difference between difference and exclusion. And then let's move to the next blending mode. We'll talk about divide substract antifd. 65. Substract and Divide is Opposite Each Other: Let's talking about substract and divide. Alright, everyone. So let's talk about the substract. We still using the same material like before, and then let's apply the substract plain mood in the color palette black and white, and then click substract there. If you're curious about the result, the result will be like this. In the black area, it doesn't change anything while in the you know, in the white area, it's converted into plaque. Maybe you're wondering. I think this is similar to certain certain, you know, certain plane mode. The answer is yes, because the substract is opposite the linear burn here, right? The substract is opposite with linear burn. Well, linear burn in this area in this plague is make it darker, and then the white is preter when the substract is opposite. We moved from linear burn to substract this one. This one. See? You know, the differences. Yeah, just simply like that. Substack is opposite the linear bun. Maybe if you still wondering, let's copy. And then we compare maybe here top and bottom like this and this one, I'm going to choose the linear bun. Yeah. You know, right? The difference is this one. This is substract, this is linear burn. And then the sat resin is also on the same, the contrast is same, Shado and heat lattice is also not change. And the changes is also linear, from the plaque to white, from the plaque to the original. This one from the original to plaque is exactly the same, opposite. Just opposite. This is the substract. And then what if, for example, what if I flip the this one, for example, this one, what if I flip this one? This color palette. What if I flip this color palette, maybe this one, I'm going to flip isonta. And the result is the same, right? The result is the same. This is substract. This is linear burr. As you can see here, the effect is exactly the same, exactly the same, because, yeah, I flip this one. So it's clear that the substract is opposite version from the linear burn. Next, we talk about Dfide. Well, we talk about Dfide. Maybe I'm going to copy all of them, this one, hold ILT and then here. Maybe side to side like this. I'm going to change name to div. Or maybe I'll just deal in this one, just doing this one explanation. I'm gonna use on this one. I'm just using this. To cover a whole. Okay, I'm going to set to divide like this. Maybe you're wondering. I think there's I think there is a blending mode that's similar to Tift. The answer is yes, because the dei fat is opposite with color touch. The dei fat is opposite with color touch. This one. This one. The opposite ti fat is color touch. See? This is the divide, and I'm going to set to color touch here. It's similar, right? It's similar. And then if I flip this rectangle, Cretan rectangle. The result is absolutely same. We represents same. So again, substract is opposite with linear pern and divide is opposite with color judge. And how to use them, I think it's quite the same using combination with truss and then apply in the sub picture. But the theory behind it is like this. So I think substract and divide is also one of the importance of planting mode because, you know, this can cover a lot of a lot of color range. But if you curious about, I think this one, the deft is continuation of substract, for example. Here, I when I put this a deft side of substract is like continuation, continuation because this one is from the black, right? I break gradually into the original, and this is the original gradually into into the white. So I think substract is continuation. To divide, talking about the theory behind substract and divide and how to use them. Yeah, I think it's quite the same. We can use the Prestol in combination with the plane mode and to correct the color. And I think subtractivide, color print color pn and color touch is, you know, like, one of the important because they can influence or fix the color without damaging the saturation, without damaging the color because the effect is just make it brighter or make it darker. If you want to fix the color and without changing much in saturation in contrast, yeah, substractive wet color burn and color touch, linar burn and color touch is really important. And I think it's a decent to consider because, you know, it will give the much of color age. Okay. Let's move to the next discussion. We talk about hues, adoration, color, and luminosity. Let's we say, this is the command Substrk soup struck, and I like this. So, see you in the next session in the next discussion. 66. Hue and Saturation: Change Tone By Targeted Color: Hello, everyone. I'm glad to see you again. And let's move to the next plane mode. We're talking about hue, saturation, color, and luminosity. So this is the new section of the plane mode, right? This is a it's like it's more it's a new it's a new plane mode. I mean, there is no combination of plane mode or not similar to the preface plane mode, because this is a new section. So let's find out what the unique of this plane mode. We start with the hue like this. So I'm still using Semterial. I'm still using Semarial like this, and we'll cover with this one and we'll find out the result from Hue plane. Let's apply Hue, this one Hue. So for Hu, so you will choose and influence the color depends the color we choose except black and white. So u will influence the color we choose. Hue doesn't influence white and black because, for example, this one, Hue, when we click the HSL adjustment, choose working with the color, the color that has value, not black and white. So that's why Black and white is not affected. So, to adjust the hue, we're not using the color plat black and white. We're using the rectangle, this one, the Cretan rectangle because we can change the color here with radian. So we choose we choose the hue plain mode. Right here, when we're using, you know, the cratantol from black from black and white, it doesn't change. I will become desaturated, right? When we choosing the color, for example, like this. And then we can move the color here. So hue only influence the color except black and white. We choose the red, it will convert to the red. If we choose the yellow, convert to yellow, Black is to black. So he only affected the object that has the color except black and white. For example, this guy, because this sky terminating is white, and this building is terminating is white. It's not affected. It's not affected. Well, this tree this tree is a green, and then the sky is blue. That's when the green and blue and some of, you know, yellow in the ornament, this building is affected because this has a color. It's not black, it's not white. That's why when we click here, it will influence. But in some area, what area and black area from this black area, it hasn't affected anything. So that's why will only affect it with object that has a color, but the color not black and white. Right. From this roof is like tends to green, right? Tense to green is also affected. Here, tens to green is also affected. Yeah, hue only affected object that has the color. When we choose the gradien, for example, I'm going to add this maybe. This is the Gratian. So we can also combination with gradien like this. But again, it will influence just in one color, except black and white. Like this from red to green. So everything that has a color will convert it red and green except black and white. So this is the hue. More or less, it's like this. This is the hue. And then the next we talk about the saturation. So let's continue to the next play mode. We're talking about saturation. So still, I'm using the same material like before. And then for this case, I'm going to cover this material with rectangle, this one, Cretan rectangle. And yeah, sometimes also using palette, this one, palette. Also using palette and rectangle's we find out the saturation. What kind of unique features that offer saturation. First, I'm going to using the color palette Black and white and then choose the saturation, this one. The saturation. Oh, this one, Color colt. Yeah. This is the saturation, right? So the saturation because the color we put in here is black and wet. So the saturation doesn't comes up, doesn't increasing or doesn't know, doesn't improve. So what if I increase with this one rectangle, I choose the saturation right here and then change the color. Black, I changed the color to pink. Whatever color you choose, it doesn't matter. So the saturation doesn't care about the color we choose. P we choose red. It's like the same result when we use the yellow, green, blue. The only one who influenced the saturation is the color level. So as long as the color which has a value, it will convert with saturation and just here, just on here. We can, you know, to adjust the level of saturation. So the saturation is just simply to increase the saturation to make it more saturated. And then yeah, because if you wonder why this area is still not converted into saturation? Because this one, this is a white level. When I changed to color, for example. Yeah. Wherever eye color we choose, the result will be the same simply to add the saturation. If the color is close to dark, it will be saturetted and if the color is close to white, it's also be saturated. So as long as the color has the color, it's not in a plaque in white. As long as the saturation is a color, yeah, I think it to adjust the saturation is like this. As long as the color as long as the object has a color, not in a plaque, not in white. But we can choose in here and here and here and here. So not not close to black and not close to white. Because black and red, it will produce desaturated. Black and white is desaturated. So black and red is desaturated, while when we choose a certain color will influence the level of saturation. Just like this, the saturation works. So we move to the next plane mode, we talk about the color and luminosity. So C when we're discussing the color and luminosity. 67. Color and Luminosity: Okay. Hello, everyone. So let's continue to the next plan mode. We talk about color and luminosity. So let's dive in. We first talk about the color. So let's add this cover, color palette black and white cover, and then and then we choose the color. And then it will convert to desaturated. And then what if we confort with this rectangle? And then choose the color. And then we can change change the gratin. Maybe I'm going to set it to this one blue. So the result will be like this in the white area, as long in the wet and dark, it will desaturate it like refuse Blend Mode in the saturation and hue, when the color in the wet or black, it will desaturate it. And if we fill with certain color, it will, you know, convert it into color we choose. Maybe I'm going to choose the color here and then like this. Here. This color also depends on the on this color also depends on the color we choose. Maybe a little bit close to yellow, and close to white, it will a little bit desaturated and if we choose the strong color, it will also make the strong effect. So just like this. Simply like this. There's no other option or no interruption. Maybe we can combination with gratien, we can using the Gratian like this. In the prefus example, like in the prefus what I hue, some area is not conforting with, you know, with perfectly because some area because this is a contain of white or black, is not conforting. So that's why it's like some area is not perfected to change the color. But when we choose the color here, all of this area is, you know, it's more smooth, more it's like converted into the color we choose. So the color plain mode, it will cover the picture with the color we choose. If we choose the pink or purple or red or yellow or green, it will cover with the green color. And we can also adjust the level of color influence using this one. As long as it's not white it's not black, I think it's fine. The color will appear as long as it's not white and black here. And then the level depends on color which is like this. Simple, simply similar to lens filter that we have learned previously. It's not the same, exactly the same, but yeah, it's similar. Using. Well, maybe if you, this is the alternative way except using Lens filter is to use the color plane mode on this. So next, we move to the talking about comunity. Yeah, I think I'm going to set to this one. Okay. Next, we talk about luminosity. The luminosity here means, this one, right? The luminosity, I'm going to apply in this rectangle, craton color coffer, this one. And then change the um mode blending modes to luminosity like this. When we editing luminosity, it will influence the tons. That's when the result will be like this. When we choose the wet colors converted to wet. And then the gradually when we chose the color, it's only, you know, like showing the luminosity part. This is the luminosity. And then to make it to reduce the effect, maybe there is an option except the opacity, this one, the opacity. So this is also the tools that we use to find out which luminosi color from the certain image using this one, luminosity. Yeah. The thing is that luminosity is showing the tons, between the headlight and between the shadow. Or maybe if you still wondering, maybe I can set this one to Norma. I heighten this. And then, yeah, let's say, and this one, I'm going to influence with curves, this one. And this is maybe similar. Here, when this color around the luminous city, around the luminous city will be like this around the midtones. It's not perfectly the same, but it's similar, right? It's not perfectly the same, but it's similar to what happened in here. Here. And then when we chose the lumo city, it's not the same. It's like, it's similar. This is still working in the metons. And then when I increasing using HSL, this one, and increase the saturation. Yeah, for some reason, it's similar. So at the end of the day, I think the luminosity is similar to tons. It's not perfectly same the metons that we're working with the curve adjustment, but yeah, luminoity we can say that luminosity is a metons and yeah, close to the metons which part which part from the metons and then from the metons it will post in the saturation. So again, I repeat the luminosity. We're working with the me tones. With the mid tones part, it will push the midtones I will push the saturation. We have learned about the color and luminosity. Yeah, I think it's enough for explanation about color and luminosity. Let's be safe color and luminosity. All right. Next, we will see you in the next discussion about Blend Mode. We talk about average two eras, average and two erras. So see you in the next section. 68. Average: Basically Like Opacity: Hello, everyone. Great to see you, Ken. And let's continue to the next blending mode. We have still a few blending mode that we have to discuss. And in this section, we're going to talk about this section, the average Negation, reflect glow and Contrast Negate, and erase. But the first session, we talk about the average first. So let's discuss about the average. This one, the average. I also using the same material like before, so maybe we can compare one blending mode to the another blending mode. So this is the average. Let's talk about it. When we pay attention the result of average, it's similar when we're working with opacity. So that's I give the example. I'm going to copy this airport here and then set this to normal. But I'm going to use the opacity. Yeah. It's a very similar right. I'm not using the average planting mode. I'm just using normal, but working with opacity. I think I'm going to set to 50. Yeah. This is very, very similar. When working with average, it's like the equal when we apply the normal VN mode, but we're working with the opacity. We set opacity to 50%. It's like equal to average. So what's theory behind it? What's theory behind average? We moved on this one. We discussed about the theory behind average. So this is the plane layer, right? The plan layer has red 64, green 127, and Blue 255, right? And then the pase layer has red 49, T 155, and P 115. What happened here? Because this is average. For example, this one, the red channel from plan layer is 64, so 64 plus pase layer 49, 49 and divided two. And divide it two. So the result will be 56. What happened is same case with the green channel, 127, 127, plus 255 plus 255 in a base layer and divide it two, and then the result is 191. And then also the same happen with 255 plus 155, and the result is 185. So this is the theory pine average. That's when there is no you know, the result, there is no saturated or no increasing the contrast or saturation. Just the same case when we set the opacity and there is no, you know, sometimes when we're looking at the different plane mode, when we look at the other bending mode, some of them, they will increase in the saturation. They will increase in the contrast, but not the saturated is linear. Like we working with this one opacity. So this is the average. And then yeah, maybe if we apply afrage with this one, just like, you know, like applying this one, for example, I'm going to go for it with rectangle and apply this one with afrage Yeah, just working with opacity, right? Just working with opacity. We can set the color like this. Yeah, just opacity here. Yeah, this is the average. There's no other improvement in saturate in insaturation, in contrast, shadow headlight, there's no improvement. Working with the opacity like this. So this is the average. The next we discuss about negation. So in the next session. 69. Negation: Opposite from Invert: Hello, everyone. So let's continue to the next plane mode. We talk about ncation. And we experiment with this material. I'm using the same material like before. And then, yeah, we apply the negation. This one, Negation. So if you pay attention in this negation, when the black color apply to the negation plane mode, it will close to the original one, right? Play color and then gradually you move to the negative or move to the inert. If you look at Negation result, maybe you will remember about the sum plane mode that we have learned previously. It's similar to this one, similar to the difference and exclusion. When we look at closely, the negation difference and exclusion, similar similar result. When the black color applied to those blending mode, it will result into the the original one. Black color is close to the original one, right? And gradually, when we move to the white color, it will move to the infert layer. But the inert layer result is not the same. Some of them, you know, like in this area, in this part, has difference. So the difference between c and different exclusion, so I'm going to talk a little bit about it. So let's hide this one, this color palette, all of this color palette, I hide this one. So I'm going to, you know, appear the rectangle. So I'll create rectangle, this one, this rectangle. And this one, I'm going to apply Negation. This one. I'm going to apply difference and this one exclusion. So it's like the same like the top layer. So I'm going to move this one gradually to see the difference the difference result like this. Right, so maybe in this rectangle I'm going to put in here and this rectangle, I'm going to put in this layer here. So this one, when we set to white, the result isn't the same. Pitunication, difference, and exclusion, the result isn't the same. But when we apply some color like this. So the result is different. When we set on the full red, the result is packed to the same, the same result. But when we set on the certain color here, result as different color. So when we set on this certain color, the negation and difference is opposite each other, right? The negation and difference is opposite each other. When I set to red, this is color, right? But the nkation it will push the blue color or can in this one. The cyan it will put the cyan in the headlight area, and then just keep the red in a shadow area. So in the shadow area of this one, like in the three, right, in the three area, it will push the right color. Well, in the heat light, it will post the sion. It will. So this will happen with the nkation. Well, the difference is the opposite. In the headlight area, it will convert into the dark color. Right, in the headlight area, it should be bright, right? But difference convert it into the dark area. And then the shadow, it should be dark. It will boost or convert into the bright area. This is the difference. But yeah, the difference, I think the difference is opposite with nation. Negation and difference is opposite each other. When we apply in the same color, the nation will boost the ion right? And difference still using the red color case on the color we choose. So the exclusion, I think the exclusion is subfascion from difference, suasion indifference, you know, like covering with the shadow, and then it's not put in the saturation or it's not put the contrast, yeah, like when we apply in the opacity, but in infert layer. So this is the theory behind negation and difference, especially negation. So this is also the same result when we apply this one with negation, this one with difference and exclusion. When we settle here, on this one, I'm going to set here and this one set in here. So as you can see here, this is the opposite color, right? In the difference, it will put the red color, right. And the rectangle has same color, but the result is different. In the difference, we still working with the red color, right? And when the negation is working with the opposite from red is cien. And the exclusion is also contain red, but at the same time also contain the blue, blue color. When we're working with the full full color here means maybe the red is 225, creen zero, blue zero. The result is the same. When we walk in with black is also the same, white color is also the same, but here. This is opposite each other, and this is soft version from both of them. Yeah. I moralize is like this. So this is the negation. Next, we talk about the next plane mode. We will discuss about reflex and glow because reflex and glow is also, you know, like a similar result, and I think it's a perfect when we comparing reflect and glow. So see you in the next session. 70. Reflect and Glow: Preserved Darker Tones vs Preserved Lighter Tones: Hello, everyone. So let's continue to the next plane mode. We talk about reflex and Glow. So usual using the same material to discuss reflex and Glow. So first, we talk about the refleg and then later we will compare to reflect and glue. So the refleg I'm going to apply the reflex here. So reflex is actually it's similar to a vid color. If, fifth light. So this is the reflec. When we working with the black color is like, this is the original one, and gradually, it will move to the white. But this is similar to it's close to overlay, but it's not the same overlay. So the refleg in the reflex, when we're working with the black color, it will become the original, right? And gradually when we move to the white layer it will post the hetlight and the saturation. So this is in the refleg. Let's compare to the globe. This glow we apply glow here, here. So in the glow when we apply in the, you know, tar color, the glow will convert into the tarq and then gradually turn the blue, and then later, it will move to the white. So this is the reflex and glow. Maybe I'm going to using this one, I'm going to apply. Maybe I'm going to apply in this rectangle here and also rectangle in here. So this one reflex and glue, this one, I'm going to apply in the reflex, and this one, I'm going to apply in the glue. So when we apply in the white color is become the white color. When we apply in the Black color, the reflex still preserve the detail, even though the picture is become more darker, but the reflex still preserve the detail. Well, the glow is different. Well, the glow, when we move to the black color, sum up the part area here that contain, you know, the most brighter areas still preserve like this. But when we apply and directing apply in certain color like this, the reflex is more subtle. The reflex is more subtle compared to the gloe. Glow is like coffering with the shadow. Yeah, I think in the glow is increasing the white color, right? So in the background, that should be darker into more brighter. And then it's like, increasing the white. In the shadow, increasing the white color in the shadow. So this is the difference between reflex and glue. So we move to another color. When we walking with, you know, the color, every example is blue. When we set due to blue, it will post the blue color, absolutely, right? And then the color except the blue will suppress. Like for example, this one, this area is red. When we apply in the blue color, the red will suppress. And then, yeah, like this. And this is also happened with the glow. The color except the blue will suppress more for this. When we set to yeah, the color we want. But when we set to the right, for example, so the backron here that contain in the red color will boost the red color like this. But the reflex is like I think this comes with reflection. So the color that maybe the reflection of red, it will boost or the reflection color we choose, it will boost. The color which is like this. So how to apply in this one, I think the reflect, for example, when we set this one to bloom, for example, like this, to white, like this, right? And then maybe we can reduce this this one reduce the opacity. Maybe we're working with the 25 or 50, and then the result will be like this people. This is after. These people using the reflect plane mode, this is after. And also happen with the glow to using the glow, maybe we will choose the color we want first. So this is the difference between reflex and glow. I think if you want to, you know, increasing the color and increasing the headlight, reflex more suitable is more clean result. Or maybe we also be able to utilizing, you know, utilizing the brass. I'm going to move to the Pixel Mode and using this one in brass tool, this one. So before we apply the Band pass tool in this rectangle, right, in this rectangle, we apply mass layer here, and then I'm going to set the two wheel. This mass layer, foregron. Yeah, I'm going to using this one Pin pass tool and then sap to maybe more darker. More darker. Yep. Right? To red use, right? To red use maybe I'm going to set the color I want. Like this. Just maybe I'm going to increase. Yeah. Just Tue This one. And I'm going to set to dark here. Yep. I think I'm gonna reduce a little bit this effect. I just think like this. Yep. Mm. It's not overwhelming. It's not too much improvement, right? And then this is before before. Oh, this is before, after before, after. This is the original one and then post with presto. Maybe Oh, this one, this area is overwhelming. Yeah, we still be able to reduce this one, choose the more Tarchal area. Like this. Just the more tiger area like this. So the result will be like this. This is before mask and after mask. And this is with original who's within the rectangle. So it's very easy, very useful when combination plain mode with pine Bastol. So here and how we use the plain mode with Pin Bastol to enhance the color, right? It's suitable for, you know, like, make the colors more clo more bloom. Btween reflect and clo have a different different characters. And yeah, it depends on your need. So let's move to the next discussion. We talk about the contrast naked and rays. So see you in the next session. 71. Contrast Negate: Two-tone color Grade and Posterization: No everyone, so let's continue to the next plane mode with Contrast Negate. We're going to talk about contras Nigate first, and then we talk about the res. So Contrast Negate. Yeah, I'm going to still using the same material. And then let's apply the contras nicht. So the contrast nict will result like this. So in the contrast Nickt will be like this. When we apply the black layer in this red area, it will become two to black. And then the height light area or maybe in the area that has a color will convert into into the white. So this is only available to color black and white. But it's not truly black and white, because when we look at this one, in this area, maybe in this gray color, the gray color, this is headlight. This area is consists of sky, right? So the het light area, it will convert into the dark into the tar. Darker. And then, you know, the color area is like in here in this area in this object. Because this object is more darker than the sky, it will convert into the white. So it's also on the same color when we apply in this, you know, this is the white. The white color is become black because, again, everything in this picture that more brighter, it will convert into into the dark color or close to or placklor. While everything that has a color is darker compared to the sky, it will convert to white color. So it will happen with this use casually. When I create the rectangle, for example, rectangle one, I'm going to set to white right here. And then the rectangle two, I duplicate. I'm going to set to blue, for example. So I have two rectangle, white and blue. Maybe I'm going to set to picker, just like this. And I'm going to set the title. The title color with black. I'm going to type in sample. Yeah, just read this. So the Affinity here, when I apply contrasnkate, this will be like this. See what is what happened with the affinity like this. If because the color because I set the black color, right, the black color. So in this because the playground is white, is a brighter than the black. So the black is keep becoming black. But here, in the blue, because the blue is a more red compared to the black. So this one, this part in the blue area, it will convert into the white. When we changed the color to, for example, to this one, this is the same. When I set to yellow, for example, this become a yellow, and this is opposite from yellow, blue. When I say to green, this has become the green, and this is the opposite of green is, you know, the pink because green opposite green is a pink. Opposite. Can is red. Yeah, something like that. This is the function of contras nikate with back to white or black. Same when we apply the black or when we applying the whites also the same result. Maybe if I said this is not white, maybe it's a little bit too yellow or cream. Yeah. So you can experiment by yourself. But the theory panate is like this. Especially in the contrasnikt. Cloe reflex negation, negation also similar to contrasnikt. But we're working with the invert, right. But when we contrasnik it, it will convert the fun color into depends on the tcronPgron color we choose. And next is ras. So the ras is basically just eras. With any color you choose, it will maybe this is normal, right? And I choose eras. And yeah, eras is basically just to erase. Erase the paste layer with any color, any color. Just erase. Just like this. So we have learned all of the blending mode, right? We have learned blending mode. Maybe you can experiment by yourself, comparing between one Blend Mode to other brandy mode. And then also remember that each Blend Mode has different unique features, unique color, unique effect maybe is sometimes in a certain use case, maybe you will using this plenty mode, but in other use case, maybe you're using different blending modes. So remember the function, remember the effect of Blend Mode is important to manipulate, I think the color more further, especially when you're working with the image, manipulating picture image, manipulating color for your project. So I'm going to recap our Affinity journey, we have learned the fundamental. We have learned the fundamental Affinity from Vector Mode, pixel mode, achusetment layer, and also filter layer and plane mode. After that, maybe you will read it to following the tutorial in Affinity, read it to following tutorial, more complex tutorial, more advanced tutorial. And then the more result, the more advanced result in Affinity. So I think it's enough to learn blending mode and see you in the next session. 72. Fill Color with Brush: Hello, everyone. I'm glad to see you again, and welcome back to our journey in Affinity class. In the preface lesson, we have learned plane Mode, and we have learned one by one about plan Mode features and how to implement it in our design. In this session, we're going to talk about Brust. And we're going to talk more deeply about Brastol because I think Prestol is one of the most important features, one of the most important tools that Affinity offer because mostly when we're working with Adjustment layer or working with filter or working with plane Mode itself, or maybe when we in a Pixel Mode or or Vector Mode, we often using the bras. And then I'm going to talk deeply about Prestol because with bras, we can do many things in affinity design. So let's go to the Affinity software. I'm going to talk about Prestol while I also practice implemented in the design. So let's do it. For this, I'm going to using the Timbers availability bile always like refuse lesson I'll create document here. So in the press tool, as you can see here, this is Brass tool. And in the bras tool, this consists a lot of category in here from chylics basic to watercolors. You can using pastol like this. So for the introduction, I'm going to explain and divide it pres tool in this session into two parts. First is a crust in a pixel mode using this brass and also brass in vector mode. When we look at the Vector Mode, there is no available press tool in here. The one the only one prestol available is a path Brustol. I'm going to divide it pastol into Pixel mode. In the Pixel mode, a lot of presto we can choose. So the first, I'm going to choose the Prestol itself in Pixel Mode. So implemented Prestol is actually very easy. You can choose the pen Prestol here and choose which prestol you want to use. But to apply the Bastol, the thing that we have to pay attention is the past will need a pixel layer. So before we're using pastol, make sure we create the pixel layer. So the pixel layer here is a place to withdraw the prestol. For example, I'm going to choose the press tool here, bras in a basic category. For example, sometimes I'm using the throwing pad to implant the prestol because the prestol letter, utilize the pressure sensitivity. So but using moss is also fine. So for example, when we using the Prestol egg here, just click pasto here or maybe more bigger. Like, we can throw pastor like this. We can also apply the opacity here or maybe or maybe we can adjust the flow or hardness here. This this is when we using the different value of flow and this is hardness. Or maybe if you want to use the different nazle, we call it the nozzle, for example, like, using the pencil, pencil here. I'm going to make it picker the nozzle like this. You can So as you can see here, because I'm using drawing pad when I put pressure harder, so the color will become more dark, when I just, you know, like, throw with light pressure, so the darkness or the level of black is different. So this is very easy when we're using prestol. It's very easy. But the prestol also a flable combination Prestol with color. And then we choose the color. For example, we choose red, or maybe we choose the water colors, for example, this, right? And to adjust the bicker brush and apply the watercolor like this. Maybe we can change the oils. Maybe if you, you know, like, love about painting, this oil painting, actually, we can set the green red. Everything you want is very easy. So to practice multiply, I'm going to use this picture here. So we are going to recreate this, you know, this orange into illustration using a combination factor combination shape or cofbination, you know, like shape, using pentel and also we will put fill the color with Bast. So let's do it. Doing that, I'm going to using the tool in a factor, we moved to the factor mode. I'm going to using tool with I think Pencil tool. We can also using the pencil to dress in this leaf, this orange, this branch. But yeah, I'm going to try different tools. I'm going to use the pencil tool here, how to use pencil tool. The cette we change the color to black, and then I'm going to checklist the stabilizer here and start to throw the pencil like this. This is using pen tool. Using pencil tool, I mean, to throw the leaf. It's like this. This is the method. We can using the pentel to dressing the leaf. But yeah, this is a new method that I want to practice here because in the preface lesson, we're not yet to discuss this one. Like this. So to join this line, this line and this line, I'm going to select this line and click this one. Join course like this. Just a little bit. Like this. Sometimes for some part, it's not perfected tress, but I think it's okay. Next, we also tracing the branch. This one, Branch, we zoom in and then start to throw dressing the branch like this. Yeah. The fork, we zoom in to make it the curve is showing each other. Like joining curve like this. Alright, maybe some part we need to adjust because it's not dressing properly. But we not need a really precise dressing because yeah, this is just illustration. Maybe different from the original little bit different is fine. Like this. All right. Next, let's retrace about the orange. Like this. Let's start with this. Start to throw. I'm gonna throw from this from this point. And I throw it carefully. Okay. Because this is just because this is the illustration, we turn it to so much like this. And then we select, you know, like the last stroud and the upper stud and then click Join curve like this. Yeah, more or less like this. Alright, guys, we are creating the this one, the orange range and leaf. And this one, we are going to peel the color using brass. I'm gonna fill this color with thing is this one. T with green, green, this one. Yep. And this one is orange, filled with orange colors orange like this. Yep. Perfect. I think. All right. And then this leaf. I'm going to put leaf in here and also apply leaf with green color. All right. For temporally, I'm going to make these brains the same color like the leaf. No, this one, following the brains. All right. So let's apply, you know, some press Because as you can see here, if you pay attention, the orange have pattern on the orange skin, right? So I'm going to, you know, like, apply some brass and with similar similar pattern like this, we go to the brass, little bit orange like this. Yeah, go to the brass. And we moved to the Pixelma. Yeah. After than that, we moved on the Pixel Mode. In this pixel mode, we using the pine press like this and put on the layer. Remember to apply the press, we need a pixel pixel layer. So we create the new pixel layer here. Next, because this still has the outline, we remove the outline first, remove the outline here. Okay, let's time to, you know, put the pattern in here like this example. Let's we put the press that's similar to this pattern to this orange skin, right? First, we create this pixel layer here, the pixel layer, the pixel layer, I want to put this one, above of curve, the above of skin, this one. And I'm going to using the spray and spatter category, spray and spatter category, and I'm going to ooeEpres 04. This one, here, press 04. So this is the setting page of setting page of brass. We can using the brass well we keep the window open like this. For example, when I try to apply this one, the repress, I choose the color. I'm going to using the orange, more orange than this one. Let say the result will be like this. You can see here. Maybe to need more like this the result. So some of them is across the line, right? Some of them is across the line, so I'm going to peg to the layer and this one, the curve. In this pixel layer, I'm going to put in the inside of curve green. So I'm going to a little bit make it picker in this size this and start to throw this. It's similar, right. Similar to the example. Mm. So I'm going to put this here here. All right. And then let's start with apply. This area is more, you know, more orange. Maybe it's a little bit orange like this. So we throw here, throw here, and this is the orange back to orange, little bit orange. We throw in this area. Yeah, this area two. And the under the leaf is also neat to throw with a little bit of tar orange. Just a Tarker orange. Like this. And in this middle area, in this middle of orange, we using the yellow pas May this too much? Yeah, yellow, like this. Right. And then this area is not yellow. It's also orange. We put again orange. We use the orange to throw in this area. Orange, still orange. Like this. Orange more target in this area. Rights. And I just aware that this brand should be a sil right here. Should be here. And then, yeah, we move. We move to here again. And this area is like headlight of the lighting, right? This one use the orange, a little bit like this. And this is more brighter, right? This is brighter. Very, very bright. Maybe it's more it's close to white color. A, Yep. More or less like this. And then this area is, you know, it's close to the brains. It's a dark area, some shade too. So we need use maybe it's a dark area. It's more darker. And I'm going to, you know, reduce the press and zoom in to make it more easy to apply in the press. And throw like this, this is the dark area. M Yep, like this. And some of them is some line here, some line. So we reduce the crust maybe to 30 and using the, you know, like, more darker or maybe close to a brown. Just throw like this or maybe more smaller. Just trough like this. Yep. It's true. And some of them Also has the shadow. Oh, it's too much. Yep. The result will be like this. Okay letter bit this area. Yeah. All right. So I think we have done with the orange. Let's move to the leaf. In the leaf, I also using the same brass to and from the color because this area, this area is more lighter compared to this area. So I've divided the leaf into two parts right here. I'm going to use the yellow the green. The green. Right? To create this one, we also need the new pixel layer. This pixel layer again pixel layer again. And this pixel layer inside. So we need to create the pixel layer. Remember, the pixel layer is placed to put the brass tool because again, the pixel layer in this one is we need to put the inside of curve. So place inside of curve like this. So in this one is placed when we adjust when we press the leaf. For the color, I'm going to choose this one color here a little bit darker. Yeah. Yeah. All right. This one, a lit a little bit darker in this one. Like this, this one little bit brighter in this area. And for this one, is a darker, indeed. And this one. Yeah. All right. It's like this. This is for live? Yeah. Maybe like this. In this area a little bit brighter. Yep, it's close to this area might be a little bit brighter. Close to white. Yep. It's like this. Yeah, this one, too. Oh. This one. Yeah, more or less like this. And the last we also create a new pixel, but we need to put into inside of this one branch. And again, the branch is divided into dark area and bright area. This is the shado and this is the headline. Which is used in the dark color. Maybe we using small brass. Color. This one in the right area. Just like this. Yeah, we can practice by yourself, to put the color with Brest like this. All right. So this is the example of using Press tool to create the illustration of orange. Here, guys. So this is the way we're using press tool to create the illustration. We're not using field tool or Cretan tool to create this color, but we're using the Press tool. And next, actually, press tools we can also create our own this one, our own nozzle, like this. And with Press tool, we can create many things. So in the next lesson, I'm going to explain about the image press, also Intensity Brush, this one, the image press and intensity press because with this tool, we can create our own press tool. We can create our own pattern, actually. And then, yeah, it's very exciting to talk about. So see in the next lesson. 73. Image Brush and Intensity Brush: Hello, everyone. So let's move to the next lesson. I'm going to talk about the intensity press and image press. So let's move to the Affinity soware. So in order to easy to explain, I'm going to duplicate the airport like this. Remove the in the content. And yeah, this is I'm going to explain about the intensity press. Image press Intensity Brush. I duplicate again the Airport. I'm going to say I'm going to change the port into image press. And this one, the intensity press. Intensity plus. So let's create the pixel layer. So for example, the basic press, the basic press utilize the rounded, rounded Nozzle, and then we can track like this rounded nosle. Like this. For example, when we choose the pencil, this is using the pencil throw the pencil like this. So the Nozzle is like when using pencil. So the image brass, we can use the image as a nozzle. So let's say when I'm going to create this simple around it like this, for example, right? I remove the outline and I change the color with craten like this. I'm going to change the color maybe from orange orange. And this one orange. We Color Wheel. I'm gonna using the maybe this one is orange like this, and this one is purple. Yep, more or less like this. And I'm going to reset to maybe 40. It's like diacnal like 40 degrees. All right. For example, I export, click here Area selection only. Yeah, because I'm going to just select this one. Selection only here and export. And I'm going to both name Gratian circle, for example, here. So because I don't need this one, I just maybe you can delete or hide the circle. All right. So we create the bras, this one, the bras, maybe we can create new category. For example, I'm going to create new category, and this is the category, right, from acrylics, basic tomdiangraphing is a category of brass and we can create new category of Pass here. With create new category, I'm going to create I'm going to type image Pass. Like this. And then here image brass category is created. So in this category, we can put import, you know, using new image brass, this one to import the craton circle that we have created. This. After that, here, this is the nozzle using the Gratian circle. And then we click this one, the Pass tool, don't forget to create a pixel or we're using this pixel layer, right? And then then this one, don't forget. This is a park crown. And then maybe we can, you know, brass again. This one to pop up the window like this, we can adjust the size. And then here the result. And then we can checklist stabilize to get more better yeah, like this, this is the result. We can also, you know, make it spacing is more closed. So this is, like, it's very, very smooth movement like this. So for example, this one, this is the this Cretan circle, right? When I throw like this, this will be purple. Right? Because this one, this purple area is stretched to become the mine colored brass like this. But when I strow from the bottom to the up like this, it will result in the orange. Right? When I throw decona from the top left to the patom right, it's like, this is the half half orange, half purple. So this is the principle of brass will draw. Remember, this is the rounded of brass. So the press booking is using this logical, right, top is a purple, left bottom is orange. So when we throw from top to bottom, from the right top to the bottom, it will result in the purple. But from the bottom to the top, right, resulting the orange like this. This is the image press. For example, I throw like this. And if we change the color, it doesn't affect anything. The color to stick in the image that we import. We cannot change the color. We cannot change the color like this. This is this the image brass. We cannot change the color, using the stick color that come from this image. With the image press, we cannot change the image. Then the image just comes like image we import it. But it's kind of different with the intensity press. The intensity press when we click here, when we click the intensity press, new intensity press, right? And then we click Gratian circle. So the intensity press will result in black and white right here. So in this orange, because the orange is more preder compared to the purple, the orange become the white area, and then the purple become the more darker area. The result will be like this. Don't forget to create new pixel layer in this one pixel layer. The result will be like this. This is resulting the purple resulting the red color because I using the red color in the color will right here, red color. When I changed the color to blue, the resulting is a blue. Color, I clicked Green resulting green layer, green color like this. So different intensity brass and image brass. Well, image brass stick with the color, the image we import. We cannot change the color, but in the intensity press, we can still change the color, but still utilize the rounded press like this craton. This craton still perserve, right? Even though we change the color, the craton still perserve like this. This is the intensity press. So let's be practice to create the another nozzle. 74. Custom Nozzle in Intensity Brush: Hello, everyone. So let's continue to the next lesson. I'm going to talk about the intensity press. The intensity press is not only able to use the one color, but we can also create our own custom nozzle and our own color palette. So let's practice with intensity press. I'm going to duplicate this one, this part in the intensity press like this and then just delete the rest of content, the intensity press. So to doing that, to create our own Nozzle and color palette, I'm going to create Nozzle with star combination this. Using star combination, I'm going to set this one for 12 12 star like this to color set to black like this. All right. And after that, we just bring the black color. Yeah, just like this. And then we can edit this inneratu. Yeah, I think it's like this interative use or outer circle. Yeah, more or less like this. Maybe inerad is too much, maybe you reduce a little Oh, no. Okay, like this. So this is the nozzle that we want to use to create a brass. Next, we want to use the color palette or color bras. Using the same method, I'm going to create rectangle here, this rectangle to create the color. I'm going to apply in the craton, this craton. This one, I'm going to set to Pin to purple or blue like this. Like this and set this one to elliptical. Here is elliptical. All right. Yeah, I'm going to reverse this. So the plague is in the inside. The plague is in the inside and the outside is more Brer T one. Yeah, more or less like this. Maybe I'm going to create new two color here. This one is a base on the blue and this one is placed base for the pple for example. And we will see in the comparison result letter. First step, we need to export this star, right? We just click here. No, click PNG. Don't forget to PNG and selection only. Is one. Selection only, and click Export, and we put the name star. Star. And this one to apply this color to set this color palette. Let's switch, click here. Click here and click. Oh, no. Like swatches. So if your Affinity doesn't show the swatches, you can activate with Windows in the Windows in general and swatches this one. And in the swatches. So I'm going to create new at application palette here. This is for, for example, I'm going to type this name for Gratian color. Cretan palette. This the carton color for example, like this and I click here, this one, this blue, Color palette, click at current field to palette and click this one. This purple and click current field to palette. And we have two color palette here. No. Two. And after that, we just height this one, i this one. So let's import the intensity press here in the press, in the tab, we click New Intensity Brush and then click Start. So what would happen if we throw this with the star? The result will be like this. We add this one, draw like this. This is a blue because this one is this one in the focron is a blue layer, right? Don't forget in the layer, you have to create the pixel layer first. Right? If I add the spacing like this and then maybe increasing the size like this, the result will be like this. Right? And for example, I'm going to reduce the size, but in the dynamic, using the cheater, yeah, like this and decreasing spacing like this. So in the cheater, for example, this is we can put the pressure. So the pressure here means if you using the throwing pad and using the pen, we can adjust the pressure like this. This is the small. But when I press more harder, the pressure, there's a little bit more peak, and I turn maybe in my pressure is light back to small again. And I back to pick when I put the harder when I hold the pen more harder. Like this. This is the how we use the press using pen. And yeah, but how we can adjust this press tool and this nozzle with color we have created in this one. Just click here, here, and then the result will be like this, right. And if we reducing the spacing like this, the result will be like this, right? And we increasing the size, for example, like this. Reducing spacing again. Yeah. Like this. It's similar to what you call it a dragon I think I will reduce the spacing again and using dynamic. For example, the Protesting jitter. Like this and just the result will be like this. So the rotation of, you know, this rotation of Nozzle is a natural, right? So like this. Maybe, you know, this one, the spacing is a more closer. The result will be like this. Oh, it's close to what they call it? I don't know. But this is the way we create the, you know, the Nozzle on nozzle with on color. And also, we can create we change the color like this. This is the blue color we have created prefously, right? So this is the intensity press. We can adjust the It's not only stick in the color, we import it because when we import, the star is a black color, but we can change the color depends what we need with intensity color. And then we can save the color palette we want in this one swetches. And then we can also create the color palette we want, like this one. This one, color palette from the rectangle. So this is the intensity press. Next, I'm going to talk about the image press. So because this one is intensity press, I'm going to move to the image press. So next, we're going to talk about the image press because this one is intensity press. We have learned intensity press, and in the image press, it's also interesting too, because in this image press, we can create our own image and using press to create a certain pattern or certain ornament or something like that. So it's very interesting the image press. I see you in the next session. There is one features that intensity press offer also need to learn is that the intensity press, we can create our own Nozzle, but also we can add a texture inside it. So let's practice. So we can create our own Nozzle plus combination with texture. It's not only degradation anymore, degradation like this color palette, but we're using the texture. So let's I Read this one in the intensity part part, I'm going to add the pixel layer, right? And I go to the Oh, no, the pixel in the Pixel Mode. I'm going to add new intensity press. And this one, I have a Nozzle here. So what would like if we apply Nozzle here? The result will be like this. Maybe I'm going to increase the size like this. This is the Nozzle. And let's be using the black. The result will be like this. So what if we add the pattern to intensity press? To create that click top a click the Nozzle in this one. Maybe I'm going to click reset first. Set chitter like this and go to the texture here. And this is the brush nozzles, and this is base texture. In the base texture, we can set the texture with, for example, the wall texture like this. So the result will be like this. The nozzle is as a Nozzle, Brush Nozzle as a nozzle, and then the inside of this, it has a texture like this. So we can create texture like this. So if you want to add texture into your nozzle, it's also be able to create that like this. Maybe in the nozzle, you want to scale like this. And we just click maybe the general and increase the size. Just throw like this. I will turn off the stabilizer and just throw like this. It's very easy, right? And then the rush you impart, be able to combine with a pattern or, you know, texture. This is the wall texture. Man wall texture like this. If you want to change the color, it's also be able to change the color. We moved to the color. Maybe you want to change to maybe this one, Lou. Also a blue like this. It's also fable to change the color because this is the intensity, not the image press. The intensity press, you can change the color like this. With this. The more you throw the more the darker the result like this, puss. So this is the feature of intensity pass. We can combine the nozzle with the texture like this. This is the intensity pass. Okay. So the next we are going to learn about the image press B to image pass because the image press also offer good features. We can create our own you know, like pattern or our own pass Nozzle press with image with certain image. But, yeah, I think it's a word to learn. So see you in the next session. 75. Create Pattern From Image: Hello, everyone. So let's continue our practice. Our next discussion is about image pass. But this is unique features from image bras. Image press, like refuse practice with image press, which is import the image and then apply image as a press. But this one, I'm going to apply some trick and that maybe this is the interesting to try. So let's get started. I'm going to duplicate this. So I'm going to duplicate this airport. So we experiment image press, we delete the metri, we turn it anymore. And then I have this one. Lower, this one, lower Raw flower is like a flower that arranged in horizontal. Let's import this one here, click New image brass, and then click this one, flower line. This one, this one. The result will be like this. Maybe I'm going to increase the size. The result like this. Simple, right? Right. But the images, the nozzle is also following the flow line. Interesting, right? Interesting, right? Because we throw horizontally. It's like overlapping, right? But it's kind of different when we throw particle. And then the image brass is in this one, you know, this flower is visible. All of them is visible. This one. But we can also setting in this one. We can also setting this one. And in the dynamic or texture in the dynamic, we can set the cheater, for example, like this or maybe scatter like this and just throw like this. Just throw like this, roll like this. Or maybe if you can experiment by yourself, maybe I'm going to increase the image like this. Maybe to pick, right. So when we click here, we can also every click that we apply is like we stamped the brush with the image, and then, yeah, we can create like this. This is the image brass but we also be able to create the individual the individual image. And then next, we are going to create, you know, another way to create the nozzle with the image plus two. But here, I have the image from fruit here. And I'm going to create this fruit as an image brush individually. Well, compared to prefus flower, this is the one image that consists of some flour, right, but this is the individual. So how to create that? First, we also creating this one. This new image brass, just click the first flower. Maybe I'm going to set this one. This one is apple, right? This one is apple. When we're using the apple press, the result will be like this. This is the apple. This is the apple. But when we adjust, I'm gonna increase the size. Much. Like this. But here, there's some features that make it interesting in the texture. We moved on the texture tab in the texture, right? We click in the press Nozzle, we can add the image, right? I click Add and click foot number two, click again, click foot number three. Add again, click Adimage next until all of the image we invert it, right? After that, which we pack the general and decreasing or increasing the space like this. Or maybe it's too much, maybe it's more closer like this. And then don't forget to create to save us. And then just click the name fruit Lu fruit roll. That's right. Click close. And this one fruit rose. And then just simple roll like this. And then simple will increase the size first and then throw like this. But the result will be like this. And I'm going to add spacing like this spacing like this, right? And in the dynamic, no, in the texture. Yeah, just random like this. All right. L close and then throw like this. Like this. It's too much, too big. It is very easy, right? So when we create the individual image, it doesn't matter. This is the horizontal or vertical, it doesn't matter. The result will following and the arrange of fruit is random. And it's easy to us to arrange or to create the random fruit, you know, from the fruit that we have arranged in this texture, right? So this is the two different. We can impart the PNG, single PNG like this. Lower like this or this one individual root like this. This is the image press. So, interesting, right? So the next step, I'm going to talk about the path, the path prestol available in Vector Mode. This one, the Path rustles also interesting to learn because it offers a unique features. So in the next session. 76. Path Brush Tool: Hello, everyone. So let's continue to next our practice. We talk about the Bath Brustol. The Bath Brustol is only available in Vector Mode. And in this Bath Bristol, we are going to using this one path rustle. So to using the Bath Brustel we click here and click on the Bath Brustol here, and we can choose the category we want. For example, I'm going to using this one acrylic stroke and like this. Like this. Or maybe a Things like this, right? So it's not literally If you pay attention, this is the moving, it's like moving, right? The line is moving. It's not unlike the pastel. Or maybe if you look at this one, the image press, this is a lot of features. So example of path prestol. For example, when I using this one lips, the result will be like this. So the leaf will following the line, right? This is the compilation of leaf, right? So the leaf will following the line. You can also using the tropical flower. Yeah. Here, this is the tropical flower. Or maybe we can increase the size. This is the flower. This is the flower case, right? The flower following the line. Or maybe we can also using leaf. So if you want to make the accessories or additional image for your design, you can create the leaf like this or maybe you can create or maybe you can create the tropical flower. This right? Combining with jungle. Right? It's a very, very interesting. The PAT Press tool is actually working with the line, especially in the outline like this. So when we create, for example, the AIP stool, like this, I'm going to delete this one and bring back the outline. Using this one, bring the outline. And this one, the Path Prestol this is the circle, right? When I click this one, for example, I'm going to use the tropical flower. The result will be like this. But when we click here, it will appear black and white because again, because this, this outline is in a plaque. When we create, for example, the change the color, the color of flowers following the color we choose. Like this. But if we delete the outline, it will bring the original color like this. So this is path rustle. If you think that, you know, the Odline the result is more is smaller and you need more picker, click double click in the tropical flower here and click with this one. Here, the result will be like this. It's very easy to use Path Bustle. We can adjust this. So it will following the path. Even though the path is a circle, it will following the circle flow like this. This is the path cstol. So what if we add our custom image like this? Another example like this, using the Opa and using DCS, this and we don't forget to remove the outline. It's a very cool, very easy, very cool, right? So what if we using our own image? I have the image, the prefuse image. So what if we're using this one? The flower line that we're using the prefusePractice. So we just click your click new texture image pass like this and click this one. L flower line. And the result will be like this one. When we apply this maybe rectangle, for example, this rectangle or rectangle like this, and then we apply this flower line. And we increase the width, the result will be like this. Oh, I think the result is not like we want, right? But it doesn't matter because this is the body in the setting, this body stretch. If we click the repeat, so it will make the reputation, right? I make the reputation. And in the corner, we can choose the pod or overlap like this or pull like this. This one, we can also adjust the result. Like this or cover all of them. This is the cover of image. If we just choose, for example, this area, so it will causing the image that appear in this result is just the purple and this one, one kind of flower, right? So I will bring back and click Close. Just delete the outline and the result will be like this, right? So I delete. What if we add the Ellipse tool? The ELP stool, just simple, wig and click our image and then remove the outline. Just like this. It's a very simple. We can add our image, just click here, click New texture image press, and then the result will be like this. 77. Create Pattern with Brush: So what if we using the one image? Or maybe if you remember, in the preface lesson, when we learning the filter, we have this pattern, this at pattern. I'm going to copy to brass filter here. And this one I'm going to add the Path brass tool with that image. This one, the pathic pattern, right? So we have the pathic pattern, a Nozzle. And if you're curious about that, just click this rectangle like this, right? And just click Apply pathic pattern. Right? And then the rest of it, just click the outline to remove the outline. But the result will be like this because the pathic pattern it will stretch, stretch to create the circle. But when we setting up the pathic pattern into the repeat, this one, repeat mode, the result will be like this. And then maybe we can increase the way with and the result will be like this. It's a very cool features, right? It's very cool features. It's a very cool features from Beth Brastol. Right. So the path presel also can create like this. This is the hot dog, right? Using Path Pressel to create the hot dog like this or the sauces. This one. So if you import the picture like this, I have the picture new image, this one, pencil. So with pencil, I just create like, Oh, no, no. Using this pencil just create like this or may piece too small, the pencil. I can create pencil like this. How can we create a pencil with properly? So first, let's create the line. The line, maybe I'm going to create line like this. This is the straight line, right? The straight line. And click the pencil here. The result will be like this and we click stroke with stroke, but this is not pencil we want. How we can create the pencil like we want. We click to click the pencil. From the stretch, we click repeat. But the result will be like this. The pencil is divided into several parts and creating the repeton like the flower refusely. But again, we will still using stretch like this. And we will this offset this one. This one we set to create here and set to create here too. So in the outset of line line, it doesn't effect of stretch. So the stretch, the image that, you know, like stretching the image only affected the inside of this border, this right border. So the result will be like this. If you think that this is too long, you can tell it like this. And then you can increase the width like this. This is the result. Yeah. The result of pencil. It's using Prestol. It's a very, very easy, very cool features, right? This is the fully function of pencil. And then maybe I'm going to increase the size. So the size of pencil following the size of outline. But to make the color of pencil following the original image, we have to remove this outline. So this is how we can use the path pssolol we can create many things. We can create pattern, we can create ornament ornament. Also we can create pencil like this converting from image into Nozzle press this. Or we can create pencil with a circle. Like this circle. Just click the pencil like this. It will become the circle like this. It's very easy. It's very easy. Like we create the breakfast flower. I still have one flour actually and worth to try this one. This one. And I'm going to increase I'm going to import or add new texture images using flower line two. This one flower line two. Practice. Click repetition. Nice. Yeah, we can still create many things. This one is very easy, is very cool. The Affinity also give us, you know, some pattern image process. But we can also create our own process like this one. So the next session, we're going to practice Path Brest to create the Gratian color. So combination Path presto with Gratian color. So see you in the next session. 78. Practice Gradient Path Brush: Hello, everyone. So in this session, we're going to create little practice to make the combination between Beth Bristol and Cretan. And then, yeah, let's try. I think this is the interesting, the interesting tools and the interesting features that we need to try. I'm going to create some line, certain line, maybe just I'm going to create the combination this one. Oh. Oh, it's too big. It's a circle a copy like this. So I think I'm going to make this one. This line. You can follow the way or just for example, you can create the line you want. This just create for example, like this. Like this. Here. I tilt this rectangle and this rectangle, this circle and put here in here. This line, I'm going to use this line to create a custom line All right. So after that, we are going to use this, this press. I think the category is a different compared to the brush that available in Pixel. So for this use case, yeah, I just need to impart the same material in the image pass. I'm going to add new texture image pass and using this ration circle, this one, using this Cretan circle. Click here and click Cartin circle, this. So after that, I just click, delete this one. Is Oline. The result will be like this guys. And the rest of it, Oh, no, I just increase the size like this. Right? And apply this one. So, you know, the corner or the edges of this one is around it. Maybe this is two, but yeah, sometimes it's not rounded yet, but we can adjust a little bit. So in this page in this window, the opacity variance, I will set this one to 100 like this 100 like this and close the window and we go to the stroke and click pressure. In this one, I'm going to if we set tune this one is the opacity, basically in this opacity. But when we set this opacity in here, here means this opacity just affected in this area. If we set tune this here, the most left and the most right, the posit is affected in this most right of the line of the criterion and the most right in this one. If we set more to center, the affected is also here. So the line, the first line here, it will affect it. And also in the last line it will affect it. This. But again, I'm going to choose a bot maybe I'm going a little bit further like this. And how about we make it more? Yeah. Like this. And to make it. Okay. After this, I'm going to add the background, right in the background. This rectangle put under the curve and also here. This one And yeah, this is just for example, right? Just for example. And the rest of it, I'm going to add this maybe the filter, some filter like at noise, sometimes or at noise. I think, yep, at noise. Yeah, we can also combine at noise. Also copy in the rectangle or add noise to all of them, this one. Just add add noise like this. Yeah, or this curve, we can add the effect layer outer shadow, I think. Outer shadow. Outer shadow with Yep. More or less like this. Yeah, just for a little practice to create some object like this. So this is the combination of line path sto with Gratian. Yeah, little practice, guys, because previously we have created the image like pencil, like the flower. You know, and then ornament with patti and then also this one, the flower, the custom flower, and this one. So the next step, I have the image. This is the simple image. Yeah, I think this is still, you know, like empty space, and I need to put maybe crust or something like that. So using so to create crust, using press. Even in the next session, we will practice to create crust with Pass. Mm hmm. 79. Practice Draw Grass with Brush: Hello, everyone. So let's continue our practice session. I have this one. This image. I have this scenery. This one looks great. But when we pay attention closely, in this area is still empty, this area is still empty, this area two, it will be great if we put some crust here. So we are going to create crust with brass utilizing crass. So the first thing we have to create, we need to create the nozzle, the nozzle that's similar to crust, and then later, we import and to apply the nozzle in this image. So the first step, I'm going to pur on this hardboard. To create nozzle, simply to create cross like this, tilate this one, to create cross like this. Next, maybe cross is similar to what do you call it? Just like this. And transform to horizontal like this. And then maybe I'm just a little bit stretch leaning to right. Yep. And this one, too. Maybe I'm going to split up this video. All right. And then after we satisfy the shape of the shape of crust, we just put the color to this like the green like this. And these two using the cream like this, right? And then to make it more, this one thing is to take this area, this area, too. Next, I'm going to add some Gratian here, right? And this one, this one, I'm going to set the opacity to zero or this one. Zero, the pottom No. Yeah, this one to zero. Because in order that the root or, you know, this bottom part is more plan or more mixed with the picture. The gradien I'm going to copy this color palette and make it in this dock area also using the same color palette. So it's basically a gradient, but solid color looks like solid color, right? And this one, this opposite to just thrown this one to Right. And the last, we also died this one. First, we have to match the make it match the color and then reduce the opacity in the bottom part. And like this. Yeah. After that, after we create the crust, the sample of crus we export. Selection only, flexion only, and we export crus crass Other than that, let's import crus as a press. We're using the press layer intensity press. We moved on the Pixel Mode. We moved on the Pixel Mode and go to the process, go to the image press. This is the category we create for the prefus lesson and new intensity press and using this crus and then put, for example, this. And then here, the pass. Maybe I'm going to increase the press and then set here. This is black when we choose the green like this may be similar to Picron wecme like this. And next, I'm going to set the space, maybe make it more stands like this. Yeah, I think I'm going to create like this. So the brass, we can create by one by one, click like this. So it doesn't need to make it more like this because the crasses look unnatural. So maybe just put in a random like this. It looks like more natural, right? Maybe I'm going to increase the size because this is close to our eyes. Yep. Like this, maybe close can more put in here or reduce the size when we want to throw in this area. Throw can Maybe we need more differentiate the color, like, a little bit darker color. Like this one here just small part. Maybe around here. It's a little bit darker. Here, right? To make it, yeah, it's more variation, right? Or increasing to throw close to here. Or maybe we just throw in here. Yeah, it depends on your fell and creativity, actually. Or maybe you want to pick the same color as this one and maybe put in here this. Yeah, this is also cool. And let's doing the same method like before, like this. This also fine, actually, to speed up the time. No, but it's done much. Like this. We need red juice again. So it depends on your or in our creativity, right? So it depends on our creativity. So this is before before, after. Yeah, I think it's more better result like this area from the empty, from the empty area, and we put the crust like this. So it's not cover of the crust, but I think for additional crust, and this is a yeah, I think it's enough. I think it's more better. And then we can also put crust in here, put crust in here. And so many thin crust we can put. But this is for example, little practice. Yeah, you can also practice. First, we create the sample like this using Intensity Brush, import the sample of nozzle and then by gradually throw the crust like in this area and this area. So we're not creating crust one by one because it takes a long time, indeed. But we can use the crust like this, put in here, click, click click, and then yeah, you can throw crust like this like we want. So it's very easy, very convenient. We can also change the color. So maybe we need more darker crust here. So we can create darker crust, too. So very easy though. So if you understand the our journey in learning the Brass layer, I think, maybe we're confident to using presto. Maybe from this one from creating the illustration, practicing image pass and intensity Pass and creating the, you know, repetition image like this. And then combination to line and Kratan and then also to create pras like this as to create crust using press. So we don't create one by one, the crust. But just by using press, using one and then creating as a Nozzle, and then we can throw crus like this. So next, we entering the conclusion session. Yeah, I think I'm going to explain a little bit about what's the most important for this class. And I try to recap all of this and also maybe some tips. So see you in the next session. 80. Conclusion: Hello, everyone, thank you for following this course all the way to the end. We have now reached the conclusion session, and in this session, I would like to summarize the key points that we have learned throughout the course. The first thing that I want to emphasize is that if you want to learn Affinity software or any other software or graphic design software in general, the most important thing is to master the basic tolls and the tools that are most frequently used in the design process. We have explored the Affinity users interface in that. Broadly speaking, Affinity is divided into Vector Mode and Pixel Mode, and each mode has its own set of tools. And we have explored the pen dos, selection tos, Brush tos, shaped tos, artistic text, and many other features. After learning the tos and user interface, we focus on the fundamentals that exist not only in Affinity, but also in many other design application. One of these fundamental is the adjustment layer. Within the adjustment layer, there are many presets and effects that we can choose from, and each effect produces a different result. Adjustment layers are important because design work is always closely related to the color and mood. The adjustment layer provide us with many options to adjust color, redness, exposure, saturation, shadow, headlight, mitons and much more. And next, we learn about filters. Filters make it easier to manipulate the shape and appearance of images or design. Well, adjustment layer focus primarily on color adjustment, while filter allow us to modify forms and hysual effects. There are many filter tools available that help us achieve the specific look and result we want. Another fundamental concept we studied is blending modes. Blending modes are also used to manipulate colors, but they work differently from adjustment layer. Lending mode control how colors interact and combine with the layer beneath them. As a result, applying different blending modes can produce a wide variety of visual effects and color combination. The core objective of this course is learning how to use the tools available in both Pixel Mode and Vector Mode, and to take advantage of achievement layers, filters, and plenting modes. Once these fundamental are understood and gradually on start, designing an Affinity becomes much easier because we already understand the foundation of how the software works. We created many designs that completed many exercises. Those exercises help us gain a deeper understanding of how to create design effectively in Affinity. Before you finish, please do not forget to leave a review for this course. Your feedback will help me evaluate and improve future classes. Also, don't forget to upload the project you created during this exercise or any of the practice. Sharing your work can inspire other students and help build a stronger learning community. One final tip from me, learning design takes time. There may be moment when you feel bored or frustrated. However, it is important to appreciate your own progress. Every design and every project you create step forward that brings you closer to creating even better design in the future. Once again, thank you very much for tuning this course. I'm truly happy to have had the opportunity to share my experience with all of you. My name is Patna ai, and I look forward to seeing you in the next class. Thank you and see you next time.