Amazing Affinity Designer on the iPad Course - Intermediate / Advanced

1. Main Intro: Hi, I'm Tim Wilson from Red Rocket studio. I'm a graphic designer, instructor and a university lecturer. I would love to help you create amazing graphics using Affinity Designer on the iPad. If you've ever looked at designer and thought he looked too complicated, or you've never even looked at it. And you want to make amazing graphics, you're in the right place. I'll take you through this step-by-step and you end up creating incredible work. This course is designed in such a way that you'll first cover a series of lectures following each example, step-by-step. These are some of the amazing projects that you will get to create. These projects allow you to put the knowledge you've learned into real-world examples. If you use Illustrator on the desktop or the iPad, I'll show you where to find similar features in designer. Not only that, there are some amazing features in designer that aren't actually available in Illustrator. And we'll be looking at how to use those to start right now. I can't wait to help you to create amazing graphics in Affinity Designer on the iPad. 2. Text Intro: Text is a really large part of any program that deals with graphics. Within designer, we're going to be looking at all the texts options. There are actually two type options. We have frame text and we have Artistic Text. And I want to take you through those and then onto all the options for text. For example, what are the things like kerning, tracking or letting? We're going to look at all of those features as we go through. 3. Art Text vs Frame Text: Let's start having a look at the difference between alt-text and frame text. What you do is to go across to the type them. And I'm going to click and drag a little bit with the artistic tool. Now, you can either click and drag a bit or you can just click once. And that will give you the textbox. And I'll put in some text in here, putting the word designer in there. So this is Artistic Text. Now, to show you the difference, I'm gonna do the same thing, but a bit more texts, but this time I'm going to use frame text. Same again, the hold is make sure that I just deselect that 1 first. Over to my frame text. I'm going to click and drag. I'm going to put in my text in here. First of all, you can see it's coming a lot smaller than the other text, but that's not a problem. I'm going to click a few times to select it. And I'm going to increase the size in here. So let's just take the size up quite a lot. But then I'm going to keep going because I want you to see what happens when the type gets as big as the box. You see the word designer will then just go onto the next line. The big difference here between the two is if you use frame text, when you drag your frame around, the text flows inside that frame. With Artistic Text. When you drag it around, you're just changing the size of the text and there's no flow going on. Now, if I go back to my frame text, you'll notice that there are actually two little dots on this bottom corner, the inner one, if you drag to change the frame. But if you want the text to work like this text up here, which is the Artistic Text. Then you drag the outside one and that'll actually scale the whole thing around for you, the text and the box. So the inner ones change the frame size. The outer one does the whole thing. This one here, there's only one and it just does the scaling for u. Both of those are fully editable text. Sometimes you might want to use one, sometimes you might want to use the other. 4. Text Studio Basics: I'd like to edit my text a bit. And this two ways that I can go about doing that. Firstly, if I select my text and I'm using my move tool, I can just click a few times in there to put the cursor in. It kind of jumps down to the type tool now. And I can actually click and drag to select the text in there. This is a window opens up with my keyboard. And we've got our typefaces along there with some sizes and things like bold, italic, copy, cut and paste options in there, and aligning left, right, and center. But there's a better way to do it then using this. I'm going to close that down now. Once again back to my move tool. And I'm going to go to the studios on the right-hand side. Now, I'm looking for the text studio, the type studio, and it's right over here. But if you're not sure where it is, just click on the little question mark and you can see Tech Studio for up from the bottom. I'm going to click it. It opens it up and I've made sure that the little pin is switched on so it won't keep disappearing otherwise it can be a little bit annoying side. So first of all, I'm not actually selecting anything. I wanted to change all the text in that frame. So instead of having to select it, I can do it on the frame. And in here I can go in and very quickly change that text to something else. I've just changed the font to a different font. Then I can move down over here and to change the style, bold, italic, whatever I want. From that to the left of that, we've got our sizes. You can choose to work in points, or you can actually flip through these inches, feet, yards, millimeters, centimeters, etc. In there. We can just go in and change that little number In, type in something, or choose from one of the preset sizes on the left-hand side there. Now, 12 points is not terribly good. I'm gonna go with 48 points. There. It's a bit larger for what we need. If you don't want to work with points, as I said, you can change it to something else. I've just clicked on one of these preset point sizes to jump to that size. Now, moving down, these are pretty simple really. We have got things alike. Let's just select that little word there. We've got bold, so I can make it bold in here. It's the same as going to bowled over there. There's an italic option in there. We've got overhear things like underlining, double underlining, and you can change the color on that underlying as well. Over here we've got strikethrough, which is a line through the middle, double strike through. And you can also change the color on the strike through. Then over here we've got left, right, and center alignments. So let's do that on all of the text. In here. I'm going to just select it with the move tool. And in here we've got left align, central line and write a line. Or moving further down. These options which allow us to align all the lines except for the last line. Now you're not going to see it yet. So let's make this a bit smaller like that. At the moment, I've got a few lines here. You can see it's a bit record on that side. If I choose this one, what it does is it takes all the lines and make sure that they're both left and right aligned, except for the last one which is aligned to the left. The same over here, but the last line goes to the middle, the same as the last line goes to the right. And finally this one here, where all the lines are aligned left to right. Now you can see if you don't have much text in, it becomes completely unreadable like that. But with a lot of texts, you might find that those will work for you, but do watch out for those big gaps. For my texture, I'm gonna say all left aligned. Have bit of a play with that and get a feel for what these things are doing. And especially with a lot of texts, try out the other paragraph options down there. 5. Character Position & Typography: Shear, Track, Horizontal & Vertical Scale: Let's have a look at some of these options over here. And I'm going to go to the positioning option. You can see it now shows me positioning options for my text. If I want to get back, just click on that little arrow over there and that takes you back to your basic type. Will go to positioning there. I'm going to jump around here. I'm not going to do them all in order, but I'm going to start off with sharing. So if I just click on that text to select it using my standard Move tool. And I shared, by the way, before I share it, you'll notice that I've removed the italic typeface that I had on there and I've just come back to standard one because shearing is like a photo or an imitation italicizing over there. And I can just move it one way or the other way. This could be useful if you do have a font that doesn't have an italic version and you want to force italic onto it. Or it could be an effect that you're after. Maybe you tried to do a shadow and you want the shadow of the text go behind normal text. Moving down and to the left we have the tracking. Now the tracking allows you to move the characters further apart or closer together. And it doesn't all. You will see if I change the tracking on here, it's going to affect all those characters. Ups, press the little button by mistake. I can change the tracking to move them all further apart or closer together. You can use this for a particular effect that you're after. Or what a lot of people myself included do is we take the headers and we add a little bit of tracking to the headers because it gives them the texts more significance. It gives it a cinematic feel. That cinematic feel makes it more important. And it's actually quite easy to read if it's a header. If you do that to your body text over here, you might find that too much tracking would make those words very difficult to read there. So just be careful of putting it onto body ticks. And if you do use on body takes, just make sure that you use a very small amount. The whole joy of text is it should be a pleasure for people to read. Let's do two more in here for now. If I go up to my designer, I have got horizontal scaling and vertical scaling. Once again, I can change that. I can change this one to scale them up and down. But of course, because this type is actually Artistic Text, I can do that manually as well. With those. If I go to this bit of text here, second scale it there. This one's not going to do the same thing. I might have to use horizontal and vertical scale if I wanted to adjust it. 6. Character Position & Typography: Kerning, Baseline, Leading: At the top we've got something called kerning. If I click on this word designer and change the kerning of the sea, it won't actually allow me to do anything. With kerning. You have to put your cursor in the tech sci-fi, put it between, let's say, between the D and the E. Now when I adjust this, I can actually adjust the distances between those individual characters. The difference between tracking and kerning is it kerning changes the distance between two characters and you put your cursor in there and adjust them. Whereas tracking changes the distances between multiple characters, like Sir. Moving down a little bit over here, we've got something called the baseline. The baseline allows us to move characters above and below the line that detects sits on. If I were to go over here and select the g, for example, I could then move it above or below the baseline that it's sitting on. Let's do the same with the E over there. And I'll move that up a little bit like so. Lastly, we've got the leading. Moving down. This bit of text. Over here. If I go to the wedding, I can adjust the distances between all the lines of the text. With all of these things, you can click on them. You can change them manually if you're not sure what the letting should be, just choose Auto there to get it to do the lettering for you. That's it for the position. Try those out. 7. Character Typography: SuperScript & SubScript: I'm going to put in TM after the word designer for trademark. Now that I've done that, I'm going to select the T and the M. Here. Let's go down to the typography option in the character. And you'll see this two little buttons here. This one is called superscript and it makes things go small and go up. Another one in there is called subscript, and that makes things small and go down. I'm just going to have it small and go up. There. 8. Paragraph Spacing & Justification, Space Before & After: Let's have a look at the paragraph spacing that's down here. Now, first of all, I've got a bit of bold text there. Then this is another paragraph, that's another paragraph. This little heading Here's another paragraph. This is a paragraph here. So if I go down to my spacing, what I can do is I can say space before or space after. Now, if I use space before and drag it while you can see nothing's happening because I've a very stupidly forgotten to click on it. Let's try that again. Once again, space before and space after. I can change the distances between all the paragraphs. I could go over here to space after and well, they appear to do exactly the same thing. What do they fall? Well, sometimes when you have a heading like this, I might want more space above the heading. Then below it. I want the amazing to still be with. We love typography in there. If I were to select the word amazing, then went in here. You can see if I choose a space before, it will adjust the space before that word. If I choose space after it will adjust the space after that word, there's room for both of those in there. Try it out. 9. Indented Text: I've got a paragraph over here. This is frame texts in designer. It's really good and a joy to use. That is a paragraph in there. Moving down, over here from the space before, in space after. Another important option is the first-line indent. Now I've clicked in there somewhere. I'm not necessarily on that first line, I'm just in that paragraph. You can see when I use the first-line indent, it indents just the first line of that paragraph. If I go to the left, indent, it indents all the rest of the text from that paragraph. Even if my cursor is in the first line, it's still going to indent the rest of the text. So it does mean that I can do things like that and pull this in a little bit or have that back out a bit. You can just change the text and create any sort of style that you like. My text is left indented, so I'm using the left indent. But if your text is right indented, you could do the same with the right indent over there. I'll just make my text right indented. And you can see how to work from that side. 10. Type on a Path: Let's have a look at putting text onto a path. I'm going to start off with the pencil tool and I'm just going to draw myself a little path in like that. Now to put text on it, select it. I'm just going to go across to the artistic tool, Artistic Text. And I'm just going to drag on the path. You see how to automatically puts the text onto the path. Let's have a look at putting in some text. So Hills. Now I've just about got enough space for my text in there and I've misspelled hills. So let's go and put another L in there. And you can see now that I've put in the L away, it's actually gone down the other side of the path and it'll keep going underneath along like so. How can we adjust this? Well, the first way we could do it is to actually select all the text. And then we could just adjust the size of the text. So I'm going to change the size in here. Although I haven't got all the text selected, I haven't gotten this little bit down here. Selected are much have to do that separately. I'm gonna make that 72. And this will be 72 as well. Now the second thing that I can do is to move the text along the path. I'm going to go back to my move tool and just move the whole thing that adjusts the path and the text. If I'm on my type tool though, let's close that down. I can go to the little green arrow underneath and I can actually pull that text anywhere along the line. You see if it goes to the other side, it will just keep going underneath that line. Like so. Takes a little bit of getting used to, but do try it out. So don't forget when you have got your, your text path or your path for your text. Go to your text tool. It must be the Artistic Text tool that we're going to start with. And just click and drag along the path. And it'll snap and put it on. Try it out. 11. Type on a Circle: Let's have a look at getting some texts to go round in a circle. Once again, I'm going to go over to my Artistic Text tool, not the Frame Tool. I'm going to click and drag on the line. And it's popped it in over there. So let me get in some text. I'm just going to put in over the hills again. I want to then move that text around. So let's pull that down a little bit. I can always grab this little blue, sorry, green arrow and move it around. You see when it gets to the point over there where the start is, it then jumps to the outside. So if you've gotten the wrong area, just keep dragging until it goes to the opposite side that you want it to be in. Don't forget if you have text like that, which is actually sitting inside the shape and you want to move it the right way round but to the other side. Well, there's an option for that if you select your texture, like so, go into your Type Options and you'll positioning. And we've got a baseline shift there and that will allow you to move your text above or below the baseline if you need, I'll just move mine outside that base time a little bit. Like so. Let's do that again with another shape. Well, same shape to be honest, but a new one. Once again, I'm going to click and drag. Go along, get my Artistic Text tool to click and drag on the line. Here. Put in my text. If I now do a return over there, so we'll click on the return. You can see the cursor's jumped to the outside. I've now got text inside and outside that shape. I can still control them and move them around independently. Like so. Have a go. 12. Text Project: Type on a Path Intro: Let's set up a simple document for social media. I'm going to be using Instagram as my example, but you can use any social media platform you like. All you need to do is to find out the width and height in pixels. At the moment, because these things always change. The social media. The Israeli Instagram platform likes to use one hundred, ten hundred and eighty pixels square. I'm going to go into my device and choose Web. That automatically defaults this to pixels. Now, if I go in there, I can actually type in my sizes 110,080 by 182 on this side as well. Sometimes by clicking with the pencil, you drag slightly, which is why it doesn't always pick it up. So I used to, I tend to use my finger move for that one. Once again, 1080 pixels on that side. Over there. It doesn't matter whether it's landscape or portrait. But what is important is we're on RGB and I'm going to click, Okay. Now what we're going to do for this one is we're going to use a picture in the background. Then we can put in text on top. And the example that I would like to use is a post for a ballooning adventure holiday. I'm going to go and find a suitable photograph, and I'll go along to my stock studio. Once again, click over there if you don't know where it is, I'm sure you know how to do this backwards. Now. I look for the stock studio in there and I'm gonna put in fly. I'm hoping fly will bring up some balloons. Of course it might just bring up a whole lot of flies. So there we go. Tons and tons of balloons. Just remember if you can't see the one that you want in here, I'm looking for something fairly interesting like that one there. The other picture library. I'm going to use this one, so I'm going to drag it in. You can see it's really is very, very big. Let's hide that. Over here. If I zoom out a bit, it is quite large. I'm going to scale it down till I can get the thing that I'd like. I'm pretty much happy with something along that line. Let's see what other balloons are there. Those two balloons, one of the other, I think I'm gonna go with the one on the left-hand side. Maybe maybe like that. Then I'm going to have some texts going up the side. I'm going to have a little bit of texts which is going to go around the balloon. And then a bit of text at the top telling about the balloon holiday. You can use whatever picture you want because it's just going to be text. As long as it's something dark where you can put light texting or light that you can put dark text in, get something done. There. 13. Set Up Instagrame Size & Find Image: For this project, we're going to create a social media post and we're gonna be using lots of texts. We'll use things like Artistic Text will use Frame Text and we'll get text to go around a shape. 14. Add Text on an Ellipse: I'm going to lock this object. So I'm going to go to the Layers and I'm going to make sure that is selected. Go up to the option and choose locked. I can't move it around by mistake. Let's start off by putting some text around the balloon. So I wanted to have a little bit of texts there which says fly with me. I'm going to go and I'm going to use a circle. So I'll go in and find my ellipse in there. I'm going to draw, my lips are starting the middle there. Start drawing out. And remember, just keep adding fingers until you get what you want, some three fingers over there. And that's going to be for my text. Then I'm going to be using the Artistic Text tool and dragging on the line. I can put in my text in here. Let's have fly with me. You can see it's totally wrong color, It's on the wrong side. It's all over the place. Really, really, that doesn't matter. At the moment. What I would like to do before I go any further though, is to select the text and maybe just choose a slightly more delicate typeface that would work for that. And I'm gonna see what this would look like using Bodoni. Then there we go a little bit more delicate, shall we say? But you can pick whatever you want. Now that I've got that, I want to move the text around so I can go along to this little green arrow. And if I keep dragging that around, it will go onto the other side. Like so. Let's make that text a little bit lightest that I can see what it is. I'm going to click in here and I'm going to choose white for my text. I could make the text bigger manually. And if I wanted to do that, I can go along to my type options. Remember they were down here and I can go into my settings in there. I could increase the size of them. Another way that I can do it though, is to actually use scaling on this. You're going to notice something. I didn't mention this during the lessons. But with text on a path, There's actually two little buttons down here now you'll remember them because it's the same thing that happens when you have type in typing it in a shape like a square. Let's have a little look at what happens here. First of all, farther to the inner one. What I'm actually doing is I'm scaling the circle. And if I put my finger on there, I'm scaling this circle proportionately. If I go to the outer one, I'm scaling the text, the circle together. I can just scale this around until it's right size. Then I can go in here and I can rotate it into the right position. So use the inner one to scale the circle. You might need to put your finger down to get it to be a perfect circle, like so. Use the outer one to scale both the circle and the shape. Now, I'm not using my finger for that. It is just scaling it proportionately. In fact, if I put my finger down, it will miss scale it in there and then use the rotation option to rotate it into the right position. Now I want this to be a lot more subtle. Some also going to go over to my layer. And I'm on the text layer over here, click on the Options, and I can just take down the opacity a little bit, just not quite so harsh. Once again, try that out. 15. Side Text with Tracking & All Caps: Let's get a bit more text in here. If you wish to lock that, that's absolutely fine. I want to have the word adventure going up the side. So I will use, once again, my artistic text. I'm just going to click and drag a bit and put in adventure. I think with the adventure of words that I've got in there, it might look a bit interesting if I made them all capitals and maybe moved the distances apart a little bit. I'm going to do that by rather than retyping it in, in caps. I'm going to go to the type options over here. And if I go down to some of the options that we've already looked at, you can see if I go to the typography option. There's an option here which allows me to make everything in caps. So if I just select that text again, I can make it all caps like that. There's also small caps options so you can get the whole thing to go smaller and you can have one bigger one and the rest of them being smaller. I think I'm going to switch that off and go with the Fool caps like so. Now the other thing that we could do is we can move them further apart. If I go to the positioning over here, we've got something called tracking, and we can just adjust the tracking to move those characters further apart. Lastly, I'm going to rotate it round cell would use my move tool over here. Just take the top and rotate it. I'm going to hold a finger down so it will jump in increments until I get it perfectly where I needed and I'm going to pop it over there and move that up a little bit to that side. Let's get a bit more text in here as well. So once again, I will use, this time. The other tool, the frame tool, I'm going to click and drag to put my framing over there. And I will put some text in. But I'm not the world's fastest typist, so I'm going to do that while you try out the other text. 16. Body Text with Space Before / After: The first thing you'll notice is that I've changed the font on here to something a bit heavier. I thought it looked more adventuring rather than the rather delicate font that I had before. I've put in a little bit of text over there. So let's zoom into to that. With this particular text is two sections here. There's the balloon adventuring in summer evenings to take your breath away. And it's the contact Robin for more adventures. I want a bit more of a gap between those two. I'm going to go in here and just select the text so I can just click and drag a like so. Or we can just use the selection tool to select the textbox. Moving down over here, I'm going to go into my positioning. Now, one of the things I could do is I could change the baseline which would affect absolutely everything in there. But I could also go into my spacing here and then the spacing would allow me to actually change the leading on there so I can affect the lighting for all of those lines. But once again, that affects absolutely everything. What about though, if I went into space before space after, if I used space before, you can see it will actually change the distances between the paragraphs. And this is really what I wanted to be able to do is to just adjust the paragraph details in there. As I said, leading would affect all the lines in the paragraph as well. I'm just looking for something like that. I think while I'm here, I'd also like to have that right aligned. What else should we do with this? Maybe we'll just have some bold areas on there so I can just select some of the text. I'm just going to take the word balloon adventure and make it bold as little bold option in there. And the context name, we'll make that bold as well. No right or wrong here. Just have a bit of a play with some text. Remember if you want to make it bigger, you can either play with a box, which is that one there, or with a scaling, which is that one there to get the whole text a lot larger and may be easier to see in social media. Way. 17. Export as jpg: Finally, let's save this out and we want to save it as a JPEG for social media. I'm going to coach the top to this little drop-down here. I'm going to choose Export. In here. We can pick from the various options. I'm going with JPEG. I'm keeping it at the size that I made it, but if you've made yours a lot bigger, you can change it in there. The JPEG quality. I'm going to actually go with quite a high-quality in here, maybe even best quality there. To the right of that we've got the names, I can click in there and just give this document a name. Lastly, all I have to do then is click OK and choose where to save it on my machine, I'm going to put mine into my iCloud Drive, into my documents that you can put it wherever you like. Click on Save. 18. Color Intro: Color is such a big feature in designer. And we're going to be looking at all stages of color. We'll start off with a color studio, but also looking at things like RGB. What is it? Cmyk. Once again, why should you use it? Pen tones? What a pan tones. We'll look at all of these options to do with designer. 19. Color Studio: Let's start looking at the color studio in detail. Now. I'm going to go along to the color studio and click on the color to open it up. Doesn't matter what graphic you've got here, just as long as you've got something with color when you try this out. The first thing I've got here is the main color wheel. Now you might not see the color wheel because you can actually flip through different ways of showing your color using these little backwards and forwards arrows. Over there. I can show the breakdown of color using RGB sliders, sliders, CMYK sliders, lab sliders, gray sliders, and the color wheel back again in there. So you choose the way that you like to work. Now with this slider here, I can go around the outside and choose the hue. The hue is the color on the color wheel. Then in here I can choose the saturation and brightness. So the saturation is the amount of color in there. You can see as I go towards that corner, that orange gets much more saturated. If I go towards the middle, it gets kind of less saturated, so it goes a bit more gray. I can go to a light version and I can go to a dark version. But really pick the color that you like. And then you can move around in here to get your saturation and brightness. Now up at the top over here, the first thing I want to start with is actually the little icon. This icon is quite good. You see if I pick a color, I've just picked this shape here, which has got a blue fill on it. I want to adjust the lightness or darkness of that. I don't even have to open up the color studio. I can just click and drag up and down on the color studio icon. That's actually easier to do with your finger. We can just drag it up so I can go from black all the way through to a really bright version of that color. It's just clicking and dragging to adjust it. I'm going to take that down just a bit on the bride's side. The second thing we've got over here on the left-hand side is the choice of color on the object. Because I've clicked on that object, you can see there is a blue fill. And if I click on the stroke to bring that to the front, there is a black stroke on there. The width of the stroke is obviously controlled as we've looked at earlier, by going into the stroke options and adjusting the width of that shape. This is just the background shape. By the way, it's got nothing to do with a picture inside it. Let me go back to my color. Once again. If I don't want a fill or a stroke, I can choose none in there. However, there's also another really nice shortcut. Let's say that I didn't want the stroke around the outside. I can just go to that stroke and I can drag upwards. Now, once again, it's easier to do with your finger. You drag upwards and it goes to none. And get a color back on there again. I'll go to the fill to the same thing with a fill. If I drag upwards, I can get rid of that fill very, very quickly. What about if I wanted to choose a color from somewhere else in my document? Well, that's this little icon over here. I can just drag that color picker to the one that I want. So I'll drag it onto, let's say that one there. Now you'll notice that although this was selected as it hasn't automatically picked up that color, but that color has now gone into this icon here. And if I want to apply to that shape, I click on that and it applies it to that shape in there. Let me get rid of the stroke and I'll use that shortcut to drag upwards rather than going down to none over there. Now that I've got the color, if I wanted to adjust the color, I can either adjust the actual color on the color wheel. I can adjust its lightness and darkness in here. Or I could go along to one of the other options and use the sliders to adjust it. Like so. 20. More Shortcuts & Opacity: Now the next little shortcut you've probably seen me do already because I have mentioned it through the course. And that is how to go from a fill to a stroke and just swap those colors around. You can do that by just dragging over it. So from one side to the other you can see if I flip like that, I'm just swapping the fill and stroke in there really quickly. It's a nice little shortcut to swap those over. Let's move down a bit to the opacity and I will just swap those over quickly like that. So if I were to move this shape and I'll just put it above that green shape over there or above those two over there. I can change or adjust the lightness of the green by I'm in the HSL sliders that stands for hue, saturation and lightness. And I can adjust it by laughing it up until I get to white in there. But I could also change the opacity to make it go lighter. Now, if this was, say down here and I changed the opacity, it looks exactly the same as if I was using the luminance in there. But if I put it over something, then you can see the difference. If you using opacity, it changes the transparency of the object. If you're using luminance, it just changed the lightness, but you don't see what is underneath it. Just really important to bear in mind. Below that, we have got the noise. The noise is a texture. So when I do that, I can get a texture onto my fills. And this is really lovely for a lot of art where you don't just want the flat color, you want something textured in the Yucatan can go fairly extreme on that texture, and we can remove that at any time. 21. Swatches: Create Your Own Swatch: Let's look further down at the pallets or swatches. Down here. We've got some quick colors so you can get to nine, you can get to black, gray, and white very quickly. And then below that we've got recent colors that we've used. But if you click on the swatches word, it opens up the swatches panel. Over here. I can then choose through the various swatches by clicking at the top. And you can see over here we've got different swatches. So I could go to gray swatches, go to color swatches, gradients that we'll be looking at later on. Then we've got a full range of pantone colors. I'll explain about Pantone colors later on, but bear in mind, Pantone is a brand. These are actually called spot colors, but they've got the brand of pen tone in there. But the thing is that you can make your own custom swatches in here. To do that. Click on the color that you want. I'll bring that to the front of this. So that's the one that I want to save in a swatch. Firstly, I need to do is to make a new swatch. I'll go right away to the top, to this little icon over here next to the, the pin. I'm going to go down. I'm going to make a new palette. Now there are two types of pallets that we can make. We can either make or add a document palette. Now, this particular palette, the document palette, is available just for this document. It is specific to this document. But if you want to choose colors and you want them available all the time, then you can make an application palette, so that will be available to the other documents as well. I'm just going to make a document palette here. I want to add this color in. So I go to the top and I just say add current fill to palette. And it's added in, let's say on this shape here I wanted to add the stroke, so I click on the stroke over there. Once again, I know this seems really weird because it's actually the stroke rather than the fill. But it says add current fill to palette. And it'll add that stroke, which is called the fill into that palette. Now, unnamed doesn't work for me as a palette, and I want to call this blue-green palette. I'm going to go up to the top. And down here I can rename the palette, maybe call it blue-green. Click OK. And I've now got a palette called blue-green. If I click on the name, you can see in the drop-down, it says recent colors over there. Then it says the document palette, which is minus blue-green. And these ones here are application palettes down there. The document palette is available for this document. The application is throughout all of your documents. If you want to get rid of the palate, well, all you have to do is to click at the top and say Remove palette. And it'll ask you to show you one to remove it. Yes, we do know we don't I'll just leave that there for now. 22. Swatches: Edit Color in Swatch & Global Color: Now, if you would like to remove a color, all you have to do is to click on it. And we can then choose to delete that color or rename. Or we can edit that color as well. If I go in here, I can click on edit because they're a little bit too bright. I'm going to go with maybe a slightly darker green, or let's go totally different. I'm gonna make it orange. Just close that down. And that's done now. That new color is changed. But what you'll notice is that the color that was used on my document hasn't changed. So if I were to click on this shape here, choose that color and maybe de-selected. And then I went in here, clicked on their edited the color. And we'll make this one purple. And then, well, this still remains the same. That's because these are standard colors. What amount if I wanted some colors where if I change it in the swatches, it would change it in my document. Well, that's because we'd need to use a global color. I'll make a global color by going in here and I'm going to add global color. I'm gonna think selected. I'm going to go in and make my color app. So I would like my global color to be a kind of a, well, let's go with an orangey color there. And we're gonna make it a little bit darker. And I'll add that in as a global color. Now you can see a global color because it's got that little extra arrow at the bottom. Maybe I went to this document here and I changed that color. On this one. I changed the stroke on there. And I'll make that stroke a bit thicker so it's easier for you to see. So I might have used this color, this global color throughout my document. But then I decide, you know what, all of these browns, I already really need a different color. Now. I don't need to select them. All I need to do is to go to my global color. You click on it, click Edit, and change the color in here and you can see it's live, so it'll show me exactly what's happening with my new color that I'm picking. I'm going to go across to the greens and find something a little bit different in the greens again. So to add a normal color, if you edit the color in the swatches, it doesn't change. If you go to a global color new add a global color. If you change it in the swatches, it will update everything in your document. If you click on the color itself, then if we just go back here and edit that color, you can see I can change that color without actually changing any of the other colors as well. That's now no longer from that global color, these ones here, how the global color very, very useful feature. 23. RGB: Let's talk about RGB. Rgb is the way that we'll devices work, whether it is an iPad, phone, a tablet, a smartwatch. They all work with RGB, and that means red, green, and blue light. When I've got here is a way to demonstrate the lights. So we've got red, green, and blue light. When you are on a device like this iPad here, everything that you see, all the colors that you see, the millions of colors that you see in any photo even are made up of red, green and blue light. If you mix together red, green, and blue, you get pure white. So when you're seeing something on your iPad or any other device which is white. It's because it's made up of a combination of red, green, and blue light. If you see black, it means there is no light there. What's his black as the device will actually show. Rgb is great for anything which will be displayed on a device. It could be for a webpage, it could be for social media. It could be a design for a smartwatch. For television, even digital cameras and scanners work using RGB or red, green, and blue. These three colors are very often known as channels. And you get red, green, and blue channels. So when you make a document for social media, when you're choosing from your new document options, you choose from red, green, and blue RGB. 24. CMYK: If we're creating something for commercial printing, the way the printers work is they print on white paper. I know it sounds obvious, but it is an important point. They print on white paper so they don't have anything to start off with. Then they use generally four inks. Cyan, which is the blue, magenta, which is the pink and yellow CMY cyan magenta, yellow. But they also have to use a black because if you mix all three of those colors together, although you get a very dark, dark gray, so it's not a good black. They also use a black ink. The other reason that they use a black ink is because if you're going to be printing a lot of words or type, you don't want to have to use cyan, magenta and yellow to make up black type all the time. It's best to just use one color ink in there. So cyan, magenta, yellow, CMYK, k. Why is this K for black? Well, it's usually known as the key color, cyan, magenta, yellow, and the key color, which is black. It would also be a bit confusing if that was CMY be for black and you've got B for blue as well. But when we're printing, printing with cyan, magenta, yellow, and black onto white paper. Even if you see a document which looks predominantly blue background, chances are it's actually printed on white paper and they cover it with blue ink. It's cheaper to print onto white paper and cover it with ink than it is to print onto a colored paper and then add white ink to get the white areas. 25. RGB vs CMYK: What are the big differences between CMYK and RGB? Well, first of all, you can see that CMYK has got four channels. Rgb has got three channels. But the other big difference is when it comes to the color itself, RGB colors tend to be a lot more vivid and bright. For example, we've got this really bright green over here and this bright blue. In reality, you can't actually mix together cyan, magenta and yellow ink and come up with a bright green like that, it just doesn't work. So you will find that when you're printing, your greens are not quite as vivid as they could be an RGB. Likewise, the blues are not quite as vivid as they could be an RGB to some degrees reds as well. Although it's not usually such a problem. Very often you find with a CMYK document, the colors are slightly less vivid than you see on screen. Does that mean that your documents are going to look awful? Not in the slightest. You see everybody else who's printing has exactly the same problem. If you've got your document next to somebody else's document that both can look the same. It's only when you take a document and you put it next to the equivalent picture, which is an RGB on a screen, that you would actually notice a big difference. If we've got CMYK and RGB here, can we make a print document from RGB? Would you can, but you really should convert it to CMYK for the printers. Likewise, if we create something in CMYK, we can save it out for social media. But ideally we want to work in the correct color mode. 26. Spot Colors: How do you spot colors work? Well, imagine that you were creating a document and your brand colors had a specific color. For example, this blue, bluey green over here. One way to print it out would be to print using a combination of cyan magenta and yellow black to make up that color. Another way to print it would be to have that as a specific ink that you could print out. If you were doing a business card. On your business card, you might have the brand color and then there might be some black in there as well. You could print just using that ink and black rather than having to use a combination of cyan, magenta, yellow, and black to print just what is actually two colors. There's another reason for spot colors. And that is if you are printing something out and you want to make sure that your brand color looks absolutely perfect. We've got our brand color over here, whatever that might be. If we print that color with a combination of cyan, magenta, yellow, and black, it might not always print perfectly exactly as it was shown originally. Your brand color might look, maybe it looks a little bit too yellow, maybe it looks a little bit too blue or too read in there. Because using those four colors there, it's very difficult to get the exact right color that you need. What we can do, we can print a document and we can use cyan, magenta, yellow, and black. Then for example, for your logo where you want the colors to be perfect, we could then have a spot color ink as well. In fact, your document might then be printed with, not just for inks, but five inks in there. You could have another spot color in there as well. You could have six or seven or eight. But the main thing to remember is that every time you add an ink, you are adding, well, a lot more price, a lot more cost to your printing. Where does Pantone come into this? Will spot colors. What those extra colors are? Cold. Pan tones are a brand of spot color. And then the brand that's included in Affinity Designer. So when I go up to the colors here and I go down to the swatches, and up to the top. All of these colors down here, our spot colors. So these are pantone spot colors. As I said, there are other brands. But in Affinity Designer, we've just got the Pantone ones in there. 27. Spot Color: Find by Numbers: Finally, when it comes to your Pantone colors, it's quite difficult to find a color if you're just looking through all of these colors here, how do you figure out which one's which? Well, there's a little it looks like a window next to the name of the Pantone. If you click on that, it will just change it into the Pantone numbers that you can see the way it works. Now, if you're wondering about where these colors come from and where the designers get these in the first place. These are come from Pantone books. So there's actually a printed book with all of these colors in it. So you can make a decision on the Color Dodge going to be using In your job from a printed version. If you choose a pen tone in here, when it prints out, it should look exactly the same as you see on your Pantone swatch. The printed swatch that you have to choose from in the first place. 28. Adding a Gradient & Adjust Color: We're going to add a gradient to a piece of existing artwork, this new vinyl recordings. But before we get to that, what I want to do is to show you how the gradient works on the subtle shape that I've created here. So it's just a rectangle with a thick stroke around the outside. To work with gradients, we go down to the fill tool over there. And then I can choose to fill using, well, if I click on there, none, which gives me none. It's like going up to none in the color. But I could choose a linear gradient. You can see it's popped in a quick gradient for me on my fill color over there. This can be moved around now so I can grab the little stops and I can actually pull it around and move that linear gradient around. You can also just click and drag to change it about as well. After that, we've got a few other types of gradients here. There's elliptical, is a radial, There's a conical there's one here which actually asks us to find a bitmap to use to fill that area. Then I'll just click on there again. We've got none. Once again, non-solid those ones and into bitmaps. If you do go to Bitmap by mistake, it will. Well, it'll ask you to fill it with something, but just leave that out for the moment. Let's go back again over here to the linear gradient. If you want to change the color, a new gradient, click on one of those little stops. Go to your Color Studio and find the color that you want. So I'm going to use that blue in there. Same GYN I can click on that side. And once again, choose a different color for my gradient. Try that out and then we'll have a look at what else we can do with this. 29. Editing Your Gradient: Let's have a look at these other options down here. So first of all, if I've got the solid in, it just gives you a solid color. When I click on Linear, it gives me the linear gradient that we've had a look at. If I go to elliptical. Now I've got these two lines that come up with, I pull this line down and pull this in a bit. You can see my gradient is an elliptical shape. I'm going to change the color of the center so that it's a bit more obvious. We'll pull that one in as well and that one down. I didn't get his elliptical shape of a gradient. Now, if you find that as you move one the other one moves, just make sure you don't have aspect switched on. Because if you have that switched on, when you move one, the other one will move. Equivalently as well. I can move these around. Once again, I can change the colors and I can adjust how much of an ellipse we have. Moving on again, we have the radial gradient. Now that's exactly the same thing, but it's just a circular gradient. You don't have the ability to squash that gradient into an elliptical shape. And once again, over here, we then have the conical gradient. And the conical gradients spins the color around from one color into the next, and then into the last color. If I go to this color here and I changed it to green, for example, you can see it's going from green to red and then into blue. Over there. Looks a bit strange and actually works better if you have the same color at the start and the end over there. Now, just going back in here once again, I'm going to go back to the linear gradient for that. Because when you're working with your gradients and the stops, you then have a halfway point. And you can move that around to get more of one side of the color or the other side. Just drag that around like so. If you want to add another color into gradient, click on the line. And you can then just go and choose your next color to go in. And it works the same on any of those gradients in there. Now the gradients that I've been putting in on this one here, this is the fill. If you want to do your gradient on the stroke, you can click on the stroke. Now on stroke. And in here I will choose a linear gradient. On this side, I'm going to make this, there's gonna be a bit extreme green. And on that side over there, I'll make that orange. So you can work onto the fills, all the strokes with your gradients. If I've added in another color into my gradient or like that and I've got that third color in there. If I click on that swatch, I can choose to delete that color. If you don't want it. Try that out a bit of a play with it. And then we'll see what we can do with this vinyl project. 30. Adjust Vinyl Record Artwork: What I'd like to do is to put a subtle gradient on these two bits going out. I'm going to select them, and I'm going to select one among my Selection tool, hold down my finger, and then select the next ones that I want to pick up. I've selected all of those shapes together. I'm going to go to my fill to where it says solid. I'm going to click the word solid and choose a linear gradient. Now you can see my gradient just goes across over there. I can actually take it and drag it across all of those shapes. I think I want the outside to be a very light gray and that outside to be a very light gray. But in the middle over here, I'm going to make this a very dark gray, maybe even, even black. That's probably a little bit too dark. I'm gonna go with just a darker gray. In there. You can put a gradient, different types of gradients across a whole document. Let me go and do something over here with the middle. I'll click on the middle. Once again, I'm going to put a gradient on that. So I'll go to the fill tool over here where it says solid. I'm going to click in there and I'm going to use not an elliptical but a radial gradient. Radial gradient goes from the middle to the outside. You'll see if I pull these in a bit like that. You can see there's the middle. I put that in the middle of my shape, do that to the outside, and then I can just adjust the color if I needed. On the outside, we can adjust the color and go to the middle and maybe make that a different color in there. That's looking awful and it's going from bad to worse. I'll stop now while I'm still ahead. But try those out and just happy to recover using it on some of your existing artwork. 31. Save Gradient: Now as you can see, we can also add gradients to text that is just normal Artistic Text. What about if I wanted to save the gradient because I wanted to use it elsewhere. Well, if I go up to the color area and I'm going to go to swatches and I've gone over two gradients over here. I can then just choose, because I've got that gradient selected. I can just at the top choose to add the current fill to the palette. And it'll just add it to whatever pallet you've got app there. Or as we looked at before, you can make your own custom palette as well. 32. Add Transparency to a Gradient: Let's have a look at another option that we can use for gradients. I'm going to just take a shape over here and put a shape on top of this document. I'm going to go to the fill tool. And in the fill tool, I'm going to change this to linear, so we get a gradient that goes from one side to the other. Now one of the things that we can do if we go back to the color area, is I can choose a stop and I can adjust the opacity on that stops so we can get a gradient that goes from solid through to transparent. Why do I put it on here? Well, I'm going to get rid of this one. The problem I've got here is that I can't actually read the DVI II as well as I can the rest of the word, because of this darker, this lighter cloud in there, what I might try and do is actually put a shape in there that's just remembered my last settings, I'll just do a solid color for the moment. I'm gonna make it almost darkish, black, like so. Then what I want to do is I want to have a gradient on that. I'm going to go back to the fill tool. I'm going to choose linear gradient, which is going to go from one side to the other. So out to there. And on this side, I'm going to take the opacity down to 0. You can see now how can adjust that. I can pull this in and out. I can move it around as I need. So I'm going to do something like that. Then all I need to do is to go to my layers and change this around. So I'll move this layer underneath the text. We've got that darkened area down there. If the colors don't actually fit quite well enough. Go back in there, go to the fill tool, and we can just adjust the colors. So I'm going to actually make this color here, black. There we go. That looks a little bit better. So it's actually getting from black into black in there. But remember, you can do it on one side or you can do it on both sides. I could adjust that slightly to see a bit of the clouds coming through. The other use is that you could put this onto a overall picture and you could get to fade out to white if you wanted to put some text on top. 33. The Transparency Tool: We have another tool in here that works like a gradient, but it's just about transparency. If I were to select my shock over here, I go down two, it will actually looks like a little wine glass. If I click on that, this is the transparency tool. In here. Once again, we've got none, we've got linear, we've got elliptical, we've got conical, so we've got various gradients. These work in exactly the same way as the other gradient, except by default, they go from solid through to transparency. So I can get something to just fade out like that. I can move that around. So maybe just the tail fades down into the background. Like so you can adjust it as you need. Working in executive same way as a normal gradient. Just choose the type of gradient that you want for your transparency. 34. Objects & The Basics: View, Hide, Lock & Move, Solo & Group: I've got a really simple little scene here. And I'd like to have a look at this with the layers studio. So I'm going to click on the layer studio. I can see all of my objects in the layers studio. Now the first thing to know is that these are not layers. All you're seeing in here are objects. You can see the name next to him, Cloud tau, Cloud. That's a curve, an ellipse, and a rectangle. But we don't have to actually work with layers to use the layers studio. I can use the studio for doing all sorts of things. First of all, I can change the order. Because if I thought that if it might look interesting, if my son was actually above the clouds, I can just drag it up in there. We've done this in a number of times before. But what about, what would happen if I were to drag the sun into that cloud rather than above it. But Intuit itself. You can see what it does is it actually clips it to that shape. When I click over here, the sun is now inside the Cloud object. Let me pull that out. So watch out when you're moving these things around. You can put them above each other, below each other. But if you pull them inside each other, then they will clip to the shape. And it works as a kind of a mosque in there. Pull that out again, so I'll just drag it out to be careful, as I said, when you drag them around, watch where that little blue line is. The second thing we can do with these objects is, and we've done this before. We can go along to a option or options. Should I say, we can change the opacity on those objects. We can show and hide the objects. We can lock the objects down, but we can also solo them. Now what is solo? Well, if I go back here again and I clicked on, let us say just the sun because I want to work on the sun. Then I go to my options. When I click on solo, it will only show me that object in there. Once again, I will just come out of there. Like so. I better get that back again. I'll just switch solo off so I can see everything in there. Once again, if you group objects together and once again, it's something that we've done. And I want to group the clouds together into one group. So when I move one, they'll all move that all scale together. I can select one, and that can either use my finger on the page here and then multiple select them that way. And you can see how they've selected. If I select one, I can then go and drag across to the right on the next one, drag over to that one there, and that's another way of selecting your objects. Now that I've done that, I can go up to the menu up here, and I could choose to group in there. Or I could click the little group button up here and that will group them together as well. Or better. Just select them again. I can click on there and that will ungroup them, sorry that it'll group them, walk and ungroup them. Are finally this a little bit fiddly I find you can also pinch in the objects to group them together like that, and pinch out to ungroup them. Some people have more success with that one. It works for me sometimes, but not every single time. Make yourself a very simple little scene, few clouds and a bit of ground or whatever works for you. And experiment in that area there. Drag them up and down, grouping them, ungrouping them, and maybe dragging one into the other. And don't forget if you group things together. When you scale them, they will all scale together. If you select one of them, they will all select at the same time. 35. Isolation: Now, groups behave exactly the same way as an object. I can hide an object by clicking on the little tick. I can hide a group in there, but I can click to go into a group. And I can hide the individual objects within the group as well. But if you've got a group of objects and you want to work on one of them. Another thing you can do is to go to the object and just double-click on the object. And that selects that object in the group with isolates that object in the group. If I click on this one now, once again, it's just selected or isolate the object within the group. If I click out and then click one of them again, it's selected the whole group. Again. In there. 36. Adding Layers: I'd like to add some more artwork onto my design. I'd like to do that by taking all of these objects and putting them into a layer and then putting my new artwork onto a separate layer. To do that, I can click on the little plus in the corner there. I'm going to make a new vector layer. Here's my vector layer in there. If I click right at the top on the Information icon, I can go in there and I can name that layer. I'm just going to name it. I'm going to call it the background or BG. Click. Okay. Now I'm going to put all those objects into that layer. I'm going to select this one and that and that and that by just dragging over them and then drag them and put them into that layer over there. So I'll drag it into that layer so that the line is in the middle of the layer. Let go. Now you can see if I close that layer down, I've got all those objects in there. What is the difference between doing a layer like that and making a group? Because with a group like I've got there, it looks like it's the same sort of thing. Well, the default for group is if I click on a group, all those objects are selected. And if I move one, they will only move together. If I select one, they're all selected the same time. Whereas if I've got a group, if I click on one of those objects in there, it just selects the object inside the group. I like to think of layers, almost like a folder. These are all the objects that go into the folder and it's just a way of keeping things together in a really nice, neat way. Now that I've got my folder there, my layer, I'm going to go to the little icon at the top there. I need to choose to lock that folded down. Everything inside that folder or layer is locked. I can show them and hide them all at once. Now I wanted to do some artwork in here and I'm going to do a little vehicle going down the hill. So I'm going to go and make a new layer. And I'm going to do a new vector layer. Once again, I'm going to rename this new layer of mine and I'll call it tractor click. Okay, and I'm now on that layer there. I'm going to start to draw some shapes and I'm going to draw a little tractors. So over here, I will just do a very simple little item. I'll have an ellipse over them. I want my ellipse to be a doughnut shape. That's absolutely perfect. You can see automatically it's already put it into that layer because that layer was selected. I'm going to make that the wheel black. And then we get to hold my fingers down, my stats. Try that again. With the Move Tool. Two fingers down. I'll get there honestly, two fingers and drag a copy. And let's make that one a whole lot smaller. I'll just draw them rest of my attractor all the time. If we keep an eye on this, you'll see that all of those parts are going into that layer called tractor. Once again, over here, let's have a little rectangle like that. Another rectangle which is going to go over there. And it'll chimney going up like that. And I'll select those. And I can select very quickly now because I know that my background is locked. Just going to make that a red tractor. Now this one needs to be in front of that, as does that. All those needs to be behind it. What I could do is I could select these objects here. Remember their individual objects? I can select those objects there. I can group them together in here, so they're all grouped together in there. But it means that now very quickly I can take that group and drag it below my wheels and close that layer down. So I've got another layer there. And then maybe I want some text to go in here as well. I might then go in there, make a new layer and put the text in that layer. Think of layers as a way of working easily without having to worry too much about locking and unlocking objects as you go along because you've clicked on this new move, that one by mistake. 37. Move Between Layers: Made a new layer over here. I've called it text and I've locked my other layers down. What I'm gonna do this time is just draw a little line over here and put some text on that line. So I'm going to use my Artistic Text tool. Drag on that line. Putting the text size is pretty good really. That's done. And I can still move that around in there, and as you can see, it is in this layer over here. Now, the other thing that's looking a bit strange is the wheel on the tractor, and I really want to fill that in with a color so you can't see the rest of it through there. I'm going to go and do that now. Now I'm going to once again go and get a shape. I'll draw in an elliptical shape. Here. Let's give it a different color, I think for now. So we're going to make this gray. Then I want to put that in there. But you know what? I really think I should put it in this layer here. How do I get it in there? Well, if I unlock that layer, just click on little padlock. I can drag that in to this layer here. In dragging it in. You can see it's just gone right away to the bottom of there because this is a group. When I drag it in, it went behind the group and behind the tractor. I can also take things and I can drag them inside groups as well. So I've now got that in the right position. Them as you are actually working. And you want to move things from layers. You can just drag them from one layer into another layer. You can also drag things into a group. Out of a group. 38. Clipping Mask: I'd now like to replace the green that I've got here with a photograph of a proper field. So I'm going to go along to my best places, the stock studio. I've searched for field in there, kind of like one of these ones over here, that one's a great one. I'm going to drag the sin. In my layer studio. I had actually gone back to the background layer and unlocked it. So you'll see when I go back in here again, it was unlocked. Those two are locked. The text is locked in attractors locked. I've unlocked that. And here is the image. The image appears just like any other object and I can move it below everything else if I wanted to. But what I want to do is I want to get it to go inside that shape. We drag it down into that shape. And when you see the little line through the middle of the shape and you let go, then it will clip that into that shape. If I pull this around now I can actually move the image around inside the shape over there. Let's do the same with the sun and do something with the sun. Same again, I'm going to go long into my stock studio. I'm going to find some sort of a sudden texture and all that. So some interesting ones in there. I'm going to use this one. I'll drag it into the picture. Actually that just looks lovely the way, the way that it is, but it's not proven my point. I can take that now and just drag it inside the sun and it will only be in the sun. You see if I move that picture around, There's the picture inside the sun, like Sir, you want to drag it out? Just click and hold, drag it out of that shape. Try that again. It's gone or I can go right in here and put it below. I really like that. I think that looks great. So I'm gonna move that below that one. Like so. Have a go with it, dragging something into another shape to create a clipping mask. 39. Adjusted Object Basics: Let's have a look at a different type of object. These are called adjustments and they allow us to change things like the color and the lightness on our artwork. I'm going to go down here. First of all, I've got the top object over here that's selected. When I do my new adjustment in here, it'll come in above that. I'm just going to start with something really simple over here, like black and white. I click on black and white, and then it gives me lots of options down here. So for example, with the yellows, I could pull them back so they're a bit dark and maybe the reds, I could darken them down as well. When we go back to our layers studio, you can see we've got that object which is right on the very top, and it's selecting everything or adjusting everything which is below it. If I were to drag it and move it down just above the bottom group, you'll see it will only affect that bottom group over there. The great thing is you can switch it off and switch it on. If you don't want it, you can click on little bin to remove it. 40. Adjustment Layers in Groups: Again, I'm going to go and add a different adjustment to this. And I'm going to use something called HSL stands for hue saturation and lightness. Now if I click on the range over here, you can see my hue. I can just drag through the colors. On the color spectrum is basically spinning all the colors around. Maybe I could try something like that and I think that's really interesting. But when I go back in here, what I want to do is to just get it to affect one of those groups. And in fact, the group I wanted to affect is this one over here. Now, if I drag this above that group, so let me go and select it and drag down above that group. It selects all the things, all the objects below itself. If I only wanted to fake this group, I can drag it into that group. Will open that group app. You can see it's the topmost object in there, so it's affecting just that group of objects. This means that I can do another one over here as well. Let me start this again. Back into the adjustments. I'll go to HSL. And I'm going to choose some different colors over there. Happy with that. Back to here again. And I'm going to drag this down and I'm going to drop it into the second group of there. Now I've got three variations on the colors. None of these are set in stone because I can always click in them. I can just hide the adjustment. Same over there. Hide that little adjustment over there. 41. Arrow Infographic Project: Intro: For this project, we're going to take a lot of the stuff that we've used already during the course. We're going to make this interesting. Well, it's basically aimed at a hotel where you have holidays with different budgets and these show the different options. But the important thing here is we are going to be using a lot of gradients that we looked at with color. We'll create the colors, will make some gradients. And then we use gradients to get not just the different colors, but even make things like little buttons. So I'll stop talking. Let's get on. 42. New Document: Create Basic Shape: For this project, we're going to create a graphic to display different information for a hotel and make-believe hotel, which I'm calling whale tail hotel. We've got three different price brackets for the holiday at this particular hotel. We're going to start by creating this for print. I'm going to do a new document over here. It's going to go into their brochure, although we're not doing the brochure in here, I'm going to go over to design. And I'm going to choose for print. There. I'm going to choose the size that I want. It's going to be A4. And I'm going to go over here and I'm going to make it landscape. Then the color mode. Now the color mode is quite important because this is going for commercial printing. When it goes into Affinity Publisher, I'm going to choose seeing my Kate instantly. If you're putting into something like Adobe InDesign, it's exactly the same. It's gonna be seeing my K in there. Then the profile over here. If you're not sure, leave it set to the default. Otherwise, talk to your printer about the profile. Now, I'm going to click Okay, over here and that's setup my document. I'm then going to start drawing the shape that I want. Now I'm just going to do one of these. And then I'll repeated three times when I'm finished to speed up the process. I'm going to start off by creating the most background shape that I need. And this is going to be sort of a rounded rectangle with a little arrow pointing downwards. I'm going to start off with my tools over here, to the rectangle tool. Over to there, I'm gonna click and drag to make the shape that I'm after. I want something like that over there. And then I need to start rounding off the corners over here. If I go to round, I can then choose to round those corners off. And I can grab this little thing over here and move it up and down to how much I want to round them off by having a bit of a go. You get to that stage, they're nice, easy start, and it will start detailing this out of it. 43. Add 2 More Shapes Together: Let's start adjusting the shape. Now, I'm thinking that maybe I want more of a rounded top and this a rounded bottom. And there are different ways of going about this. But one way that I could do it maybe, would be to actually make two of these shapes. If I hold down two fingers there and just drag that shape upwards, I've got to be just careful that I'm getting in the right place. I put in a third finger to make sure that it goes perfectly vertically. Then the top shape over here. If I go back to my shapes tool, I can then round that off a lot more. I've now got two shapes on there. Now, we'll join them together in a moment. It means I can then control them individually. So this one here I'm thinking maybe I want less of a rounded corner like that. I'm going to put a little arrow that's going to go down over there as well. So I'm going to go along to once again, to my shapes. I'm going to find the triangle, just drawing a triangle over there to the right size. And I'll spin it around one finger to make sure it snaps vertically. And then I need to make sure that all of these items here lined up perfectly because I might be sort of moving around. Switch on your snap. That way when you start to move them around, they will snap to each other. This one here was snapped to the middle as well. I'm going to select all those three shapes. I'm going up to my geometry, so that's up to that little menu item there. And we need to add them all together so they become one shape. 44. Add Color & Make Gradient: I want some color on here, so I'm going to go up to my color area and pick the colors, but I'm going to actually make a custom swatch palette for this one. When I go into my swatches over here, I'm going to make a new and this is just for this document. So I'm going to make a new document palette. I'm going to name that palette. Let's rename that palette over here and we'll call this wide tail, whale tail. Click. Okay, and then my new colors can come into this palette over here. To make up my new colors. I can either work with my color wheel here, or I can go in and work with any of the other ways of choosing color. If you get colors from somebody else. So if all from your brand guidelines, you could go in here into a CMYK sliders. And you could just put in your percentages in there. If you get colors which are hex colors, then we can go to the RGB hex sliders in there and pop those colors in like so. But do be aware that when you've chosen a bright color like that in hex, you might find that the CMYK color dels down a bit when it prints. Let's go back to the CMYK sliders. Over here. I'm going to use some sort of colors that the hotel is using. I went to a sort of a greenish color over there. I wanted to add that in to my swatches. So I'm going to go up to the top, find my swatch, which is whale tail. Then add that in to my swatch. I'm going to go just added in by saying adding the current fill in. You can see because I've clicked on that little button there, it actually gives me the CMYK percentages of that color. We don't just do another one very quickly, so I'll go back here. I also want something which is maybe more towards the bluish end of the spectrum. The same again, just go over to my swatches and I can then add that to my swatch in there. I'd like one last color in here, maybe silver, slightly yellowish color in there that I quite like. And once again, swatches. And I can then add that color in really quickly. Once you've made some colors up, try making a bit of a gradient for this. What I'm going to do is I'm going to go across to my Fill filter and I'm going to choose a type of gradient. I'm going to use a linear gradient which is just going to go across from one side to the other. Then I can click on one side of my gradient and pick the color that I want to use. Click on the other side to choose the other color. Oops, let's try that again. So that's gonna be that color there. And this one is going to be that color over there. We can just do something along that line really easily. If you wanted to add in more colors, click inside there and choose your color to add a new color. If you want to get rid of the color, click on the bin at the bottom. And we can adjust the differences between those two colors. With the middle, a little bath. Try that out. 45. Add Shape & Drop Shadow: Now I haven't been worrying about the size that I've been creating these. And I've actually made this quite large. I am going to take the size down by grabbing a corner and just scaling it down. And I'm going to put my finger over there is I can scale it proportionately down a little bit like that, just giving myself a bit more space around the top. Next thing is the next little shape in here. And this is gonna be the shape where I'm going to have my text. So I'm going to go over to find my shapes tool. Once again, I'm just going to look for the standard rectangle. I'm going to draw the rectangle, but I'm going to start right from the middle over here and draw it out. And then put down three fingers to draw fundamental. If I wanted to be a perfect square or two fingers, if I want to go something like that. And this is what I'm looking for. A shape like that, which I'm going to move down over that shape. Just pull it up a little bit like so. I don't want to round off the corners of that shape back to the shape tool. And in here I can choose to have my round corners and I can adjust them as well. You can just have a very, very subtle rounded corner there. Now this shape is going to have text on it, so it's just going to be a normal color. I can either pick white around, get to choose a slight off-white in there. You can always go back and adjust your colors in here, or go back into your circle of color, which is our color wheel there. And once again, I can just adjust the color in there a little bit. If I needed. I'm just looking for something slightly, slightly of white. We want to get a bit of space between these two shapes. Now. I'm going to put it on a drop shadow. I'm going to do that by selecting shape. This one here, going over to my Effects, choosing the outer shadow over there and switching it on. Now when you're on that outer shadow, you can't see it initially, but if you click and drag, you'll find it's in there. Then down here we've got the options. I'm going to go over to the radius and adjust the radius to give it a bit of blur around the outside. And I'm going to change the opacity just to make it a lot more subtle. So it lifts that shape above the other one, but without it looking too nasty and drop shadow like. In fact, if I went back to the shape now and made it white, it would actually show up against the white background as well. But it's up to you what you want to do with your colors. I'll just go back to that color for the mode. We can always change this later on in our probably will end up making them a lot brighter. 46. Create a Gradient Button: Let's do another shape and I'm going to zoom in for this next shape. Over here. This is just going to be an ellipse, but it's going to be a perfect circle and I'll just draw it on the sides. I'm going to put a finger down and draw my perfect circle in there. Now, I want this circle here to have a, well, a stroke around it, but I want some sort of gradient on this as well. I'm going to go in and put a stroke on that chip for the moment. I'm not worried about the color. Let me go over there to the stroke. I'll put a bit of a stroke on there, like so. Now let me put on a subtle gradient on both of those. Back to the fill tool. Over here. I'm just going to choose a linear gradient. My linear gradient, I'm going to make dark on one side over here and light on this side as if the light is coming across in hitting something which is dish shaped in, which would make that side slightly darker. I can either do it by changing the settings around there or I can, to be honest, just drag this around. Like that. It's slightly darker, slightly lighter on that side. Then I'm going to click on the Stroke. Now I've got my stroke in there. Same thing again, I'm going to choose a linear. This time it's going to be the opposite. So I'm going to have a lighter area there and a darker area on that side. But of course, I will have to choose some colors for this because those are much too dark. I'm going to go into my colors in here. And you can see as I'm changing that, just adjust the color to make that slightly darker. This side over here, I can make this one slightly lighter. And that gives us a really interesting effect where it looks like the light is actually coming across stock that down a little bit like that, coming across from this side over here, picking up a rim and then that's maybe a sort of a dish shape. The buttons are really cool to do like that. My color is not quite gray. I will adjust them in a little while, but I wanted you to see the effect that we had. Once again, to lift that off the background, I'm going to go over to the Effects. Switch on my outer shadow. Click on there. I'm going to pull that out a little bit. Before. A bit of a shadow. Take the opacity down a bit just to lift it off the background. And I can then move the shadow round manually. Gives you then go back to my move tool and move that shape into the right position. Over there. I think I do need to adjust the color of this in the gradient, and I will do that while you try out this version. So far. 47. Create a Drop Shadow: I've just adjusted my colors a little bit here until I liked them. I've used very, very pale grays and almost whites in there. It's up to you what you want to do. I wanted to do another gradient in here. I want this to look almost like it's standing on the point. I wanted to shadow down here. Now rather than using an effect to try and get the shadow down that side, I'm actually going to make one. I'm going to use some of these tools over here. Let me take a basic circle or ellipse. I'm going to draw an elliptical shape. In there. You can see it's remembered my last settings or every time I draw now I'm going to get that same button, which is great if you need to make multiple copies of the same thing like that. I don't want to just take that and fill it. Just black for the moment and the stroke I'm going to choose none. So I'm just going to drag upwards to say none. Then it's put that underneath. I'm going to go to the transparency tool. The transparency tool that allow me to drag out on this shape. Over here. I'm going to go from none. Over here on my transparency. I'm going to go and find the elliptical tool. And that way I can pull this one down, this one out. This sort of darkish area will now give me transparency. You'll see if I move this and I pull this up like that, you can see where the transparency is. So even if I put a color background underneath this artwork, it would still look okay. The great thing about this is if I want to change the color, I don't have to worry about gradient colors in there. I can just go into my fill color and pick any color that I like for that Phil. So let me just make sure there's no stroke on there. Go to the fill and you can see how I can adjust it. If I want something which maybe looks a little bit like the color that I've got over there. I can do that. And then to make it a little bit lighter and less in your face. I'm also going to go to the opacity and reduce the opacity. So we just get this very subtle shadow or glow underneath the shape. And it really is just a matter of playing with those shapes until amounts until you get exactly what you want. 48. Adjust Colors: The colors are a little bit off. I really think they're a bit too insipid. So what I'm going to do is adjust them slightly. That's quite easy to do now, if I select the shape with those two colors, I can go to my Gradient. I'm going to start with this color here. Now I'm going up to my colors and my color area. What I want to do is I want a more vibrant version of that same color. Instead of using the color wheel. If we go over to HSL sliders, HSL sliders stands for hue saturation and lightness. I could increase the saturated color on that area. The same on this side, if I went over to that one there, once again, I'm on HSL, I could increase the saturation over there. And if it didn't look quite right, I could maybe adjust the lightness and darkness or even the color in there. Or I could change the colors completely and I could go for something totally different. Like maybe an orange on that site and a yellow on this side over here. So I'm gonna change that a little bit around. Like so. Once again, I'm going with maximum saturation to get really interesting, brighter color. From that. You pick the colors that you want to use in there. Don't forget, you can always add more colors. If, well, if they're not quite, quite as you want them to be just popping in adding the third color or fourth. If you need. 49. Create Logo: Now normally you would have a vector logo from the company that you were doing this for. But let's say you didn't and you wanted to create your own logo or it wasn't a company logo, you just wanted something appropriate for the situation. I'm going to make us a little whale logo here. You can create your own or you can create something different. We using the same technique that we looked at earlier in the course to do things like that. Rocket and the apple. I'm gonna move over here. So I've just got a nice blank area in there to work on. I'm going to start off with an elliptical shape. I'll go and get an ellipse. Drawing an ellipse over here, I will make it into a perfect circle. Then I want to cut off the top a bit. But when I cut the top off, I want a larger circle. I'll make a much bigger circle over there. And I'm going to adjust it slightly like so. What is happening here? Look at this. When I'm doing this, I can actually see both of those shapes in there. Chances are it's because if I go to my colors, the opacity is set to 0. Once again, the same thing here. Opacity was set to 0. Just going to check this shape over here. When I go into this shape and go back to my gradient and click on the color. Just do check that that is set to a 100% because if it's to 0, it will make that semi-transparent. So keep an eye on that. Anyway, back to this one again. I'm going to select both of those shapes. So back to my shape tool, select both of those shapes. I'm going to go up to the top, and I'm going to choose Subtract to subtract one from the other. Now, this is the body of the whale and I'm going to have a little tail over there. To make the tail I will use two ellipses. Let's have a little ellipse over here. Once again, just pick a color, we'll fix the colors later on to just pick a color for that. I've just realized I've changed the opacity again. I've got this shape here. We'll make it a little bit larger. I think. To make the whale tail will make a copy of that and drag it across like so. Select both of those and I want to keep this middle section over here. I'm going to go up to the top and I want to intersect those two. That just keeps that. But so this will be the bit of the whale tail like so. If you think it's too small, grab a corner, scale it up. One finger over there. I want to copy of that over here. So I'm going to hold down two fingers and drag that across. But I want to flip it. We're going to go along and have a look at flipping. Third option from the bottom over here, it takes us to the Transform options. In the transform option is a button which allows us to flip things either vertically or horizontally over there. Just going to move that across a little bit. That this is my whale tail needs to be moved in just a fraction, like so. Then down here I want the very large fin. So I'm gonna hold down two fingers and drag that down to get the fin in there. Lastly, we wouldn't need a little I in here as well. So that's going to be an ellipse, drawing my little ellipse here. And my ellipse is going to be white. Now, I'm going to do this white, but if you wanted to make it a whole, as in, you wanted a big hole in the day so you can see the color through it. What you could then do is you could pump the shape on top of that one there. And you could select both of those shapes. And then you could use the option here to subtract the front from the back. Happens, I'm gonna select all of those as well. I'm going to go in here and add them all together so they all become one shape. There's the strange little whale shaped that I've gotten now. I'm going to scale it down. One finger in there to scale it proportionately to the size I want. And that's going to go in there. Get down just a little bit more. It's zoom into that area. Give it a color, whatever color you want for that. We're also going to go to the effects. Maybe a very subtle shadow on the outside. So outer shadow over there, switch that on. I'm going to change the radius a little bit so you can see a bit of a glow coming from around it. I'm going to change the opacity in there and reduce the opacity. Just so we've got a very subtle little glow going on behind that to lift it from the background slightly. Once you've done that, you could actually even go in and change the color of the whale. Let's just change the color of the whale here. Do something similar to the background. So I could choose a lack of gray or a very light gray. They're almost look like it was paper, a paper effect. On top of that. If you want to sand, it looks like it's actually pushed inwards. You could experiment instead of using the outer shadow by using an inner shadow. In there. I'm gonna take mine back to the bright color because that's what I'm after here. Nice. Let's use the use the orange gradient there as well. Don't forget, go to your effects. It's the outer shadow. And adjust the settings in there to suit you. 50. Group Artwork & Add Text: The next thing to do is to put in some basic text in here. So this is gonna be price plan number one, budget holiday. And then I'll have another copy of this for this sort of meeting one and then for the luxury holiday. And then we can in here list the things that we want or that the company wants to give the people. So basic bed. No food. Sounds awful, isn't on the NACADA day, does it? The second one can have a view of the C plus two meals a day, etc. I'm going to do some text in here. I'm going to have white text go along there and some black text to go down there. But before I start putting my text, I will select all of those items in there. And I'm going to go up to my layers. Now that I've got all those layers in there, what I wanted to do is group them together. This group icon, if I click on that, it makes them one group of objects. So if I happen to move one of them, they will all move at the same time. I can also now that they're all grouped together, very quickly go in here and lock all those items so I can't touch them by mistake when I start putting in my text. When it comes to the text, we're gonna do two things. We're going to use the Artistic Text to put in large text here. And then we will use the standard text to put the text in that area. I've put my text in, as you can see, I've put in some autistic text over here, and I've added a slight bit of a drop shadow to that, exactly the same as I did with these, but it's so subtle you can barely see it. It's just enough to lift it off the background. Now this text is my normal frame text. But as you can see, I've done a line and then return another line, another line, another line. What I want to do is I want to get a bit of spacing between those. So I'm going to go over to my text options. And that's the little a down here. And I'm going to go to spacing in here. I'm going to change the spacing after. I can just pull that down. And that gives me space between all the different returns or paragraphs as they are. Of course, you can then adjust all your other options in here, the usual sizes, bold, italic, etcetera, etcetera, etcetera. But have a bit of a go with a bit of text in there. And then we'll move on and make some copies of this. 51. Copy Artwork and Export: Now that you've got this done, what are we going to do is we're going to go back to the layers. And I've got this budget text in there, and I've got this bit of text in my layers as well. If I click on the background area which we had made into a group and locked, I can then just very easily go and unlock that if I need. I'm going to go up to the top and just unlock that. Then I'm going to make some copies of this. I'm going to select all of those. Move that one along. So I'm just going to use or two fingers and then drag to make two more copies. But to get this on the right size first, I might have to pull it down a little bit, but look what's happening there. My text is not adjusting. The Artistic Text does, but text and A-frame doesn't. Once I've done that, I might have to go in there. And let's just adjust that out a little bit like so. You can use the outer one if you wanted to change the size a bit. They're going to get that about right? So that's what I'm after. Then I'm gonna take this and I'm going to copy it. And I went to three different versions on my page here so I could use two fingers to copy it across. Or I could go up to the top and I could say duplicate and move that one to where I wanted to go. Then I can go up to the top and duplicate again and that'll give me another one exactly the same distance away. And that's more accurate than just using your fingers to try and do it. Once again, I won't get you to watch me, but I'm going to actually go through and just change the text on these and adjust what the people get from their different for the different holidays. Now that I've got my artwork complete, I just want to export it. I'm going to go up to the top. And I'm going to choose Export. With these settings. We've started by looking at the JPEGs for social media. But this time I'm going to export it to give it to somebody. It's going in maybe as an advert in a page somewhere. So I'm going to choose PDF. And we've got a number of different PDF options in here. We'd be looking at some of these ones. Later on. I'm gonna leave it on the default setting for now, click Okay, and then choose where I want to save this. 52. Artboard & Bitmap Intro: This is the last section. We're going to be doing it slightly differently. We're going to have our project being part of the learning process. What are we gonna do is we're going to be looking at a number of areas. We're going to look at artboards. We're going to create our project with a number of art boards who will make one art board and then we'll copy the art board and do variations. The idea behind this is that we're doing a layout for a phone application. We have different screens using the same phone basics. And we're gonna show you where to find all those phone bits As well. There's a whole area in Designer which has just got little things like buttons and icons ready for you to use. Not any that will also do something where we can take an existing graphic that we've made and re-purpose it or reuse it a number of times within that graphic. And if we change one, it'll change them all. And we'll do that with our logo. And we're going to go into the bitmap area. In the bitmap area, we will take our graphic and I'll show you how to cut it out, both the skater and the box. So we're gonna take from a photograph and do a cutout and we'll look at all of the options in and around that. This is a big one. Let's get going. 53. Set Up Artboard: In this section, we're going to be looking at a number of new things. We're going to be looking at using artboards. We're going to be working with bitmaps. We are going to be using assets and symbols to create some professional looking artwork. Now we're going to design something here, which is for a phone. I'm going to go to the device and I'm going to pick an existing phone over here. And these are slightly older, older phone models in there, but I'll just pick one of them. And that puts in the width and height in here. You can of course, change this yourself. The important thing here is that I switch on create art boards. If you don't do that. Some of the stages that we'll go through weren't quite work. I'm going to be an RGB because we're doing everything for screen. I'm going to click Okay. Now that I've made a document with an art board, you can see straight away that what we've got here is, well, it looks like a page with the word art board at the top. The artboard itself can just be adjusted so your page size can be just adjust. I'm going to just undo that over there. Now, if you go to your layers, you'll see that that comes up as an Artboard and it's got a name art board one. And we'll be able to have multiple art boards on the same or in the same document. And then we can just save out individual artboards from all of the ones that we have in here. Now, what I'm going to do is just put in a very quick shape to show you what happens. If I've got a shape, it goes into my art board there. If I go to my move tool, I can move that shape around. But if I click outside to try and select the artboard, it doesn't select. If you want to change your art board or when we come to copy it, copy it, you have to actually click on the artboard and then you can get to the art board to do things with that. But otherwise the default is that when you go to a shape, your artboard is locked. You don't have to worry about locking down your art board. I'm going to get rid of this over there and stop at this point. If you'd like to make yourself an art board ready for building this phone that we're going to do. And we're going to do this as a project. So it'll be learning new stuff. But in the set in the form of a project. 54. Add Assets: For my layout here with my mock-up, I want to mock up what a phone looks like. So I'd need the little menu thing that's at the top over there, and maybe some other phone assets. Now the great thing about Affinity Designers, you don't have to build these yourself. Because if I go down on the right-hand side to the studio and I'll just click on the little question mark there. There's a studio here called the Assets Studio. It's this one over here. In the studio. There are a number of assets. In this case, it's all for iOS. Ios. However, you can make up your own assets in here as well. And if I click over there, you'll see there's a default Assets Studio with nothing in it. So you can add your own objects into the Assets Studio area. But there are so many different assets to do with building devices in here. I'm going to go down and find one of these over here. So I'm just going to take that. Now there's two ways to bring tin. You can either drag it and drop it in there. And you can see we've got all the different bits and pieces on there. I'm going to take to the top, fits in quite, quite nicely in there. The other way to put something in. And let's do something for the bottom. Maybe I want a line down here. I'm going to go and find a little line there we go. One of those. The other way to do it. I'll do that again is to click on it and say Insert, and it'll just pop it in for you. And I can then insert it into my document. And that's one of those things. We have a slider so you can slide left and right, and maybe I've got some icons down the bottom here. Let's add in a few icons. I'm going to take this icon here. Once again, I'll click it and say Insert. Going to move that into the right position over there. But I don't like the color. So if I click it, I'm good at my colors in here. And I could change the color to anything else that I wanted. Now for our project, we were going to be working with oranges. So we're going to do an orange soda drink. I'm going to make that sort of an orangey color over there. But going back in here, I can pick any of these to work in here. In fact, we've got some really nice ones which are already orange in there. Let's take a little bin, then pop that in and you can see some of them coming bigger, some of them come in smaller. You can select it and you can re-scale them. And as long as you hold on your finger, you can scale it proportionately. Let's zoom in a bit so I can see what I'm actually doing over there. I'll just roughly match the size of that one. Let's have one more item over here and you'll see there are so many of these. If you just keep scrolling, you then get to the icons over here and then glyphs after that. And although these are black, you can change the color to anything that you like. I'm going to use one of these icons. And I think I will just have the, maybe the, the tick icon over there. And I'm going to drag and drop that straight into bit small, but I can scale it up to the right size. Whatever that's going to be an a really should match it to the other one. That's close enough for the moment until we start to do something properly with it. Anyway, Do have a look at these. There are so many things in here that we can use. Lines. You've got all sorts of buttons. And now I'm going to put another line at the top there. I want to make sure I've got a button over here as well. I think that'll do quite nicely. I like that little slider icon in there. And this is where we're going to build our content. Try that out, check out the the assets in there and it's that little square on the right. 55. Draw Logo: I'm going to go back to my layers. And I'm going to select all of these items here and just group them together. So I can click on that. They're grouped and then even go in. And I could actually lock that group of objects so I can't touch them by mistake. Now the groups, we're going to start off with our artwork on here. We're going to draw a little, I'm line and we're going to pop some text into there. And then we're gonna put some texture on that. I'm going to start off with the shape that I wanted to do. I'm going to use the pen tool. And I can just click and drag to do a sort of an interesting shape like that. If you don't like working that way. Use the pencil tool. The pencil tool, I can do a little shape like that. You can see it's really nice and smooth. I can still use my node tool to go in and move the handles around and get this to be the exact shape that I wanted. However, for this orange juice, can, I would like this logo, the next one I'm creating at the moment, as you will see, I'd like that logo to have a bit more thickness and weight to it. So it looks like it's something that would have been just drawn very quickly in there with a large brush or large pen. I'm going to go over to my stroke. And I'm going to change the width of the stroke. But I'm gonna pull these ends down, pull the middle app and that down there. If there's no middle there or you could do is click to make a new, a new middle. And I wanted to be a bit thicker at the top day or you could have a thinner at the bottom. I want to be thicker at the top, like so. In fact, I'm going to just rotate it a little bit as well over there. Now, when I've created that, that is still a stroke at the moment. It's a stroke with a particular weight on it. If you did want to change that into a different type of object. So it was a filled object with its own stroke around the outside. You can't do that by going up to the menu. And you could choose Expand Stroke. And if you choose Expand Stroke, this will then become a shape with a stroke around the outside. I'm going to leave mine like that for the moment. Then I'm going to go in and I'm gonna put in some text in here. The text I'm going to say is going to be the word orange. And I'm going to make the, oh, really big. It'll come down over here so we can use some of those techniques that we looked at before with the Type Tool. Going to go across Tamar Artistic Text. Do one-click up there. And I'm going to put in the word orange. Now, I will scale it up a little bit. And if I select this, you'll see I clicked twice, a few times on the Select that. I'm just going to pick a suitable typeface in here. I'm going to go with this sort of American typewriter. It's got a really nice, friendly feel to it. But the, OH, from orange, I'm going to select that and I wanted to make that a whole lot bigger than it is. If I go down here, it's 51 at the moment. I'm going to try 200. I know this seems really big, but well, maybe it is a little bit too big. Let's, let's take that down and do a 150. That's a little bit better. I've got the O, which is right up the top there. And I want to move it down, going across over here to the type options. I'm going to go into the position. And with that selected, I'm going to use the baseline shift to move the OH down to something like that. Let's move that text into the right position. So it's going to be something like that. I'm going to rotate that around a little bit. Like so. As well as we've kind of got this big O and almost like a line underneath it. You can just rescale this until you get what you want from it. No, no, right or wrong here. So I'm, I'm thinking, okay, that's not too bad and maybe I might have to actually move it a little bit more. And it's just changed at baseline, move it up a little bit. And this can be rotated around a little bit as well. So that kind of comes down in there. I'm going to take that and I'm going to make it orange. Obviously. Let's start off with the text first. And I will go and choose the color that I want. Remember, you can work from HSL sliders, you can work from a color wheel. If you've got RGB colors that you need to use, that's absolutely fine as well. This is all for screen use. So we are going to be using RGB. I can go in there or if I've already got an orange which I have, I can choose it from down the bottom. For this one. This shape here, I can get to it. Here we go. Sometimes among the wrong tool that's going to have a orange stroke on it. Once I've put that together, I want to save this so I can reuse it time and time again throughout this design. To do that, I'm going to go along and select it. I'm gonna be putting it into new little option that we haven't looked at yet. And if I click on this, and this is actually called a symbol, you can see I've got a symbol studio over there. I'm going to click on my Symbol Studio. There it is over there. Go right to the top and say add the symbol from the selection. So it's going to add in this selected symbol. Now you can see it's kind of put it next to each other that absolutely no use at all. Let me go and delete that. With these symbols. We can actually detach them, or you can actually delete them. In here. Click on that and choose Delete. And you can see this two symbols in there. What I'm gonna do instead is I'm going to select them both. I'm going to go up to the top and I'm going to choose to group them together. Now when I add them in, I add the symbol font selection. It'll add in as the one shape. Have a bit of a go with that. Try creating your logo. It doesn't have to be orange if you want to do lie more berries or something like that, feel free. But a bit of text, a bit of a shape in there. And then group it altogether and put into the symbols. This is your symbols icon over here. But as you know, because I've told you 70 times, you can always click on the little question mark at the bottom. Get that one already. 56. Add Symbols & Scale with Object On: If I want to use this logo again, maybe I wanted to smooth version to go right at the top there. I can go on to the symbols. The symbols, I can just insert that logo and I'm going to scale it down there. Now you can see a problem when I scale this. Look what's happening to this line. Over here. It's actually adjusting the symbol, but the line width is staying the same. Let's see if there's something that we can actually do about that. I'm going to get rid of that over here. If we go along to the stroke options and the advanced stroke options, when we scale something, we can say Scale with Object. Try that one small. We go back and find our symbol. And I'm going to click on it. I'm going to say insert, brings it in. And now when I'm actually scaling that, both the stroke in there and the symbol we'll scale. Don't forget It's in with your stroke options. It's under the Advanced option and it's having Scale with Object switched on. So I can now make it a little bit smaller. Place that the top. Maybe I wanted another one down here as well. So I can't move that at the moment because it is all grouped together. So I would actually have to go in and ungroup it. Go and find the group over there. Unlock that group. I'll click on the options to unlock it. Now there's undocked. I can actually double-click to go in and move that over. And let's have this one or a copy of that one down there. What is the difference between me taking one as a symbol and dragging it out or making a copy. As I've done. Nothing really. They both are instances of the symbols which are in there. That's the parent, and these are all children of that parent. What does that mean? Well, it means that if I go into the symbol here and I'm going to double-click it. And I change the color. I'm going to go in there and adjust the color. So I'll just go to my color over here for the text much you need to select it again. And I'll change it to purple. You can see it updates the other ones as well. If you've made something to assemble and you make some changes to one of them, the rest of them will automatically change at the same time. I'm going to actually go back to orange for that. 57. Add Texture with Bitmap Brush: What I'd like to do now is to put some texture into the o from the orange, something which looks maybe a little bit like orange peel. And I'm going to do that not in this vector area, but I'm going to go into the pixel areas. So it's this area here. If I click on that, it takes us into the pixel persona. The pixel persona actually changes the tools and all these tools that you have now over here, our tools to do with pixels or bitmap. It's also known as raster as well. But where you've got vectors which are just lines and points and everything's fully scalable. When you go into the pixel persona, we're dealing with pixels. And if you zoom in too much, you will see those pixels. I'll show you in a moment. But the great thing about this pixel persona is I can then start to work with textures. In my layers studio here, I've just clicked on the artboard layer. I'm going to go and add new pixel layer. There it is. Over there. You can see I am still in the pixel persona. And I want to just paint something in here. I'm going to go and get a paintbrush. And I'm going to go over to my brushes. And there's all sorts of brushes in here. It's just great to spend an afternoon just playing with all of these that you know, what the shapes are, what they do. I'm actually going to look in the textures for a texture. There we go. That's the one that I want to open that again, I'm just going to use brush pattern, one texture. This is a brush texture. I'm going to pick the same orange that I had for my logo. If I now zoom in a bit using this brush, you can see it's a bit on the large side. When I paint. It will just paint in with pixels. Over there. Gone a little bit too far. Onto the outside. There's an eraser so I can use my eraser. And I can then just erase out those bits around the outside that I didn't want. But remember this is vector that is pixels. If I zoom in far enough, you will start to see the individual pixels in words with a vector, you can keep going and it will always be a perfectly straight line. I can continue on over there and maybe just do a little bit more orange around there. Try that out, go into the pixel persona, don't forget AD, you will new pixel layer in there. Have a look at the brushes, experiment with some different brushes in there, see what you can get, and then paint a little bit on your logo. 58. Add Green Dot in Symbol: What do you might have noticed is the texture that I've put in is only been applied to the middle symbol, not the outer top one or the bottom one. That's because the pixel layer is sitting out here. Those are our symbols. What about if I wanted to do something which would apply to both of them? Well, let's go into the pixel persona. And I'm going to just zoom in a little bit over here. I'll leave that one up so you can see live what's happening. Using the selection tool or the Move tool. I'm going to just click a few times to get inside this symbols. I'm in the symbol now. I'm going to then add a pixel layer inside there. I want to paint of day. So I'm just going to go and get a paintbrush. And I will find an appropriate brush. I want something. Well, just little circle ready? And then I'll paint the little circle at the top of my orange. Like that. You can see it's applied it to that one over there. And this one down here. If I didn't want it two fingers to undo. And I'm going to do it again, but make it even smaller. Now, I want to change the size of the brush that I've got. And you do that down the bottom here, I can adjust the width of the brush to anything I like. I'm going with something fairly small. And once again, just a little green dot over there. I can then go even smaller still to put those little things that sort of come out the side of the orange. You can see that one has updated as well. Let's get when you finished editing in there, I'd suggest you just click back on your art board so you don't keep going inside that particular symbol. 59. Use Pixel Brush with Clipping Mask : Let's look at another example of using the pixel brushes. I've gone back to my grass with clouds in there, but you can use anything you like. I'm going to go into over to the pixel persona. I'm going to choose a paintbrush. And in here I'm going to go along to my brushes. And I'm going to find a brush with some interesting texture on it. So I like to go with my texture brushes. I'll just pick one of these brushes in Yan'an need to choose a color as well for my, for my brush. So I'm probably going to go with yellow. And let's just have a look at that yellow. That's a great color. Then if I start to paint like that, and I'm going to change my color again. So let's go much darker green. Once again, paint a bit more in there. Now, when we get back into the layers, you'll see that this has made a pixel layer for me automatically. I want that texture to just be on the green area. If I drag it down on top of that layer, you see how the little line goes blue on the middle and drop it. This texture is now masked by that shape. There's a clipping mask. So I've now got the texture on that shape there. Do the same with the clouds. I think. I'm going to start off with this cloud over here. I could go in and I could add a new pixel layer in there. I think I'm going to go with a very dark gray this time. Choose a different brush. Let's have a different texture on here. Maybe it's more of a cloudy texture. And we're going to change the brush size as well, make it quite large, and just draw in some darker bits at the bottom, my cloud over there. Once again, when I go into my layers, I just move that pixel layer on top of the cloud and it will then be clipped onto the Cloud, lost the word there for a moment. Remember, you can always delete those areas separately. You can carry on painting on them. So I could go in and say, well, this is what's actually really dark day. And I went to a few more dark bits to my Cloud because it's clipped to that one. It will it will only show the area that's overlapping the Cloud you wanted out. Just drag it above it or below it. Like so. 60. Create Artboard Copy: Let's create a second variation of this page. I'm going to make sure that none of my objects are locked. Just check this node locks on them. And if they do happen to be locked like that, you will see a little padlock there. You can just click on the padlock to, to unlock them. I'm going to click on the art board right, right at the top over there. Using my move tool. And it doesn't really matter which modem, I mean the pixel or the vector persona. In the artboard area. I'm going to use two fingers and then just click and drag a copy of that across. Over there. There is my second art board. And you can see now I've got two art boards, which are exactly the same. For this art board. I think I'm going to take this content here and delete it. And I've also got a shape there. And I'll delete that one too. That was the texture inside there. Now we can start creating the next art board. We're going to do a drink scan. In here. Have a go, make a second artboard. 61. Create the Basic Can with a Gradient: It's great to drink scan here, and I'm going to do that by using a rectangle. The size really doesn't matter because we can always take it down. But what happens to my rectangle? It's got weird stroke around the outside. That's because when I was playing with a stroke before, I made this little shape in there, if you click twice on one of those little dots, you can just say reset the pressure in there. As it happens. I don't want to stroke. So I'm going to just choose none for the stroke. When it comes to the fill, I want to make a can which has a bit of a gradient on it and it looks like aluminum. To do that, I wanted to have dark edges and then a highlight in the middle and maybe a secondary highlight on that side as well. So we're going to go back to the things that we looked at before. We're going to go over here to the fill tool. And in these settings here where it says solid, I'm going to choose a linear. I can start adding my colors in. I'm going to go over to the color studio. And I'll start with this side. Then I can see a gray there already. So I'm just going to pick that that gray, but I might want a lighter version. I'm having problems getting, making these light and dark using the color wheel. So I prefer to actually go into something like HSL because that way I can adjust the luminance to make things lighter and darker. I'm just going to make that a bit lighter like so it's in my recent colors That's great. On this side. Once again, we'll make that lighter. Then I can work my way through. And I can say over here, I want this one to be really light over there. That's sort of a highlight. Almost. Then maybe another one over here, which is sort of not quite as light as that one, but maybe a little bit less so. And then we put another one in here, which might be a little bit darker as well. You can move these around until you can starts to look alive. Just move those little middle handles. If you need more of a harsh line on the Ken. We're not going for absolute perfection here. We just want the field of a can, but we will make it a little bit better shortly. Have a go at that, gets your gradient in and make a rough shape like that. 62. Use Grid & Gradients to Build Can: Before I start changing the shape of the cam to make it into a can shape. I'm going to make a copy of this. I'm going to go over to my two fingers, click and drag to move the copy out of the way slightly over there. The next thing I wanted to do is to make my canned the outer, the corners like that to give that sort of middle section, which is a bit thicker than most cans have. I'm going to, first of all, switch on a grid so I can see what I'm doing. Go to the top over here, show my grid. And if you can't see the grid, click on Show grid. In this way, when I'm actually working and I move this around, move it with that tool there. I can then measure things down to get them exact. Now, I want to use the node tool and I want to add some points to this shape with the node tool. However, what you have to do first, because remember this is an editable shape which you can round the corners on. We have to go up to the menu and we have to say convert to curves. This is now no longer shape where we just round the corners. It's just a square rectangle. I'm going to go up to my node tool now. Then I can add some points in. Over here. I'm gonna put a point in there. And it's a point over there. And maybe one over here and another one over there. I'm just clicking to put in my points. I can then select those points. And I can just pull them out a little bit like that to get that can shape. Same over here, we'll select those, pull those out. The canned shape. And then we want the top and the bottom, those sort of metal bits that you have on the can. That's why I held onto this. I'm gonna make that a bit smaller. I'm going to hold down two fingers to make a copy of that. And I'm going to move this up to here. But I really wanted to change the gradients in there. I'm going to go to the gradient and I will lighten up some of these areas a little bit as well. So we're getting more of a metallic, shiny feel. That or you could do a darker whatever works for you. Lighter. They're just move that into the right position. You can see the subtle difference in it. And then I'm going to make another copy of that. So two fingers and duplicate that and pop that down the bottom there. This one here is going to be for the logo that's going to go in the front because I wanted to have it on a white background. So I'm going to move that into the middle. I'm going to pull that gradient out. These can be kind of like a white band around, around this. But I still wanted to look like it's white. I'll go over to my Gradient. Start on this side. And I'm going to lighten that up. Do the same over here. I'm not paying for pure white because I still want to give it some shape over there. Let's go pure white on that one though. A little bit lighter. Maybe that one just a fraction Lightroom as well. If you find it's not round enough, you can just darken those very edge ones there and even move these middle section. So it's just very dark towards the edge. Once again, whatever works for you, I'm going to switch off the grid finally over here. So we can just go to grid and we can just hide that grid in there. Try that out. 63. Add Logo & Shadow: I'm going to select my entire CAN and group it together. Don't move things individually. Let's bring in the logo. So I go back to my symbols, click on this symbol, say Insert. And I can then move that symbol into the right position. Ups done it twice. Just delete one of those. I can then move that symbol into the right position on the can. Like so. We can keep adding some more details in there. Now, I seem to have lost one of those bottom ones in there. But that doesn't matter. I can always go and copy an existing one or find one from the Symbols panel over there. And I will just use two fingers to drag that one down there. So I've got my copy again. Finish off your logo in there. You might want to do a few more tweaks. You might want to add some other bits. Maybe you even want to add in a little shadow underneath it. So it looks like it's sort of sitting flat on something. And you can do that using your gradients. I will show you very quickly how we did this before, or go to an ellipse or drawing the ellipse underneath that shape. I'm not going to use a gradient. I'm going to use a transparent gradient. Moving up to my fill color. I will just fill that shape with, let's say black for now. We fill it with black and then use your transparent tool. And on that we can then just drag the transparency out, but change this from linear to we want elliptical. So we can control both sides. It's the middle. Like so. We'll need to change the opacity on that because it's looking a little bit too harsh. I'll go along to my layers up to there and adjust the opacity. The layers just enough. We have the feeling that there's a little bit of light sitting below the can. And we can even move it right under the Qin as well. If you wanted something a bit more, I'm going to get mine to be floating in the air. 64. New Copy of Artboard & Make Symbol: Let's move on to our next variation. I'm going to, first of all make sure that nothing is selected over here. I'm gonna click on the artboard, two fingers and drag a copy of that art board across again over here. I think I'll do something like that on this one, same as before. I'm going to just, well make some changes. So I'm going to select this and rather than delete it, because I might want to use it again, I'm actually going to put it in as a symbol. So we'll go to our symbols over here. Now remember when I put this one in, before they came in as individual objects, I want them to all be one. So I'm going to have to group at first. They're going to go up to the top. And over here it says add symbol from selection. It's popped it in, in there. Now, although it looks like it's actually added it in to that symbol there. It's a bit deceiving ready because we're so used to working with layers that you don't realize that these are actually individual symbols and you can have multiple symbols all the way along and then he's still a symbol by itself. If I took something else, let's say, for example, this orange item, I'll just select that. And once again, if I added that in as a symbol, it will appear over there and they just come in one next to the other, like that. Have been her. Go get your second one, make sure it's a symbol and then you can delete it and we've got a nice blank page to work on. 65. Cut Out Skateboard: This particular art board is gonna show somebody doing some form of sport. Obviously, we want to associate our orange juice with outdoor activities. And I wanted to sort of exciting sport like skateboarding. I'm going to go across to the studio, the room. This is the stock studio. And I've gone to pixels. And I'm just going to put in jump over here. I could type in skateboarding as well, but this seems to be a lot of skateboarding pictures when you type in in jump for some reason. I'm going to use this one over here. So I'm just going to click and drag it into my document. Now it comes in really, really big. I need to scale it down. So I click on it, zoom right out. You can see the edge, can then scale it down to a slightly more sensible size. For the document. I'd like to now cut the border out the skateboarder out of this area. We're going to be doing that by going into pixel mode. In pixel mode, I could take my erase tool and I could start erasing all this area over here. It would take a very, very long time. We have some selection tools over here that allows to very quickly select parts of a photograph and then mask what we don't want. That's what I'm going to do now. I've got this picture here. I'm going to go along and I'm going to use this tool now if I just show you with the names over there, it's called the smart selection brush tool. What this tool does is when we paint on an area, it will very smartly go and add a selection. It looks for the edges over there. Now I want to add some more to this. If you add option over here is on Subtract, you'll be subtracting. Otherwise we can add using this tool, move, zooming down a bit. I can then just paint on his shoes and go and add that in. If you find it not doing enough, you can actually change the width of the brush and make that brush a little bit bigger. The same again, I'll just paint over those bits. Over there. Maybe paint on the wheels. And you can see how we're getting that selection in there really quickly. Same again, around here, paint those wheels. And as I said, a smaller brush, if you need to be a bit more delicate and detailed with some of these areas like so. We don't have to do this perfectly. We just get it pretty roughly, roughly correct. There are other tools for selecting as well, so you don't just have to use this one. I'll just really quickly run down the edge of the board. There and around the side of the board. I want the board to look pretty good. Right? So onto his hands, they look alright, and you might need to do that little section. His hand and his finger in there. We're missing that, paint out that but then we also have that which we don't want. So if you change from add to subtract, you can then subtract that area. Like so. I'm going to go back to Add again and add in some more things that are missing over here. And I will make my brush a little bit larger for this will be a bit easier to paint in these areas. Let's get his head in there as well. And out to the Somme. Just got got everything there. Now I've made my selection or Mr. whole part of the board. I've just realized his shoe. And that's how the board. Now I've gone too far and I've actually gone in and select this. I'll do Subtract. Subtract that. Let's try making sure that it's on Subtract, Subtract, and I can subtract this area in the middle. Now that I've got this area here, we're going to clean it up because the selection that we've got is probably pretty rough. We have another tool here, which once again, I'll switch this on. It's called the Refine selection tool. That one there. This then shows us the selection that we've got. In here. We can choose to see this on black, on white, or on the pink. Now, my background is gonna be pretty much whites. I do want to see this on the white in there. If you find that there are areas that are not quite right with this particular tool, you can actually go in and just paint. And it will kind of look at that area and redo it for you and you can add in extra bits and tweak your selection with that. If you have any rough bits, use this tool and with a small brush just run around. Now before we click apply in here I'm going to say, let's make this into a mosque. Click Apply. And we've now got this cutout. I know you can't see it in the background property, but you can see it's actually a cutout picture. Fortunately, seeing some of that over there, but we'll get rid of that shortly. Like so. 66. Cut Out Orange: Let's try this again, but with a piece of fruit. So I'm going to go over and find the picture that I want. I am going to go from the pixel to the designer persona. Because you will see that when you're actually in the pixel persona, you can't see the stock studio in there. I'll go back to the vector area. I'm going to click on the stock studio and we're going to type in orange. Let's have a look for some oranges. That one's quite a nice-looking little one. So let's drag this in. It's a bit on the large side, so I'm going to have to scale the whole thing down quite a lot. And it's zoom into it over here. Now, I want to mask this out. I'm going to use the same as we did before, but obviously you need to go into my pixel persona. We're going to use that paintbrush to just paint in the areas that I want. Right that edge of the brush is not big enough. Just increase the size. A little bit like Sir. Got to watch the don't go to fonts dot then selecting the white as well. I think I'll do this one as well because, well, look really good with two of them. Same again, I'll just move over the edge. A little bit of white in there, but that should be okay. And that needs a bit more on there. Now that I've got those two, I will go to the Refine tool. And I'm gonna check this out on a white background. Let's try that again. On a pure white background. But if I wanted to see it with my pictures below it, I can actually choose to have it on a transparent background. While we're in here, we can still use this refined tool to go and refine some of those edges to sort them out a little bit. Now used a very, very big brush and had really wasn't ideal in there. Anyway, I'm going to say I want to mask it. Click apply. There, there are there masked. On thinking about this, you know, I really only want this orange over here. How do I get rid of this one? Well, when we go to the layers, you'll see that there's actually little mosque on that shape. If I click on the mask and I use a paintbrush, anything on the mask which is black, will hide the appropriate object. If I've got a paintbrush, I'm going to go in and I'm going to find a large paintbrush like that and start to paint. That seems to be a bit weird. It's not painting properly. Let's undo that. I'm going to make sure that I'm actually on black. I'm going to get black as my painting color. And then when I paint, you can see how it's actually painting on that mask. Let's go back to the mask of this. I'm painting on that mask and it's just hiding those areas. That's the way that masks work is anything that's black on that mask will be hidden. If I were to change over and paint with white paint on the mask, you could see how I could actually bring that back again. So black will hide and white will show. Even if we've gone too far like that. In there, I could take my brush size down. I think white. I could paint that bit back over there. Let's just scale that down a bit. Look what's happened now is a problem. Because as I move this around, you can see that it's moving the mask, not the shape. Let's go back to the layers. Make sure you click on the shape, not the mask. And now I can scale that down or move it around without affecting the other item. And I'm going to pop that up the top in there. 67. Refine Selection Boxer Girl: I've brought in another picture over here, this one exactly the same way that we bring in all the other pictures by just going to the stock studio and bringing it in. But what I wanted to do with this one is to cut it out. So I'm going to go over to my pixel persona. And I'm going to use, we'll probably go for something like the brush, the smart selection brush. I'm just going to paint the areas that I want over here around their body a bit. I think we can go up to her arm. And maybe this section there, possibly the sum over there as well. Now if you've gone too far, you can go over to subtract. Then I can subtract some bits. So I'm going to use a smaller brush to subtract this bit there, and a much smaller brush to subtract that bit there. Let's try going and doing it that way. And then we'll add that piton. It's not the best selection. You can see her hair is a bit of problem in here. But this is where we can actually go along to our refined tool. Now, I've just noticed once again another little area. This is the problem with this. You just keep seeing more and more bits that you might have missed. I will just very quickly pop that those bits in. I think that's it. Good. If you zoom right in. Of course, you can be a bit more detailed. To get them right. I'm going to go into the refined selection. I'm going to change the background over here from the overlay into white met so I can see what I'm doing. Right over here. You can see the problem with a haze. It doesn't look very good. So using the Refine selection tool, you can just change your brush size. You can just paint over those areas and it will refine them for you. And you can see how it's just removed some of that pink background. And I could go up the hair here if it wasn't quite right and just keep refining that hair. So it's a great, quick and easy tool to just get rid of bits that you don't want. I think that's, that is everything in there. Once I'm happy with that, over in the selection, I'm going to choose Mask and click Apply. Now this gives me my picture. In here. Now you can see there's a bit of a problem with the picture because there's a bit of pink coming through in the background there. If we go back to the vessel, the vector persona, There's a tool in here called the vector crop tool. This will actually allow me to crop in the vector shape over there. In fact, I think I'm going to crop that up to the middle section. Let's crop this down that down over there and then I can move that around into the right position. I think she's going to go in over there. And then I'm going to bring in one of those logos that we had. So I'll go back again to my symbols and I can just choose to insert one of the logos. I'm going to make it a lot smaller. Pop a logo, maybe up there. 68. Add a Bitmap Shadow & Reorder Images: Let's bring in our other artwork. I'm going to take my border and make him a bit smaller. So I think just pop his hand up there. There's an extra bit of the background. So I'm just going to move him right away to the corners. So I'm not too worried about that. Then we need to bring in my artwork, the can that I had. So I'll go back again to my art. Now I'm in the wrong area. Need to go over to the vector area. I'm going to go along and I'm going to find my symbols. And I'm going to bring the canon over here, maybe scale it down a little bit, like so. And I want him to be sort of jumping off the edge of the can like that. Now that I've done that, I'm think that Ken is in the wrong place. He is. The Ken is actually in front of the board and I want them the other way round. Now what I've shown you before is you can actually go into layers and you can just drag that layer down underneath the other items. Another way to do it is if you go down here to the transform studio, this some little buttons at the top. And you can just take things and say, well, this is in front of that and I can just keep clicking on that until I move that layer below what it's doing. It's just moving your objects below or above each other. I can then get that. So he's looking like he's right on the edge of the can. Now to give him bit of branding on his clothes. Once again, I'm going to go back to my symbols. I'm going to drag in the orange logo over here, which is really huge but not a problem. We're just scripts. We just scale it down a bit. I'm going to put that on his back pocket. Like so. Don't forget, if you want to create shadows there, not just for shadows underneath objects like this. Maybe I want a bit of a shadow to darken down the side of the can wear his board is what I could do is take a shape and I'll do the same thing that we've done before. I could take a shape over here like an ellipse. I could put some transparency on that. So going from the middle out, and I could use a elliptical transparency area. Pull that out a little bit like that. And of course I could take the setting down to make it a bit well, a bit less harsh. I suppose. I could take that and pop that up under there to get a bit of depth to the shape. But another way to do that instead could be to actually make the shape or make the shadow with a bitmap. So I can go in, I'm just going to undo that to it'll shape that I had and delete that. I could go back into my pixel area. I can go and add. And let's see where we are over here. I'm going to go and add new pixel layer, my pixel layer up there. I can then use a paintbrush and just paint it in with any of these tools or any of these brushes that I want. I'm going to just flip through until I find something appropriate, reasonably soft over here. Let's just try one of these ones. They've quite interesting that I can just paint in a bit of a shapes. We've got something which is a little bit more grungy us. Bose is the only word for it. Then of course I can take that and move that behind the board. I'm going to do that in the same way that I did before by using this option to kind of move it down until it goes behind the board, but in front of the can. And lastly, while it's still selected, let's go into the options and change the opacity on it ever so slightly, like so. 69. Exporting Layers in Export Persona: Let's save out the artwork now and we're going to export it by going into the export studio. And that's the little button at the top there. On the right-hand side. You can see that we've got our three art boards and they've all come up individually down here. Now, I can choose to export them by clicking on the little export button over there. But before we do that, we need to decide how we're going to export them. If I click on the little circle, I can then choose the file type that I wanted to export them. As you can see, there are just so many options in here that I can export to. And I'm going to choose the PNG option over here. Then I can have them at the standard size, double size or triple size in one X2, X0, a3x in. I'm going to go back to my slices now. And I can once again either click on one of those to export it or I can just say export all. But where's this going to export two. Well, if I go to the very top to the little burger menu up there, I can then choose the Export folder. Down here. I'll just say export folder. And it says, where do you want to export these two? What I wanted to export them on to the iCloud Drive into my Affinity Designer folder. That I think that's the one that I want and click on Done. And now when I choose to export all or export them individually, what it'll do is it'll export them all to that folder. It's going to have a look. Now remember I did these as PNGs, which means the backgrounds are going to be transparent. So we'll go into the folders. Over here. There's the Affinity Designer folder, and here they are, 123. If I click on one of them though, you'll see what's opening up in Affinity photo. But you can see the background is transparent. If you want to have the background solid, then your best bet is to just export them out as a JPEG. So once again up here, instead of PNG, I could choose a JPEG file in there. And I'd probably go with JPEG, best quality or something like that. Try that out, export your designs. 70. Exporting Slices in Export Persona: What would happen with a piece of artwork like this, where everything is on the same artboard or in fact, there aren't any art boards. It's just on the same background and you can see I've gone into export. And he had just says export all. But maybe I just want to export this one over here. What we can do is we can go up to the little tool on the left-hand side. And this is the slice tool. I can then just click and drag to make a slice around the area that I want to export OwlTest. I can make as many of those slices is alike. So let's have another one over there. And I'll have a third slice, that one, like so. Now you can see the slices have come up as individual areas. Once again, I can either export directly. I can choose Export All, or I can click in here and choose how I want to export those slices. If you don't have individual art boards, you can still do the same thing, but you have to use your Slice tool to slice up the existing document. 71. Help Area: Now Affinity Designer is really large and we've covered a lot of it, but there's still a lot of features that were on, unable to get into this course. And if there's something that you're looking for, particularly what you can do is you can go to the little question mark at the top. This takes you into the designers help. You can see over here we've got some featured topics. And if you click on that, it'll touch gesture. You'll find that you can then go into, for example, the touch gestures. Or you can choose any of these subjects in here. I could, for example, go down to the layers and then have a look at creating layers. Merging layers, blending layers. Everything that you need is in the settings in here. 72. Thank You!: Well done for finishing this course. I hope you feel like an Affinity Designer on the iPad guru. Don't forget to have a look at our other courses. We do Adobe and affinity courses, and hopefully we'll see you on one of those.