Amazing Affinity Designer on the iPad Course V2 - Essentials

1. About this Course: 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 it 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. Start Interface & New Document: Let's start off by having a look at the interface. When you first come into designer, what you'll find is that there's quite a lot of images over here. I'm in the samples area, you can see we've got samples over there. These are samples that affinity give you, but you could be in the live documents and these are all things that you're working on at the time. These are different illustrations that I'm working on personally. We've also got some other settings in here. We've got a help option in there, you can go and get help that way. We've got templates and if I click on templates, it will allow me to open up templates. I can also click on Open to go and open other documents that I can't see in here. Then lastly, over here, we've got the new button over here, I can create new documents from absolute scratch. And that's what we're going to be doing over here. We're going to be doing the new document set up. So I'm going to click in there. And that takes me into this new document window over here. Do have a little bit of a look around this particular area. Click on, you can't do any damage. You could also go to your settings at the bottom and change any settings that you need. I would suggest waiting before you change too many settings in case it messes things up while we're actually doing the course and you wonder why things aren't there, or are there or look a bit different while we're in here. If you are left handed, the default set up is for right handed people. You can just switch that into left handed mode to flip things around and hopefully make things easier for yourself. I'm right handed so I'm going to leave that switched off anyway. Do try that out and then we'll move on. 3. Start a New Document: Let's click on the new button and we're going to make a new document. Now when you come into the new document area, it looks something like this. What we have are different documents down the left hand side. Starting from the top, we've got some print options. We've got press ready options. There's photos, web devices, and architectural. Now, all of these are just presets for what we have in this area here. For example, if I went to a four print. Now this is not setting up for commercial print, it's just setting up for maybe printing on an office printer or a small printer that you have at home. What it does, the four, is it sets the size in here. I've got my millimeter sizes and it puts in a resolution which is high resolution, 300 DPI. You might also know that as PPI dots per inch or pixels per inch. We're working in millimeters in there. If you want to change that to something else, just click and choose the value that you want to to work with. Now this area, here's the dimensions, Then we've got the color. Now there are two main color modes that we're going to be working on in design. We'll talk about them later on. But we've got RGB in there and we've got and Y K over there as well. As I said, we'll talk about those as we go. Now, that's maybe desktop printing or office printing. If you want to send out things for commercial printing, maybe you'd go to pre press over here. Once again, I can choose a forward gives me the sizes but it automatically defaults to and YK, it puts in something called bleeds as well. Once again, if that goes over your head, don't worry about it. We'll be looking into that later. Moving down, we've got photographic sizes here, ten by 886. Here we've got web sizes. Now if you go to one of the web sizes, what you'll find is that it defaults to pixels rather than millimeters. And you can just put in your pixels over there. You don't need to worry about resolution for anything which goes on screen. Really, over here we've got our pixel sizes. But if you don't find the size you want, you can always click in there and just put in your own size right into that little window. Going down, we've got devices. Once again, if I click on one of those devices, it will put in the correct pixel sizes for me and sets everything else up as an optimum for that particular device. We go down here, right the way down to Apple watches as well. And then finally Architecture, where we've got these huge documents, 42 " by 30 " over there at CMYK. Have a little bit of a look around that. And once you want to try something out, by all means just click on it, just go in there, click it, and click okay to open up that document. Now that you've got the document open, if you then decide to close it down, you can go to the top left hand corner and click on that little icon there. You'll notice that your document now appears, this is the document here in this live documents area. It hasn't saved it elsewhere, it's only in this live document area and saved onto your device. Try it out. 4. Interface Items: I'm going to go to the new option here, and I'm going to create a new document. Now, it really doesn't matter what document you choose in here, but I'm going to go over to the web and just choose one of these web size documents. I'll click okay. You'll now be able to see my document in here. Firstly, I'm going to use two fingers to just in and out. And I've got my page in there and this is the art board around the outside. Now on the left hand side, we've got a whole lot of tools down here. On the right side, we've got what are called panels. Now if I click on one of these little icons, you can see it opens up a particular panel. I'll just keep going over there. Panels over there. Tools over there, and menus along the top. Now the men, I'm just going to start from the second one over there. You can see we can drop down to these menus here. Even the ones that look like buttons are actually menus as well. And they'll show different options depending on what we're actually doing. I mentioned the one that I was going to leave out over here, which is this little colored one. This is an interesting one because this is called personas. At the moment, we are in the designer or the vector persona, and we're going to be using vector shapes in here. But if I want to work with pixels like photographs, I can click on the pixel persona. What it will do now is it will change the tools and the panels to personas which are appropriate for working on pixels. If I go to this last one, the export persona, you can see it changes both the tools and the panels over here to ones that are appropriate for exporting. Now I'm just going to go back to designer in there. We've got two other little tools over here. One which is a bin, obviously to get rid of things, and one to de select items. And a few more options down here. But the one that I want to really show you is this one, which is the question mark, because this is great. If you click on the question mark and hold it either with your finger or with your pencil, it tells you what absolutely everything is in there. If you can't remember a certain thing, for example, you're going through here and you're thinking, what is the Vector Flood Tool? Where is it? Click and hold. And there it is over there. Have a little bit of look around the interface. Feel free to click on things, see what they do. You won't be able to do any damage to it, so try it out. 5. Vector vs Pixels: Let's have a look at the difference between the vector and the pixel personas. I'm at the moment in designer, which is the vector persona. If I were to take a tool like for example the paint brush over there, I'm just going to make it a little bit larger and I'm going to draw a line in there. This is a vector line. I can then go along and I can use some of these tools to adjust it, and I can move that line around with these handles wherever I wanted to go. I can also zoom into it. And you can see I can keep zooming in because vectors are fully scalable. You can fill them with color. You can change at the stroke and the width on the outside at any time. How is that different to pixels? Well, if I go to the pixel persona over here, once again I'm also on a brush in there. Let's see how big it is. I'll make it a little bit larger over there. Well, first of all, I've got a soft brush in there. Now if I want to change that to a hard brush, I can actually go right away to the brush settings at the top, I'm going to change the hardness to 100% so I can make it a hard brush like that, vector brush, maybe it's a little bit too big. I will do the same thing. We've got two brushes over here, one is pixel and one is vector. If we have a close look though, you'll see that the pixel brush is made up of pixels. Whereas the vector line, I can keep scaling in as much as I like. Because it's vector, you will never have to worry about resolution or pixels appearing if you scale something up. The second thing is with the vector, we can always change the shape by changing the vector line, whereas with the pixels, it's permanently there. Of course, you could use an arrays tool to change it if you wished. But have a little look at that and try something in designer over there. Just use for the moment a brush and just a bit of a squiggle on there. Have a look at that. You can change some of these settings. You can change the size of the brush if you wish. If you do want to change the color, this is your color up here. And you can just pick a different color to work with. Then go into the pixel persona and do the same thing. Use a brush, create a shape, change the color on it. If you want to change the softness, you click at the top there and you can adjust the hardness of that brush from a soft brush to a hard brush or anything in between. But when you zoom in, have a look at the difference so that you can see what is vector and what is pixel. 6. Command Key: Now let's have a look at this little circle that you see over here. The first thing is that the circle can be moved. It's called the Command Controller and it allows us to modify keys from the keyboard. If I want to move it, I click and hold, and I can move it around and place it wherever I like. We use this in conjunction with the pencil. Now, to get to the keys in there, what you do is just one click on there and it will then bring them up. If I want the shift key, I can click in there and then I can move to the shift key and hold that down. Then whatever I'm doing here, it's like holding down the shift on the keyboard. You can see that we've got other options in there as well. Things like the command key or the option or the old key as well. If I want to keep it there permanently, I click and then click again to hold it in that position. It's like permanently holding down the shift key without me actually doing so on the keyboard. 7. Create & Manipulate Shapes Intro : Affinity designer is all about creating shapes. These are vector shapes. And we're going to look at some shape tools now on how to make the basic shapes. These are building blocks that we're going to be using to build all the incredible graphics that we'll get onto shortly. Don't forget at the end of this section, there are three projects, and we're going to be creating some logos in those projects. 8. Create Simple Shapes: Now let's get rid of this document. I'm going to go to the top corner and click that little button up there. You can see my document still exists in here. If I did want to go back to it, I can just click on it, and I'm back in there again. Let's close that down. If I wanted to remove it completely though, I can go along and press the little x at the top. Now, this document only exists on my ipad. It's not saved anywhere else. If I close that, I can say close without saving, I won't be saving it permanently anywhere else. It will just close it down from within designer itself. That's it. That's gone permanently. You'll notice that there's a little m next to the name of the document. That means that these items here are only saved within designer itself. It's not saved elsewhere. If I close them down, I need to make sure that I save them permanently as well. If you have a look at some of my work here, this one here, although it's untitled, doesn't have the M next to it. So that one is saved elsewhere. So is this one over here? That one isn't because it's got the little m on it. Now, I wouldn't suggest that you keep all your work in design like this. The reason that mine are there is because I have actually previously saved them elsewhere and then reopen them again. But that is another story. Anyway, let's go in to a new document again. I'm going to click on New Document over there. I'm going to go down and I'm going to use the device. Now I'm on a 12.9 ipad. So I'm going to use the 12.9 under device over there just to get the correct size. Click. Okay. If you want to use a different size, absolutely fine. No problem at all. Now let's have a look at some of the shapes. This is the more exciting bits. Now we're actually going to start working on some shapes themselves. I'm going to go over here to the tool bar. You can see this little tool has, there's a tiny little arrow at the bottom right hand corner. It's difficult to see but it is there that means wind tool has that if you click on the tool, you can get the extra tools to appear as well that are in that set. Now if I started with a rectangle over here, I'm just going to click and drag a rectangle onto my document. Now the first thing is, it looks so boring. I'm going to use the move tool, that's the little black arrow at the top. Click on it, and go up to the color over there, that's the circle. And just choose a different color I want this to be. Then you can choose the shade of purple in the middle of that triangle. You'll see that the shape has got little dots around the outside. If I grab one of these nodes, I can resize that document if I want to resize it, but keep the proportions correct, I'll need to use shift. So I click over there and I'm going to use shift up there, grab a corner, and I can resize it proportionately. It's exactly the same with rotation. There's a little lollipop sticking up the top there. If I grab that, I can just rotate this around anywhere I like. But if I go over to my command controller and go up to shift, I can then rotate it in increments, like for more accuracy. Now when you actually choose or work with something, you're going to find the little bar along the top changes if I were to do a different shape. Now I'm going to get rid of this one by clicking on the bin at the bottom. I'm going to go in there and I'm going to choose a different shape. I'm going to use a star, for example. I'll click and drag my star in. Now while I'm drawing it, I want to be a perfect star. So I'm going to go up to the option there. I've got my perfect star, and I'm going to select it using the move tool in there. Then I've got some more options that will appear when I want to change it. At the moment, they're all still looking exactly the same. If I go over to the white arrow tool, you can see how I've got options for the number of points. I can just choose or change the number of points on that little star. I can change the radius as well, so I can just adjust the radius on them. But you'll also see that these shapes, when you go over to that white arrow tool, have got some red dots. And this allows you to manually click and adjust these shapes yourself. I can go to that point there and I can just maybe round off that point a little bit as well. Some of these tools, and they're all different, allow you to actually go bend the shape as well. So I've clicked on that little curve and now I can grab one of these sides and pull it out. You can see how it's actually bending the edge over there. Let me just pull that out a bit more. Maybe I'll go in that way. All the shapes have got different options. We're not going to go through every single one of them. Let's have a look at one or two more though. I'll get rid of that one. I'm going to go in here. Click again. I'm going to go to this Cog. I'll draw my Cog in. I want to be a perfect, perfect cog shape. I'm going to select it and I can move it around. I can scale it, and I can rotate it with the black one. If I go to the white one, I can then get into the settings, you can see I can change the number of teeth on that cog, I've got an inner radius for the inside, I've got the whole radius as well, but there's also the little red dots in there. So I can adjust those manually. So grab that middle bit and just pull it out to have more of a circle. When you try out these tools here, have to go with absolutely any of them in there. But when you're doing them, don't forget to use the options in here to get perfect shapes. And also go to the White Rot tool. Click on them, and this will allow you to adjust the shape manually as well. Try them out. Have a go with lots and lots of different shapes. 9. Fill & Stroke: Let's take a little shape over here and get some color into it. I'll just take this little heart over there. Now you can see the heart that's come up has got a green fill in the middle. And it's got a line around the outside, the stroke. The line around the outside is quite thick and I'll show you how to change that as well. Now I'm going to make sure it's selected. I'll use my move tool to select it right up the top here. If I click on the color, you can see we've got a fill color option and a stroke color option. You just click on the one that you want to adjust. So with the fill color, I can then go in and adjust the color. In there, I can click on the stroke and I can go and change the stroke color of that as well. Quick little tip here, if you want to flick things around, you can just drag over them like that to get your field to go to the stroke and vice versa. Now the colors that we've got over here, we'll be able to save them later onto our swatches, but for now we're working with a color wheel. If yours doesn't look like this, what you can do is you can actually click over here. And instead of working with a color wheel, you could try the HSL sliders, or you might want to go onto the RGB sliders. Remember if it doesn't look like mine, I'm on the color wheel over here. Now, I want to adjust the stroke around the outside. So I'll click on the next little panel. And here we've got our width. And you can just adjust the width over there. Anyway, do try that out. Remember you've got your fill color, fill and stroke. You can flick them around and you can adjust the colors in there, and you can choose from the different color models, shall we say. And there are just different ways of displaying the color. Try it out. 10. No Fill & Stroke: Now I've got the heart still. What I want to do is I want to make a copy of this. The quickest way to copy something in designer is to click on the little button. And we want to go across to the command key. If I click on the command key and I can just drag a copy like that, this copy that I've got, I'm going to go over to my color. I'm on the fill. If I don't want to fill, I can choose none. That's the little line through the middle. If you want white, there is white which will knock out the background. But I can make it transparent. Let me do that again. I'm going to go across to this one click and go onto the command. Drag a copy out like that. This time I'm going to go to the stroke. And I can choose none for my stroke. If I don't want a stroke, I'm going to copy that once more. I'm going to use this one. Make a copy this time. When I do it, I'm going to have no fill and no stroke. This becomes an invisible object, You can't see it over there. If I click and drag, it is still there. These invisible objects, although they seem a bit silly to do them, they have actually got really good uses, and we'll be using them later in the course as well. 11. Corner Tool: Now I'm going to draw a rectangle. I'm going to click and drag. You can see the rectangle just seems to disappear. Where has it gone? Well, it is still there. If I get my move tool and click and drag over, here it is there. But because last time I made a shape, I chose no fill and no stroke it. Remember that setting, so you just can't see it? I'm going to go along to my stroke now and just choose a color so that you can see the shape. Now what I want to do is I want to change the corners. Because there's a little tool in here called the corner tool that I'd like to show you. Now if you're not sure where it is, don't forget the little question mark over there, click on that. And I can see that the corner tool is that one there. I'm going to go to my corner tool, this enables me to go to a corner. You see I click that one there and just click and drag to round it off the same here. Click on that one, let's undo that. I've just used two fingers by the way, to undo. Just two fingers to undo like, so let me do that again. I'll click on there with the corner tool and drag it in. I'm going to click again once again with the corner tool to make my corner. Now you can do this to multiple corners all at once. I'm going to use two fingers to undo. If I use the corner tool on all the corners, I can move them all in at the same time. Or I can just select two of them and make sure I'm on the right area there. On the right tool. I could do two at the same time as well. Now, if you do this and you move back again to the move tool, those little things disappear. But when you go back to your corner tool, you can always get back to them, there they are. And I can always go back and just pull them out and get them back to their original shape. Try that out on the corner tool. It's not necessary, just working on these shapes here. You can use it on all sorts of shapes. I'm just going to go in and I'll choose a triangle over there. And once again, use my corner tool. I want to affect that corner there. And I'm just going to drag it in like so have a. 12. Convert to Curves & Nodes: Let's take one of these basic shapes and I'm going to go in there and I'm going to choose a star. I'm going to draw a star in like so. Now the black arrow tool, the move tool at the top, allows me to move it around, change it. If I go to the white arrow tool. The white arrow tool allows us to actually click on the individual nodes and move them around. Now you'll notice that with this star, well, it won't allow me to move it, to move the individual nodes because it's a special shape and it's got these little controllers here that I can control the shape with. But what about if I did want to convert this into a normal shape so that I can actually move these individual points around with my node tool? Well, there's a little option right at the top, over here. And I'm going to click on the little question marks that you can see. It's called the Convert to Curves. These are those ones over here, and you can see that little shape. This is convert to curves. If I click on that, what it's done now is it's converted this into curves. And it means that with my Node tool, and that's the one over, it's just called node, I can go in and I can click and select individual points and then move them around individually. I can just pull these in. Let's pull that one out. Let me do it again. I'm going to just delete this one. So I'll use my move tool and just press the little bin at the bottom to delete it. Let's go back in again and just very simply use a rectangle. I'll take my rectangle. I now need to convert this into curves. I go to the little button there and convert to curves. And then I can go to the individual nodes and pull them around. Let's do it with something with a circle. I'm going to once again just remove that by clicking on the little bin. I'm going to go along, choose a little circular shape here. Let's have an ellipse draw in the ellipse once again, if I go to my node tool over here, I can't get to those individual points until I've converted into curves, and then I can click and move those points around. Now what we have here are little handles that allow us to control the curves. If I were to pull out on the handle, you can see how it pulls that curve up over there. If I pull on this one, if I pull them back in again, I'll get more of a pointy shape over there. They are linked together. If I twist one, it twists the other one, so we get this very smooth curve going around. This is known as Bezier curves. It was named Bezier after I think he was an engineer who worked for one of the car companies. I think it was Toyota, but don't quote me on that. We can move those around. We can select multiple ones and we can move them together as well. Try that out when you're using these basic shapes in here. Don't forget, once you've created a shape, we're going to be in the Node Tool over there. If you just click on those little red things, you can move your shape. If you click the convert, you can then move them wherever you like. Have a bit of a go with that. 13. Select Options: Now you'll notice that when I select things using the selection tool, I click and drag. I just touch those objects to select them. You can of course, just click on objects like that to select them, but I just click and drag over them, so I touch them to select them. Now this might or might not happen on your machine. You might find that you actually have to select the whole thing like that to get it selected. This is a setting in the preferences. I'm going to go out of my drawing or simple illustration into this area and click on Settings in there. We're going to go down to the tools. Under Tools, there's an option here which says select object when intersects selection marquee. If I switch that off and then did this again, you'll see now that it won't select things until I surround them like that. Obviously, I can select the blue one by just doing that and picking that up quickly. Now I'm going to put that back. So I'm just going to go back to my settings in here and switch that on once again because it makes life so much easier. But it's up to you how you want to work while I'm here. I'm also going to go to the general settings and show touches. Now, you don't need to do this unless you're showing somebody else what to do. Because what this means now is that when I'm clicking, it just shows a little blue line in there, so you can see what I'm doing a little bit easier like so do check out those settings in there. And especially the selection by touching or the selection by selecting the whole thing. Decide which way you want to work. 14. Convert Nodes: Now I'm going to convert this into curves and use my node tool to select one of those little points like that. Now at this point I can move around with my node tool. I can select it by clicking and dragging, or I can select it by just clicking on the node. You can click and drag over multiple points to select more than one at a time. But with these individual points, if I selected that one there, I'm going to go to the top over here, we've got, whoops, let's try that again. I'll just select that one. We've got three little buttons. Now this one here is for corner nodes. The next one, if I click that makes curved nodes. Now I can move that around, pull it out. Let's grab those handles and pull it back like that. At any time I can go back to a corner node in there, back to this one over here. Now, when I start to move this around, it might be that I think, oh, I've made a bit of a mess over there. I want to get the original curve back again. If you click the curve, it doesn't do anything. But if you click the smart curve over there, it will just take it back and these two handles will be the same length. Have a look, I'll pull that one right out like so. And click on the smart curve and it's back again to handles the same length. We can select as many of these points as we like move them around. You can convert them all at the same time as well. A bider go and check out those three options. 15. Geometry: I'd like to make a copy of this circle, and there's a number of ways we can go about it. I could go up to the menu on the top, and we've got an option there to copy. I'll just move that over a little bit over there. And then once again I can paste that in and it past it where it was copied from. That's one way to do it. A second way to do it is once again from the menu. You can actually choose duplicate. That's the second command down there that will just duplicate it and put another one on top of it. But the way that I like is to use this little shortcut key over here. If I've got a shape like that, I'll just click. And I want to go over to the command so I can click and drag over to there. And I can then just make copies very quickly like that. Now what you're going to find is that when you do this, if you click and go down to the altar, the option key, the same thing works as well. Now there is a subtle difference between these two. I just want to show you what it does for now without going into the details. But if I've got a little shape here, let's use a little circle again. Maybe I've gone in there and made a copy of that. I'm going to select those two and do the same thing again over there. And I can just copy that one. Copy that one. Let me undo that. I'm going to select those two. Go in there. And you can see it's only copying the one. Let me undo that. If I select both of those and then go down to the old key, or the option key, it will do both of them. There is a subtle difference between those two. If you're just copying one item, it really doesn't matter which one you choose. I'm going to get rid of those. I want to show you how we can make other shapes rather than just using the primitives. Let's go back in and I'm going to choose an ellipse over there. I'm going to make a copy. And I will use this method here to just drag it. Now, that was my fault. I'm going to use two fingers to undo and make sure that I'm on the correct to move tool before I do that. So I've got two of those now I'm going to select those two shapes there. What I want to do is I want to unite those two shapes into one big shape from doing something that looks like it's being seen through binoculars or something up the top here. And I'm just going to click on the little question mark. We've got a few little options in there. That's the one that I'm looking for. And you can see it's down here. It's called geometry. I'm going to go to the geometry options. These are also known as Boolean operations. If people talk about Booleans, this is what they're actually talking about, these geometry or Boolean operations. I'm going to click on that and you can see I can just add those together into one shape like that. Another one you will have noticed, by the way, that I didn't have to create these into curves first, it automatically makes them into curves for you. I'm going to select those items there. Once again, I'm going to go up to the geometry setting and I'll say subtract. And it subtracts the front object from the back objects in there. We'll be looking at changing the stacking order of these later on. Let me do another one in here. Once again, I'll just take a different shape this time. Let's just take a little star. Putting a star in here, I'm going to move in the right position. Once again, select both of those and go up here, and I can subtract one from the other. This, by the way, is a normal hesitable shape. If I go to my node tool, I can then go in, select any of those points, adjust them, and change these settings as we did before. If I want to remove that little node, by the way, I'm on the Node Tool. As long as it's selected, I can click on the Ben and that will remove that node very quickly. So here I'm going to click on that one and remove the node. Let's select those two there and remove them. So we've now just got those shapes in there. Do try that out. Have a bit of a play with those options and particularly the bullion options or the geometry options. Then we'll have a look at making something shortly. 16. Intersect XOR Divide: I'm going to take this shape over here and add a second shape in there. And I'll just add in a little rectangle like that. Select both of them, and we're going to go along and have a look at some of the other options we've got. Intersect, now Intersect just leaves that intersecting bit over there. I'll just use two fingers to undo. So you can see it's this area here. I'll just use three fingers again to redo that bit there. That's left two fingers undo, three fingers to redo intersect, just leaves that intersecting area. Now once again I'm going to go in there onto the next one, which is all Xl, subtracts that intersecting area over here. Once again, two fingers to get back again. That's quite a useful one for a lot of things you'll see as we go along. Now if for example, this shape was in the middle and I selected both of them, I can use O to remove that shape from the middle. The last one that we have in here, let's just use two fingers again to undo that, is the ability to divide things up. I'll select both of those shapes. Go back in there and choose divide. What it's done now is it's divided all of these into individual items like that. Another shape in there, back to here again, remember Intersect just keeps the intersected area. Xl removes the intersected area and divide divides them into individual shapes. And you can then just deselect them and then remove the bits that you want have to go with that. 17. Make a Fruit Logo: We're going to make a simple little logo. Now I'm going to go along and I'm going to make a new document there. I'll choose new documents. And the new document that I'm going to choose is just going to be something for the web. I'm going to go and find one of these sizes in here. I will choose this HD Ten eightP. That is 1,920 pixels by 1080 pixels over there. It really doesn't matter what size you choose in here. As long as you've got a document, this is not important at the moment. As long as you've got a blank page, that's all that we're interested in. Now what I want to do is I want to start off with some circles. I'm going to go in here and I'm going to use an ellipse, and I'm going to click and drag my lips out. Now if I want this to be a perfect circle, I'm going to go to my controller here and I'm going to go up to the shift. And that way when I'm dragging this, I'll be dragging out a perfect circle. I want to copy of that. But before I copy it, I want to adjust the shape. I'd like this to go down at the bottom over there into a guitar pick plectrum type of shape. Not that that's what we're creating here. We're creating a piece of fruit. I'm going to go to my node tool. Remember with the node tool, I can't select that point. I have to convert it into curves first. Then I can select the point and just pull it down a little bit like that. As I'm pulling it down, if I use that shift key, it will make sure that it goes up and down vertically. I think I'm happy with that shape. I'm going to go back to my move tool over here, and I want a copy of that shape over there using my little helper here. I'm going to click, go over to the copy icon command and pull that across to there. Now let's take both of those shapes and unite them into a single shape. I'm going to go up here to my body in operations or my geometry and just add them together like that. Now let's do the bite out of the piece of fruit. So I'm going to same as before, go in here, use an ellipse. Draw in my elliptical shape, I want to be a perfect circle. So up to shift, something like that, I'm going to place that on top of that one, select them both. I'm then going to go across and go up to my billion operations and I'm going to subtract the front from the back object. Now for the little leaf or the leaves at the top, I'm actually going to make two of them. No big corporation sues me for using their logo. I'm going to go along and make a leaf using the ellipse. I'll make a little elliptical shape there. Let me just undo that. I don't think I got that quite circular. I'm just going to do it again. Up to there. Here we go. I'm going to make a copy of that. Same again, drag a copy out like that. Select both of those. Then once again, up to my billions, and I'm going to use X or no, I'm not. Let's try that sentence again. I'm going to use Intersect to just have that intersected area like that. Now I want another one of those. I'm going to copy it using my shortcut here. I'm going to spin it around and make this one slightly smaller and pop that over there. Now these little bits at the bottom, that bit there I just selected is quite a pointy bit, and that's a pointy bit there. I am going to, by the way, just change the color of this so that it's easier for you to see exactly what I'm doing. Let's go at the red apple with some green leaves. It's quite bright green at the top. I want to round those bits off in there. If I went to my nod, then selected just that little node there, I could try going over to these settings and just clicking on that, which would round it off a little bit like that. That would be one way to do it. The other way to do it would be to use the tool that we looked at earlier. Now if I click on the little question mark over here, the one I'm going to be using is the corner tool up there. So I'll just get the corner tool, I can click on there and just drag down to round it off. Can do the same over here. Click on there and drag that to get a nice rounded corner over there, right? Have a bit of a go with that one. Once you've tried this bit of fruit, try different shapes, but just using the basic shapes to make an interesting little logo. And don't forget when you're selecting items, either go and color them up in here. And be careful when you're trying to color that you're not on the stroke because otherwise you think why won't this color? And in fact, what it's doing is doing the stroke, you might need to make sure that you're actually on the fill and you're coloring the filled out. 18. Compound Paths: I'm going to add another shape on top of my apple shape. I'll just add in a little ellipse like that. I'm going to select both those shapes in the geometry settings. I'm going to use X all to knock out one shape than the other. Now what we have here is one shape, but it's got two paths. You can see there's a path around the outside or a stroke around the outside and there's a stroke on the inside. If I go into my stroke options here and change the width, you can see we, you would be able to, if I had the color, different color, how it actually changes both of them at the same time. Now this is a very special shape and it's called a compound shape or a compound path. It's where you have one shape which has got two or more individual strokes on it. Now, the interesting thing about a compound path is that because it's got those two paths, you can actually go back into your setting here. And you can use separate curves to take that compound shape back to two shapes. Again, you can see I've separated them and now it's back to where it was. Let me do that. Again, selecting those two, I can then use Xl or I can go back and separate them back to the originals. Try that out. 19. Shapes Project: Make a Monkey Face Intro: We're on to the first project. What we're going to do on this project is we're going to create monkey faces. And we're just going to use circles to make these cute little fellows. 20. Create Primitive Circles & Duplicate: Now let's create this monkey project. I'm going to click new, I'm going to go to a new document and I'm going to make a document the same size as my device. You can make any size you like. I'm going to click on 129 ipad, because that's the ipad that I'm on and click. Okay. Please sit. Do whatever size you wish. Remember, it's fully scalable because it's vector. Now I want to make some circles. I'm going to go over here to my shapes. I'm going to find my ellipse primitive and draw that shape out. Now I want this to be a perfect circle rather than actually going in and holding the shift option in there. If I just put my finger straight onto the page like so you'll see it'll automatically scale that proportionately. It's a faster way rather than having to use this little item all the time. Now let's have a look at what we can do with this. I'm going to take this and I want to duplicate this three more times. I want four of these shapes altogether. What I'm going to do is I'm going to go up to the Duplicate option that's in the menu there. And I'm going to choose Duplicate. I'm using my move tool, so I'm going to move that shape across. Then I'm going to go over here and I'm going to duplicate again. You can see it duplicates and it moves it at the same time. This is called power duplication. When you do something and duplicate, it keeps doing the same thing in there. I've got my full little shapes over there, just so that you can see them a bit easier. I'm going to give them a little bit of a stroke around the outside, have a bit of a go get four circles the same size in there. And do try that power duplication. Now I'm just going to say it can be a little bit frustrating sometimes because if you've got a shape like that and you do your duplicate, just make sure it's selected first. You duplicate in there, and you move it, and you might deselect it. And then you go in there and you duplicate again and it doesn't work. Just make sure that once you've duplicated it, don't deselect it, don't click on anything else, just go straight and use Duplicate a few more times as well. If you struggle with it, just watch this little tutorial again and then try it out. And be very careful about what you touch. Have a go. 21. Create the Hair: Now let's start building the monkey's face. The first thing I'm going to do is just sum out a bit. And I'm going to take one of these shapes, so I'll use in my move tool and just move it out to the side that we're going to come back to. That that's going to be the face. I'm going to use these three to make the monkey's hair. Now I'm going to be putting these together like that so we can actually make the hair line of the monkey in there. But on looking at this, I think they're actually too big. I'm going to take this one and delete it. Take this one and scale it. When I scale it, I'm going to hold my finger down, click, start to scale, hold my finger down. And scale it in like, so we're going to have one over here and then another one next to it. Now I'm going to duplicate that one. So we'll choose duplicate in there. And move the copy over. When I'm doing this, I'm actually looking at the line. As I'm moving it along, you can see the little red line appears to show me that I'm absolutely lined up correctly. Let's just move along to something like that. I think now that I've got those two in the right position, I'm going to select all three of them. Let's just get that out the way. And I'm going to go up to the Booleans geometry, and I'm going to subtract the two objects from the top object. Now look at this. We've actually left with this bit here which we really don't want. How do we get rid of that? You can't just delete it. Because if I just selected the whole thing selects. Remember before when we looked at compound paths, this is a compound path. Even though it's not on top of the other one, it's still a compound path. If I go up to my geometry, I can say separate curves and now that's separate, and I can delete it. Now I'm going to bring in the monkey over there. Let's give the fur some color. I'm going to go along to the color and I'm going to give my monkey blue fur. I think something like that. I'm going to go its face, face color, I suppose. I don't know to be honest. I can go any color. I've got a blue monkey. Let's give it maybe lighter color like that. I'm going to put these together. This one is going to go on top of that one. But you can see they're the wrong way round. This one is in front of that. Now if we go down here, I'm going to go down to this little icon over there. It's called the layers. If I click over there, click on the layers icon. You can see that the ellipse is above the hair. All I need to do now is to click on the ellipse and drag it down. And I'm going to drag it below the hair, so that gets correct or the correct order. But be careful because when you're dragging, you see as you start to drag, you get a little blue line that appears in there. If I drag until I see that blue line, let's just deselect that and select it again. Nothing happens if I keep dragging, the shape underneath it becomes blue. See if I move that over. And we don't want that because that would actually group this object inside the other one or mask the one inside the other one. We want to go down until you just see the blue line underneath it. And that will change the order. By all means drag up and down. But be careful, it's so easy to actually drop it in the wrong place and then wonder what's happening if you do drop and you think this doesn't seem right. Use two fingers to undo. Now that I've done that, I'm just going to select those and I'm actually going to go along to my stroke because I don't want to stroke over there. So I'll just choose zero on my stroke. Have a bit of a go with that. 22. Create the Tuft & Ears: Now our little monkey needs a bit of a tuft of hair right at the top. And I'm going to do that using an ellipse again. So I'm going to go along and choose the ellipse, click and drag to make an elliptical shape. Once again, I'm putting my finger over there so I can get a perfect circle. I'm going to make a copy of that as well. This time I'll use this method, click and drag out and make a copy. What I'd like to do is to select both of those. I'm going to go up to my geometry, and I'm going to subtract the front object from the back object. This is going to be the tuft of hair that I want at the top. I'm going to use once again duplication to make another one over there. Select both of those and join them together. Same again, just go in here and add them together. I'm going to rotate them a little bit as well. That's going to be a tuft hair, which is going to go right at the top. In there you can put it around if you want to adjust the shape or the size or the angle. But of course it's too big. You can see it goes all the way down there. I'm going to actually do a shortcut here by just taking another shape, any shape at all, putting it over the bottom, selecting both of them. And then using my geometry to just subtract the front from the back object that's going to go up the top. Let just make it a little bit larger that I think that'll work. I'm going to make that blue as well. I'm going to go in here and choose the same blue. Now if I go down to recent colors, you can see the blue is down there. It's in my recent colors. Really quick to get to. I'm going to now select this and the hair and join them together. Now the problem is if I were to click and drag over both of them, it will select both of those plus this shape as well. That's the downside of that setting, where if you just click to drag over something, it selects it. If I was on the other setting, I could just drag over those items and that one wouldn't select. But of course, there's another way that we can do this. If I select one of those shapes and then put my finger on the page, it will allow me to then add the second shape in like that. You can just keep adding shapes by putting your finger on the page, or you can subtract the shape so they no longer become selected. Now that I've got both of them where I'm going, I'm going to go and add those together. Let's make a monkey ear. I'm going to use a ellipse again. I'm going to draw out a shape, make it a perfect circle in there. I think that's good for a monkey ear. Nice, large ear, like that. Then I want another one which is going to be smaller inside there. This is going to be really simple. This one I will just go up to the top and duplicate that one. This is my smaller version. I'm going to just scale it down a little bit like that and pop it right in there. Now I want to use this color for the inside of the ear. I want the outside to be the fury, fury bit. If I go along to my colors now, although I can see the color in there, if you can't see a color and you want to sample something from your document, you can use this little eyedropper tool over here and you just drag it onto the page. And as I move it around, it'll just sample the color when I let go. Now it seems a bit strange because this is still the same blue, but it has sampled that color. There's the color there. All I've got to do is click it to pick up that color really quickly. I'm just going to undo that and do that again. I'm going to choose the object that I want to change the color of in my colors. I drag the eye dropper out onto the area that I want to sample. I'm going to sample the skin tone. Then you click the color in there to bring it through. Now I'm going to move those two along to the monkey. I think something like that. But I don't want this to be on top, I want to be underneath. What I could do is I can go along to my layers. You can see both of those objects are selected. And I can drag both of them down all the way underneath that one until you see the blue line at the bottom. And I can then move it under that one. Let's have a copy of that ear on the other side. This is going to be really simple. We select both of those. All I've got to do is to go in here and copy. I'll use this little one at the bottom. I can drag a copy over. I'm going to rotate that around on my move tool. I'm going to rotate, but I'm also going to put my finger on there. When I'm rotating, it's doing it in nice small increments. I can then place that one in a similar position over there. Now I'm just going to go back to my colors because I don't want to stroke around that or any of the other objects, to be honest. So I'll select all of them. Go over to my stroke and choose none. So I don't have any stroke on anything. Try that out and get to this stage. You might want to go and tweak some things if you think your ears tool or anything like that. Mine was actually too close in there. I'll just pull it out a little bit. Have a bit of a go create an interesting monkey face and then we'll continue on and put in the details. 23. Add Face Details: Let's draw in the monkey's face. I'm going to start off by doing a little section over here where we have a mouth and a nose. I'm going to go in and I'm going to choose an ellipse. The whole thing about this monkey is just ellipses. And I'm going to draw in a little elliptical shape like that. Now I want this color to be slightly darker than the skin of the monkey, so it shows up, otherwise you'll never see it. I'm going to go up to my colors, rather than trying to find the color in here. I'm going to change from the color wheel into the HSL sliders. Hsl stands for hue, saturation and luminance, or you can think of it as lightness. If I go to the luminance or lightness, I can actually lighten or darken that color. Why is this not happening at the moment? Well, I'll just make sure I'm on the move tool. When I selected this, I happened to be on the stroke, not on the fill. I'll click on the fill, and now you can see if I choose this, I can just lighten or darken that area in there. I'll just darken it down a little bit. I don't want a stroke on here, so I'm going to choose none. And let's pop that over there. I think it will go on the monkey's face. Now, I want a little nose in there. I'm going to use the same shape again. I'm going to reuse it. I'll click on there, Go to my shortcuts, make a copy of that. This is going to be much, much smaller. I'm going to fill that with black. Now there are a few colors in here which are in the quick colors. Black is one of them, so I'm going to choose that and then pop that back right in the middle. So let's make a mouth. I'm going to do the same thing and I'm going to reuse this shape. I will go along to make a copy. I'm going to copy it again. Select both of those. Now let's just make sure I'm on the right tool. Sometimes you'll find if you're on the wrong tool, you don't get the correct options along the top there. I've just made sure I'm on the move tool. Then I can go in here and I can subtract one from the other. That's going to be the monkeys smile. I'm going to make it red. So I'm going to choose red in here. We can choose the saturation. You can see from gray through to fully saturated. And we can lighten and darken it as well. I actually want quite a darkish red, I think, like. So I'm going to scale it down just a little bit and pop it back on there. I think that's still the limpet on the large side. I'm actually going to pull it down from the top. There's my monkey smile. Now let's do some eyes. I want really big eyes, and I'd like the eyes to be a bright blue and have a highlight in them, same as before. Into the ellipse, I'm going to draw an elliptical shape over here. Now I'm doing these pretty large, they don't have to be too small. I'm going to go over here and pull it out. Now, why is this pulling in a weird angle over there rather than actually as a perfect circle? Well, let me do it again. Got my shape. I'll start drawing it out. And same again. If I click and hold, it will then make sure I start to hold down the shift key Before I get too far. I'm going to make a copy of that. I'm going to go to duplicate and duplicate the shape. And I'm going to scale this one down. Now we'll make this a slightly different color just so that you can see what's happening. When I'm scaling this down, I'm holding down not one, but two fingers. And that will scale this to the middle. Look at that. I can just scale it in to the middle over there. If you hold down one finger, it constrains the proportions. If you hold down two, it scales things to the center. The outside of this is going to be blue. Now, I've lost the blue that I had before in my recent colors. I'm going to go along to the sample tool. Drag onto the blue there, there it is. Click it. I'm going to darken it down using the lumen in silver here. I can darken down that blue and make it really saturated the middle. Well, I'm going to do this as black and I've got black in there. And I want one more thing which is going to be a highlight. I will make a copy of this shape. I'm going to do that using the copy option. Now by mistake, I've clicked and brought up this little window in here. I'm going to be telling you about that later on. Let's just go in there again. Let's try that again. I'm on the wrong tool. I need to make sure I'm on the move tool all the time. Here we go. This one is going to be a little circle. I'll move over to there. And I'm going to make that white. There's the little, it's a bit on the large side. I'm going to select it, but before I start to move it, I think I'm going to scale it down a little bit, so then I can move it into the right position over here. Now I'd like to keep all of this together. What I'm going to do is I'm going to go along and I'm going to go up to the menu. I'm going to group that together. It's under operations, and I'm going to say group that groups all of these together. If I select one, they'll all select at the same time. Let's pop that there. We need a copy of that. I'm going to duplicate it again. And move my copy across to the other side over there. We'll just pull that out a little bit. The right is almost done. I think we need a bit of a neck over here. And this is going to be pretty much the only thing that isn't a circle. I will use a rectangle and draw a little rectangular shape over there. It's a cartoon. It's fine to use weird shapes like this. I'm going to sample the color of the monkey's skin and click on that. There we go. Now let's take all of this, the whole monkey, and group it together as well. Once again, we go to the menu at the top. And we choose Group in there. If I click on anything, I can group it. Maybe I want a few monkeys in here. I can take this monkey. It's going to go over there and I'm going to scale it down a little bit. Once again on the page. I'm then going to make a copy of this. Let's go to the copy option. Copy the monkey there. I'd like to change some of the colors on this copy. I can't get to the at the moment because it's grouped. But if we go to the top in there, we can then ungroup things. And then I can just go in and change the colors. I'm going to click on that hold down my finger on the page, on the document and choose that one and that one. Let's just adjust this using the HSL sliders and we'll go to a different color for this monkey. I think that'll be an interesting yellow. Let me do that one more time. I'm just going to take this monkey, I'm going to make a copy of that monkey up to there, ungroup it. Then I'm going to select the fur by clicking. Putting my finger on the page. Just click on Page and I can select. And then as long as you're in HSL, it's easy to look through the colors and see what color you want to use. Once you've done, I would probably suggest selecting those monkeys individually and just grouping them together. That's done. Once you've tried out some monkeys, why not have a go with some other animals? Just little cartoons like this, circles, really to create weird and wonderful shapes. Have fun. 24. Shapes Project: Make a Rocket Icon Intro: Our first proper logo, we're going to make this rocket, and once again we're going to be using circles with a few squares. But we'll also adding some other extras like drop shadows. Now, we haven't talked about this yet in the course, but they're really easy to use and you'll see just how they work. 25. Create the Basic Rocket Shape with Geometry: Let's start a new document. I'm going to go along to new document in there. The usual, I'm choosing the ipad size. You can choose any size you like. With this rocket that we're going to create, the Rocket logo, We're going to do it with circles to start off with. I'm going to go in here and I'm going to choose ellipse. I'm going to draw in an elliptical shape like that. I'm not holding down anything, doesn't matter whether it is perfectly round. I want to have a long ellipse in there. Now I want to make a copy of that. I'm going to actually do something different this time. I'm going to put two fingers down and drag, because this is another way of making a copy. You can use that, you can duplicate, or two fingers and drag to make a copy. Now I'm going to take those two there because I only want this shape here for my rocket. Of course I'll be going and doing the usual thing, going up to my Boolean functions. And I want to just keep the intersected area like that. Let's do the bottom of the rocket now. Same again using the ellipse. I'm going to draw ellipse that. This time once again I'm going to put in two fingers and drag down to make a copy, select both of those. I've just made sure that they are lined up perfectly. And finally, all I need to do now is to subtract one from the other. That's a simple subtraction in there. And we can pop those together like that. I'm going to have a look at those. In fact, I'm going to just for now, get rid of the fill. So I've just got a stroke around the outside so we can see what's going on Now. Where's my other shape gone? Well, both of them don't have a stroke. This one here certainly doesn't. I'm going to go in and just increase the stroke with, oh, there we go. That's a bit better anyway. Have a go get your rocket up to that area and then we'll take a bit further. 26. Use Geometry to Divide the Rocket into Two: Now I'm going to select my rocket because it's a bit on the tall side, so I'm going to just squish it down a little bit like that. You can always play around with these. Of course, I want this to be one shape as you know. I'm going to go in there and I'm going to add them together into a single shape. But what I'd like to do is I'd like to have this rocket in two parts. So we've got the command module or whatever it's called it at the front. And a little bit of a gap between that and the rocket. I'm going to do the same thing that we've done. I'm going to go and get an ellipse. I'm going to draw a fairly large ellipse because I'm thinking of using this area here to separate those two. I'm going to put two fingers down and drag a little copy of that. Select both of those, and then subtract one from the other. That gives me this little shape in here. You can always pull it around if it's not quite right, just drag it around to how you want it to be. Now I'm going to select both of those. What I want to do is to just subtract this bit from that bit over there. Now if I go along over here to subtract it, just knocks it straight out really quickly and I'm left with this little section, which is fine. That's exactly what I wanted. But for example, maybe I actually wanted to have this one color, that another color, and that a third color, rather than just subtracting it. In that case, I'd probably go in and I divide it up. And that way I could just go in and delete the various parts and I'm left with that section. As I said, I actually want to subtract that. I'm just going to go back again. I'm going to be using subtract to get a shape like that. My rockets pretty much ready to go have a go get rid of a little area or you can put in two colors, whatever you wish. If you want a third subsection in there, by all means try it out. 27. Create Background & Add Shadows: I like to put my rocket onto a background. I'm going to use a rectangle. Just draw in the shape that I want with my finger to get a perfect square. Now I want to round off those corners. I could use the corner rounding tool, or I can go to the top where it says none. Click over there and then I can just choose a different corner. Very quickly, I'm going to choose rounded. And I can adjust that, let me just adjust that with a little red dot to whatever shape I want it to be. I'm going to now fill that with a color. Let's go and get a color to fill that with. Of course, I just want the fill, not the stroke. And I'm going to go and pick the color that I'd like. I'm in this HSL slider area at the moment. If you find it easier, just click back and you can go into the color wheel and pick the color from there. Now that's going to go behind my rocket. Obviously as you can see, the order is wrong. Also, it needs to be resized a bit. I'll just resize it out. I'm going to go into my layers over here. I can then drag my rounded rectangle below my rocket. So now I'm going to click on the rocket. I would like to fill that with white. So I'm going to go into my fill there. Let's just flick that over, go to the fill color, and I'll choose white in there. I might even then rotate it to an interesting angle. I'm going to hold down a finger on the screen so that I can get a perfect angle. Now I'm going to separate the rocket from the background. I'm going to do that using a shadow. I'm going to select my rocket. I'm going to go down to the effects panel. These are the effects on them. You can see we've got a number of different effects that we can use. There's things from inner shadows, inner glows, gradient overlays, a whole range of them. The one I'm interested in is this outer shadow here. Now if I were to, and I'll just make sure I'm on my move tool. If I were to go to the outer shadow and switch it on, nothing happens at all. I must also click on it so I can see what's going on. Now that I've clicked on it, you can see we've got some settings which have appeared over here. But I can also click and drag to just move that shadow around. As I'm doing that, watch this little slider here and you can see how it's actually moving around. Now I'm going to separate the rocket from the background. Just a little bit like that. Then over here we've got the amount of that shadow, the hardness of that shadow. I'm going to take that down a little bit. This one is the softness. Let's just go into the softness there. We'll just take that down a little bit. I'm just going to move it around into the right position that just nicely separates that out. Let me do that again. I'm going to come out of that tool and de selected. Click on the background. I'm going to go into Effects, go to Outer Shadow and switch it on. I'm going to just click and drag to move my shadow out. Then remember, over here, this is your softness. So I can soften it down and then over here we can decide that we want less or a harder shadow. That way it's not really hard or soft, it's more the epacity of that shadow. Now that I've done that, I think I want something else as well to make it a bit more interesting. I'm going to go in on my background. I'm going to go to the stroke and I'm going to add a stroke. But the stroke I'm going to have as white, I'll just choose white for my stroke there. You can see it separates the shape from the background really nicely. If I click on there and go back to my effects over here, at any time I could just switch it off. Or let's switch it on again and I'm going to adjust it a little bit like so. Do try that out. Have a go with the outer shadow if you want to try some of the other ones as well. By all means do so. But get your rocket all looking great, have fun and create a few other different shapes in these little rectangles. 28. Shapes Project: Delivery Logo Intro: Now the last project on this set is going to be a logo for a courier company. Once again, lots of squares, lots of circles. And we're going to go through it from scratch as always. 29. Create Basic Van Shape: Now let's do a new document. I'm going to click on New Document in there. Once again, the size doesn't matter. I will use the device, the ipad 12.9 and I'm just going to click Okay. Now we're going to be creating a logo or a little brand icon for a delivery company. We want to use a delivery van and we're going to use the basic shapes to make our delivery van. I'm going to start off over here, and believe it or not, for a van, I'm actually going to use an ellipse. I'm going to draw my lips in like that. Now it's coming as gray. I don't like it gray. I think it doesn't look very good at the moment. We can change the color later, but for now, I'm just going to give it another color in there. Honestly, it really doesn't matter what color you choose now. That's going to be the engine cover of the van. I know it will improve as we go along. I'm going to go and draw the back of the van. Now where the goods go and the cab is, I'm going to click over there and I'm going to use a rectangle. I'll draw in the rectangular shape for the van there. Now I'm going to be using my move tool to just move it up a little bit like that. I'm going over to the node tool over here. This allows me to actually go to the individual nodes and move them around. But it won't work while the shape is one of the editable shapes in there. And I want to move that one in a little bit, right up to the top. I click on that button there, and that converts it into points. And I can just pull that over like that to get a bit of an angle for my van. Once again, let's use that and move it forward a little bit. Like now. I'm going to select both those shapes. I want to unite them together into one shape. Remember we can go along to our geometry and I'm going to add them together as a single shape like that. I know it doesn't look anything like a van at the moment, but bear with me now, I want to cut off the bottom bit. I'm going to use, this is one of the easiest methods to cut a rectangle. Again, I'll put a rectangle over the bit that I want to cut off. I just want to be left with this bit here, which is the body in the engine of the van. I'm going to select both of those shapes once again. Go up to my geometry and I'm going to subtract the front object from the back object. There's our basic little van shape. Now I'd like to cut out where the wheels are going to go. I'm going to use a little ellipse over there. Click and drag. I'm putting one finger down so I get a perfect circle. I want to cut this pit out here. And I'm going to make a copy to move that across. So two fingers and I could just make a copy to go right over to the front there, select all of those. What will happen now is that using geometry, it will cut all of those front objects. When I subtract from the very back object, you can cut as many objects as you like by just putting them all on top, selecting everything, and they'll all cut from the back object. Let's have some wheels in here Now I'm going to go along over here and I'll use a doughnut shape, click and drag to make a doughnut. One finger down to get a perfect circle in there. And I can go and adjust the doughnut. By adjusting that little inner shape in there, I think I want something along that line there. Maybe not quite so big. I'm going to zoom in so it'll be easier for me to get the right size. There we go over there. Once again, I'm on my move tool. I'll move that one up to the two fingers down. Let's try that again. Two fingers down to make a copy to go in there. There's my basic shape. Well, it's not ready to go, but it's my basic van shape. Have a go with that. 30. Adjust the Nodes to Add More Detail: Now. I think the windscreen on this van looks too upright. So I'm going to use the node tool and I'm just going to click on that little node there and move it across a little bit more like that. That looks a lot better. You can go and adjust any of the nodes in here as much as you want. Grab the little handles to adjust the curvature on them. But I'd also like to round that little area there. In this area there. Remember from before, we can either selected the point and use these little tools here to round them off or I'm going to just go over here and use the round tool over there. It's called the corner tool over there. I can then just go to that point, click and drag to round it off. I think I'll do the same here. Just round it off just a little bit. Not too much, just a small amount. Let's round this off a little bit over there. And this one just a little bit. I think that it looks all right. We've made this custom shape just squares and circles and then rounding things off and maybe moving the individual points using the node tool. Try that out, have a go rounding some of those shapes. 31. Create the Speed Lines: I'm going to add some speed lines to my van. I'm just going to zoom in two fingers over there. Go over to the rectangle tool and I'm just going to put in a little line or a rectangle like that. Now when you are making shapes, sometimes when you create a second shape, you might want to actually line up with the first one. If I've got a shape there, and let's say for example, that I wanted another rectangle and when I was drawing it, I want to make sure it lined up perfectly with that one there. Well, what we can do is we can switch on snapping. There's an option at the top right hand corner over here. If I click on it, there's a dropdown which says enable snapping and snapping options. Now if you're getting into this, you can really go into the details of snap over here. There's all different ways and methods to snap, but all we're going to do is we're just going to switch on enable snapping. And you do that by clicking on the little magnet over there. You can see that's gone darker, so the snapping switched on. Now if I'm drawing a shape, you can see how just snaps to the shape or the size of the other one over there. If I'm drawing down over there, once again it'll just snap onto that. That's really useful. But it's also useful to know how to switch it off. Because sometimes it can be bit annoying if you're trying to draw a shape and it keeps snapping to something you don't want to snap to. I'm going to make a copy of this. By the way, I moved that down and you can see how it snapped to the bottom of the van there. I'm going to hold down two fingers and draw a copy of that up, and it's snapping really nicely to the second one there. Then I want another one, so I'm going to go up to the top, over there, to the drop down. Let's try that again over there. And I'm going to choose duplicate. The, just duplicate it. Let's have another one in there. Click on there and duplicate again. I'm going to select all of those and I think I'm going to scale them all down so they are roughly the size of the van there. I'm not so worried about the top, but just the bottom. But if I did, I could zoom right in and get that to the same size as the van as well. Now I want to angle this around. It looks more like, I don't know what the real word is, but looks more zippy. I'm going to take another shape over here, and I'm going to rotate the shape to the angle that I want. And I'm going to use this one to cut off those bits like that. Just angle that just a little bit more. I think that'll work. I want something like that. I'm going to select all these shapes now when I go to my geometry. I can't use subtract. Because what subtract does is it subtracts all the top ones from the bottom ones and will end up with something which just looks like that. Instead I'm going to go along and I'm going to say divide, because that'll break all of these objects up into individual objects. You can see I can take that one and delete that one. I can take these ones here and then go and delete those as well. That just leaves the little zippy lines back there. Anyway, do try that out and don't forget. Most importantly, have go with snapping, switch it on, switch it off, see what you've got. And you can then take these. You can move them around, or you can resize them if you think they'll look better one way or the other, have to go. 32. Create Background & Color Variations: If you like, you can actually join these lines up to the van. I've selected them all and I'm just going to pull them in like that. I'm zipping right in over here to make sure it's lined up perfectly over there. That'll do rather nicely. If you wish, you can move them around. It's whatever you want from this particular design. I happen to actually like it just out there a little bit like that, but it's up to you. Now, let's put on a background and do some variations. So what I'm going to do is I'm going to select the van and all those bits. And I'm going to go up to the menu at the top. And I'm going to group them together. So click on Group. And that way when I click anywhere, I can move them all at the same time. Now I'm going to go over here to the color you can see, because I've got a group there, I can then change the color very quickly for all the items in the group. But I want a background shape. I'm going to do a little background shape like that. I'm going to go to my van. Let's change the color and move it now. Unfortunately, the shape is on top of the van. We need to go to the layers over here. I can then just take this rectangle and drag it underneath that group. Don't drop it into the group, but keep going until it's underneath the group. I'm going to move that into the right position. That was actually quite a good guess as far as the size goes. I'm going to make that white. Let's have some copies of that. I'm going to select that, I'm going to scale it down. And I'm holding down with one finger over here to make sure that it scales proportionately. And we'll move that up to the top. Once again, I'm going to make a copy. So I'm going to put two fingers down and make a copy there. And another copy over there. I can then just go to the backgrounds of each of them and try out different variations on color for the client. Have a bit of a go, once you've created a car or a van, try some other shapes. See how you get on. 33. Lines & Curves Intro: In this section, we're going to be looking at these pesky things called lines, nodes, points, handles, all those type of things. I want to show you how to work with them. How to draw using the pen tool, the pencil tool, and then manipulate those little nodes with the node manipulation tool. Let's get on and try this out. 34. Basic Pen: Let's have a look at the pen tool. And I'm going to go over to the pen over there once again. As always, click over there if you need to find something. I'm going to just click point to point with the pen. What we're creating here is a stroke. I can go all the way around to the beginning to finish the shape Off, I've got my stroke fill. I can just change the fill color on that stroke. I can go over to the stroke itself, click on the stroke and change the stroke color. And then we can adjust the width or the weight of that stroke. Now a stroke doesn't have to be finished off like that. What I'm going to do is just move that out the way and let's do another one. I can, quite happily when I'm drawing, just leave a shape like that. If I choose to fill it with something and it's going to have a fill color in the middle, you can see the stroke is there and the little line goes between them. Like always, we can use the node tool to select the individual nodes and move them around. Or move multiple nodes at the same time if you need. Anyway, I know we've done a lot of this already, but do have a bit of a go with that before we go a little bit further. 35. Basic Pen Curves: Now let's do some curves. I'm going to take the pen tool and I'm just going to click point to point to create a little shape. Over here, I'm creating this shark type of shape. But you can see mine looks more like robo shark because, well, it's all straight lines, first of all, let's make those lines a bit thinner. Now if I go to my node tool, obviously I can move these points around to wherever I want them to go. If I go to between the two points, I can click on the line and I can actually just bend the line and pull the line out like that. Let's pull that little point in there. I can round off that line and pull this one in. Just round the line by clicking and dragging it like so. Let's pull that one in, that one out. And this one in there, you can see wherever I click and drag, that's the rounding point. If I click over here, it will start to round it and it falls off over there. If I click over here, it's rounding off up to there. And you can just drag that little line around as much as you need. Now let's get rid of this one once again, back to the pen if I click and make a little shape over here. The other way we can also round off points is by just selecting them with the node tool and changing them up the tops. I can go and round those two points off and pull them out like I'll get those two there and I'll also round them off as well. Remember these handles that come with your points, these are called bezier handles or bezier curves, shall I say. The handles are on the bezier curve. As I pull one of them around, the other one moves at the same time. By default they are locked together. We will be able to unlock them. You'll see how as we get further into this, if you made a curve, you can just go back there to make a corner point as well. Once again, do try that out, particularly using the node tool to click on the lines to create little shapes like that. You've probably noticed already that when you do that, you get handles on both sides right out. 36. Node Handles: If I get my pen and I'm just going to click and do a little shape like that. If I were to go along and click on this node here and made it into a curve, it automatically puts handles on both sides. Let me just reselect that again with my node tool that you can see handles on both sides of that. If I wanted this to be a straight line, I could just pull that handle in. Then I've just got a handle on one side over there. Now I'm going to get rid of that we just deleted. I'm going to once again use the Pen tool. If I were to use the node tool and click over here, what it's actually doing, and we'll just select that point, is automatically putting 11 handle on the node at the top and another handle over here. We've actually got two handles to control that curve. I could do a nice S shape with that if I wanted to just be aware that when you are clicking and dragging with the node tool on a curve, it's actually putting two handles, one on each side. 37. Break Node Handles: I'm going to take my pentil and I'm going to make a sharp point like that this time as before. I'm going to select that point there and I'm going to make it into a smooth curve and pull those little handles out. Now the thing is that those handles are joined over there. What about if I wanted to have this one as a curve going the other way? Because they joined you can't do that. But if you start to drag and put your finger down while you're dragging, you can see you can break that handle quite easily. Once again, if I want to get back, I'll just go back and reset it using that smart option in there. I can then pull that out again onto this handle here, start to drag it. But put one finger down. If you put your finger down first and then start to drag it, sometimes it just deselects the object. So just be careful of that. Let's go and get another shape over here. So I'm going to get rid of that. I'm going to go along and I'm just going to choose one of these existing shapes. I'll use the star over there. Remember I need to make it into a curve. So I click on that little curvature button in there. Using my node tool, I'm going to select a point, make it into a curve. Pull this one out over there. But put my finger down and get it to go around that way. Let's do it again, Select that, make a curve, pull this out, go to this one finger down and bring it in. How about if we just wanted to get rid of one of those handles very quickly? Well, once again, I'll select that, make it into a curve. I just want this one to be a straight line or all you've got to do is go onto that handle and put your finger down and you basically click it. Let's do that again. We'll get the curve, pull that out. I don't want this one to be a curve. All I've got to do is finger down and click. It's as simple as that. 38. Click Drag when Drawing: Now let's take the pen this time. I'm going to click once, but I'm not going to click a second time. What I'm going to do is click, drag. I'll click and drag. Straight away like that. What happens is it automatically drags out a handle for me. Then I can go down here and I can click again. If I click, drag, click, click, drag, and click. I just get these curves as I'm drawing, click, drag, and click again. Let's try that fish that I did earlier on. I'm going to go back over to my pen tool and I'm going to start over again. I'm going to click on the nose of the fish. Then I'm going to go above the head. And I'm going to click, drag. And then click up here. Then let's just click, click, click, drag, and click. I can keep going all the way along like this. It doesn't matter if it goes wrong, because you can always come back and fix it. You can see I've got a bit of a problem there. I've got a very small top fin as well. Maybe I want to change that. Let's try that again. Click, drag, click, click, drag, click. I'll stop saying that now. Click, drag. I did it again. Anyway, that's a real bad looking fish. But I can take my Node tool, I can then start to move these points around. You can see how I can just adjust them really easily. I'm going to go up to this one over here that in a little bit I've got this actually quite cool looking fish. Now that I've adjusted the tail a bit, let's make the head a bit larger. So be careful. Sometimes you get little twists like that in there. All I've got to do is click on that point and maybe adjust the one handle slightly to sort it out. 39. Drawing Modifiers: Now I'm going to use the black arrow tool and just scale this fish down a little bit and leave it right at the top over there. I'm going to go back to my pen. Now, if I were to click and then click and drag, I've only got one handle over here. What you can do, I use two fingers to undo, by the way, is you can actually click straight away. Let me get the pen tool. I can just click drag, which puts in my first handle. And then I can click drag a second time. So now I've actually got a handle on each side to control the curve. If I wanted to continue on, I could just click and drag. Click and drag. Click and drag as I go. You don't have to do click, drag, click. You can just keep clicking and dragging all the way along. This is quite useful for a lot of very curved things which don't have corners like that fish does. Now let's have a look at some of the modifiers that we can use with the pen. You see if I'm drawing something. For example, I was going to draw that fish again. And I went up here and I say started over there. Instead of doing 123, I'm just going to go 1-3 Click and drag over there. And then I can use my one finger and just tap on that again. To remove it, I can go up to the top and I can click and drag. I can then over there, click and drag. If you just tap without the finger, you get another line. So make sure you put your finger down and then tap. You can see doing the fish this way actually means that I cut out the middle men. I don't have all those little in between lines in there. Don't forget, you can use that when you're actually drawing. Let's get rid of those now. Remember with that one finger, you can click and drag. If you just put it down, you can break, put it down and click, you can remove it. What else can we do? Well, when you're drawing, sometimes things don't always go in the right position. For example, if I'm drawing the head of the fish over here. And I were to click. And I went over here and I clicked, I dragged out and I then used one finger and just removed that one. And then I went to go and put in the fin at the top. But by mistake, I put in the fin over there. I clicked and start to drag, thinking that is way too high. What you can do is you can put down four fingers and this will allow you to move that point around. I'm not releasing anything. I can just move it around. I can let go, remove my fingers and it's moved. Let me do that again. I'm just going to one finger. Get rid of that. I'm going to go down here by mistake. Click, start to drag. Realize my mistake. Four fingers down, and just move it up to that. If I'm clicking and dragging like that, you can see how this twists all way around. If you put down two fingers on there, when it twists it will go in 45 degree increments. Once again, that can be quite useful. Try out those modifies, one finger, two fingers, or four fingers. 40. Lines & Curves Project: Violin Banner / Poster: This project is going to be quite a big one. We're going to redraw a shape, and we're going to be redrawing a violin. We're going to find a photograph in the stock library. Redraw the violin. We're going to work with some colors, change the colors, and then we'll bring a picture into the background as you can see, and blend the two together, as well as a little bit of text down the side. The idea behind this project is that it's going to be a poster for a classical punk concert. 41. Set-up Document: For this project, we're going to be doing a poster. We're going to go to a new document over there. Now the poster is going to go for commercial printing. There's a few things that we need to do. First of all, I'm actually, rather than going to print over there, I'm going to go to press ready so we can send this out. And we'll have all the appropriate things that the printer needs. Now this poster, I want to be a meter high by about 600 wide. If I choose these ones here, you can see all it does is it puts the preset, preset sizes in there. I can choose any of these. Ignore the size that it gives me and replace it. Now as I said, for my page height, I want to be a meter high. I can actually click in here and I can choose to work in cent meters, meters, yards, feet, feet, whatever I would like. I'm actually going to go to meters over there. And you can see I can go to height and I'm going to put in 1 meter in there for my width. Well, I could actually use millimeters and I could put in my millimeters in there. Now that I've got those sizes correct, I'm going to move over to the right, make sure that this is set to Y K. That's what we need for printing. We'll be talking about color later on, then the color profile. Now what I'm going to suggest is that you talk to your printers about what color profile they would want you to use. Generally you find and this is a big generalization, if you're in the US, you'd probably end up using web coated swap. If you're in the UK, which is where I am, printers tend to work with Agra 39, but talk to your printer, ask them what you should use. In the end, this color profile is less important than making sure that this is set to C and Y K. Don't lose any sleep over this one, but do lose sleep if you go with RGB. Anyway, I'm going to take mine back to the US web coated swap. Then we're going to go over to margins and bleeds. Now this allows to put some margins into the document. Once again, I can switch those off and I can switch them on. We don't want any margins in there because we're going to have our picture right to the edge, but we do want a bleed size in there. The bleed is the little bit extra that we put into our document that gets cut off by the guillotine when it goes for printing. We're just going to do an extra 3 millimeters on that. Most printers will probably want 3-5 millimeters for the bleed. As always, talk to your printer and see what they recommend for you. I'll click okay and my document is now ready and there is a tiny little line around the outside. You can see it's very, very small. That's the bleed line. When we design things we don't design to the edge of the page, we design them to the edge of the bleed. And knowing that that little bit there will get cut off, go and create your document. 42. Import Your Image: What I like to do is to find a picture that we're going to trace. We're going to do that by going along to the stock library. If you want to use something, you've already got a photograph that you've got, you can place it into the document directly. But for the moment, I would actually suggest doing it the first time. Something from the stock library. Now, if I go along to the little icons on the right hand side, I'm looking for the stock library second from the bottom. Don't forget, you can click to see where it is in there. Now, when you go to your stock library, there are some stock libraries here. Pixabay is one of them. And we've got pexels as well. I'm going to start with Pixabay. By the way, the stock that you get from Pixabay and Pexels is royalty free. You don't have to pay for any of the images in there, but it is important that you read their terms and conditions so you know how you can and can't use the images. But unless you're having millions of copies most of the time, it's usually royalty free. But do check out their terms and conditions before you use it in a large commercial job. I'm going to say I understand in there and I'm going to go and search for the picture to go in here. Now we're going to be working with a violin. If you prefer something else like a guitar or anything with some curves on it, by all means use that. But watch what we do here first before you decide to do a totally different instrument, because a piano is a very different shape. Anyway, I'm going to go in here and put in violin press return and it will come back with all of these images from the stock library. Now I can just search through them. If I don't see what I want, I could always flick over to pexels and then once again check out the images in pexels in here. Now I think if I go back to Pixabay, I saw something down here that I'd like to use. And it's this one over there. Now to put into the document, I'm going to click and hold on it until you can see I can move it around. I can just drag and drop it into the document. There it is in there. I'm going to scale it up. Now when I scale it, I'm going to put my finger down so it scales proportionately. I also want to have the violin running vertically, so I'm going to rotate it around. Now what I like to do is I like to put it against the edge over there. When I'm rotating it, I can see that it's absolutely straight on the middle strings over there. Right. And I'm happy with that. I'll just de selected, find an instrument preferably something like this that's got a lot of curves in it, if you want to use the same one, absolutely perfect. And then come back and we'll move on. 43. Change Opacity & Lock: Now I'd like to lock this picture down so I don't touch it by mistake. What I'm going to do is select the picture. We'll get rid of that panel with the stock on it. I'm going to go along and find my layers panel. Here is the layer. Now what I want to do is I want to go in and I want to change some of the options on this particular object. We've got a number of little buttons along the top here, and we've also got three little dots in there. If I click on the three dots, it takes me to the layer options. One of those options is the capacity. And I can just change the capacity of that layer and I'm going to lock it in the right position as well. When I want to get back, I can go back to the layer options in there and I'm back to the standard look. Now when you're actually doing this, sometimes you'll click over here and you'll think, hang on a second, why the options not coming up? Why does it show its at 100% capacity? Well, chances are it's because you haven't actually clicked on the layer. Even though it's locked, you can still click it, go back to the three little dots, and then we can unlock it. Or we can change the capacity in there as well. Anyway, check that out and get your image where you want it, just somewhere in the middle. And lock it down. 44. Redraw Violin Body : Now let's have a look at drawing the shape. And we're going to start with the backmost object, and we're going to do the body of the violin first. And then we'll do all the other bits and pieces here, the F holes, the neck, the head, and the keys. We really only want one half of the violin because we're going to be putting it on the side of this document so we don't have to worry about drawing that bit in as well. I'm going to zoom in a little bit over here. Now, there are a few ways that you could choose to draw this. I'll run through them very quickly. We can look at three. You could use your pen, and you could actually click where you want to start. And then you think, well, I want to get a curve going around this. And maybe I'll have another click there. Then maybe another click over there. Click, click, click, click, click. Obviously you'd go all the way around. Then you could use your Node Tool and you could just click on these lines here to get a bit of a curve going on in there. I can pull that one in, pull that one in there. This one I can take down to here, all the way around. Then with your node tool, you could actually move any of those points around where you wanted them to go. You can still use the handles to adjust things should you need. That's one method of doing the violin, and if you want to use that method, that's absolutely fine. I'll just get rid of it. Another method that we could choose is to once again click put the point where you want to make a curve. I could do another one over here. Two of those, maybe one there, one there, one there. Then we can go with the node tool and select those points and make them into curves. And then pull them out like that. Once again, this one here can be made into a curve using that little button. Pull that out a little bit. I could do these as well. In fact, some of them you can do at the same time. So I can click on both of those and do them together. Then we'll just take that, move it around once again, all the way around. With that, that's the second method that you could choose to do. The last method is to actually draw the curves as you go using the pen tool. I might start at the top, over here, I want to draw a curve that goes around. Now where you place the points really just comes with experience. And you'll find that it really doesn't matter that much because it's fairly easy to move your points later on. If you get them in the wrong place, don't worry too much. But the one tip that I'll give you about this is try to have as few points as you can. It'll make your life so much simpler. I put a click in there. I'm going to click and drag to make a bit of a curve there. I'm going to click and drag to have another curve there. Those are corner points. I'll just click and click there. Maybe here I'm going to click and drag to have another curve going there. I'm going to move across a little bit. Click those two corner points, I'll just click. Click over there. Now I've lost that. Let me go back to my pen over here and just click and drag there. Do another one here. Click and drag down to the bottom. I could probably do that. Kick and drag over there. We'll just go all the way back, don't worry about the details on that side. Back to the beginning like so this is still not quite right. Let's have a look at it by going to the stroke and increasing the stroke width so you can see what I've got. Now remember, you're not creating a technical drawing in this instance. What we're doing is something with style. It doesn't have to be perfect, it must just look good. I'm going to use my node tool and go along to these points here and just pick them up and adjust them. I think that one could move over a little bit there. I like those two where they are. Maybe I'll pull this one in a little bit like that. That's good. This one will adjust a bit. That I'll adjust just a little bit. I think I quite like what I've got over there. If you want to see the whole shape, just go into your fill and have a look at it with the fill on there. And that's quite a nice rounded shape, remember we're only looking at the left hand side. Have a bit of a go with it, whether it's a violin or guitar, whatever it is, draw half of its tongue, tiring with whichever method you prefer to use. 45. Draw Rest of Violin: Now let's get rid of this fill. I just brought it up so that you could see the whole shape and I'm just going to choose none for it right now. Then I want to take the shape that I've done and lock it. I'm going to go to the layers panel in there. Once again, up to the three little dots. And I'm just going to choose a lock to lock that down. We'll just lock the layers as we go through. Now let's start drawing some of these other bits. I'm going to go with the chin rest over here and draw that. I'll use the same technique used in the pen. So I'm going to start hoops. I'm going to start out here, click and drag. Click and drag. Once again, back over here. Let me just move my hand out the way so you can see what I'm doing. I'm going to go back to that one over there. Let's pull that out now. It's still not quite right using the node to I'll just go and get some of these nodes and pull them around to get the rough idea of the chin rest. That's pretty much it. This side doesn't matter, so it's that bit there. I might have to move that in just a little bit out a little bit. Yeah, there we go. It looks good. And as always, back over here and I'm going to lock that down Now, you don't always have to be quite as religiously locking things every time you create one as I'm doing. Now the reason I'm doing it is because when you first starting out in software, sometimes it's easy to make a mistake and not realize what you've done by locking things down. You won't move something without realizing that you've done it. Once you've done this a little while, you'll find that you don't always have to be quite that extreme. Let me make this little shape here. It's a nice easy one. With the pen tool, we're going to start over here, and I think that's going to go from there to there. Click and drag a little click there. We don't need any detail on that side. So I'll just go back there and back into here again. Now this one is an easy one. Once again, it's just click, click and drag. Click, lots of clicks around. Then I want to just deselect that so I can start on the next one. Because sometimes if you're drawing things and you stop and you decide to draw something else. If you haven't finished that curve and you start here, it just puts a line between them. If you've got something selected that you want to deselect, you can either go back to your move tool and click. Or you can just click this little x over here. That's your deselect button. And that'll just deselect anything that is selected. I'm going to select that item and delete it. Now let's do this hole. This hole is going to be a little bit more of a challenge. I'm going to already test your pen skills. Let's get the pen up. Don't worry about being perfect with this. I'm going to start over there and I'm just going to click and drag around here to try and make a little circle. I'm just keeping on clicking and dragging over there. Click, drag, click and drag. Now this one here is going out like that. If I click that last point, it just removes that other handle. And I can click and drag again. By the way, that was a new technique. I hadn't shown you that one before. I will do it again for you in a second if I did that and I now want to get rid of that handle there, you can just click your last point, which removes it. The other technique we did before remember, was you can actually do it by holding a finger on the screen and then you can click on the handle. Now that's not quite right, but we'll come back to that in a moment. Don't panic about getting it all perfect, Just have a go now. Use your node tool to go in and adjust any of these things that don't look quite as good as you would like them to look. Remember, there's no right or wrong. Now let's go on and do some more. We're going to go right up here to the top and we're going to draw the head of the guitar and then the pegs pen tool. Again, this is a nice easy one, Just click and drag over there to make a little bit of a curve back down to there, not quite in the right place. I'll just move it in a little bit like so the top of the guitar, the scroll. I'm going to use the pen tool again, same as before. I'm just going around the outside. If you want to put in more details, that's entirely up to you, but I'm just doing the outside and back again to the start. Let's do the pegs. Simple, point to point, click and drag to get a curve. Click and drag to get a curve, click and drag. Click and drag a bit. Then we're going to cheat here and we're going to take this one and copy it over to there. Two fingers, drag a copy of that. And now we can just use the nod to tweak some of these settings to the shape that we need. Lastly, the fret board, I'm going to use the penal. By the way, if you do play the violin, I do apologize for my terminology here. I'm not a violin player, play the guitar, I use that terminology for the guitar. Apologies for that. Let's go and just do a little rectangle here. There we go. I think pretty much it. And then we'll come back in the next video and do the strings. 46. Add Basic Color: Now let's do the strings. What I'm going to do is to get my pen tool and just start over here. Click, click right to the top. One click there and one click there. It's not quite in the right place. I'll have to use my Node tool and just pull that in and pull that up. Same again. Let's go down to the bottom here. I'm going to click u to the one. Click up to the top over here. And across to which one does it go to? I think it goes to that one in there. I think those are just about in the right position. Use your node tool to just tweak it around until you've got it correct. Now, once we've done that, what we're going to do is to just unlock all the bits and pieces. I've just made a slight mistake. I'm using two fingers to undo, make sure I deselect everything. I'm going to use the layers panel here and I'm going to unlock the bits that were locked. I'll just unlock those. Unlock those. Make sure that if you click too far to the right, you might end up actually hiding something. We do want to hide the bottom one, which is the photo we just left with this little area over here. Now I want to color this up. I'm going to start with the bottom first using my move tool, select the bottom. And I'm going to go across to my colors. And I'm going to choose a fill color for that. Now I don't want to stroke, I'll choose none for the stroke. Go to the fill, and I'm going to pick a brightish, pinky, purple over there. Then I want to go up to the top, to the head of the violin. You can say, I've got my recent colors. I can pick that from there. And then just choose none for the stroke. Go right to the head. Same again. And get rid of the stroke from there as well. But I think I like a slightly darker version of that color. So I'm just going to darken it down in there a little bit for the pegs. I'm going to choose the purple again, but really darken it down quite a lot and get rid of the stroke around the outside the fret board or whatever it's fingerboard, whatever it's called. And once again, apologies for the terminology. I'm going to make that a really dark purple except I've done it on my stroke by mistake. If I were to flick those across, I can make what was filled become stroke. What was stroke become fill really quickly. Moving down here, we're going to go to the hole and I'm going to choose the same dark color in the same with the fingerboard, it'll be a dark color over there. Let's have these two little areas here. That one well, let's make that a dark purple as well. Sorry, let's try that. It's dark purple. And this one here, you can make any colors that you like. I'm going to change mine in a little while anyway, I'm just getting in some rough colors to get the feel of it there. Then the strings, we'll select those strings and I'm going to make them white on the stroke. Let's get that one there white. And that one is white as well, right? Have a bit of a go with that. Once you've got all those colors in there, you can select the whole thing and go up to the menu. And choose to group it together so you can just move it around as one. It's going to go on the side there, so you're not going to see the other bit of the violin have a bit of a go with that. 47. Add Text: Now as you can see, I've changed some of my colors. But remember, we had grouped this shape together. If you want to change a color within a group, what you do is you just double click and that'll take you inside that object. So I could then go and change the color of anything that I liked in there. I'm going to keep that S wild purple. Now, when I click off of it and re, click it again, it's still grouped. We're going to make this bigger. I'm going to hold down one finger on here, so I can just scale this right up to make it pretty large in there. You can go wild with your colors if you like. Now, we're going to have some text in here. I'm going to go along to the text tool. This is called the Artistic Text Tool, and I'm going to click over there to put in some text. Now the text is going to be classical punk. Now that I've got the text in using my move tool, if I grab a corner, I can just scale that up or I can hold down the shift key to make sure it scales absolutely proportionately. I also want to change the type face on there because I don't like this very dull looking type face. You'll notice that I can just double click a few times to select the text. I want to go in and find a different type face, and you'll see that I've actually got some type faces which have appeared at the top. I'm going to click in there because it's set to Errol at the moment. And I'm going to find something which is slightly more way out. Because obviously it's a punk thing. We don't want anything too normal honesty. You could just spend hours and hours just going through every particular font that you have. I'm actually looking for one called American Typewriter. There we go, Right at the top, over there. And I'm going to use bold on that. Now I would like to rotate this. I'm going to rotate it round, but I'm going to put a finger on it as well. So it'll rotate in increments until it's running vertically. Now that I've got that, I think I can actually just go in and size it up. I'm going to once again put down my finger over there, pull it out like that. Now I am actually going to scale this text out. Normally, I wouldn't do this for anything which was serious, but because this is a wild punk thing, I'm actually going to just pull that text out a little bit like so you can change the color of it once again up to the top here. And I can just pick colors from there. I could choose a color that's in the rest of the document as well. Have a bit of a go with some text in there. Experiment with it. Have a bit of a play with different type faces too. 48. Using Blends: Let's have a look at putting a texture on top of this. I'm going to go along to the stock libraries while we're in here. As you can say, I've been looking for for textures already. But there is a little icon that I want to show you which is at the top of all of the different panels. This is a pin. If it's switched on and you click off of it, the panel will stay there if you switch it off. Now when I click off of it, the panel will disappear. If you find that your panels are disappearing all the time and you don't want them to just make sure that pin is switched on in Pixabay. I've searched for paper textures and I'm going to go down here and just pick one that I like that I saw earlier. I'm going to choose this paper texture over here. I'm going to click and hold, drag it on. I'm actually going to unlink that, so it will just disappear. Now let me take this texture and scale it up. I'm going to put my finger on there to scale it proportionately. I want something which is just a bit of a messy text in there, but I'd like to actually see the violin through there. I could actually move this below the violin. I could do that in my layers by just going back to my layers in there and just taking the whole thing and moving it below the violin. Like I don't want that. I want the texture to actually show through the paper texture. I'm on, my pepper texture, I'm going to click on the three little dots to go into the layer options. I'm going to be using the blend modes over here where it says normal. These are blend modes and these are different ways that the top layer, in this case the photograph, blends with the underneath layers. Now there's so many different ways that you can blend that the best thing is to just try them out and see what happens. Look at that when I go into dark and we can see both of those coming through, multiply very similar but slightly darker. If I keep going, you can get all types of blends between those two. That's groovy. Let's keep going over here and have a look. Now I'm actually going to go along to virtue one of the first ones that I saw, which is this darken or multiply in there because I quite like that darkish look over there. If I moved it over the text, you'll see the same thing will be applied to the text. Now let's say that I did like that and I thought, well, actually that's pretty good, but I want the text to show up a bit more. Maybe I could go in and either change the color of the text or move it above that layer so I can go along to find my text in there and just drag it above that layer, like the text doesn't actually show up in that green very well. I might have to change the color on that as well onto my text. Make sure I'm on the text in there. And we'll just pick a different color for that. We're going to try out some of the purples. But honestly, I think that white is probably going to work the best. But have a bit of a go with that. Try it out, find some pictures. I just, as I said, searched for paper textures. You'll find anything you like really and use some blend modes to blend the two of them together. Then as this moves around, you'll see different blends happening while you're there. Try changing some of the colors as well. For example on here, the green. If I don't like that green, I'm going to double click to go to select it, then I'm going to change the color to something else. Let's go to something totally different, a pink. We'll see what happens if I move that over. That's groovy. Really? Anyway, do try it out. 49. Adjusting Text & Background Picture: Now. I thought my text was a bit too boring. I've changed some of the font so it's more of a punk feel with all things going on. But unfortunately now I can't actually read the text quite as well as I wanted to. What I'm going to do is I'm going to go along to the effects over here and I'm going to put in a bit of a shadow. So I'm going to choose out a shadow over there and switch it on. Then I can adjust the shadow over here with these settings. So we've got things like the softness and hardness and the movement and the amount, all of these little settings here, I can tweak until I get the look that I'm after. I don't want anything too much. Just enough to separate it from the background. You can see with and without it, it just lifts it up. Just a small amount might go a little bit more than that. Let me do this one over here. I'm just going to use my move tool. Click on the word punk. Put in my outer shadow on there, and just adjust a few little bits until I can see what I'm after. Once again, have a go with that. Make some more changes to make your document look more interesting. Remember, we're going for just wild over the top with this one. 50. Exporting as PDF for Print: Now let's export this out for printing. I'm going to go up to the top, back to my Move tool. I'm going to then choose Export. Over here I'm going to choose PDF. Then down here we've got PDF. And I'm going to choose the press ready PDF option. Now I want to make sure that my printer has the printers marks. I'm going to switch those on. I'm also going to say convert image color spaces to make sure that all of the images get converted to the correct color space for printing. Then I'll click Okay. And then it'll just ask me where I'm going to save it. So I'm just going to put mine onto my desktop, give it a name, and click Save and it's done. 51. Pencil & Brush Intro: We're going to be looking at brushes in this section. These are called vector brushes as opposed to pixel brushes that we'll deal with later on. The idea behind vector brushes, that you can have something which looks as if it's hand drawn, but it is a vector so it's fully scalable and you can adjust it at any time. As you can see, I've got two very large brush examples in here, but there are so many different vector brushes that we can work with. 52. Pencil Options: One of the radical tools in designer is the pencil. Now if I go along to the pencil, I've got a width in here that I can change. So as I'm using the pencil, I can just go in and adjust the width. But the problem with the default settings on this tool is that the line can be a little bit wonky. If my hand is not perfectly straight, it's smooth it out a little bit, but not that much. Let's take that up a little bit and you can see, well, we've smoothed a little bit, but there's a setting up here to get around that. If we go to where it says no stabilizer and I'm going to choose the rope stabilizer, there are three options in here. Rope or window stabilizer. Let me go to the rope stabilizer Now with a rope stabilizer, when I'm starting to draw, it's like having a little rope behind my cursor. You can see as I'm going along, even though I'm wiggling from side to side, it's stabilizing it out. If I go back on myself, you can see the rope folds up and I can just go back again like that, so you can make really hard corners. Now, I'm going to remove all of those back to my pencil again. Once again I could do that with a hard corner. You can adjust the length of the stabilizer rope. With this option over here, I'm going to make it a lot longer. This time, it'll stabilize things a lot better. What about the other one in here? Let's get rid of those. I'm going to go along to the window stabilizer. The window stabilizer, rather than being a rope, is more like an elastic band. When I start to move, if I'm going quite slowly, you can see it's keeping up. If I pull a lot, it takes it while it takes its time, shall I say, following it around. Now, we can adjust the window stabilizer as well in here, whatever settings you prefer. We've got more settings though. Let's move over to this one here. I'm going to go back to the rope stabilizer and just take the rope down a little bit in here. I'm going to go with pressure. Pressure will allow me to adjust the width of the brush by pressing down. Let's do a slightly thicker brush. You can see as I press softer, softer. It will just adjust that width. We've got another one in here which is velocity. Now, velocity has to do with the speed. If I'm going quite slowly, my brush will be quite narrow, but if I go fast, it'll be quite thick. I'm not really adjusting the pressure here, I'm just trying to keep the same pressure all the time. Let's remove those. We have more settings in here as well. I'm going to take this back to none for now. I'm going to go across to this settle option over here. This one is called Sculpt. What Sculp does is as I'm drawing, it allows me to continue the line. Now if we look at what I've just done, you'll see that those are still two separate lines, and this can catch people out very quickly. Back to the pencil, you have to have the option on which keeps the object selected. I'll use this one here which says keep selected. If I draw a line now, the line is still selected and I can then continue that line. This is all one shape. Now if the sculpt we switched off and I did it, even though that is selected, it will still make a secondary shape and a third shape in there. Let's remove those. We have some more options in here as well. This one is the auto fill option. As I'm drawing, once again I'm on the pencil over here. I'm going to take the width down a little bit like that. I'm going to have auto select and sculpt switched on. As I'm drawing like that, what I can do is I can get it to fill that area automatically. I'm going to go and choose a fill color for my pencil. I'll click over here and pick a fill color. And look at that, my whole page has gone yellow. Why is that happening? Well, if I zoom out a bit, you'll see that we're actually on an artboard and the artboard is selected. When I went to the yellow, it just filled the artboard with color. I'm going to just use two fingers to undo that. I'll deselect the artboard by clicking on the outside. Let's go to the pencil now. If I'm in the pencil and then choose my fill color, you can see nothing happens to the artboard. I've now got my pencil fill selected with the fill selected, I'm going to go over here to this auto fill option. Now as I'm using the pencil, what it'll do is it'll automatically fill the shape as I'm going. As long as I've got Sculpt switched on, I can keep going over there. You can see how it automatically joins it if I go around there and it'll join it like if I don't have Sculpt switched on. When I do that, you can see all of those will be independent items. Do watch for those settings. There is one last one here to have a look at, that is the one right over here. I'm going to just switch off auto fill. This is auto close. If I switch that one on, when I'm drawing a line with a pencil, when I let go, it'll just close it up very quickly. There we go. Anyway, have a bit of a play with those settings. Obviously we'll be using this later on in projects, but try it out, have some fun, make a mess, and just get a good feel for what those little options actually do. 53. Vector Brushes: Let's have a look at the brush now. When I click on this little question mark, the brush is called the vector brush. Not just the brush, we've actually got the vector brush here, but we'll have a pixel brush that we can use later. Now I'm going to go over to the brush. If I were to just draw a line, looks pretty much like the pencil, but let's go and have a look at the brushes. There's a whole panel here dedicated to just brushes. You get all types of brushes in here. If I go to the top mindset to markers at the moment. But you can see, I can actually see engraving inks, pencils, water colors. There's a whole different range of brushes in there. And you just click the one that you want to try out and it shows you those brushes. I'm going to go along to this round water color light and you can see it's beautiful the way that it just pulls the lines around. Of course, we've got stabilizers in there, and then over here we can choose to have the pressure should we wish to work with that, which is usually the case, to be honest. Just a quickie here that is This little button at the top, If I click on that, it just makes your brushes into little icons down the side. I really like that because if I'm working on something, I can then just carry on going and it disappears. I'll just click on the little pin to pin it there. And I can just change brushes very quickly as I'm working. Now, of course, these are vector brushes, which means that you can use your node til, you can click on one of them and adjust them as you need. Have a go. Try some brushes. There's all sorts of fun things in here. If you want some real fun ones, try and have a look at the. We've gone there. We are engraving brushes because there's some really wild ones in there. Try it out. 54. Brush Options: Now I've just put a paper texture on there. I used the stock libraries and just found a paper texture. So I've got something interesting in the background. I'm going over to my brushes and I'm going to pick a brush down here. I think I'll go along to the watercolors because they're always fun. And pick a watercolor brush, let's choose that one there. Now if I just start to paint with it, that is the default for that brush. But if I click over here along the top where you've got the color, you've got your stabilizers and I click on that, now I can go in and I can actually change some of the settings on that brush. The brush itself is designed using that shape originally. That's the base of it, and it stretches it along as you're painting. You'll see that if I just do a short one, that's it there. But if I do a long one, it's taking that and stretching it out like so let's click in there again. And that's because it's set to stretch. If I set that to repeat, now when I paint, it'll actually just repeat a lot of those little shapes all the way along. Now we've got some other options in here as well. There's some offsets that we can do. There's a tail offset and you can see as you're changing this, how it's affecting it. I'm going to set that back to stretch. There's a head offset as well as I can offset the head of it. We can also just take part of the brush. If I pull these little red lines in, all I'm going to be doing is now using this part of the brush over here as the main section. You can see if I pull that out, let's me that one out as well. How it's affecting the brush. Let's get that over there. I'll take the whole thing in like, so we've got some other options in here for opacity and size. So obviously you can just adjust things like the tails. You can change the capacity on them as well. The pressure controller here allows you to change the pressure, and you can even click and you've got a graph which allows you to just click and drag up and down on that to adjust how much pressure you're going to be using on there. I'll just go back to the default click okay, and try your brush out. Have a bit of a go. Most of the brushes have got different settings in them. When you go in, it's really interesting to see what they're actually based on in there. Try them out, have a play. Have some fun. 55. Pencil & Brush Project: Paper Cut-Out Intro: We're onto one of my favorite projects now. This is a paper cut out technique. You'll see it all over the internet. It's actually really easy to do. We're going to create one with a shark in there. Of course, if you don't like sharks you could do a different type of fish. But I'll take you through it step by step. Let's go. 56. Set-up Page & Create Initial Shape with Shadow: Now for this project, we're going to do something for Instagram. I'm going to make a new document. Click on new document there. I want to find an Instagram size. Now if we go down here to the options, we really are looking at the web options over there. We've got social media posts in there, and in fact, that social media square post 1080 by 1080 is perfect for Instagram. I'm going to choose that. It puts in the size. For me, the DPI or resolution doesn't matter, but we must make sure that it's on RGB. At the top there, I'm going to click okay. Now let's start by adding a square to this. I'm going to go over here. I'm going to draw a little rectangle. When I'm drawing my rectangle over there, I'm going to put one finger down to make it a perfect square. Now I need to make sure this is right in the middle. If I use my move tool now and I move it around, you can see when I get to the middle, that little red line flashes up. If I go left now I've got a green line that's perfectly in the middle. And that's because the snap option is switched on. If you don't see those switch on your snap option, I'm just going to give this a slightly different color because that gray that we've got there is a little bit on the dull side. In fact, I'll go with that blue there. Now I want to do a circle in the middle as well. I'm going to go in here, find my lips. When I'm drawing an elliptical shape like that, if I hold down one finger, I get a perfect circle. If I hold down two fingers, I to be able to draw from the middle outwards. If I hold down three fingers, I get a perfect circle drawn from the starting point as well. In fact, I'm going to just move that along into the middle like that. Now, I'm going to take both of those, select them both, and I'm going to go up to my geometry and I'm going to subtract the middle one from the outer one, basically it's transparent in the middle. Like then I'm going to go and put a bit of a drop shadow on here. I'm going to go to my effects and the effect I'm after. Because I want a shadow in here, I'm not concerned about the outside. I want a shadow in there. Now, you would think you would use the inner shadow, but you don't, you actually use the outer shadow. If I use the inner shadow over here, just switch it on, you'll see we can actually get a shadow on the shape itself. I'm going to be using the outer shadow, switch it on there. If I pull it down, you can see we've now got a shadow underneath that shape. But this is what I'm interested in over here. I'm not worried about the outside. When we look at the settings, I can actually change the distance of that shadow. I find it easier to actually do it manually by just dragging it around. But it's up to you over here. We can change the softness of that shadow. So I'm going to make it a little bit softer like so. Then we can change the opacity of that shadow as well. Make it lighter or darker in there. You can always come back to this if you've done it incorrectly and change it later on. But I'm going to start off with something like that, have to go and get to this stage. 57. Create Duplicate Shapes for Paper Look: I want to make a copy of this now. I'm going to go back to my move tool and I'm going to zoom out a little bit. What I want to do is I want to copy this where it is, going up to the menu over here. I'm just going to say duplicate. I've actually got a second one on top of the first one here. Let's look at the layers and you'll see there are two of them there. Now I can go to the corner and I can start to scale it. But if I scale it with one finger over there, it will scale proportionately. Two fingers will scale from the middle, but scales disproportionately. Three fingers scales from the middle, but proportionally, that's what I want to do here. Let's have another one like that. I'm going to do that again. I'm going to go over here and choose duplicate. There we go. We've got a bigger one already. If I go again, duplicate, I get another one. I can just keep going with these sizes. Let's have one more in there. Duplicate up to there. A lovely fast way of just getting things to increase in size. Otherwise, you can do them manually if you prefer. Now, when you get to the stage here, you might think that some of these shadows don't look as good as they could. You might have to start selecting items, going back to your effects, and then clicking on shadows. And you can then just adjust the shadow over here, making it harder or softer. Just adjust it until you get the look that you're after. We can even move that around a little bit like so. Now to get to this one here, to the next shape, down to just undo that, I'd go to my move tool. If you can't click on it in there, you can always select it by going into your layers as well. Onto the next one, over to my effects. And we'll just have a bit of a play with that one there. See if looks better like so there's no right or wrong here. Just adjust it to what you think looks good. Don't forget to watch out for this little area down here. If you move things too much, you might not actually be able to see the whole of that circle. Anyway, try that out. 58. Find Your Shark to Trace: Now, before we bring in a picture to trace, I want to lock all these objects. I want to show you another way to do it. If we go to our layers over here, what you can do is you can click then if you drag over to the right, the other ones that you want to select at the same time you can select multiple layers like that very quickly. Then I'm just going to go up to the options and choose C. As you can see it, it's locked all of them in there really fast. Now, once we lock those, we're going to go and find a picture to trace. Now we're going to have a shark in here. If you don't like sharks find something else. It's not a problem, but some interesting shape that you can use, which will be recognizable as a silhouette. I'm going to go along to the libraries and I'm in Pixabay at the moment. So I'm going to find there's quite a few different sharks. I'm just looking for a profile of a shark that would work really well with this, something which is instantly recognizable. That's an interesting one there because you can recognize that quickly that one looks like quite a good one. I'm just going to drag that and drop it in there. Yeah, I think that's a nice shark profile. I will make it a little bit smaller over the finger on there to make sure I'm scaling it proportionately. Just so it's big enough for me to trace easily. Go get your picture. Ready to trace. 59. Trace Shark Using the Pencil Tool: Now I'm going to go to my layers and I'm just going to lock the shark as well, so I don't move it by mistake while I'm drawing. And we're going to use the pencil now. I'm going to zoom in a bit and we're going to do the shark in a few shapes. I'm going to do the body and the tail first and then I'm going to do the fins separately. After that, with my pencil there, I'm going to go and choose a stroke and fill. I don't want to fill, but on my stroke I want that to be white. So it's easy to see against this dark background. You can choose any color you like. It really doesn't matter at all. Then I'm going to have to check out some of these settings. Now first of all, I'm going to use a rope stabilizer to just stabilize it a bit. And you'll see with my rope stabilizer at the moment it's not too long. It gives me a reasonable number of points. If you want to adjust it, just change it over there so you can get things which are a little bit more smooth. I think my width, maybe. I'll take that up a little bit as well so I can see what I'm doing easily. That looks a lot better for the end. I don't want to finish the end, so I'm going to switch that off and I'm going to have the sculpt switched on, so if I happen to let go at some point, I can continue on with that line. Let's try this out now, I think I've got everything that I need. I'm going to start over there and I'm just going to go around the shark. If you can see past my hand there, you can see how it's just drawing following that little rope. You don't have to be too perfect with this as long as it looks roughly like a shark, that's what we're after. Let's go down underneath the shark. Back to the beginning again. I can now move this if it's not quite right. I'll use the node tool, select that point and just pull it in a little bit like that, that around these two here which are not quite together. Let's just pop them together. So now I'm going to do the fins as well using the pencil. Once again, same process. I'm going to start in here, go along to the fin. Let's do this one over here. This is going to be a rounded one. I don't like that. Two fingers to undo. Try that again. That's better. We've got a fin going out the side here. A little one over there that's a bit too big. Sometimes easier to just redo it rather than adjusting it later with the No, and a little one over there. 60. Group the Shapes & Add Shadow: Now what I want to do is I want to fill these with white. I'm going to make sure they're selected. Go along to my fill options and I'm just going to flick those over so it becomes white that way. Now we want to be able to move this around and move it together. I'm actually going to group it as well up to the top. I'm just going to choose group in there, which will then appear to be one shape. Let's go to our layers and we don't need to see that picture anymore. In fact, we are completely done with it. So we can actually unlock it by just clicking on the little lock there, and I can delete it from there. There we go. I've now got my shark over here. I'm going to go and just change its fill color to something else. Let's just use pure white in there. I don't think I actually need a stroke on that, so I'll just check that there's no stroke in there. We'll change the background color shortly so we can actually see the shark properly. Now I'd like to have a bit of a shadow underneath my shark. So it shows up with a bit of depth really. So it doesn't look like it's stuck inside there. As before, I'm going to go along to my effects, I'm going to show out a shadow, make sure it's switched on, and just move it across like so. 61. Customize Text to Create Quick Logo: Let's get some text into this graphic. I'm going to go along to my text, and I'm going to be using the artistic text once again. Just click over there. Artistic text down the bottom. To put in my text, I'm just going to click once I'm going to move to the top. Click over there and put in my text. I want to use the word shark in here. I'm going to do it in all caps. The type pace that I'm using is condensed, but you can use anything you like. Now, I'm going to scale that up a little bit using my selection tool, or my move tool, shall I say. I'm going to scale that right up, but I'm going to hold down the shift key so it will scale proportionately. I think that will be quite good. Let's pop it in there. I want to change the color of that as well so I can go in, click on my fill and make that white. Now I'd like to have the same thing over here, because this is all about security. So it's going to say shark security or shark secure systems. You can say whatever you like with yours. But rather than having to get the text exactly the same size down here, what I can do is just hold down two fingers and drag a copy of that. Then I can change this bit of text in here. Just select all my text. Selected the text. I'm just going to change it to security. I'm just using lower case over there. Now let's use that, my move tool again, pop it back down there. Now the text at the top, I want to adjust this text a little bit. You can see the word shark. It actually almost looks like a shark shape because we've got the body of the shark there and then the K is like a shark's tail. If I extended the A up, that could be like a little top fin. I know you're looking at me and thinking, now you've really lost it, Tim. But bear with me. What I want to do is I want to adjust these characters into more of a shark shape. I'm going to go along and convert them from editable text into something which is just shapes which happens to be in the shape of text. If we go up to the top, what I'm going to say is convert to curves. That's over there. It's halfway down the operations now it looks exactly the same, but let's have a look in the layers. What you'll see is that this shark word is actually a group look at the security that just says security on there. That's normal text. There's a little A over there. This is a group. If I click on it, you can see all of the characters are there individually. This means that I can select them. I'm going to select the R from Shark. I think I'll just use my move tool over here and I'm going to scale it in. I'm going to start to scale it, but I'm going to do a few fingers. Remember one finger scales proportionately, two fingers scales from the middle out, 33 fingers scale proportionately. And in like so I'm going to move it across over to there. Then I'm going to go back over here, select the K and push that in a little bit as well like that. Now, not only can we do that, I can then also use my node tool. I can then select the individual points over here. I'm going to go along and select the A. I can then select these points here. I'll just drag over two of them. I'm going to pull that up into a fin shape. Now I want to just select this one over here. Pull it down so we get that lovely shark fin feel. Let's see what we can do with a K on the end to make it more of a tail. Same again. I'm going to click on the K there to select it. And I'm going to select, I'm just going to try that one there and pull it up, this one here into a shark fin shape. You can do this with any of these shapes at all. I can try it with a S. I'm not sure how successful this is going to be, but this is why you've got your undo. I'm going to just select that. Those points there, pull them around. It looks more like a fish hook, doesn't it? On there? I actually preferred it just as a standard. I'll just use two fingers to go back again, but do have a little bit of a go with that if you want to try to with the security, by all means do so. But we're just looking to maybe convert this into some shark type of mini word logo. Have a go, don't forget up there. And it is your convert to curves. Tried out. 62. Look at Export JPG Details: Now I'd like to make the background a different color. What I'm going to do is I'm going to take a shape and I'm just going to use a rectangle. Put the rectangle over everything and choose the color that I want to use for that background. I think that color will probably go quite well. Maybe a little bit more orangey. There we go. That's quite interesting, obviously. If this was for a client, I would use their brand colors for this. Now I need to move it to the back. So I'm going to click on my layers. And I'm just going to click and hold and then drag it all the way down underneath all of those, don't drop it inside, but just underneath to get it to the back. I think for balance, I'm going to just move my shark down a little bit into there and maybe make it a bit smaller. Once again, one finger in there to scale it proportionately. Now if I'm happy with this and I want to then save it out, what I can do is I can go along to export. And I'm going to be exporting it. I've gone to those three lines there, Click on Export. And I'm exporting it as a Jpeg for the web or for social media. I've chosen J pig in there. The sizes are 1080 by 1080 because that's the way that we created the document. Then here I'm going to go along and I want to just check the ICC profile. Now, we haven't talked about this yet, but if you're saving something that is going to go onto the screen, we can use different profiles in here. Now you might think Adobe Big Name, that would be a good profile. Apple is a good profile. But in fact, one of the best profiles for anything that goes on screen is this RGB profile. It is for standard RGB. If you choose one of the other ones, like a P three display or an Apple or Adobe, you might find that your colors look slightly different on different browsers because those browsers aren't able to read these profiles. But almost every browser orbit of software should be able to read RGB profile. Now I'm happy with that. I'm going to click okay. And it says, where do you want to export this to? Well, I'm going to export it onto the desktop of my Cloud document. Give it a name. I will save that out. Now, that saved it as a Jpeg, which is a flat file. It doesn't have all of these layers in it. At the moment, it doesn't seem to be a problem because if I close this down there, it is still. And that's the one with all the layers. But what about if I close this one down? I would lose the whole thing. We can also save this as a file specifically for affinity and it'll have all the layers in it. We do that by going to the three little dots. Whatever you do, don't close it down with a little X yet. I'm going to just say Save As over there. Give it a name. You can see it's got an extension of AF design. I will click on Saving there and this is where do you want to save it now? Once again, I will also save it on my desktop over there as Shark. I can now close this down without any problems. I can close the document down even though I don't have it in here. I can always open it up because it still exists in there. If I go to open Document, I can go to my desktop and it's in here somewhere. I just got to find it because I've got quite a few There it is. Open that up, it's back in here with all of the layers intact. Just remember, if you do close these down, you do need to do extra to make sure that it will be available for you. Have fun with that. Try creating all sorts of other shapes as silhouettes on these paper backgrounds. 63. Duplication & Repetition Intro: Another very important aspect of designer is repetition. Being able to repeat things not just once or twice, because you want a copy of it, but multiple times, whether you're creating a clock face or whether you're creating things where you've got circular repetitions like I've got over here. 64. Stroke Profiles: Let's have a look at the stroke now. I'm going to use the pencil and just draw a little shape over there, just a little curve. I want to go over to my colors and I've got a black color in there. I'm going to go over to the stroke options and just increase the width a little bit on that. Let's go a little bit more now. We've got some options over here that we've had a look at already. And one of them, of course, is the width that you can adjust. And it does the same thing as up there, but in this stroke area, let's go down to the pressure or the profiles. We can take this little profile or these little handles and just move them down. You can see now that my stroke goes from thin to thick because the handles go up. If I did it the other way round, it would go from thick to thin. Now we can put more of these little points in there as well. So I can put a point in the middle. I can move that point downwards, so it'll go thick, thin, thick, or vice versa. Put that, move these ones down to get a different profile where it's thin, thick, thin. Again, in there, you can put in as many points in here as you like. I put in another point there. Let's have another one here. Another one there. Pull that one down, that one up. We can just change the profile on this. If I adjust it here, it's adjusting the whole width of this particular line. What about if you want to get rid of some of these points? All you've got to do is click the point and delete the node. Let's go over here. Click on the node or the point. Call up whichever one you want and I can just get rid of those really quickly. So let's just take that up a bit to there. Have a bit of a play with this little pressure area and yeah, create something interesting. 65. Strokes Caps Joins Align: Let's look at a few more of these settings. Once again I'm going to make a shape. I'm going to use the pen tool this time I'm just going to do a point point point and maybe a curve over there. Let's go and increase the stroke On this, I'll change the width of the stroke. Now you can't see mine because mine is actually white. The stroke is white. So let's do a different color in there. There we go. We can see that quite nicely. And we'll just change the width on there. Now the caps that we have here are the ends over there. You can say I've got rounded caps, I've got cut off caps which cut to where the line are. Or the extended cap which extends it out the same distance as half of the stroke width. Let's go back again to there. Then we've got these points here. And those are to do with the joins. If I go over here, I've got rounded joins, I've got cut off joins, or I've got straight or corn joins like that. Now for the alignments, we've got three possible alignments. This one here, which puts the stroke on the line. The next one puts it inside, or the one over there puts it outside. Now why don't these ones work? Well, it's because there is no inside or outside on this particular shape. If on the other hand I did a closed shape, let's just use a little triangle here. Now I can actually go put it on the inside or put the stroke on the outside over there. Lastly, let's have a look at the mitre limit. Now, this is not terribly obvious. I'm just going to do a little line like that. I'm going to use the node tool to select this, to be able to move it around. Now when I'm changing the angle here, remember my join is set to a corner, join over there. If I change the angle at some point, can you see how it just cuts it off? That we can use the mitre limit to control when that cutoff happens. If I pull this out a bit to it brings it back in again, do that cuts it off over there. I can go back and bring it in the same again if I keep going. Eventually I'll be able to bring that back like now. The reason that there is a mightor limit is because sometimes, especially if you've got two shapes which are really close to each other or two lines that are close to each other like that. You might find that if there wasn't some limit, this would be zipping right off the page over there. Let's bring it back again. There we go. Try those ones out. 66. Order and Scale with Object: I've got a little shape here and there's a fill inside it and a stroke around the outside. Now I'm going to go along to my stroke options and I can actually change the order because at the moment the stroke is on top of the fill, the fill doesn't quite come to the edge of the line itself. If I were to change the width, you'll see eventually it looks like the middle one is getting much smaller. But it's just as I'm changing the width in there at the moment the stroke is on top of the fill. But here we can change the audit. If I click on this, now the fill is on top of the stroke. When I'm changing the stroke weight, the fill remains the same. The other thing that we've got is the option to scale with the object. And this is unbelievably important because if you've done some artwork and you thought, oh that's great, I want to make it a whole lot smaller, Grab a corner, scale that down. Look at that. You can barely even see the fill on that by switching on scale with object. Now when I scale it, it will scale the stroke as well as the object. Don't forget that one, so important. 67. Creating Arrows: Let's look at arrows. I'm going to once again, create a little shape over there. And I want some arrows one end or the other. That's down here where the settle lines are. If I click on that, you can see I've got a whole bunch of different arrows in here. Let me just take this little triangle arrow and you can see it pops it in there. If I go to this side here, we can then have a different end for the other side. We something like like that. It's even a little affinity one over here. I just go down and find it. We've got an affinity symbol that you could put in, not quite sure why you'd want to use that in your professional work, but it's there. You can change the size of these arrows either together they're linked together or unlink them. And you can change them individually like that. Then down on the bottom left here, we can then have the arrow either being in the stroke length or if you click over here, it then extends it out from the stroke length like so. The last alloption allows us to flick those around so I can just have the arrow on one side or the other. 68. Dash Patterns & Phase: I'm going to get rid of the arrowheads or the arrows in the tail by just clicking this little button at the bottom over there, which removes it. Let's have a look at using dashes on here. I'm going to go across to the dash option. This opens up the pattern down here. Now mine are so much dashes as little losen shapes, that's because of the caps. If I want to go from the rounded caps to the square caps, you'll see that looks more like the dash that you are actually expecting with the pattern. We can then just adjust the pattern of dashes. And you'll see here that if I were to go in and change the first number in there, I can increase the length of each of those dashes. And if I go to the gap, I can increase or decrease the gap between those dashes in there. You could have a second one in there. So you could say, well actually I want a second dash in there which maybe is going to be a little bit longer over there. Let's have a second gap in there. There we go. We've now got long, short, long, short, long shorts. You can keep going with more of these. Down the bottom we've got something called phase. Now there's a little button over here, and if I switch that button on, I can change the phase, which means I can move the pattern along the line and get it in the right position over there. If that is switched off, it won't allow you to actually get in there. Just takes the pattern, puts it all the way through and going from halfway to halfway on that one. But the moment you switch it on, you can adjust it to where you want it to be. Have a bit of a play with these. It's not terribly obvious what it does, but once you've had a go with it, you'll understand how it works. 69. Duplicate Refresher: Now let's run through some duplication. I have covered a lot of this earlier in the course, but we're going to go through it again and there'll be some extra little bits and pieces that we'll be adding in as we go, I'm going to take a little shape. I will take an ellipse over there, draw in my lips. Now look at that as it comes in, it's got those dashes on it. I will make a perfect circle. I'm going to go into my dashes and just remove them. So we'll go back to that, maybe make this a little bit smaller. Now to remind you, because we have covered it of duplication, you can do it in a number of ways. You can do it with two fingers, let's try that again with the correct tool, the two fingers down and move it. You can also do it by going in here and going to either command or control the command or the Lt or option key over there. And then you can drag a copy like so, or make sure there's just one there. You can go up here to duplicate. And it just duplicates one normally on top of the other one as well. Now, why did mine jump over there? Well, that's to do with power duplication. When you've done something, it remembers that and does it again. Let me get rid of this over here. Start over there, and I'm going to, I'm going to start over there, and I'm going to choose to duplicate the object I had cut by mistake. Let's say duplicate over there. I should now have two of them in there. Then what I can do is I can move one of them. Let's just move it to there. Then if I then power duplicate, which is just duplicating again, it'll keep going all the way along. Let's do another one, duplicate. If I took all of those, maybe held down two fingers and made a copy that way, let's just put those close together and then I can duplicate over there. Don't forget, you can duplicate with other things as well. If for example I had the same again, I'll just use the little circle with the ellipse. I can also duplicate by scaling. I'll just do duplicate in there. I'm going to scale that down. Hold down my fingers here. Three fingers. Now, before I go any further, this has got smaller because the option is to scale the stroke. I'm going to just power duplicate that again. The next one goes in and goes in like so. If I wanted all of those to have exactly the same stroke, width or weight, I'd actually make sure that my scale object was switched off before I did that. Go over that again, I know we've looked at as we've gone through, but make sure that you feel happy, especially with a power duplication. And then we'll take this on further. 70. Rotate Around a Point: Let's create a little shape and look at rotation. I'm going to use a little triangle here. Draw in my triangle and just change the color so it looks a little bit more interesting. And let's go to the stroke over there. Give it a stroke and maybe change the width a little bit as well. Now I want to take the shape and rotate it. Obviously, we can use this little option here to just rotate by dragging on that lollipop stick. The problem is it rotates around the middle point. I want to rotate around a point down here. Let me move that up a little bit, make sure I'm on my move till first to do that we have to move its rotation point. We go up to the little arrow at the top. Click on that and we're going to say Enable Transform Origin. If I click that, it's now selected. You can see a little target disappeared, right in the middle of that shape. If I were to move that target, and I'm just going to move it down to that point there, I can now click, and I can drag around that point. Just undo that. What about if I want to have some copies of that shape there? Well, if I hold down two fingers and drag around the point, you can see it just goes back to dragging around its center. And it moves that point of rotation at the same time. We can't do that. But what we can do is once we've moved that point of rotation, we can go up and we can duplicate that shape to make a copy of it. We can move the copy over there. And I can hold down my finger over here so I can move it in increments. I'm just going to do something like that. Then we can use power duplicate to duplicate that. Again, we can just keep going with more of these options, more of these shapes all the way around. Let's just run through that again very quickly because there is a slight sequence in there. I'm just going to take a little ellipse over there, make my lips, you can see it's got that little thing in the middle. And that's because we go to the arrow there. Just make sure I'm on the right tool first. Sorry, I wasn't on my move tool. There we go to the arrow, then you can see enabled transform origin is switched on. That's absolutely fine. I move that down to where I want to rotate it around. Then I go along and I use duplicate. I make a duplicate of that. I drag the duplicate. And if you want, you can hold down your finger to rotate in small increments. Then you go straight back over here and just keep duplicating to power duplicate that all the way around like, so try it out. It can be a little bit fiddly, but once you've got the idea, it works fine if you then want to at any time move that, you can move it around for the individual items like. So if you want to move it around the middle, just switch that off and you back to rotating around the center point, have to go. 71. Rotate Multiple Shapes: Let's do another one of these and we're going to add some more to it. This time I will use this little ellipse drawing my elliptical shape, exactly as we've done before, going to make sure, but first of all that I'm on the move tool and that enabled transform is switched on move that down a bit, I'm going to duplicate it and I'm going to make a copy. But I'm holding down my finger so that I can go in. If you have a look at the markings on there, I'm going in 15 degree increments, so I've got 30 degrees over there. Then I will just do as we've done, Duplicate, Duplicate, duplicate. I'm going down to the halfway mark over there. Now I want to do the same thing, but I want to take these is the new bit. I'm going to scale them down a little bit. I want to duplicate them around in a circle. I can see the little duplication thing. If I just make sure it's selected, pull it out over there, actually it's going to go a bit further out to there. Now I'm going to go to duplicate that. When I do look at that, it jumps to the middle. My duplicate is actually going to be on top of that one. What's happening over there? Just make sure that we undo those. All right. I think I'm back to one set there. Yeah. Well, it's because these are all individual shapes. It always jumps back to the middle to get around this, what we do, and I'm sure you've worked this out already. We group them together. Now that those are grouped together, I can move this out to where I wanted to go and I'm going to duplicate that. That stays where it s and I can move my duplicate around over to there. I'll just keep going all the way around duplicating that again. I could then take these, group them together and then reduplicate them as well with rotation. Anyway, the main thing to take away from this little exercise here is that if you're going to be using multiple shapes, group them together so that you can move the registration point without issues. 72. Duplication & Repetition Project: Infographic Dial Intro: On with repetition with a project. We're going to be creating this red line logo. The technique we're going to use here is the type of technique that you'd need to use if you're going to create any dial or clock face. Let's get started. 73. Create Background with Guides: Now for this project, we're going to make something which we're going to be using on printed materials. We're going to create a new document. I'm actually going to go to print over here, and I'm going to use a four setting. Now you can change between landscape and portrait by clicking on those little buttons in there. I want mine to be landscape, although what I'm creating is square. I want to be landscape so it fills the page rather nicely so that you can see it easily. This area here, we've got our sizes, we've got our resolution, which, because this is vector, doesn't actually matter that much. At the moment, I'm going to go over to my color format and I want to change this into CMYK, because printing uses CMYK, which is Cymogenta, yellow and black CMYK. I know that the K is not quite black, but I'll tell you about that later. Whereas RGB is red, green, and blue. And that's for screen use. Once I've got all those in, I'm going to click Ok. And here's my page. Now sometimes you might find that you actually see margins and all other bits and pieces on your page before you've created anything. If you go up to the little windscreen wiper and click on the drop down area, You can choose to show and hide various parts of this. For example, if I showed my margins, I would see the margins in there. There's all sorts of other grids and guides that you can see pixel grids. If you zoom right in close enough, you can actually see the little pixel grid which are tiny little squares in there. I'm interested in making some guides though. I'm going to go to the guide settings over here. I've got my guides, I've got columns, and I've got margins Down there with margins, I can change the size of the margin. I switched them on and off so that you could see them earlier. With columns, I can actually change the number of columns and rows in there. Those don't print out, those are there just purely as helper objects. Then over here we've got guides and I'm going to click to make a horizontal and vertical guide in there. When you click off of them, I'll just go back to my move tool over there. I can still move them around. I'll just use two fingers to undo if I need to get back to them. I just go in here to the guide settings over there. Now if you want to remove them, you can select them and there's a little bin to get rid of them as well. Now that I've got my guides in there, I'm going to just get rid of that panel along the right hand side, I want to create the circle for this speedometer dial that we're creating. I'm going to go down and I'm going to use an elliptical tool. I'll use the ellipse over there with my lips. I'm going to start drawing from the middle and I'm going to draw out, I'm going to put down one finger to get a perfect circle. Two fingers to draw from the middle. Three fingers to draw from the middle as a perfect circle like that. I think that's just about right. Then I want to cut off a nice chunk at the bottom. I'm going to use make sure I'm on my move, tool two fingers and just drag that down a little bit like so I want to make it bigger. So I'm going to start scaling it and put two fingers down so I can scale it from the middle into elliptical shape. Let's move that one down once again, I'm watching all these lines all the time. So as things jump around, I can make sure that everything is in the right position. This is all lined up perfectly. I'm going to select those two items there. Then you know this bit backwards. I'm going to go to my geometry and subtract the front one from the back one. Have a bit of a go with that. Don't forget to check out your guide settings. And feel free to switch things on and off in here. If I want to hide those guides, I can show and hide them in there. If you do want to go to the grid settings, by all means you can have a look at the grid settings in there. You can show and hide grids on your document if you wish, try it out. 74. Use Repetition to Create Markers: Now we're going to put in the little dots on this speedometer. I'm going to go in and I'm going to use an ellipse. Draw in my elliptical shape with one finger over here so I can get the, I can make sure it's proportionate proportional. I'm going to go across over here to my colors and just give it a slightly different color over there. Now, if you find that when you start to look at your colors here, they don't seem as bright as they did in the other document. That's down to this being NYK. See if I went down to the bright greens. You don't get those very vivid greens in CMYK that you would normally get in RGB. Once again, we'll be looking at why this is later on, but pick any color that you like for the moment, It really doesn't matter. I've got my shape there and I'm going to move it and make sure that it snaps right into the middle. Now I want to rotate copies of this at 30 degrees all the way around. I'm going to select it. Remember our little button up here. I'm going to click on that. And I'm going to enable transform origin. Pull down the transform origin to the middle over here. And that's why we've got that cross air through the middle so you can see what's going on. We're going to go over and duplicate it. Then I'm going to move my duplicate, but I'm going to put a finger down so I can move it in 15 degree increment. You can see that's 30 degrees now. Then it's just a matter of duplicating it using power duplicate all the way around over there. How we still need a few more. I know some of them are sticking out on the outside. I think that's it, good. Now, these ones down here, we don't really need. So I'm going to just select them and bend them. Those two we don't need either. I'll select both of those and bend them. We really just want something like this. Do have a bit of a go with that and get your little dots going around the inside and try out that moving the point of origin as we did before. 75. Create Pointer: Let's do the dial in the middle. I'm going to once again use an ellipse and I'm going to draw the dial over here at the, the pointer over here. I'm going to hold down my finger on the keyboard, so I missed and hit that little button there. Hold that down to make the shape that I want. I now want a pointer on there as well. I'm going to go along and I'm going to be using just an arrow for this. And click and draw in a little arrow like that. Now let's put these in the right position. This is actually going to snap into the middle there. I think it's actually a little bit too big. I'm going to make it a bit smaller, just a little bit smaller. Snap that into the middle that way. And I'm going to take this one and make sure that that's also lines up really nicely on that middle section. Now what I'd like to do is I want to rotate those two around. If I were to select them, they are two separate objects at the moment, I'd like them to be a single object. I'm going to select one of them, Put my finger on the page, and then select the second object. It'll let me do that. Let's zoom in a bit. There we go. Got both of them selected. And I'm going to go along to the add geometry option. Now of course, I want this to be pointing over here because this is called red line, the dials of red lining over there. If I were to rotate at the moment, you can see it takes the center of the object itself. But of course we've got this little center thing, because we've got our enabled transformation switched on. All I'm going to do is grab that, move it down to there. And I can then put this at any angle I like. 76. Create Background: Let's do some color and some shapes on this. The first thing I'm going to do is to cut up all of these little dots black and I'll select everything. And then I'm going to put my finger down and deselect the background shapes. I've just got the dots selected and we'll change all of those to black. The only one that I actually want is red is this one here. Because this is going to be where it's red lining. I'm going to go over there and choose a red for that. Then maybe I could even try this one as a dark red. So I'll choose the same red, but then darken it down over there. We just go black, black, black, and then into our reds like that. Now don't forget, you can always go to your HSL sliders if you prefer, and you can use that to darken things down. Now I'm happy with the way that that looks. I want to put a black shape in the background. So I'm going to go across to my shapes, just use a rectangle. I'm drawing the rectangle from the center outwards. Once again, three fingers from the center out. I want to round off the corner where it says none. I'm going to go to round at the top and just drag this to the shape that I'm looking for. This is going to be black. I'll pick my black in there and go to my layers. And move this layer all the way down to the bottom. Of course, that is gray, not black. So I'd better select that white. I'd better do that and change that to white. I think that seems to be okay. Have a little bit of a play with that. 77. Add Text: I'm going to put in my text, and I'm using the artistic text. I'm just going to click over here and put in red line. You can see my text has come in as white, which is very convenient because that's what I want it to be. If it's black, you can change the color in the top there. I'm going to move it into the right position. Check the type face over there. Just select all of your text. And check the type face that you've got. Something that you like. Now what I want to do is I want to just select the in there to make the red as well. I'm going to do that by D along the blue area. This can be very frustrating, but I find that if you drag just inside the line, it's the easiest way to select rather than on the blue line itself drag just inside it. Otherwise, you end up moving things around. I'm just going to change that into a red there. I think the whole thing could actually be doing with scaling. I'm going to just scale that down and place it where I think it should be, which is right in the middle. Now, my guides have disappeared. What's happened? Well, at some point, what I must have done is just switch them off. In the guide options over there, you can show and hide your guides with that little windscreen wiper area. In fact, I do want them switched off now. I'd like to save this out. I'm going to go along over to here and choose Export. If I'm exporting this to go into a website or something where you require pixels, then Jpegs and PNG's would be the best option. Also for the web, you can use an SVG file, which is a scalable vector graphic. Which means that this little logo will be totally scalable. If you're sending something for print, try a TF file or an EPS file, Click okay, and save it out in whichever format you wish. 78. Duplication & Repetition Project: New Vinyl Record Intro: For our second project, we're going to do this vinyl recordings logo. And we're going to use repetition to create the record, starting at the outside and making copies getting smaller into the middle. Then we're going to use some other things like geometry to cut bits and pieces out and then put some text in at the end. 79. Creating Concentric Circles: Let's do a new document. This one we're going to just use something from the web options. I'm going to click on any of those web options there and that make sure that I have RGB in there rather than one of the print options which is NYK. Now you can of course, use the size they give you, or you can change it to anything that you like. I'm going to keep it on this size. Over here, what we're creating is vector. It is fully scalable at the moment. This doesn't matter as much. Now I'm going to okay that. Now what I want to do is I want to actually start on this vinyl record that I'm creating. I'm going to be using a little circle. Let's get the ellipse click and drag. Remember one finger down on that. Now I would like to have several versions of this circle going all the way in. One of the ways that I could do this is I could do this with a stroke. And that's the way that I'm going to use. I can go over here, I can just change this over, get rid of that black. We'll just have the gray stroke, which I'll make a little bit thicker in there. The problem with this technique is making the stroke means the shape that I've done is actually getting bigger all the time. In that case, I could go down here and I could use this align to just align that to the middle, so it'll just move in the middle. Another way of creating this could have been that we'd actually gone in here and used a doughnut, because with a donut you can create the doughnut shape in there. Let's have that as a filled shape. Then I could go to the middle and I can just pull this out. That would give me something very similar. There is a difference in this. This is just a normal shape with a stroke on it. This is actually a compound shape and those are fills and the strokes go on the outside. For this particular project that we're doing, it actually doesn't matter which of those you choose to use. I am going to actually make my stroke a little bit thicker to start off with, then I'm going to have two more of them on the inside. Now what I want to make sure is that scale with object is actually switched off. This must be over to the left here. When we start to scale the stroke, weight remains the same. On those, I'll go up to the top. And I'm going to choose duplicate. I'm going to grab a corner, three fingers and scale that down a little bit. Let me do that again, straight up here, Duplicate. And it does another one in the middle. Now why have I got a different size gap there as to there? Well, it's to do with this scaling at a different percentage. Unfortunately, you still have to grab that corner and scale it down a little bit like that. Now the great thing about this is I can then select those. I can go along here and I can then change my stroke width to anything I want. I'm actually going to move them so they just touch so I can actually see now that this one is actually not correct. I'll pull it out just a little bit until that touches then I know that all three of those are the same. I can adjust it like so have a bit of a go with that and get those three circles going. If you do want to do it with doughnuts, that's absolutely fine. Just watch your scaling. 80. Make Shapes to Use for Geometry: Now I'd like to take these shapes here. Instead of them being strokes, I want them to be filled. Shapes like the doughnut. I'm going to go up to the top here and I'm going to say expand stroke that converts those into fill shapes. Each one of those is actually a compound path. It's a circle with the middle cut out in there. But each one of those shapes has got an inner and an outer stroke. And we're looking at this as the fill color. We're also going to now take a shape and start cutting and changing the colors on those lines themselves. But before I do that, I want to move this into the middle of the document so I can line things up really quickly. I'm going to click and drag until I see the red line. And keep going until I see the green line. I now know that that's right in the middle. When I start to draw my next shape in here, and I'm using a rectangle, I can put the rectangle in there. Once again, I'll go to the move tool and I'll just move it along until I see both of those red and green lines. And I know that that's right in the very middle. Now I've got this great, big black stroke around there. So I don't want that. I'm just going to go along and remove it. We'll get rid of that stroke. Choose none. I think that's still a little bit on a large side. I will scale it down with the usual three finger option. Now this is going to be the vinyl, there's going to be some text across the middle. But the vinyl itself, I want to have that sheen that you normally see on vinyl. So I'm going to have slightly different colors and it's going to have a sheen on that side machine, on this side over there. To do that I'm going to use a triangle. I'm going to go in here, I'm going to find a triangle, make a triangular shape. One is going to go on one side, one's going to go on the other side. I actually want two of them. Now, I'm going to make a copy of that by using duplicate. I've got two of those copies. This one is going to go up here but I'm now going to go and flip that over. There are some flip options in affinity designer that's here. If you go down what we're looking for is this little item here. If I click on the question mark, you can see it's called transform. I'm going to click on that over here. We've got some flip buttons for horizontal, vertical, and we've also got some rotation quick buttons there too. I'll just use that one there and you can see how that's flipped it over. Now I think those two are pretty much ready to be used. Have a go and get this far, and then we'll carry on. 81. Dividing Up into Multiple Shapes: Now for ease of moving things around, I'm going to select both of those. And I'm going to go along and I'm going to unite those together into one shape. And I've just gone to the wrong menu, so I need to go over to here and say Add to add those two together. And I'm going to move them into the middle of my document as well. Once again, I'm just using the red and green lines. That's right in the middle. I'm going to scale it out a bit. Three fingers over there. This is going to be the sheen. Now I don't want to go up and down. I want to have it at a little bit of an angle. I'll rotate that because I'd move it into the middle of the document. That will rotate all the way around perfectly. I'm going to go into something like that because this is quite a graphical document. I'm going to move and get it to go to 45 degrees. I've got that nice 45 degree line in there. Now we're going to actually start to break all this into the individual parts so we can start to recolor them and remove bits. I'm going to go once again to my geometry and I'm going to say divide. This is now divided up. If I were to say, select all of these ones here, I could just remove them. Then I can go into these bits here and say, well, that one is going to be removed. This one over here, I'm going to get rid of that. I'm just going to zoom in a little bit over there that this one can go the same on the other side. Now this looks like it's a pointless exercise because I'm just getting rid of the bits that are there. But do bear with me on this. It's a funny little shape over there. If I were to select all those bits, you can see that those are separate shapes. So I can actually color them up separately. And it still looks like it's one object with a bit of a sheen on it. Have a bit of a go with that. 82. Coloring it Up: Let's color some of these bits up. I'm going to color this bit black because it's a vinyl record. Now, I've just colored up the stroke by mistake. Let me make sure I'm on the fill these ones here. Those ones are going to be black as well. I think those three there will be black. There are going to be black too. Now the other thing I'd like is to have a circle in the middle, The paper bit that goes in the middle of a vinyl or where the paper sticker goes, I'm going to draw my circle, my lips over here. Once again, three fingers to draw out from the middle. Let's just move that into the right position. Over there we get scented perfectly. Then I'm going to change the color of that. We're just going to make this something interesting and maybe orange like no. Then I thought, you know what would be a great idea if I could have a, another cut out circle in the middle where the whole of the record goes. Now if I just click on this shape, there's nothing I can do about that shape to put a circle in it. But if I go back to these tools here with that selected, if I'm on the ellipse tool, we can actually go to the top and I can choose to have a circle with a hole in it. And then I can adjust the hole to the right size When you have a basic shape, if you go back to the shapes over here, you'll find that you can adjust them along the top, even if you created them earlier. Let me just do that again very quickly. So if I've gotten ellipse like that over there, I can't get to those shapes when I go back here again to honestly any of the shapes, as long as that's selected, I can then go and choose those shapes to adjust it a bit of a go with that. 83. Adding the Text: Let's put in the name over here. It's going to say cool vinyl. I'm going to go along to my text. I'm just going to click down here to put in the first word. So cool. Now that I'm happy with that, I'm going to just resize it a little bit because it's a bit on the large side. Let's just size it up. I'm going to place that in there. Now, as far as typeface goes, it's still on my condensed that I was using before, but I'm quite happy with that actually Like that. I'm going to leave it like that. I'm going to make a copy of that to go to the other side, that's the two finger thing. And just make sure that's lined up perfectly. Just make sure that it's lined up like so I'll just change the text on here to say vinyl. There we go. All done. Ready to save out and send to the kind have fun with that one. 84. 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 text options. There are actually two type options. We have framed text and we have artistic text. I want to take you through those and then onto all the options for text. For example, what are things like kerning or tracking, or leading? We're going to look at all of those features as we go through. 85. 72 Artistic vs Frame Text: Let's have a look at the two types of text. If I click twice over there, I can go to either art text or frame text. Text is what we've used so far with our text. All I've got to do is click once and put in my text. And then we can use the black arrow, the move tool to resize it, hold down a finger to resize proportionately. There is another way that we can bring in the text. That is to use the art text and click and drag to the size of the text you want. Then you can continue on. Now once you've got text like this, it's exactly the same. Using the move tool, you can just size it. You can hold down a finger to size proportionately. What is the difference between that and the other text? Well, if I go along to frame text, I'm going to click and drag with frame text. I'm going to put in some text over here. I put in a little bit of text. You can see it's not filling up my whole frame. What happens if I do go and change the frame size? If I go to a corner, you can see the text doesn't change. But if I pull it in like this, it will get the text to flow inside that little box. This is great if you've got a lot of text in there which are put in in a moment, but there's also another little dot over here. You can see we've got the inner dot and that makes the box get smaller. The outer, do this one over here. If I click on that, then the text behaves like the text. I can just pull that around to resize it. The inner one will make the text flow, the outer one will resize. All of these ones here are for text flow as well. I've gone to Wikipedia to just copy a piece of text here. I want to take this little bit of text over here. I'm going to copy it. And once again go back into designer. Let's get rid of that one over there. Back again to my frame text put in a frame and then I can just paste it in like so try that again, I press, don't allow that was why it didn't work the first time. Once again, you can see the text will just flow inside that box or I can resize it using the outer one. 86. Text options: Let's have a look at some more options for the text. First thing we're going to do is to select some text. I can do that with my move tool by just going in and clicking a few times to select, I'll just pull that little blue thing up to the top, and this little blue dot down to there. Now that automatically brings up my keyboard, and I've got cut copy and paste options in there. There are some more options over on the left hand side here. When you click on them, you've got all sorts of different things that you can insert into your document. From quotation marks to maths functions to symbols. If you're looking for a registration mark or a copyright symbol, this is the place to go. But I'm actually not interested in those. What I want to look at is the options along the top. Here we've got our font family, also known as a type face over there. A lot of people will also call this the font. Now over here, we've then got the style of the font, which is regular, bold, italic, or any of those options. Moving on, we've got the size, which is in points. In there you can see -18.6 points. If you're not quite sure about what size points are, most readable text tends to be 11 12 points If you wanted a big heading at the top. To give you an idea of how big that would be in points 1 " equals 72 points in there. We've got things like bold, italic, underline, and a number of other little options down here as well. Now all of these are replicated in the text panel. If I click on the text panel here, you can see we've got all of those buttons down there. But there's a little bit more to it then these text panels actually show you. Because if, for example, I chose to strike through, that's the little S, a line through it over here, it puts a line through there. You can actually go further. You can click on the little arrow over there. Now I've got options for my strike through. No, strike through, strike through, or double strike through in there To the right of that. I can then even change the color of the strike through. So I can click on that and go and choose a different color. You can see I've gone with the bright blue strike through color in there. You just click off of that little window to get rid of it. I have occasionally had problems with that color window not disappearing properly. It was a little bit buggy at some points. Just be careful of that. Now let's have a look at another option in here. I'm going to once again use my move tool. Just select this little bit of text which says architecture. I'm going to go back again to edit it now because I'm actually on the text, I haven't double clicked to go into it. I don't see those options along the top, but I can still get to them by clicking on this little button or to bring up the text or character panel. By the way, if you're still in here and you think, hang on a second, where the other things gone, you just click the word character to go back. Watch that whenever you go into something, if there's an option there with a back arrow on it, click there to go back a level with this a little bit of text here. I'm going to click over there. I can then go in here and I can put a stroke around the outside of the text. I'm going to click put a little stroke in there. You can see how we've got a stroke around the outside. And I can go and choose a color for that stroke. Actually, let's make that red there. Just click off of that. I'm going to now go to the fill color, which is this. And say none. This is now actually transparent in there. I just move it out. On top of that one, you can see the other text coming through it. Let's zoom in a little bit further and look at some more options. Now, we're not going to go through every single option that's in here, but once you've got the idea of how one or two of them work, then they all start to make sense. Back onto this bit of text over here. Back to the type, then if I want to change any of the options I could, for example, go to the stroke itself, look at this, this is all the things that we've looked at before. With regular strokes, I can change the end points or caps. We don't have actually any of those on here because all of the shapes are all fully encompassed. But what about the edges over there? Are they rounded? Are they cornered? Look at these edges here. If I'm changing between those two, I can round them off, or I can make them corners. Or I can click over here and make them straight edges. And you can see if you change a mightor limit how some of them will come and go at different times. If you look particularly at this little R there, those two are corners, but this one is cut off until I pull that out like that. You might want one or you might want the other. I'm going to just click off of that. Click off of that there. And then once again it says character there. And I can just go back on myself. Have a little bit of a look at that. Whether it's text that you've clicked a few times on and you can then see all the shortcuts along the top, or go in here. Have a look at some of these options for the moment. I'm going to just suggest bold, italic, underline. And you can click in there and go further into those options as well. Try out. 87. Text Tracking Shear & Scale: Let's have a look at some more options. I've gone to my Word Architecture over here and I've just selected it. I'm going to get rid of that. Let's go down to the text again. I'm going to go to this bold, italic, underline, et cetera, and click on that because we've had a little bit of a look at those. But let's go down to some of the other things that we can do with the character. I'm going to go to positioning over here. Positioning allows us to do all those weird words that you might have come across called tracking, and ning, and leading, and baseline shift, all of those type of strange words. But I'm going to take you through all of them. Let's start over here. I'm not going to do these from the top down. I'm going to come back to some of them. I've selected all the text, so I'm going to go to Track Tracking. If I click in here and drag upwards and downwards allows me to change the distances between the text by increasing or decreasing that number. Let's keep going like that. Now you can do it on headings, and it looks great on headings. It gives the heading more significance or more of a cinematic feel. Myself and a number of other designers tend to do that as well. Next time you look at some text, keep an eye out. Because very often you'll find that the headings are slightly, the characters are slightly further apart. Now, you can also do it on body text. I'm just going to select this bit of body over here, once again go to my type. But the problem with tracking on text like that is it makes it very difficult to read. If I were to just keep going like this, the characters get so far apart, it's actually tiring. Looks great on headers, but on body I'd be very, very careful with that. Why do I say you can use it on body text? Well, sometimes you might find that you've got a character which is sitting on its own on a line. You might want to move a little bit of text around instead of that being on its own. It might have another word or two with it. This is, well, those type of things are called wooders and orphans, but we'll just leave that word hanging for the moment. I'm going to go to my tracking over here. And if I increase the tracking just a little bit, you can see now that that's actually got three words in there. Or I could reduce the tracking so that you can see how the text flows in different ways. Now I've just got the word proportion by itself. You can use this to just adjust your text ever so slightly in the text frame. Let's have a look at another one. I'm going to go down here and we've she. Now, if I take this bit of text, same again. I can share this text, which is, it's like italic really. It's also often known as a fo italic. I can actually change the angle of that text like that. Now this is actually quite useful actually, if you're trying to do some text and you've got another text of the same text behind it and you want to make that into a shadow, you could do that. You'd have another bit of text in front of this. So it looks like there's a shadow behind it. Moving down a little bit, we've got horizontal scale and vertical scale. So we can scale our text one way or we can scale it the other way. Try those out, particularly the tracking, it's really useful, and then we'll do some more on this. 88. Text Mini Project with Shear: Let's do a little mini project. A really mini mini project. Just very quickly, I'm going to take the text and I'm going to use some artistic text. And just put in a word in here. I've got the word tall in there and I'm going to just move it down a little bit to where I wanted to go. Now I'm going to do this and I'm going to put a shadow behind the word. It looks like it's being litter on the side. To do that, I'm going to make a copy. I'll just show you my layers. I've just got that one at the moment. I'm going to go up here and I'm going to duplicate it. So I've got two of them now. I'm going to go to the back one, this back object over here, and I'm going to go along to my text. Remember I'm going over here to where we've got the bold and italic. One of the options in positioning is going to be she. I can just shear this out like that to get a bit of a shadow going on. All we need to do now is to go back to the color and change the color of that to something a bit more interesting. I might make it slightly gray and I'm using the opacity here rather than the lightness or luminance there. I'll go to my top layer in here and give that some color like that. Have a go with that. 89. Text Kerning Baseline and Superscript & Subscript: Once again onto some more options. I'm going to select the word Architecture. Back into here, Again, back to the positioning I want to look at. Now if I go to kerning, and this is just the text frame is selected and try and change it, nothing happens. Kerning happens between individual characters. If I click, for example, here with my cursor between the E and the C, now go back in there again. We got the wrong, wrong one. You'll see I can actually adjust the distances between two characters with kerning. This is a really useful little function to be able to just move things closer together and further apart. What else have we got in here? We going down, we've got something called the baseline. The baseline is to do with where the characters sit. They sit on a little invisible line which is called the baseline. If for example I took, well, let's do this over here and selected. I can then go to the baseline shift, it's often called, and I can shift that up or down of this, I can move individual characters around. Now, why would this be useful? Well, let's say for example, if I go over here to the E and I want to put a copyright symbol over there. I'm going to go along to the options here. I mentioned them earlier. And click, and I'm going to go and find the copyright symbol. I'll just click the copyright symbol in there. Now let's select the copyright symbol. Wrong one. I'm going to go over here. We need to move that out the way in these settings. First of all, we've got an option which says superscript or subscript. You might have come across that superscript makes things small and go up. Subscript makes the small and go down. I could use superscript to make those that go small up, but then I might be thinking, I think I want to go higher still. I can go to my baseline and I can just adjust the baseline to move it up or down. Then I could click between the copyright symbol and the same again, and I could use my kerning to just move it closer together or further apart. I'm just moving that little figure over there. If you're making your own fractions, this is very useful where you can make one number smaller and go up. You can use superscript and subscript, but then you can control them more by actually using the baseline and the kerning. Anyway, do have a bit of a go with that. Maybe copyright symbol registration marks, trademarks, all sorts of symbols in here. And you get to those by clicking on that little C over there on the left hand side when the keyboard appears. 90. Leading & Space Between Paragraphs: Let's have a look at the distances between the lines of text and the paragraphs. I'm going to click on the text frame, so the whole frame is selected like so. I'm going to go across to my text options. In the text options, I'm going to go to something called leading. Now, leading changes the distances between the lines of text. At the moment it's set to 14 points. You can see if I click and drag over there, how can just adjust the leading over there. But if I click on the little arrow to the right of that, once again, I've got some leading options in there. It's the same thing as we saw a second ago, but then we've got space before and space after. Now, the best way for me to show you this is to select this middle paragraph here. I've just clicked a few times until it's selected. Once again, if I go in here, space before gives us space before, the paragraph space after gives us space after the paragraph. If you've got a whole lot of paragraph selected, you're probably not going to notice the difference between them. Because with everything selected space after will affect all of the space, will affect all of them as well. But it's quite useful if you've got something like a little header between the text and you want more space above the header and maybe less underneath it. But do check those two out, it's in the text. Go down to leading in there. And you can change your leading in there. Click the little arrow and the space before and space after. 91. Indenting & First Line Indenting: Let's have a look at the spacing from the left hand side. Now I've gone into the text again and I'm going to click just above where it says leading the little arrow on the right hand side. This is all about indents. First of all, we've got the left indent. As you can see, I can just indent things from the left hand side. We've got a right indent and I can indent it from the right hand side as well. Then we've got the first line indent, so I can actually just indent the first line over there. But what about if I wanted the first line to stay where it was an indent? Everything else, well, I can use a left indent to pull it across. I can go to my first line and I can take that back to zero. Once again, you've got full control over the left hand side now. I'm going to take that back to zero. Let's go back and I'm going to change the alignment from left aligned to right aligned. Let's have a look now at what we can do. Once again, back to the same indent area. Of course we've got the right alignment over here, so I can align things to the right hand side. I've got the first line indent over there, so I can actually indented but it's indenting from the left hand side. I've got the last line out dent. It is such a word I've never come across out dent before. Indent? Yes. But I suppose it's a thing you can see that set to 35. If I take that back to zero, it'll move the last line back to the right hand margin. Let's just take that back again to there. Do have a try with that. It's in the little indent area over here. Once again, if you just play with those settings. But more importantly, go in here and use these exact settings to get exactly what you need from your text. 92. Type on a Path: Let's put some text onto a path. I'm going to use my pencil and I'm going to draw in the path that I want to put my text on. Then I use my Artistic text tool and just click on that path. I'm going to put my text straight in there. Now I've got some small text going in there. Now, sometimes you might find that when you put your text on, the text looks really weird. It could be that if you go to your text settings, you might find that there are some weird things going on. Maybe the positioning that you've been using is all over the place as well. If that happens to you, just make sure the text is selected over here in the styles, you can just go in there, just use body and no style over there. And that should reset it for you. Shouldn't happen all the time, but just in case things go wrong for you, that's how you can fix it. But let's have a little bit of a look at this text. First of all, I'm going to select it. I will click a few times to select, I'm going to increase the size. I'll do it from the top, although we can do it from the panel. So I'm just going to click and choose a slightly bigger size. Let's go 36 over there. Now what I can do with this text is I can actually move it along the path. If I were on the move tool, when I click and move, it just moves the text and the path around. But if you're on the type tool, can you see there's a tiny little green arrow on that side? There's a red arrow on that side there. Now that's your left and your right margins. You can see if I went over here and chose my right margin will jump to that side. The left margin will jump to that side. The center will go to the center. But we can actually be a little bit more accurate than that. If I go along to the green arrow, I can click it and I can actually manually move it along the line if I want to go underneath. I just keep going all the way up here and eventually it'll go underneath that line in there. Of course, everything else that we've done so far can be applied to that. I can go along into there and maybe choose some of these settings, adjust the positioning and I'm going to take my tracking and I'm just going to increase the tracking over there. But all of those settings will work. But don't forget, you use the text, which is artistic text, and you click on the path. Then you use the text tool to find, let's go to the text tool again and you'll find that little red, red light, the green arrow. I'm thinking that one there. The green arrow. And you can just click and drag that wherever you like have to go with that. 93. Type on a Circle: Let's put the text on a circle Now. I'm going to go in, I'm going to get an ellipse draw in my elliptical shape. Finger down for a perfect circle. Same again. I'm going to go to the Artistic Text tool. Click once on the line and put in my text. Now it's gone to the inside. Using the Artistic text tool. Again, I'm going to grab that little green line there and just pull it around until it jumps to the outside. Now you can see as I'm trying to do that, I'm trying to line it up so it goes perfectly over the top. This green one is not helping me at all, but there's a second green one there. If I take this green one, then I can drag it around that way. We can just get it in there absolutely perfectly. Let's do that again. I'm going to once again take a little circle, drawing my circle over there. Click, put in the text that I want. I'm going to move the word today around so it'll come in underneath the bottom. Now let's just have a quick look at these circles. They are pretty much the same size and that was just a guess on my part, but let's use that. I'm going to go along to my type tool. I want to move this one along to the bottom. So I'm going to drag along to the bottom. It is the correct way up, but if I want the text to go on the outside of the circle, like that is on the outside of the circle, I could select the text, then I can go over to my text options. Let's go all the way back again up to here. Remember our positioning or with positioning, I can use the baseline to just drag that out below that line like so. Then I can use some tracking to just pull that text closer together. I think that's probably just about it. Maybe move it into the right position like that. I've got fully controllable text on a path on one side and on the other over there. But most importantly, I've got the text on the outside, but the correct way round have a bit of a play with those. 94. Text Inside & Outside the Same Shape: Let's put two lots of text onto one shape, One on the inside and one on the outside. I'm going to use an ellipse. Let's make that a little bit bigger. Get my type tool, click on here. My text is right outside over there. And that's happened because if I go into my settings over here, you'll see that when I go into the positioning, my baseline is way down there. I'm just going to take the baseline back to zero again, just reset it to where it should be. If your text is all over the show, don't forget, always check out these settings here. Chances are it's going to be one of these, which is going to be the culprit. I've got Bill today over there. Now remember the little arrows over there. This arrow here. The green arrow is the left margin, The red one is the right margin. If I go to my settings, and we'll just go back here again. Left margin, right margin over there. If I take my right margin and push it up to the edge of build, then the text will then flow onto the other side of the path. If I pull that out again, it'll flow that way. If I took my left margin and pulled it down here, when it gets close to that right margin, it just says go to the other side of the path. So I could put build in there. Now I've also got some other little margins here as well. Remember, these outer ones here are controlling this one. The inner little arrows are the left and right margin for the other one, the other side. So I can move around the today over here, Don't forget, try this out and check out those little margins. Green for left margin and the red for the right margin. When you pull the right margin in, it will force the text to jump to the other side, Wrong one over there. Try it out, bit, fly, but it does work. 95. Text Project: Social Media Post Intro: For this project, we're going to create a social media post and we're going to be using lots of text. We'll use things like artistic text. We'll use framed text. And we'll get text to go round a shape. 96. Set Up Document & Add Stock Photo: For this project, we're going to do something for social media, so we'll click on the New Document button. I'm going to go over to the web options. I want to create something for Instagram. At the time of recording Instagram, the ideal size is a square, which is 1080 by 1080 pixels square. Now I can have a look down here and see if I've got anything appropriate in there, but to be honest, it really doesn't matter because I can then put in my own sizes over here. I'm going to just click on that little one there and type in 18. This one I'll also put in one oh eight in there. The resolution doesn't matter at the moment. I'm going to go down here and check that I'm on pixels in there. Otherwise, you end up with 1,080 millimeters or centimeters or meters, which would be just appalling. Check that you are on RGB in there. And click Okay to make your document. Now we're going to have a background picture in here. I want to do something with balloons, the ones that you not the party version. I'm going to go along to my stock library. I'm going to type in fly. You can try balloons, but I think usually with balloons, you tend to get more pictures of party balloons. Let's have a search on there. There are some pictures of flies, but there's a balloon there. The one I'm interested in is down here. It's this one over here that I would like to use. You can use any picture that you like. It doesn't matter because we're just going to be putting text over the top and you can just juggle the text around. Now, my picture is huge. If you have a look over there, I'm going to scale it down. But you can see how it miss scales all the time. One finger to scale it proportionately, move it up into the right position. And I'm looking for something like that over there. I'm offsetting the balloon slightly because I'm going to have some text to go around it and a word that goes up there and more text at the top. Let's take that down a little bit like that. Anyway, get yourself to this stage. Get a picture in there. You can use any picture you like. But do make sure that it's got a lot of dark areas because we're going to be putting white text on top. 97. Putting in Text on a Circle: First thing I want to do is to lock the picture down so I don't touch it by mistake. I'm going to click on it. I'm going along to my layers. And in the layers I'm going to click on those three buttons and choose to lock it down. Now let's get some text going around the balloon. I'm going to use an ellipse. I'm going to draw it from the middle of the balloon outwards, but three fingers to get a perfect circle going around the outside of the balloon. I'm then going to, as we've done, go to my artistic text. Click on the edge there. And let's say fly with me. Now that text is small, so I'm going to select it and increase the size, which I can do right at the top here. Let's try 72. That's a whole lot better. Might even go a little bit bigger then I want the text to go over the top. Remember we can move these little left margin and right margins around. If I keep going with that margin there, eventually it will move to the other side. That's pretty good. I don't like the typeface that I'm using in there. So I'm going to click over here and find something which I feel goes with balloon flights. Maybe something less hard. I will just choose regular dido. Now that I've done that, I'm thinking that the text looks slightly too far apart. You can see the and the L are very far apart. The others are also a little bit further apart. Let's go back into here and first of all, just check in the position that I don't have any tracking on there. I don't, but I could actually change the tracking to just get a little bit closer together. I can also click between the and the L, where they are so far apart. Once again, down here, go into say, my kerning and just pull that in a little bit. Manually change those settings. I think I need to make that text white. Once again, I'm just going to go in and choose white as my fill color for the text. Now let's have a look at these two little buttons down here. They're very similar to the ones that we looked at before with text, but that was on a regular text frame. The inner one here, if I grab that, you can see what it does is it scales the shape that you've put the text on. If I hold down a finger on there, I can scale the whole of that shape proportionately. The outer one scales the whole thing, the shape and the text in there. Once again, if I hold down a finger, I can get that to scale proportionately too. In fact, if I did something like that, it'll also almost look like the text is going around the balloon over there. I don't want that. So I'm going to use two fingers to undo it. I'm going to scale it up proportionately. Then I can either move my text around using the type tool, finding those left and right margins, or to be honest, I can just rotate the shape in there until I get that right. Let's make that a little bit larger. Have a play with some of those settings, and don't forget those two little dots on the bottom right hand corner. 98. Adding More Text: Let's get some text up the side now if you wish, you can actually go along to your layers and just lock that bit of text as well. I'll do that just so I don't touch it by mistake. This time I'm going to be using artistic text. I will just click and drag something which looks reasonably large, and I'm going to type in the word adventure. It's big, I know, but we can always grab a corner and just scale it down. Remember, finger to scale things proportionately, I'm just checking the size on this side, although I'm going to rotate it round to go up the top. Now the other thing that we can do is we can go into our settings here. Let's have a look at getting all of this to be in caps. We've got some little buttons here. Now this is in the character options over there. If you go along, kick on there, you've got the character options. This will make all of the text capital, this will make them capitals, but the first capital will be bigger than the rest of them. The large upper case and then smaller upper case in there. I'm not sure about that. I think I'll just try the caps instead. This time I'll have to move that down a little bit, then I'm going to rotate it round. I'm going to hold down a finger to make sure that when I'm rotating it, I'm rotating it in small increments of 15 degrees and I get that absolutely vertical that way. Have a bit of a go with that. Get your text in there. 99. Adjust Frame Text: As you can see, I've brought in some text, and the text I've used is frame text. I've got this text in a little frame over here. And I can then change the frame box size. I can scale the whole thing up and down as well. Now I've got some paragraphs here. I've got to join the elite team all the way down to provided that's a paragraph. And I've got C details below to contact us with your CV, that's another paragraph in there. I think I also want after day and before fully to have that as a separate paragraph. Let's just do that as another paragraph there. I'd like to adjust the distances between all of these. I'm going to go along to the text options. I'm going to go down to leading. Remember with the leading, we can change the sizes between all of those lines, but I'm going to click on the little arrow in the end. Rather than change all of them. We're going to be changing the space before now. Why did that just change? When I went to the leading, it just changed those two in there. Well, that's because of where my cursor was. My cursor was sitting in that paragraph. So the leading is affecting that paragraph over there. If I were to make sure that the cursor wasn't in there and then did the same thing again when I go to my leading. Now, it will change all of those lines like so, but I want to have just the distances between the paragraphs. I'm going to go along here and we've got space or space after that we can use. I'm thinking what I like that there, but how about if I click on this one? And then with this I changed the space before so I could actually move that one down a little bit further. You don't have to do the whole of the document. You can do the individual paragraphs by themselves with space before, space after or leading. Don't forget, because this is text, we can move this over a little bit like so. I'm just looking to get this text to look good in the small area that it is. Also, remember that this will be seen quite small on a phone screen. I might be looking at something like that. Can I actually read it on a phone? I don't think so. I think I'm going to have to scale this up. So I'm going to grab the outside edge there. Finger down, scale it up, and pull it in, and try and get the text to look a little bit more readable. In this instance, I might actually take this bit of text here, this is going to go at the top. Then this little bit of text I want to have at the bottom. For now, I'm just going to select this bottom bit of text and cut it. As you'll see, there are actually other ways to do this when we get there. Later on, then I can make another text frame. Make sure I can find my text frame over there, draw another text frame at the bottom, and paste my text into that. You see the problem with doing this is I've scaled it up and this is a totally different size. Now sometimes when you have this problem, the easiest thing to do is to just make copies and delete the bits that you don't like. If I were to just undo this and go back to there, all I'll do is two fingers down and make a copy of that text in there. Remove the top section of text that I don't want from there. I've just got that little bit at the bottom. And likewise, I can then go to this one here and change that bit of text or remove that bit of text as well. I don't have enough room in there. Once again, I will just select all that text. I'm going to go over to my text settings and I'm going into my space before and space after and just adjusting it in there. Let's move that around And so I get it in the right position. You can see as I was moving it, the green line flashed in when I moved it in there. There we go. So I know it's lined up with that top bit of text. Try that out. See how you get on with that. 100. More Text Option & Final Export: Now look at this text here. Full training provided. That's really difficult to read. There's a few things that we could do. One of the things that I actually like to do is to use a drop shadow. I know you're looking on the screen and going really well. Let me show you what I mean. I'm going to go to the effects. If I go along to the outer shadow, then just switch it on. Firstly, you can, it doesn't actually make any difference straight away, but if I go along to these settings here and I might just make this a little bit darker, can you see as I'm making that blurry how it's darkening itself behind the text? I don't want to move it around. I want to keep it exactly where it is. It's right behind the text in there. And then this one. Try to do this so that you can still see the screen. We can darken it down or lighten it up there. Look at the difference between that and that. You can barely see, there's a drop shadow in there. But it's enough to just make sure that you can read that little bit of text. You could try the same with Fly with me as well, if you thought that that wasn't standing out enough. I'll do the same thing again. I'm just going to unlock it. I'm going to go to Fly with me. Unlock it by clicking on the little padlock. Try that again. Click on that little padlock there. Doing the same thing, going into our effects. Putting on an outer shadow over there. And we will change the blurring behind it. Once again, you can just decide how much blurring you want, but it's very subtle. But it just lifts the text away from the picture. Once you're happy with your document, do scale it down a little bit like that so you can check that it's actually readable in there. What your edges, that you're not too close to the edges. Text which goes right away to the edge. Although you might be able to read, it doesn't look that great, to be honest. Once you're happy with it, we're going to go up to the top and we're going to export it. We're exporting this as a J peg for social media. Over here, it's going to be the original size, the 1080 by 1080. The I'm going to keep that at 100% Although you get a smaller file with lower quality, the image doesn't look very good. I'm just going to give it in file name over here. Let's call this fly. All I have to do now is to go in and save it. So we'll just click okay. Save it out somewhere. And it's done. You can then just upload it to your favorite social media package. 101. Well Done & Thank You - Onto the Next Level!: Well done. You've got to the end of the beginners guide to Affinity Designer on the ipad. Look for the second version to take your skills onto a whole new level. Once again, lots and lots more projects as well.