Amazing Affinity Designer on the iPad V2 - Intermediate-Advanced

1. Welcome to the 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. Intro to Color: Color is such a big feature in designer and we're going to be looking at all stages of color. We'll start off with the color studio, but also looking at things like RGB. What is it? Cmyk, once again, why should you use it? Pantones. What are Pantones? We'll look at all of these options to do with designer. 3. Color Choice & Shortcuts: Let's have a look at some of the color bits. I'm going to go along over here to the little color.in. There what we have first of all, is the color wheel. Now I know we've looked at this a little bit so far, but let's take this a bit further. We've got the color wheel in there. If you click, you've got HSL sliders. If I clicked again, you can see we've got gray sliders, color wheels, HSL which stands for Hue, Saturation and luminance, or lightness, you can think of that. Rgb sliders and RGB hex sliders in there as well. You can either do it by clicking or you can actually just flick through, like I did the first time by just clicking on the side on the right to flick between those sliders over there. So I'm going to just go back again to the color wheel and let's look at that. First of all, with the color wheel, you've got the hue around the outside. The hue is the color on the color spectrum. And then on the inside here, we've got from dark to light, or black to white, up to fully saturated color. If I want something in the gray, for example, I can do it anywhere along this line here. If I move over there, let's just flick over to make sure that we're on the fill color. And I'll just pick a color here. You can see it live. If I go over to this side now I can just go up and down from black through to white or gray. Then if I start to move this way, I'm saturating that color that I've chosen until I get to fully saturated color, the opposite side. If you go down this side of the triangle, you're actually lightening it. So I can go from white through to the fully saturated color, obviously. Then if I go on this side, I've got black going through to the fully saturated color in there. Of course, all the variations in between. But once you understand how this little triangle works, it makes a lot more sense. Rather than just click on the color and going, oh, I want something like that. If you understand, I like that pink, but I want it lighter. If I move down towards the white over there, I can lighten it up or darken it down that way. Now, we've got some other options in here. Let's have a look at the top. First of all, when it comes to a color, and I'm just going to choose a blue again in there. There's a lovely little shortcut over here. If you've clicked a color and you think, oh my goodness, I should have lightened it up a bit or darkened it down, you can just go along to the color dot. If you click and drag upwards or downwards, you can see how you can just lighten and darken the color over there. Sometimes it's easier with your finger, so you just click and hold and drag down to darken it, to lighten it, I can just keep going up over there. Now, let's have a look at another short cut over here. I'm going to go along to this tal shape. By the way, when you try this out, get any picture that you like. I've just chosen one that we've worked on earlier, back to here again, back to my color. What I want to do is I want to go over here to the stroke and I'm going to put a stroke color on there. And as you know, you can go to the stroke and you can increase the width over there. But let's say, for example, that I then didn't want the fill inside my stroke. Well, if I go down here, I can choose none. We've done that before. But there is another lovely shortcut and that is you just drag upwards like that and it gets rid of that fill or the stroke. Once again, I can go to my stroke and just wards very, very quickly to remove it. Or you can click on your color again to bring it back. But those two shortcuts are really useful. Moving cross over here, we've got the little eyedropper. Let's have picked up this one here. And I want to make it the same pink as that now because I did that a while ago, it doesn't remember those in my recent colors. What I can do is I can use this little eyedropper tool here. I'm just going to drag and drop it over the area that I want. What you're doing is you're looking at the little dot over there where your pencil is. I move it over the color and let go. Now I wanted to fill this one, so let's try that again. So I'll make sure that that one is selected first and then have a look at what happened. I drag it over there, let go. It doesn't change the color of that. What it does is it puts that color over here. And then if I want it, I can click on to fill that color. Let's make this one the same color as well. So I'll go over there. Click in there. And just remember that same color for me. So I can click it or go to my recent colors, or let's do it again. Just drag over there, let go, and drop it in like, so I want to get rid of the stroke around this. I'm going to click on the stroke and just drag upwards quickly to remove the stroke color. Have a bit of a play with those. There's some really useful bits in there. The shortcuts for getting rid of your stroke or your fill are really, really good. Try it out. 4. More Color choice & Shortcuts: Let's do another little setting in here. This time, rather than using the color wheel, I'm going to flick over to the HSL sliders, so hue saturation and aluminus the same thing that we have in the triangle. I'm just going to pick a color over there for my fill. And now, sometimes when you start to pick these colors in here and you go, I want that blue there and you get your saturation and nothing happens, check that your luminance is light enough so that you can actually see that color. If in doubt, just put these two in the middle and you can then change the color. I've got a fill on that, and I've got a stroke, and I'm going to make the stroke with a little bit thicker. And I just want to remind you of something that I have referred to before. And that is that these two little things here, you can flick them around by just clicking on them and dragging over them to say, I want the fill to be the stroke or the stroke to be the fill really nice and easily. I'm going to move This shape over to here a little bit. You can see it's just a straight square, and let's have a look at the luminance on the fill. So I can lighten that up to white or I can darken it down to black. But if I go to my opacity, I can also go all the way to white that way as well. So what's the difference between these two? Well, if I move this on top of one of the other shapes and then do it again, you'll see luminance is solid. It doesn't affect the transparency of the object, whereas pacity is all about transparency. So this is one of these things. You can't see it unless you've got an object on top of another object, and then it makes perfect sense. I'll just pop that one back in there again. Let's go to this next one up here, and Last little slider here for now. Noise. Noise allows you to put texture into a shape. You can see I can just drag it over there, get some interesting texture on that. I'll just go up to 100% at fady grainy on that shape. There's just a nice way of getting a little bit of texture into a vector shape. Once again, try those out. 5. Make a Color Palette: Now I've changed my picture in here. So I've got something different. You can use any image that you like for this. But what I'm going to do is I'm going to go over to my colors over here. What I want to do is I want to go down to the bottom to look at these swatches. First of all, in the quick colors, you've got a quick way of getting to a colors If I've selected the stroke, and I can just go to non, or black, or white, or gray. I've always got recent colors that I've used in here. Lastly, I'm going to go down to swatches. And this opens up the swatches area. By the way, you can get back to your normal color picker by clicking on the swatches word at the top there. What swatches do we have full of color? Well, if I click on the word Colors, it gives me a drop down. You can also use the backwards and forwards arrows to go back up and down on these. You've got colors over there, you've got gradients. We'll be getting to gradients later on. There's grays. And then down here we've got a whole lot of what are called spot colors. Now spot colors are colors which are used for printing. They are extra ink when you print. Normally the printer works with sine magenta, yellow and black and Y K inc. But then if you want a special color, you can then get them to print a particular special or spot color. The company that makes these colors is a company called Pantone. There are other brands as well, but Pantone is one of the bigger brands out there. A lot of people will just call them Pantone colors. Anyway, Pantones or spot colors, if I just click on one, you can see it just looks like a normal color swatch. Anyway, I'm going to go back over there again. Go back to my colors. And you can see I can scroll up and down through the various colors in there. But what about if I wanted to make my own swatches panel? Well, what I want to do is I want to save this blue. Now you can see it's selected the whole of the monkey face. I'm going to just double click. So I can just select inside that group because that was grouped together. Double click to select the blue area. I'm going to go up there. I'm going to click on the little burger menu right at the top. Now when you add a palette, there are two types of palettes. There's the application palette or the document palette. The document palette is only for this particular document. If I make a palette, add some colors in, I won't be able to get to that when I go to another document. An application palette is for the application itself. It'll be available to other documents as well. Now I'm going to make a document palette. I'm going to click over there. And then it says, what do you want to call your palette? So I'm going to call it monkeys. You can call it anything you like. It really doesn't matter as long as you know what it is. And you can say, I've got my monkeys up the top. Now let's click on the Fill color. What I'd like to do now is to get this color into my Swatch. And I do that by going to the top and I can just say add the current fill to palette right at the top there. And there it is, we go and get another color here. I'll double click on that monkey there. Once again, click in there, and I'm going to go and add that current fill to the palette. It really is as easy as that. Now with this monkey here, I'm going to double click it. Because what I'd like to do is I want to get the red in there. That's the stroke. When I click over here, it says add current fill. Now that's a yellow fill with a red stroke. If I click Add filter palette, it actually adds in the one that's selected. It doesn't actually say add stroke to it, It assumes that both of them are the pills. If I go back to this one here, once again, we click in there, add current fill to the palette. Now I have come across a small issue in here before where I've been trying to add colors and well, it doesn't like it and it doesn't add the correct color. It adds a bit of a mix of colors in there. If you come across that, just close down the software, open up again and open up your picture and you can go back and it should work correctly for you. Anyway, once you've got your palette up there, you might be thinking, oh my goodness, now I've made a bit of a mess of it. I didn't really want that palette. You can go to the top and of course you can always rename, or more importantly, delete the palette From there. I'll just delete my monkey palette. Try that out, It really is very useful. 6. Make a Global Color: Now if you would like to remove a color, all you have to do is to click on it. And we can then choose to delete that color or rename. Or we can edit that color as well. If I go in here, I can click Edit because they're a little bit too bright. I'm going to go with maybe a slightly darker green. Or let's go totally different. I'm going to make it orange. Just close that down. That's done now, so that new color is changed. But what you'll notice is that the color that it was used on my document hasn't changed. If I were to click on this shape here, choose that color and maybe de selected. And then I went in here, clicked on the edited the color, and we'll make this one purple there. This color still remains the same. That's because these are standard colors. What amount? If I wanted some colors where if I changed it in the Swatches, it would change it in my document. Well, that's because we'd need to use a global color. I'll make a global color by going in here and I'm going to add a global color. I haven't got anything selected. I'm going to go in and make my color up. I would like my global color to be a, let's go with an orangey color there. And I'm going to make it a little bit darker. I'll add that in as a global color. Now you can see a global color because it's got that little extra arrow at the bottom. Maybe I went to this document here and I changed that color on this one, I changed the stroke on there. I'll make that stroke a bit thicker so it's easier for you to see like I might have used this color, this global color throughout my document. But then I decide, you know what, all of these browns, I really need a different color. Now I don't need to select them. All I need to do is to go to my global color. You click on it, click Edit, and change the color in here. And you can see it's live. So it'll show me exactly what's happening with my new color that I'm picking. I'm going to go across to the greens and find something a little bit different in the greens. Again, to add abnormal color, if you edit the color in the swatches, it doesn't change. If you go to a global color and you add a global color, if you change it in the swatches, it will update everything in your document. If you click on the color itself, then if we just go back here and edit that color, you can see I can change that color without actually changing any of the other colors as well. That's now no longer from that global color. These ones here are the global color, very useful feature. 7. What is RGB?: Let's have a look at color modes. There are two main color modes, RGB and CMYK. Now this is RGB over here, and it stands for red, green, and blue RGB. This is the way that almost all devices work, whether you're on an ipad, or a digital camera, or a scanner, or a television or smartwatch. When you look at the color on there, the colors are made up of red, green, and blue. All the millions of colors that you see are just combinations of red, green, and blue. If you take red, green, and blue on a device and have that light coming in at 100% it gives you pure white. Even that white over there, well, it's 100% of red, green, and blue. If I close down designer and looked at a page which had a white background, it's showing you white because it's 100% of red, green, and blue light that you're seeing. What about black? Black is just a lack of light. If you don't see any light in there, it's going to look black. These three colors are also known as channels. Sometimes you'll hear people saying about a document which has got three channels or four channels, that's what they mean. It's just these three colors that make up all the colors on your document. Now when you're creating a new document, if you're creating something that's going to be seen on screen I on the web, social media, you're designing an app for a device. You will work with red, green, and blue if I go over here and I do a new document in there, when I'm picking colors in here, whether it's photo colors or whether it's the web colors, I'll be making sure that I'm using the color format, which is RGB in there. If I flick through, you'll find that there are other color modes in there, but the main ones that we're going to be working with are RGB over there, RGB eight and, and YK, which will come to shortly. If you're creating anything for screen use, go with RGB every time. 8. What is CMYK?: This is CMYK Y. K stands for cyan, which is the bluish color. Magenta, which is the pink and yellow. M Y Cymagena, yellow. And K R. Now K is for black. Why have we got K there rather than B? Well, first of all, it used to be called the key color. You've got red, green, and red, green and blue Cmogena, yellow, and the key color which is black. Also, you might find that the B could be confused with blue as well. This is all about printing. We start off with a white background, which is for paper. You don't put any ink on that, it's going to be white anyway. Then you use Simogenter, yellow and black ink on the paper. If you mix together sagent and yellow, you do actually get a black in there. It's not a very good black, but it is a black nonetheless. Why do we have this extra ink in here? Well, most printing, when it comes to words, are done with black. You don't want to have to print and use Cymagentrain yellow ink every time you want to print a document with lots of writing on it, we can just use the black ink from there. Also, the black that we get here is not a good solid or a rich black. We'll talk more about those later on. If you're doing anything that's going to be printed up commercially, then we're going to use Cymogenta. Yellow and black printers will expect you to send the document in CMYK mode. Now if you're printing something on a photographic printer, a lot of photographic printers will to print using RGB color if you're printing on an office printer. The office printers usually use Cymogenta, yellow and black ink in them as well. When you do go to a document over here and we create a new document, you'll see if I go over here to the press ready, it defaults to CMYK in there. Whereas if I do a new one over here and I went to standard print, it says RGB because you can actually use RGB and print onto an office printer or a photographic printer. Just be careful of those differences in there. If in doubt, if you're going to print it out CMYK, especially if it's going for commercial printing. 9. RGB vs CMYK: What are the big differences between RGB and C and Y K apart from this? One is for ink or print and this one is for screen. Well, there is a difference in the colors you see with R GB. This is all about light. That is all about ink. If you're using light, you can actually create some really bright and vivid colors. This is a very bright green that I've got here. The blue is also quite vivid as well, and the green is quite bright. But over here, using CMYK, there is no way that you can use cymogenrain yellow ink and create a green like that. It just doesn't work. There are certain colors that are much brighter in RGB. Greens are one of them. Blues are another as well. Reds less so. Although you probably wouldn't know that RGB colors tend to be brighter than CMYK, Now, does that mean that every time you create a document, it's going to look awful? No, not at all. You see everybody who's printing things is in exactly the same boat as you are. Everybody has the problem with CMYK colors not being as bright, so you just don't notice it. Because if you're in a magazine shop and you look at the magazines, you don't go while that cover looks so dull. Well, maybe you do, and it's just the cover. But you don't look at the colors and say they're all so dull. It's only when you take something which is printed and put it next to a device like an ipad or a computer screen, that you'd action with the same picture that you'd actually notice the difference. Can you get super bright colors for CMYK? Yes, you can. You use something called a spot color, I mentioned these earlier on. And you can get some very vivid colors, bright oranges, bright greens, to use in printing, but you have to use those as a separate ink in there. It's not made up of CMYK. 10. Spot Colors: What about spot colors? Well, spot colors can be used in a number of different ways. First of all, you can use a spot color, as I mentioned before, to choose a very vivid color if you want a really bright color. For example, you might be doing a magazine and you want this vivid orange or vivid green logo on the cover. You could do that by printing and Y K plus an extra bright color. But the other use for spot colors is if you're doing limited color printing. For example, you're creating a business card and there's some black text on there and you want to use the company's main brand color on there as well. You would use a spot color for the brand color and then black ink over there. You're only printing with two colors. The other reason for spot colors is if you want the color to be absolutely perfect when you print it, you see if you print with CMYK. If you print on paper, or cardboard, or fabric, or anything like that, you might find that your color you've chosen looks different on those different media. It's not that the printers are bad, it's just that that's the way it is. Cmyk doesn't always look the same on different media. Also, if you print from one printer and you go to a different printer, I'm talking printing companies at the moment and they print the same thing. You might find that the color actually looks different again, Whereas if you print something, let's say you're doing a brochure, but you want to make sure that your logo is in the correct brand color. You would print the brochure using and Y K. But for your logo, you would then add a spot color which is correct for your branding. You'd actually be printing with five colors. You can have more spot colors than just one. You could have 6789, as many as you want. But remember the price just rockets up. As I've said before, spot colors are an extra ink that you use in affinity. We tend to use the Pantone brand as I've said many times before, there are other brands available as well. 11. Find a Pantone: How do you choose a pantone swatch? If you go to the swatches in here, and you pick your pentons from the swatches, when you look at the pantones and somebody gives you a pantone number, they give you this odd number. And you think, well, which one is which? What you can do is you can click on the little square next to it says pantone. That will give you all of the different numbers in there, so you can very quickly find the number that you're after. By the way, you're very often you get a number and then you get a U or a C. U is for uncoated or matt. C is for coated or glossy. Don't forget when you go in here, click on that. You can see that this is a pantom because it's got a little.in the middle, but you can always click over there. If you need to search by numbers, have a look at that. 12. Gradient Basics: Opened up my cool vinyl project that we were working on before. I've just made a little shape in the corner here. What I want to do is I want to go and add a gradient to the shape over in the tools on the left hand side. I'm going to click this little gradient icon down there. You see if you're not sure. Once again, I'm going to click on that with my shape selected. Let's do that again. I can then click and drag to make a quick gradient in there. Now this gradient can be moved around wherever I wanted to go. The great thing is I can click on these little stops. I can change the color. I'm going to say this color on this side. I'm going to have that as a. Let's go with the pinkish color. I'll click on this side here. That's going to be to make that a bit of a blue like. So I can move that around anywhere I like. I can also just click and drag again over there. Now right in the middle, there's a little middle point, so I can have more color on that side or more color on that side. Now, right at the top, we've got some other settings in here. If I click on them, you can see we've got a linear gradient, which is the one that goes from side to side. We click that again. We also have a conical gradient. Let's make it a bit smaller then. I'm just going to change the color on that looks a bit more interesting. Let's go with that. In there we have a bitmap. Now bitmap is not a gradient. It allows you to put a photo in as a pattern. The last one over here I missed out on was the radial gradient, so I can make that as big or as small as I like. And once again just change the colors on here to anything that I need. 13. Gradient Types in More Detail: Let's have a look at these gradients in a little bit more detail, once again onto the gradient tool. Over here we have got the solid color, which is the solid color there. The linear gradient which goes from one side to the other, which as you've seen and probably played with, you can just drag around like that. You've got the middle point over here, which is going from one color to the other. But what about if you want to add in extra colors? Well, all you have to do is you just click on the line, it'll add another little node. And you can then change the color on that node. Go and do this. Add another color in there that works the same with all the rest of them. I'm going to go along here to the elliptical elliptical gradient. Let's just pull that around. Now you can see with the elliptical gradient, I have got two limbs over here. These two limbs both move at the same time. But if I go up to here to the lock and I actually unlock the aspect ratio, then I can pull one out without affecting the other. So we can get gradients which look a little bit more like that you can pull on whichever side you prefer. Once again, let's click in here again, the radial gradient. I'm going to go to the conical gradient. Now the way the conical gradient works is it goes from one color around to the other color. If I click on this color here, I can then change that color. If I click on the other side, I can change that color. I'm going to put them to the same color so it looks smooth all the way around. But as before, you can click anywhere and add in new colors to your gradient. You can always move the gradient around by grabbing the middle of that gradient over here. It doesn't matter how big or small you make it, It's all the same thing. Let's just go back to the standard linear gradient. I've got a gradient which goes from one color to another color. Then this is on the pill. If I click on the stroke over here, I can have a gradient on my stroke as well. I'm just going to have a gradient which goes from one color to another. Click on this side, I'm going to make that red click on this side, I'm going to change that to yellow. You can choose either the fill or the stroke to apply your gradient, have to go with that. 14. Gradient on the Vinyl: Let's have a look at putting a gradient on some of this vinyl. What I'm going to do is I'm going to select one of these pieces. First of all, I'm going to do this shine hold down my finger and that will allow me to add the other bits to the selection. I'm going to my gradient tool. The gradient that I'm going to choose is just going to be a linear gradient. I can move that gradient across from one side to the other. I think I want the outside of this gradient to be quite light. I've chosen not quite a white. Let's go with slightly off white in there. Then over here we're going to use the same white. I'll just use it from my recent colors. Then if I click in the middle over there, I can go in and I can put in maybe a darker color or blacks a bit too dark, but maybe something like that. I could even go lighter if I thought it would work. You could of course, have done a radial gradient from the middle outwards. Now the text, we can do the same thing with the text. I'm just going to go along to my text here. Choose the gradient and just click over there. I've got a gradient which is going to go from black through two. Get hold of it. A gray. Same again, I could do it across both or I could do them individually. Then you can do the same thing with these and just have a bit of a go with these. And these ones might be quite fun actually to do, let me just get the right tool over there. The move tool might be quite fun to do using the gradient that goes around in a circle. Just make sure I've got all of these now. Just to check that they're all select. If I change the color, you can see how they all change. Let's go across to the gradient tool over here. Rather than just a standard gradient like that, I'm going to choose this conical gradient over there. Let's move that to the middle over there. Then I can get the colors to go round. So I could start it over here with maybe a black and finish on a black. But then over here where we've got the red, I could change that to a dark gray over here. I could put another color in there. Maybe that's going to be a slightly lighter gray on that side. Same with this one over. Then we can get these shines to go along on the record itself. I'm just lightening those areas up like that once again. Rather than using this technique, we can use that technique to get more of an interesting shine on our vinyl. Do have a bit of a play with that or seem to have lost those. Might need to just undo those again. There we go. Do have a little bit of a play with those and try different gradients on this. By means going in to the middle, one put a radial gradient or a linear gradient in the middle. Anything you like, just experiment. Now when you go up here and you think we have my gradients gone, it's because you're not on the gradient to make sure you're on the gradient to first. Then you can go in there and choose from those different gradients in there. Try it out. 15. Gradient with Transparency: Let's try another gradient. I've opened this image that we've been working on before. The word adventure down the side. Well, the T and U are on a light area. Those are very easy to read. But this is not quite so much. Yes, you can still read it, but it doesn't look that great. I'm going to take a shape and I'm just going to draw a shape over here, make it reasonably large like that. I'm going to fill that shape with a dark color, like black. Or if I wanted to, I can sample the color. Let's try that again. I could sample the color from the background and use that color in there as well. Now what I want to do is I want to actually change this into a gradient. I'm going to go along to my gradient tool. Click and drag over there. This side here, I want that to be a dark black. And this side I want to be transparent. So I'm just going to make it black. First of all. I'm then going to go into my capacity and change the capacity. We get something which just fades out from dark through to black. Of course, you can still adjust that depending on what you need. Now, of course, this is in the wrong place. So I'm going to go along to my layers. And I'm just going to drag that layer down underneath the text over there. That gives us something which is far more readable, but you can still see a little bit of the detail coming through. Have a little bit of a go with that. Do watch out for gradients when you have a gradient with transparency and your gradient has two different colors. For example, with this one here, I might have the color on that side which is black. But this side maybe the color is bright red. Or let's go with green so you can see it a little bit better. Even though this side here is set to zero and that's set to 100% you'll still see a bit of the color bleeding through in there. Watch out for that. Try and make sure that both sides are the same color or very dark. If that's what you're after. Have a go with that. 16. Transparency Tool: Now there is a second tool in with the gradient tool called the transparency tool that does exactly the same thing that we've just done with the gradient. You see, if I were to select the shark over here, I could then go in. Actually, I better make sure that I select all the shark. I could go into not the gradient tool but the transparency tool. And just click and drag, and it does the same thing, it adds transparency into that shape. In fact, if I go back here to the color, if I've selected that little node and go back to my color in there, once again, you can see I can adjust the color for that node. I can adjust the opacity for that as well. This is quite interesting. I can even add noise to a single node so I can get some texture which blends into the smoothness of the rest of that shape. Do be careful if you've got things like this which are shapes which are on top of each other, you're going to see the differences between them. 17. Create a Menu Project Intro: For this project, we're going to take a lot of the stuff that we've used already during the course. We're going to make this interesting. Well, it's basically aimed at a hotel where you have holidays with different budgets. These show the different options, but the important thing here is we're going to be using a lot of gradients that we looked at with color. We'll create the colors, we'll make some gradients. And then we'll use gradients to get not just the different colors, but even make things like little buttons. I'll stop talking. Let's get. 18. Create a Rounded Corner Shape: Now for this project, we're going to create a new document and we're going to be doing something for print. I'm going to go along to my press ready, I'm going to choose a four. And I want this to be landscapes. I'll click on Landscape at the top of there. Here's the sizes, absolutely fine, in millimeters. And I'm going to make sure that my color is set to and Y, K, the color profile if you leave it on the default. But I would suggest if this is going for printing, talk to your printer and ask them which color profile they would like you to use. It's not the end of the world if you get that one wrong. Now I'm going to click okay. With this project, what we're going to do is we're going to start off with a rectangle, which we will then repeat once we've finished doing all the detailing in it. I'm going to go to my rectangle tool, check them on a rectangle, click and drag to make a rectangular shape. And I want to round off the corners of this. If we go to the very top, I'm going to choose rounded and then I can choose how much I want to round those corners off. I'm really just looking for something like this to start off with. If you want to make sure this is in the middle, by the way, just drag it until you see the little green and red lines which flash up if you don't see them, go to your settings up the top and make sure that you've enabled the snapping options and that you have got preview mode. And we're actually previewing all the guides and the grids and everything else that you actually need to see in there. So I'll just pop that in the middle. It doesn't have to be in the middle for this project, by the way. Not yet anyway. 19. Adjust the Basic Shape to Customise It: If you want to move this to the middle of the document, just make sure that when you go to your snapping options, you've got the appropriate snapping switched on when you click over here. If you move it around and you don't always see the little lines that are appearing, I'm just going to move that to the middle, that way in the middle, that way. Just make sure that that is actually switched on. If you switch it off, you won't see those movement marks, but doesn't have to be in the middle. For this project, we're just getting it there for ease Now, I would like to have less rounded corners at the bottom and much more rounded ones at the top. There's a number of ways that I can do this, but I'm going to do it by actually having two separate shapes. I'm going to make a copy of this shape. I'm going to put down two fingers and drag a copy up because I've got my snap switched on. You can see it just snaps to that middle section really nicely. And then of course, this top shape over here, I want to round that off now where my little rounding things for want of a better word gone than the little red dot. Well, if I go back to this till here, now you'll see it. And I can just round that one off a little bit like. So I think I'll go back to this bottom one here. And I want that to be less rounded. So it's going to be slightly rounded at the bottom. And I'm going to move it up a bit like that. That'll work nicely. Then here I want a little arrow going downwards or a pointy bit going downwards at the bottom. I'm going to use a triangle. Draw in my triangle over there, but I'm going to rotate it round using my move til I will rotate that around one finger to make sure I rotate it exactly 180 degrees. Move it in there. And then once again, I can line it up to the middle of those objects or to the center of the object, the center of the page. Just make sure your snapping is on and that way you can get into the right position. Now I'm going to select all three of those shapes. I'm going to go up to the geometry and I'm going to add them together into one single shape like that. Have a bit of a go and make some copies. Try to be accurate with this and switch on your snapping if you need to get things exactly in the right position. 20. Creating a Color Palette & Gradients: Let's have a look at making some colors here. We want a gradient which is going to go across this. I'm going to go up to the top. I really need to find some colors. First, I'm going to make a swatch up to the top. In here I'm going to go to swatches, go up to the top, and I'm going to make a new swatch. I'm going to add only for this document, a document palette. Let's give this a name. I'm going to call this whale because we're going to have a little log of a whale on the top. Now, I need to make some colors to go in here. I'm going to go back to my colors and just pick the color that I want to use. Now what I like to do is I actually like to just have a few little squares with some colors that I can see that these things would be working quite well. I'm thinking of maybe some purple color in there. And then I'll make a copy of that. Let's have another copy of that there. I'd also like a blue in there as well. Let's have one more color over there. Two fingers, drag that one down, then I can see what other colors would work. Well, with that, I've got those two colors there. Let's see if there's something on the opposite side of the color spectrum, like an orange. That would go well with that, I've got those two up there, and then I go directly opposite, And that's yellow or orange. Those three colors work together rather nicely. But let me make a gradient to go over there. Actually, I realized I better save these colors. First, I'll go back to my Swatches. I'm going to click on the Swatch and find my Swatch, there it is, it's called Whale. Let's start with that color first. And I can then add that color in by going to the top and add the current fill to palette. Now if you want to make that a global color, by all means you can add it as a global color. If you change your mind later, you can always adjust it. But I'm just going to use the standard one because I've clicked on that little button there, you can see the difference that shows me my settings for that particular color. Once again, I'm going to go along here, save my color. It's a third one over there as well. Let's save that color into the two. Don't actually need these, I'm just going to move them to the side over there. Let me go back to my shape. Now, I did say gradients a few times. I'm actually going to go along to the gradient. The type of gradient that I want over here is going to be a linear gradient. It's going to go across like that. I'm going to choose to have one color on one side, so the blue will be on one side and the other side is going to be the purple. Now if you want to add in any more colors between those two, feel free to do that. If you want to remove a color, you can click on the Color and this little bin at the top, you can just get rid of that color from in there. If you'd like to get to that stage there, make a new Swatch. Add your custom colors in there if you want to have them on the side. It just helps with the whole design process where you can see the colors that you're going to be using in the document. By all means, do so, but make a gradient across your shape. 21. Using Subtle Effects: Let's add in a second shape on top of this. It's going to be a rectangle. I'll choose my rectangle tool over there. I'm going to draw my rectangle and just get it to go into the middle. I'll start drawing it over there. I'm going to hold down two fingers. It draws from the middle out, but it's not constraining the proportions, it's just going to be some shape like that. Then I'm going to move that up a little bit over there. We'll have to bring this whole thing down a little bit. Now, I want to round the corners off on this, I have to go back to my original shape. Any of those shapes, to be honest, it doesn't have to be the original shape up the top here. I can then choose to round the corners off and grab a corner and pull that out. Just a little bit like that. Now I'd like the shape to actually be white because it's going to have text on top of it. But I want to be able to be seen. First of all, if I go and choose white, I'm never going to see that on the background. But I'm going to actually bring in a little bit of a drop shadow over there. Let me go along to my X, That's the X over there. I'm going down to my outer shadow. I'll just switch it on. Then we need to change these settings a little bit over here. First of all, I've got this one setting which allows me to move that shape around. Remember, you can do that manually if you wish. I'm going to go to the second shape which changes the blur on there. So I can blur it now. My white is actually showing up against that dark background. But finally I'm going to go to the opacity and pull that down so it's not too very obviously drop shadow on there. It's just got to be very subtle so you can barely see it at the top even. That might be a little bit too much. Just play with these until you get something that you think, wow, that works really well for me. All right, that's it, that's enough. So I can just about see that at the top. Have a go. 22. Creating the Button Look with Gradients: My shape in the middle is quite big. I'm going to select it, use three fingers and just scale it down a little bit like that. Maybe move it down on my page. I've got room for the button that's going to go on the top to make the button, I'm going to go over to my shapes. I'm going to use an ellipse, and I'm going to draw a perfect ellipse in there. I've got this perfect circle now mine's got quite a large stroke around the outside. This doesn't actually matter because I'm actually going to be using a stroke which is about that size there. But for the moment I'm interested in the fill color. I want to do a little gradient in the fill. You'll see how it works shortly, but my gradient is going to go from a light gray to a white. Let me make sure that's selected. I'm going to go along to my gradient tool. I'm going to click and drag across there to make a little gradient. This side here, by the way, just make sure that you're on the linear gradient, if that's the one that you want. This side here is going to be a slight gray. Now, to get to my grays, I could just pick a gray like that. Or if I went back to my swatches, I'm going to go actually rather than the color wheel, I'm going to go over to my sliders. I'm going to just go in and find my Y K sliders in there. Those are all set to 0% and this is the one that I can adjust over here to get a nice little light gray color in the subtle. We're going for absolute subtlety on there. I might even take the middle and move it up just a little bit like that. Now I want to save that gradient. I'm going to go over to my swatches again with the gradient selected. So make sure that you select the shape. Don't stay on the gradient tool. Otherwise you'll end up maybe just adding one of the colors from your gradient. You want both of them. Go back to your move tool, select the shape, and then you can go in here and you can say, add the current fill color to the palette, because that's on the fill color there. It'll add that subtle gradient in there. Now I can go to my stroke over here and I can apply the gradient to the stroke. Now I'm going to go over to my gradient tool, just make sure I'm on the stroke over there. So I'm adjusting the stroke and then I can change that stroke around. So I'm going to have a light area there and a darker area there. You can see how we're going opposites on these gradients. I'll just move that across to the for now, place that right in the middle like so once again you can't see it because of the white. So I'm going to go to my effects. I'm going to go to my outer shadow and switch it on. Let's move it out like that. Move it across just a little bit and give it some more blur on there. Just so we can see the whole shape in this is lovely because it's slowly building up the layered effect. We're not talking about layers at the moment, but the layering effect on there. You can do some lovely infographic style work with these gradients where you've got opposite gradients, which then appear to give almost a three dimensional feel to your artwork. Now let's see if we can apply that same setting to this shape over here. I'm going to go up to the color. Let's go to the fill, first of all, into the swatches and I'll apply that gradient fill to the fill. Then I'm going to go over to the outer stroke. I'm going to apply to the outer stroke as well, But let's make that outer stroke a little bit bigger over them. Once again, go back in there, make sure it's applied. Then using my gradient tool, I'm going to just change that outer stroke around and the inner stroke around as well. I'm going to make the inner stroke go from there down to them. The inner fills, should I say? Then I'll go to the stroke and I want the stroke to go this way around over to there. That gives us quite a nice little effect on there. If you thought, well, maybe that outer stroke doesn't look quite right. You can go to the strokes and you could then choose to have it on the inside or on the outside of that shape. You can see how the outside keeps the, the stroke and the line running around quite nicely inside the middle bit goes a little bit too squared off. I'm going to leave it on the line, but it's up to you what you'd like to create, have to go with that. 23. Create a Custom Shadow to Get a Floating Look: Now I want this whole thing to look like it's actually standing up. I'm going to just move it up a little bit over there. I want a shadow underneath it down there. I'm not going to use the shadow tool because that doesn't work really well for these type of shadows I'm about to do. I'm going to go along and I'm going to get an ellipse, and I'm going to draw an ellipse in from under there. So I'm going to use two fingers to draw my lips. Look at that. It's just remembered these last settings that I had. Which means that with those shapes, if you've done one setting, you can then just carry on and draw multiples of the same thing. Obviously, I don't want that. I want to go to this shape here and I'm going to fill the shape with black. Let me try that again. I don't want a stroke, so I'm going to pull the stroke upwards. Go to my fill and fill it with black. Then I'm going to use the transparency tool and I'm going to click and drag on there to get a gradient. Now I don't want this linear gradient. I'm going to go up to the top and I'm going to choose my elliptical gradient. The elliptical gradient has got these two settings. This setting can come down here. I'll move that into the middle. Pull that down. Let's zoom in a bit. So I've got a bit more control over that. Pull that down to there. Let's go to this one here. I think that'll be about right now, that is actually black going into transparent. If I move that over there you can see what I've got. But of course that's a little bit too harsh. I'm going to go along to my layer and my object itself. I'm going to click on the three little dots and I'm going to change the opacity of that whole object. I've just got a very subtle shape like that. Of course, you could change the color of this whole gradient as well, rather than having an actual shadow. If you want it to be almost like a light that comes through a semi transparent object and casts a colored shadow. If I want to change the color of this area, all I've got to do is to select it with the black arrow tool and then I can change the fill color. And I can get whatever color I want underneath that. We don't really want to yellow, blue, maybe purple. I actually prefer the black to have a dark color under there. Once again, this is a little bit, well, it's not quite right, so I'm going to go back over to my transparency tool and just pull this down a little bit like so Have a bit of a play with that. These are really nice ways of getting shadows and objects. 24. Make a Logo: Now let's make a little logo to go in the top there. This particular infographic that we're creating here is for a restaurant which is all about seafood. I'm going to make a little whale in them. I'm going to do that using an ellipse. I'm going to go to my lips tool. I'm going to draw an elliptical shape like that. Then I'm going to take a copy of that shape using the move tool. I'm going to use two fingers to copy that shape over there. Make it a lot bigger like that. Select them both, and then using my geometry, or my billions, I'm going to subtract one from the other. This is the body of my whale. Now I want to put in a tail over there. I'm going to use circles for that. Let me go along here to my ellipse. I'm going to draw in the first circle. I'm going to make a copy of that. Two fingers, select both of those over here. I'm going to use the Intersect area to get just the tail itself. There's my first tail. You can rotate around if it's not quite in the right place. It's entirely up to you how you want this to look. You can make it bigger if you thought all whales should have a really big tail like that. I'm going to make a copy with two fingers. Let's try that again. This one I want to be around the other way. I'm going to do that and just pop that tail in. Now I think the whale should have a big fin on the side. I'm going to take another one of these, once again with two fingers to make a copy. That will go on the side. We need eye on the whale down there. That's going to be a, an ellipse. Pop that over there. Now, of course, the problem is the colors here. I'm going to go along and I'm going to pick a different color for this. As you can see, I wanted that other color for something else. And I think it'll work quite well up here. I'd like to be able to see the whole of that shape in there. I might actually go along to the stroke and just put a white stroke in there, but make the stroke a whole lot smaller so you can just about see it over there. Go to the eye. I think the eye should be white and I'm going to fill that with white. Select all those items and I'm going to get them all into one shape but one group. So I'll go up to the three little dots and I'm going to say group to group it all together. This can now be scaled down. That's about the right size to go in there. Let's have a closer look once again, just that it looks a little bit better. I'm going to go and put a very subtle drop shadow under that to lift it from the background. This is where you can experiment with different things. You could try doing glows shadows. You put an inner shadow there. If I did that, I could actually get a shadow to go inside the shape like that. So it looks like it was actually punched in. If the whole thing was white, I'm going to just use the outer shadow over there, pull it out just a fraction and soften it and take down the opacity. Once again, I'm just looking to very subtly lift it from the background. Anyway, do have a go with that and create yourself some little logo to go in the top. 25. Create a Copy & Add Text: As you can see, I've put in a little bit of white text down the bottom, and I just moved this shape down a bit so it would actually fit in there. I want to have three of these for the client so they can then put in their own details for breakfast, lunch, and dinners. I don't need these colors anymore. I've used them in my document. I'm going to remove them. So I'll just select them and delete them. I'm going to select all of these items here and group them together to make my life easier. I'm just going to go in here, group them together. This one is going to start off over there on this side, then I'm going to make a copy. So I'm going to duplicate it. Move my copy along a bit, over to them, to the middle. Then once again duplicate it again. That's power duplication. So I've now got three of them, all in the exactly the same space, shall I say? I've got the same space between them. Now, all I've got to do is to select the text. Change the text, and we can save it out to change the text. If I click on that, this is grouped. I don't really want to have to ungroup it. If I click a few times, I can select that bit of text and then just change it in there. Let's have this as lunch. I will just move that across a little bit into the middle over there. All right, one last one for dinner. And using the move to pull that across to the right place. 26. Layers Cilpping and Group Shortcuts: I've got a little scene over here. When it comes to your turn, you can make one as well. I'll just show you what it is. I have got a blue square in the background. I've got these little clouds. Now to make the clouds, I made a circle. Copied it a few times, and then link them all together, or unite them all together using the Ad option over there to make a cloud really quickly. The sun is a circle in there, This foreground. I used the pen tool and just clicked and dragged to make some foreground. Now, you don't have to do anything like this. You can do anything you want. As long as you've got a few objects in here, we're going to look at the layers. Now these objects here we've got are one above the other as you know. And you can move them around. At the moment, my sun is above the cloud, so I'm just going to drag it down. What I want you to see this time though, is as I'm dragging it, you get the little blue line appearing. If I drag it down underneath, it will go underneath the cloud. But what would happen if I dragged it and dropped it in there? You see how it goes blue when I drop it in. What it does is it puts it into that object and clips it to the object. Now if we click on the little drop down button over there, you can see that the sun is actually clipped inside the cloud. Let me take this up again. So I'll just drag it out of there. I'll do the same thing. I'm going to clip it into the background. So I'll go over there and clip. And you can see it's now in the background. Can I move these around separately? Yes. If I select that I can. I can move the cloud, the sun, anywhere I like inside that object, it's just clipped in that object over there. This is quite important to know about because if you move something around, you might by mistake actually just drop it into an object rather than above or below that object. I'm just going to pull this up a bit like that. Now, of course, I need the sun below everything else. Let's move that one down. And this cloud should be in front of the sun. Move that up as well. Now, when it comes to grouping objects, we've looked at grouping before. But I want to show you a few other little things that you can do with grouping. First of all, to group, I'm going to select my clouds and group them together. I can use my one finger method to just select multiple clouds together. Or the other way that we can do it is we can select one and then just drag over to the right to select or de, select multiple items. Then to group them. I can do that in two ways. I can go to the top and I can choose group from there. Or I'm going to use two fingers to just undo that. Let's go back here again. And I will select them in there. We can go along to the options over here. First of all, if I go to this middle option, this is a menu. And there's a lot of different things that we can do in here, and one of those is Group. Let's undo that again. I'm going to click in there. Moving to the left of that, we've got more options. We'll talk about some of these later on. These are about moving things around. We've also got the little three buttons over there. We have more options once again in here. Do check out your options in there. When you go in, I'll just go back again to my layers. So the one that we want is this one here with the grouping in there. But you can do it from the main menu as well. But while you're there, do check out these ones in here. Now there is another method of grouping things together, and that's using your fingers to pinch them together like that. I don't have much joy with that. I managed to do that one quite easily. But very often I'll be pinching and pinching and pinching, and it just doesn't work. So what I tend to do is actually do it from the menu, but as you've seen, you can do it by pinching. Let me just ungroup these. I'll go over there and click on Ungroup to get rid of them. Now the other thing we can do is let's have a look at these options over here. Oops, pressed on the bin by mistake there. These three little buttons down the top. I want to show you the solo option. We've been in here before. We've used the lock over there. I'm going to go to the solo option in there. Let me just choose something that I want to see all by itself and I just want to see the Sun. I'll click on the Sun, go up there. When I choose solo, it just shows that object all on its own. If I go back to my layers, you can see that they are still there. I can just solo things to see and work on them just by themselves. Of course, we've got visible in there, so we can show and hide objects at the same time. We do have a little bit of a play with this. I know we've done a lot of it before, but there's a few extra options. Do try that grouping with pinching together, it might work for you. Maybe I've got the wrong sized fingers. I don't know, have to go with that. 27. Layer Group : Now let's go and group these together. I'm going to select one, select those, I'm going up to my dropdown menu. And choosing group. If you want to work within a group, you can go to the group. You can click on the dropdown, and you can get to the items independently like that. You could also click on the little dots to hide objects. Groups behave in a very similar way to normal objects. If I were to hide the whole group, I can do that at the top. I can also click on the group to work on the group. Now I'm going to just pin that so it doesn't keep disappearing. I would like to actually select one of these clouds to work on it individually. I could do it by selecting in there, or I can just double click that isolates that object within the group. And I can then work on that object, move it around, do whatever I want. When I click out of it again, it just goes back to normal. So I can just click on my group once more. Do be aware of that You've got little objects here. You can treat them the same as your other objects, but they are in a group. Double click to isolate them as well. I do want to do something else though with this group. And I want to put something else into that group. And I want to put the sun into that group. And you can see when I drag, I can just drag and drop it underneath that cloud to put that into the group as well. I can do the same with the background, drag it up, drop it over there, and all of those are now in one group. You can drag things into a group, you can drag things out of a group. Let's drag this one out over there. And we'll just drop it down there. I'll drag my son out and drop it underneath. You have to be very careful when you're dragging these things and just know exactly where you're actually dropping them. Try that out. 28. Layers Details : Now let's look at layers. And I know that you're thinking, hang on, isn't that what we've been doing so far? Well, we've been in the layers panel, but we haven't actually worked on layers. These are objects, you'll notice I've been talking about them as objects. These are not layers. I'm going to make a layer by clicking on the little plus over there. I'm going to choose a vector layer because these are vector objects. When we start working with the pixel area, later in the course, you'll find that you can have a pixel layer. I'm going to go to a vector layer. This is my layer over here. Now I want to put these objects into the layer because they're not in the layer yet. I like to think of a layer more like a folder that you can put things into. I'm going to take the group. I'm just going to click on the group and I'm going to drag it into that layer. You can now see I can fold the layer up and that group is actually in the layer. Let's take this one as well. Or you can do it by selecting multiple items and you can drag them together into that layer. I've got all of those objects in the layer, and I've then got a group over there as well. Now I want to rename the layer, and I'm going to call this background because I'm going to put another little bit of art or another graphic onto here. The first thing to do, to name it is to go along to the options up here and it's called layer one. I'm going to click on layer one and I'm going to call this background or BG faster than me typing out background. Let's go back to the layers. I've now got all of those in the BG layer. What is the difference between having a group like that that I can click on or a layer that I can click on? Well, it's very subtle, but it's to do with how you select things. You see if I go to this group and I click on the group, it's selected. If I click on the layer, everything is selected in here. If nothing is selected and I click over there on my group, I've gone into the group. You can see over there if you have a layer and the layer is selected and you click on an item, you jump into that. Whereas if you have a group and you click on the group, well nothing happens. Look at that again. If I've selected this layer and I click on an object in the layer, it selects what is in that layer. If I have a group and I click on an object, it doesn't select what is in the group. You have to double click to select something in a group. Very, very subtle difference in there. But it does make a difference when you're actually selecting items. And as I said, I like to think of these layers as folders for my objects. And you can have groups in there, you can have multiple groups in your layers as well. 29. New Layer : I want to lock this layer down. I'm going to go up to the top and I'm going to choose lock in there. Then I want to make a new layer because I can't work on this. I'm going to do the little plus over there. I'm going to add a vector layer, then I'm going to name that one. Let's go in here and just double click. And this will be my little vehicle tractor I think I'm going to do. Let's click. Okay. I'm going to start drawing my little tractor in here because that layer is active. I can then just happily draw away without worrying about the background. I'm just going to use a little ellipse over there and draw a back wheel for the tractor over here. Now I've drawn that as an ellipse. I actually want to donut shape. I want the middle cut out so I can go right to the top over there and adjust the back wheel like so I'm going to make that one black. I'll just change the color of that to black. Now I want to make a copy. It's the usual two fingers over there. I'm going to change the copy, so I'm going to use three fingers to just scale it down, move it down to where I wanted to go. And then I'm going to use a rectangle to a little rectangle for the top of the tractor and a chimney stack up there. I'm going to select both of those and I can do that very easily because my background is locked in that layer. Let's make those red. Once again, I could take those two and I could either unite them together or I could group them. It really doesn't matter either way. I'm actually going to go in and just group them together. Angle that around a little bit. Well, maybe my tractor should be something like that. I don't know very much about tractors. If you do, you're probably laughing at me. Let's see, we'll make it something like that. Now, I'm going to move this below the wheels. I'm in the tractor, I've got a group there and I moved the whole group below those wheels. Have a bit of a go with that and start working with layers now. By adding layers in and then using your layers to be able to lock things down as you're not working on them, It makes life a lot easier by just having this set of folders. I like it, as I said, I like to think of them as folders to work on. Try it out. 30. New Layer & Move Between Layers: I'm going to add some text in here. And I'm going to do that on a new layer. I'm going to lock down this layer. We'll just choose to lock that. Then I'm going to add a layer. It's going to be a vector layer in there. I think. I'm going to the rename it, let's call this one, Farming, Farming type. Now what I want to do is I want to get some text onto that layer. But I'm going to go along the path. I'm going to use a pencil. I'm going to draw in my path over here, nice and smoothly up to the side. I'm going to change the stroke. I'll increase the stroke so that you can see exactly what it is that I'm doing. Now I'm going to go and get my text tool. I'm using the artistic text. I'm going to click on the path and put in my text, This is going to be farming today now. I'm happy with the text, but I think the whole thing should be a lot bigger. I will go back in, Select the text. Let's make it a little bit bigger. So I've clicked a number of times to select it. And then we can either go to the top there or we can go along to our type options down here within the text. I can change the usual options. I'm actually going to just change it in here and make it a bit bigger. I'll get that like so he I'm happy with the text, but I'm not happy with my tractor because I'm thinking, do you know what I've forgotten to put in the cab? There should be a little cab for the person to sit in over there. So I'm going to go and draw that in now as well. I'll go along and I'm going to use square tool, my rectangle tool. And just draw in the little cab over there I can rotate round at the right position. Let's get rid of the stroke on that. And I'm going to go to the layer options. Go to the layers. I've realized now that this is on the wrong layer because I need to put it behind the wheel. I'll open that up and I can then drag this into that layer. Just drag and drop into the layer it puts in that layer and then I can move it around in that layer and I'm going to drop it in with my group for the rest of the tractor. Unfortunately, you can see I've still got a stroke around it. I thought I'd gotten rid of that. Let's go along here to the stroke and choose none that once again, if you do start to unlock things like that, just make sure that you relock them again when you've finished and you can move things between layers. And that's what I was showing you ready with this whole procedure is that you can just drag things above or below your layers anyway. Do have a little bit of a go with that and see how you get on. 31. Clip a Photo to a Vector Object: Now my text doesn't look right. You can see the R and the M are very close together and the day today is very far apart as it goes round this curve. Let me go and see what I can do about that. I'm going to select the text. I'll click a few times on here to select it. And remember, you can always click and drag as well. To select your type, I'm going to go to the word farming. Just select farming. I know it's quite difficult to see because it is actually on a blue background and the selection area is blue. But it is selected. First of all, I want to make that white. I'm going to go up here to my color and just choose white for that. Slightly easier to read now as well, but I'm going to go to my type options. I want to adjust the distances between various characters. I'm going over here to the character options, clicking the little arrow. And I'm going to go to positioning. Where this is positioned on the baseline. I can change my tracking then to adjust the distances between all of those characters. Now most of them are fine except for the R and the M. So I'm going to click between those two and do the same thing going along to my character options into the positioning. And I'm now going to use the kerning to just adjust the distances between those until it looks right. Let me select my word today. Just today, there go in there again. With today, I'm going to change the tracking and actually pull it closer together as well. Let me go back to my color, and I think that could be white at the same time. Anyway, now that I've got all my text selected, I'm going to move a few little bits and pieces around. So I want to unlock things and you're going to find your locking and unlocking things all the time. I'm going to go to my background and whoops, now I seem to have clicked on something, which means that I'm, I'm not seeing my background in there. It's such an easy mistake to make. I've done it numerous times before. When I go to the top, instead of going to the options, I hit the bin and it deletes everything. Don't forget two fingers to undo to bring it back. Be careful, I've made that mistake so many times. I do wish the bin was slightly further away or something, But once you've done it two or three times, you get used to just using two fingers to undo. Anyway, I'm going to unlock my background and I'm just going to go to the clouds. Move the clouds up a little bit and I think my son can go up as well. Now, I'd like to replace my green grass over here. Where are we, the green grass over there? I'd like to replace it with a photo. I'm going to just go down to our pictures. This is our stock library. I'm going to click on the stock library and I'm going to search for a field there. There's quite a few different fields in here. I'm just looking for something which is a little bit farming like, but maybe from a distance rather than too close up in the. Remember, if you're not happy with what you find in there, go and have a look at the other library, the Pexels library, and see what's in there. That's quite an interesting one, although it might be a little bit too dark. I'm going to try that. I'm just going to drag it into my document over there. It is a little bit on the large side. Let's just pull that down. Putting a finger down so I can scale it proportionately. It's not quite the field that I wanted. I'm going to just go back in there again. I'm actually going to go to Pia Bay and use this one at the top. Let's drag that one in there. This one is huge. That's absolutely perfect. Being big like that because I just find the area that I want to use. I want some of this greenness in there. We'll just make it a little bit smaller like that. When we look at our layers now, you'll see that it's right up there. It's actually in the farming type layer. And I'm going to drag it down over here. It's underneath those layers, but I want to actually get it to clip itself into my green shape. If I drag it not underneath but into that, it will clip that picture to that vector shape like. So let's do the same thing again. I'm going to replace my background over here with a picture. I'm going to go along and find another picture again. This time I'm going to do sunrise. We'll find a nice sunrise. That nice blue sunrise I think will work well. Once again, I don't want to spend too long looking for a good picture. I'd rather you just had some time to try it out. I'm going to use this one over here and I'm going to just zoom out a little bit so I can click on the picture and scale it in to the correct size. I'm just really looking for something along that line. Let's have a look and see where this is. It's right at the top. So I'm going to drag that down underneath that. And I don't have to clip it to anything because it's underneath those layers. I'll just move it around into the right position, like have a bit of a go and try out those and get an image to clip inside another image. 32. Adjustments: Now let's have a look at a different type of layer or object, shall I say it, because it's not a layer itself. It's an object that goes in a layer that is these options over here. Now there's so many different adjustments, but I just want to find a simple one to show you. I'm going to choose black and white. Now I'm going to go back to my layers and I'm going to move this black and white object above all of the layers in there. You can see black and white now affects every single layer underneath itself. I can then go along to these settings here and I could say, well, I want to make the greens lighter or darker so you can see I can adjust the greens. I can go to the blues maybe for the sky and lighten or darken those in the black and white. All of these adjustments have got different settings that you can use. But the adjustment itself affects every single layer underneath it. If I only wanted the background to be black and white, not the tractor, if I drag this underneath all of those layers but above the background, it will affect just the background in there. If you drag it into a layer, for example, with a tractor, if I dragged it into the tractor's layer, it will only affect the tractor layer. If you have something in a layer, it only affects that layer. If you have something above a layer, it affects everything below it. The same works with all of these adjustments in here. Have a little bit of a go try out the black and white one because it's the most obvious one. If you find that when you apply the black and white adjustment layer or adjustment and you can't see it, just check where it is because in my case, when it first came in, it came in with the farming type over there. The black and white was actually only affecting the farming today text which was white anyway. Have a bit of a play with that. See how you get on with the adjustment. Object. 33. Multiple Adjustments on Individual Objects: Now let's have a look at another adjustment down. I've gone back to the project that we were working on. What I'm going to do is I'm going to go over here and I'm going to add an adjustment in there. And the adjustment that I want to use to go down to my adjustment is something called HSL. If you remember from our colors, we had the hue, the saturation, and the lightness With HSL. I'm going to click on the color option at the bottom. What this allows me to do is to actually spin the colors around. And you can see as I'm doing this, how it's adjusting all the colors. I'm thinking, you know what, I quite like this orange to pink color. But when I go back to my layers, I only want to affect one of those layers. So I'm going to open up this layer and drag that in there just above the color. It doesn't affect the gold wall, it's only affecting the background. I'm going to do that again. I'm going to put in another one of these. Same again, over to here, HSL. Click on the color. I'm going to move this along until I find the color that I want. I like that color there. Then back to my layers. I'm going to move that into this layer object, shall I say? Because it's not a layer, it's a group. I'm going to move that in and move it just above the color in there. I've got three different color variations. Of course, these can always be shown and hidden if you don't like them. And you can even double click to go back and adjust the color on there until you find something that you really do like. I think I'm going to go with that one anyway. Try it out on another piece of artwork. 34. Introduction to Artboards: This is the last section. We're going to be doing it slightly differently. We're going to have our project being part of the learning process. What we're going to do is we're going to be looking at a number of areas. We're going to look at artboards, and we're going to create up our project with a number of artboards. So we'll make one artboard and then we'll copy the artboard and do variations. The idea behind this is that we're doing a layout for a phone application. We have different screens using the same phone basics. Not only that, we'll also do something where we can take an existing graphic that we've made and repurpose it or re, use it a number of times within that graphic. If we change one, it'll change them all and we'll do that with our logo. Then we're going to go into the bitmap area. In the bitmap area, we will take our graphic and I'll show you how to cut it out, both the skater and the boxer. We're going to take from a photograph and do a cutout. And we'll look at all of the options in and around that. This is a big one. Let's get going. 35. Make a New Document Project: Now for this project, we're going to go and do a new document. We're going to go in and we're going to use a device. Now, I'm going to use an iphone over here. I'm going to make sure that my settings in there are set to pixels, because that makes more sense for a device. If you want to do it for a different type of phone, that's absolutely fine. Just Google the pixel size in there. I'm making sure that on the right hand side this is set to RGB. I'm also going to go down to the bottom here and make sure Create artboard is switched on. That's in there, because we're going to be working with artboards this time. I also want this to be vertical. In here, I'm going to design vertically rather than horizontally. Let me click Okay. Now here is my page with my artboard. Then you can see the artboard. It says Artboard, one at the top has got some little dots around the outside. You can actually just resize it very quickly. Let's have a look in the layers. Now, this comes up as an artboard. If I decided to put a shape in that artboard, I'm just going to do an elliptical shape over there. Let's give it a different color, it's a bit more obvious. We go. The difference between an artboard and an object is that if I'm on the artboard and I use my move tool, I can click and move the artboard around. If I'm on an object, I can move the object around if neither of them are selected. If I click on the object, I can move it, but if I click on the artboard, I can't. The artboard is only accessible when you actually click on the artboard there, and you can then start to move it. Anything on the artboard will be moved around as well. Just be aware that you've got artboards in here, it's like a layer, and you've got your objects which will appear in that artboard. I'm going to actually get rid of this one here. I don't need it, we just need the artboard. Set yourself up an artboard, Maybe put a shape in there, and just get used to how that actually works. It is ever so slightly different, you can't just select an artboard. You have to click on it in there. If you want to make any changes, try it out. 36. Make Some Assets: Let's start creating some content Now, this project that we're doing is all about creating a layout for an app. We can show the developers how it's going to look. Obviously we need some buttons in here, we need some sliders and all other things that you'd normally find in an app. I'm going to start with some buttons. I want a button with a tick on it, a button with a cross, and maybe a button with a bin so they can delete things. I'm going to do that by first of all, starting out by using my lips and drawing in, let's make sure I'm on the ellipse over there and drawing in my circular shape. I'm happy with that. I'm going to zoom in a little bit like that. Now. I don't want a stroke around the outside, so I'm just going to pull upwards to get rid of the stroke. And I'll put a color on this button. This is Yes button if you like. It's going to be the green one. I think that's going to do something like that's nice, bright green for that. Then I want to tick inside there. Now I'm actually going to use the pen tool with the pen. I'm just going to draw a little tick shape like this up there, down there, and across to there. You can do this however you like. Let's move that into the right position. And I'd like that to be white. Once again, I'm going to go and fill that with white Now to give it a little bit more depth in there. I'm also going to go into my effects and put on a very subtle drop shadow. It's very tiny, like maybe a bit softer than that. And reduce the capacity on that just so it looks like it's actually slightly above that background. I'll go back to my move tool and let me just move that into the right position. There's my first button now. Let me do one with a cross through the middle. Of course I can just re, use the shape here. Two fingers down and I can just click and drag to make a copy of that. Then I need a cross through the middle. Now once again, I'm going to just do something really simple. I'm going to take a rectangle, I'm going to draw my rectangle. Let's give it a color so we can just see what it actually looks like. It doesn't really matter what the color is at the moment. I want to round the corners of ever so slightly. Back to this tool here. I'm going to make sure that I go to the top and I'm going to choose round. I can round the corners off just a little bit in there. I want another copy of that to be at 90 degrees to that one. I'm going to use duplicate. Then rotate my duplicate two fingers, one finger over there to 90 degrees. Those two are going to be one shape. I will unite them by using Ad in the top. And I'm going to rotate this around 45 degrees with one finger over there. That will be the cross or the X. It'll go in the middle of this one. Now that's going to be white. Let's make that white over there. And a little bit of a shadow underneath that as well. Same again. We're going to go down to the shadows. If I can find my effects over there, put an outer shadow, pull it out a little bit, and do something similar to what we had in the last one. Of course, the background will need to be red, so I'm going to choose red over there. I think that could be moved over just a little bit like so now I've got these two shapes and I want to save them so I can re, use them time and time again in my documents. First of all, I'm going to select this one and I'm going to go along to my Assets panel. If I click over here, you'll see this is my Assets, by the way. It's that third one up over there. It's called Assets. I've got a default panel there, or I've got one here called simply flat icons. And there's lots of icons in here that you can use, but I'm going to go to my default panel there, down here where it says assets. I'm going to choose add asset from selection. Now, this won't be quite right yet. If I add that in, you see it adds in both those assets separately. I'm going to just undo that over there and get rid of this. I'm going to click on that and delete. Click on that and delete to get them in as one shape. I'm sure you've guessed it. You go up to the top. Group them together. Let's group that one together as well. Now I can drop those into my Default Select that. Go once again to my asset panel. Let's just put the little pin up there. And I'm going to add that from the selection. I'm going to select this one. I'm going to add that one in as well. You can just add things into your asset panel by grouping them together and then choosing to add them. Now I'm going to come out of this document for a moment and go into a different document over there. And go down to my asset panel, and you can see they still exist there. So the great thing about these assets is you can create them once and re, use them as many times as you like. Before we do the next button, which is going to be a little bin, have a bit of a go with those to make two little buttons, and then go and add them into your assets panel. You want to do Totally different looking buttons, Absolutely fine, whatever works for you. 37. Make More Assets: I want to draw a little bin now or bin icon. So I'm going to do it about the same size as these ones. I'm going to start off with a rectangle, so I'll just draw a little rectangle vaguely the same size as that. I want to round off the corners. So I'm going to go up to my nun choose rounded and just round them off ever so slightly like that. Now I want three stripes on this little bin. I'm going to use this shape over here to start off with. And just use my two fingers down. I'm going to make this a bit smaller. We'll pop one over there now. I'm going to give it a different colors that I can see what's actually happening. I'm going to select that. I'm going to go up and I'm going to duplicate it. Then I'm going to move my copy across. I'm just putting a finger down to move it parallel to that one. Once again, go and duplicate again. Now if those aren't in the right place, just select them. You can then deselect the outer one and just move them around. Remember, you can always switch on your snapping so that things will snap to each other or to the other objects. I think I'm going to actually, with those three shapes, rather than choose white, I'm going to make them completely transparent by going over to the top here and saying subtract it. Subtracts the top three from the bottom ones. If I put that over, you'll see what I mean. Like, so then I need the lid of the bin in here. For that, I think I will do a little semicircle. I'm going to take a little shape over here and ellipse draw elliptical shape. I'm going to now use a rectangle. Put a rectangle over it like so. Select them both. And then use my subtract to subtract one from the other. That will be my bin shape called the top of the bin in there. I'll put a little handle over the top as well. It's going to be very simple because this is just a little icon that will go over the top of that. Select both of those and go into add to add them together, my little bin, I will just color up a different color. Let's make that a gray color like so now it's pretty much the same size as these ones. I think just a fraction bigger. I want to put that into my asset. So I'm going to go along, make sure it's grouped together. First, I'm going to go along to my menu. Group it together, and then I can choose to add the asset from the selection, And there it is. 38. Add Slider Graphics: Let's try making a few more assets. I'm going to make one of those slider buttons that you see around. I'm going to start off with a rectangle. Just to draw in my rectangle like so. I'm going to give it some color. I'm going to make this green, but I want the rectangle to have rounded ends. I've gone to the rounded option and pull that in. Then I just want to circle over here. So this is one of these buttons that you click on or goes left or right. Once again, I'm going to go up to the ellipse. Draw in my little elliptical shape over there. That is going to go on the side. I'm going to make it a little bit smaller, so I'm going to use three fingers. I can scale inwards from the outside. I'm going to make it white. Now it shows up a little bit better. I'm also going to go along to my effects. Put on an outer shadow over there, move it across slightly, and blur it just a little bit to lift it. That one can of course, go back in there again. I think actually this is a little bit too long. I'm going to just shorten up just a fraction like that. Let's move that into the middle. Let's make one last asset over here. That's going to be a slider button. Very simply, I'm going to start off with a little bar like that. I'm going to make this gray. Let's just choose a gray from there. I'm going to have another one which is go on top of that. Another little slider. That one I think we'll have that. Let's use the same gray but just make it a little bit thicker. I'll move that into the right position there. Finally, I just want a little circle over there. The circle, once again, will have a bit of a shadow under it, same as before, using my ellipse. I draw on my little ellipse in there that's going to be white and it's going to have a little drop shadow underneath it. So let's go along to the effects and outer shadow. Let's try that again. Out of shadow, we'll switch that on there. It can see my shadow but I can't see my effect in there. A bit more blur on that. I think that we'll use the move tool and just pop that up there. Same again, that one can be taken. Putting in, I've just noticed that these are not quite the same length. I'm going to go and move that over a little bit like that. Yeah, I think that looks a little bit better. Let's select both of those. Go along to my asset library and add that one in as well. Of course, now that I've added these ones in, I have got all the assets that I need to start working on my document. I think that's it. I add in just add asset from selection. Why is that going horrible? Well, it looks really weird, doesn't it? But it's my fault what I should have done. You're probably looking at me thinking, group it, I forgot. Let's group that together now with the assets. What about if I want to make changes to those? I've decided that I want to actually use one of these circles as the background for the little bin. Well, let me bring this sense, I'll insert that one and I'm going to insert the bin as well. It's fairly easy. All I've got to do is go to the bin. I'm going to ungroup it there. I'm going to go to this one and ungroup that as well. I can then get rid of the little x over there. Go along to this, let's move it top as well, onto there. I'll scale it down. I'm using three fingers over here to scale proportionately to the middle. Make that white. Probably could do with actually having a little bit of a drop shadow on this. I'll deselect the outer one and very quickly put in my drop shadow over here. Let's go along outer shadow there and just a little bit of a shadow behind that go small, very small, delicate little shadow on there. I think that's pretty much it. All I've got to do now is to pop it back into here, which means hoops going back to my move tool select, going up to group it together as we've done before, I'm going to go along here and just add the asset from the selection straight in there. I'll do the same thing again with another one, because I think this one here, this has got a button on it. But maybe I want one without a button, and maybe the button separately. By popping that in there, I can really easily ungroup it. Move the button. Maybe I didn't ungroup it. Let's try that again. Ungroup it. Move the button out. This can go in separately as a little object. Let's add that in this one here, which I will group together, because there are two shapes in there. Let's group that together. And that can go in as a single shape in there as well. Right? We've got all of those bits and pieces ready to go. What I'm going to do now is to bring in three buttons along the bottom. And I'm going to have a little slider at the bottom and at the top, and a little green button at the top as well. Let me go and start with these. This one I'm going to scale down. I'm going to pop that right at the top, Over there, I'm going to have a button with a slider that's going to go right at the top. I want another one down the bottom here, but with a slider in a different position. I'm going to go to insert that move that I'm holding down my fingers. I move absolutely vertically. This little button will insert that and I'll place that elsewhere on that. In fact, what I should have done, should have done that in two parts. I could have changed the length of that. I can still do that. I'll just select that ungroup that. Then I can choose this one and just pull it out to the correct length. Right? The rest of them are very easy. Insert, insert that. And insert a bin in there. So I'm going to have a bin down the bottom that's in the middle, that one over there. I do want to make sure that these little shapes over here are the same distance apart. I can do it by I could go up here and I could switch on my grid and do it a grid or I can actually use some of the settings on the top over here which allow us to align and space things evenly as well. First of all, I'm going to align these via their middle so they're all correct that way I'm going to space them horizontally as well. So they're all space out together. Let's move that one back down to there. Now, content is going to go in the middle. Have a little bit of a go with that. Try redoing some of your assets and then go in and build this with two little sliders and some buttons. If you want to make any other exciting buttons, please feel free to do that. 39. Make a Logo: Let's make a logo for the brand that we're creating this app for Now, normally the Hether brand would already have the logo. But hey, it's all good practice. Now, this is all going to be about an orange drink brand. I'm going to create a little using the word orange. I want a nice, I hesitate to use the word swish because that gives you the idea that it's going to be a n symbols, like a little swirl underneath. I'm going to first of all get my pencil and just make my little shape that I want, like that over there. Let's give it some width so that you can see it. But I want to change the width on that. I'm going to go down to my pressure now. First of all, let's get rid of the cap. So they're going to be square caps. I'm going to go to the pressure and I'm going to put a point in the middle and then drag these ones down. What that'll do is it'll give me thin to thick to thin. But I want the thicker part over here. I'm going to move this thicker part up to that side there. Now we can still go along to our width and make it thicker still. I think something like that would work really well. Remember, if you're doing something like this and then you want to maybe use the geometry tools to add things together. You might also need to actually go in and just expand the stroke into objects like that. I don't need to do that. So I'm going to leave mine as a stroke. Now, I want to bring in some text. I'm going to go along to my artistic text tool. With my artistic text tool, I'm going to just click and drag the size that I want. I want something like that, and I'm going to have the word orange. I need to find a typeface for this. The typeface I want is something which is going to be reasonably friendly. I like that American typewriter, I'm going to be using that. I think we'll just have bold for that. That looks pretty good. I like that. But the O from orange, I want to select that. I'm going to select it. Just drag across to select the O. I'm going to increase the size of that as well. I'm going to try 144. That's good. I really like that with that big O. But I want to bring the downward, so I'm going to once again select the O. I'm going to move it downwards. For that, I'm going to go to the type options over here. Go into my character options over there. I can then use positioning the baseline shift. The baseline shift then allows me to shift things up and down, and I want the down over there. Now, even once you've done this, you could still say, actually I don't like that bold. Let's go and try regular and see if that looks any better because the O is so heavy. I think I'm going to go with that. I could even maybe just doing the range from range as bold. Let's have a little bit of a look. Yeah, that's it. I'm going to go with that one now. I'm going to bring this little shape in here. I'm going to rotate it round because I want that little thing to be almost underlining it, if you like, with this shape now, there's a little bit too much on there, not enough on that side. I could actually just go in because remember this is all about nodes. I could pull this node down a little bit over there, move that up, and this is why I wanted to leave it as a stroke rather than making into a filled object. Let's go to that one there. If I choose to delete, I can delete that one node, which will just leave that little shape. I think that's what I was really after over there. We've got the thicker line here, which is offsetting the weight of the O in there. In fact, even the thick line itself, if I just go back to it, we can go back again over here and maybe make it a little bit thinner so it's not quite so heavy in there. I'm looking for balance. We've got a big thing there and we've got a heavy weight there, and those two tend to balance each other out. Now it really is just a matter of going in and choosing the color. And obviously it's orange, so it has to be orange. Let's go. I prefer, when I'm just picking colors like this, to actually go to the color wheel and go up. I like that orange and then put it around in there. That's gone into my recent colors. I can click on this. Go to my stroke. Let's go to the stroke up there. And choose the same orange for that. Let's select both of those and group them together. Those two are grouped in there. I'm going to group everything else. And those over there, I'd need to select that. That one, I just held my finger down so I could select multiple items. I'm going to also go in there and choose to group those together as well. We've got one group here and another group over there have a bit of a go, you don't have to use the word orange. You can use anything you like, but create a little logo or in your 40. 122 Artboard Symbols: Now let's have a look at the symbols panel. That's this little one over here. If I can hold, you'll see symbols over there. Symbols are very similar to your assets, but there is a difference between them. What I'm going to do is I'm going to take my orange and I'm going to insert it in my symbols. We do that the same way that we do assets. Click on the little menu and add the symbols from selection, Making sure that you've grouped it first so that it comes in as one symbol. Now if I were to take this symbol and insert it again, a little copy. You can see as I start to scale it, the width of the line underneath remains constant. It doesn't scale with the object. To get around that, what I'm going to do is I'm going to select the original over there and I'm going to go to the stroke down here. I'm going to say scale with object. If I switch that on now, let's go and have a look. Again, I haven't actually put it back into the symbols. I just left it where it was. I'm going to click on there, I'm going to insert. If I grab a corner this time, you can see how it actually scales as well. Even though I did it to this one over here, it still scales. Now I want to pop one right at the top of a little logo at the top there. Maybe I want another one down somewhere else as well. I can use two fingers and make a copy of that one. Don't place that at the bottom for the What's different about symbols. Well, if I go to this one here and I'm going to just double click a few times so I can get into the group. I'm going to go and make a change to it. I'm actually going to change it and I'm going to change the color. You can see as I'm changing the color of this one, it's updating all the other instances that I've used, that whether I've made copies of it or whether I've got it in from the symbols panel. We've got a let me just get back to my original orange. We've got a parent over here whenever it's used. These are the children. If I go to one of the children and I'm going to double click, and I'm just going to move that away from it. You can see how it will affect the other ones. At the same time, you can change any of the child objects and it goes to the and the parent then changes all of the other siblings as well. Really useful if you need to update something very quickly, try it out. 41. Pixel Layers: Now let's add a bit of texture to the type. I'm going to do that by using pixels, and we're going to go into the pixel persona for this, I'm going to go to my layers. First of all, what I want to do is I want to add in a new layer. I'm going to click on the Plus, and it's going to be a pixel layer that I'm going to be painting on. You can see it says pixels in there. The little icon is slightly different, is very, very tiny. But you have different little icons here to show the differences between vector and pixel layers. I'm going to go along up to the top left hand corner and I'm going to choose pixel in there. This changes my tool bar over here. I'm going to use the paint brush and I'm going to go along to the brushes panel on the right hand side and go and pick an interesting brush. Now I'll just flick through and you can see these are all the different types of brushes that we have. I'm going to go along and find some texture brushes over there. There we go. And I'm going to be using this brush pattern, one, you can use any brush you like, just that. That's the one that I think will be really good for textures. Let's zoom into the O over here. And I want to give this the orange peel texture. I'm going to make sure that I'm actually on orange. I'll use my recent colors in there when I start to paint. You can see it's painting with a texture on there. I can just keep building that up. Now, some of you are probably looking this and thinking, yeah, you really should paint a little bit more carefully. Tim, look, you've gone over the edge. Well, yes, I have, but we've also got an eraser in here, so I can just use an eraser and go and erase out the bits around the edge that I didn't want. Now, we've got some options for the brushes in here. First of all, you can just change the size very quickly. I can see the brush size in here and we'll talk about some of the others later on. But for now I think I'll just darken that down a little bit and use my Or to get rid of that section over there. If I go back to my vector area which is designer, that will still be there and it's on a new layer called a pixel layer. The big difference between these two is that vectors are lines with points and they are fully scalable. Was pixels are made up of little pixel dots, for want of a better word. We can see this. If we zoom in, you can see the individual pixels over here, but the vector shape is always going to be absolutely super smooth in there. Do try that out. Have a bit of a go, don't forget to make a pixel layer go into the pixel area and have a play with a paint brush and some different brushes over here. You could spend hours just looking at these brushes and going through and experimenting and trying out and seeing what you're getting with them. Or make sure you're on the paint brush, not the arrays tool over there, but some of them are quite cool. The results that you get, in fact, that one, there would probably be quite a nice one for the orange if that was the case. I could actually just erase this out like that. Go back and paint in like so. 42. Painting Pixels in Symbols: Now the texture that I've put in here, I really like those dots. By the way, the texture that I've put in here is only on this orange over there. It hasn't updated these other two. That's because when I put in that pixel layer, the pixel layer was just in the artboard. It wasn't actually in one of the symbols. I can move it around. I'm going to click over there. This is the symbol. I'm going to find the pixel layer, Whether it's at the top or the bottom. I'm going to drag it and I'm going to put it inside that symbol. Now it's in the symbol, you can see it's updated on these ones over here as well. Let's do a little bit more detail on this. I'm going to go along and I'm going to go to the symbol here, that symbol there which is selected. I'm going to go into it and I'm going to add a new pixel layer. Let's try that again inside that symbol. Now I'm going to go over to the pixel persona. Make sure I'm in there onto my brushes and I want to paint in that little green thing, I don't know what it's called. There's a green thing which goes at the top of the orange. I'm sure it's got a proper name. Anyway, I'm going to go along get, get a brush. I'm just going to go over to my standard basic brushes And just choose a very simple brush in here. Let me find a green because it's going to be green. Now I've got my green. I'm going to go along and I'm going to paint on that area. Just build that paint up a little bit over there. Put in the things that go around the outside, little star bits. This doesn't have to be perfect, it's just getting the rough idea. What should have happened now is it should have updated on all of the instances at the same time, because we've added it inside one of those instances of the symbol. Try that out. 43. 125 Artboard Non Project Painting Texture Example: Let's just go back so I can show you another example. I'm going back to this little drawing over here and I'm going to go to my layers and down to the bottom over here. And I'm just going to get rid of the picture of the grass in the background there, which I think was one over here. I'm just going to delete that. Now. I want to put some texture on the grass, so I'm going to click on that little shape. I'm going to go over to my pixel persona. Over to my brushes and I'm going to go over to my texture brushes. You can use any brushes you like. I just happen to have a thing for the texture brushes, I really like them. Once again, I will choose an interesting texture. Now I'm going to go and find the color that I want and I'm going to go with maybe slightly darker green over there. Let's make sure I on the fill, I'm going to choose a slightly darker green in there. Now this happens sometimes in designer, things don't do what they're supposed to. You can see I'm trying to drag that back, but it just won't allow me to do it. What I normally do is just close down everything and restart it again. I will very often actually go in and get rid of it and then once more that usually clears that problem. I'll go back again here. You can see it just didn't even remember that I had removed the, those little grass, the grass picture. I'll go back in there. I'm going to remove that grass picture. Let's just say delete in there. Over here. I'm going to go and add a pixel layer. I'm going to go to my brush tool, but I'm going to go to my brushes in pixel mode. Over to my textures, find a texture that I want to use over there and go and choose a color for that texture. I think something like that might be quite good. Just slightly darker. I'm just going to paint, so I'm going to go with a fairly large brush and just paint along the top here to get an interesting texture going on. Let's go and add another one in there. So I'm going to go with some yellow and put a bit of yellow on there as well. Now I want that texture to only be on the hill in here. We did this before with the pictures. What I can do is I can drag that pixel layer onto the vector layer right onto it there, and it will clip it to just that particular shape. Let me do it to the clouds. I'm going to go to my clouds. I'll choose the cloud that I want. I think I want to use that cloud the same again, I'm going to add a pixel layer. I'm going to go along to my paint brush. I'm still in pixel mode in there, find the texture that I want to use. Let's go with this grunge pattern. I'm going to go with black over there, nice largish brush and just paint under the cloud like that. Because I only wanted to affect the cloud as before. I'm going to go in and just drag that on top of the cloud like so it'll only affect that cloud. This technique is used a lot in illustrations. I use it myself quite often. I will just show you one of my own illustrations where I've used it. I do a lot of figures, amongst other things, but if we have a look at this one, for example, you can see there's textures in here on the clothing to just give a little bit of depth to the item. Once again, here we've got a texture in there where the hands are in front of the other, a little bit of texture on her top as well. It really helps to give objects some depth and you can then just clip it to the object that you want to paint straight on. Try that out on any graphic you like, and just clip a bit of a bitmap drawing or bitmap painting to a vector layer. 44. Artboards: Now let's make another artboard. We're going to make a copy of this one. To copy it, I'm going to go up to my artboard here. I'm going to make sure that nothing is locked. That's pretty important. Really. Just close that down. Nothing is locked on there. Select my artboard and I can use two fingers and click and drag to make a copy of that first artboard, like so. Then on this artboard here, I can then just get rid of any bits that I don't want. I'm going to select that orange and remove it that's on that one instance that I got rid of. These two are still over there. If I change an instance here, I'll update these at the same time. We can then put in some different details over here. Let me show you this once again on a live working copy of my own personal work. I work with quite a lot of artboards. And this is a car series that I was doing with all these little different types of cars, each one on a separate artboard. But as you can see very often I will use artboards and make copies to experiment with different layouts of that. The client wouldn't see all of those, they would only see the final results as I actually did them. But it allows me to do a lot of experimentation as well as create very quick backgrounds which are all exactly the same. Anyway, do try that out on your own one up there, and make a copy of that. Delete the big logo from the middle, and then we're going to draw an orange juice can in there. 45. Metal Gradient Can: Now let's start out Can. On this side, I'm going to use a rectangle. And I'm going to just draw in my rectangle in there. But look at this line that I've got over here. It looks really strange. That's because when we were creating the orange swish, I used a shape like that. Now all I've got to do is to go in here and remove these nodes and just say reset pressure, which will reset it back to the default single width line all the way around. However, I don't want to stroke, so I'm actually going to click on that little button there to say no stroke and fill. I want to have a fill to start off with. Now my can itself needs to be ever so slightly rounded the top corner. So I'm just going to go back to that tool, go to non choose rounded. And I just want a tiny bit of roundness on there, not much at all. The next thing I want to do is to put a gradient on here to give this can a metallic feel. I'm going to go to my gradient til of course I'm going to drag across there. Now when you're dragging, if you put a finger down, your dragging will jump in 45 degree increments so I can make sure that it's perfectly horizontal. Then let me go and change the colors on here for the can, I'll just pin this down. I'm going to start off with that one. There being a lightish gray, I am actually going to go over to the HSL sliders. I can then use the luminants to lighten and darken things, we'll have that as a medium dark. Then over here, I'm going to put in a new point. I want that to be pretty light, almost like a high light. Then another one over here. This is going to be slightly darker over there. Maybe we'll have another little highlight over there. Let's see over here. If we try that, being slightly darker, there's no right or wrong. I'm just putting light and dark and light and dark until I get something which vaguely resembles the metal of a can. Try out. 46. Metal Gradient Can Details: Now what I want to do is I want to adjust the shape of my can, because cans are not usually straight up and down. A few of them are, but most of them come out a bit here and they taper back down again at the bottom. To do that, I want to first of all, set up a grid in the background so I can measure things easily. I'm going to go along to my snap options and I'm going to switch on the grid. By the way, you've got a little, what's that windscreen wiper over there? And you can turn things on and off with that. If you can't see what your grid coming up, just click on the windscreen wiper itself. I'm going to move this so that it goes right back to some of those squares there. I'm going to pull this out in a little bit to there at the bottom. I'm going to move it along to those squares there. As I said, I'm only doing this, so it's very easy for me to just measure things. Now I want to put in some more nodes in there. Before I do that, I'm going to make a copy of this. I'm just going to drag a copy across over to there that we can use later on. You'll see Y shortly. Now I want to add a node in there and a node in there and move that edge outwards. But I can't add a node because if I click on here, the node tool doesn't add nodes until you make something into a normal editable shape. At the moment, this shape here, you can see that little red dot is still an editable rectangle. Let's click that button there, and that converts it into a normal shape. Now I can go over here and I'm going to count down a few of them. I'm going to go down to say there and click Do the same on that side. Now you can see why I've actually put in this one over there and one over there. Then I can select those points. I can move them out and do that, I can move them out of little dots, for want of a better word. I'll select those again, these two here. I'm moving them out to whatever those things are on my graph so that both sides are matching. Now, right at the top of a can, you normally have a little piece of metal around the top. That's why I wanted to have this. I'm going to pull it down a little bit like so make a copy of it so that I can work with that copy for the middle. I'm going to move this over to here. Before I actually put that on the top, I'm actually going to adjust the color slightly. It's a bit lighter and brighter. To give that brighter metal look to it, I'll go back to my gradient. I'm going to just change the color on some of these, make sure that that is pinned. And I'll make that bit lighter. This much lighter still. I'm going to work my way through all of these in here, that's okay. And this one is okay as well, like, so now I'm going to pop that in there. That's going to just go in there and a little bit smaller because remember I rounded those edges. I do want it slightly smaller than the top. I'm happy with that. I'm going to make a copy of this to go to the bottom. Actually, it's a little bit too tall. Let's go down to one there. I'm going to use two fingers and copy that to the bottom. Just make sure that this is correct in the right area, it looks good. Finally, we're going to take this shape here and use it in the middle over there. I'm just going to pull it out, pull to the same sides. This is going to be the sticker around the middle, but instead of it being so dark as those are, because remember it's got a gradient on it. I'm going to go to the gradient, I'm going to really lighten this one up. So this one is almost going to look like it's paper around here. That's going to be much lighter there. This one is going to be a lot lighter, just dark. And she has the very edge down of those. Once again, there's a lot of noise from birds in the background, which I'm hoping you're not hearing too much of because I work right next to a river. We hear a lot of wildlife here. I do apologize if you're hearing the geese again. I think that that's working okay. And I can now go and turn off my grid like so I'm going to select all of those and I'm going to group them together like that. That can then go in the middle, have to go with making that can. 47. Add a Logo and Shadow: Let's get our logo on the tin, so that's really easy. We're just going to go along to the symbols. Click on the symbol, insert a symbol. And I can then scale that down to the right size. I think maybe a little bit bigger, something like that. Now, this is not just sitting over there, I want it to look like it's almost floating in the air. I'm going to put a very small little shadow underneath it. I'm going to go to this logo, by the way, and just move it elsewhere. We'll put it up there for now. But I want a shadow down here, so I'm going to use elipse, Put in my lips under the can. I'm going along to my gradient. I'm going to have a gradient on here which is just going to go from dark to light. A lot of these little points in here that I don't want, I can get rid of by clicking on the bin at the top. The type of gradient that I want in here is going to be not a linear, it's actually going to be this Ellptical. Because I can move that around and adjust these independently. Remember you can lock and unlock them. For adjusting them that way, I'm going to start over here and this one is going to be black in the middle. And then the outer one is going to be black as well. Okay, I don't black as well because I used the gradient tool rather than the transparency tool. It really doesn't matter which one you choose. But if I go to that second one there, I can go along to my color. I'm just going to adjust the opacity on the outer one. I make that just a little bit bigger over there. Then I'm going to take the whole of that shape and adjust the capacity on the whole thing. Now, let me just make sure I've got the shape selected over there and we'll adjust the capacity. Now by adjusting the pasty in here, you can see what it's doing is it's saying all make everything the same color. How can I adjust the capacity? Well, if I go to my layers and I go up to the layer options and adjust the object capacity, there's a subtle difference between those two. Now, I can adjust the object capacity and to work absolutely perfectly, do be careful of that when you adjust the object. But you've actually got some gradient on there. You might find that you end up moving everything. Do it for the object in the layers. Have a bit of a go and put a bit of a shadow underneath your shape. You can move that as high or as low as you want. I want mine floating just in the air like so dried out. 48. Add Texture Spray: Let's add another pixel brush into this. I've gone to my pixel persona and I'm on the paint brush, and I'm going to add a new pixel layer. I'm going to make my brush pretty large. I'm going along to my brushes. And the brush I'm going to choose, I've been having a look around, is probably one of these watercolor brushes or the ink splatter brushes in there. Because what I really want to do is I want let's make that pretty big, which is almost that sprayed effect. That's pretty much what I was after over there, which is the water color drops. Having put that in as a pixel layer, I can now just go underneath all those layers and drop it underneath my can. I've got that, the fresh sprayed orange juice type of look. Now that it's there, I can still add a few more bits if I want some more orange juice coming out. Of course, you can use your rays to erase things at the same time. Have a little go if you'd like to do that. And don't forget, you can move these things around, but be careful because it's cut off on the side here. I can move that down. Just a little bit like that. How do you go? 49. Add Liquid With Blends: Let's add a bit more to this graphic. I want to show you a new tool now. This new tool is actually a new one in V two of designer. What I'm going to do is I'm going to take a copy of the shape of the tin. If I click on it over there at the moment you can see it's got a few bits attached to it. I'll go to my layers over there into the group. I'm really just looking for this bit over here. What I'm going to do is now that I've selected two fingers down and move a copy of that out over there. But I don't want to be in that group. I'm actually going to pull it out of the group over there and just put it right at the very top. You can see if I've done the wrong one, haven't I? Let's just undo that. It must be one over there. Okay. Well, that seems to be correct. Now. I think I must have moved the wrong one anyway. What I want to do is I want to actually just change some of this so I can get a wave form. It looks like liquid. I don't want liquid in there, but I want to look like this actually printed liquid on the outside. I'm going to do that by using the knife tool over here. I'm going to click, I'm going to just drag a little wave curve in there. If you don't like it, just undo it and try it again. Once again I'll just click and drag my little wave in there. And what that does is it splits this into two parts. I'm going to do it one more time over here onto the knife. When I'm clicking and dragging, you can see it's following me along. But if you want, you can actually change the stabilization. There's a rope stabilizer there and a window stabilizer, or no stabilizer. Now, we've looked at that earlier on with some of the other tools. I'm on the rope stabilizer, I will stabilize it a little bit more. And I'm going to do it again starting here. And I'm just going to have a bit of a splush thing going on over there to do the same with the top. I'll go the opposite way from the top, so it'll be bigger over there and down to the. Now you'll notice that when I did this immediately the fill changed as well to just a flat color. I could then go in and put in another gradient on there. I'm not going to, I'm just going to remove the middle. We've got these two here which I will group together to make my life easier. Remember we can click on the top there and I can go down and group those together there. I'm just going to change the color in here. I'm going to go to the fill on those two and give them a color over there. So what do we want? We want this to be orange, don't we? So let's have some orange over there. I'm now going to move those two across, back on top of the can there. And I think that's Looks just about right. Brilliant. Okay. Now it still looks very flat with this selected, what we're going to do is we're going to go to the layers and we're going to go to the Layer Options, and we're going to change how this layer affects what is underneath with the color. You can see if I click in there, we've got a number of different blend modes. I can just go through the blends and see how it affected. Look at that. The yellows have really, really come out over there. That's with color burn. We've got linear burn darker. There's no right or wrong with this. You just go through until you find something that works for your particular graphic. That pin light is quite interesting as well, although the color is quite good because it keeps the color and you can see the gradient underneath. I think I'm going to go back over here to the color burn there. Because the great thing about this is now that I've done that, if I'm go and change the color on that, it will still have the same looks. I can just go through my colors until I find the color that I'm after. Obviously want something just a bit more orange. There we go. That's a lovely looking color there. I don't have to recreate the gradient. All I've got to do is put something on top of it and change the blend mode. But do have a little bit of a go with that using that knife tool. So let me just run through the knife with you once more. You make your shape, you go to the knife and you click and you drag across your object and it will just cut it into various pieces. Now there are some more options, and I'll show you those later on with another example, but for now I can cut that up. Each one of those is a separate piece in there. Have a go with that. 50. Use the Shape Builder: Let's make a copy of this one now. I'm going to go in here, make sure I'm on the art board. So it selects use two fingers and pull that across to there. There's a lot of things in here that I don't actually need at the moment. I'm just going to go in with my move tool and delete some of them. For example, this one here. I'm going to get rid of those. I don't need the logo at the moment, I don't really need that one because we're going to do a variation on a different, let's get rid of that one. On a different type of drink here, we've got the orange drink, but then the client has just come back and said, oh, could we also have something to do with ice Because, well, we want our drinks to be cold. What we're going to do is we're going to create a little logo here with ice. And I'm going to use some of the existing tools and some new ones as well. For that, I'm going to go along and I'm going to create a bit of text saying Ice, using my artistic tool. We'll just do that. Obviously we want a font which is more in line with ice, but for the moment, let's just put in ice. I did all in caps, but at the moment I've just got it in that font there. Let's select that. And I'm going to go and find something which looks a little bit more jagged, I suppose is the word for it. Nothing too complicated over there. I've got something in mind over here, just that I think Gill Sands would work in a bold version of that as well. We'll end up with something which looks like that, nice and chunky, obviously. I'm going to change the color to blue. I've got a blue in my recent colors over here. There's my first little bit. Now we're going to use the same principle that we used with orange of having something underneath it. What I'm going to do is I'm going to take a shape and I'll go over here and pick a little shape. I'm going to use the triangle and just draw a little triangle like, so I want a few of those triangles. I'm going to use my two fingers to drag a copy of that across like so. And a third copy over there, I'm looking for the sharp a bit in there. I'm then going to go along and use my rectangle tool. And draw a rectangle over that as well. Because I just want this icy look up the top here. Now what we've done so far is we would have selected those, you used our geometry to add them together, and then selected it again, and subtracted these ones over here. Now that's okay, you can absolutely do that. Or there's another tool in here that we can use. And this tool allows you to do it all in one. See if I go over here to this little tool over there, it's called the Shape Builder. If any of you used Illustrator, you'll know exactly where I'm going with this. At the top, we've got a plus and a minus over there. If I use the plus and I'll just click on the plus over there, I can drag along these ones here. And as I'm touching them, you can see it's uniting them together into one. If I click on the minus, I can just drag across the ones that I don't want. There's another one, I can just get rid of it like that. It's very, very quick to just add or subtract. Let me do that on another shape for you and show you a little bit more of the options. We'll get a shape like that, we get a shape like that one there. Select both of those. Go to this little tool if you are not on any of those. When you click and drag, it selects the items and then says, do you want to add or subtract So I can then click on Subtract to get it to do it. You don't have to do it while you're dragging. You can just select the ones you want and then choose how you want to effect it. Now the next example I'm going to do is something we did earlier, and I'm going to be very, very fast with this example of doing like a little car type of shape. We did a speedy truck, I'll just do a quick car here. So I'm going to take a shape like that. I'm going to take another shape over here, put a rectangle across that. I'm going to go up here. And what we have a round rectangle at the top for the top of the car. Then I can select all of those. Use this little tool. What I'm going to do is say, well, these on here I want to subtract. Let's just make sure that I select those again. These ones here, I want to subtract those ones I want to add together then exactly the same with the wheels. I could just go in there. I'm just going to put in, we're making a silhouette here of this car. One wheel in there. Make a copy of that. Select all of those, and very quickly do the same thing. I know I'm going to be adding them together, so I may as well just do that. Have a bit of a go with this and get your text in make a little simple shape like that. Something. Icy, try out that tool and then we'll make this really cool. 51. Vector Flood Tool: Now we're going to do a few different variations on this logo. I'm going to make a copy of the word ice. And just leave it out there so I can come back to it later on. Now for the first one, what I want to do is I want to take this little triangular shape. And once again I'll copy that in case I need it again. I'm going to make it a lighter blue in, then I'm going to put that on top of the word like. Then what I want to do is when I selected, I want the word ice to actually be seen, but where it overlaps on the ice caps, I want to be a different color. I'm going to go and choose the new color that I want in here. I'm just going to pick a very different blue. Now, unfortunately, because that was all selected, it did them all. I really am looking for a new blue in here. Let's try luminants on that. I always like to draw a large square there so I can actually check the color, make sure that I'm happy with it. It also ensures that it goes into the recent colors down the bottom. Now to do these overlapping areas, we use a new tool here. And if I press on there, you'll see it's called the Vector Flood Fill. This is really useful because it enables me to actually go in to a piece of artwork like that and just say I've chosen this color here and that's the bit that I want to color with it. Look how easy this is. You can just very quickly color up overlapping areas. I'll do that on two shapes here so that you can see exactly how it's working. I'm just going to go in and choose an ellipse. Let's have an ellipse like that, another ellipse like that. What I want to do is I want to change the color of the middle. Actually, let's do a third ellipse in there as well. While we're at it, I can go in here and let's select all of those. Go to my Vector flood tool and say, well, that one there is going to be green. I can just keep changing the colors like that. It's so very simple to do and it's a lovely new tool that they've introduced anyway. Do try that out and use that Vector Flood tool. You can do something along that line with your logo, see how you go. And then we'll go do another one and use some more of these tools again. 52. More Knife Tool: Now I brought in my other copy. I will just make a copy in case Rene need to use it. Again, I always tend to work on copies. And when I'm finally happy then I can delete the copies over here. I'm going to go along to the word ice. What I'd like to do is I'd like to have it into two tones. Doing something similar to what we did over here. I can go along and use my knife tool on text. I can then break it up like so, very simple. Go along to these bottom bits and select them. Now trying to select them is a bit of a problem. I'm going to go over here and have a look. We've got a group in there. I can then go down to the various parts of the group and select them this way. I want to select the bottom bits, which I think is that one there. I want the bottom of the E, which is that one who we'll come to that later on. We'll have that one there. And what else? The bottom of the I I don't know which part it is. I've got lost here a little bit. I think it's that one over there. And then I'll just go and change the color on that will lightened up and get this lovely look like. So that's the first part. Let's have a look at this bottom section over here. Because what I want to do is I want to break this up into a few little shards of ice. I'm going to just give it a color to start off with over there. I'm going to use the knife tool again for this. Now when you're using the knife tool, as you drag, you can see it drags a curve like we did over there. But if you want to get a straight line, what you do is start dragging and go to your little dot on the side and move out because you want to go to this one over here, which is the control. Now you'll see even if I'm doing this, I'm getting a straight line. I can get a straight line over there and let go. Let's do that again. Click, start to drag. Go over to the control, and I'm going to get a straight line over there. As I'm moving this around, you can see I can adjust where that straight line goes. One more click over to there, up to the end. And a straight line across like that. I'm going to do the same over here. So I'm just going to have some slightly darker versions of my ice in there. And then if I wanted to, I could always just move these around. If I thought, you know what, it'd be great to have a distance between them. Just pull them out. So anyway, do you have a bit of a play with that using the knife tool? Using this little tool for basically breaking the object up and allowing you to change the individual areas. Try it out. 53. Move Between Artboards: What I've done here is just made my little icicles smaller and put it on top. And this is the one I'm going to go for. I'm going to remove these now. I'm quite happy with what I've got. Let's get rid of those. But what I'd like to do is I'd like to have the same splat, for want of a better word, in there, but I want it to be blue. Now, I could actually go in and repaint it again or I could just take this one here. We didn't mean to move it to do two fingers, move a copy. Now when you move it, move until you get to that artboard and then it suddenly jumps onto that artboard as well. If you haven't moved it all the way across, just be careful because it might not actually come in there. Then what I want to do is I want to color this up. I'm going to go along and I'm going to use a rectangle to color it. I'll put the rectangle over the top of that. I'm going to go to my layers over there, you can see I've got this layer is above. Those are the splats down there. I'm just going to drag it on top of the splat. You can see that this will now clip to that shape there. That shape is clipping this one. Now we don't see much of the detail in here, as much as we did before. If you wish, you could actually go into that and you could change the blend modes. Now at the moment, you could see that my blend mode is set to normal in there. You can change blends by going to the top and choosing them from there. Or you can change the blend modes in here. You can see I can just go through all of these different variations until I find the one that I like. I'm seeing all the details that I want. Now I'm actually going to go down to something called color. Then I can adjust the color on that. I'll go to my color settings and tweak the color until I get the color that I want to use. Let's just have something like that, lighter or darker in there. Of course, we need the text to be in front of that. I can just drag my text and drop it above that. I can't really see that very well. I might have to put a bit of a shadow in front of it or lighten up this or change the color of that as well. I'll leave it as orange for now. But you can experiment with that. Have a bit of a go. The most important thing here to learn is that if you take something from one artboard onto another, you have to drag the whole thing right across before it will actually move. The copy will move onto that artboard. The second thing is that you can change the color of items by just putting a shape on top of it. And don't forget, you can always go into your settings here and change the blend modes, either there or up in the top. Hey, that looks really good. I like that color setting that we've got over there. Do try it out. Habit of a play with those and see what you can get from them. 54. 136 Artboard Selections and Masks: I've made a copy of my artboard the usual way by clicking on the artboard two fingers and using the move tool to make a copy. What I want now is I want a skateboarder jumping over my ice logo. I'm going to do that by going and finding an image in the stock library. Over to my stock library over here. I happen to be in Pexels and I'm just going to type in skateboarder. The image that I'm looking for is something where somebody is actually jumping. There's quite a few jumping ones in here. I like this one where he's actually jumping over something but coming towards us rather than going sideways. You can see that's rather nice and even though the board is missing a bit, it'll look like he's actually jumping through maybe one of the letters in the logo. I do need to scale this down a bit because it's a bit on the large side. One finger over there, scale that down, get it to the size that I want it to be. I think something like that. Let's go a bit further like that over there. Now I need to go to cut it out into my pixel persona. I'll go to pixel persona. I'm going to select my border. Now I'm going to use a little tool over here. It's fourth one from the bottom. It's called the smart selection brush, if I use this tool. Firstly, I've got a brush size, we can adjust the brush size. But the way it works is you just paint the areas that you want to select. It sees those very smartly. It finds similar ones and tries to find the edge over there. I can just pate down these bits here, paint onto the board, onto the wheels over there, up to his hands. Now, even if I don't get this perfect, I can still go in with that tool, maybe use a slightly bigger brush to paint all these little bits in here that I'm missing out. If I paint too much like I've painted this bit in over here, I can go to the subtract option. There's an add option. I go to the subtract option, and then with a smaller brush, I can just subtract that little bit in there. Let's zoom in a bit. Subtract that. Once again, I'll go and I can add in all these bits that I'm in here now. I don't want to spend too long getting everything absolutely perfect, because you'll start to get bored soon. I will go around these bits really fast. Getting the edges of his arm onto his hand, not too worried about his hair, and you'll see why in a moment. Once again, other hand, I think I've got virtually everything that I need to start off with over there that I'm I think there's a bit of skateboard down here that I wanted as well. Right. I've got a nice selection there. But now I want to go in and I want to refine that selection. There's a little button along the top here with a paint brush and a dot around it. If you click on that, it takes you into the refinement area. Now in the refine area, we use brushes to just paint the bits that we want in and out. You can choose how you want to actually see this. And you can choose either to have it as an overlay. You can go into black to see the background as black, white background, or a transparent background. I rather like the transparent background because then I can see exactly which bits to concentrate on that are problem areas. You can also see this purely as black and white. With that, I can see, oh, I'm actually missing quite a lot of that arm, but the idea is with these little tools, you just paint on those areas and it rejigs them for you. This is particularly useful for hair when I want to go into the hair and repaint those areas. Now, I'm going to leave those there because to be honest, when that's on a white, transparent background, it actually looks quite cool, with those bits being semi transparent. It adds to the whole effect. But what I want to do when I'm finished now, before I press the little tick, is I want to change this. Instead of making a selection, I'm going to make a mask. That's the second one down there. Just make sure I'm on the mask and I'm going to click on this. And now I've got my cut out in here. Let's have a look at the layers. And you'll see that the whole picture has cut out on the artboard. It hasn't cut out the bit that's off the artboard. Whole picture on the artboard is cut out because of this little mask over here. Now with the mask, you can then choose to work on the mask or on the picture itself as well. We'll come to that later on. But I'm happy with that. I'm just going to move now. Look what's happened when I started to move. It actually moved the mask, not the picture. This is one of these things you have to be careful of if you click on the picture. When you move it, it will move the picture around. If you click on the mask, it just moves the mask in there. Do be careful of that. I think that's actually working quite well with him jumping through the logo. But try that out with some images. Have a little bit of a go. As I said, you don't have to get the selection perfect. We can come back and we can tweak it with the mask shortly and paint in and out things just in a moment, but have a go with that. 55. 137 Artboard Paint on a Mask: Now let's have a look at this mask and how this mask is working. Because you can paint directly onto the mask to hide or show things from your layer. If I click on the mask rather than on the picture itself, I'm going to go onto the picture and I'm using my paint brush. I'm actually going to get a much smaller brush over here. Just to start off with color wise, I'm going to paint with black. If I paint with black, you can see what it's doing is on the mask, it's hiding those pixels. It almost looks like I'm actually erasing them. But the thing is that if I paint with white, it'll actually bring them back. Any of these can come back I like, so just undo that. If you're on a mask and you use a paintbrush, black hides and white shows, I'm going to make sure that I'm on the mask. I want to add some more of these bits in using my paint brush. I'm just going to go over to white. I'm just going to paint back the little bits that I want. I'm trying not to go too far or I'll start to pick up the blue of the sky. Those bits I want to get rid of. So I'm going to go to black. And let's just paint those bits out really quickly like that. That looks pretty good. Now over here, actually what I'm going to do is because that looks a bit strange, I'm just going to round that off and paint it out. 56. 138 Artboard Flood tool and Rasterise: Once again, I've made another copy of the artboard and I'm going to get rid of my skater over there. And I'm going to take the ice and the logo and just move them down a little bit for the moment. Now I'm going to bring in somebody else in here, another sport. I'm going along to pay. I'm going to choose female boxer. I'm just looking for somebody with their gloves up there. If I can't see it in here, I will try pexels. This is the image that I wanted. So I've got the boxer on a plain background. Now I'm going to scale her down one finger to constrain and bring it into my document over there. Now what I want to do is I want to cut out, I want to show you a different way of cutting out without actually using a mask. So this will be a much more destructive method to do that. We're going to go along once again into pixel mode. I'm going to use a little tool over here called the selection. What this tool does is it just floods an area where the pixels are similar. If I were to click on the background here, what it should do, let me just make sure that this is selected, is it should select that area. There we go. Now I want to delete that area. I'm going to use cut. If I go to cut that, you can see it just cuts the whole thing out. Now I'm going to show you why that happens. It's because this image here is an image object. There's a tiny little image over there, which means it's an image object. It won't allow us to actually cut directly from it. I could make a mask. I don't want to do a mask this time. What I need to do is if I want to actually cut from the image, I need to go up to the top. And I need to use rustterize will convert it from an image. You can see the little icon is changed ever so slightly in there to a pixel layer. And it's the same with any other layer, which is just pixels. Now if I go up to the top and cut, it will cut away the background for me. Unfortunately though, I've lost some of arms. Let's use two fingers to undo that. I want to actually, because this is the selected area I want to deselect that. I'm going to go over here to these selection tools. I can well this squares and circles, but I'm going to use the freehand selection tool. Then if I were to click and drag around that over there, you can see it does a totally new selection for me. Let's use two fingers to undo it. But if I change up here from new to now, remember I want to subtract that bit. Takes a bit of getting used to as to which one you're actually doing. Now if I surround it, you can see it subtracting it. So I can surround that. Just run my little line along over there. If I want to clean up the selection, I can do exactly what I did before by clicking on this area. Using the brush with maybe a small brush, brush around her hair to make sure it's nicely cleaned up around there. And once I'm finished, I go back as a selection. I can then missing a little bit over there. Let me just clean that area up. I'm happy with that. I'm going to go along and I'm going to cut that out. Now, I want to deselect this. I've shown you this little button here allows you to deselect, but what we haven't looked at yet is if you press and hold for a second and then release, it gives you a short cut menu to various things. For example, we've looked at Solo, we've just looked at Rusterize, where we rusterize an object. There's one in here called de select, which is what I'm about to use. We've got a new pixel layer this cut and copy the things that I got from the top over there. There's grouping in there too, so I'm just going to say deselect to get rid of that. The last thing I'd like to do is I actually want to just have the top of her in here I want to cut out. I'm going to go back to designer mode. I want to use this little tool over here. It's called the vector crop. This will then allow me to crop that image down to the size that I want it to be. I don't need to do these outer ones, but I will for neatness over there and I can just move that down to wherever I wanted to go. I'm then going to go to my logo. Let's try that again. You'll notice that now that I'm actually in designer mode, these options have changed to keep an eye on them and try them every so often by clicking and holding to see what you get. I'll select those two and move them up to the top. I think we'll put them slightly behind her. Once again, have to go with that and be aware that if you're trying to do something to an image, you might have to rustterize it. And you rustterize it either by clicking holding, or you can go to the image and go to the top, to this little drop down menu. And choose Rustterize from in there. While you're at it. Do have a little bit of play with this flood tool as well. It just selects colors which are similar. I can select something like that and it'll select similar colors and you've got a percentage in here, so the high the percent, the more of those colors that it will actually end up selecting. Try out. 57. 139 Artboard The Mesh Warp: As before, I've made another copy of my artboard. What I want to do is I want to basically take my boxer and really make her a lot bigger. I'm on her layer over there, Get my correct tool and I'll just scale out with one finger, something like that over there. Now I'm going to take the logo, the ice logo and I'm just going to move it above her layer and move it down a little bit because what I'd like to do is I'd actually like to have the word ice on her boxing glove to do that. There's a new feature that came in in version two which is really lovely. It's called the mesh warp tool. I've gone to the little plus up there and I'm going to add a mesh warp. Now what I can do, it just looks exactly the same, but I can actually go along to the edges and I can just pull it around. I'm putting one over there, one over there. And then these are bezier handles. I can actually pull that around. Like I'm going to do the same on this side here. I'm just going to bring that one down. A little bit like that move that went too far with that two fingers to undo it once again there. Let's pull these ones up. So it appears to be going around the glove that now. What about these ones here? I want to push them in. Well, I could do that either by going over here to the handles and pulling them up like that, or you can actually click on the line itself. You can put in more of these little points that you can then pull around. So I can actually move those to around like that. If I wanted more of the C and the E at the front of the glove and all of these handles so I can have full control over what I'm doing in there. Now this one I'll actually pull up just a little bit, so let's get this last one coming in that's moved around to the right position. Now that I've done that, I want this to actually blend in a little bit better. There is my group over there. I want to blend it in a little bit better where it says Pass Through. I'm going to click on that and I'm going to change that to something else. I'm probably going to use something like overlay because that shows the image underneath. I can still go back to my warp if I need to and continue on with it. You'll see over here, it's called a mesh warp in there. If I click on the word mesh warp, it then allows me to continue editing. So if it didn't look quite right, I can go back and edit a little bit more. What about my logo? Well, I'm going to go and find the logo which is over here. Let's just drag that one up as well. I want to put the logo into that mesh warp area. I'll use my move tool. Move the logo down. I wanted to be quite small in the middle there. If I then drag that into the mesh Warp group over there, let's try that again. I'll drag this into the mesh warp group. Let's just pop it over there. You can see how it's now affected by the same mesh warp that's affecting all of the text. I'll just move that up just a little bit over there. Lovely way of just getting one thing to fit in with something else. Do try it out. 58. 140 Artboard Saving Navigate View Mode & History: Let's close this down. I want to make sure that I save it and I'm going to be saving the design, the designer image into a folder which I've called designer. I'm going to go up to the top little three dots. I'm going to say Save as I will give it a name. Let's call this orange. It's F Design. I'm going to click on Save. And then I'm putting mine onto my cloud, into my affinity designer folder. And I can just save it in there. It appears I've got something else called Orange. I didn't think I had. But there we go. That's now saved and you can see it's called orange. Whereas these ones here are all untitled and they've all got an M next to it. Which means that they're not actually saved anywhere else. Apart from in designer on my ipad, it's always a good idea to try and save your work, especially important work, into the cloud somewhere so that you're not just relying on it being within the designer app itself. Let's have a look at our work in different ways. I'm going to go down to the bottom over here where we've got the little question mark. And there's an option in here, which is your navigator. Now, you've probably looked at this and thought, oh okay, that's just for navigating. We can just move around with our fingers over there. You're absolutely right. You can do that over here. You can just fit to various sizes, whatever, whatever you're looking to actually work on. But I want to show you this little section down here. Now we've got the main view mode, which at the moment, if I click, gives me some options So I can see it as vector. That way it will show me any of these items that I'm working on as vectors. I could see them as pixels. So it actually shows me what will happen when this is saved out as a pixel file, like a PNG, which we will be doing in a little while. We've got retina pixels a lot smaller in there. We've also got outline mode. If you're working on something, you just want to see the outlines and I can see exactly where things are. It doesn't show me the bit maps, but I can just see the outlines in there. If I were to get one of these tools and click on there, you can see I can go in and I can adjust them just in outline mode like then. Lastly, in here we've got the x ray mode, which shows you outlines as well as the bit maps in there. At the same time, you can see these little dots around the outside of her showing where the mask actually is. Below that, we've got the ability to see them both at the same time. We've got a split view mode. I'm just going to go back to my vector mode. If I go to my split view mode, then I can see with a split view an x ray or I think I'm going to go with outline over there and I can have a look at the document in both of those modes. You can also see things with or without effects. Now you can only see that button because of the effect on it. If I switch the effect off, you see how almost disappears in there. Likewise over here, the shadows we can show and hide the shadows over there. It's well worth having a look around here just to see what it does. Sometimes, especially if you've got something complex like this, it's fairly easy to actually go in and say, well what if I just go in here into outline mode. It'll be much easier for me to just select those little bits and pieces. Do check that out. It's right down the bottom, over here. While you're there, I'm just going to take this back to vector mode. Also, have a look at something below it called the history. Now what this does is it records everything that you do in your document. If I were to go along here, I'm just scrolling all the way up my history and I clicked there. That was where I was at this stage. If I keep going up my history, I can go back to before I'd even done those ones. I'm just going to go down before I lose it back to where I was finally. Now that history can actually be saved, when you actually go and you do a save as, I'll close this down and I go over here and I choose save as. One of the options is that it allows you to save the history with the document as well. If you open it again at some point you'll be able to get you go back in time. Of course it does increase the file size as well, but do check out those two options in the history and also the Navigator. 59. 141 Artboard Appearance Panel: Now let's have a look at the last of these little menus down the bottom, if I click on this one. This is the transform options. We've looked at some of these before. Along the top, there's some buttons along the top. This just takes it a little bit further. If I, for example, selected my first orange logo, I can then go in and flip it, very similar to those options along the top. If I've got a shape over there, I could choose to move the shape above or below the other options. Once again, the same as those buttons along the top. We've got the position and the size of items over here as well. Now let's look at the last one that we haven't touched on yet, and that's this little one with the eye on it. To show you this, I'm actually going to go into this shape and I'm going to click on that eye. And this is called the appearance. It shows me the stroke and the fill which are on the selected items. Now you might be yawning at this stage and saying yes, It's another way of seeing what you've done. But there's something extra here. You see, I can go and add another stroke now. I've actually got two strokes on one if I'm on this stroke here. And I then went in and maybe changed the color and said, okay, let's have a blue stroke over there. I'm going to go to the fill. I've now got two strokes on the one shape. In fact, I can go down to the pressure here and I can adjust it like that. I've now got two strokes on that one shape over there. Let me go back again to this. Once again, I can add a third stroke on there. So I'm going to do the same thing on that stroke. I'm going to go along, I'm going to give it a color. Let's go with yellow this time there. I think we'll make that thinner in there. I thought I had gone with yellow. I went with red. I'll check that in a moment and we'll do the same thing here. I'll just change that, the color to a bright yellow. I've got three strokes on one shape. If I were to adjust the shape, it's just as if it's one shape over there. Of course, because I've done it on this item here, it will reflect itself throughout all the rest of those shapes. Very useful. Now, of course, I've shown you that with the stroke. But you can do the same thing with the fill. You could have one fill and then another fill on top of that as well, which was semi transparent or had a C through gradient on it. The appearance is really good. It just allows you to add extra fills and extra strokes to an object. Try it out. If you go back to your original logo, if you've got that line there, have a bit of a go and put some extra strokes on that. 60. 142 Artboard Transparent Canvas: Let's go and save this out, and I'm going to go and export it. I've gone to the menu at the top, and I'm choosing Export. If I choose Jpeg, this will export it as a Jpeg. And I can choose which ones I want, the whole document or any of the artboards in there. The thing about Jpegs is that the background will always be white or solid. But I'm going to go to PNG over here. Now PNG allows you to have a transparent background. However, when you first do this in affinity designer, well I'm going to click the preview button here. This is how it will actually look. It won't have a transparent background. There's no little button here to say make the background transparent. I'm going to cancel that. The way that you do it is you go along to your canvas. You choose transparent canvas. Now the canvas is transparent, so I can go and export it. And I'll just go in there to export. I'm going to choose one of these art boards over here. I will just click on Preview. So that you can see that's how it'll export. The black is actually transparent right now. All I've got to then do is to click okay. Once I've done my settings in here, most of these can be left on the default. Click Ok and save it out wherever I want it to go. I'm going to call this orange three, or just three in there. If you want a transparent background, just make sure that you go to your canvas settings and choose transparent canvas. If you save us a J pig, you will always get a white background in there. 61. 143 Artboard Export Persona: Now there's another way of exporting that is to do with the export persona. I've gone to the export persona here on the right hand side, something has popped up, which says slices. We'll come to slices shortly. But at the moment I've got artboards down here. Now I can choose to export a single art board by just clicking on the export button over there. But if I do that, what am I exporting them as, and where am I exporting them to? Well, if I go along to the little three dots over there, I can then choose what I want to export. These, as you can see, there are generally tons and tons of different export options. Like when we go to the menu and say export. I'll just choose P and G in there. Once again, go back over here and I can then just click on any of them to export them out. It says, where do you want it to go? Well, I'm going to put mine onto my affinity designer folder. There we go. The current item is being exported. I could of course click Export all to export them all at the same time. This is fine if you've got multiple artboards like this and you can get those as individual items. But what about if we had a document like this one? I want to export these as individual items? Well, once again, I'm going to go back to export over there, I'm going to use slices. There's a little tool up the top. This is called your sliced tool that allows me to click and drag over the area that I want to export. I want to export that bit there. I want to export this bit here. I'm going to export, let's say this bit over there. I can see my three slices in there, and it's exactly the same. Go and choose the type of document you want to export it as if you click on the little three dots over there, you can say choose the export folder. And I can just select my folder over there. It'll go into that folder in there. Now it's very quick for me to just click on those top and export them like so. Of course we can just click on Export. All that should have done it. If I go back into here again and open up the folder somewhere in here I show a whole lot of those who we've got the background in there here, slice number one, slice number two, and slice number three. If I were to just open that, you can see it. Do check that out. Sometimes it's just easy to go to the menu and choose export. But sometimes you'll actually want to go along and just export of an image. Or various boards as well. That's what this whole export persona is all about. 62. Help - Where to Find IT: Now finally, if you are working in designer and you do have a problem, now obviously you can post your problem so that I can have a look at it, but you can also go along to help. Over here we've got a learning portal, a Quickstart guide, and what's new. But I'm actually interested because I find this most useful is the help option over here, we've got all a list of everything that you could possibly think of that you might need help with. If I went to, for example, to art boards, I can click in Artboards and then just see something about exporting artboards. And tells me all about the export options for artboards. Assets. Click on Assets. Go in there and I can see all my information about assets. I know it looks very daunting when you look at a piece of software and you're just looking at this, think in terms of using it for specifics. If you're not sure of what something does or you want a bit of help with it, particularly the tools, go along to the tools in here. You can choose the type of tools, say for example, the shape tools in there. And I can say, well, I want to find out more about that triangle tool and it will tell you the information in there. Don't ignore the help, it's really useful. 63. Outro Affinity Designer iPad Udemy and pt 2 ss: Well done for finishing this course. I hope you feel like an affinity designer on the ipad Guru, don't forget to have a look at our other courses or we do Adobe and affinity courses and hopefully we'll see you on one of those.