Transcripts
1. Intro Skillshare: Hi everyone. I'm leaning. I've designed my Lamy, I
make wedding invitations. And in this lesson
we're gonna go over how to build frames out of
individual elements, just like the one
that you see here. These are typically
floral or natural frames, but they can also include
plenty of other elements. Sometimes they include
animals or fish or even bugs. Anything that you want can
be included in these frames. So I'm going to
start by giving you some places that you can look for elements for these regimes. Talk about what you
should be looking for in these elements and how to
make that process easier. We're going to load them in and organize everything
in Photoshop. We're going to build
out the frame, talking about colors and style, shapes of the frame that are
going to work well for you. And then we're going to build
everything and fill in all of the little gaps to make a final frame your
class project. It's definitely going to be
to create a frame with us. And I would love if you
would upload any pictures of what you've
created so that we can provide some feedback. At the end, I'll kind
of go over how to adapt the elements of the
frame to the other pieces. And your sweet such as this reply card or this envelope
liner that we see here. And how to play with
these scale and orientation of these pieces
to create a cohesive, sweet. The annual, be able to create
your own invitation suite with a beautiful
frame like this, in whatever style and colors and shapes works well
for your style. And I can't wait to see
what you create if you are interested in becoming a
wedding invitation designer, I hope you'll follow
along because we have so many resources just for you. We have some other classes here on Skillshare or
you can check out, or you can follow
us on YouTube and Instagram for more tips
and tricks every day. Just look forward
to tie my Laney on any of those platforms.
2. Choosing Elements: In this video, I'm gonna
show you how to choose elements for your frame
and wage should be looking for when you are
purchasing or finding or creating elements for a
wedding invitation frame. So oftentimes when you
look at a frame like this, you're using a lot
of natural elements. And when you think
of the ways that leaves and flowers
interact with in nature, we really want everything
to feel organic and 20 and IV ish and hanging
over and all of that. If you are doing something with a lot more structured elements, you might not want to go
fall into that organic feel. But in general, that's
what we're going for with a lot of these frames. So paying attention to some of the shapes that
we're going to see. There's a lot of
this vine me, look. You have a lot of like linear space to
cover in these frames. So elements that are
just like a small ball, which I'll show you in a second. Don't always work
super well because they're not giving you a
lot of that linear space. And if it gets too, if you have elements that are
too wide, square or round, then they are not really, they'll have to be really
small on the sides of the imitation in order. And then you have to
use a ton of them in order to fill the entire space. So what we're always looking for and the things
that I'm always feeling like are lacking are like longer string gear
veneer elements. So I'll show you a little bit
of what we're looking for, but just kinda
keep that in mind. We also want all the elements you feel a little bit similar. So you'll see this greenery. There's a lot of different
colors of greenery on it. There's some lighter ones
and some darker ones. We can edit the colors
in our elements later, but we want to keep
them so they feel like they could have been
done by the same person or else it's going to feel
a little bit out of place. There are sometimes when you use elements like that purposely, but in general, you
want the majority of them to feel similar. So these all feel like
they were watercolor. They all feel a
little bit vintage. They all feel like
they're going for us. Mostly realistic style. Even though there's different
colors and shapes in here, it does kinda come together
in a cohesive way to Creative Market is
just a great place to look for elements in general, I know a lot of us already get elements from those places. And when you're looking for
a set to use in a frame, there are a couple of things
that you want to look for. So for instance, this
blue Hadrian dry site is really lovely and they have done their best to
make it into a frame here. But like I was saying,
this is all a bunch of small ball shapes
that are very round. So it's hard to create a frame
that looks really organic. This looks like they basically, it's pasted the same thing 20 times around the edge and
made a frame out of it. So there's not a lot of
variation you can do here. If you want it to
look like this, you could buy this pre-made. And it's not to say there's anything wrong with this frame. This frame looks lovely, but it's not giving you
a lot of flexibility. There's not a lot of different
elements to play with you. On this envelope liner. It's just kind of the same
elements over and over again. When you look at the
individual elements, you basically have these kind of maybe three hydrangeas
and then you have one or two on each side of
this smaller greenery, and then you have some leaves. And that's all you really
have to play with here. So it's not giving you
a lot of possibility. If you use this
frame that's graded, you might start to see that your invitation
start to look like a lot of other things on the
market because other people are just plug in playing
with this frame. So I definitely want
to encourage you to create or at least edit the existing frames and
create something that looks new and different so that you're not seeing
your invitation. It's kinda looking just like everything else that's
out there on the market. This is an example of
a pretty good pack of Wildflower elements
that you can see. There's a lot of
different shapes and a lot of different
possibilities here. They have made some
frames in here, and that's something that you'll see in most of these packs. However, I would encourage
you to go outside of those existing frames just to add your own personal style. And that's what
we're teaching here. We're not teaching how to use the existing rooms or do you
do how to make your own? So what you're looking
for is for them to supply the individual
elements as soon as 119. And you can see all
of those you see, you have a lot of
variety in color, have a good variety and shapes. So some of these are that round shape that
I'm talking about, which is what flowers
and butterflies and things tend to go with. But then you also have a lot
of these more elongated, wispy shapes that are giving you different views of the flowers. And so this is going
to allow you to have a really dynamic frame that doesn't look boring because you're going to have
some these round pieces, but then you'll also
have the shapes that you need to fill the linear
space of the imitation. So all of these
kind of wispy guys are just everything
that I'm looking for. I love this pink one right here, definitely can see that. And then in the greenery to, I like to find some things
that are folded and bent. I love little curlicues. Let's see if we have any
curlicues on this one. So something like this is
almost getting a curly. Q. Nothing too many curlicues on
this one, but that is okay. I still think this is a
really, really good pack. My bags will have
these things called competitions or bouquets, which are smaller compositions. And using these within
your frame is a good idea. Or even just to get an idea of how different things can fit in your frame and then replacing them with individual elements.
I think these are great. I think I would
definitely use some of these compositions like
this one is really nice. These two, these
are really nice, but I might not use a lot of them because I want to
put my own spin on this. And then as you can see, they
have created some frames. What I find is a lot of places
when they create frames, we'll work from the inside out. So when you have to put
this on a five by seven, you're really not getting
a lot of space for a text. And then this is
the same thing that every DIY bride is going to be putting
on her invitations. So it's not just
say that there's anything wrong with these. They are beautiful. They are so lovely. But I find they're hard
to put enough text in, first of all, and
secondly, they don't, they're going to look more similar to everything
that's already out there because these are the things
that other people are just going to plug and
play into their designs. That's not to say you
can absolutely use them. I like to use some of
these things at the top of a seating chart or something like that where
it kind of makes sense. But I like to steer
away from those. And then we'll have
some rates here. And what I love to see when
they're making Reese is that they have used these elements to create
the shapes that I need. I don't love circular
reads unless you're doing a square imitation because it's not enough space to
put all the texts. And maybe you put like say, the data up here and then
you put some text below it. But for our general invitations, I much prefer like an
oval or something. And so it's nice to see
that they have used a variety of
different elements on the ends here to
create these shapes, because this is the shape
we're going to need to create. And it's nice to
see some examples of how they've done that
in case you want to employ some of those like maybe this is really
cool how they've tossed some of these little
petals out here to give it like a blowing in
the wind looks so that's something that
you can definitely adopt to your frame without fully just using
these pre-made ones. We can play with
colors and scale and everything when we get
into building our frame, however, another way to really
differentiate yourself is to use elements from
different packs together. So instead of just using
this wildflower pattern, Let's go to Damien site and see what other impacts that they have that we could
potentially mix and match. And these don't have to be from the same designer
or same painter. However, I find
that's a good way to make sure they remain cohesive as far as style goes. So, for instance, this
wildflower one would go really well with a lot of
these romantic Gordon ones, a lot of these autumn ones, some of these
surrounded by flowers, ones if you wanted to heavy
greenery one you could use these leaves and then a flower is from a couple
of different ones. I really like to just use different things
when the same person to keep this consistent, but not just have my designs looking the
same as everyone else's. So if I started to use many of the elements
from this piece, just throwing in a couple from the other one is going
to differentiate my, my work from someone
who's just mixing and matching the different frames that are in these
different packs. And then you can of course, change this around a little bit. So something that would be
cool if you use these pencils, sketch flowers from
the same person who painted these wild flowers because the overall shaping
is going to look cohesive. But you'll have a mix of those, like sketch look
and painted look, which I think would
be really fun. Here's an example of one of
these Glady Ole are very, very pretty love these, however, when I look at this, I'll IC is one
single shape and I know I said linear,
elongated as good. But these are all just
like straight up. There's no there's no way to
turn a corner with these. There's no way to do
a full line without just stacking them on
top of each other. There's no way to do
an oval with these. And you can see they have tried they have tried out a
little bit about like, what is all this going on here? It's a little bit weird and it would be crazy to
get all the way around. So even try them trying to
get a rectangular shape. It was almost impossible here. So we just want to look for a variety of shapes and that's not to say these
aren't beautiful, or could it be used
in conjunction with some other shapes? I think these would actually be a really good addition
piece to something else of a similar style
because they have that ability to create
linear distance. All of this is gonna
make sense when we start putting them together. And then here's one
from create the cat, which I absolutely love. This is their master collection. So I already have this one. And when you look at this, it's got over 200 pieces. There's lots of different
colorways here. So you have all of these different transparent
clipboard elements, but they're often
the same person. So it's really easy to
mix and match in here, I can choose all the
yellow and orange ones, or I could do like a blue and yellow or I could do
like a pink and red. I could use them. It's all greenery and so
they do have a lot of finished elements
here that I could maybe work into my frame. But I have so much here to work with and so
many different shapes. We have these longer shapes, we have these short
round shapes. We have berries, we have buds, we have shorter leaves, longer leaves, whisper leaves. Just all kinds of
different things that we can work with here isn't really good
pack that I have used in a lot of my designs. This one is a really fun example and I just wanted to show you this is like curly cues,
which I really love. I think those Ad
Set a nice touch and you can just see
how fun these are. That doesn't have to
necessarily be your style. But I think it's a really, I think it's really
fun when I heard it, this one, I might buy
this packet eventually. It's also Creative Market. You can find elements in a
lot of different places. One that I was
showing you was like vintage elements
and people often ask me where I find this. One place is the New York
Public Library Archives. You can just search like
flower painting here. And there's tons and tons
of different elements. This is also a great place
to search for, like artwork, for envelope liners like
landscapes and stuff like that. All of this is going to
be in the public domain. So everything that
you can search here, you can download, you can
use it, you can sell it. You can do basically
whatever you want with it. And so this is a great
place to findings. You will probably find more here than you will in some
of these other places. However, as you can see, you have to do the work. So even if I were
to want an element from this little branch
with fuzzy flowers, it's going to require me to download that and do a
bunch of cleanup to it. And maybe there's someone out there who's
already done that. So on Etsy, There are a lot
of sellers who are selling kind of P&G is antique stock is a really good
one that I love. And everything on here is $1. And usually she has gone
through and cleaned up a lot of these kind of
vintage floral elements. And some of them She's like
change the colors a little bit or meet it look a
little bit different. There's a lot of things
that she's done here, but they are pretty
much ready to go PNGs, you don't have to do
any of the cleaner. I've done several frames using these elements and they're
really easy to search too. If you wanna, like birds, you can just go in here. And it's almost worth $1 just to have all that
work done for you, even if you could
do it yourself. And then since I've
gotten more into frames, I've been wanting to branch out and use some more unique things, find my own work. One tool I've been using for public domain images
is raw pixels. So this is just a
wonderful stock website for so many, so many reasons. If you click on public domain, you can search within here. So for instance, if
you didn't like, we're going to see so much. And all of this
is public domain, meaning you can do
whatever you want with it commercially
or otherwise. You can just go through,
and I typically just search through a lot of stuff
and just heart some of it. You can save it to boards to which I shouldn't be doing
because I have so many. This is going to require
typically a little bit of setup, but you will sometimes find things that are already in PNGs. Otherwise the setup doesn't
have to be too difficult. So something like this is not, you don't need to
clean it up too much. You can just remove
the background and everything in Photoshop and
it's not too to do difficult. Click on this. I often find that if
I like something, the easiest way to find
other similar things. So click on it to see
all of these things are so similar to this image. So I find the similar
to you is really good. The more I dig deep into this
and the more I find stuff like I just I spent so much time on here that I should have found
everything by now, but I absolutely haven't. There's just so much and it's just this
massive catalog of elements that you can use. Then I want to be clear
here that you always want to use the
public domain images. So if you're searching, let's say blue flowers, you'll find a lot of different
things that come up. So if it's got the little
crown that's a paid him edge, you can have a paid
account and use those. There's no issue with that. Sometimes it's
going to say free. And so yes, you can
download that for free, but they're free licenses do require attribution
to raw pixels. So what you'll find is, this is something that
obviously came from one of those vintage watercolor illustrations just like this. This is almost definitely
in the public domain. This is when we did see
in the public domain. So this one's here as free and it's showing public domain. But sometimes they just show, as I would say,
just show us free. You just want to be clear
like this one is free. So you're going to
need to look at a license and see exactly what they're going to
require of that. So I would always try to
find a public domain one. But you'll sometimes just
see it saying free and that, that's not the same
thing as public domain. So this purple free is not
the same as the green free. So just keep that in mind. And typically what
you'll find is a lot of the like PNGs are free that
are already cleaned up. And even though with
the public domain, you can go in and basically create the same thing
by just cleaning it up. You kinda have to
do that yourself to technically fall
within their licenses. So I'm going to tell
you exactly what to do, but just keep that in mind. You see it here and it's free. And you want to find
the public domain one. You typically will be
able to find it down here or things from
that same artist. It, this is a bad example
because it's not coming. Theoretically. You generally can, like I said, you can save these two boards. I should do that because I
have 14 pages of legs here, but I typically just like
things and whenever I'm on a specific path where
I want to do them. And specifically today we're
going to do a frame with mostly blue and greenery. So I've been kinda
just going through and liking a lot of blue stuff. I was thinking about
doing a white one too, because I want to do
one of those students. I've been liking a lot
of white stuff too. And I'll make sure to
download all of those things. What do you want to look for? Like I mentioned, we want long, skinny shapes with
little offshoots. We've really like kind
of rounded shapes. Those are difficult to find. The corners of the imitation
are a little bit more difficult to get elements to
fit perfectly within those. So thinking about how you're going to either make it an oval, those are like those
rounds on the corner or an actual corner by making
it a squared off corner. This is a little bit
more squared off this we went with
just kind of oval, but we have this fun
little offshoot IV there. So kinda paying attention
to those corners and then trying to get a variety
of shapes is really good. So I'm really
excited that I found this particular greenery
piece because I think it's going to give us a
lot to work with. You can also use one or
two elements from a piece. You don't have to
use everything, but when you're
looking at things, figuring out how you're going to separate those different
pieces is important. So for instance, this is
nice, is very pretty. It looks a little bit
like dark and dense. So how we can maybe separate just this little bud which we could because there's
enough white space around it. It's not really
overlapping anything. But if we did want to
separate, for instance, this bud or this one, it's going to be hard
to do that because they are overlapping a bunch
of the other leaves. So it's very easy to use
individual elements from things, but we're not always
going to be able to pick and choose everything
to separate as we want. So paying attention to how
you're going to separate, this one is going to be
really easy to separate. I could separate and just use this top portion with this
cute little curly cue. Or I could separate here
and use this section. There's a lot of different
sections here that I could separate
news on their own. So I'm very excited
about that one. I love them so much. Whereas something
like this, there's a lot more overlapping. You couldn't separate
this white by without getting this
green one on top of it. So keeping that in mind when
you're coming up with stuff, I don't love this. I don't know, rock or something, but I do like this flower
here, maybe even the bug. But I know I'm gonna be
able to separate those out and use them, and
it will be pretty cute. One of the things you'll
find will be flowers, but I don't think
that you want to use as many flowers as you
might think that you do. Pay attention to getting
some greenery and they're finding some good leaves can
be a little bit difficult. And finding ones that match each other look
cohesive together, look cohesive with the leaves
that are on the flowers that you've already
chosen, et cetera. I'm just giving a little extra
thought to the greenery. I believe that
you're going to need more greenery in most
cases than you think. I think keeping in
mind that we can change the colors of things, but also we don't want
to go too crazy on realistic blue is
an interesting one because it doesn't
appear much in nature. So there aren't a lot of blue flowers out there as
compared to like pink flowers, white flowers, et cetera. So, yes, I could
change pretty much any of these flowers to be blue. But I want to keep some level of realism
so I want to be careful with how I do that and
I don't want it to be on flowers that are like, I don't want to make
blue roses because everyone knows that that
doesn't really exist. But something like this
kind of looks like it could be a lilac or I'm not
so good at flowers, but there are flowers that
kind of looked like that. For instance, this one kind
of looks like this one. So if I were to decide to make this in blue
instead of pink, it wouldn't be so unrealistic if I were to try to make this magnolia bloom, for instance, it would give us kind of uncanny valley feelings because we know that there aren't blue
magnolias in the wild. However, if I wanted to do less pink and make
it more white, that will make sense
because we know that magnesium is our white. Even if I have pink undertones or whatever, it wouldn't be. So out of the ordinary semester, you have to be perfect. Some of this is going to be a little bit fun and
whimsical and fantastical. But if you wanted to make like a bright blue peach,
for instance, it is going to give your frame an error of more fantastical magical
realism kind of vibes. If that's not what
you're going for, pay attention a
little bit to that. But do you know that you
can absolutely like if I wanted these to be more on the pink side because this is
kinda like a purply abide. I can absolutely do that and it wouldn't be a very
big difference. Or if I wanted to
change these from very reddish pink to a more purple pink,
that would be okay. And it wouldn't be too out
of the realm of possibility. Then within my folder, I'm always just going to
organize things a little bit. So I'm gonna go
into my flowers and I have everything
organized as blue. And these are all the
things that I have downloaded specifically
to work with on this frame plus some
other things that I had downloaded in the past
that were also blue. I also have a leaves
folder and so this is going to be
all my greenery that I can just kinda pull
from whenever I need it. And so I'm going to mostly
pull from these two folders. I do have other
folders for fruit. I have a folder for animals. I'm asleep,
butterflies and birds. These other folders that I'm
mostly going to pull from in order to create this
suite with you today, what you can see is I have
a few larger elements. This one was actually the one that really inspired the sweet. And this is the one
that I feel like it's going to lead the way. This is a larger or
more round element. I have this one that's
kind of medium. It's got smaller pieces and
some linear shape to it. And then I actually found
that blue was really popular within these like
orchid flowers. So we have a lot of these
which are cool because they have a lot of linear space. And so I think when I'm
looking at these shapes, what I see is a frame that
is really loose and open, not so dense, and then
has those small cups of blue on the end of
a lot of greenery and I might add some
pops of white in there. And not totally sure, you
have a variety of shapes, but I am looking at these as a whole and seeing
which ones I'm going to utilize and how
they're going to structure the main part of my frame and what the overall
vibe is going to be. Because you can do things that are a little bit
more structured. You can do things that are a
little bit more whimsical. You can do things that are
thicker and denser with a lot of more of those round elements or more elements in general. Or you can keep it a
little bit light and airy. So I kinda want to air on the light and airy
side for this frame.
3. Cleaning Up Elements: The elements that
you're going to use for these are going
to be cleaned up. Pngs, they're going to
have no background. They're gonna be ready to use. I'm actually adding most of the ones like this that
I have cleaned up as PNGs to a separate Etsy shop
that I'm going to link in the description of this video in case you want to
check those out, It's not super robust yet, but I have plans to
continue adding things as I clean up these files and you get some from raw pixel
or anywhere else, they might not be
fully cleaned up. So I just want to show you how you would go
about doing that if you're elements were not
already cleaned up for you. This hibiscus is one that inspire basically this whole
color scheme and design. So I'm going to start
with that one and we're going to use Photoshop
to clean these up. There are background and rivers and things that you could use. You can test those out. I haven't personally
tested any of them to see how great they are. I don't find it super difficult
to do this in Photoshop, but if you want to try some of this out and
see how they are, you're absolutely
welcome to do that. And I'd love if you share
it in the comments, if you found anything
that worked well, the first thing I'm
gonna do is just make the background its own layer. We're going to name
it hibiscus blue, same as the filename. Keeping the layers in order
is when help you a lot. It's not something
that I always do, but it's definitely
something that you should do it
that's a do as I say, not as I do moment. Then we're going to add a
new layer in the background. This one doesn't need to have
a name and we're going to fill it with pretty much
whatever color you want. I usually just use whatever my color picker is on at the time and we're gonna
fill that completely. So we have this orange
layer below here. Then all the editing we're
going to do is to this layer. Generally I just use the smart want to go ahead and
get rid of the background. Something that
doesn't have a lot of contrast like this one does. You can adjust the levels, so Control L. And then you'll just click on something that is
supposed to be white, typically the background,
and that's going to change up the tones a
little bit in the image. And it gives you a little bit more contrast
with that background. That'll help us. And then
I'll just check out. This is pretty good.
It looks great. So I'm gonna go ahead
and delete that. And then the orange layer is there to show you if you have any missing little dots
or anything in general, these are pretty
easy to come by. Having adjusted levels, you'll find it's not as
important to get 100% of these white things out because they are
going to be white. And that will just
print out the paper when you start layering
things on top of each other, those white spots we'll kind of get in the way of some of the overlapping and things. So I do like to get rid of
them as much as possible. You can do a few things here. You can just use the
Magic Eraser Tool, which is basically the same
thing as that just saves you the step of selecting
and then erasing. Another option
would be to select one of them and go to Select. Similar. As you can see, there's
a lot going on here and we don't really want
to select all of that. Sometimes it works really well. Also use the Select
Color Range feature. But for this one I'm
just going to go through and my magic erase all of them. We did see when we try to
select a lot that there were some dots and
things down here. We're not seeing too many of them now when we try to select. But I like to just going
to clear those out with the Marquee Tool. Going through and deleting big swatches so that you're not getting
all of those dots. That is because our background
wasn't completely white. Some of it is because
maybe our tolerance wasn't high enough on the
magic wand tool. In theory, you'd
see a lot of those on this orange background. But now we can see we've pretty much gotten almost all of those. You can go back in here and just do some erasing to try
and get both of those. And that looks pretty good. One way you can tell if
you've gotten most of those is just by selecting this. And you'll see that we come to this top edge
and this left edge, but the bottom and
the right side. So I have a little bit
more, so I'll just do one more quick delete there and see where
that bounding boxes. And now we know
that we've cleared out everything outside
of that shape. Might be thinking, Dang, do I have to do this 55
times for every frame? You can see why it might be worth it to pay for some of us, especially like at antique
stock or this Etsy shop that I'm working on building
where they're basically $1, it's worth it to not have
to do some of this work. Sometimes you can also
purchase a subscription, like a paid subscription
to raw pixel. And you can see you'll find
some of these same ones already cleaned up
and putting PEG of where you it's
just the paid option instead of the free option. And then most of
the time if you're purchasing from Creative
Market or something, you're going to only be
getting these images already put together with
transparent backgrounds. All of this will be done
for you because those are packs are created for
things like remaking. So this is just if you
want to use some of those vintage elements and you can't find them
already cleaned up. I wanted you to understand what that process looks like and
it's not super difficult, especially when this
image alone is probably like five by 7 " and we're
going to be printing it way, way, way smaller than that. So if there is a little
bit of awkwardness or you don't get the edges exactly as crisp
as you would like. It's not really going to make much of a difference when you actually
go to print it. So I wanted you to
have the ability to clean up files like
this if you want to do it the freeway or
if you just can't find certain elements not cleaned up and need to
have those skills. The last thing you're
gonna wanna do is just export this as a PNG. So I like to just
Quick Export as PNG. You're going to choose that same folder that
you've been working on. So blue and save it, and then it is ready
for you to death. If you add a bunch in here, you can export all
of them as PNGs. And as long as the layers are named what you want
the files to be named, which I highly recommend it will export all of them as PNGs. You want to clean
up your elements. I'm going to show you
how we get our shapes and guide ready to
go in Photoshop.
4. Guides and Shapes in PSD: Now when we're
building our frame, we want a basic guide of the shape because we
don't want to build a frame and then fill in all the text and have it
not match up correctly. So I like to do all of
the typesetting before. I'm going to do the frame, not to say that I can't move some things around afterward. But I like to get a
general idea of where all the type is gonna
be because longer name, shorter names, all of those things that make
a big difference. I'm going to use this. This is just a blink wedding
invitation suite that I always keep with all the pieces in Illustrator that I need. You might have seen
this in other lessons. And then for this
one in particular, we don't have a lot
of outside space. We have a lot of space
in between the lines. So I am going to just bring
that down a touch because I want the frame to really
be a standout piece of this, then have enough
room to do that. You might want to
also get rid of some of the longer
lines like this. Invite you to celebrate the wedding of I could
move it into three lines. I'm going to keep
it at two for now. And just place that where it is. So to say that here
since we're done and what I'm gonna do is start with the invitation all get into
at the end kind of how you adapt the design of this frame to other
pieces in the sweet, but of course the imitation
is typically our main piece. Or if you're designing a frame
that's supposed to be for a different type
of piece than just start with the one
that you want to be, the show-stopper, the main one that you're
working on for me, that's gonna be this imitation. I'm gonna do a five by seven. You can change whatever
size you want. So we'll just go into
Photoshop and we're going to make a new file based
on those dimensions. Now, I know that my
printer needs of 0.25 bleeds on either direction. If you aren't sure about that, I have a YouTube video
on bleeds that you can check out but just ask your
printer what they need. So I'm gonna make
this point two-five bigger in each direction. So I'm going to do a 5.25. And then 7.25. You can make your canvas the exact size of the finishing
mutation if you want. I just prefer to do
it the full size. And then I'm going to
want to keep in mind that a little bit is going
to be cut off on the edges so we'll
kind of position it, but it's not super hard to change that a little bit
later if you want to. So we have our background, we made sure that our
image has 300 PPI. We made sure that
it's five-minute, quarter or by seven and a
quarter of the exact size of the file that we're going to need to upload to our printer. And then we're going to
bring in just placed linked that file that
we just worked on. So we have the shape
of our invitation. I'm going to choose
this art board and we're going to crop it to the art boards so that it stays in the middle
and everything. Then this is basically exactly what we had
on that piece and we'll make sure that this
is centered on the Canvas. There we go. Now we have this ready to go. Then the last thing is
that you may want to dim the opacity if the
design of this is going to bother you and
just keep the shape there. I usually do lock the
layer so that I'm not able to change it,
but keep it there. It doesn't really bother
me while I'm designing. If it does, you can always done the opacity just a little bit, just to keep the shape, but have it not
bother you as much. This app is super
important because I've often design frames
and then not been able to follow the shape of
the texts with that frame or had you adapt the tux very significantly to
put the foramen. So if you are designing for like semi custom or something, then I would take a pretty
standard invitation. I would try not to use
extra short names. I would actually try to
push the boundary so you use the longest names
that you generally use. Use the longest full list
version of the text. For instance, instead
of just saying like Lindsey and Daniel invite
you, celebrate their wedding, I would include those
lines at the top that say Dr. and Mrs. Smith, one to n, want to invite you to the
wedding of these people, son of these people. Like put all of
the texts that you might use in there and designed for the largest
text case scenario. And then you can always make the frame a little bit bigger or adjusting things if you
have a lot smaller text, but it's hard to
make it smaller once you have larger texts that you
need to fit in that space. Right now you have your
guide in here and we're gonna go into loading all of the elements and organizing them here in Photoshop so you can
actually start building.
5. Loading Elements into Photoshop: The next part of this
is where we really test my computer's RAM,
especially while recording. This is when we bring everything into Photoshop and we organize it so we can actually start designing and
building our frame. You might have noticed
before that if you try to place something in Photoshop, you can only place
one at a time. You can select multiple things like you can with Illustrator, which is kinda frustrating
if you want to bring 50 elements into
Photoshop, what do you do? You're gonna go into scripts and we're going to use
load files into stack. This should be in
everyone's Photoshop. It's not something that you
have to add in yourself. We're just going to select
everything that we want. So I'm going to grab a few of these pieces
that we've made. I'm paying attention to somewhat colors and
somewhat shapes. And since I've done this before, I do know which greenery I like that it's going to
give me some unique shapes. So for instance,
like this one has some really kind of
pointing a curve. Curve shapes or leaves facing weird directions that are
a little bit unusual. I do use that and a
lot of my pieces. I like to do a variety of different sizes
and different shapes. This is a nice curvy
shape that I use a lot. I really liked this one because it's got a
lot of unique shapes. And with the firms that
we chose at the top, there's a lot of those
brighter greens. So I think we're going to use a lot of those brighter greens. This one, this one, this fern. I just really enjoy this one, although we will need to make some edits and then this one is a really common one
that I use as well. So I will grab all of those
and then I'll go into my blue folder and
do the same thing. I'm not going to grab
everything even though I did go and convert
everything to be in. Geez. I'm just going to grab some of the ones that I
really like that have unique color to
color or shape to them because we're not
going to need everything. But I do like to just grab
more than I need usually. Just so that I have some things
that I don't have to use. This one is the one that
inspired this whole thing. So we're definitely
using that one. This one's lovely. I say I'm not going
to grab everything and then I grab pretty much every it's better to
have more than less. I will tell you that
you have all of this. And then this is where
we just click, Okay? And we let everything run. If you are wanting to have your layers really
organized than I would do that in the file folder
before you select everything, because then they're
going to come in here, as you can see, the layers are named correctly. Not all of mine have been named. I usually don't
do this and yet I went in most of
them for you guys. So you can feel like I'm a really good
Organized Designer, but I am not. And you're just going
to let this go. I'm not doing
anything right now. You can just see that
it's opening everything. Everything is different sizes. So it's going to open to the largest size of whatever
the largest element is. And I think that's pretty much everything
to really say here. So I'm just going
to let this run and speed it up for you. All right. Everything is loaded
and if you wanted to load it in groups,
you absolutely could. I'm not telling you
exactly how to do this. I just like to do it all at once and then divide into groups when I can see everything because I find that
really helpful. One thing we can see
is that I have added this image that hasn't
been prepared correctly, so I'll just actually
hide that one. And then you can see
this one is just oddly large for some reason. It's totally fine. At this point, I'm going
to save everything. And this is where I'm saving. In the project folder
for the client. I have this folder frame course, this would be the client name
and I'm just going to save this as elements stacked. And that way I don't
have to go back and reload those
elements at any point. It is going to be a
very, very large file. The thought is just the nature of working with
so many elements. And if you are working
with smaller elements, you won't find that these
vintage ones are very large, so we'll try and make
them a lot smaller. Shortly. I'm going to grab
everything on the outsides and just make it smaller so that everything
is about the same size. I'm going to leave
the canvas pretty big right now because we are going to change and move
around a lot of things. Personally, I just like
to lay everything out and see what we are
working with at first. And I'll try and
keep things in mind. Like if these two are same color and these two are the same color, I'll put them. Close to each other. You'll quickly see how much we're going
to run out of room so you can make things smaller. You might think that you're
making things too small, but I'm just going to
show you that this is 38 by 33 " and I promise you
you're not going to make them if you can see them, they're not going to be too
small because everything on the actual invite
brain is going to be significantly smaller than the PNG is that you
have downloaded. Oftentimes I'll just kinda
select the outskirts. We're just going to select
everything that is pretty big. And then I will make it smaller so that I'm not
doing that one at a time. You want things to stay somewhat
in scale to each other, but you can play with
scale a little bit. They don't all have to
look 100% realistic. But for instance, that
one was very large, so I went ahead and made
it a little smaller. So you can see these leaves are somehow the same size
as these leaves. Now, obviously these
leaves are a lot smaller here is that we could make some of those bigger and
adjust the scale, but it's not too big of
a deal at this point. We're going to play
with it for awhile. There's lots of stuff
we get to jail. And you can see in
the leaves I've organized these top ones have similar colors and are, the ferns are up here. And then these in the middle
are a little bit more like stringy but
not quite as Brian, I could put this
one in this group. We can keep it down here
so there are somewhat event and then these
are all kind of darker, more classic leaves,
if that makes sense. And then when I'm
sorting out the flowers, I'm going to sort them by color. This is usually what I do and
it's usually easier to see when not everything
is 100% blue. But I'm going to lay
these out and see where my different colors
lie generally because I want to make sure all the blues end up
matching pretty well. So I'm going to have to adjust the colors on some of these. And we're gonna put like these kind of dark
purply blues together. This is like a light purply blue that might be in that category. These are very bright. This one is the color that we are going to want
everything to be eventually. And this one is,
it's almost that, but maybe not quite. So I'm going to pay attention to those because it's
going to make it easier to adjust the colors
if I'm adjusting the colors. Similarly on everything within a group is actually
very close to this one. I think I'm out of the greenery. So one thing I could do here
is I'll just take all of these and I'll right-click
and do group from layers. And this group is going
to be like light green. Then I can just turn
all of those off. This is going to
be medium greens. I'll turn that one
off and then this is going to be darker greens. Now I have so much more space
to play with as I'm laying out all of these flowers. I can see some of these. There's one additional
category popped up, which is these guys that have a little bit more green-blue
MM, versus these. I almost want to combine this
category with these three, but I think they were and I
like the results better if we keep these all separate. And I might, I might combine this purple one or just
do that one by itself. So we have a few
different groups. We can name them really
whatever we want. There's not any reason for this, but I'm gonna say like
either my darkest blues, Let's see, bright blue. It's a little easier if
you're doing like red, yellow, orange kind of thing. But a little bit different when you're all doing the same color. Okay, I'm gonna just
gonna put these together. Purple. Okay. Now we can see we have organized everything into
usable categories. Then at this point we
can move everything over onto the file that
we're actually using. In order to do that, I often just like to get everything stacked on
top of each other. Just because that Canvas is not going to be nearly as
large as this canvas. We have everything, it's
all stacked up here. I'll even go over this way. Then we want to select everything
with the actual groups. And then we're going
to drag over into our document that
has our texts on it. It's going to take a sec.
Alright, remember when I told you we couldn't possibly
pick things too small, this is such a good
example of that. So while everything is selected, I am just going to cram everything down
a good bit further. As you can see, these
are still taking up half the invitation and
we need this to take up like one-tenth of the
imitation will keep, I'm keeping an eye
on this fern leaf. And that is probably a pretty good size for
everything to be right now. Then we're just going to grab
everything else and scooch it onto the board as well. Some of that's going to
overlap within the groups, but it's not that big of a
deal then you can continue to just only work with
one group out of time, mainly to reorganize
within that group again. And also I would continue to just make certain
things smaller. You can select and make
the entire group smaller. But you can see how much
smaller than these PNGs. We actually really
need to go in order to put a bunch of these into a frame shape
on this invitation. So these are even probably
a little too big. This way we have everything in color groups which
is going to help us edit them to make sure
everything is cohesive colors. It's going to make it easier to find things as we're working in. It's also going to
make it easier to turn certain things off, which is going to be so helpful
because we are working on a pretty small canvas here
that you guys are still not. I mean, that we haven't even started building this frame yet, but all of the prep work is
gonna come in handy so much. And we have one more
thing of prep work to do, which is to edit the
colors to be cohesive. So I'm gonna show you how to
do that in the next section.
6. Color Editing: This section I'm going
to show you how I use color to make everything
feel cohesive. Go with the colors
that I really want, as opposed to the colors of
the elements that exist. And make everything feel like it's part of the same
frame. You can do this. First. So many reasons your client may just want some different colors
than what you've offered. You may want to
take some elements that aren't the same
color and make them look the same color because
you like the shapes and size and scale
and everything. You might want to just match something
that you're working on. There's just so many
different reasons you might want to change the
colors of these things. So it's important to
know how to do that and feel comfortable doing
that here in Photoshop. The first thing
that I like to do, if I'm trying to match
something is just add a block, like literally a
square of that color. One really easy way to
do that is to just use a Photoshop library
working with dusty blue, which is a color of envelope
from cards and pockets. So I'm going to use my
stationary swatch book to find that color, deci blue. Where are you? There? It is. It appears very green onscreen, but I am gonna go with probably a little
more blue than this. But I like to just put
that here. So it's big. We know what we're going for, we know we're trying
to achieve with all of these other elements, the greens, I do like to have personally a few different
colors of green. So I kind of liked the light medium and
dark beads when we start building and layering
on top of each other, it's going to create dimension. You can absolutely
disregard that. And there's definitely
some times when I've only wanted to use really
light greenery, etc. Another thing with greenery
is you may want to start editing the colors a little
bit to have a little less blue or more blue,
that kind of thing. On some of these. For instance, this
particular element has a lot of blue in the green, which you see more as you're putting them
next to other things. This element actually does have a lot of blue
in it as well. I might use this tactic individually on
those elements to just turn down the
blue a little bit, make them a little bit more cohesive with everything else. But I still do
like to add light, medium and dark options. To add to the dimension of the whole piece will focus mainly on the flowers
for this example, but you can just use
this on so many things. And I find myself just editing colors throughout as
I'm building the frame because some things you
noticed don't look great together or you want it to be
slightly different colors. This light blue section
was the ones that were the best so far they were
closest to what we want. I still want to make them
a little bit messier, not feel quite as bright and a little bit less
saturated, I think. To get it closer to
this dusty blue vide, the watercolor element
in most of these, most of the elements here I'm
using for stuff like this is going to give you dimension, gives you different colors. So it's not going to
feel super monotone. And if you do want
to do monotone, then you might want
to use silhouettes or colorized watercolor that
are meant to be monotone. If we were to make
these monotone, it's going to look
a little bit weird. But as they are right now, we don't really have to
worry about having them all be totally different colors
because we're going to get shading and depth and dimension through the fact that they are watercolor,
for instance. And this one, you
see these darker colors and lighter colors. So we're trying to
change the overall hue to make it all feel cohesive
with the other flowers, with the color of the
envelope that I know we're going to use
for this sweet. Since these are all in a group, I'm going to add an
adjustment layer to the entire group as
a clipping mass. So we'll do new
adjustment layer. I'll use hue saturation and use previous layer to
create clipping mask. This is going to
create it up here, but we'll just move it and then do the clip again
on top of the group. So this is only
going to apply to the things that are in
this light blue group. Then we can adjust as
needed for this group. We're going to zoom in
to make sure we have those colors that we can see
as we're working with them. And the best part is with
this adjustment layer, all of these PNGs are going to stay exactly
as they are now unless we take an extra step
to finalize this change. But this is kinda just like
putting a filter over, adjust these five elements. So as I mentioned, you
can colorize things. I wouldn't colorize
things like this. See, this is cool. It's a cool effect. I'm not going to lie, but it's not going to give you that
natural watercolor look. So if you want something
that is monotone, if you're creating a
pattern or something, this is a great option. But we just want to keep the greens pretty much
where they are and then make the blue's a
little bit dusty or so. Instead of editing the master, we're going to edit the blues. You might find that science is more what you're looking for. You can just play
with these to see what you're getting
more of here. So we did get a lot
of human science usually that's what I find. C blues is really only doing
those really deep blues. So we're going to start with
the science because that's going to affect more of this. And then we'll just
kinda play with the hue. So I really want this to
feel a little bit more green and a little
bit, gosh, just ear. Which is generally going
to be lower saturation, higher lightness or
higher lateness, sometimes higher saturation
and just events. I'm going to pull those
ions just a little bit towards green,
just a little bit. We don't want them to
start feeling green. We still want it to read blue. And then I'm going to adjust
the lightness honestly quite a bit until I get up here and I'll play a saturation. I think we want to go
actually a little less saturation to give
it that really gray. Look. I think with blue, this
is something that you can do in a way that with orange, yellow, etc, you're going to want to keep that
saturation high. But I think blue is so nice
when it's like really dusty. It still reads blue. So this is also reading blue. And if I turn off this
hue and saturation, you can see where we started
and where we are now, which is much more
cohesive with this piece, you can go into
the blues and edit them similarly with watercolor, it's all going to run
an effect each other. But we can just decrease the
saturation and the blues to which you can see exactly where that's
affecting just those pieces. Nothing to two noticeable, the cyan really covered
most of what we need here. So this is beautiful. I'm going to collapse
our light blues and turn on our bright blues and see what we need to do here. Work is definitely
going to be more here. Again, we'll put that
above the group. So that's only applying
to these three pieces. I feel like we might be using more blues here. So let's see. Still, still mostly science will pull it what we did before
we pulled it a tad green. We don't want to go to green. And then we went way lighter. This is still feeling a
little bit more green. Yeah, okay. That's actually doing pretty much what we want. And then I'm going
to go into the blues here and make sure we adjust
that just so it doesn't. You can see in the petals
of this morning glory here, Morning Glory that we are, the blues is really
still standing out because we hadn't
adjusted that as well. So I'll adjust that
mostly just to keep it all looking cohesive. With watercolor. It's not like just
point and click. It's not like just use a little paint filter and
turn this flower blue. That's not going to work. You have to adjust things
on like a filter level. Love how these came out. These are looking really good. We're going to see how
much work we did there. I'm going to turn off
the bright blues, and now we'll do
our medium blues. And I'll just speed
this up because you kinda know what we're doing. It's an interesting
thing happened here and we started working
on the science, is that this piece really wasn't going where
the other two words, so I'm going to try the blues
and see if that fixes it. If not, what we can do
is actually just move this piece into the light
blue or bright blue category. And then that kind of filter, that adjustment layer will
apply to that as well. So I might try this out
in a different category, potentially in bright blue. Then will turn on bright blue
and see it kind of purple. So let's, let's pull it back. Keep it where it is for now, but I might have to find a
different place for him. Or if you want to edit one of
the elements individually, you can just do another
adjustment layer here and make sure that it's just
the clipping mask just for that particular layer. And you can adjust this here. Purple loses next,
and we do have this one that's a lot
lighter than the others. And this was our centerpiece. That's the one I'm
most excited about for this whole frame. One thing I found here is that the science didn't
do a whole lot. So I think we're going to find more of what we
want in the blues. And this is just because these
are a little bit darker. So we want to pull this blue
away from the purple button, not too far, towards green. And I am really liking
this lighter one and how it is moving with
the rest of these. So I think it's a good it's a good spot here equals
stop there for now. And then what we have
left is these dark blues. There's one under here. If you haven't
used these before, then if you leave it here without doing that
create clipping mask, it's not only going to
apply to that group, it's going to apply to
anything that's below it. There's not anything below
the dark blue right now. But if we had, for
instance, this top one, if we made this not
a clipping mask, then it's going to filter
all the light blues. And then kinda double vaults
are the bright blues. Double filter, the mean
blues etc. all the way down. So you only want it to apply to the group that you're
currently working on, but you don't want it to release dock on top of each other. So that's why we do
that clipping mask. And the way you know that is
just this little arrow here. I think we're really
going to need to do the blues more than the science in this particular
group as well. Wow, But yeah, we don't
want me to go too crazy. I feel like this,
this one over here kinda lost all its
color just then. You might wanna do
that one individually, but I think this can be a good stopping point
for the other three. I'm trying not to
pay attention to this one at this point. And then where was that one? Okay. This one is a little bit
different than these colors, which means perhaps it will
do better in medium blue. Turn this back on, Okay, then I'll just
check that out. Okay, so this one did a little better here in medium blue, that might still be a
little less saturation. And we want, which honestly
all of these might be. So I think I'm going to adjust and just give them
more saturation back. This is feeling very green, so we'll probably adjust it, give it its own
adjustment layer. Now if I were to zoom out and bring this off
to the corner, then turn on all of
these other colors here. You'll start to see that
it is a lot more cohesive. And all of these colors are starting to feel more
like what we want. And then they're going
to look a lot better with this particular
envelope to you. I think to some extent we have a little more purple
than I would want, especially in some of these
that started off verbal blue. So I'll probably go
back and adjust that. But that is how you get all
of the colors to be cohesive. And if you wanted to do
that with the greenery to, you could also do that as well. The very last thing I'm gonna do before actually starting to build is just move to where
I can see everything. We have just stuck it
on top of each other for moving it over
into this file. But I'm going to move
everything and it's still going to remain
in the groups, so it's okay to move
everything one by one. And we're also going
to start paying attention to the
scale of things. For instance, we
know this flower is just gigantic compared
to everything else. So as we're moving it, we're going to bring it down
to a more reasonable level. This one feels pretty big. Also. This one feels actually I really like the size of these
little dangling varies. I really like this one. I might get rid of some
of the greenery on this and just use that
dangling section. But for right now we're going
to keep it where it is. This one is way bigger than it looks natural
compared to everything else. Keeping in mind that
these things need to be 300 DPI or more. But all of these PNGs that we used for this are
gonna be a lot bigger. And typically when you get PNGs, as long as you're
making them smaller, it's generally going to be fine because they're
usually coming to you in packs at 300 DPI or larger. Now I can see at least one of everything which is really
helpful to my brain. You might find other methods
that work for you better. But this is going to work
out for me really well. And then I'm also going to
just close all the groups except the layers because those are the things that
I'm working with. And you can still turn
on and off these shapes, these groups as needed, so that you can only work
with the things that you are wanting to work with. If you have, if you have the
ability and you want to, you can stack these things
towards the middle more so that they're not in a way of whatever the rest of your frame is when you start building it. But it's just I like to just
put everything everywhere. Now the very last thing before
we finalise our building is that we definitely
want to save our work. You can see this is
still untitled up here, so we're going to save this
into our brain course. And we're going to
say imitation brain. I usually put the
client names there as well so that I can always
search it by their names. Or if this is a semi
customer sweet, I'm going to put the title
of that semi custom sweet. And you can see this
didn't take very long to save at all as compared to when we start
everything and brought it in as big as it was. We've made everything
a lot smaller. It's made the file a lot
easier to work with, so it's not so bad. It's all gonna be a big file when you pull it
into Illustrator, but it's not as nearly as bad
as it was a little bit ago. Alright, so are we finally
ready to start building? Head over to the
next section and we will put this frame together. I think you will start to appreciate all of the
prep work that we did. And this will start
to feel easier and faster the more of
these that you build. But I wanted to give you
that foundation so that it's easy to put
this room together because we've done all of
this good prep work and gotten all the
elements where they need to be for easy use.
7. Building the Frame: I already visited
building the frame. Finally, I know we're
done with all the finally took so long because
it's going to help us so much in actually
building the frame. And a lot of the
building the frame is some of it is trial and
error, playing with things. I'm going to go over my
thought process as I do this, but I'm also going
to speed up sections where I just honestly
kind of playing around. One thing that I did
before we get started here is when I was looking
at this and then adding in, turning back on
some of the greens, I was noticing that
a lot of the grains are more saturated and
that's some of the greens. Potentially we're
editing this ions got a little bit more
blue on the flowers. So if you look at it overall, there's a little
bit of a blue vibe. So I did add another hue
and saturation layer. You can see me turning
that on and off. And I added that over all of the flowers without making
it a clipping mask. So it's applying to
everything below it. So you can see the greenery is just popping a tad more and
it feels a little less blue. Now this looks like your
total jumbled mass. So how do we get started? The truth is, just pick
a place and get started. I typically and we're
going to start with the corners if I'm building
a rectangular frame, especially because
those are going to be pretty difficult
shapes to work with. The big thing you want to notice here is just the direction
of your elements. So you don't necessarily want to put things
that are upside down. I feel like sideways
works really well. Upside down kind of works well, but you want to have everything flowing in a certain direction. If you are wanting to do a
perfectly symmetrical frame, That's a great option. And then you only really
have to design on one side of your
frame at a time, which is pretty cool
and then you can just copy and flip everything over. I want to keep this
one pretty loose. I actually think I want
to start with some of the greenery
because I don't want the flowers to be too overwhelming and I think
we're actually not going to end up using probably
even half of the flowers. I just don't want it to feel like too crazy on the flowers, but there are a few
things that I am going to want to use as
pops of color there. I'm just turning on
all the greenery and I'm going to start
playing with it a little bit. While I'm doing this, I'm going to turn
off things that I'm not necessarily using right now, so they're not taking up space. So I don't think I'm going
to use this guy right now. I don't think I'm
going to use this one. A lot of the dark greens actually we are not
going to use right now. I'm going to focus on getting started with some
of these others. This particular one has been a real inspiration to me lately, so I definitely want to use it. This fern is a little bit
weird. I don't love it. I like this fern. This one's okay. I
think this one we might also get rid of for now. Now we're playing
with a few things, nothing too crazy
and will continue to just continue to make
everything smaller. You'll see at first glance this, the bridle creeper makes a really nice kind of
oval shape up here. I think if we did this, we would change the
text a little bit, but I think it's really
nice up here also the, this fern over here makes a
lovely corner shape as well. Let's see. Something like this would
be really nice in a corner. So I might leave that
there are these two have, I'm going to conflicting
color patterns. So I want to potentially
adjust those, but I'm playing with shapes
mostly right now and I think this is a good
place to start. I liked that these feel
open and airy and light. And I do think that's
a vibe that I've been wanting to use for
this particular frame. This one right here, I'm
going to actually add a layer adjustment to that
and see if I can turn these flowers from
purple to blue. So we just wanted to add that. And then a greenery
here is very blue also. So I'm gonna change that to you. Well, change the greens to be less blue and that's going
to match a lot better. And then we'll look
at the magentas and see if we can turn them
to the blue side of things. I feel like the magenta is
not really the exact color, so we'll try the reds. It's kinda like
the blue and cyan. These flowers are proving
pretty difficult actually, I'm not exactly sure. I could probably play with
them a little bit more, but To be honest, I really just like the greenery of this and
these little hanging guys. So I might just completely
erase the flowers. You'll find you're
doing this throughout the building process because you just need to
get rid of certain things, certain shapes, and focus on certain other elements
in each little piece. This is not uncommon
and this is also an example of why we save the elements all stacked
together so that we do have the ability to go back and grab the full element
if we need to. If you're worried
about potentially meeting something
before you delete, just make a copy of that
element before you delete it. And I think this is good, and it's got those cute
little hanging buds, which I think are really fun, needs to be a good bit smaller. And I will start paying
attention to scale. So these leaves and these leaves and these leaves feel a little
bit too big in that space. Not to say that you can't use
different types of leaves, but I think when you have small leaves where there's a bunch of leaves on an element, you want to keep those in
the same general place. And then if you wanted to use a smaller these with
only three leaves, those could be larger scale
or something like that. So paying attention to how
the elements interact, you'll start to notice that it feels a little bit wrong or weird if some of the scale is off when you're
putting things together, you want to pay attention
to where the end of this stem goes and
then try to meet it on a different stem
or behind something. So I'm going to change the focus of this to
be straightforward. And then I'm going
to try and meet the stem here on this stem. And that's how you kinda make it look like it all connects. And that doesn't mean it's
all going to be perfect. Like you can absolutely
tell the difference between the stem and the stem or
these leaves, I'm asleep. But it allows it to have that continuity and start
to feel really connected. Imagine that linear space is a little bit
difficult to come by. All of these are really giving a lot of linear space because I paid
attention to that. But you'll find that it's
not something that's included in every
single element. So at the beginning, what I'm really
focusing on is getting fully around and making
that frame fully connect. And then kind of going
back and filling in the extra spaces and the colors and getting
the shapes exactly right. So that's one of
the things that's really important
at the beginning, is some of that just
filling in the shape. Something like this
could be a good option. I'm finding, finding this to be a little bit at odds
with everything else. I think these leaves as
much as I love them, are feeling a little bit wrong. They feel a little small and I definitely
feel a little green. I'm wondering if I
might end up using them a little bit differently
or not using them at all. This placement, it's kinda nice and I can make this
a little smaller. Not everything has
to fully connect in that way with the
branches coming off of it. You can definitely
have some things that have had a shape and then another shape
that comes up near it. It depends a lot on
the vibe that you want for your frame
because none, nothing is always 100% right
or 100% wrong in these, It's all going to come
down to how everything plays together and
how you like it. I'm thinking that I don't
really like that one there. I do like the top part of this
more than the bottom part. So part of me wants
to snap these apart. I'm just using the
Polygonal Lasso tool here, which is just an easy way to get between these leaves that
are different shapes. I'm going to do a
new layer via cut. So that then we
also have that one. I'll name this one bridal lower. What I think might be a way
to connect these things is to have this one be up here. And then bring in this piece a lower moment so that it
is mirroring that piece. But it's not actually, we don't have just a ton of that shape all at
once at the top. I think this is a
good start with the greenery and we've got, you know, a good portion of the shape of the
side of the frame. I think for this example, I'm going to go mostly
symmetrical and then show you how
we make it feel. Symmetrical, but not exactly
symmetrical as well. So I'm going to add
in some flowers and see where we can get, fill in some of this space. A lot of these kind of Orkney
looking flowers do take up a lot of that vertical
space which I love they are going
to feel really thin. No, I absolutely am going to want to fill that in with more greenery and things. This is a good
example of one that. Has a lot of good greenery and also has some of that vertical space in
it, which is really nice. So I think this is
going to come in handy. One thing you'll
notice is this a slightly curving
to the right and everything on the
right side we want to curve to the left. So I'll go into Edit Transform and then we'll
flip this horizontally. So now it is facing, curving in more of
the direction of everything else that
we're using right here. It does feel kind of begs to be thinking
about like this is one sprig of a flower versus these are like full branches. That's kinda the scale
that we're on right now. So we do want to make sure that that is giving us
the right scale. And this is really
pretty, I like how these leaves are
playing together. We're not going to
worry about getting the connections exactly right. We'll do that kind of
zoomed in level later, but we're working mostly
on the shapes right now. This one in particular is also curved up and to the right. So it wouldn't be okay
if we were going to perhaps have it just kind of in the center here curving upward. But I think if we
did want to have it in the vertical space, we would want to change
this one as well. This is something
that you'll use a lot and we'll use that when we go to do this
symmetrical piece of this. I think this guy
would be really cute. Kinda down here. It might have a little
too much greenery on him, so we might come back
and delete that, but we'll just play
with it for now. I really wanted to
be like right here, might not be working perfectly. So let's try this shape here. Instead. That could be a nice shape. They're definitely, the
greenery part is weird on this, so we'll want to trigger
on that in a minute, but it doesn't have to
be perfect right now. This is an example of a
shape that I think we will use for just these little
hanging portions a lot. So I'm gonna make a copy of
it and hide the original. And then I will go through and erase basically everything. That's not just
this little stem. That'll be a really nice
element for us when we are adding in just a
spine, a little touches. So I'll just put any Vermeer. I do really want to
use these flowers. I think the greenery
might be a tad large. So again, I'm going to go
through and erase a lot of this is just playing and
seeing how it feels. And you'll start to notice some patterns and things
like you might not have thought that this was too much until you have a little
bit more experienced. But I can kinda
look at it and say, Oh, I really want
to use the flowers, but the greenery is gonna be a lot compared to
just divide that. I want not to say that it's too much greenery
that you couldn't use it or that it's not
matching other stuff. But in general, I want to
stick to kind of smaller, looser or greenery here. And then just use some of these flowers and
these flower feel a little bit large compared
to everything else. So keep making them smaller. I think I'm going to find
a way to put them up here. Even if this is not maybe the exact It's not
exactly right yet, but something like that is probably where I
want those to go home. Okay. So this one has kinda be exact, but that I really liked, I definitely want to use it. I feel as though
this one does also, but I also don't
want to get I don't want everything to be
to loosen smallest. I do want some of those
moments of larger flowers. I think I mentioned
this earlier that these hanging pieces are going
to be so, so, so perfect. So we'll leave that out too. This is an example of one
where we probably will get rid of a lot of the
greenery portion. I'm going to go ahead
and hide a few of these other things so we
don't get too crowded. This one I think we could
use smaller pieces. All of them are possible.
You never know. This shape is going to
be just so perfect. I kinda wanna make a big frame. Just this guy. Okay, I'm not loving
the crocus right now. It's very straight up
and drop it right? In. These two are giving
me very similar vibes. This one is lovely and I almost just feel like it's
not right for this frame, the more that I'm playing
with everything else, I definitely saw some
purple vibes do. This is what
inspired everything. And frankly, I may
end up not using it, which is fine but weird. I think if I do use it, I want. Side Side guy, maybe
the main flower. I definitely don't feel like
I want all of that greenery. Because it feels,
it feels wrong. It feels different than a
lot of the other stuffs. So let's see if I were to first, I'll make a copy just in
case if I were to play with where we can end this, I don't want to find
the stopping point. This could be the
end of this leaf. I know it's not exactly
the end of that leaf, but we are, we do have the benefit of these
things are going to be smaller. So we're not using, we're not getting
100% of the detail in there and we can
hide certain things behind other parts
of the frame too. Alright, so this is a lot
more user-friendly now, we could put it
somewhere up here, doesn't feel too off. I don't don't love it. Let's see what we
can do about it. Using it sideways. The bottom is also a little tricky because you want to
put things that are sideways, but you don't want them to look like they can't be sideways. You don't want them look like they're laying on their side. You want to make them
look like they're more sweeping to the side. So it is kind of an
interesting dilemma to do the bottoms. Let's see if I saying here, okay, I kind of
love him in there, but then we need a
little more green. I did get rid of
the bottom of this. Maybe I shouldn't have. I think we definitely
need more green in there which we can get in the future very easily. Do we find anything in
our dark blue section? Okay, this one has a very
cornering vibe to it. Then a lot of things don't. So that's interesting and
I put this in the corner and see what happens. Paying probably see, I
struggled with this for a bit. I really wanted to find
somebody who is not too blue and not to green. And I feel like this is
a really nice match. And you can see that I'm using some of the Ellen's
multiple times. So I found this one works
really well down here and up here we have the bridle paper with the
bottom of the right of paper, and then we have the other
element of that right there. And this is a way to make
it all feel really cohesive without just copy and pasting the same elements
are making it feel boring. So you want to use some of
the elements multiple times, but not necessarily all of them. Another thing I'm noticing is that basically all
the leaves that we have here are kind of
elongated and pointy. And then this piece right
here is very rounded. I love this piece honestly, but I feel like it's not as
cohesive with everything. So I'm going to try and replace
that with something else. I'm probably going to
have another moment of struggle trying to find the exact right thing
to put here because I don't want to go too
heavy on the blue. And I feel like
this, even though it has so many of the vibes, we want that lake loose
and freeing and european, all different angles
kind of vibe. I just feel like it's
a little too wispy and is I think I want to use it
maybe in pieces elsewhere, but I don't feel
like it's working as a full element
with everything else. I'll try making
this a tad bigger, give us a little
less space to fill. And then I almost
think we just need some classic
greenery right here. So let's see what we have
up in the greenery section. These leaves are
the right shape. They are not necessarily
quite the right scale, but they are kinda
pulling from the other, some of the other leaves
that we have here. We might want to use like
a part of something. Given to play for a sec. This element is one
I end up using a lot more than I planned to, which is why I'm running in the first place because
I know myself. Because it just adds, it's, it's really deep and
really darken it as a layer of depth to it that I really like and
I think is kind of classic for my style. Okay, so this is
nice and I do like how on the edges we get
a little bit more wispy, but I'm noticing that
we're not going to get to the edge here. At this point with
asymmetrical frame, I will often trying to see what it looks
like with both pieces and then kinda fill in
the middle in a way that makes sense with
both pieces there. So the middle, you don't
necessarily want to be fully symmetrical and you can decide to do a 100% symmetrical frame and it can be
absolutely beautiful. I really love playing
with a tad of asymmetry, so making it look like it's
really the same frame, but then It's got some of
those natural little elements. So I'll show you how I do that. Then I will do that
transform flip horizontal. And you'll definitely
notice that we're losing the filters. And I think we'll have to do some work to maintain
those and a little bit, but right now we're
just looking at shape. Looks pretty nice. I honestly, in some cases can see
just leaving it as it is. I'm noticing that we do
have a lot more space at the top than at the bottom. So I will move it up a little so we don't
have that as much. You can also add
elements in those ways. But I think that
where we're at with the elements is pretty good. We just want to make
a few alterations. So things that I'm
looking at here are like, I don't love how we just
have this stem here. We definitely want
to cover that up. I don't hate how these are
coming together in the middle, we might want to
add something in the middle of something to
fill in this whitespace here, we are feeling a little
bit heavy, almost side, especially right in here we're feeling a
little bit heavy, so I might want to
change some of that up. Then we might want
to meet at the top. You don't have to
meet at the top. That's not a requirement for
your frame by any means, but it is something that
we might want to do. I kinda like it feeling
a little heavier on the sides and lighter
on the top and bottom. I love I love the shape of
this bright white paper. I knew that I was going to love it and it's just really nice. So I may feel some
of that in with some more of these kind
of wispy guys. I might want to write finally,
want to use this guy, maybe even just
kinda putting him down at the bottom or including, including part of it maybe in this top section
it does feel like it's all too small and scale. I don't know. It's like I want to
use this guy so bad, but I feel like it's not
null and it's not working. We'll play for about,
I think one thing definitely is that this
feels really heavy. And so I almost want to use more bridle creeper
because it is just feel like it's just the star of this
particular show. And that is fine with me. And just erase. Maybe not that one will erase everything
that's overlapping. We don't want it to do. We change it when you're
using the same elements, it's nice to flip them
around, change them up. I'm going to bring
everything back into that. This is nice, but it is
facing the wrong way. And as leaves are
drooping the wrong way, which sometimes we
can get away with, but sometimes we
don't want to have I mean, this is pretty good and one thing that I'm going to do is just make this
a little bit smaller. So we'll grab the
polygonal tool, will try to get it as close
to the stem as we can. And then you can actually
keep it on the same layer, but just to make it a tad
smaller and even move it. One of the reasons
I love Photoshop. As you can see, there's always some
tough areas and you have to just play with it and
be honest with yourself, you can see this feels so much looser and area compared to what we've got
going on up here. And then it brings that bridal
creeper as just kind of a vine that's going
through the entire piece, which I think adds a
level of cohesion there. I'm probably actually going to even use a little
bit more of this. So it doesn't look like we
just have copy and paste here and then copy and
paste in the middle. But that it actually unnatural. So I'm going to erase. Just wanted one little, one little extra widths, but there are some Wednesday. I think. What I wanna do here is make these closer in and then have the wispy
is still on the edges. So I'm going to grab, grab the wasp bees,
make another copy. What have you? So many of the Cree bars. Just love it. And I think I want to raise
a little bit of that. Let's their bring all
of this n here. Then. The wispy is being a
little bit and not symmetrical on the outside here. Okay, and then I'm going
to want to just use this morning glory to cover up the kind of sharp
corner that was there. Just rotate right there. I think we're at a pretty
good stopping point to make sure we save our work. We probably should have
done this 20 times well, while we were working by
Do as I say, not as I do. And this is where I'm going
to show you how I make it, how I fix this imagery and
the layers and everything. And it can be a little
bit time-intensive, but let's just kinda
nature of all this. So I'm gonna delete
everything except this one right here
because of the asymmetry, I do want to keep that where is the only even
believe that one? I mean, this is kind
of pretty bytes. There's so many
good options here. We're going to select
everything and then just do a copy and paste. And we're going to
flip it horizontal. So basically what we already
had done to some extent, make sure it's level here and there are a
couple of ways to do this. I'm first going to delete
everything that we don't need over here for the
asymmetry to work out. Since we don't have too
many blue elements, I am going to just
try and categorize everything where it
goes so that it's under the right filters. So we do have two of these
bridal creepers here. Alright, so this
field bind weed. So this one is under the bright blue section and
we can just move this down. Everything's starting
in the green section, but we'll move it on
down to the bright blue. This is the forget me not, and it's under medium blue. And we actually have
two of those up here. So we'll just grab them and
move them under medium blue. The sweet pea is
under the light blue. This is a yak or base. Yeah. It's under I didn't even
look light blue as well. You can, if you prefer to make new folders and add the same hue and saturation like copy and paste
those layers. There's a lot of
different ways to do it. I think because we only
had a few flowers in this, it was easy to just
do things that way. And then you might
notice potentially some of the greenery being a
little bit off on color, but at this point I am
not seeing any of that. So I think we are good there. Again, I'm just going to save after you've done this work, this frame is almost where I
want it. It's not perfect. We haven't gone through
and cleaned it up yet. We also haven't made sure all
the colors are appropriate. And then I like to add just
a touch of controlled chaos, a little bit of asymmetry, a little bit of whimsy, a lot of kind of hanging
curly whimsical elements. So that's my special thing. If you really want it to be very contained and solid, then you're a
little bit closer, but definitely still watch the next section because there's a lot of
stuff we need to do on a micro level to clean this up and make sure it's going to print beautifully. Lastly, let's just save our work again before we move
to the next section.
8. Cleaning Up and Adding Whimsy: Okay, this is the point
where we're going to do some cleanup that I definitely
recommend you doing, but we're also going to do
a lot of stylistic stuff. So if it's not your cup of tea, as with anything in this
lesson, like Go for it. I'm trying to explain
how to do this in a way that makes sense. Where to find the
elements, how to clean them up, how
to organize them. So I hope those things
were helpful even if your style is just totally
different than mine. So first, just
noticing the areas that I personally would
like to work on here. I like how this is asymmetrical
and coming together. We could potentially mimic something like that
at the bottom, I don't necessarily think
we're going to need to these top corners. Being empty sometimes
bothers me. The bottom ones are empty too, so not bothering me so much, but I might play
with that definitely some whitespace here that I want to play with. And I want to just add some asymmetries like in
these whitespaces here, maybe some of these
down here as well. I want to clean up the
bottom of this and, or hide it with something
because I'm really not loving how this stem
is just hanging out there. It's not the end of the world. And then there's a
couple of color things that I want to adjust. So love all the bridle creeper, however, it feels
a little bit blue. The rest of the greenery
feels more green and I liked their greener
pieces better. Then this greenery on this
piece feels very bright. And we ended up not really using a lot of the right stuff. Then I think there's some stuff we want to clean up here because this kind of goes into a very sharp point
and then comes down. And I think we might want
to do some work on that. So one of the first
things is just adding some of those like whimsical,
asymmetrical moments. I'm going to turn on, most of this is going to
be in the flowers section, not so much the green section, not to say you
couldn't find that. I'm just going to
turn on a few of these flowers and see what we can find that we
might want to use. This is really pretty
and could be used, but I think we want
something with more like hanging on it. This one is a great example. So this could go and
a lot of places. Just to add another
little element, fill in some whitespace. And there's a lot of
places that this can go. I might try seeing
if we flip it. It is hanging down
on this left side. I think I might
like that as this. For this shape. Maybe. Things like this are what make the shapes
interesting and unique. To me personally. That doesn't have to
be everyone's opinion, but I do really love to use these things to just add a little bit of
uniqueness on each side. But we didn't end up using
any of these bright glutes. Okay? Yeah, this one is great. We definitely want to bring in that hanging barometer
or brown Rory. Don't know exactly how
to pronounce that, but I think he's really cute
in a few different places. Love this little, love
this handshape in general, if you can find
something good that matches with your vibe, that's got that hanging shape. I think you're going to really
like it and appreciate it. Then I might want to add him. And third place
sometimes three is a magic number for the
asymmetry like odd numbers. And our brains can process
those really easily. So we might want to I feel like up here because the other
ones are down there. I think that's nice. It's just those little tiny
elements that really make it. Okay, what's this guy? I've tried to use this guy in so many different places
because I felt like it was a nice Bashir fuller look and I was just not a
loving anywhere I put it. So I don't dislike
isn't necessary there. I don't know. Maybe
up here somewhere. Got a little I want to
use this one so bad, but I feel like it's not, maybe not in the cards. It could be really cute here. Could be, could be adding
some of the other ones. Nice too, because they've
got different shapes, but then it will mimic
some of the other things. So I think we use
that top section. Then maybe this one because
it's got like hanging. And maybe even that's kind of a nice foil
to the shape on the other side, which is lovely. And then do something
similar by pulling this out into the open over here. Sometimes the connections are so small that you
can barely see them. Something like that. Maybe we're kinda mirrors. That's really nice. It makes me want to really
have something right here, maybe even this same one. So let's try it. I think that's kind of Q of n. This makes me want
something down here. It's honestly
really kind of like how that's coming together
with just a few things, any in or out. But let's play, let's
see what else we've got to work with more
and morning glories. Those are not field bind weed
lane, not Morning Glory. I like the idea of those but
don't think that I use it. This body has made me so
angry this whole time because I think I
do want to use it, but it's really hard to separate all these
so I might not. Let's see. I think are racing
is going to be just the easiest way
to separate all this. We really don't even need
to put this one somewhere, but I do like for those elements
to a mirror each other. So I don't love, I don't want you
to like not find something or it's
a style or shape. I don't want you to
find it, only wants, I want you to keep looking at it and keep trying to
find more and more. Alright, right. So this one, did you feel it's kind of in the wrong place and can be
used a little bit differently. And then we want this one to
be pretty symmetrical to it. But I also would
like to cover up that piece over there and there is something
definitely missing. I think it might be that
we're just going to want another piece of paper. I know you guys are shocked by that shape feeling a little bit of the space but
not doing too much. I'm going to save my work. This is kind of cool. This is giving you a
corner and design, whereas this is more of an
oval that could bother you. I feel like I want
it makes me want to mimic it over
here a little bit. Then I makes me wanna
pull the asymmetry, a low it into the
bottom as well. And I can do that by
changing the shape of This just facing the
opposite direction, bringing it out a little bit. Bring it. And just having that mimic
a little bit of the top, which I think is kind of fun. Okay, One thing I also
really wanted to do is get this abrupt ending to
the stem covered up, which we've done a little bit of room to play with some ideas. So far, is covering it up
by just continuing it. These little flowers
sitting on it looking like they're
coming out of similar but Particular squarish just at the corner of fields,
a tad abrupt. So let's grab a piece of this. You know, more bridle Cooper. She's lovely. There is a little
bit of my move, just kind of everything. All the different stuff. Just a little bit. And then I think we
have a tad of space, extra top to bottom that we
don't have side-to-side. So we could just move everything in towards the middle a tad. We could stretch everything
out just that tiny is that I don't recommend
stretching much, but maybe just a tiny bit
before it gets noticeable. And I think when we put that
on the actual imitation, it will look really good because we do have some bleed space on
the edges as well. This is about where
I want to leave it. It feels like organized chaos. We've got a lot of elements
mirroring each other. We've got some of
those asymmetries. We've got some pieces of three, we've got some movement in all of this and it fades on the edges to some of
those mystery pieces. Now we want to clean it up. And one of the things you can
do is just go through and delete everything
that you're not using that will help them keep
the file size smaller. If you think you might
still make some changes, then absolutely feel free
to keep all those things, but you never know you never know exactly
what you're going to use. I'm noticing I want just one
more little element here. And this guy may be perfect. I don't know why
they're all guys. Yesterday was
International Women's Day, so I should make them all girls. Ladies. Because they are flowers. Okay, that's nice. Alright, so now we want
to clean things up. The biggest thing that
I'm noticing right now is these two particular
ones are not, the greenery is
not really right. So I'm gonna put them
next to each other. And then I'm going to just
add a, an adjustment layer. You'll have to add it to each one unless you want to
group them or whatever. And we'll play with the greens. We actually are probably
going to end up playing with the yellows on this a bit. But I want it to just be darker. Let's see. I'm looking
at the wrong one. Kk. Be darker and maybe
a little more saturated and just a
little less yellow. That will be pretty nice. And then we'll just copy this
to the other sweet pea and make it a clipping mask as well. And so those are not
standing out quite as much. I might go a tad less
on the saturation. I feel like that's going
to help. What does that negative five, green. Negative six, That's fine. Alright, she's beautiful. And then I kinda wanted to
mess with the bridle creeper, which we have so many pieces of. So let's see if we can
go around all of them. This is where it'll
be nice to have a really clean workspace
if that's your ride. That is. So not my vibe, unfortunately. Let's see what this one is. Okay, that is a piece of bread. Oh, creeper. That's probably because it's probably on the
greenery section. And I'm going to group all of this because it's all the same. And that's a group
underneath medium greens. And then we can apply an
adjustment layer to all of it. Just the bridle creeper
and create clipping mask. Now what I wanna do here is make it just make the
grains a tad less blue. It's really not a huge
thing that we're doing, but I just don't want
them to feel blue. You can see it changing. I mean, I did drastic
just so you can see, we can change it all pink. That's really pretty
actually being lived. Don't do that.
Laney will change. Tad more. Green, yellow. I might saturate it
a little bit more. I think that's nice and I think it's going to print nicely to audit as a lighter element, brighter element, that's like putting, holding
everything together. But then maybe darker, brighter or darker, is that Is that making
sense to anyone? Okay. So let's see what it
looked like before. Oh, I feel so cell blue. Now that I'm looking
at it before. Then if we turn this back on, everything just feels a
little more green and then the blue of the
flowers stands out. And I kind of love that. Okay, she's lovely
and I'm saving her. And then I'm going to
do the cleanup process, which can be a little bit fun and also a little bit difficult. The main thing we're looking for is how everything overlaps. So this one, we might want to just
scooch it in a tiny bit. I'm noticing that these
particular elements, the blue ball on
it or something, forget any naught, are
a little bit pixelated. So perhaps we want
to go back and read, digitize that just to make sure that it's printing
to a good resolution. As you can see, this
field bind weed, not Morning Glory is a lot crisper and most
things are lot crisper. I'm noticing a little bit of awkwardness in
this leaf up here. I might need to go back and add in some more leaf from
the original element. This one has a leaf overlapping that it's not
to say that's terrible, but I think it's
making a little busy, so I am just going to
get rid of that leaf. We see, let's see
which one is this. Okay? We see this, but
we probably want the filled by me
to be over that. In general, we probably do
want all of the flowers to be over all of the greenery. So we could just move
all of that down there. We're going to want
to pay attention to the adjustment layers because that's going to make
everything weird when we start removing things around. So it's possible that
we want to go ahead and merge some of the adjustment
layers down, solidify those. We also could just delete or erase some of this
that's overlapping, so it's not overlapping. There's a lot of different
ways you can do this. And I like things to
overlap a little bit, but not too crazy busy. So that feels a little busy. One good thing is you're
working in Photoshop. So these are layers and
you aren't you're not in danger of getting rid of the things below them if you
do some of that deleting. So it's kind of nice too. Just go back and
pretty everything up. This one feels like
we need to just come in a tiny bit on this. We're looking at this
stem right here, and we want that to just fade
into the other stem at Tad, you could put it below. Then we need to move this stem
and a little bit as well. That changed things we
had done previously. So maybe we shouldn't
make that change first. Scooch over. And then this is an example. This one doesn't quite
meet that top stem. So let's just make it a tad, tad, little bit bigger. And then you might want to
delete some of these things. I don't think it's a big deal. And then this particular one, we just need to re, position that stem here so it
makes some sense. It isn't just hanging out
in the middle of nowhere. This isn't meeting this piece. 100%. I can move it. I don't want to move
this one too much, so I'm actually not
going to do that, but what I'm going to do is
just erase this stem a tad. So it's not hanging there. We have this piece is
a little odd to me. Just erase that and move this
one just a tad. This way. I think that we as
designers will get a little bit more picky
with some of these things. And it turns out that
a lot of people are probably not going
to notice them. For the most part. I'm not saying don't go
in and do this step. This step is really
important to making it all feel like it goes together
in the right way. But it doesn't need to be 100% of a matchup
every single time. We just want to get rid of the harshness and
any stems that are just hanging around doing nothing or anything
that's overlapping. A little bit weird. Noticing on this one we have
some elements when I was erasing that didn't get erased. That is a really good
thing to look at and we have this element twice, so I'm going to make sure to do that a second time
on that element. Little piece right here
is just bugging me, even though it didn't bug me on any of the other one moves. This stem is kind of hanging, but I feel like it works. Looks fine. Then
we're doing a lot of the same stuff on the side
that we did on the other side. But if you want it to be
perfectly symmetrical, remember just to do some
of this before you do, you flip it onto the
other side again, mine is a little bit
asymmetrical anyway. So I think it's fine
to leave some of that. And if it's not, you know, I'm not counting
my exact strokes or if I'm moving something to the left or right, for instance. Now she's cleaned up, we know
she'll print a lot better. One thing I am gonna
do is check on this. Forget me not
because it is kinda the only piece in here that was looking a little
bit pixelated. And I want to check on that and maybe replace those elements. Now in the next
section, I'm just going to show you
how I bring this into Illustrator to design
the rest of our suite. And then also how I'm going to pull some
of these elements. And what I think about
when I'm adopting this frame to something that's going to feel cohesive
throughout the entire suite. I think I've said that
word, cohesive about 1,000 times during
this lesson so far. But we do want it to feel really natural and
organic but still reminiscent of the other pieces and the other elements that
are brought within a sweet. I'll give you some examples
of how I like to think about adapting this frame to the
other pieces of the suite.
9. Using the Frame within the Suite Skillshare: This lesson ended up being a little bit longer
than I expected, but I hope it was really helpful to you in building these frames. You can do it with a lot
of different elements. We did have to do a lot of
color correction and things to these elements
because they were not created as a cohesive pack. So you won't always
have to do that. But I wanted to show you how
you could do that because sometimes even when you
get the cohesive pack, you want to change
some of the elements, do different color,
or you want to make everything brighter or darker or whatever it is
for your clients. So I found that when I use
these for semi custom sweets, especially there's
always a client. It's kinda like, can we make the blue a little bit brighter? Can we add in some
sunflowers, whatever. And it's nice to have
the ability to do that. I mentioned to make
the file size smaller, you can delete some of the
PNGs that you didn't use. I just leave them. It doesn't really bother me. But I like to do all my editing for everything in Illustrator because it's just a little bit
easier to do text editing, layouts and shapes and
everything in Illustrator. I also like that. You can see the whole suite. You can move the
artboards around, etc. Photoshop is just a
little bit clunkier because it's not meant
for text editing, it's meant for image editing, which we've been doing so far. But I like to bring this into Illustrator to do all
the type-setting. So what I'm gonna do is hide that link imitation
than an illustrator. We will click Place and find. Here we're gonna find our
invitation frame file. And because we set this up
to have the bleeds on it, we're gonna put it
exactly at that corner, send it to the back. There you go. I typically am going to also lock so controller command two, and then you can't
move this at all, but you can move
the text around. So I typically like to lock
it when I am editing that. Now. What if we brought
it in here and we hadn't allowed enough space for the bleeds or we decided we
wanted to change something. So what I'm going to change, I'm just going to delete this because I think
it will be noticeable. And then I will save
this file again. And because of Adobe and how it interacts between programs, it's going to update that link for us as
soon as we could. Yes. So it's going to take a minute
because it's a large file. And then now you see that
that flower has gone. Honestly, it's going
to cue like that. Pardon me, wants to
leave it like that. It adds to the asymmetry.
I don't know. We'll see. We'll try it both ways. Then you make more changes. Click Save. And then sometimes if it
doesn't immediately appear, I just go back in. Here we go. It's going to come back. There we are. I kinda like it without, might
actually believe that. What a happy
accident. And now it is ready to use in Illustrator. Now how do we go about thinking about the other
pieces of this week? So we have made me an envelope, liner details card,
an RSVP card, etc. We're not going to want to copy the exact same frame onto each piece if you
want to, that's fine. If that's what you're going for. Grape. Oftentimes, if we're
going to frame a different piece entirely, it's going to be a totally
different Raymond. It's gonna be a much smaller,
less condensed frame. So you're going to have
about half the number of elements because it's
going to be in size, smaller to smaller card, but you also want to keep the mainframe on the invitation. Typically, that may not be exactly what you wanna
do in every scenario, but that would be
the most common. And they go through
some of my suites and show you how
I lay everything out and how I think about the frame and context
of the other pieces. This is our wildflower
brain, imitation, sweet. And you can see the frame
is the different shapes. So in this you'll see a
lot of different shapes. If France to, this is
two different frames, kind of creating
parentheses around. It's not connecting
at top or bottom. One thing that's unique
about this frame is a lot of the flowers on the bottom are
actually facing the bottom. So in that way you, you're not trying to fold this around the
entire imitation. So the flowers are allowed to naturally be
towards the bottom. I didn't give you were
doing a full frame. It's hard to do that because
it's hard to know exactly where that transition from up to down facing
flower should be. But in this there's an obvious transition right in the middle. So what we've done is we've
used the elements and create an all over pattern
on the envelope liner. I think this is a
really good way to keep them at the same scale, but play with a
looser vibe here. And then we've also just use one single flower here
on the RSVP card. So the imitation itself
stands out a lot. The liner pattern
is really nice. And then we have something
really simple on the RSVP card because it's
really a functional piece. I also use one of the flowers. I just did an image trace in Illustrator to get the
silhouette of it and printed that on the outside of the invitation of the envelope
for the return address. I'm going to skip that
one. We're flexing. This is our greenery frame. It's probably the
most similar to the one we're building
for this course. And I actually love. This whole piece together, this is one of my
favorite sweets. So we used a one simple element on the details card,
very, very simple. On the RSVP card, we played with scale
a little bit and made use a couple
elements but larger. It's not really a frame,
but it's folding. There's a lot of movement off the page with the
bleed and everything. So it's kinda like a
zoomed in version of this. And then we took that
to the extreme for this envelope liner and
use a couple of elements. This one is just one
of my favorites and you can see it
curls around here. We did have this one in our
elements for this frame, but didn't end up using it. Just love the movement
that this creates and how it's going to be popping up growing out of the envelope when you open
it, which I really love. But then we had a
different version of this where someone was paying for their details card only, but they had a ton of
information on here. So a simple way to bring back the elements of the
frame is just to put a few at the bottom and play with
some of those elements as if this card was kind
of sprouting out of the bottom part of
this card or something. Here's another one that we built from a pack on Creative Market. So this one, what I already
had some cohesive bouquets, a couple of flowers together, and then we use additional
ones to build out the frame. This frame is bleeding
off the page, which always makes
it feel a little bigger to me in a
little bit wilder. And we only covered about three-quarters of
the edge of the card here. We have a lot of movement
interaction with the texts, which I really love,
especially for custom frames. And this one, we didn't have to do a lot of that color changing like we did before. Some of these pieces
were a little bit blue in the greenery, so we had to take
some of that out and make it more green
because we want, we didn't want to
have any blue in there to use the
other elements on this welcome celebration
card, we tone down. So this is a good
example of like we still built pretty much an
entirely new frame. It didn't cover the whole thing. But I toned down, I
took out all the pink, I took out all the yellow. We're just using the
white creams and greens, I guess there's a
little yellow in there. We took out all those
extra colors that we have, like a tone down version of
the same elements on here. And then we use a
corresponding similar types of flowers but in a
line drawing here. So I think that's a
really cool way to do it. If you are going to have both, you can do some line
drawings because we also have the line
drawing of her pup and included some flowers
there just to frame Zoe up. This one is a really fun frame because it's not a full frame. You can see it
just kinda follows one path on the
edge of the paper. And it feels really unique
and moderate and a little bit different than you would feel that there's a lot of
movement to this frame. I like this room a lot. Then we just use one element
here on the welcome party, which typically I use
that element addressed at a larger scale for the
liner for this one as well. And then we kinda did
that same thing that you've been seeing an RSVP cards where we use a few elements, bleeding off the page, plays with the
scale and your eye, it makes it feel a little
bit more playful there. Here's one where I just didn't put anything on the
details card except we did a whole
different watercolor and we had to adjust the colors. I'm here to match the
watercolor of the venue. And then we use one large
element for the envelope liner. This is one of my favorite
envelope liners and I love it. When name you'll
see in this frame as that not everything connects, but it disconnects in
very similar places. We have this whitespace right here where this
doesn't connect. We have a little
tiny bit up here. We have some in the
middle on this side and then a little bit more in
the middle on this side. So there's a break
in the frame at each quadrant and that
makes it feel balanced. You don't really look
at those things. You don't really notice.
Everything's still feels like it's connected. Here's another one that
goes off of the page and it is just
feels really wild. I love this one. This is one
of our most popular ones. And then I play with depending on how much text is
on the details card, I can add more of this kind
of crazy element or less of this crazy element if there's more texts and it still
looks really nice. This, this envelope
liner makes it feel like everything is just kind of sprouting from the ceiling. It's going the opposite of
growing out of the envelope, if that makes sense, it's
growing down into the envelope. And it's one of my favorite
styles personally. Oftentimes what I'll
do for these if I'm purchasing these elements
on Creative Market, like I did with this one, is all use some existing
bouquets and then just fill them in to add a
little bit of density there. A lot of them will have
straight-line ones that just go down. And so I'll be able
to use that on an angle and then fill in
to make it really unique. Then on the reply card we
wanted to mirror a little bit, so we use similar shapes. But with two slightly
different colors and layouts. On the bottom right, bottom left, and top ray. That kind of mirroring is really powerful just to keep everything feeling
really contained. And I liked the bottom left, top right because you're often reading from
left to right. So it gives you that feeling
of containment on the sides. But you are reading this way where if we had
elements here and here, we'd have a lot of
whitespace over here. And our eye would
be drawn to that, which is opposite of the direction of that
we should be reading. This one is a small
circular frame. This is one that
was already built in the pack that I purchased. And a lot of these
bouquets were actually also in the pack
that I purchased. So this is one that
I haven't added a ton of customization to. But just to give you an idea of other shapes of frames
that you can use. More thinking about which
elements to repeat, you can see we do
repeat a little bit. So this one repeats here. I believe this is the
top and the bottom of this same bouquet, but the save the date and
the envelope liner or not really going to be next
to each other usually, and even if they are that saved, the day is going to be turned. So the whitespace over here is what's really going to
be butting up against that. I'm kind of nice there. And then I also repeated this element on the reply card and on the shower invitation, but those things are typically
not going to go together. If they were, then I would
change the design on their reply card to be just a different bouquet or a different version
of that bouquet. So it's okay to repeat
elements can have throughout and throughout
the day and stuff, but you don't
necessarily want it to be exactly the same element
on every single card, or maybe use the same element, but you use it in a different
way on different carbons. This one is kind of
fun. It's also very similar to the one
that we built. You saw this one previously but with a
different details card. But I do like this is our standard version of it and the colors are
very off here, but I do like this example, so we use just a couple
of the flowers here. Cute, whatever. Nothing too exciting but the details god doesn't
need to be that exciting. I love how I built a different frame
That's a little bit on brace, so it kinda rainbows from
the lighter colors to the darker colors and then does a similar thing over
here in the corner. So this is another
one where it's framing is drawing the eye
to this top left corner. And it's really
just nice to kind of read through and then drawing your eye down towards
the bottom right corner. And that's just very cohesive with how your brain
works in the first place. This is some work I did
for a different designers. So it's not It's my work, but a lot of their elements and their calligraphy
and everything too. So just an example. I think this is some
of my finest work. Didn't really, I
really like this one, but I love how this one
we play with scale a lot. So this individual
flower is fairly big. And then you have some
of these clusters where there's a bunch of smaller
flowers and then these, like these fibers x strawberries is smaller than this one flower, but it still feels
like it works. You have the peaches in different type C of the outside of the pH or
the inside of the pH. I love how that's brought
in in two different ways. And then we've scaled it
in different ways as well. This is something that
feels not symmetrical, but feels really balanced even though it's absolutely
not symmetrical. And the more you look at it, you'll see things
like this butterfly, this flower is in a different
place than this flower. A lot of things have
different sizes on different sides like this is much smaller and has the
additional peach pit and this is larger, but then it has a
little dragonfly. We have this
butterfly over here. The birds are not symmetrical. We have these hanging guys. There's three of them, a little b up here, et cetera. So I could go on and on about this one because
I loved the smell. I think it's really fun
how this one played with scale and still
felt really cohesive. And you'll also see in here, the styles of these are
somewhat different. So we have some of those
things that are in that really realistic style. And then these
blue flowers right here are a little bit
warmer, cartoony style. And you have that also
in these white flowers. And he's super realistic
leaves and flowers around it. And it's still really
works together. This one is a lot
like bushier and denser than the one that we create a shape,
but very similar. And then for instance, this is just a cool envelope liner where we combine a lot
of those elements. And the magic here is just
in the shapes flowing. So there's this shape that
flows out in this direction, and then this one starts here. So these don't all connect. Go in these little motifs and we have this little
caterpillar, He's so cute. And then start with
different motifs and different shapes that all kinda intermingle and create this nice little pattern. And then we used a
tone down version. I know there's still
feels really busy, but it is two unknown converted this one for this
rehearsal dinner where we framed all of the
elements around just, this is just like a green line. They were going to add
something else on their end, but basically just a
static rectangular box. And we act like everything is growing in and
out of this box. So instead of having everything
on the right B, leaning, facing to the right, we have everything kind
of leaning and facing outward from that line. So we have, this
one is facing left and this one is facing
right and is hanging down, but it's all centered
around that line. So it gives you a
totally different shape than these ones which are centered around the
plane of this limitation. Absolutely love how this one
came out and this one really inspired me to do
this score z that reinvigorated my love
of rain building. This frame feels really nice. I am probably going to continue to play with
it a little bit more, especially since
we deleted that. What field bind weed and it
looked really cool up there. So I think I'm
gonna go with that. I'm excited to share with you the total final
bit of this sweet, once I've finished
designing everything, did just want to hop in and
show you how this ended up as I finished everything out
for one of my friends, this is their mock-up. They're just using
the details card, not the RSVP card, but kind of put
everything together here. We're focusing on the
greenery for the liner. I think we could add some
blue if someone wanted to, but I definitely
think we'll push these dusty blue
envelopes for this week, in which case the green
and the blue will all even out really nicely. I just use some of
those wispy greenery on the details card and
then on the reply card, I just stuck with this
other piece that was one of the most common
elements that we use. And I use it on
alternating corners from the one on
the details cards. So I think this is
really a simple version. This is going to be for
semi custom, sweet. So I want to have
a lot of options for a lot of different amount of texts and everything
you could build. Maybe a smaller, simpler
frame for the RSVP card. We could definitely
go a little more all out on the envelope liner, but I think that it
all comes together really nicely and has just like a very pretty forest eat
organic whimsical field.
10. Outro Skillshare: I challenge you now
that you've watched this to go and create
your own frame, whether it's from elements
that you already have, new elements that
you're finding and some of the places that we suggested. And I hope that you'll upload a picture of your
frame or tag us if you share it on social
media so that we can see all the
beautiful frames that you are building and
how you're using them within your wedding
annotation suites, please let us know
if you have any feedback on this course or outstanding questions in the
comments below this video, I would love to answer
them and I'm so excited for all of your future at frame
building endeavors. If you want to learn more,
check out design millenia on YouTube or design
by leaning.com.
Laney Schenk, Taking the invitation business seriously
