Create a beautiful CV (Resume) in Photoshop | 2 Versions

1. CV (Resume) Designs in Today’s Market: Dev, this is Chris Barron. Let's talk about CVs. Are they still a thing in today's digital environment? Do people actually rely on CVs resumes to get a job inside the company? Well, as a business owner myself, who has interviewed hundreds if not thousands of applicants, I have to tell you that this is still a valuable tool. A gray looking CV can make you stand out and give you that extra edge when it comes down to getting a job interview or being offered the position. Now, here's the deal. In this part of the world, there's this thing called Europass that has completely monopolized the way CVs look. Basically, this is a template that you fill out. That's become a staple in most countries in Europe. Now, the problem with it is it looks like it was created in Microsoft Word 1997. Well, it's functional in the sense that it gives you all the necessary information. It's not exactly beautiful, is it, right? Now, I'm going to say it's modest at best. Now, here's the thing. Even if the Europass plague hasn't arrived in your part of the world, I'm sure that our generic templates are somewhat in the same ballpark. They look cheesy, standardized. They lack any sense of design. So my question to you is the following. Would you go to a bar dressed like everyone else? How are you supposed to find your soul mate if you're lost amongst lots of people that are looking the same way as you do? It's the same thing with getting a job interview. When you're looking for the new position, you got to stand out somehow. You need to attract attention, and then based on your skills, of course, you can seal the deal. But if you get looked over, it really doesn't matter how great your skills are, right? Presentation still matters. Imagine being in charge of hiring people and you get handed a stack of 100 CVs. 95 of them are based on that template, the EuropaS template. Five of them are completely custom designed. Which one are you going to remember? Which one will get more attention? The answer is super obvious. Listen, I'm going to go out on a limb and say some things that you may not agree with. That's totally fine. Let me give my $0.02. Now, I think with emotional beings, and as such, not all of our decisions are based on logical arguments. You may think that LCV is carefully analyzed in minute detail. You may expect companies to judge you based on your years of experience or your past responsibilities. Sure. But from my experience, as the person behind the desk that's doing the hiring, that's not exactly how it works. People that hold interviews are just like everybody else. Whether it's the CEO, a person from HR, or someone else that's in charge of hiring, we all get bored. And when you get a stack of identical CVs, whether they're printed out or you're just going through them on your computer, you tend to burn out quickly. About seeing the same thing over and over again for the 8 hours every single day. When that happened to me, what I did was I tried to take shortcuts. I quickly scanned every CV for key things, whether it was age, location, previous position, and sometimes even the photo. I'm not ashamed to say that I've hired people in my IT company based on their looks. Don't get me wrong. I didn't hire a person because she was attractive. No, it was more about the vibe they put out. It was about the quality of the photo, their surroundings, the way they smiled, and so on. In a word, it's how they presented themselves. Based on that, I selected them for an interview, and I rejected other for example, no photo in a CV was a strong negative for me. So based on a few things, I made quick decisions so I could make the most out of my day out of my time. You may not agree with this approach, totally fine. You may think I was a terrible CEO. But I know a lot of business owners that do the same thing. Not just making a decision whether to invite someone based on a photo, but every person has some type of scandi that allows them to quickly make a decision. Again, you might think that's unprofessional and that my business culture isn't appropriate, and I think that's totally fine. This is just an insight into how people behind the desk may act. So because of that, you should adjust your approach. Again, with people, and when we're overwhelmed with a ton of choices or when we see the same thing over and over again, we look for the shortcut. For those reasons, I strongly believe that a custom CV is 100% needed in today's environment. A well designed resume can make the difference between getting that interview or being ignored. And even if you're using a job platform that requires you to put in your information in a standardized way, when it's time to have your first interview face to face, show you the custom CV that you design yourself. Even if you're not a designer, even if your job is in accounting, plumbing, what making spoons. This is not design related. Showing that you care about your image, showing attention to detail is a good way to score a lot of points in most people's eyes. To me, this is a no brainer, especially since once you've done it, once you've done the hard work, you can use the same design for lots of years without any issues. Overall, I strongly encourage you to go through these lectures and make the most out of your CV and get the best possible job. Let's get to it. 2. Deciding on a CV style: Come back. Before we design any CV, we need to explore our options. The first thing you have to consider is the medium. Are we talking about a physical printed CV or a digital one? For example, here's a design that's not suited for the printing due to this gray background. This is going to eat up a ton of printering. But even if you don't care about the cost, this black text is not going to stand out as well as it should on this off white background. So from my experience, light grays are notoriously hard to print because you won't get that same level of contrast that you see on your screen in Photoshop. Sure. It's all about how you proof your colors, but it's also how the machine, the printing machine is going to be calibrated. Now, that's a bit tricky. So for those reasons, I would stay away from a printed CV that has a light gray background in large quantities. Speaking about ink, here's another one. This definitely stands out, but I'm not super happy about the condensed light gray text laid out on a black background. Now, as an exercise and in a digital setting, sure, this looks pretty good. This is fine. But I'm actually presenting it in a job interview. Well, I'm not so sure this would make a good impression. Here's another one. This is very creative, striking and overall, pretty lovely to look at. However, printing it is going to be a challenge because you'll need a professional machine for it. Now, that's not really a bad thing, since you get to choose a higher quality type of paper and finish maybe, but you have to factor it in the costs. Again, on a display, this is beautiful, right? But on a piece of paper, this shine is not going to come through. It's not going to translate well unless you really go upscale and you print on a special type of paper. This is not appropriate as a physical CV. Now, the second factor to consider is the size. Now, here's a lovely presentation of a resume that features four pages. And for me, that's a bit much. I understand why you would need more space to show off all of your credentials, work experience, and past projects, but I strongly recommend a single page resume, front and back maybe. Here's another designer that made a small book well, extremely impressive, sure. Most business owners don't have the time or the patience for it. Of course, as you're going higher up the food chain and we're talking about six figure salaries, these, of course, makes sense. But for 95% of cases, I suggest you keep it pretty simple. That's pretty vague. So let's look at some examples. This one is a strong eight out of ten in my book. It's clearly designed by someone who has a good degree of attention to detail. Notice the lovely patterns. This one at the top of the page. And then another one at the bottom. Certain words are highlighted. But notice that I have several styles sprinkled in, as well as a couple of colors. I like that. Still on the small details chapter, we can see how she used several fonts to make her typography really stand out. I especially like these percentages due to the fact that they match the icon style. Now, these doodles and circles also help create a friendly, feminine vibe, and I appreciate the fact that we have a fairly big photo of her front and center. I'm not happy about the line height that's been left at auto for these paragraphs. I think that could have improved the look of this resume. But yeah, overall, this is a positive example, a positive example on how a CV should look like. It shows the personality of that person. It stands out. It's lovely to look at. It shows attention to detail, but it's also functional. And here's another one with a more professional look. Again, I can't say that I'm a fan of using half of your ink cartridge on this dark region. But if you're fine with the cost, the printing costs, I think this is a great model in terms of a clean, sober design. Notice the typography is spot on. We have all sorts of styles here, from all caps to bold headlines to italic captions. The colors are also varied. There's a good amount of line height throughout the design. So this is fantastic all across the board. Well, this isn't all that suited for the designer because of its soberness and lack of personality, I think this is a very well executed CV. Leaving its typography aside, notice how the color scheme is kept on a short leash. We have a very dark shade of blue that's coupled with red accents. This is a winning combination in the corporate environment. The icons at the bottom are quite elegant and in tune with the rest of the style. If there's one thing I don't like is laziness. We can tell that this isn't a real CV because all of these paragraphs are filled with dummy text, AKA Laura Epsom. Changing these titles or these dates would have made for the much more pleasant design. Five more minutes for the nextra 10% visual impact. Yes, please, it's totally worth it. Now, to sum it up, this is what I propose we create. Let's go for the sober professional resume, and then another one with a bit more personality. Single pages in both cases. The first one will surely be able to print. As for the second one, we'll see what's what when we get there. Okay, let's get started. 3. Setting the foundation of the CV: Welcome back. Let's start Photoshop and create a new project. This time, we'll use the print category because we'll design a one page CV that's going to fit on an A four piece of paper. This is pretty much standard in my part of the world. Okay, from the start, I have to tell you that this is going to be a time intensive project that's going to require a lot of attention and patience. Please work with me on your second viewing by pausing as often as you need to. The first time around, just watch and try to understand my thought process. Okay. Now, here's the thing. We're going to need layers upon layers of refinement. And when you're going to think that we're done with it, we're going to do some more tweaking. So again, please have patience. Okay, to begin with, any CV needs a healthy size photo. Grab the EllipsTol, hot key, and then click to put in your measurements. Please don't get the rectangle tool. It's the Ellipse tool. I'm thinking 350 by 350, that should be enough. This is one of those places where you can experiment and choose a different size until you're happy with it. But right now we're at the foundation stage, so we'll keep moving at a high pace. Now position it somewhere in the top left side of the page. Immediately underneath it, I'm going to add my name and my current position. Please go to the caratter panel and use this small icon to reset it because I want to work along step by step with you. Okay, now, here's my name, and it's really tiny at 12 pixels. So let's make it to a healthy 62 pixels so we can actually see it. Now, you may think Y 62, and that's because I use shift and my mouse scroll to actually increase this size by ten pixels in ten pixel increments. Okay, now for the text, let's center the line because there's a very good chance we'll change it. We'll change the size of the type face, and I really want to make sure that's centered with the circle. While we're at it, select both of these layouts and use the alignment tools from up Remember, you have to have the move tool activated and no auto select, by the way. Now, duplicate this headline because we need to add the second bit of text. Here, I'm going to say my current position. Let's say Photoshop certified expert, instructor, and entrepreneur. I have everything set up in the notepad. You can use my text, but then make sure you change it up. Okay, this needs to be split up in two lines, but that's optional. Now, the idea is, this is a one liner that best describes who I am in my current position. Okay, now, this can also say senior web developer or junior recruitment officer, whatever. What matters is, you have something associated with your name. Shrink this down to about 42 pixels, something like that, and then let's move on to the next segment. Now, for me, the contact information has to be immediately available, and this area underneath the photo seems the best possible spot for it. I already have something prepared, and this is really going to depend on where you're at in your part of the world. For me, the phone number and email are incredibly important. Third on my list comes the location because, you know, if an employer is from a different part of the city, it doesn't make any sense, right? Now, in certain situations, companies have several offices, and then the potential employee may not know where the job is supposed to take place. So again, location is pretty important in my case. Moving on, I included two websites because in my case, those are relevant. Keep in mind, this is meant for the printing. Considering that, I chose two links that are short and sweet. If something is really difficult to type, if your link is huge, don't include it. It stands, this looks great.net is pretty clear. And for the second one, again, it's fairly short, so you could potentially manually type it in. Notice the formatting of the phone number. This is a Romanian phone number, but I'm sure you have something similar than your country. The thing is, this makes it much easier to dial the correct number. I can't tell you how many times I've seen phone numbers that look something like this. I know it may not sound like a big deal, but I'm talking from the perspective of an employer. Believe me, this matters a lot, and I appreciate those candidates who are smart enough to plan ahead and make things easier for me. Okay, the next thing I want to include is an About me section where I can see a few words about my goals and ambitions. Please don't click and type because we're looking for the paragraph text layer. This means you have to click and drag so we can keep the text inside a certain region. We'll play with the styling. But, yeah, it makes sense to create a solid foundation. This doesn't need to be catered to a specific company. It's not a letter of intent. No, it's more about letting the person reading it into my own personal world, if you will. This is where you can let your personality shine through. This text isn't anything fancy, but I hope to it, you get a sense of what I'm about. I'm not a copywriter, and I didn't take this very seriously. But yeah, this is a ballpark thing that you should include. Okay, so far so good. I want two more things. I need my work experience and then my education. I'm certain my previous positions. I'm going to take up a large part of the right side. So I'm a bit unsure about the placement of the education section. It could be laid out underneath the about me part, but in terms of importance, I don't think that would make sense. After all, the A me section is probably the last thing any potential employer is going to visit. So I'm going to start to pace my past jobs, and we'll see what what at a later stage. I'm going to keep the center of the line text formatting for now because we can mass update it at any point in the process. Now, the content I've prepared is exactly what I like to see in a resume from the perspective of the person that's actually doing the hiring, right? I want to know your job title, the company where you worked. When did you start and when did you end? And of course, the location. Again, location is more important than you think, even though I'm only including the city and the country. And that's because it's one thing to be the director of a branch in London, and it's another thing to be the director in a very small office in a city that nobody knows exists. So that's why location is key. I also want a couple of lines regarding your thoughts about the experience. I've seen CVs where candidates write mini novels about it. But yeah, I don't think that's appropriate. It has to be short and sweet. And I love reading that part. It didn't matter if I was hiring a product manager, an Android developer, a graphic designer. I wanted to see something short, sweet, concise. For example, you say that you've created lots of UI designs, including websites and apps. Okay, if you don't mention them, that's for nothing. You say you know whatever motivial design. Okay, every designer says that, especially app designers. You have experience with Android Studio, Github and Cotlan, whatever. Okay, again, that's nothing new. Most candidates say the same thing. What I'm trying to say is this, if the text doesn't provide a certain type of insight or a unique personal perspective, then don't write it. Don't be vague. Lastly, my education and other notable points. Considering the size of my work experience, I'm going to place it immediately underneath that. As long as we're organized, we can flip these components around and figure out what works best. But from my point of view, this is a great starting point for any resume. The project might take a couple of hours, copywriting included, but it will serve you well for a couple of years. I was on the fence about adding a section about my skills, but we'll see how this goes, and we may include this somewhere probably underneath about me, or even better between it and my contact information. For now, let's take a break. 4. Choosing a typeface – really important!: Come back. Choosing a typeface is one of the most important parts in any CV, and that's because over 90% of it is text. As such, the fon family you choose has to reflect your personality while also being appropriate for the position you're applying. You can't go ultra serious corporate and professional if you're applying to be, I don't know, a clown, a kids entertainer, nor can you use comic sans while applying for the position of art director, right? This is one of the biggest decisions, and as such, you have to prepare your project accordingly. Here's the situation. Hierarchy is supremely important. The job title needs to be shown in one way, the date in another way, ditto or the description. That means we have a decision on our hands regarding how we want to display all of these things. Now option one is selecting all of these text layers from our project and moving our attention to the character panel. From here, we can experiment with various typefaces, let's say, whatever the open sands. Trouble is we're going to apply the same font for every single line. So if we go for the open sands bold, that's going to be applied everywhere, even though we're not going to want the same styling on every single line. Still, this is a decent way to quickly go to several typefaces and narrow down your choices. Now option two requires a bit more work in the sense that every single line must be placed on a different layer. That's not a bad thing. Job title separate, company name separate, date, description, so on out of a single layer. These need to be broken up into four. Now, that may not sound like a big deal, but you have to do this over and over again. And as you can imagine, it can become tiresome. But after you do that, you can select all of the descriptions, for example, and try out various styles without affecting any of the other items. And that's super important because hierarchy means styling every single item based on its importance. So that means four different stylings. I'm going to go for this option because it gives us extra flexibility down the road. Especially considering that you're going to have this PSD attached, and you may use it to create your own resume. While I work in the background, I'd like to clear up a point regarding the terminology. Is it typeface, font or font family? Why am I interchanging them? So here's the scoop. Typeface and font family are the same thing. There's no difference between them. We have two terms depending on your background. Font family comes from CSS from coding. It's the same thing with line height or little spacing. If you ever talk to a coder or if you do any type of CSS work yourself, those are the terms you have to know. But in Photoshop, their official names for the same thing, are tracking and living. Now, they describe the exact same thing. They just have different names. The way I look at it is like the difference between American and British English, subway versus tube, French fries, versus chips, elevated versus lift. One family and tias, they are the same thing. So that's out of the way. Great. But what about a font? Well, a font is one specific instance of a thy phase. For example, open Sands bold, 32 pixels is a font. Open Sands is a family. So in a literal sense, we're talking about the father, mother, and two kids. These are the Johnsons, right? If we're talking just about the father, Michael Johnson, though he is part of the Johnson family, he is an individual that has certain characteristics, right? So that's a font from a font family. Actual project, I split everything into individual text layers. In case you haven't done so already, please select most of them and activate the typed towel. By the way, I can Mark E select all of these text layers because the background is locked. Now, there's no magic here. Whilst on the moved toll, you hold down the Control key and you click and drag out a box. Everything that's inside that box is going to be selected. But again, Auto Select from the options panel is not checked. Okay, back to the type tool. I want us to change the orientation to left line. The name and the title should be excluded from this action. Okay, now we are ready to experiment with different typefaces. The goal is to find something appropriate for my specific personality and my niche, though everything is going to be quite subdued in this clean version. You should never ever start to bruss around the collector panel of random fonts, by the way. Don't do that. Instead, open up Adobe fonts of Google fonts and have a good look at the inventory and see what suits your style. The truth is, unless you apply them to your project, you won't get the complete picture. I know for the fact that I want to use a San serapont, which means my text layers won't have any additional decorations. This works best in the tech industry, and I would say that San serifons have favored maybe nine to one versus Serafons. But this may also mean the fact that it may pay off to go for a completely different look for the Seraftiface, something like this. But yeah, for now, let's carry on with Sanseraf. And Monsat is a clear choice in my book. I've used it on many occasions, and I'm very familiar with it. Railway is also interesting in its lightestyles. Mouli may work well considering it's a bit quirky and different. Quicksand and doses are lovely tie faces that have a strong personality without being over the top. With four or five solid options, you need to try these out. I'm going to show you how this goes, and then I'm going to leave the rest up to you. So let's take Quicksand as an example. So first of all, select all the text layers. And what I like to do is, I like to use the filter system from the top of the layouts panel. Hit this T symbol from the top of the layouts panel, and then you're only going to see your text layouts. Now you can select the first one, and then with the help of the shift key, click on the last one, and you're going to get all of them. But here's a hot key. It's Alt Control A Option Command A. This hot key selects all the layers inside the layouts panel, and that's beautiful. So that's Alt Control A. Now, please, one thing, let's change the anti aliasing to smooth. The default option is sharp and that's a bit too harsh. It's a small thing, but it does make a difference. Next, let's change the color for all of these layers from pure black to something a bit more subtle, a bit less jarring. For me, a lovely dull gray works best, especially for large amounts of text. So that's 33, three, three, 33. By the way, you can actually type in only the first three characters, and Follow shop is going to fill out the rest. Okay, now you can apply quick and regular to all of them, even though we'll want to use different weights for different parts. But I'm going to go with regular to begin with, because the description and the About me section are probably going to be shown in that style. But yeah, so far so good. Next, you have to rely on your dexterity, on your speed. So select all the job titles one by one by Control clicking them and holding Shift. So Control Shift click. Right now, the filter is still activated in the Layouts panel, but remember to disable it when you get a chance. Okay, choose Quicksand bold for the titles and see how it looks like. Then for the contact information, go with Quicksand medium. On and on it goes. You don't have to be perfect. You just have to play with the weights and see which one works best in every single case. For example, for the about me section, we could potentially try quicksand light. I'm not sure it's going to work well, but unless we see it, we can't actually make up our minds. And indeed, I don't think it works. It's far too light. But we could apply this treatment to the dates from my work experience. So this is the entire flow. It's a very time intensive process because you have to try out a lot of options before you can make a decision. And here's a solid tip. Say that you're done with quicksand, but you have four or more type faces that you want to test. We don't want to lose this work by overriding everything, by changing everything. So here's a simple solution. You select all the layers from the layouts panel and you group them together, Control G. Then rename that folder to maybe Quicksand or something like that, and then make a quick copy to Control J. Basically, that's it. Hide the original one and then get work. For example, try out doses Montserrat with any other typeface that fits your style. And after you have four or maybe five folders, toggle the visibility and see which one works best for you. This is a personal choice. Pause the course right now and get back to it when you've gone through at least three type faces, three different ones. Please get to work. It's really important. I'll see you in a second. 5. Rocking Typography: Welcome back. Did you get a chance to try out several typefaces in your own project? If not, please pause the course right now and check the resources folder because you have this PSD attached, so you can work on it without having to paste dummy text or go through the process of creating every single layer one by one. Okay, so that was your chance to pause. Now I'm going to carry on with the project. The first thing that I want to set up is my margin. Depending on where you're going to print this A four CV, you're going to need something that's called a bleed. This is the part of the design on the edges that's going to get cut off during the printing process. Now, there's no one particular standard you have to abide by, even though most companies in my part of the world say 3 millimeters, but I'm going to teach you how to set up a margin and stay consistent in every single place. So grab the rectangle tool and click the PudNuo measurements. Let's go with 130 by 130. Though, again, you may need more or less depending on the printing company and the actual size of the paper. My advice is before you take your design to a printing company, simply give them a message and ask them about the specs, the specifications. In most cases, they'll have that information already listed out on their website, so it's pretty easy to figure out what you need to give them. And they might even give you a template. Okay, now let's make this shape a bright color and begin to move it all around the canvas. Let's start with the top left side, top align it with Control A, and then move the avatar placeholder so it touches it. We're only interested in the vertical alignment for this particular component. Okay, move on to the contact information, and the great thing about it is that once you set up the left margin, you can use this text layer as a reference point for the about me section. So select both of them and use left align edges. And you'll quickly done with it. Move the red square up and to the next column. Reposition these text layers until they touch it. Though this is not the final alignment, this is how you can stay consistent in your project, which, in turn, will give you a pleasing look. Now, I'm going to pause for now because I want to format my text layers with my typeface of choice, and that's Montserrat. So I'm going to take them one by one, starting with the titles that should be big and bold, so they stand out. These are my name, my job titles, and the first line from my education section. While we have them selected. I also think we're going to enable the all caps transformation, since these are the most important things in the resume. After all, if you want to scan it in a matter of seconds, this is what you would like to see pointed out. Okay, let's take care of the next part, which should be pretty straightforward, the job descriptions. This is the complete opposite of the headline. They don't need to stand out. And as such, I'm thinking of the following styling, Montserrat, and then for the size, let's go with 30 pixels, 30, which is fairly small for the A four piece of paper, but that works well to my point. These are not essential bits of information. But the line height, I never ever leave a set to Auto because it's not a good look. Audo usually means it's going to be compressed vertically. In this case, I'm going to use a two x multiplier, which means I'm going to double the size of the font. So that means 60. Okay. Regarding the color, let's think about it. We have four elements per job entry, title company date and description. To make these look interesting, we need a cleared hierarchy, and this means we'll have to play with its size and color. We don't want a rainbow on our hands, so we'll probably use a lot of grays and then only a splash of color. To me, 333 is a dark gray that's best suited for titles. So the description should be something different. Pure black is never the good choice. Plus, it would add emphasis to the text. We want the complete opposite. So let's wash it out with a very light gray, 66, six. This is very much in the danger zone. You really have to be careful with this style because in other situations, this text may not be readable. Moving on to the company's name, I think this is where a splash of color is needed. Select all of them and apply the following font. Montserrat semi bold. We want a decent balance with the headline from above, so let's introduce a bit of color to our design. So after the love of thinking, I decided to use the following colored code. It's c52 803, which is a brick red, and this works well in this setting. By the way, notice how easy it is to make these changes in mass by working with the character panel and control selecting layouts directly from the canvas. Good stuff. Back to it, the size is another important factor in terms of hierarchy. So let's see what's what? I believe we left the headline at 42 pexels giv or take. Now, that wasn't a conscious decision, but it actually worked out well. But the second line, let's go with 366. The difference between the two should be noticeable. And I think we're spot on with these settings. We've already done a big chunk of the hard part. Now it's all a matter of following this style and applying it everywhere. Please don't be fooled by the fact that I'm editing this recording. Choosing a typeface is a very labor intensive process. What you see here is based on the fact that I already use Monster at for several years in loads of projects. So I had a strong starting point. If you don't have a favorite typeface, you're going to have to experiment quite a lot. After you choose one, apply the same logic as you see here line by line. Think about its importance and how you can style it in a way where it doesn't clash with all the other components. Back to work, we have the date. Here, let's go with Montserrat, medium, 32 pixels 32. We can keep it in the same dull gray TT, since we have that washed out description immediately underneath it. Plus the top part of this sandwich is made out of this red semi bowl text. So all in all, we're right on the money. There's still a long way to go, but we're steadily chipping away at it and we're making good progress. It's time for the break so you can catch up. I'm going to see you in a moment. 6. Gorgeous icons for your CV: Welcome back. We've made great progress, and we're about to move on to the contact information area. Before we get there, let's apply Montserrat to these parts, starting from the top. The name is already sorted. Montserrat Bold, all caps, 62 pixels, T for the color code. Nothing special, but it's appropriate in size, weight, and importance. Moving down, let's style this by using Montserrat medium, 32 pixels. Basically, what I'm trying to do is take something from other parts of the design. Tweak it a little bit and then apply it here. For example, that red colored code, c52 803. Okay, for the line height, 60 is going to be too much. So let's go with 50. I understand that you don't want too many colors in your design because it's less professional. Okay? Well, it's the same thing with your typography. If a typeface has 20 styles, you don't have to use all of them. Sure, you want distinctive elements, but you don't want a soup of styles, right? So whenever possible, use the same sizes and weights throughout your design. Right, let's move down to the contact info part. Apply the following. It's going to be Montserrat regular 32 pixels 32. Though it may be tempting to use red to make it stand out more, I'm thinking of something else. We're going to emphasize it by making it occupy a larger space and adding icons to the left side. First, the line height. Let's go with 100 pixels. That's very generous, I know, but it's one of those tricks that you can use to draw the user's attention. More than that, we also giving ourselves room for bigger icons, two birds with 1 stone. Okay, we'll try a flat icon in a second. First, let's handle the about me description. That's going to be MonsatRgular 32 pixels. And to mimic the line height from the right side, we'll use 60 pixels, of course. Looking at this column as a whole, we do have quite a lot of variation variety, but all in all, I think we're on the right track. Now, let's look for some gorgeous icons. I previously showed you how you can search for an icon, say, email, click on it, and then see if it's part of a bigger pack. That approach is far more flexible, especially when you're dealing with less common icons, like, I don't know, a nuclear power plant, a dumbbell, a truck, and so on. But if we're talking about a social media pack or contact information set, sure, we're far better off using this dropdown and changing our search to PACs instead of icon. So look for sets for PACs, not for the individual ones. Let's type in contact and we can see what we get. And as you can see, there's loads to choose from. And we have so many different styles. We could go for black icons with one single color, filled ones, linear ones based on strokes, you name it, lat icon has it. Now, to me, this stood out, but there are many more, so feel free to experiment. Now, I know that these are just basic icons, but I really get excited when I see something that's coming together. Okay, now, back to it one by one, I'm going to download them as PSDs, and then I'm going to drag them inside my project, starting with the phone. Be aware there's a high chance that even these packs won't give you exactly what you're looking for. In that situation, you're better off using a partially matching icon than trying to find another similar one from a different pack. That's going to be difficult. You'll see what I mean in a second. Now for the size, I want something very elegant, and this style really works to my advantage. So limit the bigger size to 40 pixels. In the phone's case, that's the height, but that may change as we move along to the pack. And while we're working on it, let's change the icon to the following colored code 333. Now, the difference may not be obvious, but it's still worth keeping consistent, staying consistent. Now, I'm going to speed up the process while I work on these other ones. Speed is one of the biggest factors for my success. When I was making website designs as a freelancer, I would sometimes finish a project, but I would not submit it. I would wait for a couple of hours, so the client would not be suspicious. When I was in my stride, I could create a beautiful homepage design so fast, maybe about 2 hours that the client would be skeptical about paying me the full amount. And that's because there was a doubt about the originality of the actual design or the fact that I didn't sweat actually create something special. I was talented enough to make something special. But yeah, I just did it really fast. Now, again, the question on the client side was actually, you know, pretty reasonable. How could I create something so lovely, so fast? The truth is I was super fast, but I also reuse components from different projects that fell through. For example, I reuse footers. I reused headers and so on. But yeah, the fact is, speed is a fantastic skill to have at your outside. Even if you make mistakes, at least you're going to learn from them at a faster rate. Okay, it out my icons. But notice the second one for my website isn't exactly ideal. It's more of a business card icon than anything else, yet I decided to use it because it seemed the most appropriate out of the entire pack. The alternatives were far worse. Either drop this pack entirely and look for the different one or search for an icon from a different pack that sort of matched this style. A compromise had to be made, and this is it. This is what I recommend you doing this type of thing. Now, when you're in this situation, please don't left align with icons. Instead, center them between themselves. This is more pleasing to look at. As for the alignment with each line, I think you should know the drill by now. Use the Marquee tool. Basically zoom into one of the lines and make a selection that's astall as the characters. Then switch the move to AHT KV and use align vertical centers. Then Control D to D selective ars. Rinse and repeat. Though you could do this. You could use the same procedure on the last icon, and then when you're done you could potentially use this command to distribute them. Okay, to wrap up this lecture, grab the initial red shape that we use to set up the margins and place it to the left of these icons so we can position this entire thing correctly. I know our grouping hasn't been perfect, but we'll sort all that out later. But now this is of design so far. Let's take a moment so you can catch up. 7. Staying consistent in your design: Welcome back. Let's keep the momentum going while still refining our design. I want to add a title for every section and pair it with this icon. This makes sense because otherwise, this description might seem a bit out of place. Same thing for the education part. So let's start from the top left side by writing contact info. Regarding the styling, we have lots of options here, but the biggest challenge is on the right side where we already have several formats going on. Now, to that end, let's do this. Grab the rectangle tool and drag out the shape. Place it underneath the title in the layout s panel and double click its thumbnail. To me, there's only one clear choice in terms of color, and that's c52 803, that red that we've used for the company name on the right side. Now, this means the text has to be pure white, and I would like to middle of the size from the right side of our design. So that's Monsaat bold 42 pexels. Now, don't arrange it with our rectangle just yet, because that needs to be resized, as well. Go with 550, so that's 550, buy 100 pexels, which should provide ample breathing room for the title. Okay, next, you can grab them both and center them. But we're about to add an icon, which is going to change the arrangement? Q things first, file a flat icon and search for a pack that contains something about compact info about me, work experience and education. That's quite a tall task, but I already did it off camera to keep things going. This is the pack that I selected. It's called Academy icon Pack. To be fair, it's not perfect, but it should give us a decent look that's in tune with the previous icons. These will be much larger and pure white, so we won't have a hard time making them fit alongside those other ones. Now for the first section, this open book with the magnified glass seems like the best choice out of the lot. Download it and bring it inside of project. Hmm, there's a bit of a problem with its format. Though I downloaded it in a PSD format, it seems this is not a shape layer. This is a rasta layer, which is not ideal. Another thing is the size. If we were to shrink it down in order to make it fit inside this rectangle, the icon would lose a lot of its beauty. This is why I said I wanted it much bigger, specifically the logit value should be capped at 100 pixels. Now, to integrate it in the design, let's add a circle above this shape. I'm thinking 180 by 180. That should be enough considering the 100 pixel icon size. Okay, move the ellipse underneath the icon in the layouts panel, and, of course, make it the same brick red. Back to the icon, we'll have to apply a colored overlay effect because it's not a shape layer. That's quite unfortunate. But not a problem, use the Effex icon or double click next west name. Okay, for the colored overlay, make it pure white and see how it looks like. I strongly encourage you to alternate between Control one and Control zero. This is how you reset your perspective, and it's like getting a fresh pair of eyes. But you know what? I actually don't like it. So let's do this instead. Keep that colored overlay style, but make the icon red. Yes, I will invert it. As for the circle, change it to pure white. This will obviously get lost in the background, but we can enable a stroke effect that relies on a very light gray to define the shape. Set the layer style to inside with a thickness of about four pixels give or take. For the color, a nice shade of gray is the following. The code is e9e9, E nine. Now, I'm not 100% convinced that this is the best possible, but it's far better than the previous one. Okay, take a moment and center everything, the icon inside the circle on both axes, and then the text layer inside the rectangle. For that second part, again, we're going to have to use the Marquee tool because the left part is hidden behind the circle. Okay, good stuff. After that's done, you may want to round out these squares. These are not all that great in terms of design. My advice go with a corner radius of 50 pixels. We'll apply this component to all four sections, but never be afraid to change your mind. By using Photoshop properly, you can make tons of edits in a matter of seconds. For example, I'm not happy with the weight of this title. The red background already gives it a ton of importance. So I feel the bold style is basically an overkill. Thus, change it light and see how it looks like. And I think, yeah, this is much better from my point of view. It's more elegant, but also more in tune with the icon. Things may have gotten crowded, but we're going to clear up the PSD in a matter of minutes after we go through the motions and replicate this element all across the board. Give me a moment to handle it. It's nothing impressive that's worth out time. I'm just replacing the icon and changing the text for every category. That is a question whether to leave the text alignment to left or center it. Both options are valid, but I like to stay consistent with the shapes width. I believe that's more important. To that end, leaving the title centered, I think is a better idea. What I like most is the fact that based on this PSD, we can create all sorts of variations with minimal effort. Believe it or not, the hard part is done. We're just going through the necessary steps so everything is buttoned up nicely. As I said at the beginning, designing a resume is sort of like creating a sculpture, if you will. You chip away at it, and with every action, you get closer to the end result. The thing is, you need to keep going, even though it may look basic to begin with. Refinement comes from these small details like the roundness of these coordinates or the position of these titles. But yeah, we're just about done with it. Let's take a break, and then when we come back, we're going to organize everything. 8. Negative space in a CV design: Welcome back. Negative space is basically the empty space that surrounds all of your design elements. It's essential you take it seriously because overlooking this small little thing is going to completely flip your outcome. So far, we've made the structure, but at a fairly high pace. Now it's time to slow it down and carefully consider our margins. To put it differently, every single element and every single section must have sufficient breathing room. Let's take it from the top with my avatar. Select that ellipse and find a good photo of yourself. Needless to say, it shouldn't be an image with a blurry background, a selfie or you at a party. You might be surprised to see how often that actually happens. This is the type of photo you're looking for, a clear image of your face. Aanother funny thing is that with all these filters on Instagram and whatever, I've had countless interviews where I had to triple check the person's name because the photo didn't match their face. They were directly in front of me and they look like a completely different person. Are you Christina Adams? Yes. Christina, Maria Adams? Yes. Is your current address yada ya, da yada? Yes, am I not in the right place? No, no, no, I was fine. I was just checking. You don't want to make the situation awkward, right? Don't use a bunch of filters and use a real photo that's fairly recent. If you just shave your head or maybe you grew an impressive beard, you might want to change your photo. Okay, now we're going to select all of these elements and group them into one dedicated folder. One by one, this needs to happen for all sections. A fantastic tip is this. Move your elements around to see if you made the right selection. Then use Control Z one, do. Okay. Then when you're ready, use Control G to group. As you go through the motions, you may want to segment, for example, the red headline element from the rest of the layers, that's an optional thing, especially for the about me section. Take your time with it and make sure that you use both hands to maximize your speed. Again, this seems quite obvious, but a lot of people fail to work at a desk in an upright position with both hands ready to rock. A lot of them work with one single hand, and that doesn't make any sense. Okay, going to the experience section, here I want two things, a large folder that encompasses everything and then a separate folder for every entry. The way I like to label them is based on their position. So one, two, three, four is the best way to go from my point of view. Labeling them any other way is going to make things happier for me. This process is very much needed and there are two paths. You can either organize your project as you continue to create it or the way we are doing it, after you hit a certain threshold, you stop the creation process, and then you declutter everything. You basically clean it up. I've gone back and forth between these two approaches because every project is different. Where I'm unsure about the structure of the project or what content needs to be presented, I tend to leave the grouping and labeling towards the end. If it's a type of project I'm very comfortable with, if I've done it countless times, of course, I prefer the other way. Okay, now everything is sorted. Now, let's take care of our negative space. To begin with, let's use the initial red shape to set up distances, and we'll see if that's good enough. Make it so it touches the bottom of this layer. Now, select the contact info group and reposition it so the circle touches the square. Your smart guides should show up and help you in the form of those pink lines. Repeat the process for the left side, just to be sure we have everything buttoned up. You might want to zoom in and make sure the stroke doesn't fool you. We have an interesting decision on other hands regarding these icons. Do we left align them with a white circle? Or do we try and get creative? I prefer the second option. What I'll do is I'll select all these layers and I'll ma key the one from above. Basically, I'll use it as a guide. Again, nothing is written in stone. You may want to deviate, especially if you use a different type of headline for your sections. To me, this looks nice, so I'm happy. As for the text layer, I'm going to continue with this creative approach. I'm going to write align it with the edge of the red rectangle. Interestingly, this creates a nice imaginary line right here. This is great. Moving down, let's align the about mean section. But here's how I'm going to do it. I'm going to move it inwards quite a lot so I can then use the left align command based on this wide circle. Basically, once you set up one point, you can then use it as a reference. Regarding the text, what I propose is we left align it with the icon, not with a circle, but with the icon itself. The width is one of those things that we're going to have to revisit once we handle the work experience component. But for now, keep it fairly narrow, maybe match the width of the red rectangle. When that's done, use that layer to set up the vertical distance between these two sections. We're making good progress. But I'm sure this is a bit more work than you expected. That's the deal with these projects that have a ton of content. This is why after the while of freelancing, you know, I started to avoid UI projects that revolved around, you know, a dashboard or large amounts of data. It's quite tedious, right, and it makes your life a living hell when the client requests various changes. Obviously, you can use Pigma or various other tools, but yeah, that's something to keep in mind. What about done with the left column? Wrap it up, select the avatar elements and use the Map key tool to center them based on the width of these two sections. Image might move as well, but that's an easy fix. No worries. We're near the end of this initial version, but I really hope you're following along. I'm sure you're understanding everything that's going on, but it's one thing to watch it and it's another thing to actually do it and gain speed. You need to reach a point where your mind already knows the next three, four steps, and it's just a matter of you executing those commands. Then it's all about your stamina and, of course, dexterity. Let's take a break, and I'm going to see you in a second. 9. Creating a timeline for your CV: Welcome back. What I want to do next is create a timeline element that will complete the entire package. First of all, we need to take care of all of these layers that are all over the place. Top align that red rectangle and get to work starting with the experience headline. While I handle that, let me tell you that investing in 20 or 30 high quality prints of SCV is a fantastic idea. Get a good quality paper. While that may cost you a pretty penny. If you have job hunting, this is going to make for a nice first impression. Even if you send it in a digital format before you get to the interview, please show up with it and give it to the person who's hosting you. Don't go for the glossy material, though. The best ones that I've seen are printed on a thick cardboard type of paper that has a mat finished to it and a moderate amount of texture. As you place your hand over it, you can feel the weight of the paper. That's a pretty remarkable experience, especially if the person doing the interviewing has ten out of candidates scheduled on that day. One thing that I didn't sort out is the distance between the headline and the first layer immediately underneath it. I would say about 40 pixels should be enough. Give or take of course. Take a quick look and use the control key to measure out your existing distances. If that's off, use the Addo keys with or without shift to quickly sort things out. Shift, of course, changes things in ten pixel increments. By the way, this is one of the reasons why it's worth upgrading to a CC version. If you're using an older Photoshop version, your smart guides won't be well all that smart. This is a fairly new improvement, and I think it's really worth it. But in case you can't manage, just use the Marquee tool to measure everything out. Okay, now let's handle the margins for these text layers. Here's a different approach. So select the second one and move it up close to the title, so it barely touches it. Then tap the down arrow key three times while holding down Shift. By doing it this way, you won't have any issues with low hanging letters that might fool the smart guides. This happens quite a lot. You can check once and you might see a 34 pixel gap or something like that. But then you press the Dando key four times, and then what? You're getting a 26 pixel gap. That doesn't make sense, but that's because Photoshop sees text layers a bit different. But yeah, as long as you're consistent in your measurements, it's totally fine. A 30 pixel gap between these three text layers should show they form a single component, and we're all good with that. As for the description, that can be slightly separated. So let's go with 50 pixels. That should be enough. That also middles the top part, by the way. Depending on how things look, we might increase that value. We'll see what's what in a minute. But the right side use the same red square as before, though, in most cases, I pay close attention to the top, left, and bottom edges. The right side, not so much because the content obviously varies in length. Okay, now, between every entry, I want more breathing room. So this 130 pixel shape just won't do it. Create a copy, and let's ramp it up to say 200 pexels. Now, I'm going to speed this up as it's just me tapping the down arrow key a bunch of times and mashing, the control key to check my distances. Not that eventful or glamorous, but it's a big part of being a graphic designer. The movies make it seem like with quirky people, creative people, you know, that work in industrial buildings with hardwood floors, with paint all over the place. But, yeah, this is what we actually do. This is the cold, hard reality of being a graphic designer, mashing the down arrow key. By the way, after the while, it's best you mass select all of these text layers and you left align them yet again. Please don't grab the groups as well because that's going to give you a completely different result. I hope you can understand why I'm speeding certain parts of the recording because it's really boring stuff after a while. If you have any questions, just message me on the Facebook group or on the discord chat where I'm there almost all of the time. Okay, fast forward, and here we are. The timeline, get the rectangle tool and click to put in these values. Four pixels for the width, and then fold the height 3508, 3508. Now, that may sound like a strange number, but that's the height of the A four piece of paper and pixels. Okay, for the moment, make it a bright color so we can see where it's at. Use Control A to select the entire canvas and then use align vertical centers. Okay, when you're going to print it, you may get a warning about how certain parts of your design are going to get clipped, meaning hidden, cut away. But that's not a problem here. As for the horizontal placement, go to the Markey tool and make a selection that spans between the right edge of contact info and the left side of experience. Once you do this a couple of times, this becomes the most obvious solution. The key is to be able to pan around from side to side, zoom in, zoom out, without any hesitation, get comfortable with the program, and then you're going to have a better time, a better experience. Okay, now that it's placed correctly, change the color code to a really light gray. I suggest the same one that we previously used for the stroke, and that's E 9e9e9, and we're almost done with it. Beautiful stuff. To show that this is a timeline and not just a simple divider, grab the Ellipse tool, key U. It's underneath the rectangle tool and add the new shape. Click to put in the values or click and drag. And for the size 34 by 34 is probably going to be enough. Make it pure white and then enable a stroke. This is the best way to mark an entry on a timeline. It's so simple yet so effective. Now for the settings, place it on the inside of the shape. And for the size, I think five pixels should be enough. And then for the color, go with the same red. You can sample it from any of these elements. I really don't sample from text layers because the anti aliasing might throw you off. You may get a different shade of red. Yeah, use a solid color, a solid patch. Okay, now, this is done. Activate the Marquee tool and center it with the title freelance designer. Repeat the process for every single entry, including the education part. And basically, yeah, we're just about done with it. As I'm working in the background, I have to stress how much work this took. To me, this wasn't a surprise because I know how many things you have to take care of in this type of project. But if you ask a new B, a beginner, this seems like the easiest job in the world. Just add some text, and that's that. But, yeah, don't be fooled. We took the time to make it look quite nice. And here's the thing. 20% less effort means it's going to look 50% worse. That's how it works, actually. So keep that in mind. Don't cut corners in terms of quality or attention to detail. Now, at this point, I really encourage you to try out different colored schemes, different typefaces, icons, and maybe different layouts. What matters is you check all the boxes and you go through the same steps methodically one by one, giving yourself ample time to check and recheck your design. Thanks for watching, and I look forward to seeing your own version of this clean CD project. Have fun with it. 10. Final Thoughts for the Clean CV Project: Come back. I hope you enjoyed the process of creating this clean CV design and that you learned a lot. The next step is to make your own version based on your information. If there's one project in particular that you need to make from scratch, it's this one. I teach a lot of things in Photoshop, but yeah, this one is super important. I believe this type of work pushes you to the limits, and it's going to make you become a faster designer. In my freelancing days, I use frustration as a tool. It motivated me to wrap things up faster. I knew what had to be done, but my execution was too slow. So what I did was I pushed every single day, and I really focused on this aspect. Like you saw in the previous lectures, we spent quite a lot of time sorting out the margins and placing every component on a dedicated layer. That apparent simplicity is deceitful, and that's where frustrations arise. You expect to create something in like 20 minutes or something like that, and then you realize it's going to take you five times as much just because of those small details. So yeah, make sure you have the right mentality going into it. Now, to finish this section, even if you don't recreate this from scratch, at least use this template instead of the Europass one or whatever else template you may find on the web. This is printer friendly. It's easy to modify. Plus, you can customize it fairly fast by changing the color scheme and the typeface. Just in case this is not flashy enough for you, well, not a problem. We can make another one. That's a bit more visually exciting. Stay tuned for that. Thank you so much. This is Chris Barron signing out for the moment. 11. Creative CV Design: Come back. This is Chris Barron. Let's make a beautiful CV that's bound to impress. A clean one is fine and dandy, but if you want to show off, then this is the right project for you. While it can be printed through a professional company, I recommend you share the CV as a PDF, send it to your potential employer and post it as a PNG to various places across the web. Let's get started by making a copy of the previous PSD. You have it attached. This will help us focus on aesthetics and list on the foundation, the margins, how we organize the project into groups and so on. I'm going to treat this CV like a sort of web design project, specifically a landing page. To that end, the first part has to pack a punch. So remove the Avatar, but please leave my name and the title. On the right side, select the entire experience folder and move it down considerably. Do the same for the timeline folder. We'll try to repurpose most of these elements while making the entire package much more visually appealing. Okay, get around the rectangle tool, and we're going to use a 20 pixel corner radius. So click and go with the following. So for the width, 2,220 pixels wide, as for the height, 650 should work well, and again, 20 for the corner radius. Now, this new shape has to be centered on the canvas, but please reposition it at the bottom of the layer of stack just above the background layer. That's going to help us. In case you're curious, I opted for the margin of 130 pixels on either side of the rectangle. To match that on the vertical axis, I suggest you use the Y field from the properties panel. Manually type in 130 and we're off to a great start. My information won't be left there for too much longer, but I want to make some progress with the main graphic. Instead of starting from scratch, I'm going to use a previous project of mine, a Facebook cover project to save a bit of time. You have it attached as well, so let me open it up. Here we only interested in two things, and that's the background and then my photo, Dodded elements are not needed. Here's something that's worth noting. The photo has a vibrance adjustment layer, but we'd rather have these combined into a single item. If you plan on changing it later on, you may want to convert these into a smart object. If not, if you're completely happy, you can use Control E and that's going to merge them together, and the result will be a raster layer. Less flexibility, but the PSD will be a bit lighter. I'm going to do just that because I can always circle back to this particular PSD in case I want any changes. Select both layers and drag them inside of project. You'll notice the background layer won't fit. But there are two things that work to our advantage. So, number one, this is a smart object, so we can make it 20% bigger without losing any quality. Then point number two, much more important. The background actually has a Gaussian blur effect. So resize it without any hesitation and hit okay when Photoshop is going to tell you about the effect being turned off at the moment. Okay, clip the background to the rounded rectangle with Alt Control G. That's a clipping mask, Alt Control G. Then do the same with my photo, but I'll place it somewhere on the left side of the screen. So that's towards the left. I feel my name is much more important than this specific case. At this point, we can change these two text layers to pure white so we can see where we stand. Move them to the top right side or they're about. We won't use the same fonts, but I'm trying to see how this top would look like. Although the blur is providing a decent amount of contrast, I'd like to increase the effect so we can get a boost in legibility. That's quickly done. Click on the down arrow to expand the layers effect. In this case, it's collapsed and double click on Gaussian blur. The current value is five pixels, but I want something like 15. We might lose a lot of detail in the photo, but with gaining legibility, before we continue with this area, I want to redo the contact information section. Though this look is very much standard, I want something more creative. Select its folder and hide it for the moment. Or if you're not bothered by gross overlapping, move this section down. You might need to do the same for the experience column as well. Once that's done, get around the rectangle tool once again and click to put in these measurements. Two, two, two for the width, again, 2,220, and that's where we can match the top shape. As for the height, a mere 150 pixels is going to do the job. This needs to be centered on the canvas that goes without saying. But since I want it positioned immediately underneath the hero area, these corners need to be squared off. Not a problem. Make sure you disable the chain icon and then bring these two values to zero. This process needs to be repeated on the initial shape, only this time around, you should target the corners. Why do we have to break this up into two different shapes? Well, to begin with, I didn't know exactly what I wanted until I started the top art. Secondly, a dedicated rectangle will hold all the contact information. So that's going to help us center the line things, especially a text layers. Right, one more thing. Let's add the phone number, email address, and website in this section. I want them on separate layers. Now, the alignment really doesn't matter at this point because we haven't decided on a typeface, so I'm just going to speed things up. As I'm working, I hope you get the picture. We want a top heavy design that stands out, colorful, bright, creative. We add some jazz to this part, so it will really seem like a designer's resume. Stay tuned for that. Right now, let's take a break so you can catch up. Thank you. 12. Modern Typography for a Creative CV: Welcome back. There are tons of typefaces out there on Google and Adobe fonts. So what should we use for this new version of my CV? Well, here's the thing, considering we saw a handful of them a few lessons ago, one in particular stood out, and that's Doss. It's sleek, it's modern. It has a quirky vibe to it, so I'm quite fond of it. I propose we select a bunch of layers controlled shift by the way, and let's see it in action. Let's start with work experience from the top. Grab all the headlines, but make sure you use the visibility controller. Otherwise, you're going to have a difficult time sweating through all of these layers. When you're ready, type in doses. What I love about the Character panel is that as you move your cursor above these fonts, you get to see the preview on the canvas. This is great because you don't have to blindly make a decision. Now, to me, extra bold seems like the way to go, but considering we have ample space on the right side, let's increase the font size to at least 45 pexels. Give or take, of course. Okay, to get it out of the way, let's quickly do the descriptions. For them, we'll use Doss regular, which is already very light. Any lighter than that, and it's going to be impossible to read. When in doubt, print out a version on your own printer and see how it looks like. Even the size is a bit in the danger zone. 30 pixels with a color code of 666. Now, that's risky, but it does look great, to be honest. Okay, moving back up for the company text, grab all of them, and we'll initially change the colored code. Though that red was pretty okay, we have an abundance of blue in the top area. So I went with the following code. It's 193b, BE. As for the font, let's go with docs, bold, 36 pixels, the same as before. And this is catching shape. As I said in the beginning, this type face is great for the modern creative design. Right, for the date, wrap them, and I can see we previously had this set to medium. We'll stick to that as it should provide a balanced look. But again, doses. Okay, yeah. The previous hierarchy is still very much solid. Now, let's remove the experience and contact info heads, as they won't do us much good in this new layout. In case you hit that section, you may actually just delete it entirely. I'm sure we'll find new icons, especially since we saw so many gorgeous specs. So yeah, no worries on that end. For the About me section, go with doses regular for the body text. The current font size is 32, but I think we should lower it to 30, just to be in tune with the other column. It won't make a big difference, but I would rather stay consistent whenever I get a chance. Okay, by the way, remove this headline as well. We still want the title for this region, as it would be confusing without it. So let's grab the type tool Hot keyT and type in the following. A few words about me. Okay, good stuff. Enable the all caps transformation and change the way to extra bold. As for the size, we'll say at 45 pixels for the reasons mentioned a few seconds ago. In terms of color, we could use blue, but I'm not 100% sold. But now let's go at 333. That should be interesting enough. Let's move our focus to the ido area, starting with my name. Here we have a lot of room to play so let's use the following. Let's go with doses extra light, and then enable the all caps transformation if it's not already activated. And I think this looks a bit too thin, but here's the deal. Let's increase the size to something huge like 160. Okay. Now, of course, you may want to reposition my image to get some balance in this area. Nothing too crazy, but the left side of the screen isn't going to be used at all. You might be tempted to add a photoshop logo there, but believe me, it's a bad idea, especially considering we're still working on a CV. Okay, horizontally, center of the headline through the use of the Marquie W hockey by creating a selection that spans from the right side of my photo all the way to the edge of the rectangle. Unfortunately, we won't be able to keep that long title, so let's trash the second line. We're going to be left with Photoshop certified expert. So let's adjust the look. I'm thinking Doss extra bold with the same size as all the titles 45 with the Alcaps transformation as well. Leaving it as it is doesn't do it for me. It's a bit too simple and lack luster. So here's what I propose. Let's add a touch of color to this overwhelmingly blue section. In the past, I used orange with great success, so let's now reinvent the wheel. Get a rectangle tool and click to put in these values, 927 for the width, 927, and then 100 pixels for the height. This will make the shape as white as the text from above it, which should give us a nice look. As for the colored code, I know it by heart, it's FF thc 00. And, of course, take a moment to do the basics. Group everything in the layers panel, make sure the layouts are properly stacked, center everything with the alignment tools the works. I'm happy to say we're making great progress so far. We have a few more text layers to cover. But once we have this train rolling, everything is going to fall into place. For the contact information, let's use the following. Let's go with doses extra bold, and then for the size 40 pexels. I'm thinking of adding details in that spot, but for now, I'll keep the rectangle as it is. Plain and uneventful. Okay, now back to it. Let's add the education section back to our project, and I'm thinking above the About me section is the right place for it. Yeah. Now, remove the headline, and let's apply Doss extra bold to the title. So that should be pretty good. And then for the next line, Doss medium. I think that's going to work. Now, here's the thing. The current split isn't working for me, but we'll increase the left columns width in another lecture. But now it's all about wrapping up the typography. And yeah, so far, I'm very happy with my choice. I think dosis is a great typeface that deserves a lot of love. To be fair, it doesn't shine through in paragraphs, but for the headlines, it's fantastic. Okay, time for the quick break. Stay tuned. 13. Use Freepik to make your CV stand out!: Welcome back. As designers, we have to be extra careful when it comes down to using elements from free Peck and CV. After all, this has to represent us, so the bar has to be set really high in terms of non specificity. Meaning we have to use design elements that are not easily identifiable. Don't grab any flashy vector and slap it on. Instead, be smart about it. If lots of people use the same graphic, you are going to be in trouble. For example, for the top part, I selected these abstract triangles. I'll only use a handful of them, and I'm going to disperse them here and there. And through that approach, nobody can point any fingers. Even if someone from the hiring committee somehow recognizes these shapes as being part of a freebie, they used as a small decorative element, not as the main attraction. So when you fireb the illustrator file, please take your time with it and see what works best. If you don't have Illustrator, not a problem, look for PNGs. Now, the only way to approach it is through trial and vv. For the right side, I want something fairly small. Ideally, anywhere 2-4 triangles. This shade of blue would have been closer to the one that's in the head of image, but we can sort it out through some Photoshop magic. Now, when you're placing smart objects, make sure you're dropping them at the top of the layers panel. This is key, especially when you have these nice drop shadows. You really want to see how they interact with the rest of the design. By the way, in case you end up printing this somehow and the edges are cut off, simply compress the entire design. Instead of 22, 20 for the width, drop it whatever value the printing company mentions. Okay, now, overall, I'm quite happy with the right side. Now let's do the same for the left. Though here, I think we can add a bunch more ideally, I'd want a single smart object instead of a bunch of them, but it depends on how well you can select these triangles. Again, if you don't have Illustrator, just use PNGs. But yeah, don't be afraid to resize them, rotate them, or even move my photo around. You can even use a mask to place a part of this graphic behind me. This only works in those cases where the photo is perfectly isolated. So you can control, click the thumbnail to make a selection. Then you move to the vector layer. You hold down Alt or the option key on the Mac, and you click on the layer mask icon from the bottom of the layered s panel. Again, this is optional, and it really depends on how you want to arrange of stuff. In general, it's a good, and it have thousands of similar vectors out there on Free Peck that can save you a lot of time while also spicing up your design, making it look more than interesting. This is why I considered this project a sort of template. While it's not filled with a bunch of dummy text and generic content, you can still adjust it with minimal effort, and you can get a ton of value out of it. Instead of triangles, use circles, ellipses, use whatever else. The concept is the most important thing. Okay, now we're going to consider this part done, as I'm sure you get the gist of it. Now for the contact area, let's do this. I'm going to use another abstract vector, but this time around, I think I'm going to use a different blending mode. To that end, we're going to have to change the color code because we need something a bit more than interesting. And here's what I selected. It's 052668. Now, I honestly played around with the color picker until I got to a blue that sort of matched everything else. As for the vector, this is it. The idea is this, our rectangle is fairly short and that's not by accident. When I'll place this design on top of it and play around with the blending mode, maybe even with the opacity, the end result will be hard to pinpoint as being from free Peck. That's exactly what I want. Non specificity. I want to integrate it into my project seamlessly. Now, before I paste, I always like to make sure that I have the layer selected. But in nine out of ten cases, I'll want to clip. By the way, when the graphic isn't big enough, I like to enable the chain icon if it's not already pressed and then increase the percentages through the use of my mouse scroll and the shift key. That changes it in ten pixel increments, 10% increments. Okay, easy stuff. Once you place it, it's time to check the blending mode. After we see a couple of them that make sense, which will take a bit of time, but I'm, of course, editing the recording. Only then do we start to move this graphic up and down to see what works best. Truth is, this is similar to choosing a typeface. Selecting an abstract vector from free pick takes me at least five tries, something like that. So I try it, I experiment, I see how it looks like. Then I rinse and repeat. I look for another one and another one. I may end up downloading 20 vectors and see how they fit. But yeah, in this case, I think the blending mode should be linear Dodge ad. I think that's the best choice. The other ones don't really match the rest of the design. As for this position, you may want to move it up and down while holding down Shift. That's through your data keys. You can also resize it in case some parts don't look right. To me, what I want is enough detail on both sides. You might notice the transition isn't exactly stellar, but here's a great track. Add a contrasting thick line to separate these two parts. So get the rectangle tool and click to put in these measurements, 22, 20 for the width, and then for the height, six pixels. Now, a stroke couldn't be appropriate. So while we're increasing the layer count, we're keeping things fairly simple here. Now, to place it correctly, zoom in and make sure you're exactly where you want to be at the edge of these two areas. Okay, now let's make it to orange and basically do it with hiding the fact that these blues are not exactly the same shade. Well, we could play around with them, I don't think this looks like a mistake, so I'm going to leave it as it is. Okay, let's wrap this up and move to the final part of the design that relies on free peck. And that's the foot. Here I wanted something different, but still in the abstract realm, and here's what I chose. I'm not sure that you're getting what I'm trying to achieve, but give me a moment, and I think this is going to look awesome. Now, in Illustrator, this might be a bit tricky to isolate because the author of this resource really grouped everything together. You have the file attached by the way. The layers are also clipped, so this foot complicates things. What I suggest is you double click to drill down to the levels, and then you try to move your selection towards the side and see what happens. Another great tip is to remove the white rectangle from the design since that's not needed. I like the third one, but the other two may work just as well. I know it's red and that doesn't match our blue and orange, but we'll figure it out. For now, I want to make sure the shape is going to fit. So please don't get frustrated with Illustrator. I know that grabbing certain parts of a vector is sometimes difficult, but as you're about to see, it will help of design quite a lot. Okay, back to it, paste it as a smart object and move it in the bottom left corner to a point where the dark part gets cut out. Next, make a copy through Control J, Ds Command J on a Mac. Move it to the side and hit Control T. Then right click and use this command, flip horizontal, and that's going to show you what I'm trying to do. Basically, this shape wasn't wide enough to cover our entire canvas, and enlarging it would have been impossible without distorting it. So I decided to create several copies of it, and by flipping it, the design won't seem repetitive to a point where it becomes an obvious mistake. No, you're going to notice the peak of the graphic doesn't overlap perfectly, but I have a trick up my sleeve. Change the blending mode to darken. So that's darken. And this is going to give us a seamless transition without having to do anything else. And I love it. Do you see the difference? So, here it is, again. This is how the shape looks like in normal mode. And now here's darken. It's not a huge deal, but I do love these one click fixes. Right. For the last third, select the initial vector and place another copy here. There's no funny business, make sure they touch. Simple as that. Sometimes a one pixel gap totally ruins a design. But, yeah, that's about it regarding free pick. We'll talk more in the next lecture. 14. How to adjust vectors and add detailed icons: Welcome back. I hope you're working with me on your second viewing. If not, please pause the course and catch up. This is important work. In this video, I want to show you how we can easily adjust these abstract shapes so they match the rest of the color scheme. While it would be easier for us to change the text color, I would rather welcome the vectors so they'll be even less recognizable, if that makes sense. Here's my quick fix. So select all three smart objects from the footer and group them into one single folder, Control GF. Label it whatever you want. The magic comes next. So add a hue and saturation adjustment layer from the bottom of the layers panel. And here's the thing. In this new panel, we're going to check the colored ize option, and this is going to be awesome. First of all, please clip the effect by using Alt Control G. I love the fact that this command works on groups as well, so only this group will be affected by this adjustment layer. That's what this means. Now for the saturation slider, I want a fairly large value at least around plus 65. Now, you could go up to 90, but you have to be careful. You don't want to oversaturate it. Now for the hue, this is where the matching is supposed to happen. I'm going to move it to about 200. To easily see what's going on, I suggest you use Control Zero. To me, 220, I think is a great value. But of course, feel free to experiment, especially since you have to create your own version of this design. For these other vectors, apply the same treatment. I suggest you use a copy of this adjustment layer and clip it to a separate folder that's going to hold these two. To be fair, you'll notice some colvization on the white triangles as well. But as long as you don't go overboard with it, it shouldn't be a big deal. Here you might also experiment with the lightness value in case these blues begin to blend together. I'll keep things moving along so we can focus on another component of off design. And that's my skills. Please take your time with it when you're working along. This top art will make or break your project. Okay, now, this is a section that's beginning to gain traction all over the world. The idea is to show a percentage of a progress bar that shows youth skills in various areas. This is a good opportunity to add some detailed icons in our project, especially since so far we've used monochromatic ones, black ones. I want to show off my Adobe suit knowledge. To make it relevant, I want to show what I excel at while also showing my weaknesses. I believe that's important to any potential employer. For example, I don't know a lot about Illustrator, but most companies might assume I do. Hence why I think it's a great idea to show off your weaknesses, this entire area should rely on icons, so openflaticon.com and change the drop down to packs. Here you can look for the Adobe, and that's going to give you some results. Now, we can see that are several styles, but some of them are a bit too cartoonish for my taste. Now, the black ones are a bit more elegant, but since this is the creative version of the CV design, I'm going to choose this pack. I prefer it over the long shadow one just because that style isn't popular anymore. Okay, so download the first icon and open it in Pvoshop. Drag it into our project. Make sure you place it correctly in the layers panel, especially since we've been working with those adjustment layers and groups. For the size, we're looking for somewhere under 200 pixels, but definitely over 150. That'll be up to you and how much space your text layers are going to need. I'll repeat this process a few more times, but I'm going to keep it simple. It's going to be four icons, two strengths and two weaknesses. I would never go for more than five, as that would introduce way too many colors, but it would also increase the columns width or drastically reduce the icon's size. So bear with me for the moment while I handle these resizes. In terms of the distance between them, somewhere around 70 should be fine, but it really depends on the size. Don't hesitate to try out different looks in case the first one isn't to your taste. You can also come back to a section, even though you may want to hurry things along and wrap it up faster. A high level of refinement requires multiple passes. Don't assume everybody recognizes these programs based on the icons. A label is 100% required. But speaking of percentages, let's add them in. Get the type tool and start to put in your values. For me, Photoshop is at 90%. Yes, even though I'm a certified expert, this is where I think I stand. I don't know a lot about the three D side of Photoshop. I'm not a big fan of retouching. So again, I'm at 90%. For the formatting, doss bold 60 pixels in the same dark gray, 333. That's the way to go. Center the text from the Options bar and, of course, center it with the icon as well. One thing I forgot to mention is the fact that we've used a couple of clipping masks in the ido area. This means our box selection technique might pick up some of those layers as well. Now you have two workarounds. Either you select all your layers through Control clicking and holding down Shift to select multiple ones, or you lock them by using the dedicated command from the top of the layers panel. Edther version works. It depends on your preference. I think it might be better to log them in this case because we still have quite a long road ahead of us. The hot key is Control forward slash, but you can also use the lock icon in case you don't want to remember another hot key. Now, back to it, my stats are the following. Photo shop 90%, AdobxD 75%, Illustrated 40%, and finally, after the facts, a mere 20%. All these text layers need to be centered with their respective icons. As for the label, grab the rectangle tool and set the coordinate radius to five pixels. Click to put in with measurements, and here it's a method of matching the width of the icon. As for the height, 70 pixels should be enough. This is another point where you can deviate. You could skip the shape altogether and rely on the text layer to occupy the space efficiently. I think that's not ideal, so I would rather introduce another element, even though it increases the risk of making this design look busy. For the color, let's go with orange, even though it may be a bit overwhelming right next to these colors. We can change our minds at any point, so let's keep going. After you center it with the icon, let's add the text later. For this look, use doses, bold, 26 pexels. Quite tiny, I know, but the shape requires a low value. I'll speed this up while I handle the other ones. As an exercise, try and see if you can manage to add five icons in total and see how that's going to change the layout. I'm curious to see how much space you'll be able to set between them. As you know, margins are very important. Back to the project, make sure you select all the percentages and through the M key tool, you sent them vertically between the icons and the labels. Overall, even though things are sped up, I think this area is crystal clear in terms of execution. Okay, with winding down, but let's keep our focus because we need to fine tune the CV. I'll see you in a moment. 15. Fine-tuning the CV: Come back to our creative CV project. We sorted the stats. Now it's time to fine tune some of these areas, starting with education. Create a copy of the timeline and left align it with the main rectangle. In case your smart guys don't help you enough, zoom in and drag out a regular guide through the rules, Control R. As I said before, I tend to keep these hidden because I want to maximize my canvas space. Next, we got to change the stroke. We got to make it orange. This is much brighter and happier, and I found lots of companies use these types of colors nowadays. Copy that layer style by right clicking in the layers panel and then paste it all across the board. Or you could potentially delete out of circles and create duplicates. That works just as well. Just a moment so I can handle that. Now, here's the thing. No matter how you do it, you'll still have to reposition them based on the titles as well as resize the long gray rectangle. I tend to rely on the Marquee tool just because when you're trying to vertically sent two shapes that are similar in size, but they're pretty far apart, Photoshop will try to mediate the problem by repositioning both of them. In our case, that's to be avoided because these items have already been spaced out accordingly. As for the long rectangle, control T may not be the ideal hot key for the job, as the height is quite substantial, you would have to zoom out quite a lot to be able to grab the handles. So what I propose is quite simple, use the properties panel. This is why I always keep it around. Change the height value to something like 400 pixels, and of course, most of the work is done. All that's left is to position it correctly. Please be aware that the circles must be aligned with the top rectangle, the icon, and the label, not the thin element. Regarding the distance between the circles and the entry points from the education section, I think anywhere 30-50 pixels should be enough. With that edit, we can now set the width of the right column, which will surely enhance the tab design. You should have separate folders for the timeline and the experience column. So select those and move them towards the edge of the canvas. Previously, our split was something along the lines of 30% 70%. But here, considering the width of these icons and the long titles from the education area, seems like we're going to go for the 50 50 split. In these cases, it doesn't make sense to unevenly distribute the canvas, something like 45, 55%. That would look strange and unnatural. Thus, here's what I propose. Select the timeline and center it horizontally on the canvas. So completely center it. This will throw off our paragraph text layers, but that's not a big problem. We can quickly resize them. Okay, good stuff. By the way, I hope you're getting used to using the alignment tools, control A, and then control D. It's something we often use in Photoshop. Okay, now, move the experience folder to a point where you have a decent margin from the timeline. This can be anywhere 80-120 pexels. You have to change the width of the paragraphs. Try to create an imaginary vertical line on the right side with the top blue rectangle. Another option is to drag out a guide to the right edge of the main rectangle and use that to set the width. Take a moment and line up all the dots on the timeline. The good thing about it is that Photoshop will help us with those smart guides, the pink lines. So take your time with it. I hope you're pausing as often as you need to. Though, to be fair, I think I messed up with my spacing. I think this alignment was for nothing. I think we should have all the entries have the same empty space between them. Because I made folders for them, we can select all four and then use the distribute command. That's going to help us save some time. Though make sure the paragraph text layers are not too tall. That may give us a false result. Okay, then we do have to re center the circles on the timeline yet again one by one. We could potentially add them to every single group, so this won't happen again. But I think overall, this is just fine. For the about me section, this needs a bit of attention. So take a moment and handle that as well. The thing that's bothering me is not the lack of detail in the contact section. I have something planned for that, so don't worry about it. It's the amount of space between these three sections on the left side. While we could use the same method as before at the square to set our margins. I'd rather do something different, and here it is, create a new text layer and mash the minus key. The amount of characters doesn't really matter, but we'll use it as a divider. Change it to 45 pixels. As for the weight, doses light is subtle enough. The little spacing, bump it up to 200. This is the key. Okay, here's what I'm looking for. For this color, we can sample the timeline gray, though this might be a bit too light. Try it out and see how it looks like. Any excess characters can be hidden on the left side of the screen, so don't worry about it. The margins, use 60 to 80 pexels both above and underneath this text layer. To be fair, we could use a rectangle and obtain the same dotted effect, but I prefer to use a text layer simply because I have so much control over it through the character panel. At any point, I can change any of its settings and mass update a bunch of them. In our case, we only need two of them, but the point still stands one here between my skills and my education, and then another one just above about me section. I'm pretty sure the color font is working against us, and this line is going to be nearly invisible when the project is going to be printed. This is a difficult decision in my book because if we change its color, we're going to break consistency. That would we update the timeline as well. But I have strong reservations about that, since it's already quite strong. I think it's needed, though, to apply the following hex code. It's C 3c3c3. This is just a bit darker, yet it makes a big difference. Okay, it's time for the quick break so you can catch up fiddly work, but this is much more impressive than the initial version, though, to be fair, this is mostly for digital use. Hence why we're bringing out the big guns. Okay, let's take a quick break. 16. The last 10 that makes all the difference: Welcome back. We've just about done with our project, but I want to give it an extra 10% effort to improve it by 40, 50%. That's the type of math that's specific to the design world. To begin with, let's do this. Hold the control key and select every icon one column at a time. The idea here is twofold. A, we can use align horizontal cents to double check. These are perfectly aligned. And then, B, we can group them into a dedicated folder, which will allow us to distribute them so they'll better occupy the new width. My tip is to label them one, two, three, four. While it's true, you have to be more precise with your clicking in the layers panel. This maintains a high rhythm. As a reminder, if you double click next to the group's name, you're going to open up the layer style window effects, basically. This tends to happen when you want to rename something, but the short name throws you off. Anyway, move to the last icon, and after you're happy with this new position, select all four and distribute them through this command. Yeah, okay, great stuff. I can't imagine how I'd work without these tools, and I hope you love them as well. Now, for the timeline, top align the first title with the skills section. Take your time with it and check your existing margin. In case it's not enough, take a moment to zoom out and move everything down. I'm sure you've seen the value of locking certain layers from the Hido area right now. It does help. To make sure you've selected everything, move it a bit and then undo with Control Z. I often do that. I tend to alternate between using my carefully organized layers panel and mass selecting layers from the canvas. This way, my skills remain sharp. Getting bogged down into a certain workflow isn't ideal. You got to be flexible. While it may increase your speed, it may also limit your abilities. I've seen countless designers epically failed in interview with me because they only knew one way of doing a certain task. Now, at this point, I hope I've shown you how flexible Photoshop can be and how you can do the same thing in a number of ways. My courses are a testament to that. But yeah, back to the project, all that's left is to align the circles with the titles. That's the good old marquee tool for you, or you could control the text layer thumbnail to create a selection. Then you can switch to the move tool and use align vertical centers. So there's two ways of doing the same thing. As a matter of fact, think about these circles. You could use a layer style like we did, but you can also use Ellipses and apply the command subtract shape. A third way is to use a custom shape. Now, you might think that all of these alternatives are redundant, but these are things that can give you freedom. When you no longer think about how something can be done and you just do it, you feel like you've grown wings. And the only way to get to that point is through discovering new techniques. And that's part of this course objective. This is why I'm constantly reminding you to work along on your second viewing, even though I'm quite sure you're understanding just about everything that's happening on your screen. Right, for the long gray rectangle, adjusted size to a point where it gets lost in these abstract shapes from the bottom of the CV. You can call it a footer if you begin to web design, but that's not exactly accurate in this setting. You should avoid overlapping the layer with these blue vectors because we change the middle one's blending mode to darken. This is why our gray might get a bluish hue in the lower region. We could attempt to fix that, but I would rather wrap up the project by tending to the icons from the contact area. Here before I do anything, I'll use a circle as the base for my icons. Get the ellipse tool and put in these values. 100 by 100 pexels. Okay. When you're ready, drop the fill to 0%. And the next step is a classic enable a stroke, a pure white one that's fairly thin. I would say three, maybe four pexels, something like that. The position really doesn't matter at all that much. And then when you're ready, center it with the Marquise tool because the clipping mask may throw you off. We want three of these, so make a few copies with Alt and Shift, but only after you've scented them. By the way, even though they appear hollow, you can actually select them by control clicking them. To us, that area may seem transparent, empty, but as far as Photoshop is concerned, that's still a solid layer. Okay, when you're ready, open flat icon and look for the beautiful contact icon pack. I already have something prepared that's in tune with the rest of the design, something that's modern, sleek and based on a stroke. For the size, considering the size of the circle is 100 by 100, I think we can use 50 by 50 without any problems. From this point on, you should know the drill. So I'm going to quickly go through the process. Here are the essentials. Between the circle and the text layer, leave 30 pixels. Because we have three components, each of them should have its own group. This will also help us distribute them accordingly. Here's what you can do. After the middle component is consolidated into a group, center it with the alignment tools and Control A. Then select either side and hold the control key to check the distance between them. Set a certain value, say 220 pixels, and then intued way forward bit by bit through the to keys. At the end of the day, this is a magnificent project. I'm very happy with it, and you should be as well if you've been following along. Flexibility is key. I'm sure you can find a good photo of yourself and replace mine. These triangles that have hundreds of other options on free pick. I'm not even going to mention the icons from the contact section or from the skills part. Of course, you can find other ones. As for the footer, that can be replaced with a pattern, another abstract image, or just about anything else. Believe me, this surpasses Europass in every single metric. You're going to make a much better impression with this resume. After that being said, I look forward to your own version. You could upload an exact replica, but that's not going to be all that helpful. What I'm looking for is your own version, but you should definitely create a replica from scratch to practice and gain speed. But when it comes down to getting feedback, comments from me or other students, please upload your own personal version in a PNG format. And with that, our resume is done. Thank you so much. This is Chris Barron, and I hope to see you real soon.