Create A Seamless Instagram Carousel Post in Adobe Photoshop Full Process

1. Class Preview : Have you ever wanted to learn how to create seamless showstopping Instagram carousel post? In this class, we'll review the basics of creating a solid Instagram post and create this entire ten slide project. This class is an intermediate photoshop project and requires just some very basic knowledge of Adobe Photoshop to enjoy. We will tackle photo editing techniques to make the post feel engaging, themed, and consistent through balance repetition, typography and style. We will set up our photoshop template, and there's even one supply to you in the course, and we'll learn how to export our file so it retains a seamless, continuous flow. This fully detailed class leaves nothing out as you get to feel like you're sitting right with me learning this process. So I look forward to seeing you in the class. 2. Getting Started and Tips for Success : Instagram carousels are awesome. They allow you almost ten times the amount of screen real estate for every post by allowing the user to swipe through a series of images. Not only can they be informational, helpful, and beautiful experiences, they can also boost your post engagement as well. Helping you gain more attention on your posts. It's a win win. So how do we put together these posts quickly and effectively? Spending 4 hours on one post is not a good long term goal. We need to be creating at least one post per day to slowly gain a steady following. Spending about 1 hour per post or under is usually a good limit. We can reduce the total time it takes creating a post by using a template and photoshop that allows us to put our thoughts down quickly, but also makes it look branded and have a design theme. This means we use consistent shapes, colors, and typography throughout our ten slides. When users see our post, we want them to know right away, it's a Lindsey Marsh post, or in this case, a post by you or a client you're working for. The basics of a solid Instagram post are as follows. They tend to pack a ton of valuable information into one single carousel. Shares and saves are more valuable than s when factoring in the ranking algorithm on Instagram. This means that carousels tend to be saved for later because of the increase in total information and value given. So you want to grab them in the very first slide. Use a big bold headline and use contrast to highlight key words, motivate them to swipe further. Also, remind them. A lot of accounts put their account name at the bottom of every slide. You could also put your main subject line of your carousel or reference it as a part of a series. Okay. Encourage them. As mentioned in the previous page, engagement rates go up and carousels that use the swipe indicator as a visual on your post captions. Do not overwhelm them. You should be able to read the content on each slide in about 10 seconds or less. This example pushes it to the max. I'm able to provide a nice chunk of readable content without giving the viewer fatigue. Your last slide should always encourage an action by the viewer. You can even dedicate your entire last slide to prompt a follow or a comment. I'm excited because we get a chance to not only find out how to create a template that we can quickly use to create and export a carousel post, we also get to create the project you see right here in its entirety. We will use intermediate level photo editing techniques, work with typography and create a themed post that is sure to gain us new followers. So let's head on over to Adobe photoshop and let's get started. 3. Setting Up Our Template : Here we are in Adobe Photoshop and I have an old Instagram Carousel right here. This is kind of the basic setup of how I used to do them. Of course, I found even better, more efficient way to create seamless Instagram Carousel posts. That's the key with what we're going to be doing today because they're not just these individual slices or individual posts. They all are linked together visually. So there might be a photo that links all the way through several different posts. Well, how do we do that? You would think let's create different artboards and link them close together. But there's a problem with that in Adobe Photoshop. In Adobe Illustrator, that could work. But in Adobe Photoshop, you have a photos that go within one artboard and it's cut off. Artboards don't really link together because in Adobe Photoshop, Artboards are treated as separate layers. If you could see here, the different layers are really different folders. If they're treated as different folders, you can't have the same file in both folders and have it extend across. You can, but you have to duplicate it and line it up perfectly, and that's an absolute mess. What we're going to do is we're going to set it up a little bit differently. So with an Instagram post, I'm going to show you the final that we're going to be creating in the course. You can see how this one is divided with slices. I'm going to haven't used slices in the course yet, but a lot of web designers would use slices to slice up their web design to easily export different JPEGs. We're going to do that today, and I also have some guides that are helping me know when the different post slides end and begin. We have to do a little bit of math. Depending on how many slides you want, is going to depend on our total document size. What we're going to do is we're going to create one big long document and slice it up. So what we need to do is figure out what is ten times ten 80. Standard Instagram post is ten 80 by ten 80 pixels. If we have ten slides, we just multiply ten 80 by ten, and we're going to get a total width of 10,800 and our height will stay the same. If you want to do four posts, then ten 80 times four is 4,320 pixels in width. We're going to go back and we're going to do 10,800. Let's create a new document. With is going to be 10,800, our height is going to remain the same. I always like to do a resolution of 300 and let's keep everything the same. We're not going to be using art boards for this, and we're going to click on Create. One big long document. So now we need to figure out how we're going to divide this up evenly in ten different slices. We need to make sure our grids are turned on so we can see what's about to happen. We're just going to go to view. We're going to go down to show and just make sure grid is turned on. Grid is turned on. Right now, I already have it set up where it's going to work out perfectly evenly divided into ten slices. Well, how do I do that? I'm going to go up to photoshop, preferences, and I'm going to go down to grids guides, and slices. That's exactly what we're using today, we're going to edit one little area. Everything else is going to remain as default, and we're going to go right down here to grid, and it's going to be subdivisions. We have ten different posts in this, so we're going to do ten. If you did, if you're doing four different posts, you do four different subdivisions. It's going to equally divide the whole area by ten and a grid line every 100%. Every 100%, it's going to do a subdivision and it's going to do ten different boxes at 100%. Let's click on and it should automatically do it for us. Wonderful. Now, let's say, I don't want to have those grids all on all the time. Let's do something extra and let's take our ruler down here, down here with our ruler and we're going to bring in some guides. I'm going to click over to my ruler and I have snap to grid on. When I bring it over, it should snap it to grid. This is going to really help me know where my post ends and where it begins. Just go to view and make sure your snap is on. It'll make your life a lot easier. Make sure it snaps. Because if you're off just a little bit, it'll mess up the continuity of your images that go across. Just make sure it really snaps well as you move across the ten different posts. Now we don't necessarily have to have grids on anymore because we have our guides set up. You could just click them off if they bother you. I'm just turning off grids or there's a keyboard shortcut to that you can use. Now we have everything set up, and when we get finished, it's an easy way to export it. It's a slightly different way to export than I normally export posts. We're going to do a legacy format and exporting and we're going to be able to export each slice. Now there's one more thing we have to do. We have these guides here. We're able to create those because we put the grid on. So we have to do one more step. When we export this thing, we're going to need to export it nicely sliced up. Well, it's not going to know how to slice it with using guides. Guides are just visual aids. They're not a way to actually divide the document. So we're going to divide the document by using slices. So this is a new thing that I have not used in class before. So let's go over to our crop tool if we click and hold, and of course, your version might be a little bit different. What we're looking for is the slice tool right here. So with the slice tool selected, we're going to click and hold, and we're going to try to get as close as we can to this guide. Notice how it snaps. I still have snap to point on. That created the first slice. You'll see the O one right there. Now we're just going to click, and we're going to create the second slice. This is dividing this single document up into slices so we can export it. I'm going to continue to just click and hold Okay. Click and hold. I can slice it up. You got to be pretty careful with this because if you're off just a little bit, then when you export your image will be slightly off, they won't be seamless. It seems like a lot of steps, but once you're set up, you're done. You don't have to do this step again, you could save it as a template, and you're ready to go. Speaking of templates, I already have this setup for you, so you don't have to worry about all these steps if you just want to open this up and get started with the design with me. If that's you, let's go ahead and get started. 4. First Slide: So let's start with the very first slide. We really need to grab people with a big headline. So let's go ahead and type one out. Right now, I am using a condensed typeface. And when I do social media post projects and other courses and lessons, I love to use condensed typefaces. This is one I've used before in projects. It's called mu. It's an Adobe fonts. If you have an Adobe subscription, you'll be able to get it. But if not, go over to Google Fonts and download a condensed typeface, it doesn't matter. It doesn't have to be this one. But I just love how much I can pack into a headline and be able to stretch vertically across the screen. I feel like it can really have a high impact look. So this is what we have here. Creating dynamic carousels is easy. What I'd like to do, this is white on black. It's got super high contrast. What I want to do is flip it because I love dark background post. When it comes to Instagram, it just seems like people tend to gravitate toward darker background posts with lighter text. Just something I've noticed over the years. That's what I'm going to do. I'm going to easily create a background on all this by just getting the rectangle tool. I'm going to make it a not quite black but a very dark gray color and it's going to stretch it all the way across just like that, we're going to go ahead and bring it down below. Just remember this is not artboards. This is all going to just be one big It's not going to be these nice little subdivided artboards for each one. It's going to get really messy. Make sure to create folders to keep things organized in your layer system. This will be the very bottom. We'll call this background. Okay. Let's lock it. I'm going to go up to my lock icon and let's lock it. I don't want to have to mess with it later. Now let's take our text and let's make it Let's make it white for now, but I really feel like we can make this pop even more by adding. You can add orange, you can a yellow, but I just feel like with dark backgrounds, adding a punch of yellow really helps to break this up. So let's break it up. Creating dynamic carousels is easy. What is the subject matter of the post? We're going to be talking about throughout this post, different tips on how to create dynamic carousels. So creating is not an important words easy. Well, I guess you can highlight easy and make that yellow, but I really feel like highlighting the subject matter will help. What we're going to do is we're going to make this a very bright yellow. It's just in my hue slider going all the way to the upper right to make sure it's highly saturated and there it is. We could even I don't like having green in my yellow. I almost looks like a highlighter. I'm just got a little orange, just a little orange. I go to add a little warmth to it. Notice the difference when I just slightly slided it down more toward the orange. Go to click Okay. Creating dynamic carousels is easy. What we're going to probably want to do is duplicate this, holding down option and dragging and let's do some call to action. I want people to know what account this is without having to go to the last slide. Let's do follow and then of course, my Instagram handle. Okay. And we don't want to make this the same type face as the headline because when you use condensed typography and it's small, it all bunches together and it makes it really hard to read when it's small. So let's just find a nice, simple, let's do open sands or railway or just some really easy, almost like a Helvetica, I guess you could say, open sands bold. And let's make it small enough where it's not distracting away from our headline. It's just here. You can follow me if you're interested, really small. Let's make the headline smaller and I love people faces. Faces tend to really grab people on Instagram feeds. It's all about people and places and food. People places food. That's what Instagram's all about. It's not so much about the text and everything. Let's bring in a really high impact face a face photo. So we're going to go over to Pixels. I have a downloadable file that has links to every photo that we use in this project, but just a caveat to that. Sometimes photographers take their photos down. So if you notice a link that's broken, please use another photo. Find something very close because photographers don't leave their free photos up forever. Sometimes they do take them down. And so I just want to let you know if there's a broken link, they have since removed the photo. Just find an alternate. So I'm on here, and I want to try to find a photo that's really going to grab us. Usually a photo that looks at you. So her eyes are gazing at you, that's really, really, really helpful and see if there's just this really high impact glance that she's giving us. I did find one already to use. These are the photos that we're going to be using in this project right down here. Her body necessarily in the background I'm not interested in. I'm interested in cropping her a bit. I just look really high fashion and very, very clean. Let's go ahead and bring this into Photoshop. I like to drag and drop. It's easier for me to do. Let's go ahead and get her isolated and I'm just going to do quick isolation, go to select subject. You're going to notice something. When I go down to here, I'm going to mask it. I'm just going down to laying mask and I'm going to mask it. You'll notice the select subject, which is a quick, automatic way to select and isolate objects and newer versions of photoshop. It didn't do a very good job. What I'm going to have to do is whenever that's the case, I'm going to go ahead and just do a selected mask. Going to select, Okay select and mask. It does a better job when you're in this portion of it. Select subject, and then refine hair is a lifesaver here. We're going to refine the hair and it's going to pretty much fix all the little green that was left over. Click on, sometimes you have to feather it down here or smooth it out. But I think in this case, it does a little bit of a better job. We're going to make her gray scale. We're going to make her black and white. Some of the green that's left over is going to be not a big deal. This is the key right here. We can have her here. But there it is. It's like, it's okay. How can we make this dynamic? That's the difference. How can we make it go from okay to wow. We're going to have to zoom in on her face. We have her as a smart object because we dragged her in. Let's make her bigger. And let's make it a. Let's make it a w. That's what's great about having seamless Instagram posts. As you have some screen real estate to push her to the next slide. She doesn't have to completely exist on this slide. We don't have to have her like this. Let her bleed off so we can make her bigger like this. I like her hand because I want to be able to add a little color and to her fingernails or her nail polish, I'm going to literally paint nail polish on her. We're going to create a visual theme here. We have yellow, we have dark What is another color going to go ahead and press enter. That would work really well with yellow. Well, let's look at the color wheel. What's a complement to yellow? Purple. Purple goes really well with yellow. What if we painted her nails purple and we started to bring in elements of purple and yellow throughout all the rest of the images. Let's make her gray scale. Let's select her and notice how I have her slightly overlapping the S here. Slightly overlapping the S, we can make this more dramatic by painting on some shadows. Or in this case, we can double click, pull up our layer styles panel, and let's do a drop shadow. That's going to allow her to feel layered, she's popping out at you. Let's make a gray scale that'll solve some of the issue with the leftover green in her hair. We're going to go to adjustments, and the reason we're doing image adjustments in black and white is we don't want to have it be a separate layer adjustments. We just want it to be right on this photo. Just going to adjustments, black and white, and we can sit here and perfect that, but we're just going to do default and click Okay. And now we really need to make her pop somehow because she's got a little washed out when we made her gray scale. What's great about when we made her gray scale, now the headline, that yellow, it really grabs your attention now because now you don't have color in her face, that's distracting you from the really bright vibrant yellow. Notice how that really worked instantly to kind of shift the focus. You have complete control through color to shift the focus of the user's eye. Let's add a little color to her. Let's paint her fingernails purple. What we're going to do is we're going to get the bruh. Get the brush tool. Let's do a nice soft round brush, not big enough where it's going to totally eclipse her fingernail. We're going to create a new layer. Let's make it smaller, maybe right about there. We have it at 17 and let's do a very bright, highly saturated purple. We're going to paint it on and use a blending mode to make it look like they change color. It's going to look really silly now when we paint it on. You can always take the eraser tool and correct any time you go over the borders. We painted your nails, let's do a blending mode. Let's bring our layers panel out so you can see that a little better. Let's figure out what blending mode would probably look the best. I think hard light looks a little too neon. But I do think overlay probably looks pretty good. Soft light looks washed out, but I think overlay keeps the saturation but doesn't over saturate it, and make it look neon. We're going to do overlay for that. We can always go back in if we're perfectionist, we can go back in and make this smaller and paints a super quick way. Another way you could have done is you could have drawn and isolated each fingernail, created a new layer and then did an adjustment. A color adjustment and just change the hue that way, or a gradient map. We could have done that too with these, but I just find this so much quicker to paint on. Look at that. Brand new set of nails, looks fabulous. I still feel like I want to add more pop here. We're going to do that next. Okay. 5. Second Slide: There's a few things we can do to really make the background feel like it's doing more than what it's doing now. It's very static background. We can bring in a texture. We can bring in some kind of movement happening in the background, some kind of shapes. Let's keep it simple. We need to start developing a theme here. We have yellow, we have purple. Let's create a theme with the shapes. That we use. Let's just do very simple. I know it's a little boring, but we'll try to make it exciting. Let's stick with circles as our theme. We're going to be using the Ellipse tool. Let's select that same yellow. We could just do the eye dropper tool and sample it. We've got our eyedropper tool and let's go ahead and click and create a circle. I'm going to need to hold shift and drag to create a perfect circle. I think what this is going to do. Let's bring this down in the layering system behind her. This is going to really make her body pop out as well. That's going to be interesting. It's going to be able to bleed What we need to do is develop images and graphics that are going to bleed over to create the seamless look because that's what we're doing. That's what makes this unique is that things go from one side to another. This shape connects the two slide one and slide two. We're going to do that throughout this entire thing, create elements that intentionally bleed into the next slide. In this case, this needs to be smaller. That's okay. It's just there to say, Hey, follow me. And what else can we do to add another element of surprise? We have triangles, and I had a lot of students go, I can't find the triangle tool. If you can't find the triangle tool, you most likely have a 2020 photoshop version or earlier. To get the triangle tool, you will need to update. But you can always just use the pen tool and fill it in to create all sorts of custom shapes. But this just makes it easier, create a triangle, same yellow. What if we turned it around? Do Dube just holding down shift and turning it around, clicking it around. Let's do a blending mode here. I want to see her eye, but I want to keep the saturation of the yellow. That looks washed out at overlay. But let's continue to find the right blending mode multiply. Multiply might really look good here. What this does is it creates a visual tension or a visual interest. Before we're talking about basic and boring. This adds this contemporary flair to it. There's this triangle, there's these harsh corners, and it's right there in her eye, which is a really important part of the face. It just provides something interesting happening. You don't have to do this, but just going through my thought process on why am I doing the specific things I'm doing. I feel pretty good about this slide. Let's move on to the next one. This is slide number one. What are we going to do here? Let's go ahead and just hold down option and drag and bring that over. We're going to use the same typography theme throughout. What is going to be the second slide going to be about? It's going to be create a theme. Using shapes and color. I know a lot of designers love to use the plus sign instead of an ampersand, but I find it's more professional sometimes, not as cool looking, but to use an ampersand. I'm just going to use an ampersand in this case. We want to figure out, we want to have another photo. We don't want to put another photo here because that will compete with this photo. Let's have some photo that goes across slide two and slide three. That talks about create a theme using shapes and color. Let's put our typography butting up against being left aligned along the side. So we can what's the most important word here, create a theme using shapes and color? How about a theme? Just going to click and make that yellow. So when we make this yellow, First of all, we probably need to add a little bit of a drop shadow if we're going to have any of the same color overlapping, but let's not make it super super strong. We don't want it to look cheap. We don't want to darken our drop shadows and make them look dated. I really subtle. Right now, we have two things screaming at you, a theme and a color. We're talking about color and using themes. Let's bring out this purple to break this up so that these are not competing against each other. Let's do this top portion, and let's do this purple that we've been picking out. Now, create a theme and what I want to do. If I do the A on that side, it's hanging on itself. I think I like how I had it divided. It's got a nice box around it. There's not one word or phrase that is hanging out like if I had that, that just looks uneven and not balanced. But when I do this, it's got a nice square format. What I want to do is I can even make her bigger, I would love to have the hair slightly go over so you can see the hair cut out there. I think that would be neat. I'm just going to be a rearranging some of these elements to make it work for me. Doesn't have to be permanent to shift things around. Let's get some kind of photo to go across both of these. What I thought it would be need is finding an animal photo. We've already used a person. Let's find an animal photo and pretty much create a yellow and purple theme for that animal. What's a really bright colorful animal when you think of animals? I think of birds, I think of parrots. I'm going to go on pexels or any free photo website and I'm going to find a bird. I did find one already right here. I thought that was just your typical super bright colorful bird, is going to bring the bird right in. Once again, if you have them just like this, that's fine. That's cool. Let's see if we can afford to really zoom in on that face and zoom in on the parrot. Let's quickly isolate them. I think I can get away with just doing a quick select subject, and then go down and mask them. That looks okay. What we want to do now is I'd love to overlap elements. Maybe have that little stick overlap the E, and that would help further create the layered look. I might need to make this typography a little small. I don't want too much of that yellow overlapping. You can always switch it where this is yellow, and that is purple, if that is going to be helpful and differentiating those two shapes. That was simple, just a little tweak. But see now we don't have that overlapping anymore and that's okay because we can bring it on in. What I like about this is this is perfect little space here that almost like a puzzle piece coming together. I talk about that a lot. That works nice too. We could overlap it still and still fill in that negative space that's there with the design. Okay, so we need to make this bird yellow and purple. What is a great way to do that? Well, first of all, we can go up to image adjustments, and we're going to do selective color, my most favorite powerful color tool in all of Adobe Photoshop. What we're going to do is we're going to take all of the reds and we're going to try to shift that to make them yellows. Let's add yellow. Add yellow, we want to take away Magenta, which I guess in this case would be more red. Look at that just like that. I just took away magenta and I added yellow and we got a yellow part here. Now we want to make it nice, saturated to match this color. Let's adjust some of our black. Leave leave the black alone. Let's maybe add take away cyan, which is blue, that'll add more of a orangeish yellow. You don't have to do every single color, but you can cycle through them. Now we have some blues we can change. We want to make those purples. I'm going to take all the blues to select all the blue pixels, and I'm going to make them purple. How do I do that? We want to take away blue, add magenta. That's going to make it purple. I'm going to have to get maybe the cyans do the same thing. We're going to add magenta, take away blue. And there it is. The cyan really helped. I guess there's more cyan than blue pixels in that feather. Now we have purple. There's a little bit of green left. See the green. We're going to go down to greens, see if we can't maybe make that either yellow or purple or blue or something. Let's take away yellow off of those feathers. I think that looks a little bit better. We're going to click on. There we go. We have our bird. Let's go ahead and add a quick drop shadow, bring up our layer styles panel. We could do a quick drop shadow, and what we could do is if we don't like the default drop shadow, unclick use global light, and you can manually put your own shadows here. I can have it cast down on the stick. By just changing the angle. When you unclick global light, it'll allow you just to change the shadows on this. It won't change it on all your drop shadows. We could do this or we can just hand draw our own shadows if we wanted to do that. But I think we're okay just using drop shadow maybe reducing the opacity. Let's get the right angle on there. I think we could probably draw some more strong shadows. Let's create a new layer. This will be shadow bird. I know I need to name all my layers, but there's so much going on here. It's just quicker just to keep going. I'm going to get the brush tool. We've done this before and lots of other projects I've done in the past with students soft round, and we're just going to paint on black basically. Let's make sure it's really dark black. Let's go ahead and bring it under the bird. There we go. That's going to really cast a much deeper shadow. What I like to do is reduce the opacity on it. It's not so strong. I think this looks better when you hand paint it. One thing I feel like we have all this color and we have this distracting brown and tan. What I want to do is I want to isolate that and make that black and white. I'm just going to take our bird image. I'm going to go ahead and title this bird. I'm going to take the polygon lasso tool, that'll be the quickest way to select it. We could do a select subject, which is a newer tool or object selection tool and just see if we can't select that object quickly. Oh, did a pretty good job. But if not, I would just do the polygon lasso tool and just select it really quickly. What we could do is we can deselect this. Let me get the magnetic lasso tool. Let me cut it out. I going to isolate this back out. We don't want to get that portion of the nail. Now that we have the branch selected, now, how do we make just the branch black and white. If we go up to image adjustments and do black and white, it does the whole thing. But we need to be able to isolate that. Let's go ahead with that selection. We're going to do a layering mask. And now we should be able to do a black and white adjustment. But instead of going up and doing it just on that same layer, we're going to hop on over to our adjustments layer instead and do it there. So where is black and white? There it is. And voila we did it and it did the layering mask. Adjusted What it did is it created when you go over to the adjustments panel and do it, it'll create a new layer adjustments instead of just on the layer, we were able to mask it. I know that's a little complicated, but we made that black and white, and one thing I like to do is I love to sharpen images when I have a chance. I'm going to select our bird, do a quick sharpen. I just feel like adds a little crisp crispness to it. Same thing with our girl, although she's probably pretty good as is, she's pretty sharp. Let's see what one little sharpen does. There we go, Oh, just adds so much definition and crispness. You can also over sharp things. You can over sharpen an image, so be very careful. There's our first two in our carousel post. Let's go ahead and move on and think about what we want to do. And now that it's always good to zoom out on an image to see the overall layout. Do I like it. Because I'm I would love that bird to bleed over more into the page. That's okay because we could select our little black and white adjustment layer that we did a laying mask on and we could select our bird, just held down shift to select both. I'm going to make them bigger. I just feel like when I zoomed out, I feel like I needed to make that bird bigger and bleed over more into the next area. It's always good to zoom out see your entire layout. Also, I'm seeing that if I do guides, bring them down, this is not aligning well, and that's okay because it's a different slide. People aren't going to see them both at the same time. There's some forgiveness when it comes to alignment of typography. But it's also nice if you can, doesn't hurt. I think we have our hand drawn shadows I just need to bring down. Okay. That's the one negative to hand drawn shadows are not part of the layer. There we go. Let's move on to the next one. Let's duplicate. We want the same typography. Let's hold down option drag and then bring it on over. What are we going to do for the third one? Okay. 6. Third Slide: Okay. So we work with an animal photo. We work with a woman. Let's not have a photo at all in this one, and let's talk about playing with typography. Let's do a typography only slide to continue to break this up and to have something different and interesting on each slide. The type is going to be play with typography. Let's make it a little bit bigger. Let's just really use contrast, scale, balance. Let's do something really unique. This is going to be playful. I like the P slightly overlapping or underlapping, I guess, the bird. It's underneath the bird. Play and then with Okay. So I would love to do kind of a double type where you have type on top of types right here, and that's hard to read, but I think with some color changes, it'll be easy. So with our type, let's highlight it. Let's change it to the purple that we have been using. I feel like I'd love to add some texture because right now, this doesn't have any texture. I don't want to have a drop shadow on this. Let's go ahead and select our layer. But let's bring in our layer styles panel and let's bring in some quick texture. These are the legacy swatches and you can find them by going to options and then loading legacy patterns. I think you almost have to go I teach this in other classes, but I'll just quickly go over it. You go to window. I think you have to bring in patterns. There's a patterns window. And then there's a little option up here and it says load legacy patterns. Once you click on that, it'll be available in your layer styles. I have no clue why photoshop hid these wonderful little textures. I have no clue. We're going to do we have the dots here, a half tone thing, or we have these horizontal lines. Another thing, if you don't have these, you can always bring in and import new textures. Our new patterns here for your texture. Or you can go into Adobe illustrator and create horizontal or diagonal lines and just bring it in and then just do a layering mask to mask over the typography. But I just felt like that added just enough little diagonal lines to give it something. Let's make this yellow because I think that just makes a lot of sense with the high contrast theme we have. Let's do a triangle, doing some user direction. This is going to help us guide the user to how to read it. Because we have play on top of with, then what? It's just a fun design element to guide them through that process. I did a really slight color tweak. I added just a hint more orange, a hint. It's still very much yellow, but it had a little bit of a yellow or more of an orange bend to it when we first started, I decided instead of doing high letter yellow, I added a little rich orange. I felt like I needed to add just a touch more. You'll notice this has a tiny, tiny bit more orange. I thought it softened it and I thought it paired better with the purple now that I'm starting to see this theme play out. It's very common to tweak something like that. I'm already three slides in, and I'm still getting an idea of what's my theme. What's my color theme? It's a very slight tweak. Play with, and I wonder if this could use, let's make that even bigger. Play with. We might be able to do a drop shadow with this one. And then typography. What we're going to do is we're going to duplicate this, and we're going to really play with typography here, hold down option drag, sometimes it always messes up when I do that. Let's type in typography one layer at a time. We have T right down here, and let's take off drop shadow. We don't need to have that. Also we haven't done any outline typography yet, where we just use the outline and not the fill. Let's do that. Let's make this a little bit more interesting. Let's make the t bigger. And let's create an outline. What we're going to do I do this in other classes too, but I'm just going to reduce the fill on this layer. There's no fill, but we're going to go into our layer styles and create a stroke, and we're going to make it that same yellow orange color. Let's maybe make it a two size. I can make it a two. Click on. This is going to be the tedious part, we're just could have to copy or duplicate this layer over and over and then slowly spell out typography. Okay. Here we are, I have all of these as separate letters. What I want to do here is, I just want to click and drag select all of these. Looks like it's selecting something here. What's it selecting? Might be selecting the bird. Let's just lock the bird. Now we could just select this. Let's go up to a line. Let's make sure they're all aligned nicely. But let's playful here. This is not super playful. Let's select every other one. Holding down shift and selecting every other one and we can hold down shift and drag them down. It reads as typography. So let's say I don't want this yellow for whatever reason. I want to change all of these separate layers to something else. I want to change the layering style on all of them. Do I have to click on each layer and do that? No, there's a little trick here. I'm going to select everything, and I'm going to just throw it into a folder. Select it all, create a folder. This will be typography. Okay. And I want to double click the entire folder because the whole folder has a layer styles panel, and then I can simply change it all if I want to do a color overlay. If I wanted to do it white instead of yellow, it's an easy change. Let's bring this down, so it's a little bit more into the post there. Let's bring that over so it doesn't get too close to the bird. Okay, so for the next slide, let's bring back in another photo. Let's have this one be WOW with Movement. Search pexels for something with a person dancing or has kind of their arms in the air. Some kind of movement that we can a photo we can use to illustrate the idea of using movement as a way to make a dynamic Instagram post. And I did find this one right here of a man skateboarding. I thought that would really be a neat way to incorporate some elements. Let's press enter, let's go ahead and quickly mask him. I might need to do a selected mask on this one, especially for his hair. I'm going to do select subject and then refine hair, and let's see how that goes. I'm just so glad I don't have to spend all this time using a lasso tool or a magnetic lasso tool to cut him out. This is so nice that photoshop is really working on those algorithms to make them easier. Once again, anyway I can incorporate and layer the photo, so if I can put that little foot over there. What that does is this person is just going to see this slide, and they're going to see this random foot. They're going to wonder, well, what is that? It's these little visual cues that entice them to continue to swipe. What is that foot there? Then they swipe and they see the man. It's having that visual interest extend slightly out into this page. Let's sharpen him. I already know for sure I want to do black and white because there's a lot of color to him, especially with the skateboard, it's distracting. Let's do a black and white. We just want to do it on him, so we're just going through image adjustments, and we've got a black and white happening. Now we need to bring in our typography syllss copy and paste this, or do an option and drag and bring that. We want to continue to have similar typography themes. This one will be WOW with movement. WOW with move meant. I'm not going to be able to fit movement on the same line. That's okay. We can do this like his hand being there. This is the issue we have with readability. We always want to make sure we have readability when we put an object over typography. Wow with movement, you might need to get a friend to say, Hey, can you read this or do a little test? Can you read this? Sometimes it's hard to know how readable it is, which is yourself. But I think that reads okay. Let's add some color to this because we have him black and white for a reason so this can really be accentuated. Let's do purple here to break up that big block of type. Let's do our purple do There we go. Wow with movement. Let me bring that down a little bit. If I do a generic drop shadow with him, I could even paint on a shadow, that might work a little better. Let's create shadow layer here, let's drag it underneath, and let's get a soft round brush and paint on. Let's make sure it's black, and we've reduced the opacity. I just love the control that hand drawing shadows gives you a lot more control. Over here too. I wanted to make that foot look like it's right there. I the eraser tool, make that a lot smaller and just father it out. What we need here is we need a visual background element. Once again, we're running into the problem of the background is static. It's just doing nothing. It's a solid color, and you have this amazing movement happening with this man, and it would be a shame if we didn't accentuate movement more by using shapes. We have this theme here. Let's continue the theme, hold down Option drag and bring this over. Let's use a circle to really draw eyes to the focal point. 7. Go Bold: So I added a little bit of texture to the circle here, the yellow circle and just trying to slowly move him around. What I want to do is I want to continue with this theme of movement. We have this hand all by itself here. I almost wondered what we had some circles radiating around his hand. Well, let's go to the ellipse tool and do a stroke. Let's do this. We could do yellow, and then we could do purple, Phil will be null. Maybe make it three. We could probably move this behind the skateboarder. Then what we could do is we can duplicate this. We could do command shortcut Command J to duplicate it and hold down option and drag it. It's going to do it toward the center. Command J and then hold down option, it's going to make it bigger. What this is doing is providing more of a sense of movement, make it bigger and bigger let's do one more. This can go and lead over to slide three, like that. It's going to use my arrow keys and just nudge it just like that. We could even make every other one purple. To keep with our theme. Just quickly moving on to the next slide. We have our theme here of circles. There's some triangles. There's two themed colors. Let's keep going with the next slide. This one is going to be about being simple. Some of these are a bit complex, but we want to show people how simplicity works really well. Use simplicity. Let's have this be broken up by color. Use simplicity. Let me not have a drop shadow for right now. We want this to be simple. Let's actually make this a little smaller. We're talking about simple. Let's just find something an element that we can just have appearing throughout the background, but it's not overly complicated. It's not overly busy. I was able to locate a flower. I thought a flower would work really good here. Let's bring it in. Let's do a quick select subject, and then layering mask. What I thought would be neat is if we blurred everything. We had some things in the forward ground that were super sharp and things in the background that slowly got blurry. We're going to have one big flower that slightly overlaps the typography, but yet it's still readable and slowly gets smaller. And then a little bit more blurry. What we could do we could even here's an issue I ran into. Let's say I want to do a Gaussian blur. I go up to filter, blur, do a Gaussian blur. You notice how it's blurring, but it's not blurring the edges. That's because there's a layering mask here. So there's a layering mask that we mask the photo. It's not necessarily blurring the edges at all. We want the whole thing to be blurry. I'm going to go ahead and click and rasterize the layer. Now then when I go up to filter, blur, Gaussian blur. It's now going to blur the edges too because it's not in the layering mask. Just something I ran into when I was doing this. I was like, that might be helpful for everybody to know. This would be behind the text because it's blurry, not in the foreground. I don't want too many of these things because it's all about simplicity. This is going to be even more blurry. Let's just run the gaussian blur again. That could be out here. We can edit this to make it more vibrant and more purple. So it's going to go up to adjustments. We could do a hue saturation. We could add a little more purple to it, a little more saturate, not too much saturation, just a little pop. That one's simple. Just using a few flower elements. We also spin a few of these to make sure it doesn't look like we just copied and pasted, which is what we did. But we don't want to make it look like. They're the exact same flower. So let's move on to the next one. This one is going to be about going bold. So when we're going to go bold, we're going to have a very bold photo and bold typography. Let's do something different than what we've done on any other page. Let's bring in another dynamic jumping photo. And I found one of a basketball player To that'd be a fun sport kind of thing to go bold. Let's bring it in. Okay. Let's do a quick select might have to do selected mask on this one because I think the hair might need the refined hair. Doing select subject, refine hair. We could always feather this if we needed to. That's okay. We're going to end up looks like his foot got cut off. Is that photo cropped? It is cropped. We're not going to have the full foot, but that's okay because I think we're going to end up stretching him all the way across. We're going to have this. We have everything left and right. Let's break it up and do a diagonal. We're just going to take our handles here. Let's have a leap over to the basketball goal. Let's bring his foot over the flower. That's a great visual interest. For this slide. You see this random Nike shoe and you wonder what is that? It's going to make you want to go over to the next page right there. We have his elbow pour into that next scene. Let's make him black and white image adjustments. We just want to do it to him, sharpen let's do something with this typography. Let's go diagonal with the typography. Let's see what we could do here. Let's go this way. We're going to have to add a space so we can fit him. I'm just going to put a space here, maybe two. I want to squeeze him between things. This is tricky. So we've got a lot of things we got to think about. We want to make sure the basketball is seen. We want to make sure the foot bleeds into the next page. There's just so many different things we have to arrange here, like a puzzle. That looks okay, but I thought maybe an outline type would put more focus on the photo as well. Let's do that. I'm just going to make this a zero fill. So I'd love to add something more to this background that's static. What if we added a splash of something, dust, dirt, water, something splashing out, so it adds that sense of texture to the background. I found I was just went on pexels and I found I typed in water splash and was able to get some water splashes. Let me see if I can find that photo. There it is. Is this a lemon or something splashing into the water? I think that's going to be what we need to explode behind them. We did this in a YouTube post Tube thumbnail post where we use the same splash to add a little bit of texture to a thumbnail. Let's bring this underneath the basketball player. Splashing around. We want his body to hide some of that. I just looks like it's splashing around. We're going to use the magic of blending modes. Let's first add a laying mask and let's paint away. We don't want all these distracting things happening. Let's take away a lot of these distracting elements. I need to paint with black black erases, white ads. I'm just going to get rid of the edges too. Let's bring this underneath. We don't want that flower to be covered up, and let's do a blending mode. There we go. So far screen works well. There's also differ, I like what difference does. See how the outline turns purple when it overlaps with white. That's pretty cool. What this is missing is some dynamic lighting. We can easily add lighting to all this. Let's go up at the top. Notice how Our layers are getting really complicated. This is the point where I would probably stop, put some things in folders. Put each one of these in folder. Just make sure that you are organized and you have everything named. For the sake of this class, I'm just going to keep going. But it does start to get busy because you have one large document. We're going to end up probably having 50 layers when we're done with all of it. Just make sure you name them and you have everything categorized. But I know I need to have a very top layer. I'm just going to add a top layer. This is going to be color highlight. And you can even say what slice it's going to be. This is slice six. I know it's six because it's up here. It's the sixth post. Let's do some of this purple highly saturated purple. We're going to do the soft round brush. I do all of these things I've done in the past, these tools and things I use, I've done them in past projects. Now, I'm just going to paint on a purple glow. I'm going to use blending mose to soften that up. Screen screen looks like it's the winner, screen. But let's also not have it be so strong. We can also add more texture as well. I got this photo just for the dust texture. Let me here it is. It's just a man holding a box, and there's some dust coming out of it. I guess it's an old book, dust dust. We don't need any of this. We just want the dust. We don't want the book or anything. Let me go ahead and mask it. I just want to add a little bit of that dust texture. I got this dust here. Now I can do a blending mode, make this dust a little bit bigger. Oh, there's the man we don't want him, that's okay. We can just select our layering mask right here, and let's name it dust. Watch this. Let me just make sure that is off to. Let's do soft light. There we go. Soft light just adds some depth there. We can add it on top of him or we can add it below the basketball player and just have it be in the background. Or you can not have color, whatever just adds some interesting lighting. All right. Let's move on to the next one. We have this kind of spilling over to this one. This one is going to be about telling stories and narratives throughout a carousel post. I'm going to gather a series of different kind of photos that can represent a story or characters. 8. Tell Stories : I was able to find what looks to be totally unrelated photos, but I'm going to put all these characters together to make it look like we're representing a story or some kind of narrative with characters. I want to isolate all these really quickly. I'm going to do that. This one will probably need a selected mask with all that hair. Okay. We're fine here and click Okay. That's good enough for now, we're just going to have it as a background photo. Let's put him over here, and we have these butterflies. What I want to do is I don't want to get all the butterflies. I just want this one. I'm going to go over to object selection tool, just go to draw over the butterfly and then mask it. Super quick. Now we've got to arrange these in some storytelling narrative. What I want to do is I want to bring in the circle again. It's been a while since we used it. Let's bring in this circle. We have the circle here. Let's make it purple because we already probably most likely have yellow typography. Let's make a big circle to give these characters a background. Let's do Phil. Let's do our purple we've been using. There we go. That helps to frame everything. Let's make sure it's below this goal bold text that we have here. Let's clean this up quite a bit. Let's arrange our characters here. Let's make her bigger and higher impact. Have this butterfly resting on top of the typography, so we're going to bring him in the top of the laring system. Let's make him larger. Let's do a little drop shadow on him. Maybe not quite as strong. It'd be nice if his little wing went over to the right side. Let's do a second butterfly. Let's do a man J, duplicate them and bring them on over and make them smaller, change the angle. Have another little butterfly right over here. Maybe lessen the drop shadow slightly on that one. Let's make this little guy here bigger. We don't need to see his legs. It's not cropped out. I mean, I can't use it like that without doing some heavy work. Let's arrange him. We don't want him to be too far over where he's going to block the bold. Let's have him be the main character. Maybe there's a really interesting way. We can wrap the stories with one of the horns. We'll figure that out. Of course, let's put her in the front, she's bigger. I'd love to make her dress yellow to really contrast with the purple. Wouldn't that be neat. Let's put the butterfly on top. There we go. Just slowly arranging these things. There's one more character, this statue. We don't have to use him. I need to probably crop that out. But it's interesting because he can help bring these two characters together, lay out wise. Let's make this guy bigger. Let's have him really take up the page. Let's make him smaller. And let's clean him up, so let's get our layering mask. We could put a drop shadow to start making sure these pop out against each other. Just be careful. I've been using a lot of drop shadow with this, but do use it carefully. Don't over use it. I'm using it a lot here just to bring elements on top of each other to create a layered look, but just be careful with over using it. It's very easy to do. Let's do this purple. We don't want this to divide the text too much. Let's bring this over just a little bit. Might need to make this bubble bigger? There we go. It's just all about nudging and moving and just figuring out the right placement. It's going to take some time to figure all of this out. After about 5 minutes or so is able to find a final arrangement or layout I'm happy with. Now let's tweak it to make it final and a little bit better. What I'm noticing is this woman. What if we reversed her? What if we went to edit, transform and just a flip horizontal. We're just flipping her around. I just felt like she matched really well going to the right instead of to the left. We have so much going on here. Be nice if we had her start to lead us over to the next slide. She's gazing over, wanting us to click over to slide to swipe over. I also feel like this needs texture. Let me go to my layer here and add a little bit of texture. Of course, you can bring in a texture and just do a laying mask over the photo over the circle. I'm just going to do these legacy patterns, just this dotted pattern. So there's a lot of color happening. Let's do gray scale on this big beast behind us. Let's select him and do a quick black and white. You can also do a gradient map if you want. Same thing with the statue, although the statue is pretty close to black and white. I also want to make her black and white with one caveat. I want to change this to yellow because I think if that was yellow, it'd be really beautiful. Okay. Now, how are we going to do this? How are we going to isolate her her dress? Object selection tool. Let's see how good it does. Oh, not bad at all. We just need to go in and clean it up. Let's just get our polygon lasso tool and I'm going to subtract some of these over selected elements. We don't want her skin to be colorful down just in our armpit, that would look really strange. Okay. Um, I'd probably better to do the magnetic lasso tool because I get a nice smooth selection. But that's really quick. Let's do that, let's do magnetic. We have subtraction on, the subtraction sign. Sometimes you still have to manually do stuff as good as the algorithms are. They're not perfect. With that selected, what I'm going to do is I'm going to create a copy. I'm going to do command J. It's going to create a copy of the selection into a new layer. There's this separate layer here. If I move this, it's just selected. I'm going to call the shirt copy. Can go a quick quick way to do it hue saturation and just quickly change the saturation. There's a really nice purple. That would look good, but we already have purple here. Let's do yellow. What we could have to do is match it. Oh, that's pretty close. A orange yellow. There we go. Probably that. Click Okay. Let's desaturate. This is the full picture of the woman right here. Let's make her black and white, that'll bring a lot of focus on that beautiful yellow orange color. We have something weird happening here. We have this area where the circle and creating this interesting negative space that I don't like. It's creating a negative tension. That's easy. I can shift her over a little bit. Let's see. That space is bigger or I shift her in so you don't have that space. This is little tiny layout things that you think about. You don't want awkward spaces that are just so small, and they don't do anything. We can have the butterfly off of her and that might work. But notice how I did the typography. So tell stories. Notice how this fits like a puzzle piece this whole lay out does. As you have this butterfly and it tucks within this empty space between the L and the S, and things flow well together. We may not need that man. It might look really good without him. I'm just trying to add different characters, I guess, to represent using narratives as a way to build stories. I don't really like this dot pattern. I might even make it an Adobe illustrator, bring it in and do a layering mask. This is not the best way to do it, but it's just quick. There's one more thing we could do. This is awkward right here. This horn. This really cool looking horn is hidden. Let's not make it hidden anymore. Let's add a laying mass to this, and let's see if we can't get this horn to twist using laaring mass. Watch this to twist in and out of the S. Let's make it small enough, and we're going to use black. We're painting with black to subtract our layering mask. We might need to make it smaller to do more details. Look at that. Now it's like twisting in and then twisting back and then it can go in the front like this. It's interesting. You might have to go in black and then paint away with white areas that you might have done too much with. It might be that I need to shift this over a little bit like that to get the right position. Sometimes you don't know until you do it's paint that back in. Okay. This can probably be done a lot better if I took my time and did it. That can be probably done a lot better, but let's move on. Of course, there's green here. There's all sorts of little things I can focus on. Let's move on to the next one. We've done a lot here. Let's continue this butterfly theme. What if we had another butterfly brought over. What if we brought him over, made him smaller, and we had a little girl trying to jump and get the butterfly. We're able to do some lighting effects to practice that too. This is almost our last slide. It'll be about using called actions. Okay. 9. Call to Action : With almost every one of these layouts, it takes time to build an idea, a basic structure before we're able to do lots of fine details. With this, I'm trying to plan this out. I want to have a little girl reaching up, grabbing a butterfly. We're just going to have to arrange these elements to get something really rough at first so that we can start to really get our idea coming to life. You can see all the layers we're starting to have, it's starting to get really difficult managing all these layers. We can have her here, make her a little bit bigger. Let's go ahead and quickly mask her. Then we can have her grabbing the butterfly. The butterfly doesn't need to be super big, could be a lot smaller, she's grabbing it. What's great is that's a theme carried over from here. It's not just random. You have the story narrative being reinforced. Let's change what she's wearing to purple, just like we did with the other girl. We could probably do selective color. Instead of having to isolate it like we did before, we might be able to since that's so red, we might be able to do it quickly here. I just want to change it to purple. Let's add magenta There it is, if we subtract yellow and add black. That's pretty good. Not as good because the skin also changes, not as good as isolating it and taking the time to do that. With social media posts, sometimes you just have to do it a little quicker, then you planned. Let's have her arm reach over the typography, let's bring her up above it. Okay. Let's make the butterfly a little bit more out of reach for her. Let's bring her down. She's jumping for it. She's not quite there getting it. There's some distance between her hand and the butterfly. So let's bring in some texture here. I have the same one. We're going to start recycling some things. So we had this texture that we use. Remember the man that had the book and the dust. We're going to borrow that. Let's see if I can't find it. What's why I named it dust. So now I can find it so do Command J to duplicate, and then I'm going to take off auto select. I can go ahead and drag it and it doesn't automatically select another layer. Just a little productivity tip. When you have all these layers that you can accidentally select. Now I can click back on auto select. Let's drag it underneath everything. There we go. Little dust, add some character. We can even change the blending mode, make it a little bit stronger. Maybe some color dodge. Let's add a glow to this. What we're going to do is we're going to add a new layer on the very top and we're going to we're going to have a glow yellowish orange. We already have purple. Now we're going to do yellowish orange color. Maybe a little bit more yellow than that. And we're going to do soft round brush, make it large, we're going to do a glow. This doesn't have to be super big, maybe 460 pixels. Let's go to click once. It's going to add a glow and then we're going to do a blending mode. Here we go. Probably soft light. If it's on top of everything, it'll go ahead and add a little bit of that color to her hand, it looks like it's all connected. We're going to have something interesting here happening with typography. We haven't done circular text. You can't really do circular text in photoshop. You can most likely get typography and you can warp it. If I do typography, you can go down to transform, you can warp it. But to warp it in a perfect circle, you just can't. So that's no problem because we have adobe illustrator for that. So never be afraid to hop in adobe illustrator, or do the lines, patterns, textures, things like that. Let's do a circle, and let's do a type on path. That's what photoshop should probably get because it's great. Use a call to action, and let's make it our typography, which is mu. Okay. Let's make it bigger. I'm going to go command shift the greater and less than signs that helps to make it bigger quickly, where I can go up here and use my mouse wheel, make it bigger or smaller. Let's duplicate this a few times. Let's make this a stroke. And make it white. We're just going to drag it in. It's going to make a vector object. When I drag it in, since this is one big document, it might drag it in all the way over here. That was a mistake I made when I was first doing this. I'm going to bring it over here and I'm going to find see how we have this gaping hole there that we can do this. It's just playing with typography. You don't have to do this. You can leave it plain. I just thought it was interesting to show you if I want to do something interesting like that, I do go to Illustrator and do a lot of things. That photoshop is hard to handle custom shapes and vector shapes. That's not really what photoshop is designed to do. And that's okay. That's why we learn both programs. And we can even do a color overlay over this quickly. We want to do yellow, but that competes a lot with this. So I think sticking with the purple is a good idea. And then we have one last one, which will just be whatever you want to do. So put your picture there. In my case, this is kind of what I did as arrows. So kind of arrows helping lead to one another. So I have these generic arrows, actually made these in procreate, made these arrows in procreate, and you can I use these all the time in social media, and I just grab one. And I pop it in here, I can make it yellow, make it our themed yellow color or purple. They just give you leading indicators to the next slide. Some leading indicators. You don't have to use them. It could make it busy, but helps guide the viewer to the next page. You could say follow me. A lot of times, I have a picture of myself. This is it follow. That's the call to action, but it could be by this product, buy this, learn how to do this, and of course, there's a book, whatever you're selling, whatever your client selling I just have myself blurred out so you can see me but not really see me, but know I'm there. That's it. That's it. We have our ten carousel posts or carousel slides. Okay. So we can go back over all of this. Everything we've done. I think we're ready to export this thing. Let's zoom out. I like to do a visibility test, put my layers back over here. See layout. What do I think? Does anything need to be tweaked? They're not going to see all of it at once. That's what's unique about this. Usually with a design, you see a lot of things at once. Just keep in mind each slide. Let's test this out. We need to export this. This is what's unique about this compared to other things like YouTube thumbnails that I teach. If you're exporting just a single post or something that's not going to be in slices, you would just go to export. You do export as, it's the highest quality resolution, it'll export as for a digital document is port as and you click Export. This is a little bit different. We want the slices. We're going to go to file export, Save for Web legacy. It's very important that we do this. Save for web legacy. It's going to allow us to export as slices. We're going to leave everything as default. We're not going to touch it. What we're going to do is we're just click on save. And this is where you want to make sure your options match mine. Format is images only. Don't worry about HTML, settings, default, and this is where it is, all slices, so it's going to export all your slices as individual sliced. What it did is it saved a nice folder for me and has every single one of these available as a separate sliced. Now we're going to be able to go to Instagram and load our post. 10. Uploading Our Post & Student Challenge : So here I am on Instagram. If you're really good with Instagram, then this is probably not a big deal for you. You know what to do. But I posted this same carousel post a couple days ago and I wanted to review how it looks in the end. So you just simply swipe and it's all there. A ten slides. Okay. To post this, just go to add a post. We're going to go ahead and add our first one, and we're going to make sure this icon is selected right here is going to be able to stack our posts to allow us to add multiple post. That's number one. Number two, three, four, five, six, seven, eight, nine, ten. We have ten slides, and we're going to go ahead and click on next, and you can preview your slides to make sure everything matches up correctly. And then we're ready to go. We want to add a filter, but we've already professionally edited these, so no filter required. And then go ahead and get it posted and you're done. I hope you enjoyed this journey through creating this seamless carousel post. I wanted to do this because I think it's relevant. It's something that you need to know how to do as a designer, especially one that's going to specialize in social media or any kind of digital design work. But not only that, even if you weren't doing client work. Being able to grow your own personal Instagram account is really important. I've had so many students gain clients just by posting their And so this would be a great way to get some exposure and some possible client work. It is just by posting every day or posting every other day. Something like this that kind of helps to showcase your work. Feel free to use the template that I supplied in the class to kind get everything started so you can hop right in and just start adding your own designs. You can use this same idea created with me. You can even use the same photos if you want. But I highly encourage you to do something a little bit different and post it on your channel so you can be unique, but feel free to use the idea in the course so that you can post it on your Instagram. Account and get some follows. So thank you, and, of course, I've had a lot of fun with this one.