Create Illustrations in Affinity Designer

1. Welcome!: Welcome to the class, create illustrations in Affinity Designer. My name is Monica and I'm an artist, graphic designer, Ed teacher, and I show you how to use a program Affinity Designer in detail. We take a look at all the panels, functions, and options. Affinity Designer has to be careful. It's really a step-by-step class which shows through in depth how to handle Affinity Designer. But once we are done with the interface and explore other planets are options. This great program has to offer. We dig into some projects. So you can finally use everything you've learned and apply it to your own projects. This glass is immersed, but in the end it will give you a deep understanding of the affiliate to design a probe as well as some practice with your first graphic design projects. Don't do it all at once. You can jump between the theoretical part and the exercises so you can have fun along the way. Enjoy the class and join me. Now. 2. The Program Interface: In this video, we are going to have a look at the interface of Affinity Designer. So first of all, you see here some basic menus here on top. Just as you know them from File, Edit and select layer, whatever, you have them all on when it's grayed out, you can't use it right now, but you can use whatever is showing off in white. And then we also have different persona's and different tools here on the top, we need just like the snap tool that is stored true. And you know, whenever you need to merge elements or something like that is all here in the status. And then you have different tools to align your objects when you click on them and go. And different modes in which you can watch them. And don't forget that a personal loss here on the left, and we're looking at those later on. But for now, just note there are different personas. So now we're going to look at the tools on the left side. And the very interesting thing is that when you click on one tool, you have different options on top, just like that. When I click here on this tool or the image tool, whatever, if you want to insert an image, or here, the shapes, whatever, it always gets. Another context menu. Here is a selection tool, is the same like that. And so, yeah, it's all on the left side. And once again, it's in the pick, in the persona from the designer. There's also a pixel persona. And when you click on that, you have completely different tools here. The same happens if you want to export. There also different tools. So let's switch back to the aphasia designer to, and when you have a little triangle on the top right of your tool, you click on that and then you have even more tool to just that there are different tools hidden under it. Just like here, when you look at those, you see there are different shapes and here there are different ways of adding text to your document. Yeah, and here on the right, there are also different palettes and you choose which wants to position they're in, which wants to show. It totally depends on what you are going to do right now. So here is now a color at the swatches panel. Then we have the Stroke panel. And here on the bottom of the layers and effects and styles, you see, again, you can turn them on and off and have whatever you need there. We're going to look at those synth layer on. And at the very bottom. You see they are always tips and tricks about the tool to use. So when you select the tool on the left side and click on it, and on the bottom you see whatever tip for that. 3. The Move Tool: The stream most important tools in Affinity Designer of YouTube, move to enter zoom tool. You can find the move tool by clicking in your toolbar or press Command V. When we draw a shape here on our document, we can click back on the Move tool and then easily turn it around. We can also decrease or increase it horizontally and vertically. We can even distort it. If also in both directions. When you press Command and Shift, you can increase or decrease your object proportionally. When you press Command T, you can replicate your object easily. Let's go back to the Move Tool. When you click somewhere in your document, when you have a selected to shape, it is de-selected. And when you click back on the object, it is selected ones account. 4. The View Tool: Now let's talk about the View tool. It's a little hand and your toolbar. When you click on that tool, you can dive deep into your document. You can go on it, keep left mouseClicked, and then you can move it around wherever you want. And you can use the entire screen. Of course. You can also click on top-left on the percentages and dive deep into your document. And now you can move around here. As you can see at a huge size. Ebw, edit some of the points here on the document. You can still go up and down and dive deep into it. Just by clicking the space bar. You turn your mouse into the little hint. And it depends if you have the magic miles or the Trackpad. You can also use that gesture to move around in your document. Let's click back on the little hint onto you see that also works well. Kindler right-click or double-click on the hand, and then you can zoom to fit, which means it fits into your screen whatever size you have there. Of course, you can also use a slider here on top and your toolbar and dive deep into your document as we did before. And when you lose an overview, can always go back to the navigator here bottom right. If you don't have it, click on Window and open your navigator and they can move around in your documents so you are never lost. 5. The Zoom Tool: Now we've talked about the Zoom tool, which is on the bottom of our toolbar. And like a little magnifier. When you click on it, you can once again zoom into your document until you have it in all three personas, which is a very specific just those three tools are available and all persona's. When you click into your document with the zoom tool, you see you to zoom into it one step after the other. When you press the Alt key, you can zoom out of it. Once again, one stamp after the other. When you double-click on your magnifier screen to fit and half a document fetal size of your screen. Or you click through a right-click and click on, zoom in, zoom out, or once again, zoom to fit. You can also click on a specific percentage, like 200 percentage, or in once again, zoom to fit. You have a slider just like before. And you can also make it bigger or smaller here, once again, she's a percentage. Click into your document as you saw before. And then you can move into the navigator. And once again, there's a slider or you can move in and out of your document. The good thing here is that window you see where you are in your document. Once it is bigger than your screen. When you press the Alt key, you can use your magic mouse or a trackpad to zoom in and out of your document. You can also swipe two left and two right by pressing the Command key. And you see it gets bigger when you move to the right and smaller when you move to the left. 6. The 3 Personas in Affinity Designer: So now we're talking about three personas. You can find them on the top left, which is one, personal is the designer persona. Then we have the pixel persona, and then we have the export preserved. When you hover over them, you see what they are. So it says designer persona, and then you have the toolbar which belongs to that persona. And the same is valid for your studio panels. They are also fitting the persona you have chosen. When you click to the pixel persona, you see what happens. We have now are completely different toolbar here on the left and also on the right side. They are also fitting now to the other program. You can say there are 2.5 programs because the heart is the export program. And this means you can choose an area in your project and export just that one. So let me show you. And now you can prepares the settings on the right for each section and export them just to your liking. Let's switch back to the designer persona. And you again see the toolbar on the left which belongs to that persona actually. And again, the pixel persona, you see all the tools which are there. And as I said, the other half is the export persona. 7. The Tools of the Designer Persona: So now we're talking about the tool of the designer persona. We already talked about the move tool and the last two tools. So we're going to start with art board. This is the second one on the left side. When you click on that, you can already see what it is. I have open two documents here, and one is a box. And you can already see what it is, is, it's more or less a Canva, which you can use or which is used for print actually. And then you have two together and you can put on it what ever you want. So in this case, I have a box and the lid on the top. And if you have something else like a business card or your logo, whatever, you would also put that on your art board. And you have different papers next to each other, which helps to have a better overview. Here in the layers panel. You can also click on the left side, on the right side. And with that, just choose the artboard unit. So now we go to the new tool. And for that, I have drawn a rectangle. And when you click on the new tool, you see there are four different anchors on the, on the four sides of the rectangle. And when you drag and drop them to top to bottom, you see the rectangle is changing. And when you click on the path tool, the second one, you can switch the center point. So when you turn your object around, you can have another center for that. The next tool is for the dots here. And you can distort them. So when you click on that, you can turn it in and change the corners of the object so they are more or less rounded depending on what you want. You can also set the radius on the top just to your liking. Then we're talking about the pen tool. We're going to all the tools in more detail at a later time. But the pen tool is just to draw lines. As you can see. The good thing is that you can modify all these lines as well. The pencil and the other end is just for drawing. You can draw a freehand. And if you do that, it turns into a curve or into a vector. And it has lots of different points which you can also modify and expand and change. So now I have the brush tool and you see me drawing with a brush. I can choose different pressures here from the swatches panel. And just pick brash. And you see there's different. The difference between these brushes and brushes from the designer, from the pixel persona is that they are a vector brushes. So you can exchange them to your liking. So let's get back to the tool, which is a rectangle. And I add a gradient here. And you see a set two points on the top and on the bottom, and it goes from blue to dark blue or nearly black. And you can also choose between different gradients. Now we go to transparency. And once again, you can set two points. When I click on the top. And then I go to the bottom and you see it's a transparency here. Behind that. It is transparent and I can just save that and use it for a project, for example. And I can move that top to top and to the bottom and change the gradient tool. So next one is placing an image. So when you click on that, you need to export an image to your document. I know just choose whatever image I have here. And you see my mouse turns into an error. And when I click with the leftmost somewhere, it appears. Now I can make it bigger or smaller and place it wherever I want. Let's get rid of it and do it once again. And we pick the same picture. And now I press the left key and drag it somewhere. So you see it moves to the size. And here I can also remove that occurs. The next thing I want to show you is cutting the edges. So once again, I get the image. So the crop tool is there to crop. So can choose whatever area you want, bottom, top-left, cried, middle, center, wherever, and crop my image to my liking. I go back to the move tool and can move it wherever I want. And I can also get it all back. As you see. The rectangle tool is just that you can draw a rectangle. Just press the left mouse and drag and drop it to your liking. And then you have the colors we have picked before. In this case, once again from blue to black. But you can change that at any time. You do the same with a circle to just draw a circle and you see the color is always the same as long as I don't change it. And then we have a rectangle with rounded edges, which I can say how many percent or pig flu I want to have them. And I can also do that with my mouse. And then I have a triangle too, which is really nice because you can of course, just draw a trial. And then you have on the bottom right, another triangle, Monica, click on that. It opens another menu with lots and lots of different shapes. And that's because as it is RNA, you more or less draw with shapes. You have something and everything can be broken into shapes. So whatever you need, you can find it here, something similar maybe. And then we distort the object and fitted to our liking. The next one is a text tool. You click somewhere and place the text in your document. You can just type, go ahead and type something, whatever. You can. Of course, smart kid, change the size. And you can also change the phone. You can do whatever you want to do to your text. You can do it with that panel. Just click on that and on top you see the different options you have. You can also use a frame text tool that is something you can use when you have a lot more texts. That's what it's for. Then we have a color picker tool where you can, of course, as the name says, pick the color you want. And if you did, just click into it, you see it is now in your color swatch. And the last two tools are something we already talked about in another video just at the beginning. We go to everything in more detail later. 8. The Tools of the Pixel Persona: In this video, we are going to talk about the tools of the pixel persona. So first of all, we're picking the rectangle tool here and top-left. And we're going to draw a rectangle on our paper. But we first need to make sure that we're on the right layer. You have layer with scratches and one with the shapes, and one with a color. So make sure you're on the right one and turn them off. You can see that what the difference is. We're going to turn them on again and we stay on the layer with the scratches. And now I draw a rectangle and press the Delete key. And you see what happened. The area is going to get empty, where I have pressed the Delete key. And when I press Command D, I'm going to get rid of the selector and switch to the circle tool. Now I press the Shift key to make a really good circle. And when I press the delete key ones again, you see what happens. Scratches again from that area. The same happens with a horizontal line. It's common t. We're going to get rid of that again. And with the other one, we're going to make a horizontal line with a free hand tool. And you can make the selection I want. And I can just go wherever you want and you see am going around here. And that is exactly the area I'm going to select here. And again, I can press the Delete key and get rid of scratches. Was Command D, I get rid of selection again. And then I can switch to the brush tool. And the brush tool chooses the pixels. Once again, depending on the layer Amman. And you see execute. Here when I go over it, it really makes a huge selection. I can of course modify that with toolbar. But what I have selection, I can just press Delete. And was kommen da get rid of. So selection. Next one, the Pixel tool. And I can really pick a pixel here. And I can change the width here and make it, yeah, let's say to about 50. And you see it getting much smaller and emptying another color and you see it's shining through now. And I cannot draw on my layer with the scratches and coloring the shapes actually. You can see it even better when it turn off the other layers here. Just clicking inside, you see it just making little squares. Let's go to the brush tool. It's a pixel brush, so make sure you keep that in mind. It's different than a vector brush. Pick a color of your choice, and then you can just draw with it. We switch to the brush pallet and you see I can pick other precious of my choice here. And yeah, depending on the size, I'm going to have another pressure. Now we're getting to the rubber tool and I'm going to wrap everything off. If I want to move our camera. Here is easy to get rid of whatever you've cropped. And now we have a bracket tool. And they can feel whole areas where the color of my choice just click inside and you fill the whole area here, which is right now a transparent layer area. And you can of course pick another color and fill it again with a bracket tool. Now it's getting purple. And we're going to pick another one here, green one. Just to make sure you can see what I'm going to do next. And the next thing I'm going to do is using the Dutch brush tool. When I go over with the Dutch brush tool, it's getting brighter. You see the areas here, they are getting brighter. And the burn tool, the brush tool makes areas darker. So it's also good if you have textures where you need to make things a little bit brighter or darker, that's where the tools off. And then we're going to use a smudge tool. As much juice, pretty nice to use. Sometimes when you have hair or something like that, no eager in and really smear things. So you see it's getting much smoother when you use the smudge tool. And it's a different to the blurb brush tool when you click on that, it makes things blurry. So let's zoom in again. And you see, now things are getting just blurry. We don't smear them, they are just getting blurry. Ok, so now the difference, of course, we're going to sharpen things. Let's zoom in again so you can see what I mean when I go over it now, it's going to make things much sharper. And then we have the color picker tool, which is pretty nice. You just go in, click wherever you want, and then you look at the color wheel, and it's turning into that color. 9. The Tools of the Export Persona: In this video, we're going to talk about the tools of the export persona. So first we switch into the export prisoner mode, click on the little icon, and then your senior just have four icons in your toolbar for tools, actually. So when we know one to export something, we're just opening another piece of paper. And what you see now is that then all these images, all the stickers are not separately on one layer. They are each on one layer. They are all together on one layer. And you cannot export them separately. And with the help of the export persona you can. For that, we are going to go, we are going to zoom in first so you can see that better. And then we are going to go back to the export persona mood and uses slice two on the top. With the slides told you track area around the eye icon of your choice, in this case, around little monkey and you do it around each of them. We are going to talk more about the Export persona in a later video. So for now, just know that you can slice these different icons. And then we're going to talk about that later. 10. The Toolbar: In this video, we will have a look at the toolbar, which is here. On the top row. We already talked about the three personas, which are a designer persona, the pixel persona, and the Export persona. And then we have several more tools here in the toolbar, and we're just going from left to right. This one is to synchronize the details of defaults from the selection you have made, then you have something to revert. So default. And here are different view modes. So you can just click on that one to have a pixel view mode, or here on that one if you have a tina view mode of two for higher resolution. And this one is interesting and I just can click on it. And you see, you now see the hotline of the whole image. If you want to do that. And it does not matter which layer you have chosen it. You can go quickly back just by clicking on that one. And here you have the chance to move, to move images or objects we have here on your on your document. From the back, you just mark it, click on it, and then you click on that one and move it to the back. And here you just move it one to the back if you have more than one image here. And the same as with a front to move forward, just one step forward is this one. And move several to the front. If you have more than one object on your paper, you use that one. Here is a name of your document and if you have a little story on top right, it means you haven't saved documents. So this would mean I would have to save it because I have made changes here. Now we move forward here you use this one to flip your object horizontally. Here you flipped vertically and you can, of course, rotate anticlockwise and you can rotate clockwise. This is an interesting one. When I click on that one, do you have several things to align your optics so align left, align, right, align center, and of course, spacers horizontally. And you have several more options here. What we get back to that for a later time. You also can force your pixel alignment. You can move by whole pixels, which is pretty interesting for a one or other. Saying you have to do. And you can do that by snapping. And here you have even more features to enable. We go ahead here you can add something to an object, then you can subtract something from an object. Here you can deselect or you can use XSOAR and divide. Here are some more tools like Insert behind the selection or insert at the top of the layer, which is also pretty interesting if needed. I mean, these are just necessary, if needed. Are here. If you use insert inside the selection. Yeah. And this is just if you have an account so you don't have to care much about that. So this does is your toolbar and it's pretty important, so you will use it. We are more often, but I think it will come over time. So just if you need that, you're going ahead and just move a use of several objects you have here. 11. The Context Toolbar: In this video, we're going talk about the context toolbar. So what is a context toolbar to zoom in? You can see that there is not much to show right now, but that always depends on the tool I have shows. So when I pick another tool, just click on one. You see that the toolbar changes. So you have different parameters to choose from. When I click on whatever tool I have, there are different options and different things I can do with that tool. And that makes totally sounds. So when I have the brush tool, there must be other option than for the selection tool. So that is why it there and that is why it's so necessary. We're going to talk about all the different options in a later video where we're going to dive deep into the separate tools. For now. It just says you need to know that there are different options to choose from. 12. The Panel "Color": Now we talk about the panel color. You can find your panel on the right side here. It's called cutlery. And you also have several other panels here on top. But in this video we're going to talk about the color panel. Here is the color wheel on the one hand. And in the middle there are the shadings. So we're going to start with the filling. So with a surface and the stroke. Right now, whether the filling nor the stroke have any color. And you can see that because there's a stroke inside the circles of white circle here. And the same is valid for the outlier. So now we're going to pick a color for the surface. And what I do know, IP color on the outer edge here, which is a color wheel. And then I go inside with the other DOD and pick a color here for the shading. So now we have a deep breath and then you go to the top and you get dark or to the bottom left and you have a white tone. We can also pick purple or whatever color on the same svelte here. You can pick whatever color you want here and go from left to right. When you click on the outline, the outer edge, then this one is in front and we pick another color. Now, the surface is on the, behind the others and the outline is in front. And once again, you can pick a color in the color wheel. And in the middle, you pick of the of a shading. When you click on the white circle with the red line. None of it's true anymore. You whether you do not have an outline and you don't have a surface filled anymore with any color. When you click into shading, you also have a color based on where your color wheel is on the same as well for the outline edges, well, and when you click on the arrow on the top, you exchange the colors. The surface gets the purple and the other one, the pink or the other way round. And with a color picker tool, you just click on that and go into wherever you want to pick your color. And when you click on it, you need to make sure that you pick a color which is slightly different. So let's do it again here. And now we have a little bit of brown. So now you see there is a pre exchange, pre-chosen color. It's not in the circle right now. If you want to have it into the circle, you need to click on the little circle here, and then it switches over and is shown in the color wheel as well and the shading as well as in the color wheel. On the bottom left, you have the HSL values and the opacity. When you click here on the arrow, you see the different values. But you can also just write in a value. So pick here one is 10, 20, 30, and so on. Or you can just type in 53 if you want to, or you can slide from left to right and pick whatever you want. When you click again on the circle, you switch from a capacity to noise. And when we turn it to district percent, you can see on the top and the color that it's looking slightly different. And we can do the same with the outline edge when we pull it up. It's also a noise in the color. So now we are picking the rectangle shape and draw something here and you see what happens. There is the purple outline and the brown inside. And sure you can switch that as we said, but we can also get rid of both. So you know, you just have the outline to see where your rectangle should be actually. And now we click on the outline. Pick a color wherever we want. Picking black, great. Now you see, you just see it's lightly but you can't see it actually. And then we pick on the surface and choose another color. And once again we add the moist, but we do pick another color to make sure you can see what is going on here. So let's go back to a person. And now a chance, true, you see when you go down with your slider is shining through. When you click on top right. And sliders, you have different sliders to choose from here it's grayscale and you see everything has turned into grayscale. But there are others like RGB, which usually use as red, yellow, and blue for web. And HSL RGBA. And of course, CMYK, which is for printing. So if you design something for printing, you always use CMYK. Lab is another one. And of course, greyscale, which we already talked about. 13. The Panel "Swatches": Now we'll have a look at the panels swatches. For that. We pull out the pellet here. We have it's called swatches, and we just drag and drop it here out of the palette here on the right side. And what you see now is the same you've seen before in the colors panel. You see the front color in the back color or the outline, but in the back. And you can also change the opacity. And you see the last colors you've chosen here in the color palette and apply to whatever object you have. When you click here on the drop-down menu, you see a color pedals which are already included. For example, Apple pellet, or also the Pantone color pellets. And these are for professional print and graphic design. And you have for each color pellet, those four buttons here, which are, you have no filling in all black grain 80 percent or white. And then you also have your own color palettes. This is a tumble one which I created myself. And you can create your own color palettes as well. But we are going to have a look at this in a later video just to make sure you already know that there are these options. 14. The Panel "Stroke": Now we talk about the panels stroke. You can also find the panels stroke right in your pellets. And you just pull it out once again so we can see it much better. And they, you have different staff to create your own stroke. When you start here on top, you have a stroke, then stroke was dashes and a brush stroke actually. So with the texture line styles you see and you can also set the width here. And you can set the cap, join and align and see if you have rounded edges or real corners or whatever, you can see what that you can get here. So you just set the right panel. We are going to talk about all this at a later time in detail. And I show you then what is going on here for now. You just need to know that this is there, that we have something like this. And you see, there are all the different things here. And when it, when you look at a line and the same here, when you click on Start and tear the order, set the order, scale the object, you have. A lot of things you can choose from and say where you can start and where it can end as well. And one important thing is that you can set the pressure. When you click on that pressure thing, you see that you can say when its starts with a light pressure or was this strong pressure and how it ends. So this difference here or you, you have no difference at all if you put them all on one line. 15. The Panel "Brushes": You also have the panel brushes. Brushes are very important panel and you can pull it out as well from your swatches and with in. So you can see when you click on the drop-down menu that there are lots of different brushes already included. And you have pixel brushes as well as vector pressures. What the differences are. I am going to show you that in a later video. One we're going to go into detail into the brushes section. For now. You just need to know that there are brushes and the third different brushes that you can create brushes yourself. And that you can import brushes from other sources. Who just important for you to know that. 16. The Panel "Layers": Let's talk about the panel layers. Once again, we just have a quick look at them. So you know they exist and they are in your palettes. So you can once again just pull it out from the right side so we can see it better right now. So this is the layers building. If you're ever had something to do with graphic programs or something like that, you already know that there are layers which exists and layers are pretty important and should think of it like an overhead projector. So you have full transparency and you can put each layer together. Here it is like a layer with different colors. You can set the opacity here. So there is a lot you can do in your layers palette. And you can also adjust for different modes here and set them here. When you click on the drop-down picture, you have picked the right layer before you click on the drop-down. Otherwise, it can look very strange. But beside that, just have a look what kind of layer you're working on. This very important. And if you're in a group, when you pull it out, you see that there are also layers included. Actually. Yeah, here's the same thing. When there is a little error in front, you can always open it and there is something else, include it here. You can also lock your layer and then you then this layer is no longer editable. You can remove them all and put them into the bin. Add a new layer at a pixel layer, and add a new layer. And then you can also make some adjustments with the other thinks you have here. The f x is, for example, is very well known. When you click on that or hear these adjustments. When you click on that, you can see a lot of different things you can do here from adjusting the colors, two levels and brightness and contrast, whatever. Let us here, and that one is for masking. If you're ever need to Moscow layer. And here is when you want to add, edit all layers at once. As I said, we're going to talk about the layers palette in detail and we're in more detail at a later time. It just know that these things exist and what you can do with it. 17. The Panel "Effects": Now let's talk about the panel effects. We can pull it out as well here from our menu and just drag and drop it here next to my image. And there you see several effects you can apply to all your layers and objects and whatever you have. There is, for example, Gaussian blur, the outer shadow and whatever you can just turn it on and off based on the layer Yuan on. And sometimes you see more and sometimes less again, based on the layer you are. And you sometimes need to yet to see what applies to what kind of object or layer. And sometimes it helps, sometimes it doesn't. So make sure you use the right one. You find the same effects in the effects panel on the bottom of your Layers panel. 18. The Panel "Styles": Now let's have a look at the styles panel. Once again, you can drag it out of your right panel here, which is called styles. And the good thing about cells is that you can apply them to any object you create. For example, you create a shape or something. You just apply a gold, a rusty tone, neon or whatever you want to your object. And then it is like that. The great thing is you can load more of those and you can create your own as well. And yeah, basically that is the good thing is you can even create your own folders and half. So here is a shape, a rectangle, and you see me just applying styles all over the place. You see how quickly it works. Just click on that and you have a gold square. And you can also search for them, of course. Or you know, any cell you want like gold. And you put in gold and you get all the gold which you have inside your folders. 19. The Panel "Text Styles": So now let's talk about the textiles. Once again, we have a pellet here, we pull out, and then we have a detailed look at the textile are better. We have a quick look to make you able to start quickly. And for that, I have created another document with a lot of tags from Loren ipsum just and I can show you how you can handle that. You just click wherever into the document. And then you are go ahead and apply a style you can choose here from the panel to the part you have picked. So I just click here somewhere and then I say body. And you see the text is now a body applied texts. So what body is has to be defined. You can't do that. Of course. You can click on no style and your rid of all the styles. Let's do another row here. And at those two as a Heading, Heading 2 is different than having one of course. So in case you are designing a website or something, you will use these kind of styles. You can of course delete them. You can update the character says in case you want to change them. And you can also add, you can also update paragraph styles, of course, and add new style, group style, or create a character style and a paragraph style. I'm sure you can put them into a group, of course. 20. The Panel "Stock": Now let's talk about the panel. Stock. The stock panels. One of my favorite panel because you get everything you need inside. Everything you need. What I mean is that you get a lot of material and you do not just get it from Unsplash, but also from Pixabay and other stock photography sites. The good thing about that is you can use them and create your very own without going to the website and get them from there. So it's pretty easy. You just type in on the top like here we typed in water. And then you can just drag and drop out the image you need to your paper. And you see how big it is an even get all the licensing information on top just before you start using it. It's very practical and you can even give credit to the author of the image. Now let's make it smaller so we can see our image under it. Now, I debit click on the magnifier to have it the size, it fits my screen. And now I can work on the image. Basically, you can also get images from Pexels and from Pixabay. And Pixabay. Pixabay is something for vector graphics when you add the error there. And so now it's just type in sum and grab a vector image and drag and drop it to the top of the image. Here. The great saying now is beside getting the information again on top that you can make it as big as you like. And you may know that Busan embedded document, when you double-click on it and new tab opens. And you can completely modify it because you have all the layers of the image here. You want to have another color or at shadows or styles or whatever. You can easily do that here with whatever we have learned before. So just here we can change the color to a silly blue, maybe. Yeah, So let's do it. And then when we close the image, we can go back to our document. Now you see the blue is applied here. 21. The Panel "Transform": Now we will have a look at the panel transform. And we know this is a pretty important one because it helps you to turn around your objects and deform them and put them in another direction, or set them with X and Y to wherever you want. So we're going to have a closer look at with a, with a quick example here. So I created a shape, just a square. And you see when I move it from right to left, you see that x and y are changing here. And the size of it is 60 millimeter by 60 millimeter, but you can easily transform it. And here is for distortion. And to turn it around. You can also set the middle. And then you see when you, when you do that, that it gets another X and Y. So I'm just typing in 0. So you see that things change here. So in the one-quarter here on the bottom and no longer set to the document. And depending on what you do here, the square moves to the right, to the left, and so on. But you can also do it manually. It's just that you need to know how to do that. So that's why I'm going to show you how, how it works here, but please feel free to try it on your own. And here the same, you can flip it around. And yeah, even distorted here as pretty easy. And it's great for some effects for other snob. But just so you know already how it works. 22. The Panel "History": In this video, we are going to talk about the petal history. And that's a pretty important one because with the history panel, you can just go back in history and redo whatever you have done to your project. So here as a several steps you have taken, but there is a much more convenient way to go back in history, and that is by using the position slider. So when you go back, you see on the left side, now what happens? It goes back to the start. You have to the very beginning where we started to add all the things to this document and where to go for. I can add them back. And that says nothing is I can basically stop wherever I want to and then start redoing things from that position. Arm is much easier than going back to several steps I have here in my layers palette. 23. The Panel "Navigator": So now let's talk about the pennant navigator. And if you know, think it just a navigator, we can move through your document. You are totally frank. Lets a special thing here in Affinity Designer, you can do much more with your navigator power. And yeah, first of all, we use this slider and we can zoom out. And of course we can zoom in. And you see how deep we can go in is hundreds of percentages here to really go into your document, see any pixel you like to. And if you use the move tool, you can even move around here you're thinking this hand tool and yeah, it makes things easier. But there is something even better about this navigator panel. And I'm going to show you that in a second. For example, if you have to go back to a position every now and then because yeah, because you want your because you have a technical drawing or something like that. And you just need to make sure that everything fits together, then you can save these points. And this is pretty awesome. So far is that you need to click on this little thing on the top right and click on advanced to have this advanced mode and then click Add and you create a viewpoint, and it's here called viewpoint one. Now move somewhere else and create a new one. And let's do it just one more time. So we have some points to choose from. And now you can go wherever and just choose the Move Tool and you see it jumps back to right there where you are just from. And of course you can rename them and you can remove them here in case you have several on to. You're not sure which one is which, so you can just rename them. Yeah, that's a pretty nice thing. It makes this program really something special because I have never seen something like that in graphical program before. 24. The Panel "Symbols": So now we talk about the panel symbols. And symbols May 1 sound strange and we also need to open it because usually it's not output. And to do that, you go to your panel and then click on View and studio, and then symbols. And then you see your panel here on the right. And now let me show you what a symbol is when we click here and create the group is large one, so has medico to another one I have prepared here. And here you see the flower and we are now on Create. And you can see here in the Layers palette, and there are several layers, which is usually, which is pretty normal for a flower. It consists of several layers. And the great thing about symbols is that when I have several of these, I can synchronize them and change things at once. So let me show you what I mean here. So you see I've just duplicated it with Command J, and now I have two of them. And once again, when I open that you see it also has several layers. And I know just choose one of them. And when I change the color here on that one, you see it changes everywhere. And that's a pretty nice thing. So if I have a wallpaper or if I have a large document with a pattern without any edges, so we shouldn't have any edges and need to be needless, it is pretty awesome because you just change one object and it changes everywhere. It makes your life so much easier. So now let's go back in time in history here and go back to where we were and where we started. And I show you the whole document here. And when I click zoom to fit, you can zoom out and to see the whole paper I have chosen here. And now you see, when I click on that, there is just one symbol and it's synchronized so it matches them all. And once again, I can pick just one leaf here and change that leaf. And every changes everywhere. Now, just click on one of them and go wherever and to see over the whole paper changes everywhere. That's pretty nice, isn't it? It makes life so much easier when you are designing and all of a sudden try to change something. And on the top right is a sync tool. And this means it's going to sink over all these little petals, but you can also detect it and have half a dozen separate. Sure, you can also delete a symbol, and of course you can also rename it. 25. The Panel "Appearance": In this video, we are going to have a look at the panel appearance. So let's first pull out the PEL appearance and you can see what it means. It has a stroke and fill on it and we can handle that in different layers. We switch to the other documents so you can see this flower and it's much easier to add a stroke and fill here. So now we can start adding these stroke and fill thing. Just make sure that you have chosen the right layer. And then we can just click on stroke or fill and change the appearance of our leaf. So just, let's start with a stroke here. I'm going to click on it. And then a whole new panel opens and I can change the appearance completely. So when I change the width, you see I'm changing the stroke. And here I can change even the color of my stroke. But that's not all. I can also change the fill. And for that, I once again click on that and you see the color wheel opens and I can change the color to my liking. But I can even make more than one stroke. So I just need to click on bottom left on Add Stroke. We're at full depending on what I want. I want to add a stroke now. And then I can click on that again. And once again the same thing. I can just increase the size. And you see, you can hardly see it because of the same colors. I'm going to change that. And now you see different colors. Make sure you have chosen a different width here. So you can really see that. Otherwise you can hardly see it as you just saw. And there you see now there are different strokes. And you can change that. And you can even change the blending mode and these things. So, yeah, let's go over it, but you can basically explore it to your liking. Let's add another stroke. And once again, I'm going to add that, you know, same thing here and another color. And we can change the layering here. So when I move that one up and the other one down, you see it changes the whole thing. So you have a lot of options here. You can choose from. So yeah, here, now you can see it much better when I change to another color. And now let's even add a gradient here. So we click on that again. And there is another tap here on top right, it says gradient and here is something I can change once again. So if you know what you're doing, you can completely make this your own. And you see it now changed from left from white to the blue one on the right. That is how you can play around with strokes and fills. 26. The Panel "Assets": So now let's talk about the panel assets. And that's one of my favorites. If you don't see it on the top left here, you can easily go into your menu and click on View, and then assets or studio, and then assets. And you see it opens up here. And I have already included one digital scrapbooking caret. And I named it dig the kids, the whole category and the subcategory is called say she's. So there are my assets included. Can open it and use, can see all the elements which are added here in this, say she's acid. You most probably note if you are a designer, that when you have a BAD some elements, papers, graphics, whatever, usually have it somewhere on your computer and everything downloaded. But all has so we are names. You probably can remember what's in it. So an even when you, when you click on them, they do not even show up as a preview. That's because for me, no, it's on the server, that's why. But still it's a PSD is pretty large, so usually it doesn't really show up, so I can hardly find what I'm looking for. What can I do here? I can use Affinity Designer for that. And here is where S heads or as a library comes into play. Because I can create my own libraries here, or acids FA color. So now let's get a few elements right into a document, whatever document. And we create our variable, click on that image tool. And this means a window opens and you just choose a few elements are just pick some to show you how that works. Click open on bottom right, and it opens and you see it doesn't really open. They are inside somewhere, but they are not there. So you need to click on it and you can drag and drop them in the size you want or you can just click them and then they are in the original size, which makes it pretty hard to see them on. But we can easily change that. Click on them and make it smaller. So, but how do we get those into the assets now? And that's pretty easy. We just need to create a new asset here. On top right. Click on Category because we already have TEKS as a category. But create a subcategory. You can name it to your liking, just click on it once again, say Rename and name it to whatever you want. I just choose my SKU numbers. But you can basically use whatever you want. Click Okay, once you are done. And now we need to get the elements from the paper into this subcategory. So drag-and-drop to mark them all from top left to top right. And then click right and say add to the add to selection. And that's it. Now we can delete them from the paper, but they are still in our library here. And we can easily get them out there as well. Even if you close it, if you just close the whole essence saying or if you move it or export it, or import it, doesn't matter. They are always there for you. And now you can drag and drop the elements easily and make them bigger and smaller and work with them. Let's get inside them. 27. The Panel "Constraints": In this video, we talk about the panel constraints. You go to View and then studio and constraint. First of all, we go to a website, to our website. And it now has a specific resolution, but it also has a responsive design. So when I make it bigger or smaller, it adapts to the screen. And just, you know, it just fits. Depending on the size you choose. It gets smaller or bigger and you see less or more in the width. At least. We talk about the buttons and take care that they're always on the same area. It doesn't matter if you make it bigger or smaller. It is always on the same side. If you've ever worked with Photoshop or know about web design. We do know that we talk about responsive design and you know that we can create something like that with Photoshop. I similar with Affinity Designer. And you can create apps for affinity in Affinity Designer for MSc and your iPad or iPhone. Well, that we create a new page and we just create a box here in the size of an iPad and I make it gray, no. So you get an idea in the background. And then we also create a button and set this constraints to the areas to the left or to the right of the tub and to the bottom. So we just choose whatever color nodes so to make it transparent to you. And we now put it on the top left, and we pretend this is a button. And this button now has a specific area from the, from the margin. I will group it. Now we have a field. And what happens now is that the button now snow where it has to be placed no matter how big it is. So in the middle there is an element and an around it, there is the screen. And it's the same in the container. You have a group, the group with a backward and with a background, which we pretend to be the iPad. When we know turn off the constraints here. And we just use a container as it normally would be. You see, the button gets to the left and to the top. And it doesn't matter, it just it depends on the size of the boxer. But I just reset that. And now we put on the constraints here and tell it now that it has a distant from the left and from the right. And now you see there is a difference. It gets bigger and smaller when you make it, when I make the screen bigger or smaller. But it always has the same distance from the left and from the top. Now, we said the top and left from this. And we say it's always the same distance from there. So for that, we go to our constraints panel and we just turn on the constraints from left and from top. And say, this is a distance it should have. You can of course choose whatever distance you want. But when you do that and we go back to the group, you now see what happens with the button doesn't get bigger or smaller anymore. And it just, the screen gets bigger and smaller. What if we turn it off and turned on the bottom? And now we make it on and off. Now it's the distance from bottom to the baton is the same at all the time. And you know, it's, it's a strange when we do it now. So let's go back there to the group and we make it bigger and smaller and you see how it reacts now it works based on what we have turned on. And we said now they always should have the same distance from the bottom to the baton. And therefore, it depends. It helps to be like that. So now when I turn on all three of them, it is really impossible for the button to react appropriately. Now we say the distance from bottom to top and left is always, as we said it, but it doesn't work on and it gets bigger. So when I know use this, you see the button has to get bigger because we said it to be the same from bottom to the button and the other, so it doesn't work otherwise. So we also have a specific acid set. So what we have when we buy Affinity Designer, and it's included iOS 12, when you go to View, and then studio and assets, it owns a pound. You can choose iOS 12. And there are different buttons and all the things we have on our iPad or iPhone. Now we just pick one of the buttons sets here just to make sure you understand what we're talking about here. So this is how an app, or for iPad or iPhone would look. And when we double-click and make it bigger, you can see much better. So now you see the constraints is also on here. And when we pick a baton, you see that it has a specific constraint from the left to the button and from the top to the bottom. So when we change that, so first we try it and you see what happens from left and target always has the same constraint. And with a pink button, it's also the same from top and left, but from the orange button, it just from the top. That's why they can the overreach other one, you make it smaller. So you see those are moving while the top is always the same. And from the pink and blue button, the right is also right or left area is also the same. This means when you move them now under changed something pink and orange. Now what I have set as non-flexible and purple and blue is flexible. So that's the difference here between, but it's not when you design an app. It won't help. When you have an app, you have two resolutions, actually, one for the iPad and one for the iPhone. So you set them accordingly to what you need. To. Different distances have to be flexible as to have not. But you need to take care of that when you create or when you design the app. You see how it happened, what works now and what not, depending on what you said in the constraints panel. Yeah. You see when I make it bigger, it looks a bit strange here. So it depends. So that's enough about the constraints persona, you have an impression how this works and is really helpful from time to time depending on what design is nothing you need all the time, but you definitely needed and you need to know what it is. 28. The Panel "Glyph Browser": So now we talk about the browser. You can pull it up when you click on View. Then studio and glute pro. It contains all the special signs of each fall you have installed on your computer. Here you can see all the forms you have installed. When you click on one, there is only the special signs which belong to that form. You see it changes when you click on one of the falls. And there's also a search bar where you can search for special signs. And at the bottom you see the last special characters added to the glyph brother. So we show that I have pulled up a new document. Click on, click here, and then double-click in the glyph brother and a special sign. You see the special sign comes up in my document. You can also increase or decrease the size of the special characters. You see now, very small. And you can also click on largest size and you have all the signs here. So I'm big routines, you can still read all the spatial science. 29. The Panel "Isometric": So now we talk about the parent is a metric for that. We go to view. Then studio and is a metric. With that pal, you can draw a 3D object. Now you open a new document with Command N, or you go to File New, and then you have a new document, whatever size you want, and then click on modify. And now you already have the appellant. You can a preset. We just pick now a preset and show grid. And we want to have this 3D object close to that one. We have this panel, the current panel here. And we have three different things we can draw now. So we start with a top side. Now go to edit and play. And now we want to draw the top of the square. And now you see how easy it is to draw it and even give it a color here. Now let's go to the side. And again, pick the panel, the shape, and you see just drawn. And now I pick another color and no, uh, go to the front and do the same ones again, I pick, okay, I pick another color, no change to the colorful left. So, but we are going to change that in a second. I draw a little bit bigger so I can show you that. You can modify that with a snap function. You can make it smaller. And now we pick another color once again. And now you see how easy it is to create this QPR, which is easily created with the asymmetric panel. 30. The Panel "Character": So now we talk about the panel character. You can find in your Qu'Appelle pellet or you can click on View and then studio and character. And he hears a character pelt. And there are so many different things you can set for your force. So first of all, we click on a new files and health some texts there so I can show you what's going on here. You can find all the installed fonts you have on your computer and just pick them and shoes. And here you can choose the size of the phone and say if it's regular or something else, it always depends on the phone. You can also choose the color here. And the next one is pretty interesting. Go back to white. And when you click there, you can create a box under your, your writing. And you have a star, you can change that to, or you create a new style so you can quickly pick it and you have it the same form, everything you fried. And then of course you have the declarations you most probably already know from many other programs. So you can underline it, you can double underline it. You can change the color of that to how you want to have it underlined. You see there are so many different options. What you can do here, I have close it now, so let's pull it up again with a little triangle here. And you can also crosses or double cross it even. So you see you are so many different options what you can do with your characters here. Okay, Let's go back here so you can see it better because I want to show you this, this one here too. You can add an outline to your characters. So when you click on that, you'll see a whole new panel opens. And you have, once again so many different settings. You can say it has an outline of 1.5 and then you pick the color here. And you can also add a gradient, not just the color. You see. Again, there are tons of different options here. You need to get used to it. So just play around a little bit. Try the different things here and here you can always click on the, on the left and then you can go up and down. And this changes is the same. What happens when you click on the little arrows and you see what I do. I just go left, right, and it goes up and down. And each of these functions if is different, of course. So I go back here and you see here is a pretty interesting thing. Things you often see on social media, if someone is advertising, they have these boxes and other forms. And this is what you can do here too. Here's a telling, of course, and once again, just go right and left and you can apply a Italic to your farm, right? I don't do it here on the errors, but you can do that of course, as well. As completely up to you. You must procreate already know that from different programs. So, you know, whatever you pick here would ever choose to do here, play around, just get used to all these different functions. There are a lot and there's really good for a vector program because vector design has a lot to do with fonts. Here you see subscribe. If you have a topography panel, you can change the different letters here, or you can pick another language and have the right spelling. But I always check that because you never know if that's true. If you go to espanol or something and it's not correct. So I believe you better check that if you have no clue, if that's correct. Again, you can go here and just click on the different thing so you see what's going on here. And here. It's also about the optical alignment. You can pick and change here. So you have so many different options here. And we get back to something like the average tutorial, where we apply what we have just learned. 31. The Panel "Paragraph": In this video, we're talking about the Pinto paragraph. To open that you go to View. And then studio and paragraph, they can make a lot of different additions. And while most likely already used to that because you know it from your text editor program wherever on your computer. For that, we have a new document and I've added some Lorem Ipsum text, so we can use that to modify the text. And you see the paragraph pellet and the right. Now, you have two arrows here. And now you see I can just click here on set, left, right, center, align, whatever. You can just click on that and you must know these already. You justified right, justified left, whatever. You can easily click on that and have that ready. You can also of course, create your own style. Here it says no style, so you can choose one of the already available sad, or you can create a new one. Just click on New Style and aura huge peak heading, body heading 1 to whatever you want here. And you can keep modifying. So text spacing is one of those you can use for. If you, for example, create a magazine or something like that. When you go over this spacing, you see what happens. If I hover over it. You see how the text looks and it goes. You know, there is a lot of space between and sometimes it's too much and just look at a more so you need to be careful using that one. And you also have here the aligning. So if you have a paragraph here, and he used that and I just clicks leftmost and pulled to left or right. And you see what happens here. Right psi with left side. And you can also do it from top to the bottom as well. And you can just do it with one line. You see, once again, a lot of different options here. Just play around and get a feeling for that. It's not one size fits all approach. You have to decide what ever you want, a need for the text you pick and where you have to pick it or where you have to put it here. You can set the space between the same styles. Once again, you can add the pixel here or some the space before and after. Again, just play around, just see what happens and what is good for you, what helps you or not. And here, you can also add some tabs. Tab stops. There are not known included right now, but you can easily add them if you need them, if you ever need them. I don't know When I ever needed. But most progress, there is a chance you can use it. Again. There is more justification. You can set the distance between the letters and the words. Again, play around, just know that there is something like that and that you can use it to decorate your texts because it's all fits together. It has to, it has to go together at seasoning, that's about designing. So you have to see what fits to your texts so we don't have this one fits all approach. But let me quickly show you how to create a list. So I've copied a word and now I just was Command V. I added here and create a list here. So let me make this box a bit bigger and not a mark them all. And from the drop-down there are different options. What I can choose to actually create my list here. You can choose letters, numbers, and whatever you see so many different options. 32. The Panel "Slice": Now we talked about the panel slices. You cannot find the pendant slices in the designer persona, but in the expert persona. Just click on that persona and you see the panel slices here. Now you can't see a lot. So we switched stuck to another document I have created. And there you can see many different elements I put on a document. When you look into the Layers palette, you see that they are all on one layer. And if I want to have each of these elements now separately, I need to use a slice tool. And with that, I can round them all and export them separately. The problem here is that if I export it as a PNG or JPEG, it doesn't matter. They will always have a white background. But let me show you how I do that. So I just drag and drop with my left mouse around it. And now I can also make it bigger or smaller here. Then I have that rounded, but as I said, it's just a white on the bottom. Now you can export them separately or all at once when you click here on export slices, but each of them has a white background. That's important if you're designing something or if you want to create a scrapbook layer or something, then it's a problem when you have a PNG on the one hand, about on the other hand, you don't have a transparent background. 33. The Panel "Export Options": In this video, we talked about the panel slices where we have been before and now we pick the export panel. And what you can see here are different settings, different options to slice your objects and export them. For example, when you are in the Layers palette and you click on one of them, you see all the settings which are used right now. There's a preset PNG, and you can choose any other here, of course. And then you say in which file format you want your file to be after you the export, and you can set that here as well. And when you click on the little arrow and see that it shows the same. It shows also the JPEG format and also the file format it has. Now, you see it's always fit according to their. When you go to default settings, you can set a default and say, I always wanted to have an export in PNG or give a grayscale here. And you see it showing up here. And you can add that to the different layers here. When I click on the plus, you see the standard default setting is already there and I give grayscale. In this case, you see when it exports what it is, then you can even add more. If you want another in PNG, you can do that or whatever you want to actually. Then you can just export it to your computer. Here. You can also set the different amounts you want to have it exported in. You can even add the name and the suffix here. You can build up your name as you'd like. 34. The Panel "Layer Export Persona": In this video, we are still in the panel layer, but we are in the export persona. So it's a little bit different from the layer panel in the designer persona. It has some other functions here and we need them to export the pieces from our document. Here you can open the different layers and say which pieces you want to export. I'm going to show that to you in just a second. When you click on the error, you can open the document or the panel with a different layers here. You see it's called string here. There are several strings here. All those are in the document and they have been duplicated. So you can turn them on and off and you can turn them on and off in the export. You can also export the layer. And if you do that, you have a little sign in front of your layer. So it says that there is something to be exported, but not everything. When you open it, you can see which area is exported. When you double-click, you see which string will be exported. You can turn it on or off again here. And which one is exported actually. You can do that with all the different layers you have here. Turn them on or off, or you'll see it here on the bottom right corner. You can also now, when you double-click, you see which piece would be a slice here. When I click on the slides here, It's always a copy of the file here. So you can see with the blue frame which part will be exported them just as a copy, but it will be exported. When you even go deeper into the document, you see all the different strings I have created before when I created the object. And again, you can turn it on and off and also on, off when you export, you can say, Okay, I want you to export that part of the document only. And if you do that, more than these appear here in the document because they are all copied, so they appear in each string. Actually. When you go now to your batch builder here, you see what is going to be exported. You have learned that in the last, in the last video already. What is going on here? 35. The Panel "Snapshots": Now we have a look at the pen snapshot. You can find it. When you go to view. Then you click on studio. And on the bottom snapshot, it is now on the bottom right, and I just drag and drop it here to the top. Possibility to take a snapshot of the point where you are in a document or in your work. And it is different from history. Actually, when you use history, we have just steps. We can go back. When you have one step in history you like, and another one you don't like, then you just overwrite it. You either snapshot, you can just preserve it. So you are at one place when you have a layout and you really like it and maybe you want to work on it a little bit more. But we can take a snap of that. Click on Create, give a name if you want to, and then click Okay. Now you can go back to the snapshot whenever you want. Now we do just as we want to work, keep working on this document. And now let's go back. I just double-click now on the snapshot and we're back where we were. Now, you can, of course, add more snapshots on one or you can delete if you don't need the snapshot anymore. It's also interesting that you can create from the snapshot new document. Then you just click on top right. And you preserve not just the place where you've been, but you can also preserve what you have done there. So if you have a document and green and one of them blue, you have maybe a new document from the blue one. Then you can keep working on that one. 36. The Panel "32 Bit Preview": Now we talked about the panels 32-bit preview. Most probably you do not really need to take care of that panel, but we want to have a quick talk about it. Actually, it is a pen we should talk about in detail. But I believe this is another course, so we just have a quick look. So you know that something like that exists. Click on View Studio and 32-bit preview to just pull up the channel. You know, you have different settings you can take here. And the question is if you need it, but we usually would have to calibrate our screen actually. So we need to download a screen profile from the Internet, for example, from Open Color IQ. There is one from for each program, there's a special color profile. This is what we would need to download and had to Affinity Designer. And then we can see on Affinity Designer preferences and click on Color. And we have the profile, we have download, we can actually add it here. That is all a little bit complicated, a bit too much or much more than you ever need, but you should know that something like that actually exists. So we had just a quick talk about it, just a quick look. So you know, this is possible here, but most probably you don't need it. 37. Preferences: Last but not least, we talked about the user interface in preferences. You see we can just drag and drop our panels here and put them together or put them to the left or the right wherever we want. This also works with all the penalties we have. We can just make the surface just as we'd like. But it also can lead to a messy program. We can just reset, go to View Studio and then reset studio. And everything goes back to where it just was. Not. Lets go to View Studio and height studio. So now you have hidden the whole studio panels. If you don't need them or if you need to focus on something, or go to View Studio and height Studio once again and we have it back, or go to View Studio and left studio. And then now we can also drag and drop our studio planets here if you want to. You see that also works. The left one is most mostly for the assets, but we can still wreck and drop our pens there if we want. We don't want that. We can turn it off once again. We just keep it on for now. But just to show you what's possible, you go to Affinity Designer and then preferences. There are much more settings we can look at. Have a look at the background. We can just turn it up to make it brighter or dark to make it darker. Again, this is absolutely to your liking. It depends to your preference. What you'd like to work on. Some people like more when it's bright and some more or in stark. You can also do the same one. You have an art board. There. It is a Senate white, but we can also make it a dark one. So this is just, let's create a quick artboard. And you see it's bright. And now we can just slide down and it turns into a dock one. Once again, let's just to your liking, just what you want to hear. We talk about the brightness of the entire screen. We have a darker and then brighter. Again, it's to your liking. Same is a phone size. Just make it bigger or smaller and you just click on large and to increase the whole font size. Default is a standard setting. We have the user interface style. Since a few months, we have a dark and light user interface. We can just switch from left to right, from light to dark. You see how light it is. So you might not want to have that. You go to default OS, which means it always fits to your surrounding. Means in the morning, it's here, it adapts to the light you enter on the screen. You can also set the amount of time that tool tips come up. How long you want them to delay is very small, but you can also increase that. You also can reset decimal places for unit types. There are also some other settings here you can click on and turn on and off. You can just try them out. It's all to your liking. So what do you prefer your user-interface to be? If you have a touch bar on your MacBook, you can, for example, an annual, the touch war or disable that. So this really helpful here is also very interesting. Always use white background for phone description. Phone drop-down. We just click on the T and I can show you what that means. We just click on that and now on the drop-down, we have the usual black drop-down. But when we click on that and go back to the dropdown, it's white. So once again, to your liking, I prefer to have the black one, but maybe you like the brighter one more. Then we have our auto scroll for Show Selection Layer panel or the monochromatic icon graphic. Just wanted to turn it on. You see a difference in the icons. They are all now in gray. A studio panels or not. They are stealing color, of course, always show cross air. We can talk about that later when we talk about the brushes. But once again, turn it on and off. Your liking. Show the preview. Brush previews is also a very nice to handle. That's why I have it on. Basically see what's going on here. Just turn it on and off to see what the different isn't what you like most it's the most important. Sing. Now let's go back to have a look at the best things ever. I just get out of that. Now I go out of the full screen. When I do that, you can better see what I mean. Now let's go to Window and then separate mode. And then you have the different screens you have open in separate windows. And you cannot just pull the windows from right to left, from up to down wherever. You can. Also do the same with the panels. You maybe know that from Photoshop or other programs. But you know, once again, it's up to your liking if you prefer that because you already know that view. Let's maybe yours. So just keep it turned on. If you don't want that, you can always go back to Window and then go back from this mode and you're back to where you were. That's it for now about the user's interface. We will go back when we need it to whatever options we have here. You can basically turn everything on and off to your liking. That's why we quickly talked about this one right here, right now. 38. The Art Board Tool: Let's talk about the artboard tool. It has been created to layout all the corporate identities things accompany needs. For example, if you need to create a business card and paper and an envelope or whatever, you need to do that. So let's start by creating a new document. Choose a template and a4 here. Now if I want to create a business card, I can just click on the Shape tool and draw a business card. But for now I can just call it business card. Now I can start designing whatever I want. But later on if I want to create a sheet of paper for the business, for the company, I could just create a new document, but I don't have it altogether. I have to switch between all the documents. There is something which is much easier and that is an art board. So I just started with the same thing once again and create an artboard. Click File New, and then choose a business card for example. And then say here, you want to create the business card in different measurements. But we just want to click create art board and then take care of the color format. If you want to have an RGB or CMYK, if you give it to print company, then you should choose that here. Then of course you can choose a different color profile here if you want to. Each printing machine has another color profile. You should pick here, but for now, it's just good as it is and we pick that one. Then we just click Create here. Now we have a large art board. It is just like a lightbox, just called business card once again. Now we don't have to stop, we just make it smaller. So do click on the magnifier and click 50%. And you see there is a lot of space around the business card. It looks like a lightbox actually, where you can add a lot of different documents. Just like in photography, where you could put a lot of different pictures and have a look at all of them. You can could switch them from top to bottom and wherever. You have a huge area now where you can work. Now you can create different documents here. Let's say we create a second art board and just drag and drop it here. On the bottom right, you can now just set the size you want to have. For example, we want to have an A4 here. It has 210 by 207. And now we know it's an A4. We can start now creating or designing it and add there wherever we want. And don't forget to give it a name all the time. Because otherwise you'll get confused later on when you have several documents open. Now we add another name for writing paper that is, and now we keep designing. We cannot create this document and then we can add more document. Actually, when you are ready, it could look something like that. You have a logo here. On the right side you see the logo. Inside the logo. When you double-click there is, it gets large and you can, if a detailed look at it. When you go on switch from wherever you see how that goes, it all has a different layout and we can see we can have a deep look at it and change it even there. Whenever you want to go back, you just click the magnifier and then zoom to fit. And you have an overview of all the business cards identity you have created here. So each one has its own board now, and they are in original size. And you can go back in and change them things. And even if you have more things created like a mark or something else, and your customer comes in and wants to change something. For example, he says that the logo has another color so you can easily change it. And that's a great thing. You don't have to go into each document. You just go into, for example, into logo. Click on that one. You pick whatever layer you want to change, then you can just do that. Exactly. So I have a layer now with all The letters. And now I just go on FX, say Color Overlay and pick another color. Make it really clear what I'm doing here. Let's pick maybe a purple or blue so you see the huge difference. What happens now? Everything has changed at once. So it all has the same color, it all has the same size it had before. So much easier than going into each document and changing it there. That's a huge advantage of the Artboards. Once your customers happy, you can just export it as a PDF. So go to File and then Export, and then you click, for example, on PDF. If you want it as a PDF, then you can choose the preset you want to have it in. For example, if you wanted to have it on your computer, just click PDF, or if you want to have a surprise for digital, for web, so just choose the format according to your needs. For example, you don't want something for your website. For 50 megabytes. Those you want to have pretty small, and that is why you choose different formats here. Or maybe a printer. Printing company has a PDF but x minus four, and then you can just pick that format and export that one. You can also choose if you want to export the entire document or just a single single layers are single projects. Yeah, Actually, for example, if your customer wants to have a closer look at them. You can also say if you want a background or if you don't want to have a background here, you can just pick whatever you need here. Once you have done that, you click on export. And then you see when it has exported, how it looks. Let's open it. And you can see now that everything we have created is in one PDF and you see all the different pages here. So flyer, business card and the envelope on the sheet of writing paper, whatever you have them altogether. And you can give those to a printing company. So you see the artboard is really necessary to create larger projects and you can create lots of different things with it. 39. Objects: Now we talk about objects. Objects are everything we can draw in our program. It doesn't matter if you use affinity or Illustrator or whatever program. You're overweight. You have a Rectangle Tool, Ellipse tool, and rounded rectangles, as well as Polygon tool. We open the polygon tool. There are several to choose from. We can also draw objects with a pen tool or use the vector brush tool. Now we'll talk about the opacity here. When you have an object, you can decrease or increase the opacity of the approach of the object. For that, we're going to click on one of the layers here, and I turn off the scratches here. And then we have different objects. So I just pick one and double-click on it. You can see it. And then we can increase and decrease the opacity. We can do that by sliding with a left mouse to the left and to the right. So we decrease and increase. Now, we decrease, increase back. That's how easy it works here. We can also use the slider here and decrease in twenty-five percent steps. Or increase. Of course. You can even use the keys on your keyboard and just type in here for 41%, for 10%, and click back on. And I can show you how that works. I type in one and you see it's just 10%. Or we type in another number and it increases again. We'll talk about the blend mode. We have several blend modes here in our layers palette. So let me double-click on the image, so we have it in full size. And then you see that there is another layer which is called scratches. And when I turn that on and off, you see the difference already. Now it's off. And now we turn it on and you just see the scratches here. I have shooting the pass-through mode, but if I chose know the normal or doc multiply whatever mode, you have a different effect here. You can play around with it until you have the effect you want for your object. If you need to know that they exist. When I turn it on now, you see how that looks. Now I have both layers and they are against something. You can choose whatever you want here from the drop-down menu. So many options, but it depends on what's on the effect you want to have. Now let's go back to another thing I have prepared for you. Make sure you understand these blend modes. I have created six diamonds. And when I go into that group, you can see that you can pick each of them separately. When I click on the right one and put it over the left one, you see what happens? We have a mode. When you look at the layers palette, you see that I have multiplied both diamonds is how it looks now. The one orange and the other orange and both are together are darker orange. That's a multiply mode. Now let's go to the second here. Again, I pull it over here. You see what happens. I have the screen mode, which is a distraction against the multiply this cis double. And that is distraction. If you subtract the one from the other, the third one at another option, you can pick on these other three which are often pick. That's why I'm going to tell you about them here. The overlay, when you copy both layers into each other, these other preferred modes. And maybe you choose that or you can choose any other. It doesn't matter, it's just up to you. But those other common ones, we can dig even deeper. Let us make pick one of the groups and then we click on the layers effects. Then you see you have several more options here. We can just turn them on one, we have picked one of the groups, not the entire group here. And then we can apply an outer shadow or an inner shadow, whatever. Just play around, just try it out. So now you can also have your blend modes here, but only if you have played with radius and offset before. Otherwise, you won't see your multiplication. If you don't have anything you multiply. Now we want to arrange our objects. There are several options for that. In Affinity Designer. Have a look first at these layers. I have put them all in the layers palette, and you'll see the yellow one is at the very bottom, on top of it as a blue one and the pink than the green and the purple one. Think of them as you would think of an overhead projector with some transparency sheets. When you put the blue one over, under the green one and so on, you have them all over each other. Now we can sort them of course, differently. If we just drag and drop the yellow one on top, It's over all the other sheets here. Now you see the yellow one is over the purple and the blue. You can't see that it's over the green as well, but it is actually in all of the purple 12. Let's put, put it back here into the group. Of course. Now I drag out the layers panel so you can see it binary can make it also smaller or bigger just to your liking, just as you need it. But for now, we just need the entire palette here. And when you now drag it back into here, you see it has the same thighs as before, but you can also drag and drop it from left to right just to your liking wherever you want to have it. Now let's talk about getting your objects into the right sequence. For this are these four buttons. You can set them back, one, move to front and move to back. And you also can just move it one step back, one step for water. I just click on the purple one and move it back. And you see what happens. It's on the very bottom now. You can't see it correctly because it would lay under the yellow one. I can move it to the back, to the front or just say one step back. Now it just another green not under the purple, are not under pink and the blue and the yellow one, it just one step backwards. You can also do it in your layers palette, of course, and see where you are, where you are moving. Watt, think of it like an overhead project. It was different. Plastic sheets. Insertion. Let's have a look at this free buttons on the top right. Then I go to another layer and we have a look at those here. And for that I'm going to draw a rectangle. First. I need to draw the rectangle in whatever color just wanted to show you. Then I click on behind selection. And then I can draw whatever which is then behind the selection. So I need to go out and back in again and pick another color so you can see that. And click on the button there behind selection and draw thumping and you see whatever I drawn out is behind the selection. You can also use the other true, which means you can put something in front or inside. Let's go back. Pick another color. Click on the top of selection. Pick another rectangle here. And you see what happens. It's now on top of the selection here. You can also do that in your layers palette, so you might not need that. So often. Insert option is to have something inside the selection that once again, I pick rectangle and draw it here. Let's draw a circle so you can see better the difference. And you can see it now here. What happens? It just depart which I draw inside. It's what is inside. It's not distracted. It's still there and you can move it around. But you just see a part of it. Let's align the objects now. A very nice uptrend here in Affinity Designer. We don't need the entire Thanks. Now we had hint just here. We create a new layer and put that one on top. We can turn that off. I can show you the alignment for that. I go to the studio assets and just pick several elements here. I drag them onto my document. Doesn't matter which elements you have no, Just drop several. You can see the difference. I'm using the say cheese kid. Once again, it doesn't matter what you use. I mark them all and make them a bit smaller so you can see that better. Then I put some somewhere here in my document. If you want to have them in one line now, you really need to tell the program where you want to have them. Once again, I mark them all. Now we go to the alignments here. When you click on that, it pulls up an entire document or in attacking you dialogue feel to you. Now you can say where you want to align it horizontally and where you want to align it vertically. Don't forget to click apply and you see what happened. So now we have aligned it horizontally, but we don't have it in one row so far, we just half the distance between the single objects can also put them all over each other centered. Which makes no sense right now. Then we can say align vertically and put them in one line. Maybe you need to play around a little bit here again to really experience what we're talking about it, this tell if you are just watching, you really need to try it out or figuring before you really understand what's going on here. We can also do that vertically. So I just put the objects under each other here on the left side. And we basically do the same. We mark them all. Then we say we want to have the same distance. Once again, we go to that dialogue here and click on vertically align. And then we can also say center or whatever, just play around here. You see, when I click here, I can also say, set the same here in the dialogue. Once again, play around, won't bring you anything if you don't do that, don't forget to click apply. Anytime you have made changes. Then you have your objects sat. Mirroring. Another handy tool. I'm going to delete that one and just pick another element here. We going to pick a camera week, are going to mirror that. For that you need to duplicate it was common G. Then you flip it horizontally. Now you flip it vertically, sorry. And then you can decrease the opacity. And you see you have a reflection here. Of course we can have a more stronger reflection. You can also turn it around once again, which makes no sense here because we wanted to have a reflection. You need to have it like that. Let's talk about the rotation of optics now. You must properly have done that in another program. You just click on it and you see you have different angles here. I'm just going to drag and drop another element inside. We can have a look here. So let's see. Yeah, let's pick the branch. I decrease it. Now, first of all, we just use that little dot here on top. And you can see you can move it to right or left, whatever you pick. That's nice, but that's not what I wanted to show you. You can also use two buttons here on top. Try clockwise or anticlockwise, whatever. And you can also rotate it in different degrees here, different angles. The interesting thing happens if you pick here the Transform palette. Thank you. Say where you want to transform it. You want to retain it actually. Now we do that on the top left. Let the angle. Now. We can also pick another one. Just click here in the little square, and now it's in the middle. And now we move it around in the middle. Bottom right. Then you move it around the bottom right. Very handy for many things you can do here in the program or with your designing is another option. You can transform. It always depends what you need right now for that thing. But you need to know that these things exist actually. If you press come on J and you press it often, you see what's going to happen. It duplicates. It duplicates around its angle. When you just keep pressing Command J, duplicate them and say how much you want to have it. Always rotate it. Then you have a pretty nice objects was Command G, you have a group, and you do no longer recognize that there is a branch. Let's talk about clipping at the last point. Clipping is also pretty handy and we need that quite often. I have created two ellipses here. And you can see now that we have them both on inside that group, there are two of them, the yellow one and the gray one. When we clip them into each other, there will a piece of lead disappear depending what we clip in where just let me drag it over the yellow layer. You see what happens now the yellow layer disappears here. It looks a little bit like a moon. Not even a half moon. It's still there, but it's clipped away. If you want to say it like that. Let me show you something else. I have prepared. I have drawn with a brush something. Now. We also have another ellipse here and I can clip the one into the other. What happened then? That you are getting rid of all the everything which is outside of it. Drag the brush stroke. This is a brush inside my object and you see what happens. It disappears. It's still there, looks like before, but now it's a clean edge. 40. Layers: This video, we are going to talk about the layer palette. First of all, we're going to click into the documents so you can see just one piece of the entire document on. We're going to check out this new document here. This is one piece of the entire document. I pull out the layer palette so you can see it much better. As you can already see. The layer on top has a purple stroke under it. And let's show a layer actually. When I click on it, the entire thing is chosen. Here. I can also decrease or increase the opacity, and it applies to all the layers here. I can also use different blending modes here. You can't really see a lot because there's nothing under it, just a black background. Here is something far more settings. We're going to talk about that later. And we of course have the key here so we can lock the entire layer so no changes will apply when you click on that. And you can see that because you have a little key here on the layer. When I open up the layer now, you see in orange that I have lots and lots of layers underneath the layer on top. These are the uptake layers. Actually. I can just pick one piece here and work on that one. Once again, I can decrease or increase the opacity here. I can open and close it. I have it altogether. If I double-click into my layer, It's just zoomed in. I can do the same thing was just one piece here. Double-click and you see I'm zoomed into the document. Once again, when I double-click on one of the object layers, I am zoomed in again and everything else on around is turned off. So I can really concentrate on just that piece of my object. Let's go back. Once again, double-click. We're getting out of the document. I'm back on the top layer here and pick one more object layer. I turn off the key here first. We can work on the other layers. Now let's add a pixel layer. Why I do that is because if I do, I can draw on that layer, for example, with a brush. But for that we need a pixel layer here. We need to switch to the pixel persona here top-left. And then we pick a brush, whatever brush you choose and whatever color you choose for now, then you can just draw on it. You see what happened. I drawn the entire layer and it's going through So I can habits here on top and I can clip it in. I can add some blending modes, and I can add even more here. For example, the layer effects. So just click here on the little sign and you can apply the layer effect just to your layer here. For example, this one, if you wanted to have a blurry. You can also get rid of it when you take off the box again. You can also hear some motor example if you want to add brightness and contrast or he, some curves, you can change the entire look of the color. You see another layer comes up here. For now we can get rid of that one. You see again, the purple layer is still on top. When I create a new one. It goes above that. So let's get to it. This, pull those on top. Half, them clipped into layer one. Well, it's now on top so it's shining through here. Because I just give it a name. First of all, I can also give it a color. Maybe we make it slightly different than the other one. Make it to right here. So you see that layer has a red one and the one above is purple. And the other object layers, it won't have a color at all. They just have the orange on the left. But you can also give it another color here on the right. Well, that you click on the layer and on the bottom, you just pick one of the colors there. Maybe you want to pick all the green because you change, you wanted to change something there so you can do that when you have marked them before. So it's really handy just in case or if you need to correct something. And you would also do that and just make it, for example, red. So you know, there has something has to be done to those. Now we want to create a group from that. You can do that with a right-click when you mark them all and click Group or your press Command G. You also have a group here. Now let's add a mask on top of that. So just click the masking here. You may know the masking already from other programs. Which means you can blend something out just what you have already there. Let's click on that. Now I pick one of the brushes and just go over the dots here and see what happens. They are going to disappear. Recurse they have Mellon mosque. It is like if something is lying on those dots here, you can also have them turn back on. Of course, you just have to switch the color and go over with a brush again and you see they will appear once again. This is how you can turn on and off the different elements here in your layers. I can now turn off the entire layer or deleted. I can click here bottom left and edit all my layers. I just need to be on top of my layer, not the object layers, but on top of the entire layers. I can then edit them all at once. Now let's go back to the full mode. And I just go over and switch to the entire document. So you learned everything you need to know about layers here. And we later talk about symbols once again, where you can edit everything at once. 41. Geometry: In this lecture, we talked about geometry. By this, I mean, the tools on top right, there are five different tools we need for a lot of tasks. And we switch to another document I just created. I made black background and on top of layer, I mark that one red so you can see it better. Now we start by drawing some circles here. Just draw some circles wherever it was, Command and Shift. Because I want equal circles. Draw them wherever you want. We move them in just a second. Just draw some of them and we're going to take care of them. Now. Let's go to the selection tool. Make sure you select all of them at once. Otherwise you can't go ahead with command. Also select all. Then you select the bottom layer as well, what you don't want. Fresco mom, then I'm getting rid of that. You see it snaps to just the circles on the top. You can also move all a single circles and we make them overlap now. Can make them bigger or smaller, but make sure you press a shift so they are equal. Whatever shape you create. Now it doesn't matter just to make sure you understand the basics of these tools because we'll need some quite often when you create your own shapes. There are different versions. Now, when I click on Add, I create an entire shape. You see that just one shape now. And it's called a destructive shape because now you cannot change a single elements anymore. You can't go in and change any of them. You have just one left. Or there is another way to make the most destructive. Let us what we are going for now. I go back with Command Z. Now I don't click Add. I click the Alt key as well. And then at, and then it creates a group for me with all the layers in it. We just talked about when we just have seen here. This is not this directive. I cannot click on each of them and enter each of them and move each of them unless a really important thing. So you see, I can just mark them and go into each of these layers, which is pretty important. You don't want to do anything destructive as long as you can. Because if you change your mind unique to go back, all the steps, makes no different to make it right from the beginning. When you do a right-click on your layer, you can all still at one off the geometric tools like add or subtract or intersect, or X or play around and you'll see what happens here. When you subtract it just yeah, you see what happens. All intersect. Now. You can make it bigger and you see what happens with intersect is like a window where you can move it over it and you'll see what's behind. Let's go to the other one. Once again, you see the difference here, what happens? It's all about realizing what you can do here. It's not about knowing how to do it in what should you need that it just mentioned or just realizing it, you can do something like that. Sure. You can do it with those on top as well. But as I said, it's destructive as long as you press Alt key as well. 42. Pen Tool for Curves and Shapes: In this lesson, we're going to talk about the Pen tool. I bet in graphic design or here in Affinity Designers, a pen tool is one of the most used tool. You can find here in the toolbar. And when you click on it, you will see it's magic in no time. So let's explore that one. I have an example file here. And if you open the file with a little error here, you can see how many different layers it has. And basically the entire paper consists of shapes. And if you click on it, you see, yeah, it looks a little bit blurry because of the textures, but when we double-click, you can see that this is basically just a shape. How we are creating such a shape is pretty easy. You just need to know how to use this pen tool and how to handle the angles. When I click on the angles, you can already see what happens. I get mirror if more ankles. I can use those to adjust whatever I have. Now let's create our own shape. So I zoom out and have a new document open in just in black. And I click on the Pen tool here on top, you pick the right modes here. And then you choose white as your color because you can't see anything otherwise. Make sure the stroke is white and then zoom in and just click a few times so you can see how that works. I just make some angles and you see when I go up and down, I can move them in the right direction. I can edit all that later on. It's no problem. But for now, it's great that I can just have a stroke. Now. I can just go on and have a few more angles here. Or I can close the stroke. So let's first have another angle, then half that field so you see the difference. So let's get to the fill color here and pick whatever color you want. And you see there is no stroke around the object to close the enter, sing just these three angles here. And the rest is just the color, and it fills automatically. Now we can change that. We can actually also close our past. So I just click on the first dot here, first angle. And when I do that, it automatically closes. And you know, see I have filled a shape with a color and a stroke. And basically that's all what is consists of when you are doing vector over. Now let's modify the shape and we can do that by using the Node tool, which is also in the toolbar here, Two over the pen tool, just click on that. And you can see that your angle got actually two more angles. And when you use them, you can modify the shape and just go, try it out, go up and down, and foreign back so you can see how that works. When you press the Alt key, you can just use one of them. So whether you use the one on top or on bottom, just make sure you click the left mouse and the alt key, and then you can do that as well. Now let's explore this tool further. When you click now the control key, you can even modify the angle, as you can see right here. And now we can even press the Shift key. And when you do that, you can set the angle to 15 degree and move that. And you see it just turns over for 15 degree in whatever direction you want to. Another thing you need to know is, what do you do when you have a stroke and you want to close it, but you don't want to close the entire shape. So let's do that. I just click here three times, so I have a stroke somehow and you see what happens. It feels like before with red and has a white stroke. And if I decide now I want to the finished, I want to close the stroke. So I need to press the Escape key. And when I do that, my mouse turns into a little star. And then the program knows that this is finished and now I can even get rid of the filling and I'm done. 43. Create your own Template: In this video, we're going to create our own template. For that. You go to file and new. And then you already see that we have a lot of presets here. When you click on these different tabs, you can see all the presets which are already included in Affinity Designer. If you double-click on whatever template you choose, you can modify it or just open it. You can add different sizes here. I just put now 587 and let's pretty large so I won't open it or might crash the computer. So just to show you that there is under my preset, a preset which I have created. Now I can't rename that and delete it. For now. I just call it test. So you see how that works and that I can rename it. And I guess now before I double-click, I better deleted. It's much easier if you modify an already existing document and creating it from scratch. So for now, I just going to delete that so I don't open it accidentally. Now let's go back to one of the tabs for the different sizes I already have. I double-click it now. And then I might want to change it in a way that I have a new template. For that. I have prepared something. I'm going to add my logo here just to right-click and paste. I have prepared. That's why. And this is a PSD file. Now, this one is when you go, when you mark it and go to your layers palette and then double-click it. You can edit these little thingy here. And you can already see that there are different layers on the right side. And now you can just type in and change it to your liking. When you close the whole thing, it will take whatever you've changed here at this place over. And now you have two different things. You have a template and you have just a document. So we are working in the template now it's a very important thing. And you see on top it's untitled right now was a little star. So I have just added now some rulers. And now I'm going to save it as my template. For that. I go to File and then Export As Template. And then I can choose the location where I want to have it. I have it in my folder for logging, which is called presets. And I'm going to tell you something about that in a bit. For now. I just called this one sticker. And I'm going to show you where you find it in your Affinity Designer program. Just click Save. And now we are going to save that. And as I said, it says untitled, I'm going to close that now. And it won't save it. So now let's go back to File New. And now when you go to your templates folder, you have a folder which I created, which is called foil, which is an English templates once again. And now you see all the templates I already have and the sticker one I have just created was you when you open that you'll have on the bottom one we added, and on top it says untitled and has a little star here. And we're going to now work on it as a document and not as a template. It's a very important thing. Because now we can also modify the template. Of course, for that we go back to File new as you just saw. And when I do a right-click now I can say open template for edit. When I do that, you see I have the template. Oh, and it says sticker and tells me that I'm working in the template mode. And when I do that, you know just how that handy whenever I need the template again. So now let's just put a little rectangle here and save it now. And on the star here you see that I have changed something. I haven't saved it yet, so go to fail safe. And now it's branded into your template. We close it and once again go to File New. And now let's go back to our sticker template. And when you open it now you see the rectangle we have added here. So that's a modification we have here. But now we're back in document mode and create something new from it, something which just fits to that specific document. So if you have more than one computer, for example, one into the office and one at home. And you want to sync this folder, the templates folder between your different computers. It's a very easy here. Let's call it a trick. So when you go to your iCloud Drive or I called folder, there is a folder called Affinity Designer inside which is, are created by affinity itself. And there you can create folder, which is called here for lag. More for you might be templates. And there you see all the templates I have already created. And now you can just file new and then you pick the folder for alarm. In this case, a venue can choose here on the bottom and folder and pick the one you have in your iCloud folder, which is assert should be saved. That's pretty important. And now it's also important that you do it on all your computers and even on your iPad. You can do that to sync all the templates between any device you have. So you can rename it and deleted whatever you like here. 44. Drawing in Procreate and Tracing in Affinity Designer: In this lesson, I showed you how to draw in Procreate and trace in Affinity Designer. Here you see an image of my cat drawn in, Procreate and then imported in Affinity Designer. A little X scores first here you see the layers I have created and then I can easily export my cat here as a PNG file. And once I've done that, I have added it to vectorize, to vectorize a kid automatically. Now I show you this is not the best option. So vectorize the SCHIP program you can get and vectorize quickly whatever you want. But if you do and you zoom in, you see what happens if you do that automatically. So it's always better to do it manually. And you can see the difference here, but let me zoom in and you see all the edges. And then you can see that it's not the optimal choice here to do it automatically. So now we are exported as an SVG file and import it into Affinity Designer. But here you can also see that this is not the best option. But what is the best option actually is to do it by hand annually. Usually, that is the best option. So let's see. It has created lots of different layers and we would have to put them all together to make it really a vector and put all the white ones together and all the colored ones. And then you always have still the other layers which do not fit together. You can totally do that, but it's not the best choice here, as you see, it's not really nicely. So now that we know we don't want it, we can close this document and create a new one. So I say don't close. And then I go to File New. Then pick the 12th by 12th viral cover here and click Create, but make sure that you have transparent background here. Now we can get started by placing the image from procreate. So I use a Place Image Tool. It opens a folder on my computer and then I click Open. And now I can just drag it here onto my document. Place it right, or just use the alignment tool and say it center vertically and horizontally, and then protect your layers so it's not moving around. And now we can get started. But let's first plan our our element here. So we need first an outline. And we do need that because we want to fill the entire CAD white first. And once we have done that, we need to add the little further here. And then the mouse, and the mouse as well as the ears. So we really need to first plan how many different elements we have in our documents. So first, take a moment and fill over it and see what all we need to draw. Maybe on different layers so we can always up that later. But basically, just for the overview, you need to start somewhere. Let's start by organizing the layers or keep them organized actually. So I create a new layer now and then I name it cat. So to make sure that this is named like the outline. So I know this is the whole thing. And once done, I pick on the tools, I need the pen tool here. And also the new curve to selection curves object. And once done, I reduce the opacity of the first layer so I know where I'm drawing here. So let's go back to the right layer, then start going around the kitty. I start somewhere and then start clicking here. And if you don't see what you are doing here, You have no stroke. So let's go on the Stroke panel and increase the stroke size you like. I have five here. I believe that's fine. And now I go over the cat and if I need to change direction, I just click on the Alt key and then I can easily change to another direction. Don't go inside right now. We're going to do that later. We just go around the cat. That's the first thing we need to do. We just need to move around the whole cat. And there are little edges here, like here on the ear. You can also trace them, but you don't have to. I'm doing that right now because I like the look. And now you just go over it. Just know that around. Make sure you hit all the edges and you move the direction if needed. And just go around. All the things inside we look at later. You see I'm leaving out some things here because I'm doing that later. I did the same with the feet. I'm going to show you that in a second. We take care of that in just a bit. First, we need to make sure that we close our path here now. And I always use the alt key to change direction. And you see how easy that works. Here. I can just go over it because I don't really need it. We're going to do it on a separate layer later on. So let's zoom out and you see the feet look a bit strange right now. But don't worry, the entire cat as somehow done. Now, we need to work on the sex. Click on a change to the new tool and make sure you have turned off what I just did here in the toolbar. And now I'm going to adjust the edges here. Just going around and make sure that it's looking really good. I can just use the different nodes here and adapt every sync to my needs and make it as nice as I want here. See at the tail, it's a little bit, it needs to be more round. And here you see the feet. Same thing. We need to modify it a bit. You do that with a new tool whole time. Just make sure you have everything where you want it to be. You see echo here in the middle where there is no node. And I can just pull it down and then adapt it a little bit with the other anchors and make sure that it works. And there they are in what I have drawn first. Be really precise here. You will like it much more in the end. This is what we do later on. As we plan for, is on another layer. I just go around and see if everything looks fine. Okay, I guess we're done. We can always do that later, but I usually like to make it as nice as possible at this point so I can have the outline ready. Let's see. Yeah, you see it looks much more like a cat. And now I add a filling, the white filling here, and have my kitty ready so far. Okay, Now we need to turn off the filling again. So let's go to our layers palette and just click on filling off. But you need to be on the right layer. It has to be the curve layer. And now I can see what's under it. So now let's turn on the background layer. And now I can see where I have to trace. And we need now to go over all these little first here for areas. And for that, we go to the Pen Tool. So click P and make sure you have the tool in the toolbar on. So there is always something edit to the selections. Pretty important because we need to close of feelings here. And then we have to add another one. And if we don't put that on, we have tons of different layers which all belong together actually. So just make sure it's turned on at new curve to select. Let's go over it here. Now you can see much better what I mean, once we have closed this one, don't worry if it's not a 100 per cent, we can always modify that. So click on the a, so it's no tool. And then we can adapt these little notes here. Let's delete if you don't need it or turn it around so you see what happens now, it fits perfectly. What we want to do. Later on we want to fill everything. So I just go over everything first and then we're going to add a filling. So back to the pen tool was just with P on my keyboard. And now you see it. Does not have a new layer, but it has a new selection that's pretty handy. Just go around this one as well. It's a little bit big, so I just decrease the size of the stroke. And I can see much better now where I'm clicking here. It doesn't really matter. You see, I can make them bigger again all at once. So it doesn't really matter. For now. It's much more handy if I can see more. So this one is finished as well. This is something we need to do later on because we can't really close it. So we just go over all the feelings which are separately. No tool. You see, I'm just switching between both. Just what we did together is now something I do alone. And you see, I'm finished now. I have traced all the four areas here and my cat, and now I can fill the entire thing with black. Let's turn off the background. You see it's looking good for actually. If you haven't traced properly, there might be something which is over the edges. So we can always clip that in and then we are rid of them. But look at it here. We are also losing something right now. So it's not the best option in this case. I pull it out again, but be aware that you can't do that. And sometimes it makes sense, but it doesn't make sense right now. So now we need to decide for what we need a new layer. So actually that the first thing we need to know, which is just a stroke in which has a filling. So let's turn on the background again. And here you can see that the whiskers just need a stroke while the mouse has a filling, and also the ears have a filling. What the paws on the back, on the bottom. They address strokes as well. So this is everything we can put on one layer. But we cannot add the mouth and the ears there. We need to have that on a separate layer. So let's go to the pen tool and make sure you have that selection turned off. For now. We're going to turn that on again. But we want a new layer right now. So I'm going to just follow along here. Strokes, turn it now on and click on stroke layer to have five pixel here, just like the others are also adapted a little bit here, so it fits to my stroke. So back to the a note tool. I can enter the anchor points here. Now we just keep going with the pen tool. So back to P. And I'm creating the nose now. So you see now I need that thing. I need the selection to a new curve tool. And then I'm adding here, my nose. Here at this point you see how important it is to plan. And when you have to change from one stroke to the other, always click on the Escape tool. So you go from your closed set previous one and you can move to the bottom, for example, you see now again, escape. Then I draw all phi's that trace it here. And then I press escape again. And let's see now what happens. If you don't press the Escape tool. Let's adapt it a bit more to my stroke. And now p, but no escape. You see what happens close to the bottom one. So we need to go back here. Whos command li? Just press Command Z as often as you are back. And now you can go over it again. So you can create a new stroke. And just the line, I mean. Okay, let's check what else we need here. But I think it looks good so far. Our little cat. But you see how much work it is to trace something actually takes just a little bit of time. Now let's do the whiskers, which are on a new layer. Actually. Pen tool. Turn that off. And again, we're drawing our whiskers will make them not pressure sensitive. So they are much wider on the right than on the left recursive. They're getting smaller as they are whiskers. So it's a good thing. That's why we put them on a separate layer here. Actually. You see the difference. I know it does not make a lot, but these are the little details we can do to our vector to make it look nicer. So if you are missing where I click, so just pause and go back in the video so you can see it again. Again, don't forget to click Escape. Here. See, it looks much better, but it's not all not rounded and curvy. So we really need to make sure it looks realistic or as realistic as a vector. Hand-drawn vector can look actually. I make a group now out of those. And let's see what else we need to do here. K, Let's look over it. Make sure you have the Add New Curve tool on. And let's see if anything is missing here. And if not, we can keep going. Now we turn on the background layer with full opacity so I can pick the color of the ears, which is pretty important. We don't need that bright, so let's move in there, pick it and now you have it as your color here. Okay. Back to the pen tool. And now back to the background layer, which we can reduce the opacity again. And now I click on the cap layer because I want the ears on a separate layer actually. So make sure you have turned the new selection out. So we have a brand new layer. And now you see what happens. It still has this pressure sensitivity turned on. So let's go back there and get rid of it. Just follow along here. So you are back on track with me. Okay. Well, the Alt, we change the direction and we have the stroke around our ear and escape. We can go to the next year and just move around as well. Okay. Now the mouse or the tongue, first of all, because it has the same column. So we can all fill it with the same color. So again, escape. And then let's trace the tongue here. We can always modify things a little bit later. So I just go around for now. Share with a clicking on a, going back to a neutral, I can modify all these little notes here. Okay, it's perfect. Just checking again, going along my ear. So I know that it's just fine. I'm a bit picky I guess, but, you know, too picky, little bit too loose, and then it doesn't look right. You decide, of course, how much effort you put into this graphic. But I promise you, you usually regret if you don't. So make sure you go around. And then you fill in the color we picked and the ears and the tongue are done. Now we need to work on the rest of her mouth. Back to the pen tool. I've turned that off now. I'm just adding a new layer here. Chris, again, I need a new color. Changing direction. Just going along here doesn't really matter because you should not see it once I'm done. And now we need to modify the angles lipid notes here. Okay, turning that off to see it better. Now, I just drag and drop and pull it over where I needed. You see you can be pretty precise here. Again, let's click on the background layer, turn it on, turn on the airport capacity, and then pick the color. So we have it here. Need to go back and then fill with a color. And now we just drag it down. So we have it under the tongue. Yeah, that looks good. Zoom out a bit. And you see it's now pretty much done. I'm just starting my layers now because some might be, might go down. So follow along here. See what I'm doing and see if you want to do it same or if you have sorted it's the same way. Just drag it under each other and see what it's doing here. Okay, looks good. So now you see that trace kid is ready. 45. Draw a Rainbow: In this lesson, we'll learn how to draw a rainbow. First of all, we start, of course by creating our documents. So go to File New and then pick the 12th by 12th vanilla cover here, and click Create. Here we go. And now we can start drawing our rainbow. We turn on the grid first, and then we start by drawing a circle with a hole. So you have that shape in your shapes pelt. And when you go into the middle and just move to the bottom right with the colon key pressed. You have something which looks like a doughnut. Now, we can modify the shape by just making it a bit smaller. Let's see, outer appearance of our rainbow. And now we just need half of it. So let's go to the top and just make it half the size here. Set a start and ending point. Once you have done that, you can modify your shapes a bit more. So let's click here to convert curves and then pull it down a bit so we have a bit longer. Now you see that the top has a little bit destroyed. So we go to our tool and just make it smaller so it's looking alike. So once you have done that, you have made the most important point at this time. So now we can start filling the rainbow with colors. And for that, we go to our color palette or here to the Swatches palette. And I pick the rainbow palette I have created and just fill it with a first color. And of course, I want to have the stroke in the same color as well. So I just go to stroke and click on the same color, but it looks a little bit boring. So I increase the stroke first and then turned into a brush. So now let's pick a brush here. I use watercolor looking brush and increase it so you can see how it looks now, it doesn't look like vector anymore. It looks much more like hand-drawn. So let's give it a little bit of that touch. With Command G. You can duplicate the rainbow. And now we make it bigger again. So we have a second one, and now we'll give it another color, light blue. And of course also the filling is in light blue. And we need to do that again because I want another one as well on a rose one here. Again, both inside and out is light rows now. So now we want to have some dots inside our rainbow because it should be a little bit special. So now we go to the Ellipse tool and draw a small shape here and press command. Just because we want to make sure it's alike and make sure it has a color black. So inside and out, It's black for now. And now we put it where we want to have a little bit of hand work right now. So just put it somewhere here and you see it needs to be much smaller. I zoom in. You can see it much better now. And I can put the number here. I just put in 30 pixels. So I typed. It all worked magically turns into inch. Now I can simply duplicate my dot with Command G and place it wherever I want here in my rainbow. Make sure it doesn't look that much alike, but goes everywhere here. So it's much more fun. And yeah, you see, I keep going until I'm finished here. And then let's go make it smaller, right mouse and zoom to fit so you can see the entire document. And now I want to do the same with another color. But first of all, we mark all the dots and you see how many there are, and then put them into a group with press Shift key. I am Comanche. I put everything into a group. Now we do the same thing with a new dot. We need a new one. I pick one of those dots here out of my group and just press Command D to duplicate it and put it somewhere else. And again, now I'll make it white inside and out. I'll make sure it also has a white stroke outside. You can easily oversee that. And then you can start again duplicating your dots. But make sure you put it out of the group. Otherwise you have all the black and white dots mixed. So we don't want that. I now can just start by clicking Command G and making my dots again. Okay, one son, right mouse. Then zoom to fit. And you see rainbows, nearly done. And now we want a heart shape. So let's go to the shape tools again. I'm creating a little heart here somewhere. We can modify it, just make sure you hold the Shift key. And then I modified to my liking. But first of all, I need to make it black and black. Hardest bit strange. But I don't mind. It looks different. Actually. That's what I want. I want a different rainbow. So here you go. But again, we give the outer stroke, these watercolor stroke. I increase it so you can see it much better. I like graphic, shows much better that this is not a count stroke. So, okay, let me get that out of the group. And on top of everything, why I put all the white dots into another group. So mark them, all of them. Press Command G and you have it all plays into a group. Yeah, basically that's it. We can now even make the whole rainbow into a group. So I market all Comanche. And again, it's all into a group. And now you can work with your rainbow because it's vector-based. 46. Create a Cork Cloud: In this tutorial, I'm going to show you how to create core clouds. So first of all, we're going to create a new document. For that. We go to File New. And then we choose a 12 Lionel cover here. Click Create. And once you have created that, go to the shapes tools and choose the Cloud one. Now you just drag with the left mouse to the bottom right, you clout in the size you want it. Set the amount of bubbles you want to have. I just want to have seven. So I decrease in number here. Next step, I'm going to add some spikes here. So I make them a little bit smaller, just a steep here. Now, I choose of the circle tool and create some circles here which belong to your speech bubble somehow. The next step I just place and where I want them. And then I'm going to mark it all. Once done, I click on the edge to melt them altogether. Now I have a new object here. Next step, I'm going to duplicate the layer. Now I turn off the filling here and create a stroke. So you just can increase or decrease to your liking. And then you pick another color here. I pick a brown. So to make it close to the Corp or you choose in a little bit later. Now, I decrease the cloud a little bit. And of course, I can set to spikes here as I want to just go back to the contour type and redo it so you have the same as the outline. The little circle year has no stroke because it's just too small. But it doesn't matter for this project. If your preferred, you might just make it a little bit bigger. Now we go to the top and I type in Cork. Here. It picks up a and then I have several things which are cork related. And I just add an overlay here. So you see has a little bit small, but we can turn it around and just make it bigger so it covers the whole cloud. The next step, I click on Layer and then I choose brightness and contrast to make it a little bit brighter. And set the contrast a little bit lower. Just play around until it is to your liking. Once you've done that, close the layers and then pull the cork down so it's under the bubble. And you see what happened. Now, I have the stroke inside and we can make that look a little bit better. So I just click on the layer with a stroke. And then we go into the mode here. And I choose another mode which fits my needs. So just play around and choose what you like. Maybe you choose average as well, or you choose something completely different. So you would go to Layer Effects. And I'm going to add an inner shadow. Just click on that. And now you can play around again. See that I have set it to multiply. And now I increase the offset and I increase the radius. Then it looks much better. I click on the Text tool and just type in play with me. And I want another another four here, so I just mark it all. And yeah, I can't play around with it and make it all big key here. And then I just go and in the fall I want, and this case is American Typewriter. So I just stopped stopped writing and pick the four I want. Once it fits to my Bible, I can keep playing around with the color and whatever I wanted to change here. Here, I pick another color the same as I've picked full stroke. And then I also said the mode to average as I did before and add an inner shadow. Everything just like before. Once I've done that, you see it looks like it is burnt in. So I have just merged 0. And now my bubble is done. 47. Create a Button with the Sun: In this video, we're going to create a button with a son. Click on File New, and picks a twelv by 12 template on the button right? Now you have a document we can start creating. Now we turn on the grid. If you don't have the shortcut, please go to View grid. Now let's create the sun. For that. We start by creating a circle. We are going to fill it with the right color. Please open the colors I've added to the class and pick the yellow one. You can also add whatever you want. Now, we're going to change the stroke around the sun to num. Now let's create the sunrise. For that, we use the triangle from the toolbar and press Command Shift and create the sunrise. Once you are done, click on the Move tool and then go back to your first sunrise. Now we just need to create more of those and place them around the Sun. Now we mark the triangle and need to duplicate it. Command G. Now go to your Transform panel. If you don't see it on the bottom right, go to View Studio and open transform and then place it with 45 degree minus 45-degree. The next summary, you have it a little bit rounded and eight of them will make and use circle. Just press Command G and the tool automatically knows how to place them. Now we need to make them a little bit more regularly. So just move them around with a move to place into your liking, makes sure they have the same distance you can use the guidelines you have here. And then you see that your son is ready. Now let's give our son a face for that week. Go to our Pen tool and draw two dots. In the middle. We pull it a little bit down so we have a close, I go to your swatches palette or panel and then make sure that the stroke around it has exercise accordingly. Maybe something around two pixel. Press Command G to have another. On the right. Once again, to create a mouth. We just move it down and place it in the middle. Of course, the sound needs to smile a little bit more, so we make it a bit larger and pull it down in the middle. But that's up to your liking. Just ask you want to have your sunblock. We also need to know, so another command G, to duplicate an eye and move it to the center. We need to make it a little bit smaller because you can hardly see it. You just go to your layers palette and double-click so you can dive deep in. And now you can modify your nose easily. Once you are done, click somewhere in the layers palette to get out again. And the face of your son is writing. Now we need to defer some cheeks for that. We draw a circle and press Shift and Command. And we need to get rid of the stroke. So go to your Color panel and turn off the stroke. Fill it with a color of your liking. Here it's light purple. And then we place it next to the mouth with Command G. Duplicate it, and then modify it a little bit. This case we make the mouth a little bit bigger, but it's totally up to you, of course. You can also just make some more smaller or whatever you feel. Looks good. Now, we'll right-click and choose zoom to fit in. You have the entire document back. Now, we market all press Command G to group it and place it in the middle. To make it a button, we now need something behind the sun. So we need to draw a circle and place it behind. First, just go to the middle and press shift command and make a regular circle and fill it with a color. In my case, I use white. Now click on Layer Effects and then choose outer shadow and play a bit with these with a radius, with an offset and intensity to your liking. So you just need to make sure that it looks a little bit like shadow somewhere. And I also use gray as the color and not that black. I'll now, I pull the entire circle uno thought and I see it's much too big, so I'm make it a bit smaller to adapt it to the sun. Now it just turning off the grid and I'm placing the sun in the middle of the circle. Now your button is done. Export it with a transparent background. 48. Create a Card with Watercolor Stripes: In this lesson, we're going to create a card with watercolor stripes. It looks like a project life card. And to create, then we go to File New. And she's a twelv by 12 vinyl cover. You can of course use another size speakers. Usually a project life card is much smaller, but you can see it better. I use that one. Go to View and then turn on the grid or use a shortcut I've shown here. You can see much better what you are doing, especially when you are drawing the stripes. Now. Now we need to switch to the pixel persona on the top and start drawing shoes, your brush palette. If you don't see that panel, go to View Studio and then pick brushes, and then pick a watercolor brush. If you don't have one, please. Don't worry, you can use whatever brush you like, of course. Then pick a color and I use the colors I've added here to the class as well. I use that blue one. A little bit of an aqua style. Make sure the brush has the right size. And if it does, it's really totally up to you. You can start drawing. I just use the lines as a guide and draw from left to right with one stroke. You see it's not really irregular and that's what I want. I don't want it to regular so I can just make it look more like I have drawn it. And when I go over the line once again it adds up or you see it gets darker as a place where I go over it again and it stays lot lighter. The places I don't make sure you go over the areas you prefer. This is how you go on. You go ahead and draw seven strokes and just let the guide help you to do so just make one stroke from left to right, then add some more color to edit up somewhere on the line. Okay, We're nearly done with all our lines here. And I have colored them irregularly, a little bit more dark here and there. Then, just to my liking, since we have them all on one layer, I can move them around here. But first of all, before we start adding some texts, we can turn off the grid with a shortcut or you go to view and show grid. So it's turned off. Once that is done, we click back to the designer persona on the top left, and then click on the a as a text tool and pick a form of our liking. It doesn't matter which one you put. You can of course, pick the one I have here. You need to search for it on Google. Then you just type in here highs and lows. When we format it a little bit. First of all, I need to make it right, right? H of course, highs and lows. And all these memories of highs and lows go on. The watercolor strokes. I pick, for the end. I pick another color. And now I move it to the middle and make it a little bit smaller here. Lines helped me to do soap. Then my card is already done. So you see how easy it was to create your own project life card. And now you can print it out and use it to your liking. 49. Create a Heart in Pieces: In this lesson, we are going to create pieces of you are hard consisting out of triangles. For is that we're going to create a document first. So go to File New, and then click the 12 by 12 template you already have included in Affinity Designer. Click on it and you see it has a blue frame. And once done, go to the bottom right and click Create. Now we have an empty document which has a transparent background. We want to create a square and fill the background. So just do it with a squared and put it over it and lock it with a key in your layers palette. If you don't have the layers palette, go to View Studio and then click on Layers and you open the Layers palette. Now we need a grid. Once again, go to View, and then click on Grid and Access Manager. And then click Show grid and make sure you pick one centimeter square. So you have several squares on your document. Click close and we can start creating our heart. First, we need the pen tool and create a triangle. This triangle has eight squares, so we just count the eight squares. Click there and count eight to the right and click once again and on the bottom to close our shape. Now we fill it with a color. So go to the swatches I have added to the class. Then click on the yellow to fill it with yellow. Now you have a stroke here. And we want to get rid of that. Click on stroke. And then click the little circle on the bottom left with the red line, so you don't have a stroke around your triangle. Once this is ready, click Command J to duplicate it. Now turn it around. Click the second color, in this case orange. But as a fill color, not as a stroke color. Then we have a square market from top-left to bottom-right. Then we duplicate once again with Command G and move it to the bottom and turn it around. We have all the triangles in the middle. I pick now the red color for the first uranyl and then the Citron yellow for the bottom. Now we mark it once again. Press Command G once again to duplicate. And then turn it around once again. All the triangles meet in the middle. Then again, we color with the next two colors. You can choose, of course, the color of your liking. And we move on with that. Just once again. Mark the two triangles. Press Command D to duplicate, move to the top, and then again, turnaround. Again, recolor the triangles. Now we're done with our trials and we grouped them. Press Command G to have a group. And now we center it alignment, align horizontally and align vertically. We have it in the middle of our document. Now, move to the left tool bar and click on the Shape Tool. And you see you can open the menu and on the bottom you find the heart tool. If you don't have it there, just click on the trial. Once you have it, go to the middle of your square and then move to the bottom-left to create your heart here. Make it a bit bigger. We just distorted a bit. It has a color. Now, the last one we have used, and we can even move the center of the heart and make it look a little bit different. Now, we want to duplicate it with Command G. Once again. Go to the stroke and then click White and increase the size of the stroke or decrease it to two pixel or two pixels, let's say. Then we decrease the size of the entire hard and convert it to curves. Once we did that, we can use direct selection tool and then just move the dot a little bit to the bottom and distort the entire heart or adapted to our liking. So it has the frame and it looks like an inner heart here actually. Now we click on the group and move it to the left of the heart. And then we have clipped it into it. Turn off the stroke here, then we're done. So now we go to the Text tool and choose the UTLA. Worry. If you don't have that one, just pick another one, doesn't matter. Now, I just make it to white and write pieces of you. I just write it first and then I formatted for different lines and different sizes, whatever you like here. And then we can even turn it around a bit. And just to your liking, once you're happy with the pieces of you, you are done here. We group everything once again. Then we can turn the entire heart a little bit to the left. Now I've turned off the grid and we're done to turn off the grid, you go to View and then turn it off what you have had turned on. Now your document and your element is ready. Now we should export it because we want to have that single element. Mark the layer. Then click to File, and then Export. Click PNG. Then don't say whole document but selected area. Now you can just export it and save it wherever you want. 50. Create a Cat: In this lesson, we learned how to draw and modify shapes. First of all, we click on File New to create a document in 12 by 12. So click on the template and then click on the bottom-right create. First of all, we need a grid. So you can do that with a shortcut. You can see here in the video, or you go to View and then Access Manager. And then you can set your own grid. Let's do that because I need to modify this a little bit. So keep going with the same numbers I add here. First we click on top-left and documents setup, and then change the document a little bit. And in this case, we turn on the transparent background and click, Okay. It makes it easier to draw for us. Now we start by creating the body of the cat. So let's go to the rectangle tool here in the toolbar, and then just draw a rectangle here, see how many little squares I use and maybe do it accordingly so it fits to whatever we do next and all the shapes we do next. Right now it looks a little bit strange. So now we need to convert it to curves so we can start modifying the whole thing a little bit. Okay, now click on the corner tool in your toolbar and we make the corners a little bit round. So if you pull it to the left, you see what happens, it rounds and do the same thing on both sides and use the grid to make it look the same. Now our kid needs some ears. And for that we use the direct selection tool and at some points here. So we can just pull it up and have a little ear here. We do the same on both sides and we just drag it out a little bit. So you see it's not that regular. And yeah. Just go ahead and do it on both sides. Just like the first one uses a grid once again, pull it out, and then make it a little bit irregular. So you don't have to do the same on both sides. Just make it look like MCAT ear. And in the middle we do the same. It needs a little bit of a head. So we do the same here as well. Now the cap lock still a little bit boxy. We do the same on the left and the right for her body. So just use the direct selection tool again and move it a little bit to the left and then maybe we pull the other one a little bit in. So you see I'm really doing that irregular. So you don't have a straight cat look in a forensic, it really needs to be a little bit more lively. Now click V2, change to the move tool and also turn off the grid here with a short key. And then we switch to the color palette and choose white as the color of the body for the cat. The next step is to press Command D to duplicate the cat. Then we move to the contrary tool, which is also in your toolbar here. And then you just pull the dot is the point a little bit out or in, and then make it smaller or larger to have a contour in the cat. Once you've done that, click on contract type the middle, and then your cat is inside, is ready. Now we need to click on the stroke and set it to five pixel. And then we switched back to the move tool just by pressing V. Now we create the enact years. And for that we need the shape tool. Once again, let's go to the shape tool and search for the triangles. So just go to the toolbar and click on the Shape Tool to open the entire menu here. So we can pick the triangle, which is the first one we need. Then go back to your document and click your left mouse and move it to the bottom-right so you have your ear and you can see it's already filled with white and the black stroke as we had before. Now have a look at the layers palette and double-click says something nil. So you can have a deeper look at your element. Click convert to curves, and then you can use the direct selection tool by pressing a and just, yeah, modify the ears a little bit so they are not that straight and look like a triangle. We just pulled it out a little bit. And then we can of course, fill it with black. So make sure you are in the fill color and then move to black. And then we move out of the document, just press Command and 0 and you're back to a 100%, go back to V for the move tool. And then we adapt a little bit the ear and make it fit into our cat. My cat layer slipped a little bit away. And to avoid that in future, I first press Command Z to go back, but then I go to my layer. And just lock it so it can't slip away anymore. I do that, go ahead and do that as well. So you can easily move the inner ear here now to your liking. To select it, I click on my inner ear and I can make some changes. You see I'm making it a bit bigger and also distorted a little bit to make it really not look like a triangle. Now I press V to select the layer with the move tool and then press the Alt key and just move my mouse to the right side. I have duplicated my inner ear. Now I click on flip horizontally and my ear is ready. Now we give the cat a black spot on her hat. And for that we need the Ellipse tool. Again. Let's go back to the toolbar, click on the circle, and then we just draw an ellipse. We can adapt it a little later. So press V for the move tool and then move it to the top right under the line. You see I distorted a little bit and move it with my arrow keys. So it looks like it has a little spot on top of her hair. Now we need to create the cat's nose. For that, we go back to our Pen tool, which is also in the toolbar. You can just press P or select here the pen tool. And then we start by creating three dots. Just not click three times. So you have three dots here. And once you are done, click the aim is to move back to the Direct Selection Tool and pull the middle dot down. We can start creating the mouth of the cat. You see I also pull the other two down. So it already looks like a mouth. Now are kept also needs knows. We go back to our toolbar, click on the ellipse circle and create a little circle. It doesn't have to be a real circle, so we distort it a little bit as an ellipse, press V and move it to the top. Now I mark it all, click on top left and then to bottom right, and then I can move it wherever I want. First we now create the cats closed eye. And for that we click on P and just click two times 42 dots on the left and the right. Then we switch back to the eight because we need to pick it here and pull it up a little bit so it has a closed eye. And on the left I put a little bit downloaded to your liking just as you wanted. Now I go back to the circle because I need also the left eye and draw a circle here. And then we need to change the filling to none. So just click on the circle with a red line and then convert to curves so we can distort that circle a little bit as well. Click a, and then you can enter the dots here and just distorted a little. You'll see what I do here. It doesn't have to be two equal. It looks a little bit nicer if it's not, because nobody's perfect right? Now the eye also needs a pupil. And for that we go back to the circle tool and create it. And we need to filled with black. And as you already know, we just move it to black here from no fill and then move the pupil to our eye with a V. You can place it where I want. I put it on the left a little bit because it looks a little bit more fun. Now let's maximum pupil. And the outer I just click on the pupil and then press the Shift key and the outer eye. Then you can move both elements wherever you want. Now we want to draw our kits glasses for that. We go back to the circle tool, click on that. And then of course we don't need to fill because it needs to look through. So we switched to the stroke and non filling for the outside. So make sure you pick the right one here. And then I have orange because it looks fun. And then we draw one circle with the ellipse tool. So you see it's small, looking like an ellipse, then a circle, and pull it over the eye with the arrow keys, I can move it to the right a little bit more. And then I press V and the Alt key and move it to the left. So I've duplicated it. And 2.5 glasses. I put it a little bit over the head. So just because it looks more fun. And then we need something in the middle and our glasses. To draw the nose piece, we just click on the left and the right. And then we click on the a and move it up a little bit so it looks like the middle of some glasses. Let's zoom out. You can already see how our cat is looking here. Now we want to draw some whiskers. And for that we need the PIE tool once again. So the Pen tool, it is actually so click P here and then we can start drawing. I started with a black stroke. So let's go back for the outer line to black here. Then let's start by drawing just the line. You see I just make 23 dots and already move them in the right direction. Because these dots needs to be a little bit hot, straight, a little bit curvy. Make it a little bit longer. And then I want it to have a stroke. So I just get it right in my eyes. But again, that's your liking. Click on v. So we have the Move Tool once again and double-click so we can go deeper in, because we really need to see now what we are doing. And for that, we are switching here to the appearance panel. And you see what has happened. There's one layer with no fill, and now we have created another with no fill, but always it's not the outer stroke and now we go to white. So we have an inside. Also as a stroke will make it bigger as the one we had. Actually. It looks over the edges. Now we click on ground. So it's rounded here like the other one on the bottom. And move that layer under the black ones so we have a stroke around our black strokes. If that makes sense. Now click on the layer with a white stroke and increase the width of the entire whisker. And it's done. Now we need a few more of those, so we have to duplicate them. I zoom out for that. Press V to activate the Move tool. Now I can duplicate my whisker and move them over. For first of all, I am going to press Command G. I have another one, and I turn it a bit around so they are not straight here. I can just turn it a bit and I'm going to create one more. And then we're ready to move the entire thing, but first regroup them. So I mark them all, press command G, and I have a group and can move them now to the cat. Now let's zoom out and we move the whiskers when they are placed correctly between the two cat layers we have on the bottom. If you look into your layers palette, you see at the very bottom to kept layers. And I put the whiskers between those two. Now I have the stroke around my whiskers on the bottom. But you don't see the entire strokes on the top layer. So that's a big advantage here. Now we go back to the fill and I turn it off so you can see it looks much better. Now let's duplicate the whiskers with Command G. Then we move them to the left and flip them horizontally and just put them on the left side, you see you are still on the right layer. And because we are working in vector, we can easily make them bigger. So just pull them out a little bit. You have longer whiskers. No problem here at all. Make sure they aligned up and then we can start creating the feet of our cat. Now let's zoom out a little bit so you can see it better. And then we switch to the pen tool. So just press P on your keyboard and you have your Pen tool selected. Of course, you can also pick it, the toolbar, and then we can start drawing. So I just draw some anchors here by clicking with the left mouse. So I just click on top, then move to the bottom and click another time. And I just keep clicking to it. So my cat has some pulse here. I can modify them later on. So I just make sure a half some of these anchors here. And then I go upstairs and I don't close the porous, but I just click here once again. Now let's go to color and then click on the stroke and make the stroke black. So we have the foundation now and we can start modifying the pulse of our cat. I click V to have my tool back, my move tool and make it a bit smaller. And then I can increase the width here or make it smaller. So in this case I make it smaller. And when you see me just modifying my shape here, I go into the pause here, so I go. And more in so you can see it better. And this is where I use the anchor points I just created and just pull it up a little bit, are probably down just to your liking. Just SU, want your cat to look like I will leave it looks better when I'm moving it down. So I just changed the direction here, so easy. You just drag it to the bottom instead of the top, and you are done with your pause here. Let's zoom out and move the entire thing to the cat with V. Just back on my move tool. And then I move them where they should be. As you can see, they need to fill. We go back to the swatches palette and click on the filter element and just pick a color. In this case it's white, of course. We need another one, so Command J to duplicate it and flip horizontally. So we have a second feed. Now the cat is more well nearly ready, but we want to brush it up a little. So I turn around the feet a little. But what I want are some flowers on her for, so I'm going to go to my shape tool here and pick the star shape. So just click on the triangle and pick the star shape. And let's draw a star somewhere. You see it has the black stroke and the White Enter. Now we can change the points and we can also change how the entire thing looks like. And when we pull out the dots a little bit or move them in, you see from the star we get a little flowers so we can just move that into our cat because that's what I wanted. I move it over and turned it around a little bit. That's all to your liking. It doesn't matter really what you do here. But with way you can now change the stroke, the width of the stroke, so we have it. Alright, and I'm going to pick another brush now. So make it a little bit standout here, the watercolor brushes. So just pick one of the watercolor brushes and make the entire width a little bit smaller. So it fits to the entire layout of the cat. And then look for another color on the inside because we want that to stand out a bit. Once you've picked the right color, you can modify the size of your flower and place it inside the cat. Once you have done press the Alt key so we get a few more of these flowers you see you don't need to duplicate. We can just press Alt and we have one more. And you see, I'm going to turn it around a little so they look kind of different, although they are not. Just create a few more. So it looks a little bit more fun with a cat with its inside. And then we have our cat nearly done. Now let's click on the Pen tool in our toolbar, because our cat needs a tail and that is the very last step we need to take. I just keep clicking something like a tail. Actually. It doesn't have to be a 100% right now. You just get some of these anchors so we can start modifying them later on. So you just see I click and it has the black stroke already. And then we keep going. This tail is totally up to you how to, how you create this shape. And I just make the basic shape and then I start modifying my anchors until I have the tail I want here. Actually, once I feel I'm ready, I can still delete some of the anchor points or get new ones. So I have more ways to modify it. You see, that's a little bit like playing around and getting a dried as I needed with a cat. Let's zoom in so you can see that there is something not a 100%. So here when we go and you see it's not close. So I drag the anchor points to the body of the cat. So I really can see that this is closed. One, you know, look at the cat's body, you see what is missing. Here I have a stroke and a fill. And for my tail, there's just a stroke. So I need to fill the entire thing and go back to my colors, color swatch palette here, and go into the inside and then just pick white as a fill color and black at the outside color spline option. But if you want to have it like we have the whiskers, we need to modify it a little bit more. Go back to the color palette and make the stroke and insight white. Let's where we start. And once we have done that, we can mark it with v, of course. Then we'd come on G, we duplicate the tail. What do we do now? We need to make the tail a little bit smaller and modify it so it fits into the shape we created under it. I make it smaller manually first. And then I'm going to edit the, the anchors. Just make it a bit smaller and see that it fits into the layer underneath. Once you are done, you are going to add a black stroke once again so we can see it much better if it all fits correctly. First, we modify all the anchor points. And once you're ready with that, go back to colors and click no fill for the second layer, for TE layer. But the stroke needs to be blank right now. So now you see where we need to adapt it a little bit and that it doesn't fit into the cat. So let's move in. So you see that there is a little bit missing. Let's pull that out and then we go on the other layer and pull the black lines in. So we have it. I keep modifying. I know it's not a 100% yet, but you can keep modifying until you feel it's totally radiant. You're completely done. A little bit tricky hearing, understand that, but that's just a second option. If you don't want that, you can totally keep it as it was before. Now I press V because I want some spots on my tail. For that. I need to have it moved all correctly. Then I go to my shapes and just draw a circle. But I don't need a stroke. I just need to fill. I can leave the stroke as it is. Then I added it to the top of my tail. And once again, I just turn it around a little bit and see where I want it. That's also totally up to you. You can put it wherever it suits you or wherever you think it looks good. Of course you can give it a few more spots just to your liking. So keep playing here. You see I go ahead and first quantity to have another one, and I modify it so it looks a little bit different. And we have a second, Second spot here on her tail. And now we're done with our cat. I know it was a larger project, but it was so well worth it because you have learned so many things along the way. 51. Create Cards with Color and Text: This lesson you'll learn how to create cuts, What's color and text. You can use it for your project life book or for a planar well that we are going to create with file new document in 12 by 12, you can just double-click and it's right there. But now we use the shape tool to draw a background. So just draw a shape over it completely. And then you can give it another color. I have a color palette here and just pick a color from that. And once done, I'm going to lock the background. Next step is to create a new layer. And I name it cards. When we start creating our first card. So again, we go to the Shape tool with a rounded edges here, square with rounded edges, and just draw it here. Now, we can just add another layer on top. You can't see anything right now because I haven't changed the color. What we're going to do right now. So just modify it to your liking, whatever color you pick. That one needs to be just a little bit on top. So I pick another color as well so we can see it properly. So let's make it as big as the shape unread. And then we just drag and drop it into the first layer. So we have created a clipping mask. I drag a little bit to the top. So that is where our texts welcome. I have it all not should gather all the two elements. And now I can add some text here. So just typing here some texts, sorry, number one, so you can write, of course, whatever you want here. But I always like to have something common. It can just write sorry, number one, make it all capital letters, and then move it into my card. Layer on. You can use all the cards to be with your silhouette or cricket. And just let it cut them and have it for your planner or your scrapbook. Of course, you can also sell these cards if you modify it and decorate it a little bit more. So I just duplicated it and create my story number two are starting number to give it another color here. Then next step, we do it again, make sure you have marked it all then. Otherwise, you just missed like here, you're missing the text here. With command Z, we go back and then make sure that everything is marked. When we click on the top layer. Then we just duplicate it again. Once done, I do the same now for a story number three and number four. So I just keep duplicating my cards and change the text here so it doesn't say sorry number two, but sorry, no ministry. And I give the shape another background on top, at least. Of course, you can also give the back another color just to your liking. It just about how you want to design it, but let's just basics. And those cars are always needed when you create something or when you create a spread for your planner or a new scrapbook. So that's pretty cool to have them handy. Mark Begin and duplicate it again just with the Alt key. Drag it down. So you have another one. Again, change the top. And then we change the name to sorry, number four. Now we can place them side-by-side on our document. Why are we doing that? Because then you can export the document or your cards and put them into your silhouette or cricket program. And start creating cut lines. So you can just have them cut and print it. Make sure you click on the entire group so you can move every single edge is inside a group together, otherwise you are losing, for example, your text on top. So that's not necessary. We just click on what we need. And then we move the entire symptom where last but not least, you need to align everything so you have it altogether just market. And then we can place it horizontally and vertically or just as we want somewhere on the document. The main point is that it's not bigger than A4. We can place it on our document. 52. Your Projects: Congratulations, you made it through the course. I know it was immersed and especially in the beginning, such a class is not that interesting. It's just about understanding the basics. I really hope though, that in the end you found a lot of well you in the class. So now your project is to pick one of the project, edit to the class and create. It doesn't matter if you try out the core clouds or create some cars. Just get your fingers dirty and try to apply what you've learned. I hope to see your project in the class and don't forget to have a look at the other graphic design classes I have here on Skillshare. And beside that, you'll find managed tutorials and material on my website, the edgy design resort.com. I hope to get in touch with you there and please don't forget to follow me on Instagram as well.