Designing With Halftones: Create a Dot Pattern Portrait!

1. Introduction: Hey. What's up everybody and welcome to Designing with Halftones: Create a dot pattern portrait. My name is Jon Brommet and I'll be teaching you the class, and this classroom you'll learn a few different methods for creating halftones including the color halftone filter in both Photoshop and illustrator, the bitmap method in Photoshop, and I'll teach you about a plugin called Fantasm by Astute Graphics and I'm also going to show you a little bit about converting raster halftones to vector ones in Illustrator using the image trace method. So there's a lot of different things to learn. Hopefully, if you're not familiar with Photoshop or if you're not familiar with Illustrator, you'll still be able to follow the class and if you're familiar with both, I'm sure you'll love it. It's a little bit of an intermediate class but if you haven't used them before you probably can still follow it. If you don't have the program or the plugins, you can also easily download the trials for all of them, that should be pretty easy. My friends at Skillshare tell me I'm supposed to tell you about myself. I am from bearing Ontario, Canada. We're about an hour north of Toronto. So play you know where that is, if you don't, you should take a geography class. Now, I've been designing for seven years now, I'm a graphic designer. I also do some illustration, although I've only been doing that for a couple of years now. Yeah, I went to school for graphic design back in 2008, is when I graduated, a three-year course. Now I live and breathe design and I'm trying to do lots of new things including teach you. So in this class I got lots of cool things, I've got some free textures for you, so you should enjoy those. I've also made a pretty comprehensive outline that goes over each of the different methods so you can easily refer to it during the class. Hopefully you check it out and let me know what you think. Thanks so much. Will talk to you soon. 2. What is a Halftone?: Welcome to my Skillshare class, designing with halftones, create a dot pattern portrait by myself, Jon Brommet. We're just going to quickly touch on the history of halftones and a little bit about what they are. I know history is really boring, so we're just going to jump on this and then get the hell onto the next videos. First thing I wanted to show you guys though is that, under the project assignment, you're going to find a cool resource here, that's the outline. I made it in PDF format, and it basically touches on everything that I'm going to teach you in this class. It's going to be a really good way to look back because there's a lot of steps involved in some of them, and it's going to be easy to forget them, so rather than have to rewatch the videos over and over, you can just go here and go, "Oh yeah, that's the step I'm forgetting." I tried to make it as clear and simple to use and read as possible. Hopefully, you guys will find it really useful. I'm going to read this a bit verbatim, which is a little bit boring, I realized, but I don't want to forget things, so I'm just going to read it straight off here. Halftone is a series of dots varied in both size and spacing. A halftone creates an optical illusion that is printed with infinite colors or shades of grays. However, it's really only printed using a few colors or less. This greatly decreases the cost of printing. For example, a black and white photo may appear to have an infinite range of gray, but when examined under a magnifying glass or microscope, depending on the lines per inch, you will be able to see that the photo is made of tiny dots that are just black. It is the size and spacing that tricks the eyes into seeing the shades of gray. I have an example of that which you can see actually on here, but I'm going to show you another one. I got this from a newspaper and it's a photo of Joe Mauer, and it looks like it's printed with all grays. Again, the more I zoom out, the more it looks clear and crisp, and you've got different grays and blacks. But if you actually zoom right in, you'll start to see that it's actually just dots. Here's an example of wet white is. You have no dots, there's huge space, and that gives you white. But little dots with a decent amount of space [inaudible] gives you a light gray. Then the tighter they get and the bigger they get, you're going to get darker grays, and then eventually just to black. Basically, it's an optical illusion that tricks you into thinking there's tons of color used or shades in this example, but really it's just dot. This applies as well to color. If you look here, we've got a Garfield comic, again, in the newspaper, and you have the different colors going each way. The most common color mode is called CMYK, and that stands for cyan, magenta, yellow, and black. The reason why black is considered K is because a lot of people call it the keyframe or the key line because of the detail, so that's why it goes by K instead of B. Anyway, as you can see in this, you have different colors going at different angles, and they're creating a mix of colors. You can see the magenta is going at this angle, you got the yellow coming down here. Y is just of course the paper color. Then you've got cyan going at this angle and then black, a little bit harder to see because of how dark it is. But you can see that that's making up orange. There's not actually an orange ink, it's just a combination of red and yellow that's making the orange. We're going to go on to a more detailed photo. Here's an actual life photo rather than a cartoon. You can see, there's all kinds of different color, tones, and skin tones in Amy Schumer, and his sweater is actually showing the purple. After light in the background, it's going to gray and black and things like that. But if you actually again zoom in, you'll see again, it's just made up of those four color combos. It's neat, it's a little trick, and it's been around for a long time. It's actually been around since the 1800s, but it's used today and most of course for print. The quality definitely ranges depending on the application. Offset press delivers the highest quality halftones, while screen printing usually delivers the lowest. That's because in screen printing, the ink is actually getting pushed through a mesh screen. Usually, that means the details are all lower and you can actually see the halftone dots. Earlier, I mentioned lines per inch, which actually is abbreviated to LPI. It means the lines of dots per inch. The more of those there is, the more detail that is, the more clear the photos going to look. But depending on the application, you're not going to be able to use that. Basically, I already covered everything out of the history. Again, I've put this together nicely and the outline for you to read, but I don't want to bore you guys with this. I want to just jump into the next thing, so we're going to show you guys how to do color halftones. It's probably the most versatile way to do it. You can do it in both Photoshop and Illustrator, and they're basically the exact same effect. We're going to go onto that in the next video, and I think you guys are going to really enjoy it. I'll talk to you in a minute. 3. The Color Halftone Method: Welcome to the first lesson. This one is the color halftone method. This is probably the most versatile and the most used method for making bitmaps, especially just for effect. The neat thing about it is that they actually the exact same effect in both Photoshop and Illustrator. I'm just going to show you this in Illustrator because it's the exact same, you can go through the same steps. There's only one little difference, and that is in the Photoshop version, you can't actually edit it later. In illustrator, if you keep the effect live, you can save the file, you can go do whatever, come back a few days later, and you'll still be able to edit it under the Appearance section as I've shown in the outline here. Again, just download this outline and it'll go over everything. What we're going to do is, we're going to start with just a panel and a half 11, which is eight-and-half 11 sheet here. I'm just going to show you how it works, I'm going to start by going over here and I'm going to grab my Ellipse tool, which is also just L on the keyboard, I'm going to hold "Shift" and "Option" or "Alt" on a PC. I'm just going to change some colors here, we're going to get rid of a stroke, and I'm going to add a gradient. If you don't have the gradient opening or you can just go to Window and then got down to Gradient, same thing if you didn't have color open for some reasons. We're going to change this to radial just to show the example, and I'm going to flip that, I will just invert it. Now what we do is, we go over to Effect and we scroll all the way down here. Now as you can see, it's under a Photoshop effect, which means it's a raster effects. I'll explain that in just a second. We'll go to Pixelate and under Color Halftone, these are the default values, this actually channel 1 stands for C, which is just cyan, magenta, yellow, and black. In this case, as you can see that we actually want blacks, what we're going to do is, I'm going to lower this pretty low so you can see the example. We're just going to make all of the channels the same so that way they all overlap in the middle, you just see the black. There we go. You can see that the darkest points have the biggest circles and they're the closest together, and the lightest points have the smallest circles with the biggest space in between. I mentioned how this is a raster effect, I'm going to show you quickly the difference between raster and vector, I'm just going to make that black, actually let's the degree I'm going to over here. Right now, basically everything you make in Illustrators immediately going to be a vector, but I'm going to turn it to a raster image just to show the example. I'm going to rasterize this at 72 PPI, that means pixels per inch. Now, as you can see if I want to zoom in real closely here, I can actually see each pixel, and each pixel has a different color and then when you zoom out, it's still going to look the same. But the cool thing about a vector image is it's all math, I can actually make this as large as I want and it's still going to stay really clear, if I make it a color even you can see that the edges are nice and smooth and clear. You might want to see why this is highlighting what that is, is I've got some smart paths on which you can go here, or Smart Guides or Commands U, or Control U on a PC to remove those. Now, if I zoom in here you can really see a fuzzy edge. That's the difference between raster and vector. Like I said, most things made in Illustrator are going to be vector, whereas most things in Photoshop are going to be rasterized, but this is a raster effect, so it does the same. In the next video, I'm going to show you how to turn these action into a vector image. The reason for that is so that you can actually make it a single color, let's just quickly remove this color halftone, we go back to the grays, we're going to over here and we'll just pick and, again, another default one which is orange and yellow. For the sake of make a video just do the same thing inverted it, goes from dark to light. If I wanted to and I wanted to do the exact same settings as last time, there are actually appear right here. If I click them, it's going to use the same settings. It'll look a little bit different because of the colors change and things like that. But anyways, I'm just command that or controls that on our PC to undo that or you can go to edit undo. Sorry, I'm going to go down here, Effect, down to Pixelate, and Color Halftone. Sometimes if you click "Reset", it'll go back to the default values, but sometimes it's just going to stay with what I have. The default Illustrator channels are usually 108,162, 90, and 45. If you get really in-depth into this thing, you'll learn a lot more about it. But basically this is the cyan channel, magenta channel, that yellow channel, and black channel, we're going to have those all different angles. What it's trying to do, and let's just put the same one beside it, as it's trying to mimic this using halftones, as you can see the more you zoom out, it does start to look a little bit realistic, but the problem here is that I have the PPI so low that it's not really very similar. We're going to go in here. I'll just show you the both extremes, that's four, so a four is the minimum. That's really low, that means the biggest dot is four pixels. As you can see, that does a little bit better job of looking the same, and what you have here is you've got the magenta channels going on one angle and the yellow channel is going on in another angle. If you want to see those angles, like I said, this is science, so this is magenta here, so magenta on a 162 degree angle which is going this way. You got yellow on a 90-degree angle which was just going straight down, it was those blending that gives you that look. But the main bomber and this is we're going to, let's just go and delete both this. I was going to show you that, as at the other extreme. If we went with 75 or something that you've got a humongous dots. Anyway, it's okay. I'm just going to delete this and I'm going to go here and get rid of color halftone, let's just make it a solid color. Again, if we go here, we go to Pixelate, Color Halftone, just tend to leave this as the default values or bring it up to 18. As you can see nothing happens, and the reason for that is because the green it's struggling to actually figure out how to combine these colors. It doesn't really work that well and it's the same thing with, if we want with each channel 5, you can see it's the exact same thing. It isn't giving us the effect we want, and the best way to do this if you wanted to make each of these dots green, but had the exact same spacing and things like that is to take it in Live Trace, which is what I'm going to show you in the next video. But as we saw here, this was a gradient, and that's what's allowing you to have those cool smooth effects, which is what you want to use a lot when you're doing halftones. But let's just say we just use a solid gray color, and we're going to go to Effect, Pixelate, Color Halftone, yet we want all our channels to be the same angle as I mentioned before. Now, you can see it's a little more boring. It's going to work for some things that you're doing, but it's the same dot size everywhere, the same space size everywhere, it's just not as visually interesting. If we go over here to My Illustration, if any of you have cat. You'll know what I mean that they all think that they're princesses, of course. I have a cat, I love dogs too, but just have a cat for now. I put a tiara on the cat, which I thought was pretty fitting. As you can see, I have different layers and right now have them lock just to keep it easy, I don't accidentally select things. I'm going to undo my black layer. Now, a lot of you, I want you to show me how you got to your illustrations, let's just go here real quick to My Halftone class, go to Abbey Portrait, which is my cat. Here's how we started. I took a photo over, I want you to post the photo of your pet. Again, you may just do self portraits, you post picture yourself or you may know a character from every post picture of them, so on and so forth. But here's a picture of my cat. Then what I actually did was, I did a rough sketch to give me idea and where I want to have the dots and things like that. It changed a lot from there to my final design, but that's okay. Show me your sketch, your work in progress, and any examples you made along the way. We go back in here, so you can see that there's a lot of different halftones things happening. But the one I'm going to show you right now is the one in the middle. Again, as you can see, we've got a gradient on it, it's live, we've got a color halftone here. If I click it, you can see that I have an 18 as my max radius, I've all the channels lined up on a 45. Let's just change that for a second. I can make them all the same. Now you can see the dots are the 90-degree angle going straight down, you may note that to me, it's a little bit less incidence, just doesn't look as good. I'm going to go back over here and put it back to 45. There we go. I thought that was neat. You can see I use it for a lot of things, I've got different beige colors, white, and so on. But as I mentioned, it's not easy to do that without rasterize in it or without Live Trace, you need it to convert it to vector. I'm going to show you guys that in the next video. The only other thing that I can think off, as you can see here, and I'll go back down to Pixelate, go to Color Halftone, and whatever apply in your effect. That's your basic settings. Is pretty simple, they're all the same. Let's just pop in a Photoshop real quick, I'm going to open a new document, which I did Command or Control and which, but you can also just go to File New. In this case, I'll just make in half 11. We're going to make the resolution 300, which is a standard for when you're printing. It's really important. If you want to leave it at 72, that's okay. That's good for screen resolution except for the new Retina computers. But if you want to be able to print something, you're going to want a minimum of 300. Again, if you're printing something you want CMYK, if it's just meant for the computer screen, you can leave it at RGB, but well go with CMYK for this. Click "Okay". You can have your background layer locked. Right here to click a new "Layer". I'm just going to use my marquee tool here, you can see here if I just hold over it, it's got a rectangular marquee. If I click and hold on and go over here and get an elliptical, so on and so forth. But that's fine. So we're just going to do that. I going to go grab our gradient tool, which is G on the keyboard or you can see it right here. I'm just going to leave it at the default black and white, you click and drag any direction you want. You can re-edit it by dragging again, and so on, so forth. Once you're done, you can go to Select and then Deselect or Command or Control D. Then we're just going to do the exact same thing. We go to Filter, Pixelate, Color Halftone. Just make sure you're on this layer and you're not on your background layer, we're going to go back to do this again here, Color Halftone. Again, if you leave these layers at the default, what it's going to try and do, I'm just going to bump it up so that you can see in real big, it's going to try and make these graze using all four colors. What you'll find is you're getting this weird thing that you can see each color is trying to blend together. Another thing that's needed about in case, it's actually somewhat opaque. That's why you can see the colors are actually blending, when you blend certain colors, you're going to get cyan and yellow, you're going to get the blue or the green, sorry, and the same thing. But that's not what we want, we want to want to keep it just black. Again, there's no place that I can just click and edit it like I could in Illustrator. So what I did is, I went "Command" or "Control Z" or just go to up here. Then we're going to have to do it again, Pixelate, Color halftone. I'm going to change all those channels to the same angle and there you go. You've got your effects. Again, this is a raster effect, which is why these guys appear pretty blurry. As you saw, I want to just bring it up one last quick time here, Pixelate, Color Halftone. They got the exact same settings. They look the exact same, the same about programs. Hopefully that's pretty straightforward. If you want to experiment with it, try what you can. I can show you how tons and tons of different examples on how to use this. But that shows most of them. One other little thing we can show you real quick is, if you're in Photoshop and you grab your brush tool, got to Halftone, brush selected, but I'm just going to go after that. Let me go, that's B on my keyboard, I'm just going to scroll all the way up. You've got two different ones you can choose from, these are the hard or we can go with the soft. We're going to go with a soft because it's going to give you those blurry edges like that. Let's just delete this, shrink that brush down, so I could actually paint with it. I've got a Wacom tablets. The harder I push, the darker gets. But you can do this to fill in a face or something like that and then you can do the same thing. You go to Color Halftone and I'll leave it like that, and then there you go. Still works well with brushes, basically any shading of colors, it's going to work pretty well for. That's it for the color halftone methods. Now we going to go on to turning the halftone into vector in Illustrator. I'll see you in a second. 4. Turning a Halftone to Vector in Illustrator: Today we're going to talk about turning that half tone that we made from the color half tone filter in Illustrator, and turning it into a vector from a raster. So we'll go ahead here and open Illustrator. Some of these effects I actually use with Fantasm because it's a little bit easier and there's less steps. But let's say I wanted to make my halftones beige like this, so just a color in general. The problem with that, as I showed you guys before, is you can't really easily do that with the color halftone filter. But there is a cool stuff that you can do. So I'm going to take this, I'm just holding Shift and Option, and we're going to drag it down. Then if we go to Expand Appearance, what it does is it basically turns it in a one big raster image. Now, instead of having that circle, it's now just an image. As you can see, though, the only thing is that it's now no longer editable. So try and keep a backup of each little piece. That way if you need to go back you can edit it, but that's how it works. Now we're going to drag this down a little further. Now we've got our Image Trace option pops up here. So you just click "Image Trace" and it's going do its best to try and figure it out for you. In this case it's not bad. You can see some things aren't circular. But that's what happens. So I just strike "Command-Z" or "Control-Z". I can go here and I can pick some of the presets. These ones are my own presets, but let's just go with black and white logo first. So it's a similar result, but if I want to edit it, I would just go up here in this little box, it's called the Image Trace Panel. So what it's going to do is it's going to show how I got to these results. We're going to open Advanced. So the threshold, the lower that is, you'll see it's going to be lighter, the higher that is, it'll go really dark. Let's bring it back a bit. It's not crazy noticeable for this kind of thing, but for halftone that's usually not that halfway. Paths, it means the amount of little dots and lines that it takes to use it. I'm going to put that up a little bit. Corners, we can shrink down of course, because these in this case we're trying to get circles anyways. The noise means the lower the noise, the more it's going to try and pick up the little lines or the little dots. So I'm going to drop the noise right down so we get those dots in there. I'm going to ignore the white so that when it creates it, it's just only black. That's pretty much it. So you're going to see that the circles aren't perfect, but again, that's just a slight flaw with this method, but I'm going to show you a way to get around that later on. So we click "Expand", and now we can get rid of this little panel. Now we have vector artwork. It's perfectly clear. Again, not all shapes are going to be the right size or right shape, I should say, or not perfect circles. But we have vector artwork, which is pretty cool. So there's a few things that we can do. Now we can blow this up as big as we want. Quality is still going to be cool or we can change the color. That was something we couldn't do before. So now we can have greens, we can have blue, you can have whatever you want. Even if you want to get crazy, you can add a gradient on top of those and do some weird stuff like that. But basically, that's how we got to those beige colors on the cat, it's by doing that. So there you go. That's how you turn it into a vector artwork. It's pretty simple. Hopefully, you managed to follow that, and if you have any questions just post it in the discussion. I know that throughout this entire class there's a lot of different steps involved, and some of them I may just skip because I'm used to them and I'm not thinking that it's new to someone else. I'm doing my best to teach it as best as I can. But if you see that I maybe missed something or I'm unclear about something, feel free to just tweet me or [inaudible] some social media, Facebook, doesn't matter, it's @jonbrommet or post on the discussion. I'm really easy to get a hold of and I'm happy to go over anything that I might have missed. If you think I made a mistake, if you know something a little bit about in here that I'm missing at any point in the videos, again, just let me know and I'll probably go back and record the video and try and make everything as perfect as I can. So again, this is nicely in our resource right here in the outline. It shows you each step about expanding appearances, and going on and on and on, and it shows the difference between them. So hopefully everything is nice and easily laid out to understand. As I showed you, it makes a vector, although imperfect circles, you can change the color, but the con is it's no longer editable. So that's it for this part and we're going to go on the next one. 5. The Photoshop Bitmap Method: Now, we're going to go over the Photoshop bitmap method. This method is a little bit more complex and there's more steps involved, but there's also a lot more options and things that you can change. It's cool that you can customize it and really make your artwork a little more unique than some of the others you might see out there. I made this in Illustrator just this outline of the drawing. But what we're going to do is we're going to add in little halftone shading. If I go over here, you can see that I already have some gradients already lined up, and I made them just using selections and then adding the gradients to them like I showed you in earlier videos. Again, I apologize if I don't go over every little detail, especially with the drawings and the things like the cat portrait. But I just really want to touch on the halftone method, and that's class code turn in hours if I showed you all the details. Again, it's more meant for intermediate to advanced, but some beginners may be able to follow. Anyway, so we've got the gradient shadows here or we have brush shadows here. The gradient shadows, what I did is I actually had those shapes in Illustrator, I brought them in, and then I added the gradients. The brush shadows, I simply made a new layer, grab my brush tool, which again is just be on the keyboard. You can shrink that down using the bracket keys and just lightly going in here. Again, I'm using a tablet and then I will just go over here to erase, which is E. Actually, like a hard brush for the erase. I can erase it here so that it doesn't go over the lines, and so on and so forth. Again, I'm doing a little bit slopping and maybe not as clear, but we're getting those dark areas, the light areas, and things like that. Let's just look at a few things here. What are my image size? I made it square because my intention for this really is just to post on social media and stuff, it's not something I'm going to use for much else, so that's why it's square. I left it at 72 DPI for the same thing, I'm not planning to print it. The original guy is vector anyway, so I could actually go back and make it higher later on if I needed to. As you can see, it's a smart object. A smart object basically just means that it still retain its vector information. If I wanted to, I could double-click on it and it'll actually open it over an Illustrator so I can make some changes to it. You can see how my shapes are with my lines. Then, if I save them, they automatically just update it in Photoshop, which is pretty neat feature. Anyway, we're just going to make sure that the brush shadows is selected. What I'm going to do is I'm going to click "Command" or "Control+A". Another way to do that is to go up to Select and then select All. Now, it's going to select everything just in the layer that I'm on. You can change some of your settings, but basically, let's just get rid of that. What's it's going to do is just select everything you see here. I can either "Command+C" or "Command+Shift+C" which is control again or just copy. The shift just basically means it'll copy everything that's visible. It's also going to copy the white, but in this case, that's not too informed, but I'm still just going to go Command+C. Then what I want to do is go Command+D, which is de-select, so that those little margin ends disappear. Now, what I'm going to do is file New. It should default to that shape. Actually, it can get simpler, let's just go back again. We're going to go Command+A, you got the margin ends. I'm going to hold shift, which is basically Copy Merged. Now, it's going to have the exact size, it's going to retain all that information, which is a little bit easier for pasting later on. It's 700 by 700 pixels or 9.722 inches. We want to just keep everything the same. We're going to keep it at 72 PPI in this case, we're going to keep the color mode as CMYK, click "OK". We'll paste that which is Command+V, Control+V, or you can go to Edit and then Paste. You've got your background layer lost and you've got layer 1 which is your shadow. Now, the only thing here is that you cannot actually do it straight out of color codes. If you're in CMYK or if you're in RGB, either or, you cannot just straight go to bitmap because you can see it's grayed out. What you actually have to do is you convert it to grayscale first. It's going to warn you that it's going to flatten it. It's not important in this case. You could click "Don't Flatten" and it's going to make it bigger layers, but that's okay, we'll go with flatten. Telling you that it's going to discard color information, but that's okay, we don't need it. Now, if we go to Mode, Bitmap, this is where things get interesting. You can see the input. That means that's my file input. As we knew, it was 72 DPI. To keep it like less confusing, stick with the same. We're going to also have 72 pixels image. We're going to go with half tone. There's other things that are interesting like diffusion and pattern. But again, this is a halftone course, so we're sticking with that. Click "OK". Now, things get a little bit more interesting. You've got frequency, you've got angles, and you can even change the shape. That's a cool bonus that it didn't have in the color halftone filter. Instead of just circles, you've got diamonds, ellipse, line, square, cross, etc. To go over the frequency, what you have, as you can see is I have 46 lines per inch. I think a general method again, I'm not going to go too in depth of screen printing. But you take a mesh count and you divide that by five. If you're going to screen print at 230 mesh count which you could find out from your screen printer, you will divide that by five and that's 46. That's why I have it at that. But we can experiment with that and change that around. Again, for some reason with the black, I like it on the 45 degree. For now, we're just going to click around so that you can see the same example. Now we have our round. As you can see, there's little dots again because it's in Photoshop and they're pixels, even though they're round, they do look square. We'll just zoom right in. Now, we need to bring it back. As you can see, we can't jump straight to CMYK or any of the stuff, we have to go to grayscale first. Leave the size ratio at one, so it's the same. There we go. Now we are going to bring it to CMYK again. Don't worry about these warnings. What Photoshop always does, it locks the background layer. To unlock it, let's just double-click it, click "OK", we're going to go to select All, Command+Shift+C or Control+Shift+C to copy it and save that, Control+V or Command+V again, just edit, paste. I can see that we have a half tone gradient in the background. It's showing that you've got the light is the same as always. You've got the little light ones, the smaller circles, and they get bigger. Now, you can see what that effect does. We're going to go and experiment with a few of the other effects to see the difference. I went backwards here and I've just got my gradients again. I'm going to bring it back to bitmap. This is always going to stay the same in this case. Now, well you probably want to experiment a bit with is the frequency, so line is something different. We'll just going to align. Let's bring it back up to that 46. As you can see, it's hard to tell any difference from that and what we had before. Again, I'm just going to go Edit, Undo Bitmap. I'm going to do it again. But this time, we're going to lower this really low. Let's go to 12. See now you're starting to get an interesting effect. Let's bring it back through again. CMYK, unlock this, selected it all, copy it all. Save that guy and paste it. See, here's something pretty interesting now. Another thing you may find is that the lines are too dark. What you can actually do is well, this is in the CMYK or the RGB color mode as you can go to levels. Actually, let's go back a bit because we want to go back to the smooth. There you go. Levels, so what you can do is you can play with them. If you're finding that these are too dark or certain areas are too dark, just go into the levels and play with it until you think it looks a little bit better, something like that. Then, if we did the exact same settings again, you see it's a pretty different result. Lock this layer if it lets me for some reason, it could have stored on Bitmaps, I'm getting ahead of myself, go back to grayscale. CMYK, in that way I can unlock the layer. Copy it again, paste it again. You can see a bit of a difference. That's the difference with the lightened versus the not, not a huge difference but definitely some differences. Let's go back to our smooth one, one more time here. We're going to go back in through the system. We've become pretty familiar since we've done so many times. Let's try something a little bit different. Let's go with diamonds. You can see you have a weird shape, it depends on the resolution, how good that's going to show up. If you want to see it again, I'll just make it really well. There you go. Again, this is roster, so everything's not perfectly clear and crisp. We've done diamond and we haven't done ellipse yet. I'll go through ellipse, similar looking at the diamond, but you have to play around with the frequency. Square, it's different. Anyway, so just play around with them, see what you can find out, you can definitely do lots of different things. Once you bring him in here, if you're not working on for screen printing, don't feel bad about going over the opacity and just dropping it down. Again, now you're technically using gray, so you're not doing the same system for screen printing or actual printing, but we're just doing this for effect and for fun. Don't be afraid to play with those things or maybe even show them on top of each other and things like that. Let's go over here this gradient. Put this to multiply, just play with stuff and see what turns out the coolest. I didn't show the difference though, what the gradient looks like. Let's bring that through. Let's go on Bitmap again. The reason why I'm doing this in a different file is because if I change this whole thing to bitmap, it's just going to mess around with all my layers and try and flatten it all the time. It's a little easier just to have a separate file. I'm just going to paste this over top. I'll turn that to white. There's a few different ways to do it. You can unlock it, you can go over here, you can grab your paint bucket, you can make sure the white is there, click it, or as a quickie and that is depending on which is in the foreground. If you hold Alt or Option on a Mac and hit "Delete", well on your background layer, it'll fill it with that color or if you hold Command or Control and then also "Delete", it'll fill it with the background color. That's a cool little quickie. We're going to change it to Grayscale, merge. Just go to color information, Bitmap, Flatten, keep that the same. Let's go up to 18, round. You can see you're getting a pretty different effect with the gradient. You've got those. There's a lot sharper of lines in this case. But again, it's all just the look that you want to go for. Hide that, show that. It got messed up a little bit. Just bring it back a little lower. There you go. That's a different effect again. We can go through with some of the ones we worked with. Just for fun, if you want to see what if we go backwards and wanted to see what it looks like with lines, we know we need it to be pretty well for the lines to show up. There you go. Keep on and unlock that without doing the other steps. Control+A, Command+Shift, copy, control+shift and say that doesn't line up like it did with the older one but there you go. That's the different effects. There are tons to go over. You can experiment with all the different ones to see what the different changes are. Again, you've got round, diamond, ellipse, line, and square cross. You play with the frequency, then you can come in here and play with the opacity. Definitely without having to go out and buy plug-ins, this is the most versatile way to create halftones. But in two videos from now, I'm going to show you a pretty neat plug-in. Maybe I asked you graphics, it's called Phantasm halftone. It gives you by far the most different options and settings that you can play with and it's made for only Illustrator, so it's also a vector. It's definitely the best. But you've got to pay for it. We'll show you the cost and things like that later. But that's it for this one. Now, we're going to go on and showing you how to use brushes and textures. That's going to be a pretty quick video, but we're getting there. I hope you guys are learning stuff and hopefully you like it so far. 6. Using Brushes or Textures: I know that, if you go to the outline, you'll be able to see all this information. Right now we're going to teach you about using brushes or textures. We're just going to go back to Photoshop, with the file that I had open. I'm going to hide these layers. Can even go as far as just to delete them all because right now I don't need them. I add another layer there. We're going to go to brushes. If we go over here, again, I just hit B, otherwise you can click it in your toolbar. I've already got some already pre-loaded. If you can see, I hit there. Basically, what happens is, I'm not going to promote any specific plugins or brushes because this isn't really even my favorite method. But if you just go to Google, it's the same old thing. Actually, I can just show you a real quick. Right on here. Once you're on Google, we're just going to type in free halftone brushes. As you can see, it's already popping up. There's tons of different websites and places you can get them from, DeviantArt, Brusheezy, and stuff like that. You get them from there. I'll just hide that back down. Once you have those, you can try and experiment with them. There's lots of different ones. See, the thing is, once you start brushing with them, they just all blend together. But if you just want to type, hit one so you can get a different shape. There's lots of different ones. There's background ones and stuff, which is pretty cool. It's similar with the resource that I'm going to show you in a minute that I've made. These ones are nice, especially for backgrounds. I've got this half-moon one. The neat thing about this one is that, if I shrink it down, you can probably find uses for them. What I'm doing is, I'm going to "Edit", "Free", "Transform", and then I'm just going to hold Shift so that it snaps to degrees, hit Enter. Again, I'm just hitting Command, T, which is Control, T, just a quickie. I can put that in there as a shadow, and then fade that down, something like that. If I go Command, J, that actually duplicates the layer. I'm just going to hold Shift as I drag it over. You can play with brushes and you can get some interesting effects going on. There's something that I'm pretty excited to show you guys though. A lot of these places you're going to have to pay for resources and pay for those brushes and stuff like that. But I actually made you guys some resources. Again, this is under the project's assignments. I made you guys a whole bunch of different textures that you can use. Feel free to use them commercially, charge people money for them. Well, don't sell them to people, but use them in a commercial design that you sell to someone. I don't care what you do. I've got ones. I've got concrete, I've got barnboard, we've got floorboards that I showed, we got simple gradients, different gradients going in different directions, a little bit of dirt, a metal looking one, old brick, plywood; that one's pretty neat, a radial gradient, this is just the read-me saying that you can use it, stains, and a tractor. Basically, what I did is, I had these photos, and I put some halftones on them, and then I made them for you guys to use. You can use them in Photoshop and Illustrator, but I'm just going to bring it in Illustrator first. What I actually did is two things, I actually made this using Phantasm plugin, which I'm going to show you guys in the next video. The cool thing about it is these are perfect circles. So even if you don't end up buying the plugin or trying the plugin, you can use these and you've got some really cool halftone effects. The other thing I did is I left them editable. If we zoom in here, it's a bit of a mess, but you can see the overlap. Because of that, it's going to become really easy. If you select it, we're going to go Command, Shift, G to ungroup. It's also in here, ungroup. Then, maybe you just don't want that part or maybe you get in here and you're like, this is too dark. I'm just going to lighten it up by getting rid of different circles. There's lots of different things that you do to edit these. You can also use different selection tools. If you want certain areas, I'm just going to grab all the different black together, you can pin two of them, so on. Another cool thing that I'm just going to talk really quickly about is making a mask. A lot of times when you have a texture or brush, your going to need to mask it out. Let's show you the Illustrator version first. What I'm going to do is, let's go and make an oval. First of all, I'm going to select all, Command A or Control A, then I'm going to group them, which is Command or Control, G. Then I'm going to grab this, I'm going to draw it over top. Usually, for a mask, I like to make them a weird color, just something that really stands out from my document, just so it's really obvious. Make sure that that's in front of the layer that you are going to mask. We'll select both layers. You go to "Object", "Clipping Mask", "Make", and there you go. Sort of how I showed you with that eye, sometimes you're not going to want the whole thing, you're just going to want little bits of it. There you go. Another thing we can do. I'm just going to go backwards here. Going all the way back, is, if we leave that all grouped, I can take a pen tool and I can make a weird selection. Then the shortcut key, so I'm just going to hold it, Shift, and then I'm going to go Command or Control, seven, and there you go. We've got it masked again. Another way to do it is if you click it and you hold Control or Command and Option or Alt, and then seven, you've got that again. You've got that line there so you can select it all and deselect it. There's so many methods, but here's another one. We'll just grab our blob brush, which is Shift, B. Draw that. In this case, if you do it, you're going to get a funny effect there where it's only where the black is, so that works. Or you can go into your pathfinder, you're going to go to merge, which is basically going to add a little invisible, I'll show you, line in there. That's the invisible line. But if we ignore that, and then we hit "Unite", it'll make it all black, and there you go again. That's how you do it in Illustrator. That's how you can use those textures. They are really cool. You can use them for backgrounds or you can use them for foreground, whatever you want. Let's get something different, let's go with the stains one. We're going to drop it straight into this document. Once we drop that in, it'll take a second. Then once it's in there, you can change the size. We'll blow it up a little bit. Then once you hit Enter, you'll get there. We've got to blow that, that's good. As you can see, though, now in Illustrator, or because we've brought it into Photoshop, it's actually turned it into a raster effect. Or it'll look like a raster effect even though, again, it can be edited because it's actually a smart object. What I'm going to do is show you quickly how to add a mask to it. In this case, we want to reverse the mask. I don't want it showing through my face. Right now my face doesn't have a white layer in there. What we'll do is we're going to click this little "Mask" button right here, and we're going to click "Brush". You're going to use a hard brush. What you can do is you can paint away. You could see my opacity is actually not max, so I want that maxed up. Let's just look in the mask. If you hold Alt or Option, this what you're actually seeing, this is what you're painting in. Hold it again and it'll go back to our original. As long as the black is the fore-color or foreground color, you'll be able to get in there. You can shrink this down and zoom in. Again, I'm just using that quick key of V. When you're zoomed in really close, if you hold Space and you drag, you can move around real easily. There we go. We've edited it out of the background. Another neat little thing is, now, let's hide mine. We're hiding my layer, we're going to hide these other layers. Now, you can see that white space that we just painted out. If we move this around right now, it's going to move with it. I'm just undoing that. But this little link here, if you click that, now your mask is actually going to stay in the same spot and you can move just the background by selecting it. That's cool because, if we've got this on here we don't have to repaint it or redo it again, but you can actually move that layer around and get it to exactly where you want it. Hopefully, that shows you guys a little bit of how to use the resources, how to use brushes. Again, those resources that I made you are free. Use them however you want. I hope you guys enjoy them. We're going to move on to the next one, which is the coolest system, I think. All right. Without any further ado, let's check it out. 7. Using Phantasm Halftone Plug-In: We're getting to the cream of the crop. I'm not just saying that to suck up to Astute Graphics. I really think this is the best way to make a Halftone. It's just cool because it holds the circles as perfect. It's a vector. There's tons of different changes and options you can make. Let's go over it real quick. As always, it's in the outline. This one, I actually took up two pages and I didn't even explain everything because there's too much to explain, and this is an intermediate course and I don't want to go too detailed. One thing I will say as full disclosure is that I've only had this plugin for like a week-and-a-half, I think, so I don't even know every little bit of it, but I'm going to teach you guys everything I know. I did get a chance to play with it a lot and figure out all the little details, but it's pretty cool. I'm actually going to close the outline now, so we're done with that. I'm going to go over to the Internet. This is astutegraphics.com, that's how you spell it. If you go over here, you can actually buy this part of plugins at bundles. We can go to plugins and we're going to go down to Phantasm. A second for that to load it. As you can see there, that's 49 pounds. Yeah, it's not the cheapest, but it does come with a bunch of different other cool effects and things that you can use as well. I'm not going to go into all of them. But if we just go to purchase here real quick, you can see that there's lots of different ways to get it. I'm just going to show you real quickly, in Canadian dollars, it's $93, in US dollars, it's $74. It's a little bit of an investment, but if you use Halftones all the time, it's awesome. You can also get it with some really other cool plugins, and they have definitely the neatest plugins you're going to find. I just figured I'd show you that. What I did is I actually made my self-portrait illustration entirely using Phantasm. I'm going to open that. Before I show you too much of that, we're going to just go back here. You can see I experimented with some other things and I had some textures and stuff like that. This is just a texture I made myself. That is before I turn it into a Halftone, and this is my original photo. As you can see, I'm very happy. I definitely put on my biggest smile for this picture. But yeah, I wanted to look just different. I tried some different ways to illustrate it, but this is the way that I ended up with. I used that pen tool. I got smooth perfect lines. I mirrored it. I had to change the hair a little bit. It's definitely a trek in my opinion if you're illustrating and you mirror something. I didn't even do it as much in this as I normally would. We just changed things up a little bit. Go back and move things around, make it so it doesn't just look mirrored necessarily. It's definitely a cool little effect, in my opinion, a little change that you can make. Here's my illustration using Phantasm. This is definitely a complicated tool. There's a lot of different ways to use it, so I'm going to break it apart a little bit. As you can see, I actually left this all in one layer because it's pretty easy to get a hold of. You can go in here if you need to, and you can always lock your selections, so certain layers, a lot of pieces you can lock. But I'm going to move this down. What I had, first of all, is a radial gradient. Basically, by doing this, I was just creating a vignette effect. I'm going to get into the actual setting in a second. This is that layer that you saw before, that little texture here. One of the cool little things about the plugin as well is that you can actually change the dot gain, so you can make it darker and lighter. You can pump up the dots and you can scale these. See, if I'd have just left it alone, that looks a little more like what it used to. But if I went a little crazy and I made the dots bigger, then you've got these huge dots and these little dots, and it gives you a spattered effect. I thought that was pretty cool. But again, let's get rid of this stuff so we can get into the small things. I've got a little gradient here and I've got some little details. These are from those things I showed you in Photoshop, those little shapes. Let's go down here and we'll highlight that. You can see it's just a simple shape with a gradient on it. Let's get into it. We'll do it just like we did last time. I'm going to show you the color one. I'm going to put a normal gradient on here, put the radial. Let's go with the generic one. Invert it. We go down here. Once it's installed, you're going to go to Phantasm and then Halftone. Actually, if you want to know how to install it, you're going to go to their website. We'll go back to Phantasm. You can download it as a trial. You can choose the Mac, Windows. Just put your e-mail address, submit it, so it's cool, you get a 14-day trial. It's going to download, show up in your downloads folder, and on a PC, you'll have to figure it out. But on a Mac, you just grab it, you drag into your plugins, boom, there it is. I've got some other ones by them to, and then just make sure that Illustrator is either closed or then once you do this, you're going to have to close and reopen it. That's how you install it. Really simple. It's going to show up down here. I'm going to ignore all these other ones and we're going to go to Halftone. Sometimes you're going to have different effects that you may like, but let's go over each thing individually. The first setting we're going to go over is monochrome. It's pretty obvious, it's just black and white. What I'm going to also do is I'm going to make another gradient. Let's move my portrait over. We're going to show you that other color combo like last time, and we're going to show you, just real quickly, that if you left it monochrome, you can see it's just black and white. You got to CMYK, you're going to have those colors, and the really neat one is if you go to sampled, you can actually choose the color, which is something you cannot do with the color Halftone filter. We go back here, Halftone, you're going to see that CMYK doesn't really look any different because it's just black and white, sampled, not much different. But if we make it a straight color, you'll remember what happened last time we did this. We can increase these or decrease these, again, on monochrome. But if we change the sample, now you've got green dots. That's certainly something that's pretty neat. Or if we go over to our gradient, so let's just delete that one more time. I didn't delete. Get rid of that. We've got a gradient. In order to change a gradient, we're just going to keep it radial here. You're going to actually grab one of these other colors, so let's grab blue. We're going to drag it over the top of black, so now we have a white to blue. Then we invert it, just like we had before. Sorry, go back to the Halftone filter and change that to sample, which I think is pretty neat. Now you've got the color there. Again, once you click Okay, this is fully editable. You can go back later on just by clicking in it in the Appearance panel, as you've seen me do many times. If we zoom in, we've got perfect dots. Another thing now is that if we go into wire-frame, you can see that it's not showing them as vector, even though it is vector. If you want to do the same thing, you can definitely expand the appearance, and then you've actually got little individual dots. But again, once you do that, you'll notice if you go to your parents, it'll be in the contents there, that it's no longer editable. Most of the time, you're going to want to just leave it like this and not expand it so that you can go back and edit it at anytime. Let's go into some of the other settings here. So the pattern, I should actually zoom in a little bit more. Let's change the color to black or the gray little box so that you can see it a little bit better. Let's go back here. We've got a grid and right now it's set to regular and you can also set it to alternating. You guys can see that changes it. You can go to FM. You have these different methods here, getting crazy effects. You can go to radial, and then you've got this circular effect, 5 spoke , 6 spoke, 7 spoke. Again, these are tons of effects that don't exist in any other method. We're going to go back to grid, regular. We can change the DPI right here. Really small. I can make it crazy huge right in between. If you want to create an undercoat which is just a flat color layer underneath it, you can do that by just clicking there and then as you saw, you can just change this color to anything you want or you can add in the method there. Unclick that, you do relative selection, relative to artboard, that'll change it just a little bit. You can actually move it all over from the original drawing or move it back. Just proving it. Let's just go back to zero. Just like the bitmap method, you can actually change it, but you can change on the fly and always go back and edit it. We've got squares, we've got lines, character, letters and select symbol, which I'll show you in a minute. Let's go back to circle and let's just pump these up. As you can see, they're huge, I can make them really small. I'll name it zero. You can adjust the tints. You have widths, they're stretched out, you have the height stretched out, you can change both to none, you can change the angle, of course. Let's go back to here. So 45, you can change it to 90 and so on and so forth. You can change the blend mode to be transparency overprint. I'm not going to get too detailed into that. Again with the dot game, is you can change that to pump it up. Lets get some crazy effects if you just start moving around. If you cannot change them, just grab them and drag them off. You can just do a straight line. It's the same thing. Another cool thing. If we go like this, I'm just going to add some different colors here. Well, let's stay on the order for the sake of it. So we've got 100 percent cyan and we're going to just do 100 percent magenta. This is going to be our CMYK. Black is right there. I'll just group those together, and then I'm going to do the effects again. Again, this is what it would normally look like if you were to color halftone unless you've mashed up all of the angles that I've shown you. This is what it looks like if you go with CMYK. You check check those dots down and get all the different dots, again, unique to this plugin. But we're going to change it to sampled, which I think is pretty cool. You can see yellows are really hard to see so let's bump this up. It's there, it's just really light. The darker the color, the bigger the dots are going to be. Another thing that's pretty cool is the separations filters, so I'll will show you that in here. So I'll use CMYK. So yeah, you can't change the separations in sampled, but in CMYK, you can click "Separations" and you can actually turn them on and off. It's actually hard to see here, but let's go back up to our little orange guy. I'm going to make it really ugly by adding some crazy colors in here. I was interested in monochrome but anyway, so we put it to CMYK and you can see it's trying to make the effect. If we go to separations, we can turn off magenta and turn off yellow. If we click "Okay, " now they disappear. You've just got the cyan and the black, but there is no black in this case. Another thing you can do is you can actually change the screen angles. You can change the origin. So let's say that we want the cyan to be running at 90 degrees, click "Okay," and now you can see the lines are running exactly that way. So let's bring magenta back. But let's say we want magenta to run at 45, click "Okay." Now magenta is running and you can see that the lines are going on a 45 degree angle, which is getting an interesting effect there. There's a thing called a moire pattern too that has to do with different ways and you get these weird patterns. So you can look that up, it's M-O-I-R-E. But I'm not going to explain all that too detailed. But yeah, so that's a pretty cool thing with separations. I will show you if I delete all this or let's actually just go back. That's back to my original, and you can see that I've added all these, everything is perfect clean vectors. Now if we go back to my halftime class and my Abbey portrait, I don't want to get it a little too much before, but if we go to the shaded areas, unlock that, we're going to hide everything else. You can actually see, let's get rid of the background because that's confusing, but if you go to the shaded areas, you can actually see that in a mask, I have these, again, just done using the Phantasm effect. So it's pretty awesome that you can use the sampled color and then you don't have to do the thing where last time if we wanted to change the color, we had to do the color halftone or bitmap, and then you had to vectorize it using the image trace and then it's not editable anymore and then you can change the color and so on and so forth. But what this plugin, you can change it on the fly. You can make little changes all the time. So maybe I decided that these are too big, so let's shrink them down. Actually, not. Maybe what I'll do is I'll go back to my mask here. Let me turn everything back on and then I have it selected. Again, I can mess with the DPI. Maybe I'll put that up to 90, which is pretty big. You can see that now it looks like just a flat color. But if I zoom right in, you can see all the little tiny dots. I'm just having my masks. I have to double-click to get my mask first. We put it back to 25, but less time. Let's bump up the circles so you can see. They came pretty blobby so I'll drop them back down. Yeah, you can zoom in to get them. Same thing with the highlights which I have on its own layer. So you can see in here I added some little highlights to the eyes. I'm just going to double-click and cut time because as you can see, I'm just getting them to the group. I go Phantasm. Again, you just couldn't do this before. I also mess with the lightness out of them or the darkness of them. So if you want to bump that up, you can do that. I'll go back to full strain to see the example. But okay, so that's it for Phantasm. It's definitely a cool plugin. I hope you guys check it out, astutegraphics.com. Let me know if you have any questions about it. I'm sure I can figure them out for you, and that's it for the class. So thanks so much for joining me. I'm going to have a quick little outre video, so I'll head over to that now and see it for a second. Thanks. Bye. 8. Outro: Throughout the course, I've taught you guys a little bit of everything. I've shown you how to use the Phantasm plugin. I've shown you how to use the bitmap method. I've shown you how to use the color halftone method, how to image trace them to turn them to a vector. I've shown you a bit of everything and even given you a little bit of a history. The only thing left to do now is for you guys to make our own creations. Hopefully, you guys got those little trials. If you haven't had Photoshop or Illustrator before, you can get a trial for them. So you can do this class essentially free. You don't have to go out and buy anything. I've shown you how basically I made my cat illustration. I also did a self portrait. For you guys that are asking to do more than one, you're definitely more than welcome to and I'd like to see different methods that you use, but you can just do one and you can pick a character too if you don't want to do a portrait or you don't have a pet. So the only other thing left to do now is to actually upload this to the class. So I'm going to start a project. So basically I'm in my class project and I click "Start Project". I'm going to name it. I'm going to call this Pet Portrait Sample. We're going to choose a color photo. So what I did is, I'm in Illustrator, so the best way to do this, to save this nice quality, but also a low file size is just to go to Save for Web. It's going to take a second to load. There we go. So it's okay right now, as you can see, it's 399 kilobytes. Skillshare requires that the maximum average size is two megabytes, so you're way lower than that. So that's fine, we originally got 612, we click "Save", call it Abbey Halftone and just put it to my desktop. Choose that photo. It's only going to show a little portion of it. So you can change it to match that to your orientation in your file. But that's okay with me. So here we go. So in this little part, it's pretty easy. Some of you are not going to have all the time in the world to do things. So if you want to start with the basics. As long as we have the image added to the cover, we're just going to go in here and add in the description in as we go. I want to see some of your sampled work. So if we go to Abbey Portrait, we've got this original picture. So I'm just going to open that in Photoshop. I'm going to do the exact same thing, I'm going to save it for web. This might take a second because it's a lot bigger. So in this case, we're going to shrink this way down. So let's go 600 pixels, that's more than big enough, I think. I'll just call this Abbey Original Photo, put that to the desktop, save that. Then we're also just going to open the sketch. Another way you can do it is to change the image size is you can change it here, put the pixels, we'll make them max 600. Save it for web, so that's all good. Call it Abbey Sketch. So if you don't have time to do this all right now, that's cool. Go take a photo of your pet. Just do that for now. So we're just going to list it here. So I'll go with Original Photo Reference. Upload photo. There you go. Basic Sketch Idea. I'm crazy. So there's my sketch. This should be a photo. I'm losing my mind. Let's go back here, original photo. Too many videos recorded in a row. Lastly is our final drawing. So I'll put here. I'm leaving those bold. So another thing you can do is just add in here a little bit about it. So there we go, a little description. Basically, tell me a bit about you guys and what happened. Obviously, I've walked you through all the stuff, so I'm not going to talk a lot about it, but there you go. So once that's all done, you can create a project, just make sure it's set to public. I mean, you can show it to your classmates too, but don't do only me or only you will see it. So feel free again, like let's say you haven't had the time yet, let's just delete that and delete that. Let's make basically our work easy. There you go. Here's a basic sketch idea and let's just say for now, you don't have much time. So you take your original photo or your reference photo from online, if it's a character or a selfie for your self portrait, I don't care. Just post just that for now to get you started and maybe people will say, "Oh, that's a really cool photo," or "You should try it at this angle." Just take advantage of the class and how your classmates can help you through it. I'm definitely going to be commenting on every post that I can and try and help you guys out. At least, take a look at what you guys have done. I'm really excited to see what it is and hopefully this explains everything there is about the class. Again, you've got resources, you've got the outline to go through it in case you forget some of the stuff because I know it's really detailed. Hopefully, you guys enjoyed the class. You'll see more stuff get added to the description as we go along. You know, I'm actually working right now with Astute Graphics to try and get you guys a discount code. So download the trial for now and hopefully really soon we'll have a discount code for you. I can't promise it, but let's hope. Thanks so much for taking the class and look out for more classes by me. Also follow me on social media @JonBrommet, that's J-O-N-B-R-O-M-M-E-T. I'm on Instagram. I'm on Etsy. I'm on Dribbble, on Behance, Twitter, Facebook, I don't even know what else, probably a million other things. Thanks, guys. Hope to talk to you soon. Bye. 9. A Message From Future Jon: Wait, one more thing. I'm adding this. This is Future Jon Brommet talking to you. I hope you enjoyed the class that you just watched. Some of these classes have been recorded a few years ago. I just wanted to give a little up-to-date on what I'm doing now. You can see that I've put out a ton of classes potentially from the class that you just watched as you may have been watching one of my older classes. If you go over to my profile, you can click it somewhere on the Skill Share website or go to SkillShare.com/Jonbrommet. It's spelled just like that with no H, just J-O-N, and you'll see here I've got things broken down in my newest classes. This may even look slightly different for you because I'm putting out classes once a month right now. I've got my most popular classes, illustration, efficiency in Illustrator, Photoshop stuff, and then all of my other classes, and make sure that if it's not already selected, you click see more to see the rest of it. So many different classes. I hope you guys will be inspired to learn lots more and hopefully you're enjoying my classes and want to see more. If that's not enough, I'm @Jonbrommet on Instagram so you can check out my Instagram as well to know what I'm doing and I post all my new artwork there and of course let you know when I'm doing new skillshare stuff. I've started a YouTube channel where I put short videos that are instructional, and I obviously advertising with my Skillshare class. But short videos that I can't really put a whole-class out, I put it here on YouTube, and I even do things like have conversations with other teachers, like tab with a park, plan to do that kind of stuff more often. If you head over to Johnbrommet.com, I've newly updated my website. I have a digital shop where you can grab my procreate brushes or other things like that. On top of seeing that my different portfolio elements and things like that, I've also got an Etsy shop, which I'll click here and it would open this. You can buy all of my pins and different art things that I've created. I will ship them to you from me. I've gotten them all produced here in my home and they look awesome and I know that they're cool. I just recently started a threadless shop, which you could click here. Of course this is about Skill Share contact. Everything's linked from my website, and this new Threadless shop has all my merch that can be printed on demand on a really weirdly wild variety of things like, I don't know, let's just click one of these things here. It's going to open a t-shirt. But let's just say maybe instead of a t-shirt you wanted, I don't know, what? A duvet cover or shower curtains? Why wouldn't you want those things? I don't know. Anyway, I've got lots of different things going on. If you'd like what I'm doing and please check out more of there and I'll keep making more things. Thanks everyone. Bye-bye.