Digital Illustration: Using Adobe Capture to Speed Up Your Workflow

1. Introduction: As a kid, I was attracted to art through the way that any kid is attracted to the art, cartoons. My Saturday mornings were filled with art. Not only just static art, but art that moved, art that entertained, art that informed. Hello there. My name is Robert Generette III. I go by the name of Rob Zilla. I'm an illustrator, former educator, and self-proclaimed Vector Art Monster. In this class, we're going to break down Adobe Capture by each one of its elements. The wonderful thing about Adobe Capture is that it streamlines your workflow. Steps that you took in the past are now eliminated, and all contained within one application. You'll learn how to create libraries, you'll learn how to populate those libraries with different elements such as color, shape, brushes, patterns, and then you'll learn how to use these within certain applications. The reason why I wanted to teach this course, and I'm so passionate about it, is because Adobe Capture has changed the way that I create. It made me more efficient. Just by alleviating unnecessary steps, made me a more proficient illustrator. What if you had the power to capture inspiration no matter where you are? Let's unlock this wonderful power in this class. Feel free to post them in the Discussion section below. With all that said, it's time to get started. Let's go. 2. Technique 1: Creating Libraries: In this lesson, what we're going to do is we're going to learn the UI for Adobe Capture, and we're also going to learn how to start creating our first library. Adobe Capture is a wonderful application that allows you to grab inspiration no matter where you are in the form of assets, such as color, brushes, and patterns. Then you could take these elements that you captured, place them in a library that you created, and that library can be used on any Adobe, desktop, or mobile application. The cool thing about this app is that you can use it no matter where you are. Let's get to it. The first thing we want to do is we want to create a library within Adobe Capture. I have Adobe Capture open, and we have a great look at a beautiful UI here. We have all of our assets at the top, but right now we're in the Library's tab. What I would like for you to do is to also know that you can discover how other people are using Adobe libraries by simply clicking the "Discover" tab. If there's anything beyond this video or this class that you would like to know, there's also a Learn tab where you can learn all the latest features of Adobe Capture within the app itself. To create a library in Adobe Capture, all we simply have to do is go up to the center top click the "Drop-down Menu". Click the "Plus" sign. From here we're prompted to name my library. I'm going to name mine Skill Share project, and press "Create". Just that simple. Now it's your turn. Follow the same steps in creating your very own library. 3. Technique 2: Color: Color is a very important element in design, and creating artwork. Grabbing inspiration for that color is now made available through Adobe Capture. What we'll be doing today is we'll be learning how to use Adobe Capture, in order to grab color palettes. I'm going to be using a magazine to capture today, and it's my personal favorite magazine as a male. It's Glamour Magazine. Oftentimes, what I would do on a grocery store trip is I would look at the magazine rack and if there are certain colors that speak to me, I will pull my phone out and snap a picture of those colors. Oftentimes, I'll flip through the magazine real fast just to see what captures the eye and then capture it. Today, we're going to be using Adobe Capture on this one particular page because it deals with skin tones and skin color. As an illustrator, no matter what project I'm doing, it usually involves portraits. Next one thing that you really want to nail as far as color is concerned, is skin tones. What I'm going to do, I'm going to use the iPad and if you look on my screen, I'm going to go to the line that says all assets and I'm going to make my way over to where it says colors, and I tap on it. Now to capture colors there's two ways that I can go about doing this. I can hit the plus sign, which will direct me to the following import image or build a pattern. I'm not dealing with anything that's within camera. This scenario will be used if you already have photographs within your camera roll that you would like to capture the colors from. It might be from a family trip, vacation pictures, we love vacation pictures, don't we? But from here, what I want to do is I want to get out of that menu and I want to tap the camera instead and automatically what you begin to see are these circles, and these circles are called bots. That's what I mean though and these bots seek out different hues in color using a certain particular algorithm, and once they nail the algorithm you want, you'll simply tap the screen onetime to freeze it. Once I have that photograph freeze, I have the option of using my finger or my Apple Pencil and actually going to the different colors that I would like to capture. I just want to make sure that everything looks good. I have everything where I would like it to be. I'm also considering changing this last one and moving it here instead, because it's given me a nice pale tone up in this section. Once you have the colors that you want selected. What you then want to do, over here on the right-hand side is a circle with a checkmark, and that's our shutter button. We press that and it brings us to a different screen. This is important because if there are certain hex codes, PMS colors, we can edit all the nodes in this section. Due to effect that I'm capturing these colors on the fly. I'm going to avoid using these things. But just as a simple walk-through, we have our RGB, we have our brightness and if you want to change any of those, what you do is you tap on that color that you would like to change and adjust these different switches to meet the needs of your project. If everything looks good here, then what I'm going to do is press "Save", and now I can give this color theme a name just by pressing in that section. I'm going to name this color set or this palette skin click ''Done''. You want to double-check and make sure that this color palette is going to the right libraries. So right here I can see that I have Skillshare project selected, which I would love to have. It also gives me the option of sharing this color palette that I created on adobe.com. That's totally up to you. Me, I'm not going to do it. I'm just going to share it with you, and I'm going to hit the ''Save'' button now. Automatically, that skin palette is right right inside of my library, ready for me to use on any application on my iPad or either on my desktop. So now I challenge you to capture five different color palettes from multiple source, or it can be from the same source, and place them inside of the library that you just created. 4. Technique 3: Shapes: Now let's talk about shape. Having the ability to capture any shape or texture, while you're on the go, it's another great feature of Adobe Capture. As an illustrator, this is a very important step in my process. If I'm drawing on paper, I need something where I can transfer that drawing over to the digital realm and not miss one step. Adobe Capture allows you to capture these things as vectors. It's already high res, it's already ready to use in whatever Adobe application, whether mobile or desktop of your choice. My specialty is sports illustration. Let's take a sport such as NASCAR. Most of the elements that are involved in their cars, the fire suit, billboards, it's heavily consumed with logos, branding elements. Imagine having the ability as an illustrator to capture these logos for these different brands as a one-color vector scan, and using those elements within your illustration instead of having to draw and redraw these things over and over again. That's the magic of Adobe Capture when it comes to my work. Examples, in other works may include, if you're creating something and you want it to have the same texture as a pair of jeans that you're wearing, you can use your phone or your iPad to capture the texture of your jeans or your pants as a one-color vector scan, and use those in any desktop or mobile applications of your choice. Imagine a power in that. Traditional people who draw artists on paper now can forego the process of taking a drawing on the paper and bringing it to a flatbed scanner and have it to scan it at a high resolution in order to import it into Photoshop or Illustrator. Just imagine being able to take a scan of your drawing and bring it into Adobe Fresco, Illustrator or Photoshop and stamp it in instead of having to do all of those steps that I mentioned beforehand. Now it's time to capture some shapes or textures. What I want to do is, I want to use a book that I have, and it's just an archive book. Within this book there's wonderful black and white color shapes, and stuff. I have a couple of page mark here of some stuff that I want to do. What I'm going to to do on my iPad or on your phone is, we're going to go to shapes in the Access Panel at the top. We have the same options as before. We have the plus sign, which is going to let us pull our resource from our camera roll. We have something called pattern building, which we're going to talk about later. Don't worry about it. What I'm going into now is, I'm going to go ahead, I'm going to access my camera. Now what you can tell is, what it's starting to do is it's starting to scan. Now, along the left-hand side, we have different modes that we can do this in. The top one is black and white. The one second from the top is invert, so we can invert anything that we're scanning. We even have a magic wand which will clean up some of the stuff for us if we wanted to capture it. What I want to do is, I want to tap that screen again to take that off there. Since this is so Swell, I want to capture right here where it says, Swell Brand. Once I get the Swell Brand into frame, I want to tap the screen one time just to freeze it. I can adjust how much I'm capturing by moving this toggle, this on the right-hand side. That looks good to me right there. Once everything looks good to you, we're going to hit that Shutter button, that circle with the check mark in it. That brings us to our edit screen. From here, what we want to do is, we can refine. Ways that we can refine is that we can erase something that we don't want. I want to talk about this eraser because it's pretty important. I can scrub to erase, what we normally do with eraser. Or if there's a large area that I would like to remove, I can simply press and hold and that eraser will take care of that large area. Since there is so much information here that I would like to remove from this, what I want to do instead is, I want to use the crop feature. Just like on your phone, when you crop in a picture or on your favorite social media outlet, I can move these corners in order to adjust the parameters in which I want to be viewed. We had that Swell there and it's looking Swell, bad joke. I'm going to go over to smooth next. This is pretty important because this is going to give us a preview of how to find where render is going to be. I have two options at the bottom, auto smoothing off, which we're viewing now, and then we also have auto smoothing on. Give it a second to do its magic. Now the difference between the two, you can tell by toggling off and on. Off seems to contain a little bit more of the humanistic feel. So I'm going to go with it off. Once I have everything here, oh hold up, wait. Let's look over here in the corner. I don't want that gap there. I'm going to go back to refine, and we're going to talk about something different. There's a paintbrush here in the middle of your screen at the bottom. Tap on that paintbrush. The levels will adjust the size of that brush here at the bottom. You see me going from thick to thin. I'm going to keep it a little thick. I'm going to pinch zoom into that area that I want to fill in, and I simply just paint over the areas just so I can make sure that this is nice and solid for whenever I bring it into my illustrations. Anytime you make a mistake like I just did, just simply hit the Undo button, which is this arrow, looks like a U turn. This is looking good so far. We come here, give it our overall view, it's looking Swell. You're going to use that word after this, I'll bet you. Click Done once I made all my edits. I think now we're here at a point where we can go ahead and save. I tap on Save. Once again, it'll allow me to name that shape if I wanted to name it. You want to double-check your save too, which is the next section to make sure it's going inside of the Skillshare project that you created in the libraries. Once everything looks good, we click Save. You will see it populate your library right beside the color that we captured earlier. Now that we captured our first shape, which was in black and white, what if we wanted to do or capture a shape that's in color? Well, don't worry, Adobe Capture has you covered. All you simply have to do is, like the steps that we discussed earlier, we hit the camera. What I'm going to do this time, I'm going to do something that most people wouldn't even consider doing. I'm going to flip this camera around to my front-facing camera. I'll go to the upper right-hand side, the second icon from the top, flip that around, so you'll see this handsome face right here in front of you. I'm going to go to the left-hand side, the top, where the circle is half black and half white, I'm going to tap that. There's a palette that comes in the drop-down menu here on the left. I tap that palette. Oh my God, look at that. There's a color rendering of me right here. Once I find that look that I want, I tap it to freeze. If I wanted my head to be a shape, and I don't know what shape that would be. Let's get the whole beard in there. If I press the Shutter button, I now have an editable color shape of myself, and it can be from a magazine too, that I can edit from here. The options that we have here, they've all changed. We still have our eraser. We still have our paintbrush. We have a bucket tool where we can drop different colors into large solid areas. But what I want to direct your attention to is the next last icon at the bottom, which is the palette. What this does is it allows us to simplify based on the number of colors that we want to be within that shape. We can go from whatever number this is, all the way to a lower number like 2, 3, 4, and so on and so forth. The further you are to the right, the more colors are included. Ladies and gentlemen, this is vector. Once you have what you want to have, you simply click Save. What you would see is that color scan is saved right along with your black and white scan and your colors from before into the same library, all in one place. Now, I challenge you to capture five different shapes. It can be drawings on paper. It can be from a book or magazine. But I challenge you to capture five different shapes and populate your library with those five shapes. 5. Technique 4: Patterns: Pattern is a very important element whenever we are creating any type of design. Having certain things repeat could break up negative space. It can actually provide a little more rhythm for whatever design that you have. Adobe Capture allows you to capture patterns or create patterns wherever you are out of anything that's around you. What if you want it, let's say, a new shower curtain or new bedspread? But you wanted it to be unique. You wanted a pattern that's on that fabric to be something that you created, no one else has. But you want a full control over how that pattern was constructed. Well, that's what Adobe Capture does for you. Let's play around with some patterns here. Once again, I'm jumping on a magazine because it's handy. I'm going to use a pattern to show you how to create a pattern. When it comes to my iPad or if you're using your mobile device, second from the right is patterns. I want to click on that. It will show me what patterns I have here, haven't created it yet. That's one indicator that I'm creating my first pattern. The plus sign, allows us to do just like every other element that we have here. I can import that image from my camera roll or I can go into Pattern Builder, which we really going to jump into here later. But what I want to do is, I want to use the camera on my device to capture this. I click on camera. We just have this kaleidoscopic landscape, which I can control. I'm pitch zooming within that triangle to create a pattern of a pattern. If this pattern isn't doing what I wanted to do, on the left-hand side, we have color at the top. We've got the grid and then there's a geometric shape. I want to press on a geometric shape and it's going to give me options of how this pattern is actually being repeated. I'm in the middle, which is the default, and it's just going around. What I want to do is I want to select that top one and see how that looks. Now it's a straight triangle, but it's doing something a little different for me. I'm using patterns to create other patterns or I can use a photograph to create these patterns. But generally, what I want to do is I want to find something that captures my attention instantly and once I find that thing, I simply tap on the screen. From here, I can tweak it, refine it. I can pinch, but I like it perfectly the way it is. I'm going to press the check mark on the Shutter Button, and we get into the edit screen now, which gives me further controls over this whole entire thing. I can rotate, just like I make those ends meet right here. The ends that I'm referring to are specific to those little dots on the end of the stroke here in that flower-like shape. See that little flower-like shape over on my right-hand side? I want that spaced out just right. Now that I have this the way that I want it to look, I can go ahead and press "Save". It brings me to my Save Screen. I can name this pattern if I choose to, or I could just leave it pattern 1. I want to make sure that it's going into the proper libraries and I'll press "Save" But wait, come on, Rob. You use the pattern to show us how to make a pattern. It's cheating a little bit. Give us something better. Typically, what my students will say is they will say F, meaning that that's what grade I got on showing you how to create a pattern. Let's be creative, I'm going to hit the camera again, and I'm actually going to pick-up or net grade that I gave myself, which is the letter F. I'm going to use that letter F to create this geometric pattern right here. This thing has, to me, an architectural element to it. I can zoom in just to separate it a little bit more, but I like these different forms touching each other, create these big solid areas. Let's zoom out a little bit. Not only does this preview allow me to see this pattern at its current size, but I can actually pinch this down to get a big view of the landscape, so to speak, or I can simply zoom in just to make sure these letters that's in here is not forming any bad words. But I like the way this looks. Just going to mess with the rotation just a little bit, and hopefully, I can change that grade of an F into something spectacular. I can make a nice tie. I'm going to name this tie as a matter of fact. If you notice here, it says it's a bitmap. I know I call myself the vector art monster. But these patterns that we capture, they're not vector that would take a whole lot of computing in order to get these things vector. But I have the options of using these later in Photoshop as a hi-res. I can use these patterns also in InDesign of any desktop application. In order to refine them, I can bring them into Photoshop, but not as a vector. Not yet. Let's hit "Save" and you will see that that pattern begins to populate the same real estate. Now it's your turn. What I want you to do is, I want you to use the pattern component here in Adobe Capture to create five unique patterns. It can be from photos in your camera roll, it can be from magazines. It can be from anything. It can be a pattern of a pattern. But I challenge you to create five different ones and add it to your Skillshare Project Library. 6. Technique 5: Brushes: As an illustrator having the right brush is very important. We have different tools that we use to create the right things. There are still illustrators who use pen and ink in the form of brush. They dip in that brush inside of ink and forming these nice really drawing lines. When I first made my transition from traditional drawing to digital drawing, I wanted my digital drawings to look just like the traditional drawings as far as the stroke was concerned. Now, in Adobe Capture, I can create brushes from almost anything that's around me. If you're making that transition from traditional to digital and you're doing pixel-based drawing, now notice, I said pixel-based drawing, then the brush component here in Adobe capture is what you want to use to create your brushes. I mean, you can use the stock brushes, the one that comes by default with the Adobe drawing application that you're going to use. But you also have the power creating your own or bringing certain marks from your traditional work flow. Now I'm going to show you how to make a traditional mark, how to capture it using Adobe Capture, and create your own brush. Let's take it to basics. I'm going to use one in all-time greats to create this mark. This is nostalgic and what most folks don't realize is that with the thin point, it makes a fine line. But if you lower and angle it, the chisel point creates a thicker line. Who would have thought about that, when you're in primary school using these? All right. I have two marks here, I want to put another third mark that have a little bit of runoff to it and you're going to see exactly what I mean in a couple of seconds of what that run-off actually is. Now on my iPad or if you're using a phone, what you want to do is you want to go to brushes. It's the last option on the asset panel at the top. From there, I want to click the camera because I'm capturing something using the camera, so tap the camera. Now, you get to see these beautiful marks that I've created. At the top, I have a thin one and I have a solid chisel here. But the one with the nice little run off at the bottom is unique. I think it will look neat to do a drawing using that one. What I'm going to do is I'm going to go ahead and use this toggle, this right here on the right-hand side, and what this does is it eliminates the background. Whenever your background looks like a full grid, you know that you only have that mark captured and that mark only. Let's get in there a little bit tighter. I'm going to tap the screen once I have what I need, that freezes the screen. From here, I can adjust it a little bit further. It's perfectly fine with me and I'm going to press the Check button. We already start to see that Adobe Capture is recognizing just those two strokes, this on there. But I don't want two strokes, I just want one stroke, so I'm going to go crop and I'm going to fine tune this just a little bit. I want to isolate this one stroke that I have. I'm going to use this little button at the bottom in order to bring the top and the bottom in at the same rate. But not only that, I want to straighten the stroke out so I'm going to use two fingers to correct a rotation of it. There. Now this big panel that you see on the left-hand side is just a quick preview of what I have so far. But what I want to do is I want to get into the different styles of the stroke. Once I have this cropped, I'm going to tap on the style section. From here you can tell it will automatically let you know what format you're working in. I'm working in a Photoshop and Fresco type brushes. It's right here at the top, the title. I'll click on these until I find that one that really resonates. Here's a couple of scatter brushes. More scatter brushes and even some more scatter brushes. But the one that catches my eye is the second one right here. Let's dive deeper into it. Let's go to settings. I can adjust the size here of the default brush. I can set the minimum size that's going to be there. I think we're still working scatter and it's still okay. But I really don't want to work scatter. I want to change up this whole entire thing. This is all fine and good when it comes to scatter brushes, but I don't want a scatter brush. What I want to do is I want to capture the three parts of a line; the head, the body, and the tail. If you want to do the same thing, what you do is you jump into style. We're going to go past these Photoshop and Fresco brushes at the top because all they're doing is just offering us scatter versions of that. We're going to jump into Fresco Ribbon brushes and that's what we want to do. Say Fresco Ribbon brushes, five times real fast. I come here. I'm going to select the third from the top. Why? Because I'm the third. Now that I have that brush selected, I'm going hit crop. As you can tell in the panel on the right-hand side, we have those three pieces well-defined here. We got the head, we got the tail, and we have the body. How much of this I want to remain because I like that little dark tip that the Crayola marker has. But I want to bring this tail over just a little bit because the way it runs off is unique and special and I like it. Now, if I want to test this out over on the left hand side, I can use my Apple pencil and just give a quick little stroke here just to see how it looks. But let's set this thing up just a little bit further. Let's make it thicker. The flow is correct. We have RGB, but if we want to keep this thing black and white, we can keep it black and white. As you can tell from the overlaps, its still maintaining its translucent qualities as far as the pigmentation of it. But what I want to do is I just want to keep it RGB. Now repeat is very simple. It's the way that that body is going to perform, whenever you create this brush. Will it stretch? Will it be more linear and chopped up, or will it be chopped but reversing in a mirror like way? I like the stretch version when it comes to this brush. We also have controls over how pressure is used. We can taper this thing just by toggling that on and off. We can have a fade out just by toggling that on and off. You can add noise to it, make it ashy, so to speak. But I like the flow of this and flow is another thing that we can use here. The flow is just right for me. I'm going to drop the size down and I'm going to stroke out a S real quick, just to see how this looks. It looks pretty cool. Now I'm going to hit "Save." I can name the brush. I know where the brush is going. I'm not going to name this one in particular, but I will go ahead and click "Save." Right there, that brush now sits along with all the other assets that are created within this library. Now it's your turn. I want you to use Adobe Capture in order to create five different brushes and place those five brushes inside of your Skillshare project library. You can use any sources you want. You think taking a picture of a marker on paper is neat. Imagine taking a picture of your finger and that finger becoming a Ribbon brush. Be as creative as you possibly can. 7. Technique 6: Type: In the world of graphic design, typefaces or type in general is very important. Who doesn't really love a great typeface? Well, Adobe Capture allows you to capture a certain specific typeface. What it does is, it allows you to capture the typeface, but it finds one closest if not exactly to the typeface that you're looking for within Adobe Fonts itself. I already admit I'm a magazine person. Imagine walking past the magazines, flipping through your favorite magazine. You run into a typeface that will look great on a project that you're working on now but you don't know the name of it. There's several ways that you can find out the name of it. You can break it down based on its classification, but you just want to capture that typeface and keep it moving. What I would do in instances like that, if it's in a magazine or if it's on a certain particular packaging, is that I will take a photograph of it and later bring it into Adobe Capture and let Adobe Capture do all the footwork as far as trying to identify what that typeface is. Now we're going to use Adobe Capture in order to capture type, amazing right? I have a magazine here, and I found a particular type that I would like to use for a holiday card, for the upcoming holiday season. What I'll do is, I'll go ahead and I'll select "Type" on my iPad or mobile device in Adobe Capture. I will then hit the camera, and when you capture the type, what you want to do is you want to select a piece of that type that you like within these little brackets. I will then hit the screen to freeze or the shutter button here on the side. Let me hit the shutter button. Adobe Capture is so intuitive that it already selected the type that I was trying to get. Just to have fun, tune it a little bit. But first, there's a magic wand that's on the side that I can hit. What it does is it further refines the selection that's being made here. Give it a second to work its magic and I think we're good to go now. I'll press the check mark and automatically on the right-hand side, Adobe Capture is recommending different Adobe fonts or different typefaces found on Adobe Fonts to me as an alternative for the one that's being used within this magazine. All I simply have to do is browse all the different selections that they already selected for me, find the one that closest match the one that I've found in a magazine, I think this one is it right here, and I press "Save". I can name that type if I wanted to within this project, I can name it something like header, body. The style is already there. I make sure that it's being saved to the proper library that I wanted to be saved to and then I hit "Save" and boom, that typeface is already a part of my libraries, along with all the other elements and assets that I collected using Adobe Capture. Now, it's time for your challenge. I challenge you to collect five different typefaces to add to your Adobe library. Try to focus in on typefaces that's unique to you to have different classifications. It might be a hand lettered type, it might be a Serif or Sans Serif, mix it up a little bit. 8. Technique 7: Materials: So when it comes to three-dimensional elements, whenever you're working in 3D, sometimes you want to define what that surface is going to be. Is it plastic? Is it wood? Is it metal? What type of metal? What's the surface texture of that metal? All those things come into play. Well, Adobe Capture has something for you as well. Adobe Capture will allow you to capture the surface of a certain item and then apply it to any item that you want within applications such as Adobe Dimensions. So let's say you're working in Adobe Dimensions and you wanted to create a vase that had the same surface as this desk that I'm sitting at. You'll be able to capture it perfectly using Adobe Capture. You can even define the qualities of how that surface is going to be. Will it be rough or will it be smooth? Let's use Adobe Capture to capture some materials. First thing you want to do is you want to select materials. Materials is going to be the top one here. I already have mine selected at the top and I'm going to press the little tiny camera at the bottom. You're going to notice a split sphere on your screen, and what I want to do is, I want to capture the surface of this table. So once I get it where I want it to be, I'm going to tap the screen, it freezes. What this allows me to do is to look all the way around it and make sure I have all my bases covered before moving on to the next step. Next, I hit the shutter button and it brings up a menu for me. I can control the roughness of the surface by toggling that level. I can capture a little bit more of the details, control the intensity of it, the frequency, even down to how that pattern repeats itself and I like this repeat a lot. But I'm going to lessen it down a little bit. Right there is good. If there's any edges on there, I can blend those in. It's a little too much. Right there. Now, also at the bottom, what they allow me to do is look at these materials that are captured in different scenarios. So we have the sphere here, we also have a cylinder, cube, flat desk, and a shopping bag. Who wouldn't want a wooden shopping bag? Excellent. I think I'm going to play with that repeat just a little bit more. Right there is good. Once I have everything the way that I want it, I'm going to hit "Save." It's going to give me a warning that it's going to take a couple of seconds to save it. I can name that wood if I wanted to. I name this wood 1. Done. Save, it's going to my Skillshare project and already it's already been added to the rest of my other assets within my Skillshare project libraries. Now, here's your challenge. Five different surfaces of five different things. I would love for you to save those to your Skillshare project library. Mix it up a little bit. Think about the surface texture. Is it smooth? Is it rough? Is it soft? Is it hard? Play around with all those different things whenever you're choosing what you're choosing. Have fun. 9. Technique 8: Looks: When talking about photography and video, the look is a very important thing. It sets the mood, it enhances the story that's being told within that video or that photo. Having the right look can be the difference between hitting the mark and missing it totally. What if you could capture the look of one photograph and bring it to the photograph or the video that you're currently working on, that will be amazing. Adobe Capture does that. Adobe Capture allow you to capture the look, define the qualities of that look, creates that filter for you and it can be applied to any photograph or any video using Photoshop or Premier. I enjoyed the fall. One thing I like about the fall is how washed out and blue things start to begin to look before winter starts to set in. But yet there's warmth in the leaves, in the color of those leaves and everything else around you. A little hint of darkness as well. Imagine you were able to capture that look of fall, but apply it to a photo that was taken in the summer. First thing you want to do is, you want to go to Looks at the top. Here it will give you an overall view of all the different looks that you have inside of the current library and achievement. Since this is our first look, we don't see anything in the library. To add a look, what I'm going to do is I'm going to hit the "Plus" sign. Now, if you were using your camera to capture that look, then you will hit the "Camera". Next we hit "Import Image" and it give us several options here. First option being our camera roll. Maybe it's a photograph that was taken before. Next option is Creative Cloud. Maybe it's something that I have already stored in the Creative Cloud that I edit it before from a program like Photoshop. Lightroom is next on the list. If I had a photograph that I edited it in Lightroom, but I want to capture that same look for the current project that I'm building these assets for that's where I would go. The one that I'm going to choose is the next one and that's Stock. I'll tap on "Adobe Stock" and it automatically opens up Adobe Stock. The look that I'm looking for is a foggy look. Here, we start to see all of these different examples of fog. I tap one, this particular one. Now, I have several options here. I can save the preview, or I can license this asset. For me I like to try out something before I buy it. I'm going to do save preview. Now it's giving me options of what library to save this to. I automatically want to go to my Skillshare library. I'll go through the list. As you can tell, I create a lot of libraries. I feel we're almost there. I hope we're almost there and there it is. Skillshare project. Tap on it. It automatically opens up into Looks. This is the Looks panel and how it looks. Funny right? From here, the tools that we have are very simple. I can press the button on the left-hand side to bring up a menu where we can focus in on certain different things. From exposure all the way down to brightness. But I want to keep the original. I'm looking at the previews of all these other different options and they're quite not hitting the mark for me. I like what I have here and I'm going to press the check mark. Now in edit, what Capture allows me to do is to refine that look based on photographs that they already have in here. I can start to pick up the warm tones in the first one, the desaturated tones in the second. As a photograph, I would definitely use this second one to capture everything. I don't like too much saturation in my photographs. I like that saturation in my illustration style. I'm going to flip through all of these and I'm going to find that one that fits that project for me. All it's doing is using these different hues that was captured from that photograph at the top to define that look. I like that one. That's warm. It looks like they're having fun. This matches a project that I want to use this for. Then I hit "Save". I can define this look. It's a warm one, so I'm going to name it Warm 1. Done. Make sure it's going into my Skillshare project and boom. Now it's there with all the rest of the assets that I've created. Now it's your turn to use Capture. To capture five different Looks and add it to your Skillshare project library. Try to make these five different distinctive looks. But the cool thing about looks is, you can pull those five distinctive looks from the same resource. I'm excited to see the work that you create. 10. Final Thoughts: Now that you've added all these wonderful assets and elements to your Skillshare library, here's how you share that library. Within that same library's panel, you have to be within that library. What you're going to do is there's an ellipse in the upper right-hand corner. If we tap those three dots at the bottom, a menu will pop up. You will click "Share Library Link". It will create a library link for you. Simply copy that library link. I strongly encourage you to share that link to the project gallery. Also remember, if there's any questions you have at all about Adobe Capture to post them in the discussion section below. Now that you have the power to capture your assets wherever you are, now is your turn to go out there and capture something. Go capture.