Dirty Design With Draplin: Crusty Techniques to Create Truly Original Work

1. Introduction: You guys, let's go get into the muck and get the dirt under your fingernails. It had to be that one little creepy bite of food that has a couple of grains. You know what I'm talking about. That's what this class is like, it's a bite of food that has some dirt, some sand in it. Let's get dirty. Hi there, guys. This is Aaron Draplin. I'm a graphic designer here in Portland, Oregon. This is our 7th Skillshare class, and we're calling this one Crusty Techniques; getting dirty with the DDC. I should really tell you what I mean by crusty design. Crusty design is when you take the edge off of everything, and that might be through a couple of Photoshop techniques or by going out and getting weird on some cement or something. But yeah, you're quite literally taking the edges off things and you're allowing those accidents of how ink reacts to each other and smutses out, we'll just say. Those are good things. Too many times on the computer, we just don't see that stuff so you have to go be proactive and go and damage it. If you do it the right way, it can have a really nice feel. In this class, it's all about getting dirty. When we go back and fumble through the design history of how they used to make things before the computer. I'm going to show you some of my heroes, talk about how to collect inspiration, but what we're going to teach you is how to build those crusty techniques into your quiver. Each one of those arrows that you understand how to use in a certain way just to damage things, to add a little bit of grit, and a little bit of grain, a little bit of scrizzes, I say. You guys, let's get into it. You guys, a little bit of a production disclaimer here. Listen, we are in a pandemic. Things are raging along, we're lockdown, we're doing all this stuff virtual so I need you guys to have just a little bit of leeway. You're going to see some weird production techniques. I'm going to go rogue and use my iPhone and I may even know what a jump cut is, but these things are going to be happening in this thing. The idea is this, I'm in Portland, they're in New York City, and you guys are all spread out across the world so just have fun with this and this is in the spirit of being dirty, getting dirty, getting a little crusty. 2. History of Dirty Design: That's not going to work, watch. Let's talk a little bit about the history of graphic design. This is going to be pretty rough and pretty scrizzy in its own right. The main things I want you to think about when you look at a magazine pre, let's just say 1982 or something or '85, they were building that, pasting up all those things. What you were doing was you were using that machine to print out these pages and then cutting into things to crop them. You would literally paste that onto the page along with your type and your rules in your lines and that was called a paste up mechanical, I think is the proper term. The photos were used to doing half tones. I don't even know these big Photostat cameras. Here's the thing. A lot more steps. I mean when you go all the way back to the dawn of just even printing and you work your way up, I don't know, into the mid-1860s, around the Civil War, we'll just say. People were using wood type on these big trays and then they would ink them and they would put a piece of paper on it and a big roller would come and hit it. Every time they put that piece of type into that big tray and inked it, every impression was a little bit different from poster to poster to poster. Then every time that you would put that thing back into to dry and they would clean it off and stuff and put that back into its home to where it would go, it would take some of the stuff from before. But what you were doing is, it was just a constantly changing degradation process that's so charming to me. I mean, if you're a little kid, if you can remember Lego boxes and you can remember, I'm dating myself here, Cabbage Patch Kid boxes and then just whatever we had, Star Wars, Millennium Falcon boxes, those things were built using images and type, paste it up onto some large page and then it was picked apart. Take a look at how this thing looks. I mean, the cover has these big grainy photos and the sides and the back has this almost photocopy looking flexo print quality to it where the ink is simply hitting the substrate of the cardboard, that naked cardboard of the box. Everything just looks a little crusty and there's such in a beautiful charmed as old packaging that I tried to emulate when I'm making things, at least sometimes it's one more arrow in my quiver that I can use if I want to go really clean or I want to go just a little bit crusty. It comes from my love of this old box. I would hope today that you would just be comfortable with a couple of these things that we're going to talk about of ways to quickly add that to a design of yours. At all times I want you guys to have a respect for where this stuff came from. I want you to have a respect for the privilege that you have just on your screen with all the software. We are so lucky to have all these at our fingertips. A million typefaces, a million possibilities, and yet, when you start to boil those things down and you put a set of restraints on how you make things, some really magical stuff can happen. We're going to see that happen today. 3. Dirty Design Heroes: This little section, it's my hero. When I got into graphic design in the mid '90s and you saw there was this wave of, we'll just say frivolous, trendy trashing of design. What it was, it was taking the digital realm as far as you could go. They were damaging type and they were making things illegible for some artistic statement and stuff. Listen, I understand it was all exciting and it was cool and yet the things that really attracted me from that era, there was the Charles Spencer Anderson, CSA design out of Minneapolis, there was House Industries out of Delaware. I was watching these guys make moves. Yes, some of it was goopy, it was stick and a very distinct style. But it was a reaction against all this weird, puked out, choked on, phlegmy-looking graphic design that was hot at the time. There were people reacting against that. One of them that kept coming up was a guy named Art Chantry. I put him in the heroic crust category. Art was this graphic designer who had a number of years on me at that time back in the early '90s when I was just a 22-year-old kid, Art was already very established in the Seattle scene making rock and roll posters and album covers and all kinds of stuff. Before that, he was using these traditional paste up ways of making that he still uses today and yet he had set himself so far apart from so many other people by exploiting that stuff in such creative ways. To this day I'm still trying to figure out certain posters that he made. If you go into contemporary crust, at least in rock and roll, Jeff Kleinsmith from Sub Pop was always inspiring. I would buy records simply because of the graphics. I just love this stuff. I love the wit and the form. Now having something really loud and damaged and big and then just a tiny little bit of type to bring it all in. Then that led into of the 2000s and I discovered Aesthetic Apparatus out of Minneapolis. These guys are my age and they were making rock and roll posters and record covers. They were a couple of these, we'll just say Wisconsin knuckleheads that I could really relate to and the work was incredible. These guys were using found imagery and damaging things, blowing things up, blowing things down. Then when he would take it and just isolate those couple of images with a couple of really simple forms, there was some magical stuff happening. Moving right along in the crust category, but we'll call this one Portland Crust. Here is one of my latest kits from my friend Kate Bingaman-Burt. Every year we get these little holiday kits and stuff and it's just loaded up with all these awesome, little daily purchase drawings and things and stuff and all on this goopy Risograph printing with fluorescent inks and stuff. There's just so many little accents. Some things are really clear, some things aren't clear. I just love her work and I just loved the humor and the humanity in it. Kate works for all big things too, but my favorite stuff are the things that she makes that you can't tell how she produced. I have a feeling it was ink on paper and then she took a photo of that and put it into the machine and then built into a layout. It's just a reminder of the charm of when things go a little astray. Another Portland friend like to talk about is my buddy, Jason Sturgill. You go follow him in his Instagram. You can just see this humanity, we'll just say, this empathy for form and empathy for language. You can see this graphic vulnerability and how he talks about it. But what I want you to really hone in on is how he makes the forms he makes. I don't know how he does it. He's using a crayon on a piece of wood and then scan that stuff in. Awesome. But I can never tell if I found out it might be on an iPad. That's what we're trying to get here. Is he's doing this stuff, he's tricking me and he's got this certain grain and this certain crust to all of his forms. It's always got just this little bit of like off registered quality. That's a decision that he's making to pull away from the digital. I just like that. I mean, it's like him. There's something about him that you can ever quite put your finger on. In the third Portland bay is my buddy, Brett Stenson. The work that he's making, you will not find a right angle anywhere in the type, in the images. How does take the extra step to add just a little bit of texture because, I mean, not only is he making art in vectors and forms and things, but he's also carving stuff. You can see that same charm in his work. I love geometric rigidity. I love that stuff, the thick lines and you've heard me blather on and on. That's what vectors allow you to do. But he's using those same tools and yet there's just this overall sense of a looseness that's just so beautiful to me. Finally, just for a bit of a wildcards, name is Jason Filipow out of Los Angeles. This thing is called the P1 brand and it's everything from skating curbs, skateboard and state door bin, rock and roll, punk rockery, things that matter to late 40s, people like myself. Go check out P1 brand. Look at the dig in to that monotone quality and dig into that awesome crusty little halftone quality as that because listen, you can still read it but there's a certain charm like it's just been photocopied a thousand times, reproduced 666 times and then that's what you get to see every day from him. I just appreciate that. These are my heroes. The heroes of our chantry, contemporary people that when I was getting into this stuff, who I was looking at, friends here in Portland and then a buddy who's always skating curves down in Los Angeles. We know Jason there. These are people that I'm looking at every day to remind me that inserting a little bit of crust is okay, and they just continue to inspire me. 4. Dirty Design Inspiration: Let's get into some crusty inspiration. The first thing I want to talk about are these old coverless popular mechanics. This one doesn't even come with a cover, somewhere along the way. check it out. You can go on eBay, just get one of these, this one's from 1953 but I'll just flip it over and you can see incredible stuff on here. These little ads and little things, and everything was served black and white. But if you go on eBay and you get one of these from 1953 for a couple bucks, and what you're going to find inside this, I mean just these crusty photos and layouts. Remember, all this stuff was built using paste-ups and big half-tones shots and things. These little companies, this was the way they were selling you. I don't know what is this? A modern lawnmower sharpener. Now check it out, that ad the next magazine if they were going to run it again would just be pasted up again. Every time they did that, every time they took a photo of that thing and then reproduced it, it got a little bit crustier. Here I am going through the decades. I'm going through the decades. I get into the '60s, we'll just say, and this is how they would sell you, Gart Brothers would sell you a tent. You can take a look here. The brightest thing you see is the tent and the price and all the secondary data. Listen, this stuff, this page right here is so inspiring to me. When you get inside here you can see there's little order forms and stuff in every one of these things just has a certain patina to it. Like it's just been copied 100 times and every time it just lost a little bit of something, you can still read it. But the reason being is because every little piece inside this thing, every little section was laid out by hand. It was placed in there by hand. Every piece of type was set into that thing and then pushed around to make that little piece and then somehow dropped in there. There's just a certain charm to that. What you'll see is you'll see printing mistakes and errors. Now we get up here into the '70s and things get a little dicey we'll just say. Now there's a lot of stuff I can't show in here, but this is a Hot Rod Magazine all about vans and things and stuff. We're getting into the '70s, lot of hair, lot of macrame, lot of weird polyesters and things. But it's the same quality, the way that these guys were selling knives and mag wheels and stuff. Finally, some of my favorites from my archive are these little golden nature guidebooks. These things just come with everything. First of all, we're going to talk about this today because really it's about how to distribute information in a certain look and feel. With a couple limited options, these guys were able to tell stories about leaves and space and science and rocks. We're talking with two typefaces made in Futura bold and then like a little bit of Futura book or heavy, these crusty little photos halftoned out, and then a couple of simple illustrations. They had the entire world in these little things for kids to learn about. For little air Draplin to learn about one. You're six or seven years old, and these were leftover from the early '60s and '50s and stuff. Listen, go and grab a couple of these off your Etsys or eBay or whatever. Really study the crusty quality of how that ink hits this newsprint paper, because the moment that little dot hits that thing, it just expands. It's called dot gain. That's something you worry about in printing when you're doing printing onto newsprint. Really study that, because what we're trying to do today is make those things accessible to you if that's what's appropriate for your design. Remember, if you're not into buying it, you can also find, I call it my uncle archive. Some uncle somewhere scanned in every one of these, they used to have them on Flickr and stuff. But as a way to collect inspiration, some uncle did not understand that if you scan in at 7,000 dpi, that means we get to use it. When you go back into the decades, you see things that are problematic. You see things that are weird. You see things that have gotten better over the years. Here's the thing, this isn't for everything. If you understand how they produce this stuff, you can go apply that to your work in the most amazing ways. We're going to show you that today. I want to show you guys a bunch of stuff that I've made over the years, making this one flat image that's just sort in the end, or worn with some wear and tear and some tooth. Here's a little gallery of my crusty techniques over the years with some greatest hits, a bunch of Mrs. Dirty the whole time. 5. Digital Copy Machine: We need a little bit of content to go squeeze out. I don't quite have a piece yet, so just watch along. I'm going to go build this piece out right now, and then we'll have something to start damaging. Buckle up. Thanks for hanging in there and watching that little time-lapse, now we've got something to play with. Now, what this technique is, think of it like an in-app copy machine. If you went down to the Kinko's, down to your local coffee shop or something, you took this graphic, print it out on a piece of black and white toner, no paper. You put that into the copying machine and then you copied it a couple times and each time it spit those things out, you would put that back into the copy window thing and took copies of that, each time you're degrading it a little bit. Now, if you blow it up and you zoom in and then you shrink it back down, and you blow it back up, every time you do that, you're just degrading that next copy because it spits one out, you put it back into the window, hit it again. Now, here's the thing. We don't have a copy machine here, so you're going to do it with your Photoshop. All right. I'm going to start with a new window, and it's going to bring over that vector that you had copied out of your Illustrator document into this. Paste it in "Command" "V". It's going to be placed as a smart object up above a blank white background. On these, all you really need to do is go grayscale. Go to your grayscale, don't flatten it. Don't rasterize because now that thing is just floating above. Now, if you go check the size of this thing, just go quickly, go in there and written on, it says 72 DPI. The reason it goes into that 72 DPI is it protects you. You don't want to be dragging around too big of things and placing them into a document. Since you're starting a new document, they just started the default 72 DPI, web-based, but you're going to want to bring that thing up. In this case, we'll just go to a quick 777 DPI. Now, what that means is when you take a look at this thing, it is super crisp inside there because that is a 777 DPI vector smart object up against a white background. Let's give it a little bit of breathing room. Go onto your canvas size. We're going to go from 5.1 to 6, and we're gonna go from 7.3 to just 8. It gives you just a little bit of breathing room. You can see this now, you've got this extra little space. Now, what I want you to do is I want you to go and take those first two layers, and I want you to go "Command" "J", and that's going to make a new layer of each. Then "Command" "E" and flatten the two. This is a copy to play with, and I'll do it again "Command" "J". Now, you've got a layer up above a layer up above the original vector piece, and then your original white background. What you can do, you can blur everything out. I'm going to go into my Gaussian Blur, and you can see here Gaussian Blur and then just give it a real simple round number, like six pixels. You can still read it. It still looks good. Now watch, if we go up to 40 pixels, you can't see it anymore but let's just stick with six pixels. Now, zoom in and look at the type, you see how it goes from a dark value all the way down to a white value right here. What you'll do is you're going to go "Command" "L" to your levels, and then you're simply just going to bring in that black point, and you're going to bring up that white point and see what you're doing there? You're just smoothing off all those edges. Now, if you click out "Command" "Minus", "Command" "Minus" a couple times, you can see exactly what you're controlling here to smooth those edges out. If you bring it in, if you want to be even crusty or cool, whatever, or just a little tiny bit, you have control here. Look at this. Even just right there, that just took the edge off just that quick. It feels like it's been copied a number of times, but you have to be careful because you'll start to lose things. Remember that was just a copy. We're going to call that one Gaussian Blur, then levels, and high contrast. Now, remember we made that copy down below. Let's do it again. "Command" "J", and now what I want you to do is I want you to go add some noise. You can go add some noise to this thing. Want to make sure you're on Gaussian blur. Let's just go to something like 100 percent somewhere around there at the 777 DPI. Now if you notice, when you zoom in, you just added a bunch of little pixels or noise. What you need to do now is you just need to go and simply blur everything just a little bit, we'll zoom in. Now, simply blur everything just a little bit. The Gaussian Blur. Now just a little bit. Let's just go two pixels because what you did there is now it's not necessarily little hard edge to little pixels, it blurred everything out, so it's just sort of a texture now. Zoom back out, "Command" "L", go into your levels, bring up the white point, bring down the black point, and you can start to see these little squeezy little pieces coming out of these. See these right here? These little specs and little flicks, and flax, and stuff. Now, if you bring that black point down, you get a whole bunch of those things. See what's happening there? You have to play with this, but what you just did right there was we just started to add a little bit of crust to everything just that quick. We're going to call this one add Noise, then Gaussian blur, the whole layer. Then using your levels, get the contrast super high then making it black and white. You could turn that one off and then do it again because remember, these are a copy and let's do another copy. "Command" "J". Let's try this one and get a little weird with it. To review, we're going to go add a little bit of Noise, we're going to go real quick. A little bit of noise. Now, let's just take it, let's do a little bit less or something, we'll just say. There it is. That looks cool. Zoom in, blur it out of smidge. Now, come back to the start of this thing. "Command" "0" brings you back out to the full document. "Command" "L", bring up your white point, bring down your black point, you start to see all those little bits, and bobs, and little pieces. Now, this is where you can start to experiment. Remember if you want it real chunky and crusty, let's try it like that first. Now, you're going to go on to your filters gallery, you're going to go find one called Stamp. There it is. Now, see what it's doing right here? It's given at this, like you can see here, you can go really light and you can smooth things out, and what that does is instantly just that quick, it looks like we went through and ran it through a copy machine 40 times. We'll leave that one right there, now you can still read that. You can still read that, but look at how those letters all are just a little bit jenki. We're going to call this one filter gallery stamp. Now, watch if you use that thing again, make another version of that layer, we're going to go to that filter gallery into the stamp again, it's smoothing it out yet again. You're just like degrading this thing and see how this right now is getting almost too smooth to where you can't even read it. There's going to be a threshold where it gets weird. Now check it out. We'll take it even one step further. Just let this thing catch up with it. There it is. Now, go in yet again. Look at this little bit of noise and stuff happening up in the corner. I don't know where that came from, but it's off centered. It's just because it's picking up a little bit more over there. Now, if you do it one more time, "Command" "J" and watch this get weird with it. Blur it out, Gaussian blur. Now, take it out pretty far to where it's like, let's just say something like 19 or 20 points. Now, bring up your levels, bring in that white point, bring down that black point, and it's starting to become like illegible but just take a look at how cool that is. That's our patented script's technique using little bit of noise, a little bit of blur, a little bit of noise, a little bit of blur, back and forth using that stamp inside the filter gallery to really smooth everything out. Now, one more quick one here to show you inside there. Think about a copy machine. What does the copy machine do? It takes copies of your document, it spits it out, you put it back into the window. You keep doing that a bunch of times, you'll degrade. Let's look at one of our originals. There it is. Now, watch what I'm gonna do now. I'm going to take this thing. This is a big no-no in Photoshop, but that's why this is fun. We're going to go and take a "Command" "T". "Command" "T" is the transform. Now, watch what I'm going to do. I'm just going to simply bring it down to about 20, 25 percent. Hit "Enter". Now, watch what I'm going to do. "Command" "T" and bring it back up. Now, what happened right there? Just that quick. You added a little bit of scribs to it. I'll do it again, "Command" "T". Every time you're doing this, you're basically blurring these things out. Just a little bit, you're losing that tooth. Bring it down pretty small, let's say 15 percent. There it is. Bring it back up. Now, zoom in. Now, see what's happened in there. You're starting to get these weird little edges. Now, if you just go and mess with your levels a little bit, you're bringing your black, you're bringing your white, and you're starting to smooth stuff out naturally by just messing with the pixels. I'm just gonna do this a number of times, just really challenge it. After a while, with just doing that, when you zoom in, hit your levels, bring it in dirty, bring up your white point, bring in your black point. You're going to start to get this weird, smoothed out quality. You can still read the stuff but there in just those couple quick maneuvers, you're treating your machine like a copy machine and listen, when I want that design, that texture, that Instagram post, this little piece of type talking about the Skillshare class, when I want that thing to have just a little bit of a [inaudible] to it, these are a couple of quick ways to do it. 6. Human Error: We just did our little SCRIS technique. But what I want us to tune into here is this quality of the human touch of almost like frailty or how about this, how fallible we are. By doing a really simple technique, it's going to illustrate just how much we screw things up, and why that's okay, definitely for this thing here. Here's where this comes from. When you go back, and you look at the old techniques of paste-up. The way that they used to do things to assemble a piece of typography, there were these things called Letraset sheets of press type and I can show a couple of by just going like this. see? See those right there? These old press-type sheets and what you would do is you would lay that over your white sheet of paper or board or whatever, and you would simply burnish it in that stickery little piece of whatever it was Letraset would go onto your page, and then you would build out your piece of type. Now I know we can't really do that here in a video, but what we can do is simply this. Now when you look at my document here, now what I want you to do is I want you to grab this piece and drag it over and just make it black real quick. I'm going to grab an arrow out of my symbol's palette. Put it down below, and then what you're going to do here is you're just going to dupe this piece down below. You've got the proper piece of type and its type line or type window or whatever you want to call it, it's still editable. Now down below here, you just want to go convert to outlines. Now I do that by hitting Shift, Command, O, that takes it from being a typeface that you can edit and just makes it simply into shapes. Now if you do this again and make another arrow, now watch what I'm going to do down below here. You're simply going to rebuild this, so you have to go ungroup it, which is Shift, Command, G, and now I'm just going to rebuild this down below. Now don't worry about this going perfect, just rebuild it. You're just going to take the C. If I hit an option, you can make an extra C, and dragging. If you Option drag this R, there's another one. Now just try to put it together to the best of your ability down below. Don't worry about it like totally lining up. Because what you're going to see here is you're going to just go quick and dirty. As you're going to see, the human fallibility of like the inability to get it into that perfect exact line. Don't worry about. See that E dip pretty low, but I kind of dig it. Take the N and put it in there. Don't look at the spacing between this I it's all gross. You got the E get's all just junky, and we're going put that S on there. Just check it out now. If you take this piece back into your document. Let's go and grab this whole type piece here. Let's take it off to the sides, so we have a copy of it. Now let's start switching these pieces out. If you take this thing, and you drop it in here, and you color it white, now look what that just did. It has this kind of playful quality. I mean, you don't want to be too painful. But the idea is by going and affecting at least the larger headlines and rebuilding these things. You give it this just sort of human error, and that's something that a computer will never do. The idea is every single piece there you touched it, you owned it, and there might have been some mistakes along the way and that's okay because that's that human touch coming in there and that's what we're trying to get. What I'm going to do here is, I'm going to grab this paragraph with our dummy copy. Let's put an arrow underneath it. There's the original piece of type. Let's go convert to outline, Shift, Command, O.There it goes. I'm going to pretend here that when we were pasting this thing up, it was word by word and a couple of them got screwed up. Watch what I'm going to do now. I'm going to go in here and make sure that these are all ungrouped, Shift, Command, G. I'm going to go in, and let's just say every other wordish. I'm going to do little things like this. I'm just going to twist them and rotate them just a little bit. See what I did there? Historical designs. Let's just bring that down a couple of points. Don't worry about it. Here's one way I tricked myself. I take it out of the thing, I try to go put it back in quickly. There it is. It's a little bit junky. Just do this for every tenth word and just go give it a little bit of a kick. Now that you've done every, let's say seventh or eighth word a little bit, and you've got a couple little errors in here. You can go on even a little more granular and just grab the A here and bring it down a little bit, and maybe a couple of letters here, this is up to you. After a while, it's still going to be legible. But what you're doing is you're just giving it this randomness. Now bring that thing back into your document. You're voluntarily damaging it. This has just a little bit of a human touch. We just went in, and we damaged each piece of type. It's word by word, and we want a little more granular where we even went letter by letter. But now what I want you to do is, if you think of those old ads in the Popular Mechanics and from one month it's this size to the next month it's a little bit different size. You can tell they were simply cutting and pasting and building these things into a new format super-quick. What I want you to do is I want you to go in and grab whatever piece you built. Grab that piece and make another version of it up above. Now what I'm going to do is I'm going to go try to get that dimension to work within this sort of skill share, sort of widescreen. Because we're going to call this 1920 pixels, this rectangle by 1080 pixels. There it is. I'm going to use this thing as my guide. I'm going to make this thing, something you can see, and I'm going to lock it. Command 2 locks it. Now watch what I'm going to do. I want to rebuild this thing as fast as I can to jam it in here, and it's going to get a little weird because it is a different format. This thing doesn't quite fit across the top, but that's okay. Just go with it. When you get the line. Don't worry about everything lining up totally perfect, we just want these things just to go fast and dirty. Check it out, we've got these eight pieces. I'm going to grab one by one, just get real weird with it. See, break this one right here. Using our quiver of Crusty techniques. Then I'm going to go one-by-one, and just see what happens. Because it's starting to look like the back of those old, like horror magazines and stuff. A couple more to go here, and then check it out. I'll grab those things and start to get those things to where they feel, about right. Now watch. Of course, I want to stretch that thing over, but maybe there's an opportunity to just go put some weird in there because this is what they used to do. They used to put jokes in here. Let's just go get a nice big piece of vertical type, and we're just going to use that DDC Hardware, and we'll go. We're going fast. That filled that space just that quick. Now you can tune this thing up to fill that space a little better. Now I'll just leave it dirty because here's the thing. We just went from this to this just that fast. Now see all the little errors? Things are getting weird, not quite lining up and things, that's okay. Let it do that, celebrate that because that's what it would look like back in the day. It's about getting loose and just getting the job done, we'll say. Because if you can get into that loose space, let it go, you're going to see errors happen that are exactly what we're trying to accomplish here. Because otherwise, it's painful how good we are at stuff, so get bad with it, you guys. 7. Imperfect Typography: What I want to talk about is the power of these really simple typefaces. What I want to do is I want to have like a review under some of these basic classic typefaces. Just getting into it here, we're jumping to screen, just your basic Futura Bold. You can see it's just a [inaudible]. It works incredible. We'll just call it what, sentence case or whatever. It's also the best, obviously, for our field notes, and stuff, and just regular uppercase. Now, when you get a text weight, Futura Medium, it goes back to that golden book, nature guides. If you deserve to do a forensic study, you would see it's only one or two typefaces all the way through, maybe a third one for some of the details in the back. But that would be Futura Bold and then Futura Medium, pretty much all the way through. Maybe a couple of special things on the cover. They were able to pack in an encyclopedia of knowledge into these tiny little books using this really simple, painful system. But with such incredible charm, so I'll write Futura Medium for text. Another workhorse typeface that would be more of a serif typeface is century school book. That thing looks great just as it is, or even better, to give a little bit of emphasis to go into the italic version. Let me zoom, I can't find that, and the italic version. Franklin Gothic, the entire family is pretty great. But stick with the standard and the condensed and the extra-condensed, but that extra-condensed is an incredible headline font. Of course the classic Rockwell, which is a slab serif that one works that, we saw there's other versions of that, Memphis and Stymie, but Rockwell is the one. If you want to have just an extra little bit of flair Futura Display, and you can see that here, it's got this weird little angle little quality to the edge, the things. Now, thinking about crusty topography, there is a look and feel that it lends itself to. But remember you guys out there, these techniques, they go towards anything, anything that you guys are making, be it a logo, be it whatever. But if you're going to go back and try to get a feel of how to make these old funny ads and stuff, limit yourself to these just like they did. Because there's a weird harmony within that stuff. It did the job. That's why it look the way it look for so many years as manuals and instructions, pamphlets and that stuff. Now another anachronism you have to watch for, and this is more just computer based, is you have to watch for script fonts that come out of your typeface. If you jump in here, and I've got this thing blown up into this Skillshare here, now what you're going to notice here, and this freaks me out, is those two l's, in nature, they would not happen that way. The idea is if you're going to go through there and I'm just going to try to be quick here let me find my little painting tool, but if you do this thing in nature, and there's an S and there's a K, and there's an I and L and L, see how it went a little bit high right there, and so on. The idea is a typeface just wouldn't do that. It's going to have a rhythm. It's going to have this sort quality from up to down to up to down. What you have to do much like we were doing in those first couple of lessons, create this into outlines, and then just go tweak it a little bit. This one, I'll bring it over and I'll get it on its axis, there it is. Now, go and reset the bounding box. There it is, and let's just make this one a little bit longer. Now, painfully place it back in there and see what that just did, that just added this cool rhythm to this thing where now that L goes a little higher than the one after and in a little bit lower down here, and you can jam back out a little bit and say, all right, maybe there's a chance for these three characters to go a little bit lower, and you can go crazy with this. But the idea is, what came out of the default of the typeface is dangerous. That's not the way it would work in the real-world. Take a look at this one typeface called Pacifica. You can see here that suddenly that L is the same L as the second L. You have to go through and rebuild it again. Get your little arrows to keep track of this stuff, so you know what you're doing. The symbols palette there, and I'm going to go convert this to outlines, and now I'm going to get weird with it. If you just go in and you look at those two Ls, what are some quick things you could do? Well, first things first, we're want to make sure that this little thing doesn't line up there, or this little guy comes over here, or you could add little pieces and more stuff and make this thing its own little character or come along the perimeter here, and give a little glob right there and maybe bring this little piece right here a little bit more, and what you're doing is you're just trying to set that second piece apart from that first one, because that's the way that would work in nature. You're never going to have the back-to-back. The S here and the S here, once again, just to color code those, we just wouldn't mess with those, but these two S's are still the same. Let's do it again. Go and damage the second S a little bit, and just grab your little white plus arrow and grab those shapes and just bringing around if you want to do [inaudible] just to get some extra little bit of screws in there. Now, when we go back and we look, those are two different S's, pretty much. This little piece bothers me right there, so maybe just a quick little. Now push this one up a little bit. I don't know. You see what I'm saying though? It's case by case. If we take it one step further, and now we bring these things out here, just go give it a couple little kicks of randomness. Those Ls are never going to stack up perfectly there. One goes a little high, one goes a little low, the [inaudible] gets screwed up on one. But see that's starting to feel pretty crusty in a cool little way. You've just protected it from the default. Be careful with script typefaces or crusty, grungy typefaces, and these things that go back to back. B-O-O-K, book. You can't have those two Os line up. They have to be two different Os. It's an extra step you got to take, and that's what we expect of you. 8. Halftone Images: You're looking here at this document, right? But remember that black box there, that was going to be my face and we're going to get a little halftone photo in there. What we want to do here is we need to go build an image to plop into there. I'm going to go out here and I'm going to go into Photoshop and I'm going to get a picture of my face, there it is. Man, tricky. Just sitting here just capital N narcissism. Just sitting here looking at pictures of my face all day. That's a fun class. Sorry. Now here's what I want you to think about, to go make one of these goopy, crusty little dot halftones. Here's how I do it. Just follow along with me. You may start with any photo for that matter. But there's a couple of ways to do this thing because if you let the computer make the halftone, sometimes it can just be a little predictable we'll just say. The first things first, let's just try doing it where we just go and we convert this into grayscale real quick. Okay, there it is to grayscale. Now let's just go, I mean this is real fast, right, into bitmap. You're going to get a feel of what this thing looks like. Right now it's at 300 DPI and we're going to go a 50 percent threshold. Let's see, let's go down to a halftone screen. The frequency, you can adjust this stuff. I always stay at the 45, that's your classic angle. But right now, we're going to keep it at 30 degrees and the shape is going to be around, so here it goes. See what happened there. If you zoom in there, you can see those little dots, but see this freaks me out because now it looks good. If we go to right here, it looks good right there. But if we get into this thing, it's feeling a little light, so just go and Command Z, your way back. Let's try it again because what you're trying to do is you're trying to get a feel for how big and crusty that dot could be. We're going to bitmap this thing. When you go at 300 halftone screen, now we're going to come down where you mess with the frequency. Let's just make the frequency 10. That's going to be 10 lines per inch, 45 degrees round, hit it and you can see what happened there. Now, if we zoom out down to the size of a postage stamp, you can see. But if you zoom back in, you can see here there's some squares and some stuff here. The first things first what you want to do is give it just a little bit of extra canvas size. Let's go six by six, so watch when you do. Once again, I'm going to put it back to a grayscale from a bitmap. Now we're at a grayscale Command J, I'm going to lift it up above. I'm going to blur this thing out, "Blur" "Gaussian Blur" may be to two or three points or something. You see what that's doing? Now if you bring up your Command L for the levels, bring your black point in, bring your white point out. Take a look at what that's doing. When you zoom in on that now you've lost that little bit of squares and you zoom back out. Now, you've got this air Draplin head to work with. It's low resolution and that's what I like about these things. Because if I I this thing now back into that document and the quickest way you could do that is you can just do a screengrab. We could save this thing as aaron_head_halftone_bitmap and then save it out as such. Where it'll go from grayscale back down to the bitmaps to flatten all the layers, there it is right there. Let's just go to a 50 percent threshold now because this is binary, yes or no? It says there's a bitmap. Let's go save it out as a little TIFF. There it goes. LZW, I don't even know what that stands for, but it's got something to do with compression. Always use that because it just shaves lot of data in smaller file sizes. When you're working with a bitmap image, always hit that LZW. Now we'll go back into our document and we're going to place that thing in there. Let's go "Place" let's grab that little Aaron head bitmap. That thing comes in pretty big because we made it five by five or six by six inches, whatever that was. But now if I go jam this thing down into this little space, you can see how I just added that photo there and then we can go and tweak it a little bit. Remember you've got all this stuff at your fingertips to make these quick decisions. Because if now, if I look at that thing and I say, "Everything else is pretty thick and beefy, I want that thing to be as thick and as beefy." So watch what I'm going to do now. I'm going to go back to my original shot. I'm going to keep this other one open here just to see what we're doing. Now, this little line right here, it's cool, but watch what you have to do if you bring this thing down to half the size now. Let's go to 2.5 inches. Okay, grayscale. Now, we're going to use the exact same stuff we were at before. We're going to go to bitmap, 300 pixels per inch, 50 percent threshold and you have to go down to that halftone screen. Now, tell it to be the 10 inches. Now watch what's going to happen. Round of course, 45-degree angle. It's going to get these big nobby pieces. But what's going to happen is look over here on the corners, see how it's cutting that little piece off right there or to half circle? Don't necessarily want that. What you want to do is before you go do that, let's check ourselves. Let's go out here and let's make everything just a little bit more gray. Go Command L, go to your output levels and just bring up the little white things. You're just adding more data to the entire, you're graying out the entire photo. Now let's go add a pure white background. Let's go to three inches by three inches, little bit of extra border. Okay, now let's go through and let's go to that bitmap 300 halftone screen. Let's go 10 inches and then there's the round, hit it and see what that did. It made these nice dots. But of course, when we zoom in, those things are a little crusty. Let's go back from the bitmap back to the grayscale, I mean, frankly, there might be better ways to do this. This is just how I know how to do it. So that's how we're doing it. Let's go to the Gaussian blur now. Blur it out a little bit. Three pixels, bring up your white point, bring down your black point. You're getting just this creepy. But watch what happens when I zoom out, there I am. But see, if we go bring it. Let's go save this thing again now. We're going to save this as a TIFF. Go find the other one. We'll call this one, aaron_head_halftone_bitmap_02, LZW. Make sure it's a bitmap TIFF. There it is. Now let's go just check what we just built there. There's the second one. It's subtle, you can see it now. But we're just matching the crustiness of the rest of the document. I mean, even the fact that it just starts to even, you start to lose my face, I like that. But that's how you make the halftone just that quick. Remember, there's tons of ways to make these little things. Let's just go do one more and I'll show you how this just gets really awesome. We'll go back to my Aaron head, here I am looking at myself yet again. But watch this one. We'll go to grayscale. When you come down here to make it a bitmap. We're going to go down here to 50 percent threshold now check it out. If you go 50 percent threshold, it's just going to say yes or no, like white or black binary. Watch what it does, 50 percent threshold hit it and see what that did to it just that quick. But that's pretty cool. But if you go back a couple of steps and you go into your bitmap, I'll check this one out. Go down here into halftone screen. Okay, now instead of doing the round one, do the lines at, let's say 45 degrees. Now watch this. See those lines that it just made, and then when you blur that thing out, give it a little bit of extra space around it. Let's go up to six. Back up to grayscale, blur it out and then bring up Command L to your levels. Bring up the black and bring up the white. You can start getting weird with this stuff in creating. I'd be a cool album cover or something. But in the end, when you zoom out of that a little bit, you can still see it. That's what you have at your fingertips inside that whole bitmap-making capability with the halftones and the lines and the shapes. You can do a little diamonds and stuff. But that's how you make a halftone. Remember, when you go look at these old popular mechanics, all that stuff was done that way with a really fine grain. If you're doing photos, you have to really watch the grain. If you're doing a crappy little portrait of me that's been reproduced over and over and over and over on itself, it might start to lose itself after a while. There's a charm to that. I like the way that that stuff looks. Learn how to use that halftone in a vicious way. Have fun with that, get weird and make it dirty. 9. Analog Elements: What I want to do is I want to get even weirder and I'm all tethered in right now and I want to disconnect from this stuff. I'm going to use my iPhone and I'm going to grab a little bit of footage where I print my screen out of my toner printer. We take that print, we run it to the cement, we grind that thing around to scrizz up some logos and stuff and then the second part might be where we actually just crumple it all up and trash the print that way. The third part would be where you take your toner print, a piece of tracing paper, you get a big window and you tape it all up and you're looking out the window, that becomes like a big light box. What you can do is you can quickly using a crusty old Sharpie, just retrace the face, you scan that stuff in, then you bring that into your document. I'm going to get some footage, I'm going to start that now, and we're going to start with a couple of prints out of my machine. I'm back at the machine now and I've got some crusty little stuff to work with. We can see here is that little logo page that I printed out and as we get into this thing, some of these things that have been really damaged. This is a photo taken with my iPhone. I'm going to get this thing down to a grayscale. I'm going to bring the levels up and I'm just going to see where that thing goes to. Now, some of these are really damaged, but the idea is if you go grab one of these things now, so I'm going to start a new document with this top-left logo here and you can just see the damage that was done by rubbing it around in the cement. Get the thing straight or you can even leave it crusty just like where it's at. What I want to do is I want to drag this thing out of here so I can go play with it inside my Illustrator. To process this thing, let's just go quickly blur it for a second and we'll just go to three pixels. Cool. I'm going to bring up my white point and bring down that black point until you get it to where it just feels damaged in the right way. You got to make sure you can still see the DDC, but see read about there is feeling pretty good. Now, I'm going to make this thing a little bitmap. This is a quick way to high contrast, flatten the layers, and we're going to go 300 DPI, 50 percent threshold, and see what I just did right there. That just made a little bitmap TIFF. But if you bring it back to the grayscale now, see, now you bring this thing back and I'm just going to go grab, this as a vector now. What you want to do is you want us using Color Range, you want to select the black value. We get the marching ants and bring it all the way up, the fuzziness. Now, you've got this thing selected with the marching ants and you want to go down to the little circular guide to squares around it, let's make a work path. You make the work path, you see all that thing lights it up into a vector piece. Now you grab your black arrow past selection tool, Command C, go back into your original document and then bring in your crusty little shape that you just made. Here it is, now comes in clear. You have to color it something so color black. What I just did right there quickly as I took that logo from this clean DDC over to this crusty one. We have a version of this thing copied over here. Let's go bring this new one in. You can see what we're doing here is we're trying to control all the little pieces that we put in here. Here is that little DDC. Now that doesn't necessarily match the rest of the document, but we'll get there and now I'm going to go in to where I was crumpling everything up and just look for a couple of pieces to play with. I'm going to go into that crumpled up piece here and let's see here maybe it's just this little getting dirty with the DDC for now, or how about this? Let's bring in this whole chunk right here. I'm going to bring this over to a grayscale. Going to crop it down. I'm going to bring up the levels pretty high. That stuff is being left there. I'll bring the black mark down and see, look at these cool little moments that are starting to happen to this creepy little line, because that's where the paper is like moving and it's being crumpled that way. This is getting really dirty. I'm just going to go through them and quickly blur this stuff out. Gaussian Blur just a little bit. I'm going to bring my Command L to the levels. We bring the white point up and that black point down and what that just did there. We'll just grab this getting dirty with the DDC part right here because it's still got a good axis and we're going to grab that part. Now, I'm going to crop this thing down. I'm going to go select it with my color range. I'm going to grab the black value. I'm going to get the little marching ants, I'm going to go into the paths. Want to make a work path. Now the thing is selected into a little vector. I'm going to grab my black arrow. I'm going to Command C, copy it, go back into Illustrator, and paste it in. It's going to come in as clear. You have to go and color it something, so we'll color it black. Now, I want to bring this thing down. This thing just has this little bit of crust to it. See what I'm doing. I'm taking things, these sort of accidents that we forced and plop them back in there and what you're doing is you're just sort controlling each little piece. One of the things I did was I use the window as a light box and you can see here the image that I came up with. Now, there's my face and I cropped this thing down to simple square. I'm going to go to a grayscale and now bring up the white point, bring down the black point. I just made this crusty little image of myself and now if you take this thing and you blur it out pretty far. Let's just blur it out like up to about, let's say 10 pixels and now Command L to your levels. Bring in your black point and bring in your white point and it starts to look like almost like a really crappy, like photocopy or something and that's what we're trying to get here. It's looking a little evil, but I like it. Now, I'm just going to go quickly through to my little bitmap trick where I just reduce it down to bitmap, yes or no binary, 300. There it is. Here's this little piece. I'm going to go back now to my grayscale. Select "Color Range", grab the black value, get the marching ants, make a work path. Grab your black arrow, Command C, bring it back into Illustrator, Command V. You get this big face, you got to color it something. There it is. You can work with the fidelity of this thing, but just take a look up above here. What you're seeing in a cool way is you're seeing how I went from photo to halftone to even this creepy, evil, a troll-y looking little thing here, but in some pretty quick little steps. But what I'm trying to show you is, by getting off the machine and taking that print and damaging it, you can create some awesome effects. There's lots of ways to get weird with these things, but you have to get off the computer to do that. You know these analog techniques, you can get there super-quick, super-fast, just with your iPhone and a little bit of grit and determination and a little bit of cement. 10. Printmaking Look: We've done a bunch of crusty techniques and we've made a bunch of assets. What do I do now, is I want to mix all those assets into a widescreen format, and then what we're going to do is we're going to damage that entire thing using all those different assets. We're going to damage that into one flattened, damaged graphic, and then we're going to bring that into Photoshop, and we're going to add a little bit of paper texture, and then start adding a little bit of color and messing with these goopy traps and weird things that happen in the printing process to fake all that stuff. What I want to do here is I want to go and start to assemble all these things into one document. There's that one piece, there's the little damaged logo, you can see there, and I'm going to put them all into one little thing here, and I'm going to go trash everything real fast. I'm going to put my little halftone head in there. Remember, like anything, don't worry about having this stuff lined up too much. The dirtier, the better. Just be loose with it. Place it in there and keep moving. Now I've got at least these couple of pieces in there, and the little face, well, we'll use it somewhere else. But I want you to grab this whole piece now, Command, C, and we're to go over here into Photoshop and start a new document, and paste it in there as a smart object. Now we're going to do our little patented technique thing. Remember? We're going to go here, scrizz technique, we'll call it, we're going to grayscale it out, don't flatten it, don't rasterize it. We're going to check how big this thing is right now, we're going to put it up to 666, something nice and evil, and then we're going to add a little bit of space outside of it. [inaudible] expand my canvas size with option Command, C, and I'm just going to go up to nine and then go up to five. That just gives it a little bit of breathing room. Quickly, grab those two layers, Command, J, to lift them up above, Command, E to flatten them, and let's just go give it a quick little bit of tooth. Let's go down here to add a little bit of noise, and let's get weird with it. Just want to add some noise, and we're going to blur that out a little bit, just go a couple of pixels. We're going to go Command, L to your levels, we're going to bring the white point up, we're going to the black point down, and then watch that grain as it starts to go away. Maybe keep a little bit of it. Now we've got that part and we're getting dirty, we're getting weird, and we're starting to lose things, but it's started to feel the right sprinkle of crusty. Now go into your filter gallery, into your stamp, and then what you're left with here is this crusty reproduction. Smooth it out just a little bit, some of those dots might be a little harsh. That's looking good, right there. Always check your light-dark balance and your smoothness. Now you've got this damaged top layer. What we're going to do here, is we're going add some paper texture and a little bit of color to this thing, simulating ink. Let me save this thing, and we'll call this Skillshare 7 Content Color for now. Go back to CMYK. Don't flatten it, don't rasterize it. I had prepped a piece of paper, so open your piece of paper. By the way, there's all sorts of places to get paper techniques. You can get them online, you can get them in all these stock images and stuff, or even the best, you can just go find a piece and scan it in or take a photo of it with your iPhone, and get it onto your machine by air dropping or whatever you want to call. I've built my assets up over the years. Every time I would get some old magazine that had a blank page, I would scan that page in, put it into my little scrizzy paper folder with other textures. Build that archive for yourself. Here comes this piece right now. This a old piece of paper. I'm going to copy it, I'm going to bring it into this thing, and put it behind everything else. It's a little small, but don't worry about that. We're just simulating right now. Bring this thing in here and get it behind, dirtier the better, get it behind that image, and what you want to do, is you want to go through now and you want to multiply that top image over it. Check it out. Let's go add splash of color to this real quick. We're going to call it playing the traps because when they used to trap this stuff, where they were trying to fake how edges came together and stuff, and things would shift in the printing process, and he would get these weird traps of ink that would look crappy and just right. We're going to try to simulate that now. The way we're going to do this thing is we're going to start a new layer. We'll get a color here, let's just go with red for now, then we're just going to go make some boxes. I'm just going to quickly go and just make some colors that land over some of these things. We're just filling these things real fast here. I can go put a big piece of color up over my halftone, we'll just say, and if you want, you can put it underneath so you see what your messing with. I'm going to put a big red bar over the crusty techniques, that's down below. You can see what we're working with by bringing it up above that black layer, so then you just see here, that's affecting the logo up above, but remember, dirtier, the better. Dirtier, the better. If you want to change some of the type here, what you could go do is something like this. You could go and grab all of that type in a quick way like this. Just go ''Select'', ''Color range'', grab the black value, and now make another layer, and then color that red, and now check what you've got here. All we want is we just want to grab some of this. You're going to subtract some of this out of here. Let's just go and grab, get your selections. We'll grab some of these fun numbers. Let's see here. We're just going to add a little splash of red type, the DDC down below, and other stuff here. Then Shift, Command, I to inverse it and get rid of everything else, and what you've done right there is now you can combine that with layer 2 and layer 3 here, Command E, and you've got this sort layer now. What that means is you're going to have to go and get rid of the stuff that it's replacing. The way to do that is just by command clicking that red layer, going down to the layer below it, and then getting rid of those elements. You can just use your erase tool and go piece by piece. Remember, quicker, the better, because all you're doing is you're getting rid of the black down below it now. Check it out. What's cool about this now is if you go to that top layer there, which is the black ink, and if you make that at about 90 percent, 85 percent, well, say, just as you can see on the screen here, 75 percent opacity. You see that now? What that means is, let's just say the black ink hit a certain way, and then the red ink is down below. Check it out. Now what you can do is you can pretend that you're subtracting from the red ink and go in there, and delete a part, and see that trap again. Now watch. That little red space below it there, let's go get crusty with that for a second. We're going to select that part, and we're just going to bring it out a little bit bigger so it just leaves that safe space and see now, that is feeling like something they would have done back in the day to give that thing a little splash of red. What you're doing here is you're adding this weird printing technique human touch to it, and you're affecting the colors. Just to go real quick, I'll show you this once again, make a couple of versions of it by hitting Command, J on those layers. Let's go add a couple of weird colors to this thing to see how far this can go. What we're going to do is we're going to turn everything off. We just want that black value there. We're going to say ''Color range'', we're going to select that black value, you get the marching ants now, we're going to make a new layer above, let's go pick a green or something. We'll pick a nice green, a nice, deep green. There you go. Now go below it and grab that red so you can make another version of that layer, and then just tone that red, let's just say to a lighter green. There it is. Now you can take that piece of paper and bring it up under there and make that a greenish color using your ''Hue saturation''. There you go. Now multiply these things appropriately. That one multiplies over the green down below over the paper, and you're starting to get this quality, where you can change the color of your entire piece because think of it like inks. If you were to make this as a two-color business card, or poster, or just graphic for this video, right now we've got a dark green ink, a light green ink and a light green paper. It's as simple as that. All the way up to this point, we have controlled all the elements. We built the piece, we scrizzed them out appropriately, we went off the camera, and we dirtied some things up. You can handle a photo by making it a halftone, or you can go and make a whole new illustration out of it, however you want to do that. When you assemble them all back into one piece, the magic starts to happen. Really, what this is, is you're simulating printing techniques on your screen using these crusty techniques, and this is how they can turn out. 11. Final Thoughts: Another class, our 7th, coming to an end. I just want to thank each and every one of you for taking all these classes all these years. But today we got dirty and let that be an arrow in your quiver, another little fold and flap that you know about. If it's appropriate for your design and you want to go really damaged and really dirty like I was doing before and looking like these old magazines and stuff, that's one extreme element. But what's important is that let's just say you aren't the big animal that I am and you'll want to use a fifth of that. That might be the perfect little sprinkle to your floral design or anything for that matter. Apply this stuff to your work. Get weird with it, or get just a little bit weird. The main thing is that you know how to get a little dirty. Thank you for listening and take care and hey, I want to see your work. Be sure to post on the Skillshare project gallery because listen, I go in there and get weird and leave comments and offer little tips and tricks and things. It's cool to share and show your stuff, see how other people are doing things and learning things, and that's the place to do it. I'm being told I got to wrap this thing up. Thank you for coming to the DDC and getting all the merch, and buying field notes, and buying the book, and buying the blankets, and the knives, and the things, and the stuff, and listening to the podcast, and just all the things that we are so lucky to touch. Thank you for checking that stuff out. Guys, take care. I'll see you later. Wait, don't start the credits just yet. Art Chancery, thank you so much for all these years of incredible graphic design and inspiring me 30 years ago, all the way up here to 2021 with your crusty techniques, and your wit, and your humor, and your craft, and your incredible eye for type. Art Chancery, thank you for being a part of this video and for inspiring a generation of kids to get weird off the screen. Thanks Art. Now you can roll the credits.