Graphic Design Bootcamp for Beginners - Learn Photoshop, Illustrator, and InDesign

1. Welcome to the course!: Hi, My name is Derrick, and I'm so excited to welcome you to the graphic design food camp. I created the graphic Zain boot camp to help people just like you quickly learn the skills and the programs needed to create stunning, high quality designs about having to sit through hours and hours of random General How to videos Do we just launched a brand new software update for the creative cloud. So this is a great time to enroll because you'll be getting all of the latest and greatest content as I update the course over the next several weeks to reflect the latest software updates to have access to the latest and greatest tools and teaching resources. These lessons and projects are based on my 18 years of experience from the design industry on our strategically crafted to teach you exactly what you need to know to either become a successful graphic designer or to use the adobe programs as a hobby, from business cards to photo manipulation, from posters to social media and Web graphics, I'll walk you through every step of the process so you feel confident creating things on your own moving forward. If your dream is to start your own graphic design company, work as a freelancer, carve out a career working for an agency or in house designer. This course will give you the ground level skills you need to begin turning that dream into a reality. I love that a career and graphic design gives me the freedom to spend time with my family while also providing a great income and the ability to use my creativity on a daily basis. That kind of freedom is what you're looking for and what you're after. Then you've definitely come to the right place. This course has over 100,000 students across multiple platforms with over 7005 star reviews . So when you enroll, you have a chance to also join the community on Facebook that also has over 14,000 members . The purpose of this group is to put you in contact with like minded graphic designers and piers from all over the world, literally from every country of the world, so you can help one another with feedback and encouragement as you perceived through the course materials on your graph design jury as a whole, since the software we use as designers is constantly updating and changing. You need to be able to state educated on the new trends and tools. When you join this course, not only will you have lifetime access, you also get free updates to the lessons and content as a new software and updates are released so excited to have you join this course and to dive in and show you everything you need to know about graphic design to get you up and running fast. 2. Adobe Creative Cloud: in this lecture, I want to show you exactly how to download the adobe creative cloud app, the desktop app and then from there, download all of the apse. You need to be successful with this course. Now there's a good chance that if you've already purchases course, you already have done this. So feel free to skip this lecture at any time for the rest of you have never done this before. I'm gonna also walk through some of the subscription and plan pricing structures that they have available and guide you toward what might be the best fit for you. So, first of all, let's go to adobe dot com and their home page changes frequently, so this might look a little different when you get there. But up at the top, we've got their main markets and sections available, and we're looking for the creativity and design. So I'm gonna click on this link here and from there and the drop down, we have some really helpful links that you should consider checking out if you have more questions than what I've answered in this video. But what you're looking for is the view all plans and pricing button. Now that this has changed since I've recorded this and looks totally different, you might have just as good success by going to google dot com and typing in Adobe Creative Cloud from their pick, which everyone looks like the best link for you here. They've got an Adam's gonna click on this one right at the top, and that should take me right to that same plans and pricing page. In this case, it's just the home page for the creative cloud. So it's got some Mawr tabs about what's new learning and support all products and a free trial. Now, one thing I want to point out. Their free trial is only seven days long. So what I suggest is, if you're taking this course and you've just purchased this dive right in and do this right away, because I want you to know that it's a good fit or not a good fit as soon as possible. If you discover this isn't a good fit for you, go out and get a refund for this course as well doesn't hurt my feelings at all. I want to make sure this is something that you love So from there, let's go ahead and click on the Choose A Plan button, and that should redirect you to this page here. Now I want to point out there are four different tabs across the top. They have plans and pricing for individuals, which will probably be 90% of you business students and teachers and schools and universities. So if you're currently a student at an accredited college or university, definitely check out this plan and stepped through the different processes. Here. You can click on the learn more button and see if your school qualifies for this, cause if it does, it's a substantial savings. Now for the rest of us. You'll probably end up choosing the individuals plan. Now, within this plan, we've got a few different options here to consider. So one approach you might take two following along with this course would be to do the trial version tried for the seven days and then go from there and reevaluate whether you think you want to continue on or get a refund for this and the course as well. The other thing you could do is a majority of this course currently touches on photo shop. We do get into illustrator, we do get into in design. But I would say if you get stuck on an island with one app, I would choose Photoshopped because with photo shop, you can do a majority of the graphic design tasks you'll be doing as a beginner. So the way you could do that is you could come over here to single app, choose an app such as Photoshopped, and then click the buy Now button. You'll be asked to make your own account, and it will give you the download. You'll notice this is only $20 a month if we choose annual plan paid monthly. So what that means is you are signing a contract essentially for one year, and they'll give you this discounted rate of $20 a month. If I click monthly plan where there is no commitment, you'll notice it's a little bit more expensive or I can choose to pay prepaid for the whole year, and it's about $240 for the year Now. I know that might seem like a lot when I first started and learned you had to buy the entire creative suite it was over $1000 to buy. So this is actually a really good deal. To be able to kind of put your big toe in the water and see if it's something that you enjoy. You could also consider this photography plan depending on the level you choose will notice the options down here change. And this includes both photo shop and light room. So for those of you who might be leaning towards photography but dabbling in photo shop and some graphic design, this could be a really good plan for you as well. It also, depending on the plan you choose comes with 20 gigs. A terabyte. Oh, I guess one terabyte of storage with just light room. So something to consider for sure. Now I use the all APS bundle, and I would suggest that for you as well, if you're if you're set on doing graphic design and learning mawr, even video editing and photography. By doing this annual plan with all of the apse, you have access to absolutely everything from video editing, photography, the Web design, APS and all of the photo shop in Illustrator in design, Creative APS as well. So This is what I actually have. Recently I upgraded, and I have the Adobe stock bundle as well, which then adds a monthly subscription for images. Now, before you choose any of these, especially the annual plans paid monthly where you're actually signing up for a contract. One more thing I want to point out is on adobes legal page. They mention that if you cancel, you have to do so within 14 days of your initial order. So what that means is, let's say, have a seven day trial and you go for the seven days. Then they would build your card on that seventh or eighth day and then 14 days from when they build your card, you need to contact them and say, Hey, I want to cancel that there's any any issue. Otherwise, what's gonna happen is you will be charged for 50% of the remaining contract obligations. So if you have a whole year left, they're gonna charge you for half of that year, so I won't be very clear to you before you dive in and then forget that you've got a subscription. Make sure that this is something you want to do And don't forget you've only got those seven days is a trial before you kind of get serious. So again, you know, if you're gonna be a designer, is what you want to do. It's just it's just a cost of doing business. There are some other APS that we can talk about a little bit later, such as pixel mater and a few other new ones, like Sketch, where you can pay for it out right and never have to do the subscription thing. But the Adobe creative cloud is by far the industry standard. So once you've selected what plans and pricing makes the most sense for you, you can click to buy now button at the bottom of any one of these. It will redirect you to the page where then you can set up your email account and create your ID, your adobe I d. And then from there, just follow the prompts. To download the software that you need, you'll be able to download the creative Cloud desktop app, which is a smaller app. So what downloads quickly you install it on your computer, and then, from there, you can open it up and see all of the different applications that are available to you, depending on your subscription level. From there, just click the button over here on the side that'll say install. If you don't have it installed yet, or in my case, I've got a few that need updated so I can go ahead and click the update button. Now the Adobe desktop app is a great way to keep all of your APS current as well as using these tabs across the top, where you can learn more about how to use the software manager assets, find Adobe stock free next project, or even create your be Hance portfolio. 3. Setting up your shortcuts to open apps: are. Once you get the applications downloaded to your computer, it's a good idea to create shortcuts. So that way, it's faster to get into the your applications. There's a lot of ways to access the programs. I'm on a Mac. One of the ways I do it is a command space. It's a shortcut for your spotlight tool. Appear in the top, right? I see my little spotlight so I can click on that, too. But again, command space for the apple space. I just type in photo shop, and I'll see it pulls up that way. That's one way to open it. Once it's open, or any of these APs or open, you can right click, go to options and then keep in your doc. I'll go ahead and close photo shop for now. So now when I quit Photoshopped, that icon will stay right in my dock. Another way to get there if I open up my finder window. I'm looking for applications in the sidebar, but I have apparently turned it off at some point, working on something. So if I come up to find her preferences over here, I've got the options under the side bar tab a launch under general. But if you click on the side bar tab up above, we can see that we can turn on and off different folders. So applications is one of them. We can turn back on to be totally honest, I don't really access my APS this direction, so that's why I have it turned off. But again, you can navigate here and find any of your APS that you've got going on. So, for example, let's go and add in design into my doc now. So I click wants on this in design folder, Little click and drag from this in design dot ap P file down to my doc and then I'll let go . So now I've got the in design shortcut there as well, and then another way we can access our APS is through the launch pad. So if I click on this, most likely your app got stashed in the very back end of I don't even know what the screen is called. But there's my photo shop icon. I can click and drag, and if you have an iPhone or IOS device of any kind, you're probably familiar with moving app icons around like this, but I can drag and drop. Put this wherever I want to make it a quick shortcut. So now another way to launch photo shopped for me would be to click on my launchpad icon in the dock, and they come up here and click on the photo shop icon, tow, Launch, motor shop. So those are all different ways you can get into the program, and you can do this for any app you want for me. I usually keep photo shop in design and illustrator in my Dock of God I messages and then slack and a few of the things in. This tends to change depending on what I'm working on. I like to keep my workspace clean and clear and minimal. So, for example, if I'm not using slack or something else, you can click on that icon, hold up until it says removed, and then let go. So obviously we didn't address the shortcuts on a PC, and I apologize. But I don't have a PC to show you that or I would. But as far as that goes, just use whatever is most comfortable for you, whether it's putting shortcuts on your desktop or down here in the in your start menu, on it on a Windows machine or in the dock on a Mac, all of Richard great again, use whatever makes you the fastest and whatever you're the most comfortable with. 4. Create a Poster: Introduction and setup: right now that we've got our application set up and are shortcuts in the right spot, we're ready to go. It's time to roll up our sleeves and actually make something so hope you're excited about this. I figured we could start off of the poster, and the reason why I want to start with a poster is well, actually, there's a couple reasons. The first is It's a rectangle, so the tools and the skills you learn in these next couple videos will hopefully apply to just about anything you want to use or create, such as a Facebook cover image. Something for Pinterest. Maybe something on instagram or a Web banner or postcard you name it. Just about anything you make as a graphic designer will be some form of a rectangle shape. So I figured a poster is a great place to start. Also number two. I want to make something that teaches you the skills but is also practical that you could actually use right away. So while I'm gonna give you some assets toe work with, if you don't have anything, feel free to deviate and create something that's helpful for you. So maybe it's something you want to sell. You could create a for sale poster and put it up in a coffee shop. Maybe you want to promote a social cause or an event of some kind. Feel free to take the skills and make something all your own. All right. The other thing I want to do is as we're learning some graphic design principles and elements. I also want to teach you how to use the software. So it's gonna be a mash up of both skills and techniques as well as theory. So let's go ahead and dive right in. Start off by opening Photoshopped in this case, I'm going to click on the icon of my doctor Launch photo shop. Once photo shop is open, you'll notice that we've got this start page in front of us just to make sure you and I are looking the same thing. Go ahead and come up to the top, right. I'm gonna click on this drop down, make sure it's selected as start and then hit reset, start and then that way you and I are looking at roughly the same thing. The recent files on the top left here shows any files that you've created now, in this case, you haven't made anything yet, so you won't see anything. But you can toggle between the list view or the icon of you, and you can see some of the projects have been working on lately. And as you create new projects, your most recent will be at the top. Your libraries are collections of assets for different projects, and you can create as many libraries you want and put anything in there that you want. So for me, I've got some clients that I've been working with. For example, this unearth logo was the logo is working on for the Discovery Channel, and I started collecting assets for, like, this background that I purchased as one of the earth patterns that are used in the logo. And I had some other resource is I was working on. I've got this tough country collection where I've got the clients colors, some photos of purchased the adobe stock and some of their logos and things like that. I've also got this foul core project where I've used all their color swatches, some different character settings for their fonts, their logos and more photos that I've purchased for the brochure. So libraries are a really great place to collect everything, so that's easily accessible. And libraries now work across the entire creative cloud. So when you open up illustrator or in design, you can see all these assets. No matter where you go, it's really handy. It's a great new feature. Then we also have presets, so we're making a poster. Today. We're gonna start making an 11 by 17 and I realize you probably don't have access to 11 by 17 printers, so we'll start big, and then we can crop it down and resize it at the end of this thing. If you want to just dive in within 1/2 by 11 you could click right here. Go ahead and try it. We'll click on that and you can see him up and running and ready to go out my blank canvas . I've got my tools on the left hand side and everything I need to start working in photo shop. I'm gonna click on his little X here to close that tab to get back to my presets and you'll see that we've got some photo presets, some Web design presets. Go and check those out as you want. Teoh. What we're gonna do now is create a new custom size because we're doing 11 by 17 1st I don't have as a preset yet, so what I'll do is I'll click on the new button here. A shortcut would just be command and on a Mac control and I'm a PC. I could also come up here to file new, and you'll notice that there's a lot of ways to do the same. Thing is, we work in these APS on these lessons. You'll notice that there's probably multiple ways to achieve the same thing. So just figure out what works best in your workflow and what you want to use to get started . All right. So I clicked on that new button to make a new document, and here's my new document window. You'll notice As you play in here, we can set different document types. I also have a few more presets, depending on what you choose if I come down. The Web, for example, is a document type. It has a few more sizes for me to choose from, which is kind of handy. I can go ahead, and I'm gonna come back up here to us paper, and I'll just kind of set my club my settings closer to what I need for print. So I'm gonna set my size right here. I'm gonna set at 11 inches wide. Make sure set inches and not pixels. Set the height at 17 and then we want a resolution at 300 her color mode at C m. Y que. Let's take a quick time out here. I want to talk to you about resolution and color mode. All right, let's go ahead and define and talk about resolution first. So this is a term you're going to use universally, no matter what application you're using. So it's important that we get this before we get too far down the road. So resolution. It's a measurement of the output quality oven image. Usually it's in terms of samples, pixels, dots or lines per inch. The terminology varies depending on the intended output device. So, for example, if we're gonna talk about screen resolution, we talk about PP I or pixels per inch. We're gonna talk about print in this case, our poster, N B D p I or dots per inch basically dots of color dots of ink on the page. So for every inch how maney dots of theirs every square inch. So, in this case, 300 dots for every square inch on our paper. Often images referred to his high resolution or high rez or low resolution low rez. So this poster is gonna be a high resolution file. It's gonna have 300 dots per inch, whereas some of the Web based projects will do. Down the road will be a low rez at 72 dots per inch. So if you tried to print out low rez image and there's only 72 dots per inch, it's gonna look really jagged and what we call pixelated, where it doesn't look smooth and the colors don't look very good Now at a distance, it might look fine, and that's actually a trick we use with banner design or bus wraps or things that have to be really, really big. If you get up really close and look at those print projects, you'll notice you can see the dots. They're actually printed low rez, and the reason is because you're viewing distance is so far back, your eyes actually blend those colors together. If we tried to print a higher resolution, file 300 d p I. And it was huge, like the size of a bus wrap. The fire would be so big your computer would crash to get it out. So we use a low rez file, so that way it doesn't get too big, so you can print it. And then we let our eyes blend it at a different at a distance, so hopefully that clears up resolution. Now let's go ahead and talk a little bit about the color modes. The reason why this is important is because we have two different mediums were working with your either Working with Scream. We're working with print, and they both handle colors very differently. So unfortunately, you're designing on a computer in its shining light into your eyes. But when we print this, we're printing ink on a paper that is in reflecting light. So the way that the printers behave compared to your screen are gonna produce different color results. So in order to achieve the closest color match from what you see on screen to what you see on print, it's important that we pay attention to what color modes were using. All right, so the 1st 2 that I really want to talk to you about, I know there's a couple others in photo shop here that you see in this menu, but RGB and see him like a Those are the two that you're really gonna be working with, the most RGB we use for print or I'm sorry for screen based projects. So it stands for red, green and blue, and basically, those are lights. If you look really close that your screen or at your TV, you'll see little led is shining, so you've got a red, green and blue and depending on how bright they are, if they're all on all the way, you actually get a white light and then print. We have C M y que, which stands for science magenta, yellow and black. So think of that, like mixing inks on paper or maybe finger painting or painting right. When you mix those colors together, you can achieve different results. So, for example, science is like a blue color. Magenta is kind of like a pinkish color when you mix them together. You get more of a purple color. So same theory price applies to what you've probably learned in traditional art. So we're gonna use science Magenta, yellow and black C M y que for print projects. So while you're looking at this on photo shop, it's going to display RGB colors because it automatically corrects that for you. But when you said it to a printer, they only have cyan, magenta, yellow and black to print from those think tanks. They don't have RGB colors to mix, so we need to convert the file to see him. Why K to get the most consistent print results? Hopefully, that makes sense. Let's go ahead and dive back into the project. Okay, so now that we've defined our color mode, let's go ahead and get back to this new window dialog box here and make sure our sayings air correct. So we're making a print project. So just to verify, we'd better with their heights that inches with a resolution of 300 better color modes at the C m. Y Que looks good to me. Let's go and hit OK to open up our new canvas to get started. Now, before we do anything else, make sure you save this, so I'm gonna go to file and hit, save as. And then let's give us a name. Typically, what I'll do is call it whatever the thing is. So in this case it's a poster. And then I might even give the size two. So this was gonna be 11 by 17 and we make other sizes. I might name it in half by 11 or whatever. Just so it's easier to tell what I'm making right out of the gate. Make sure your format is set to photo shop. That way you can come back and edit it later. When we're all said and done, you can export things like J pegs or tips or different file formats. But we want to leave us as a native Photoshopped files. We can come back and make edits over time. Now, I've already got a folder on my desktop called Poster, and I structure my files like this. You don't have to yet. We'll talk more about this as we go, but set up your design. I've got mine in the design files folder, and I put in a folder called PSD. So these are all of my design files that I need to make this project. My file centers where I put things when it's ready to go when I've sent the project a printer to a client and then my assets folders where I collect ideas and photos and fonts and things like that. So we'll talk more about that as we go. But right now I'm just put this in my design files folder called PSD. I named it Poster 11 by 17 and I will go ahead and hit. Save. Okay, this is a great place for us to push, Pause, and we'll go ahead and start pushing pixels around in the next video. 5. Gathering assets for your poster: in this lesson, What we're gonna do is pull in some of the photography we want to use and start building our general layout. So first things first. What I typically do is open up safari or chrome or whatever happens to be the browser of choice for that week, and I'll usually do a Google search. So in this case, we're just gonna look for a band poster and then all choose images up here on the top. So I just want to see all the images available, and you can see right away that there are a ton of really creative band posters, which is part of the reason why we're doing this in the first exercise. It's something fun. It's something that will teach you how to use brushes, textures, typography, photography and and use all these different pieces to create something fun that you enjoy. So what we're gonna do right now is just briefly look at some different ideas that might be inspired. And when I look at poster ideas or any idea for anything that I'm trying to research, I usually I'm looking at either fawn set. Inspire me. I'm looking at color schemes that I like or layout designs that I like. So, for example, looking at this real quick, I like that. It's not just straight horizontal text on this waterfront poster. It's got kind of, ah, not quite afford five degree angle. But you know, it's at an angle, which adds some visual interest. This Linkin Park poster. I like the color, and I like that the guys air kind of cut out. So what? I'm gonna do these things that I want when I find something I like you to do one of a couple things earlier, right? Click and I will save the image to liken ideas folder. So if I come in here and I'll make a new folder on, I was called Ideas It save or What I can do is I can click and just dragon image straight over the photo shop icon in my dock. Hover until it comes up, hover, tell come back there and then let go, and I dropped it right into my workspace. Now, in Photoshopped, the way you can scale things up, the shortcut is command T or control T on a PC. So the way you would find that If you forget, it's up under here at it, and we're looking for free transform. And that shortcut right there is command T. So, what it does it gives me these little handles that I can start to drag this up larger, and the photo shop will let you skew an image. Right? So we want to keep it proportionate. So we're gonna do is hold down the shift key. And now when I click and drag, it stays. Uh ah. In the in the right perspective here. So when I get it where I want it, I can hit the enter key. Or it can hit this little check mark up here, toe finish my transform. And I'm just gonna start building in a bunch of layers here into this poster file just to start getting some ideas and things I can work with. So come back over here to safari. And, uh, let's just kind of see what else we've got here. Things that inspire me this Mumford and sons. I kind of like how they've got, um, this illustrative instead of a you know, photographic poster like the illustration behind it. Some of the right click I'll save image as on the throat in that ideas folder, so I can refer to it later. Usually I'd work one way or the other. Either save it into that folder or I would click and drag and drop it right into Photoshopped for me to work with later. And I let go too soon. Let me try that one more time. Click and drag hold, Bring it back. Okay, so we could spend a lot of time researching and grabbing a lot of things. So what's best practice, at least for me, is almost a literally set a timer for maybe 10 minutes. Otherwise you could start to get overwhelmed with the possibilities and what you could Dio and all of a sudden you lose your entire day just looking for images or just trying to find inspiration for different things. There's when I saw earlier Oh, here it is. I really like this. Ah, this I thought was really cool. So I'm gonna click on that right click save image as my throat in that folder so I can refer to it later if I need Teoh and in this case, was gonna throw it right into photo shop Command T. And then I'm holding down the shift key. And I'm also going to the altar key by holding down the altar key. Let's see if I just hold down the shift key it it anchors it to the top left. But if I hold on the altar key, it scales out from the center. So just just faster, it helps me scale up faster. I return. Actually, this case that my in turkey okay, and now you can see on the right. I've got my layers. I'm gonna shift click floats right now. Layer three selected all hell downshift and I'll click down there one and it will select everything in between. And I'm gonna hit this little folder icon down here. What that's going to do is put it into a folder. I could have also hit command G on a Mac Control Guiana PC. And now I've got my group and I can double click on this and I'll just give it a name. It's really good to keep your file organized. We'll call it ideas. Okay. And then now is a really good time to save So command s control that's on PC. Always save your work. It should be like a nervous twitch that just happened. So you don't lose anything. All right? So the reasons why I like thes this blue color was inspiring. I also liked the, uh, just out of the organic nature of this is creative. It's Mumford and sons again. I liked how the high contrast of this darker illustration and against the white background and then this Lincoln Park image here is gonna drag this up a little bit so I can see it. I liked that, um, they've got if you look closer, the guy. So this blue triangle that kind of interacts these layers merged together, toe kind of color them, and Ah, it. I think we're gonna probably take that approach on this poster. So what I'm gonna do now is I'm going to turn out that ideas, and we're gonna pretend you'll have this this photo in your in your, um, in your assets file that will provide for you. But I'm just gonna drag this image. We're gonna pretend like this is a new artist. It's coming to a venue here. We've gotta make a poster for him. You confined this image in your downloads or this is on ah website called pixels dot com. So p x e l s dot com and he's right it here. So what we could do is click on it and then click free download, and it will bring to this window I could right click and then save image to downloads. Okay, so I got that one and then about a couple other voters that I found in pixels dot com that were inspiring That might work for this project. We've got some guitars, and then we've got this, uh, soundboard here. So what I'm gonna do with these same deal are right. Click save image to downloads. Click on this one, right click, save image to downloads. So I'm starting to gather all my assets. Okay, so we've brought him into our workspace. And now what we're gonna do is in the next lesson. We're gonna cut him out or isolate this photo so well, crop him out. And that's one of the moat between layers using layers and photo shop and making really good selections. Those were the two probably most critical skills you'll learn and photoshopped because once you master those you can really do just about anything and composite anything together. So we're going to go ahead and shut this down for this for this lesson, and the next lesson will dive into making selections and starting to work with all these assets we started to collect. 6. Making selections in Photoshop: Now that we've got some ideas to pursue for our poster, we've got a photo of the main artist. It's time to start building up layers. But before we do any of that, we have to start isolating things. So imagine that this is really truly if, let's say it's a four by six photo. Uh, anything below this layer is not going to show through. So this little icon down here next to the trash can is a new layer icon. If I click on it, I've got a new layer to work with. I'm clicking back in this photo If I command, click some Homeland Commander Control on PC, and I click it will put the layer below it. So just a little quick shortcut here instead of just clicking a new layer and putting at the top, I want Slayer below And the reason why I'm gonna come up here my colors and just get a bright green right here. I'm gonna hit Ault. Delete all delete is the short cut to fill your foreground color to the canvas. If I command delete, it fills it with whatever is behind here. So this background colors that's white So I basically fill this layer with white all the lead again. I could go toe edit, fill right here or shift F five. That's another way to do the same thing. So one thing you'll discover in photo shop, there's probably 100 different ways to do the same thing. So these air to short cuts that I've discovered that I use in my workflow. So all delete the whole reason I wanted to show you. This is I've just filled this new layer with green. So if I turn off this photo layer, you can see my campuses green behind it. Turn that back on. So this whole white area needs to go away, right or something else. We can explore our layer styles. So right here we've got normal. But I can play with different layer styles and what a layer style is. It controls how whatever layer you're selecting interacts with the layer below it. So right now I'm just clicking on it multiplies. One will probably use a lot, and you'll see what it does. Multiply hides the lighter tones but keeps the darker tones revealed and then merges that with the layer below it So, um, you know, if we change this campus color, let's say to in this case, a purple add new layer. I'll just click on it so it put it above the other layer and I'll hit Ault delete to fill my foreground color. So now he looks purple, But maybe I just want my background to be, you know, purple or green or a texture of photo, and I don't want him to be part of that. So I'm gonna come back over here and you could explore more. So here's another shortcut I'll have. Make sure your move tool is selected. Okay. With that selected on the layer you want, you can hit the shift and plus or minus keys to cycle through us right here as I'm hold as I hit Shift. Plus, I'm basically scrolling through all these options without having to click on each +11 at a time. So sometimes, but then that's kind of a creative effect right there. But sometimes, you know, that's that's all. Find something I want to work with all hit shift plus, and I'll just cycle through real quick and just see what different layer styles effective My image in different ways. In this case, I'm gonna start with normal because I'd like to keep him black and white. Keep his skin tone how it is. I want to just cut him out. So this is one of the most critical skills you learned in photo shop. There's a lot of different ways to cut images out. One of the rough ways I can hit the letter l. A Get my lasso tool and I could literally start to just, you know, we'll just do a super rough cut here. Whatever I trace around, I'll get what we call these marching ants case. I've made a selection, and there's a lot of different ways to isolate the selection. I could delete it. In this case, I usually hit Command J, which jump cuts it up to its own layer. So if I turn up the original, what I've done now is I've brought this letter to the front. Obviously, it's a terrible selection, and it's it's not edible. Are smart object. It's it's destructive editing like I can't ever bring back here where I didn't make a good selection. So making a selection with the marching ants tool and then just jump cutting. It isn't probably the best way to work. A better way to work would be, too. If you make a selection toe, add a mask. So down here next to the FX, we've got this little square with circling that this is a mask, and when I click on it, it remembers what's behind it. But now we're masking it. So anything black hides anything that's white reveals, and I can click left or right here. If I click on the main image now, anything I would be doing would be on the actual image. If I click on this mask now, I'm working on the mask. So, for example, let's say you want to refine my selection. I could get the brush tool. I had to let her be. Get the brush tool and I'm gonna go to window down to brush. And now I can change different settings, like how hard the brushes I can select right here. Maybe a softer brush will turn my spacing down. I'll bring my size up a little bit, and I've also got some other things going on. I'm gonna uncheck these for right now. These things will get into a little bit later. So I've got a soft brush so I could actually come in here. And if I paint with black, So I'm painting with my foreground color, which is black on the mask. So black is hiding. Have hit X X is a shortcut right here to toggle, which is in front. So if my white chip is in front now I'm painting with white and light reveals so you can come back in here. And you could really I mean, this is one way to work. You could zoom in and really refine your selection exactly like you want it. Okay, That's one way to work. I'm gonna go ahead and turn off this mask. I can hold down, shift and click, which just hides the mask. It's still there. Shift click to bring it back, or I can drag it to the trash. Okay, Now I'm now I'm back to the original image here. Another way to work. A newer tool is this magic wand tool, which is kind of ah, combination. I'm signed up the magic one, but the quick selection tool, it's kind of a combination between a brush and like the lasso tool, but in this case it's smart and it detects the color around the edges. So I kind of just drag over everything here, and it's smart enough to know what to include and what to leave now. A problem you run into his areas like this was not a lot of contrast. Technically, his shirt is still over here. But if I use that tool in a try and you know, try and add that it might work in this case, photo shop is pretty intelligent and it sees. But it's not perfect. They're still, you know, down here it's it's having a really hard time. So but let's say you're just trying to make a quick calm for somebody just to see if they even like it. You don't want to spend a bunch of time cutting out this image. You could do a rough cut like this. Now, if I want to add more to this election right now, it's really tough to see. But there's a little tiny plus sign inside of this icon. If I hold down, alter, it turns to a minus sign, and what that means is now. I'm now I'm subtracting from my selection. So, groups, I took too much of his neck away. So I'll zoom in here, command an option. It's a short cut for my zoom tool. Or you just click over here and zoom in any time. And now I'm hitting space bar to get my hand tool, which is right here. So any time you can use your keyboard is a shortcut, it's obviously better. You'll be much faster. So command space bar and now zooms in or command option space bar and I get up and I get my zoom out tool case. Where were we? Oh, yeah, We were on our quick selection tool. I'm gonna hit the Ault key. I'm sorry. I'm gonna leave it alone because I want to add back to this neck. Here. There we go. All right, so now I'm gonna zoom out Command. I'm sorry. Space bar command and all to zoom out and let's do the same thing they did last time. Let's add a little mask. All right, so this is better. A little bit better, but you can see we still didn't get everything in the shirt. The selection isn't quite right. Still So this would be enough, though, if I wanted to just quickly mock it up and see if I like it. All right, So for me, the best way to work when I end up doing all the time is using the pen tool. So we're gonna zip through this pretty quick. It's kind of a complicated tool. I just want to get the principle to you, and then this Something will learn more as we as we go. But what I'm to do is get the pen tool and I wanna make sure path is selected instead of shape. If it's a shape, you can actually draw new shapes and you can change the field color, which is great. But right now, all I want to do is I just want to use it to create a path and then cut out that path. So I'm gonna delete that my shape layer still selected, will hit, delete, and that goes away. I'm gonna hit P to get my pen tool and I'm gonna changes from a shape to a path. Okay. With the pentacle again, it's something you'll need to practice. But you can click and drag and then click again and you'll notice I've got my anchor point right here is where the path starts. It's gonna go towards where this handle is, so it's gonna bend towards that and then get down to here where this other point is, and it's bending up because of this anchor point. If I hit command, I can get my selection tool and grab that anchor point and bend the path. So again, these are just handles to control this busy a curve here what we call it, uh, and what I like about it is you can get really, really precise. So, uh, what we're gonna do now is we're gonna zip through this real quick over here, My paths later. I've got that path, that work path. I'm gonna delete it. Yeah, we'll come back to my layers. All right, so here we go. I'm just gonna go quick, so you can see, however, do this and then we can practice these skills more later. So I hit the caps lock key. It changed my icon from his dependable to the precise marker here. So I've got my caps lock on his human real close. I'm holding down the Space Bar Command. All right, now we're gonna start cutting this guy out here. I'll click and they'll drag a little bit. Now hold on the altar. Key to change to my, uh, this tool here, This is called the Convert Point tool. And it just helps you grab these anchor points because otherwise, what would happen is if I did it my command to We'll see how it grabs that lower curve to, and it bends this one. Well, I'm happy with this being here, and I want him all to key to start bending this around. All right, here we go. So we're just going to zip along this line real quick. It's not going to be perfect, but it's gonna be good enough here to get our poster going. So let's just zip through this real quick. So I click and I dragged a little bit. And the reason why is that? When my curves are a little bit softer and they're not, that's that. You know, like, if I just click like this or not jaded if I click into rag right when it commands, eat now in Photoshopped, have to command options, your control all Z to step back. Multiple. Otherwise, what happens if you just want to undo commands? It just Hol goes back and forth between the last thing you did. So you want to step forward or step backward by using command options? E Okay. All right. So let's keep going with my selection here. Click and drag. All right. And what we're gonna do now is when we get close to the hair, we're gonna do a different selection of method, and I'll show you that here in just a second. So we're gonna keep right along his shirt, click once, and then I'll click again and drag my handle this way. So my curve comes along here, click out and the reason I'm clicking during this way. So my handle, man, it's really tough to see on this image, but so my handle comes this way and that curve, which you probably can't even see Europe's comes along that neck now would have the old key . I'll grab that handle. I'm gonna bring it right around here. So it follows his neck, I'm gonna come up towards his hair, and then what I'm gonna do is zoom out real quick and I'm just gonna get close. There's another selection method to get all this hair isolated. Okay, I'll come up past the canvas and, uh, will come down here around here. I'll click once, and then I'll click again And drag, click, drag, Come down here. Click drag to bend that curve. Okay. And now I just need to close that gap. So I'll come down here, Click, click. And then when I hover over that open point where we started, my cursor changes to this icon with the pen to one in a little circle. Next meeting, we're closing that path. Okay, so I've got my path over here, and what I usually do is I double click, and I'll call it something usually call it just cut out And what it does that way it saves this path in this file. Okay, Now, what we're gonna do is I'm gonna hit command, return or control return to turn this into a selection, you could also grab that path again, right? Click and make sure that your pencil selected and say, make new selection. We'll click on that and will make a selection. So again, we're just giving those marching ants. Okay, now I'm gonna click on my little A mask tool, and I've got this nearly perfect selection if I zoom out. Okay, so the other thing I would do to polishes up a little bit, I need to add this little chunk here. So let's get my pen tool and I'll start. Same thing. I'll just cut him out real quick. Okay, close enough. Command return. Got my selection now because I'll come under this mask and I can fill it with blacks. Remember when I was feeling with green and purple? I was holding Ault delete to fill it with black. We'll make sure I've got you can see this sudden little box and make sure I've got that selected around my selection. Blacks on top of it all delete. And I've added that to my selection here. Okay, so now we've got a pretty good selection. Now, what we're gonna do in the next lesson is we're going to really refine this hair, So go ahead and play with this on your image. Play with that pen tool practice, making your selections, and then the next lesson we're going to learn how to make really, really, uh, difficult selections with things like hair 7. UPDATED: Refine edge selections: Now that we've learned how to make basic selections, we're gonna try and tackle hair, which is a much more complicated selection. Obviously, we don't want to try and cut out by hand all these little strands of hair. And luckily, Photoshopped makes this easy for us. So as I look at this, though, I realized I probably could have cut this a little bit closer to make voter shop a little bit happier about life here. So I'm gonna do with the letter L my lasso tool. Okay. And I'm just going to make a closer selection That's a little bit closer to where his hair actually is. And this will help us out here in just a second. You'll see why I'm gonna come back over here and then says I let go. It closes that gap. I'm gonna make sure that selected will hit all delete command D to de select. I could have gone up to select de select. Okay. And now I'm just gonna keep working around here. And the reason why I'm only doing his little chunks and hit off the lead is because if I if I had to try and trace all the way around and then hold on the space part of move and then keep coming over here It then I have to see if I just let go. Here it closes. The gap is a circle across his forehead, and I don't want to do that. Um, So what I would have to do then, is come back all Iran. I'm still holding down the mouse. Hit the space bar to move still holding down the mouse to basically make this like, loop shape. Okay, so that's why I'm just quickly grabbing little chunks, all delete again, making sure I'm still in my mask layer and again just trying to get rid of some of extra white space that I left. So over here, it's not too bad, But we'll just remove a little bit of it, getting it closer to the hair that I want select. And the reason why is what we're going to do now is I'm gonna hit command and click right on this mask with command. Click on the icon. It brings the selection back, and that's a shortcut, actually can. Using any later, I command click on anything. It'll put a selection around that layer. Ah, quick detour. Let's say I have a shape here, this random shape that have drawn hit command and click on that layer It puts a selection on whatever pixels it sees in there. OK, so delete that layer. Click back of my mask, Hold down command. So I get that little tiny being even see it But that's square on my hand Cursor click ones in my eye my marching ants My selection comes back. All right Now I'm in at the letter m to make sure my square selection tool selected. And the reason why is because when I hit that letter M key, let me go back to let's see what was on. Maybe the pen tool. You see, I've got a pen tool. Options appear in my heads up display by hitting letter M. I've got my selection tool or one of my selection tools. I could do that on the lasso as well. But what you see is up here. I've got this refined edge option that shows up when I have the lasso tool or the selection tool. Hey, sorry to interrupt. Let me cut in on this lecture real quick. I have an update for you. I was about to show you how the refine edge tool worked. But in the latest version of photo shop, when you go to the letter M instead of the same refined edge it now says, select and mask The other thing that I'm about to show you is I When I made this video, this layer was a smart object and I found it had better luck with my selections. If I right click on this and May in Rast arise the layers Let me go ahead and decent like this Command d to de select I'm gonna right click Amazon Rast Arise layer Now that rast arise all command click on my shape or on my mask layer again Well, at the letter M And now I'm gonna click appearance, Select and mask. Now what I'm gonna do over here on the left hand side I have the letter R, but this brings up my refine edge brush tool And now I can start painting in here and you'll notice you'll get a much better selection right away. And that should help you out a lot. I've been getting a lot of questions about this, and I hope this clears it up. Go ahead and watch the rest of this lecture. There's some great tips and tricks. And then be sure to catch the video that I made That gives you even more detail about the new photo shop. Selected mass tool. All right, continue on. Thanks, guys. You see, I've got a pen tool. Options appear in my heads up display by hitting letter M. I've got my selection tool or one of my selection tools. I could do that on the lasso as well. But what you see is up here. I've got this refined edge option that shows up when I have the lasso tool or the selection tool and click on that refine edge. And now it brings up this dialog box here where I can paint over the edges and photo shop is smart enough to know what dark and what's the hair that it's trying to keep. And I'm just kind of guiding it to where I wanted to make the selection for me. So I just kind of paint over the hair a little bit and look at that. It just knocks out everything behind. That's not hair. So this refining edge tool is amazing. It really saves a Thanh of time so I can click over here, and it's kind of drag around the image to finish my selection. And in this case, this is why I you can see it's kind of struggling with this orange edge a little bit, which is why I went through and cleaned up that white selection. Just It was a little bit tighter and on things, okay, and I could spend a lot of time doing this. And if you have a hard time seeing what it's actually doing, I can click on this view button, and I could put it say, on White. In this case, it's a white background, so maybe I want to put it on black and see what my selection is doing. You can see we've got a little bit of bleed through. Well, my computer catch up here, Let's put it back on the overlay. Okay, so we're coming through and we're just getting the selection refined and you could spend a lot more time on this for the sake of this video. I don't want a linger too far here. I just want to show you the principle of how we could do this. So once we get it close to how we like it, I'm using the space bar again. I'm only on the space party in my hand tool to kind of move around and see if it's close enough. And then once were done the output, we could put it to a selection to a layer mask to a new layer. Right now, I'm gonna leave it as a selection, okay? And I want to add it to this other selection I have Now here's the catch. Its selecting everything on the inside. So if I hit command, delete and fill it with white Well, that doesn't really do me any good, because I've already got that selection there. If I hit, all deleted, filled with black Well, that doesn't help me either, because now we're filling the inside of my selection with black and it hides my image. Some of the command Z. So what we really need to do is invert our selection. So if I zoom out, you can see we've selected the image here. But honestly, what I wanted elite is this white space around it. So I want to select everything but that so come to select inverse or could hit shift command I. And now my selection is everything except for the middle. So I can add that to my mascara Click here. I'm gonna fill it with black. So it all delete, and now you can see I've got a pretty good selection of his hair. And again, this is this is a problem. And look at that. You can see it's almost perfect. Um, I could have done a better job up here, but we're just trying to blitz through this so you can get the principles and see how it's going. So once that selection is how you like it now is the fun part. We can start adding images behind or working with layers to bring him in front of or behind different text elements. We're gonna go ahead and do that in the next lesson. 8. Refine edge selections: Now that we've learned how to make basic selections, we're gonna try and tackle hair, which is a much more complicated selection. Obviously, we don't want to try and cut out by hand all these little strands of hair. And luckily, Photoshopped makes this easy for us. So as I look at this, though, I realized I probably could have cut this a little bit closer to make voter shop a little bit happier about life here. So I'm gonna do with the letter L my lasso tool. Okay. And I'm just going to make a closer selection That's a little bit closer to where his hair actually is. And this will help us out here in just a second. You'll see why I'm gonna come back over here and then says I let go. It closes that gap. I'm gonna make sure that selected will hit all delete command D to de select. I could have gone up to select de select. Okay. And now I'm just gonna keep working around here. And the reason why I'm only doing his little chunks and hit off the lead is because if I if I had to try and trace all the way around and then hold on the space part of move and then keep coming over here It then I have to see if I just let go. Here it closes. The gap is a circle across his forehead, and I don't want to do that. Um, So what I would have to do then, is come back all Iran. I'm still holding down the mouse. Hit the space bar to move still holding down the mouse to basically make this like, loop shape. Okay, so that's why I'm just quickly grabbing little chunks, all delete again, making sure I'm still in my mask layer and again just trying to get rid of some of extra white space that I left. So over here, it's not too bad, But we'll just remove a little bit of it, getting it closer to the hair that I want select. And the reason why is what we're going to do now is I'm gonna hit command and click right on this mask with command. Click on the icon. It brings the selection back, and that's a shortcut, actually can. Using any later, I command click on anything. It'll put a selection around that layer. Ah, quick detour. Let's say I have a shape here, this random shape that have drawn hit command and click on that layer. It puts a selection on whatever pixels it sees in there. OK, so delete that layer. Click back of my mask, Hold down command. So I get that little tiny being even see it But that's square on my hand Cursor click ones in my eye my marching ants My selection comes back All right Now I'm in at the letter m to make sure my square selection tool selected And the reason why is because when I hit that letter M key, let me go back to let's see what was on. Maybe the pen tool. You see, I've got a pen tool. Options appear in my heads up display by hitting letter M. I've got my selection tool or one of my selection tools. I could do that on the lasso as well. But what you see is up here. I've got this refined edge option that shows up when I have the lasso tool or the selection tool and click on that refine edge. And now it brings up this dialog box here where I can paint over the edges and photo shop is smart enough to know what dark and what's the hair that it's trying to keep. And I'm just kind of guiding it to where I wanted to make the selection for me. So I just kind of paint over the hair a little bit and look at that. It just knocks out everything behind. That's not hair, so this refining edge tool is amazing. It really saves a Thanh of time so I can click over here and it's kind of drag around the image to finish my selection. And in this case, this is why I you can see it's kind of struggling with this orange edge a little bit, which is why I went through and cleaned up that white selection. Just It was a little bit tighter and on things, okay, and I could spend a lot of time doing this. And if you have a hard time seeing what it's actually doing, I can click on this view button, and I could put it say on White. In this case, it's a white background, so maybe I want to put it on black and see what my selection is doing. You can see we've got a little bit of bleed through. Well, my computer catch up here. Let's put it back on the overlay. Okay, so we're coming through and we're just getting the selection refined. And you could spend a lot more time on this for the sake of this video. I don't want a linger too far here. I just want to show you the principle of how we could do this. So once we get it close to how we like it, I'm using the space bar again. I'm only on the space party in my hand tool to kind of move around and see if it's close enough. And then once were done, the output, we could put it to a selection to a layer mask to a new layer. Right now, I'm gonna leave it as a selection, okay? And I want to add it to this other selection I have Now here's the catch. Its selecting everything on the inside. So if I hit command, delete and fill it with white Well, that doesn't really do me any good, because I've already got that selection there. If I hit, all deleted, filled with black. Well, that doesn't help me either, because now we're filling the inside of my selection with black, and it hides my image. Some of the command z. So what we really need to do is invert our selection. So if I zoom out, you can see we've selected the image here. But honestly, what I wanted elite is this white space around it. So I want to select everything but that so come to select inverse or could hit shift command I. And now my selection is everything except for the middle. So I can add that to my mascara. Click here. I'm gonna fill it with black. So it all delete, and now you can see I've got a pretty good selection of his hair. And again, this is this is a problem. And look at that. You can see it's almost perfect. Um, I could have done a better job up here, but we're just trying to blitz through this so you can get the principles and see how it's going. So once that selection is how you like it now is the fun part. We can start adding images behind or working with layers to bring him in front of or behind different text elements. We're gonna go ahead and do that in the next lesson. 9. New selection masking tool: Since I've launched the graph design course, adobes actually made some changes that affect this tutorial that you're watching. So what I want to do is two things. First, I want to show you the difference, specifically the selected mask options that they've now added. And I also want to show you where to find all of the changes that Adobe has made and how to stay current with that. So the first things first is let's jump over here to this creative cloud icon and then click on APS and we can see all the different applications we have installed. We can see which version we have. So this one that I've updated are upgraded to is 20 15.5. When click on View Tutorials, which will launch a browser and bring you here to the Adobe Photo shop landing page. Then click on the What's New, and that's gonna bring you to this page where you can see chronologically all the changes that have happened. There's a lot of really cool things you definitely need to check out, but specifically, what I want to show you is a selection and masking space. So if I click on, see how it works. You can actually check out this page, and there's a much more in depth tutorial if you wanna learn all the bells and whistles. But when I want to show you is for some of you have the older applications. Older software. If you go to refine your mask in your selection when I have the skin a little hit the letter M and I've got my rectangular marquee, which in my options bar, is going to bring up the select and mask option. Now, on the older versions of full photo shop, you'll probably still see the refine edge if you haven't upgraded yet, So I've kind of showing you how to do that in the last video. Now I want to show you is the new selected masks space. So what I'm gonna do is go ahead and click on Select and Mask, and it opens up kind of a new window where we've got some options down the left hand side. We've got this brush here where we can ADM or to our selection. We've got this brush below weaken refiner selection and then a few other options, which, honestly, I don't haven't had to use too much yet. So what I want to show you what's really powerful is over here in the view mode. We have his onion skin mode, and they still have the other options that we had in the refine mask where we, you know, we could put the layer on black or white and really get a feel for what's going on. But this onion skin mode is great because you can see the layers below and I can control. The transparency is, well, I can scrub it left extreme it all the way to the right to control. But I'm seeing so right now it's 100% opaque. So I'm I'm seeing my selection, and I'm not really seeing anything else. I'm not really seeing the blend, but I can back us up just a little bit and I'll notice that I'm actually missing a little bit of the hair here, which I would have noticed if I was just looking at the 100% mask. So I'm gonna dial that down a little bit. I'm a cop here and choose my quick selection brush, and I'm just basically click just once, right in there. Click once right in there, and it pretty much does a good job of adding in that piece that I missed. Now the next thing I want to do is jump over here and click my refined brush, and it's gotten a lot better in this refined selection or this selected mask box. So as I click and drag, Photoshopped does an incredible job of finding all these little stray hairs, and I just kind of click a couple times, drink over here, click and drag over here, maybe a little bit down here. And if I accidently get too much across the top of his head right here, those white highlights blowout and actually looks like it's transparent. But really, we know that that shouldn't be. Somebody was hit the altar key and then kind of brush over that a little, get a little bit. And again, I'm amusing the refined brush tool over here. And then if I dragged this back up to 100% you can see I've got a really good selection there still a couple pieces down here. If I wanted to be really picky about it, that I can refine that a little bit more, and then once I've got it, just how I want it, I can come back over here and if I need to Now, right now, I'm using an image. I'm kind of cheating because the hair is on already a pretty light background, so it makes it pretty easy. But if you've got a difficult background, you can use some of these options to get a better selection. So whether you need to smooth it out, maybe feather in a little bit, or even add a lot of contrast that might help get a better selection against one of her background you have, or you could even shift the edge. If I scrub all the way to the left, you can see that it sucks that image that selection in or Frey I scribble away the right. It really blows it out and gives it a lot more space around my selection. But I found that photo shop does a really good job right out of the box with the default settings for most images. So these options are there to play with. But again, I would start with just the defaults and see how it does now, once you've got that, just how you want it. If you just see this right here, output settings, we can click a little twirl down arrow, and we control exactly how this is going to be exporting our layer. You might need to click on decontaminate colors now where this would come in handy. In this case, I've got a black and white photos, so I really don't need to use it too much. But it did clean up this hair a little bit, so I had a little bit of white coming through. And let's say this was shot on a green screen or in some of the setting. Maybe there's a red light, and there's some some color cast onto the edges here. If I click Dick decontaminate colors, it'll help really knock out those edges in a way that you won't have. That issue does a pretty good job with that. Now, once you've done that, we'll go ahead and click on how you want to spit this out, and I typically I would just leave this as well. Now that I click decontaminate colors I don't have the option to keep is a layer mask, which is typically how I would keep it. Since I click on that, it's great that I was gonna make a new layer with my mask. And the reason why I let me go and click OK is because Photoshopped has actually adjusted the colors around the edge of this photo is actually manipulated the photo and it saved the original, just in case I'm not happy with it if I ever need to go back to it. So anyway, I hope that helps. And I hope that clear some things up for you Just want to take the time real quick to say thank you so much for signing it for this course. I hope you're learning a ton, and I'm gonna do my best to keep us updated as current as possible. If you ever come across any other changes like this that, uh, that adobe has made, please let me know. Feel free to hit me up on the Q and A or a direct message through the unity platform. I try to get back to everybody within 24 hours when I can again. I just thank you so much for taking the time. Teoh join this class and let me know if you have questions or if you need any help, or especially if anything has changed. All right, Good luck. And, uh, here we go. 10. Text: all right. In the previous lesson, we were fined the hair and it wasn't quite perfect yet it looked a little bit like this. At least it did for me. And I went ahead and spend a little bit more time cleaning it up. You can do that on your own time if you want to, but we're gonna continue on. We're gonna add some typography. Obviously, the event details are important as well as maybe some images. And perhaps let's change the background from purple to something that fits a little bit better. So what we're gonna do now? I'm gonna hit the letter t to get my type tool. I'll click once in here and I'll start typing in. In this case, I've already got my details. So I'll copy this. We'll pretend it. This guy's name is John Singer. Oops. So clicking here, Command V to paste enter to, uh, commit my layer. And the reason why is when this is still selected after I've pasted it trying to the letter v tool V to get my other tour. Any other tools? Obviously, Um, those hall, those are all characters. So none of my shortcuts work when I'm inside of the text here. So one hit command v o hit enter on my 10 keypad. Or I can click on the little check mark up here to now commit that text. And now I communities any shortcuts I want In this case, I have the letter V to move it around. Remember that shortcut command t to do the free transform and this will let me scale it up . Now, if you get tired of having to hold the shift key to keep it in perspective to keep the ratio, you know how it supposed to be. You can come up here and click on this little link icon between the width and the height. Click on that. And now, no matter where I scrub or you know drag, it'll stay the same perspective without skewing it. I can also scrub right here on the W on the within the heights to make this bigger or smaller. But in this case, I just want to drag it a little bit larger. And I'm just going to stick with Helvetica for this font. Quick side note. Now, this is with the whole course of the whole. If you want to become a great graphic designer. You need to keep studying. Keep learning everything you can. So what I thought I would show you Is this movie Helvetica, right? You can rent it on Amazon or buy it from Amazon on Netflix. If you have the DVD subscription, you could get it from there too. I'd highly recommend checking that out. It's great. Ah, great little documentary about the font Helvetica where it came from And some designers love it. Some designers hate it, but it's worth knowing. Whatever you decide to choose in your design, why you chose it? Not just, you know, throw it out there. So what we're gonna do now, I t to get my type tool again and I'm gonna click right between that space. Click and drag returned to put this on two lines. And now I want to do is it command A to highlight all of it. And now command option and then the upper down arrow keys. Change is what we call the letting back in the day when these set fonts that I should put physical pieces of lead between the font characters. And if you watch that Helvetica movie. You'll learn more about that anyway, So we're changing the width, which again is called letting another way to do that in again. Holding command option and the upper down arrow control Ault up and down on a PC. I can also open up my type window if I go to window and down to character. It adds that little shortcut here in my menu bar. And you can see we can change the font the size right. Here's our letting. So with this guy selected, I can scrub here and change that gap size. Okay, so that's another way to make that change. What I was doing ahead all selected command A and again command option up or down. And you can see as I do, that this number over here is changing. Okay, So again, shortcuts will help you blaze through designs much faster and get your ideas out as quick as possible. I also have right here it I typed it out. Lower case, but I hit command shift K Tata, go on this all caps. So I want this to be all caps. Wants to get my change. I want it all hit. Enter and now it command T. I want to scale it up a little bit. Now let's pretend like this guy is super famous and everybody knows him. He's some kind of a rock star singer so we can get away with. I'm gonna make this a little bit smaller. And now for hold on shift, it goes by a factor of 10 right here. So if I hold down, shift and go up and down, it's 2030 40 50 60. Okay, it goes faster, or I can take my finger off of shift and go basically one point at a time. Okay, so I'm a stack that right on top of itself had the letter V to get my move tool. Then I am going to move this up behind. And when you did this, your type was your type Player was probably on top here and again. That's where layers are so awesome. Because I can come over here, I'll click on him and I'll drag this up above, or you can hit command in the left bracket or right bracket keys. Those are the ones right next to your letter P. So if you look at you like a piano keyboard the very next one, that square bracket. If I had command and that it will send my layer below or if I hit the next one, it'll send my layer above. Come over here the layer and let's find that arrange down here. This is what I'm doing. These air, those shortcuts, okay to move those layers up or down. So we got him in front and again it's pretend this guy super famous. Everybody knows him so we could get away with a really cropping this toe, where it's almost unlikable, you know, or maybe you lose some of his letters. Or maybe you want to keep it to where? If somebody's not familiar with this artist, you still kind of legible. But that's where you have to choose. Do you want to be, you know, cutting edge and do something crazy, which would be kind of cool, kind, like a magazine style, or if you need to be more of a functional piece where you want any information to be lost. So that's up to you as a graphic designer who is communicating to make those decisions. Okay, so we've got a text where we want it. Let's go ahead and bring in the other tax here. So a lot of times, what I'll do is I'll just copy all of this. Come and see. Come over here and click. Once. There's a couple ways we can work, click once and paste this. Which brings it all in like this, not inside of a text box. So I don't have the option to refloat my text or with my text so I can click and drag, and it makes a box that that my text fits within. So the reason why that would be important is let's say this is bigger. Um, and I'm using command shift and the period key or command shift comma to make it bigger or smaller. Okay. And inside of a text boxes I click into rag, it will re flow my text to fit in that box. This is great for paragraphs and things like that. So again is either click ones and paste with my type tool or click and drag to make that box. Okay. And these are all little things will learn more as we go. But just so you know what, I'm doing that. Okay, So here we've got the details. Now here's where you would not want the details to hide behind his shoulder. Otherwise, people won't show up on time. So we need to find a creative way to enclose this information and bring it in front. So first and foremost, we hit command shift in the right bracket key. So it's not the one right next to Letter P. But the one after that to bring this layer all the way to the front again that was under layer. Arrange Bring the front. That's what I did. Okay, so we've got all the way in the front and, ah, we've got a type in here and we're going to use the same font Helvetica, and let's go ahead and pause right here and in the next lesson. What we'll do is we'll work with shapes and textures to start really bringing this thing to life. 11. Layout: all right. We're getting really close here on our poster. We've got our text in. We got the image of the artist. The content are the the event details. So we're really close. Obviously need to clean it up a little bit. And now at our polish to it to make it look like we wanted to look, this is where it can be a giant time suck. You could spend hours on this thing or, you know, you could just call it good and you know, the details air on there and we know who it is, and we're good to go, But let's go out and push us a little bit further. Let's learn a few more things that we can do in photo shop, and we'll go from there again. We're gonna blitz through this pretty quick, and you can take a much time, as you want with these assets toe to make something creative that you love. So let's go ahead and think about this tax. What do you want to do with it? We've got a couple of issues here. One is it's a lot of text, right, and it's dark so it doesn't fit well over his shirt. We need to find a way to either put it in an enclosure or bumped the contrast to do something toe where this is this functions, you know, form and function, right? It might look cool, but what People actually show up to the venue because they can see the text. The other issue I see here is the photo we had. His head was already crop to the top, so I can't really pull him down without his head looking like it's been chopped on top. And that leaves us with two options down here. So he's he's not quite big enough to fill his image, so I can either one command t to get my free transform tool and just scale him up. I could skew it, which obviously looks terrible. Solve that shift key and just enough just to make him just a little bit bigger that he goes the full width of the image. That could be the best solution, especially if we start, you know, putting our type, you know, filling our type down here. So it fits around his arm. That might be a cool way to go about it. right that fits really nice around the shoulder. I could keep pushing the details or maybe make this second chunk a little bit smaller. Had command X to cut that And what that does it cuts it and also copies that your clipboards enough a click ones here in the command V just that addresses down here. So maybe, you know, it's gonna be a big poster. So this is really an 11 by 17. And it's this big that's still technically legible. If people want to see where it's that they can see this and that's good to go, Right, So maybe we're done. Maybe this is all we need for this poster or let's pushing a little bit further. So another way we could do, uh let's say that we didn't want to make it that much bigger. And he's gonna be the short. So now what we need to do is find something to put over the top so we could get our shaped tool. The letter you I'm gonna draw a rectangle. It's gonna feel the black currently, or I could match my design a little better, hit the I to get the eyedropper tool and select that lighter gray from his shirt. And now, when I hit the letter, you it pulls in that lighter gray color click and drag to get my rectangle I'm gonna zoom in a little bit so I can see this a little better. Okay? And numbers command t to direct this right where I wanted to go. And it just needs to be big enough to hide his well, one of two things either big enough to hide this gap down here or maybe a little bit bigger if we decide we want to put our text. It's kind of tough to see my design right here on this great background. So here's a tip for photo shop. I can right click on this canvas and make it a different color if you need to see your image a little bit better. Okay, so maybe we grab this, uh, this text and we put it in line. Summit space and shift and the pipe divider. It's right below your delete key or right above your return key. It's space hit delete to bring that in the lineup next to itself. So there is that little pipe divider I put in there. Maybe I'll add another space between those. So it's easy to see over here. Ochlik double space. That pipe divider, double space. Hit the delete to bring the text. Okay, so now it's all up in one line. I can do a couple things, but this text will selected. I can hit command elite to fill it with that background, White or I could have double or triple clicked in here and selected a color from appear. Or I can hover anywhere in the image and select the background. So if you want to match this current purple color, we could do that. Uh, I'm just gonna command delete to fill it with that white text. So here, you know, here's another option. Maybe maybe it's just super simple. We've got our date time. Uh, and then we've got our information down here. Maybe we need to add a Web address or something else down to this information. And again there's that could be a poster. You could be done there. Let's push us a little bit further, though, Um, another option may be to make it more creative. I'm looking at his shoulder and it's kind of Let's see if I were to see real quick on this drought quick rectangle. And I'll fill it with some bright, obnoxious color so you can see it. Um, let's pretend you wanted to match that angle. I could. Now, here. Here's what I did command T. And then I hover down here and my cursor changes to that. That curved arrow, which means I can turn this. Okay, so I'm just kind of matching the angle of that shoulder. And that's another tip to when you're designing things. Look at the elements around you and see what things you can work in to create consistency. So now I'm gonna get my direct selection tool right here so I can grab these little anchor points or click once here. This will be easier to see on his shirt. If I click once here, this one is solid. So I'm just selecting that one point where I can shift, collect multiple points and move those around. Okay, So I'm gonna do is I'm gonna click this little guy, the other one down here. Maybe you could let me. Here we go. I'm just gonna Come on, try it again. Click Once shift Click over here and I'm gonna drag straight down to kind of create this cool little shape in the minute command T I'm gonna zoom way the heck out and zoom it up. We're scale up a little bit and again, I'm just trying to match the angle of his shirt. I'll bring it down just enough to where it covers that arm. Or maybe to where it feels good on the side as's faras Good balance. Turn off that of the layer. And so here's another thing we could do. We could stack the text over here and we could bring this information down here highlighted . All in all, line it to the right and I don't like this angle against this angle. So maybe what I'll do is I'll bring the time up on this line, okay? And now this angle, this angle match, and that's starting to feel pretty good. And then we could do the same thing to this text here. So you can see we could endlessly start to refine things and this is how you work. You just start to play with things and see what you like. Uh, and I'm going to align this to the right and something has to pay attention to is what we would call guides or the grid. So, you know, if things aren't quite lined up, right, Maybe that's on purpose. Maybe that's a choice. But whenever possible, pay attention to the other elements on your page. In this case, I can click, right? If you don't see the ruler command are good view and turn on your rulers. Okay? And now what I can do is is ah pulled down a guide. Hold down, Ault. And now I changed from a horizontal guide to a vertical guide. All right? And that I can make sure that my text and all my assets line up in the same spot. So just little tricks like this will set you apart from the other designers as far as keeping things in line. All right, so we're playing with this. Lay out a little bit. Ah, and you can see how you can start to work with the layout in the next lesson. What we're gonna do now is try some different background elements, maybe try some brushes and textures to finish this thing off. 12. Additional looks: Okay, We're getting really close on our poster now. Now we just need to add those finishing touches of either textures of background elements before we do that. Let's just pretend like this poster was exactly what the client asked for. Or, you know, this artist or whatever. But let's say it's not quite what you were feeling, and you hate it when that happens. A lot as a graphic designer, you might be, you know, might have to appease somebody else who wants something specific. And let's say purple was his favorite color, but it just looks terrible. So what I would do in this situation, I would go ahead and save where we're at. And, uh, because I've been recording these videos, I've been forgetting to save. But make sure you save along the way. So we save this and then usually what I would do in this situation. If I'm happy with one Look, I would save it here and just hold on to this file, and then I would hit command shift s or control shift s on a PC and save this state as something else. So I love my symptom poster, and I might put Dash and then V two as my second version or another idea that I had. So I hit save. And now, no matter what I do to this, I can always go back to this point in time where, you know, maybe it's exactly what they wanted again. I is not my favorite at all. We got some work to do, so let's go ahead and dive in. One idea I had when I was looking at pixels dot com, we had this guitar image and we had this 1000 soundboard. As I looked at it again, though, it's actually a deejay turntable. So maybe this guy's a deejay and he's not a guitarist at all. Let's go back to our Photoshopped file and I'm gonna click here. Here's a trick. Whatever you layer, you click on with your okay, I've got my move to a selected and I've got auto select layer turned on so I can click through. Any layer in over here will automatically select that layer so I can start. You know, if I wanted to start clicking on anything and moving it around, I'm a hit command Option Z. We gotta throw in that option key to step back multiple steps If that was turned off, sometimes it's handy if you've got a really obscure layer like let's say you want to move this John Singer title behind him, but without actually accidentally selecting him. So I'll select my layer. And now, no matter where I select on our board, I can move that around behind his head. Okay, so that's a handy trick to know anyway. So what we're gonna do now is we're gonna play this a little bit. I don't like this divider here, so I select it. I'm gonna delete. I can't see my text now, but that's OK. We'll fix that here in a second. I want to fix this gap. I'm gonna click once on him, Command T. Well, scaling up a little bit, holding the shift key down. Okay. And then let's grab that turntable and I'm gonna direct right into this image. Now, one thing you need to be careful. When you download women bitches, Web images or any image in general, make sure it's a high quality. It should be a bigger file because you'll notice right now. This came in at full size This is a poster snuff. It command T and I scale it up. I run the risk of Sago riel big. I run the risk of this becoming really pixelated. If I get really close in, you know, maybe it's blurry and it looks bad. So it's just something you need to pay attention to. Okay, in this case, it's big enough for what we're doing. I can hit return and let's hit command and the left bracket that key right by letter p to move this layer down below him. Okay, now there's there's not enough contrast. So now we can play with this layer. We can change the opacity right here, and you can scrub this down to make that a little bit softer and whatever layers below will show through. I can also a shortcut for that. I'll just hit the numbers on my 10 keypad. If I hit five, it jumps to 50% opacity or maybe eight for 80% opacity. In this case, I want to be a little more subtle. So hit 3 to 30%. I don't like that purple background. What can we do with that? Let's play that a little bit. Um, let us try. Maybe a blue or something. Okay. And now his titles kind of getting lost. Let's bring that above are turntable layer. And maybe now that those air darker tones maybe we need to make it a lighter color. So I can with that layer selected, I'll make it white command delete to make it white behind him. I'm gonna click on that turntable and just kind of move it around to where it may be, where I like the look of it. Let's just kind of see what we've got here. Maybe we'll feature that so you can see the turntable little better. Or maybe we like the dials. Just totally is your preference. Your call. Whatever you want to dio case, that looks kind of cool. Um, and then now we gotta make this text here legible. So let's click on that, and I'm gonna make it a line left. And let's see here. Let's make this a little bit smaller. People can study this image. If there really insured in this, they can look at it and figure out the details of the concert. We'll grab this location. So what I'm doing now I moved over hit T. Click in there once command A to highlight the whole thing. Click on the left aligned left box and return when I'm done. Actually, the enter key when I'm done And there we go. Now I'm lining these up. I've got these visual guides and photo shop so I can see that these air in line with each other I could also select multiple layers at a time. And then I get these alignment options so I can align these So these two rectangles with a line to the left edge or to the bottom edge or to the center. So if I click on this centre, it'll align them center with each other or in this case, I want them to align the left edge. They're all aligned left. Let's make this just a touch smaller here on this poster are on this Ah, location. And I'm really happy with the spacing between here, it feels it feels good. And balance is about the same out of space. It bends around the shoulder again. Just pay attention to where things working on your, uh, on your our worker on your poster, where things are falling in line to make sure there's good balance. All right, so that feels pretty good. So we could call that done. So there's another version of the command s to save it. And let's say for kicks, we want to do one more and we'll bust it out real quickly. Command shift, save. We'll go to V three on this. Now, before I do that makes you save it once first. So you save this currently as version two and then command shift save to create another one . All right, so now we're gonna do is one more version, this thing and let's pretend like they're like, Oh, we got to remove this little tattoo on his neck. So I'll zoom in real close the letter l to get my lasso tool, and I'll just draw right around that little tattoo. Pretend it was a temporary tattoo or something. And his manager said All we got to remove that what we can do, make sure that layer selected. All right, click. I fill and in photo shop, we've got this content aware fill. What's awesome about it is it looks at all the pixels around it and fills it into match so real quick you can remove blemishes or things like that. Or let's pretend like on his shirt you wanted to remove. Let's say it was a brand name and had to go away. We could select different elements and right click Phil to content aware and boom! It disappears. So that's a fun little tip as we're looking at this, all right, so let's do one more version of this thing. Let's pretend like we want to go more of a subtle ah texture or random pattern. I could turn that off and let's add a new layer and I'll get my brush tool out the letter B . Okay, I'll come over here and open up my brush presets. If you don't see that, go the window and you can pull down your brush or brush presets. And Photoshopped by default, has some pretty good options. But you can also download some brushes, some different texture brushes, and I can provide these in your assets folder for you to look at, but what we can do now select your brush and we can hit the bracket key so the same bracket keys you to move a layer Reinisch letter p so right bracket or square left bracket, which your brush size bigger, Smaller. You can also click up here and scrub left or right to get a brush. Bigger. Smaller. Okay, so on this layer, what I'm gonna do is I'm gonna select this blue color. I'm going to click on this chip and make it just a touch darker. And I'm going to make sure you're working on the new layer. Let it be to get my brush tool. And now I can start just kind of clicking anywhere in here, and it's a really subtle effect. But now what I'm doing is adding kind of this little just just a little bit of texture. Just so it's not flat. So again, this is where you have to decide. How much do you want to put into this piece? What? What does it take to make it something that looks cool and that's going to get the idea crossed so I can turn that on and off if I don't like it? And at this point, you're probably feeling pretty comfortable Photo shops. What we're gonna do now, we're gonna shut down this lesson in the next lesson, I'll show you how to export these files to either send them to your client to view as a proof or toe have them printed. 13. Exporting: All right, We are on the home stretch for this project. It's time to send it off to our client for a proof or to send to the printer to get printed . Either way, we need to figure out how to get this design out of the box. So let's go and open up the other versions we made to right now, we're still on version three. Open up, finder, and I'm going to go ahead rename this just for consistency. I've got version two and version three. This 1st 1 we did, though, didn't have a version. So it looks like it's the bottom of the stack. So just add V one just to make sure my files are clean and I'll open these up all down shift, Click All of these in between. Hit command O to open, and it will open all those up here. So we've got this version three we just wrapped up with We've got this original photo we started with him is gonna close that road quick. And then version one, which I think looks terrible. And, uh, I only say that just so you don't think that I think it looks good um, Anyway, let's look at what we have virgin to hear pretty much the same. Look, let's go ahead and export these. The only difference. Here we have this turntable and he still got that tattoo on his neck. Version three. We did a texture, and we removed the tattoo in his little spot on the shirt. So here are the two ways I I would go about getting this out to send to a client first. What I would do is make sure they're all the same size I would hit command zero. What that does. It goes to view, and it makes it fit on screen. And I would do that for all three of them. Just so they're all the same size. And this is if I'm sending a screen groups. If I'm sending a screen grab or a screenshot what that is on a Mac, at least I can command shift four. I don't know what the shortcut is currently for a PC. I know you can hit the print screen button, and it captures the whole thing. But since I work on a MacInnes, my work full, I'm showing you exactly how I work. Let it command shift for. And then I would click and drag down here to did to get a screen contest. A screen grab real quick click on this guy to the same thing. Command ship four. I use the space bar to move my selection where I want it. Appear to the corner and then let go the space bar, Come down here and get it close, Let go. And as soon as I let go, it takes a picture of that file and throws it right in my desktop. So I've got the screenshot and this screenshot right here. You gotta do this last one here, click on it command ship for and you might be wondering, Well, why, why not just export stranded boater shop? Honestly, I could I could go to file save as or export And we will do that here in a second. But for me, command ship for quick click and drag an Lego, and it's just faster. It also is a low rez file. So let's say I haven't been paid by my client yet or let's just say I want to send him a text. A lot of times I worked with text messaging with my clients use I message, and I'll drag and drop a quick look right to them. Got a lot of clients that you know they travel or whatever. And just to see Hey, I'm on track and I go in the right direction. What do you think of this look? And I'll just quickly grab this screenshot and just drag and drop right into my messages, sent him a text message, and they could get right back to me or send it in an email. Whatever. One thing I would do, though, is I would rename these. So this version, with the texture background on a Mac against it, return to start renaming this or, you know, click and get that option to rename it. So this will be, you know, poster B three. Come down here to set a screen shot of return poster Dash V one and then this last guy poster Dash V two. And that way, if they refer back to me and say, Hey, I really like version two. I know what they're talking about. It just keeps everybody on the same page came So the other bank bonus to this I'm on a retina display. So this files a little bit bigger. It's 1.5 megs. Um, you know, typically, when you do, a screenshot is going to be under 1 may get a B in this case, 880 kilobytes. So it's a really nice small file they can't print from this file, which is nice if you don't want them to print. If it's not been approved yet, you don't want them to try and print from it cause it'll look terrible. But that way you can send him a small file size, all right, And so I would take these three versions and I would drop it into email or text message and sending my clients of Hey, what do you like now? Let's pretend like they like, you know, version three, and they want to print it the way that I would work to get this to a printer. Let's jump over to version three. So what we'll do it will come to our image good mode, and we'll turn it into a C and like a color document, we'll go ahead and flatten all of the images, and that way, any of our blend modes that we had don't get messed up And the reason why we didn't start with seem like a was if we wanted to add different filter effects If you're in seem like a not all of the filter effects are available. Okay, so that's why I started RGB Now what we're gonna do now we've got it flattened and ready to go. I'll go to file save as instead of Photoshopped file, which has all the layers and not everybody has photo shop. I can send it out as a J. Peg or a Photoshopped Pdf file that would be preferred. I'll save it as a Photoshopped pdf file, and I'll just click on this use proof set up that'll just help. The colors look consistent, no matter who prints it. Click once in here now hit Save right here. This preserved Photoshopped editing capabilities. I don't want them to be able to open it up and edit this right now. Plus, it'll make the file much larger, so I'll turn that off and then I'll go ahead and hit. Save PdF. So once it's done saving, you could see photo shop working on it right now. and it might be a little bit of a bigger file. I will jump over here and I can find that v three dot pdf and you can see it's 17 megabytes significantly larger than our screenshot. If I send this depress at a look fantastic, it's a huge file. One thing we did not talk about was the thing called Bleeds, and we'll get into that a little bit later. But just be aware we when we go to print this out of print shop, there's a really good chance will have a white border around it because of where the printer has to actually grab the paper. So to avoid that, you would actually print on a larger piece of paper and then trim it back and again bleeds or something. We'll talk about a little bit down the road, but now you know how to create something in photo shop and export, in this case as a PdF. Or you could have done a J peg and then how to take quick screenshots to share with your clients 14. Photoshop compositing introduction: all right, let's talk a little bit about Photoshopped. Composite images or Photoshopped. Compositing is it's sometimes called. Here's an image I created for a client that was a staff photo. They were all dressed up as nerds, as you can tell, and they wanted to create this nerd poster. So what I did initially I took a bunch of photos of them all together. But if you've ever tried to do that, you'll know that anything more than about three people in a photo gets difficult. It's really tough to get everybody making the face that they want, whether it's smiling or in this case, they kind of have a serious, serious vibe going on. But what I ended up doing to create this image was I took a picture of all of them. Let's take a look here separately, and the way did that was went in and set my camera on a tripod and then had them all step in and I took a photo. Now, one thing you'll notice is I did this. I had them all trying stand this line or as close to this line as I could get them to stand that way. I had a frame of reference as I cut these images out and brought them into photo shop. You can see here, I've got a line across the top of this machine, and it gave me a really good idea of how tall they were. So that way I could make a really believable depth of field. Some of these photos are just ridiculous. Sorry. Anyway, All right, So what we did here, let's go ahead and open up this file and take a look. I'm gonna open up photo shop. And because the Post, if I was one of the most recent files that I opened, it's gonna be in my recent files list. Here. There it is right there. And Ah, take a look. So what I did when I created this image, and you can see here. I've got these guides and these guides help me see how tall everybody is. When I brought them in, cut him all out. And if I click on any of these and drag him around all of a sudden, it totally breaks the illusion. If it didn't already with me telling you. But, ah, we can cut all these people out Drop man. You'll see. I added some drop shadows by their feet. Let's take a look here it zoom in a little bit. So I've got there feet here. Let me double click these air smart objects. What that means is it remembers what they what? The original file was in a bad. So I've got an inner shadow going on here. Just just a subtle shadow and some smart filters for coloring. And ah, the shadow down here by their feet was done with custom brushwork So I can save this place it in my main document file and those changes will stay with me. But then I can always go back and edit them later. So anyway, you can see that I've made a lot of layers here for this project. And this is what I want to teach you is how to create a Photoshopped composite image. Let me give you a few more ideas of what's possible. So let's go ahead and open up Google and ah, let's search for a photo shop composite or Photoshopped compositing Either one stereo and click on the images. Search here and you can get a really good idea of some other things that you could dio just some ideas to get the creative wheels spinning here in your mind among a command click on these images. So by holding a command or control on a PC here, I can click on images that I'm inspired by, or that I want to talk to you about here briefly. So as I hold down command and click, what it's doing is it's opening up new tabs here. In that way, I can keep browsing while I'm opening new tabs toe come back to here in just a second. So all right, so the other thing about Photoshopped compositing is it doesn't have to be people. It can be products or or things. Let's say you want to put something on, etc. Or on eBay, and you want to cut out your product and maybe make it look a little better or more appealing. This is another technique you can use for that as well. So here's an example of a product right here where we've got this piece of sod and clouds and we have the ST Mark's behind it. So Photoshopped Compositing is is a great tool, and that's why we're diving in. I think it's a really fun topic. So here's a few other ideas. Let's just look real briefly. We've got some really high contrast stuff going on here. This background, I'm sure, was not where it was shot. It was probably on a green screen. Here's another one where he's just superimposed over the top of a background. It sounds believable, mostly because of where the shadows and the lighting are coming from, but we can talk about that as we dive in here. So here's another one really high contrast hdr type of a photo Again. This background was probably placed after the fact we even got some light burst coming in up here and things like that. So that's what I want to show you as we dive in here. So first things first, go ahead and do a little more research. Figure out what you want to make, whether it's a photo of yourself or if you want to use one of the assets I've provided, I'll provide some of these photos that you can use to cut out and work with, or feel free to take a pause real quick. Take a picture of yourself when you do, make sure. Let's look at these photos. I took real quick. Make sure you give yourself space to cut all the way out around the image. Okay, so don't crop the image to close so that we have room to work. The other thing is, let's say you want to make an image. Let's just look at pixels dot com. This is a great freebie resource for free images. You can search for beach or forest or city or coffee shop or any kind of a background you want to find. Let's just pretend you wanted to use this one here. If you are going to use this, let's look at with lights coming from. It's coming from the top left here. So if you take a picture of yourself, make sure you're lighting in. Your placement of your lighting is kind of in the same vicinity that'll help the image look a lot more real and believable once you dive into the project here. The other thing is, if you're sitting straight on, it wouldn't look quiet. Israel's if maybe from like a 3/4 angle. So maybe sit on a stool or something. So just some ideas as you start to gather some assets and resource is to create your composite image. So all right, go ahead and take a second. Now go take those photos or open up the project files and we will dive in with next video. 15. Photoshop compositing assets: All right. Welcome back. Hopefully you've been able to get some voters of yourself or download. The resource is to follow along here. I thought I would point out right quick. Here's a couple photo shop fails. You can google Photoshopped fails and find all kinds of crazy things. But I thought I'd point these two things out to you. Ah, one of which we look at this and obviously is not lifting this much weight. It could be believable. But if we look into the mirror, obviously it's been Photoshopped. And what about here? We've got this extra hand hanging out on the shoulder here. We've obviously cloned out somebody sitting next to her, but we forgot about the hand. So as we work through this section about Photoshopped compositing, make sure you pay attention to the details and one of the details in one of the skill sets that will help you master. This section is your selections. So to get started, go ahead and grab that photo of yourself. And I'm gonna just open this random photo I downloaded. I'll do a couple of these photos here that I can show you a couple different selection methods So, depending on the image you're working with, you may or may not have the perfect photo work with. So here's an example of ah, couple different tools we can use. What I'm gonna do is I'm gonna zoom in real quick, holding the command and space. It's a shortcut. I could click on the zoom tool of my tools over here, but I like to work with my move. Tool selected, and they'll hit Space bar to get my hand tool if I need to move around in the image or hold on space bar and command to get my zoom tool. So what I'm doing now it's the letter W to get my brush. My quick selection tool. It's kind like a brush and a magic wand at the same time, so this is a great tool. If I wanted to quickly brush out and you'll see with an image like this, it's basically in gift wrapped me. It's such a high contrast between the background and the foreground that I almost didn't have to do anything. So with this magic wand, um, selected here, we've got the ants marching around here. This marquee if I click on his back on later and hit command J. It will jump cut it to a new layer here, nominal down the command key and click on this new layer icon to put a layer below. If I just click on the new layer icon, it'll put a new layer above. So I want a new there below with my default swatches said over here, I'm gonna hit command. Delete. Make sure I'm on layer to hear that blank layer command elite will fill with whatever is in your background color. So now I can see I've got him cut out here on his own layer, which is fine. That works. Great. I'm gonna double click on this library image I have over here for this background. And I could easily to Reagan drop me to click with my move tool, drag up towards his tab, hold for a second, come back down and all of a sudden I've got him in the same photo like command to you to get my free transform tool, and I'll drag him up a little bit so you can see I've got this asset that I could work with . Obviously the selection as we bring it in here. It's not that great. It did miss quite a bit of the details that's got this glow around it and wouldn't work out . So get I'm gonna delete that layer. But I did want to show you. Here's to lead these two layers. Dio. I didn't want to show you that With this brush tool, we could make a quick selection. The magic wand tools another one like that as well, where I can click once and it'll select similar colors. A better example of that would be on this shorts model. So if I click once over here in the great background, it's elects. I never tolerance into 20 so about a threshold of 20 gets pretty close. If I put this up to say 50 it'll grab a lot more of those details. And then I could hold down the shift key to add to that selection. But you'll see real quick. It starts to bleed in and grab a lot more than I wanted to, so I put this tolerance back down to about 20 command you to de select. I'm gonna click once shift click again and just keep shift clicking until I get most of the selections that wanted Teoh, so there's a lot of ways to work with selections. I don't have to come in and try and select a model. I can select around everything else, then come up to select in verse. And now I've got the inverse election. So if I back it out now, it's just selecting him with that layer. Selected Command J The jump. Cut him to his own layer. Ah, click and drag up back to that industrial factory photo and there we've gotta put in there and, you know, we could work with this and make it somewhat believable. But again, take a look here. We didn't clip out between his legs or between his hand, so if somebody was really paying attention, they would notice those things, especially like the detail around the hair. We missed some things, especially in this dark background. So let's try again. Let's come back over here to the selection tool to the I'm sorry to this image. Here we'll use a different selection tool. Another option we have would be like the lasso tools with the letter L. There's a few different lassos we can use The regular lasso tool is just that we can draw with our mouths to make the selection, and this will be really tough to get a perfect selection. But if I wanted to, I could zoom in, hold down the shift key and add to the selection, or hold on the altar key to remove from the selection and just work it back and forth until I get it. You know, pretty close to what I wanted to be. This would obviously take a lot of time, but depending what you're selecting, sometimes that's a good way to work. I'm gonna de select that we have the polygon lasso tool, which is a nice, quick way to get straight selections. Sometimes that works great for what you need to do. So I just make quick selections here. DoubleClick When I'm done and it closes that off like commanded to de select and then the magnetic lasso tool. That's another good one, where if you have a high contrast image here, if I just start drinking right here and I kind of get it close and I can click along the way where I wanted to stick, it's kind of a sticky selection. So even if I wander out just a little bit, it's still wants to snap back to that high contrast area. So that might be a good way to work. But let me show you the way that I like to work is Here's the deal. You're never gonna be gift wrapped in image that's got this much contrast between it. Sometimes you're gonna have an image like this. It's a great photo. But what happens if we want to put this person into a new image? Well, if we tried the quick selection tool, it is a quick selection, and sometimes it works great. So if I click and drag, it does a pretty good job of grabbing just the images or just the pixels I want. Now hold on the altar key. I can remove or subtract from that selection, and it does a pretty good job. If I were to zoom in pretty close. You can see it jumped around a little bit on the hair and, ah, you know, it forgot this backpack strap things that you know most people wouldn't even notice. But sometimes they do, and it depends on the level of complexity you're working with. So I'm just holding down shift. As I click and drag over these rocks here, it got way more than I wanted to hit Ault and drag. So this really is an incredible tool. And sometimes it works really well, really depends on the image woman do is hit the letter V to get my move tool, and I didn't even jump. Cut this to a new layer with selections going to click and drag. You see my selection, My move tool turns to on icon with the arrow in the scissors, which means I can cut it and actually move it, are bringing up to this tab, drop it back into this setting command to the free transform and just kind of scale it up a little bit. So not not a horrible selection. And if we were going to do something else with maybe a dark sky background or a mountain type of a background, let's see if I have already downloaded one of those here. Let's put her in a different setting. I just click and drag that in here. Real quick groups. That's the wrong one there. Were you all right? so scale that up a bit. I was gonna drag this layer below the other one here and so I could put her into this scene and we could do some work with the lighting toe, lighten it up and make it look a little more believable. But the rocks really look good. And because of the detail in all of the color around it, that selection is more than sufficient Now. Here is probably one of the best ways to make a selection, and this is something I would do if I really needed to know that my selection was perfect. So here's an example of an image I used for my client, and I really wanted the image, the selection to be perfect. So what I did is I use the pen tool to the letter P. We'll get our pento click up here in the Top Tool Options bar and make sure that path selected we want to do a shape. Right now. Let me show what a shaped as real quick click on shape, click and drag. It will make a shape, and I can change a color. Appear so you can play with that later I'm gonna come over here my paths window, click on that path and delete it because it's not what I'm after right now. Now, if I come back, Teoh, my pen tool, the letter p changes down to path. I can click and drag or just click. Clicking and dragging will make curves were called busy a curves if I had command return. Well, if I come over here to path in command, click on this icon. I'll get the marching ants again. So this is another way to make a selection, just like the other selections you've seen. But the difference is with the other selections. It was pretty tough to go back through and refined selections here if I wanted to get really fine, you know, with detailed with this work, I could hit my caps Lock key, which changes my cursor from the pen tool to ah ah, precise cursor So I can click once, click and drag to get to bend this line. And now, wherever I click, it'll follow that anchor point, and that's my actual path. So it's a little bit of a tricky tool to get used to, but you'll start to see If you can play with this a little bit on your own time and get good at it, you can create incredible, incredibly precise selections. So I'm just gonna rough this one out road quick. I'm just I'm just clicking real fast just so we can move along in this tutorial here. But, ah, what I like about it is I can come in and really, really control exactly in how my my anchor points land and I can also move them exactly where I want them to be. Someone's gonna make my selection here, and you can see that I can quickly zipped through this and it doesn't have to be perfect, especially if the size isn't going to be that large. But if you need it to be perfect, you could come back in hold on the command key, click on any one of these anchor points and move it right to where it needs to be. So that way it's pixel perfect. When you're ready, come back, click on that last point you left off on and continue on your way. If it any point, you accidentally de select your path and you can't see it. You can come over this past layer. Click on that work path. Hit the letter P. Let's try that one more time. A command click on this end right here. Now I've got my pento all click, and I'm often running again off that path and I left off on. So, uh, hopefully you can see how this could be a really great tool. See? And I didn't catch that curve right there so I can grab this anchor point and then grab my handle and bend that out a little bit. Click once on that end point, click and drag, and now I'm often running again. So it's a really, really great tool. Things you need to work on here. If I click and drag, it'll bend it. Or I can click once drag to get my anchor my handle and then come back and click again to get a bend. I can come back over it with the Ault Key selected and changed my curves from a rounded curve to a hard curve. Or I can grab my direct selection to will be here the letter a grab those points that I don't want hit the delete key and delete them. So it's really, really flexible. Way to make your selections. I hit the letter P lips hit the letter p real quick and grab that end point. And I'm just gonna zoom out a little bit. I'll come back over and find where I started. I want to hover. I get my pen tool with the circle next to a medium closing that path. So now with that selected, I can right click with my pen tool selected and Hit makes election, which gives me the option to make a new selection or for already have a selection I can subtract from the selection. Minutka. Mandy, why don't click on this work path here, but the command key selected to get this election. So now if I wanted to come back to my layers, I command J to jump cut this to a new layer. And if I bring this over into my let's see, I could bring over anywhere wanted to Ah, but you can see how we can make selections and their pixel Perfect. So what I want you to do is go ahead and spend some time cutting out your image. Try and get it toe where it looks like this. Here, let me grab my example real quick. So we've got this guy Worries totally cut out. All the details are removed and we're ready to work in our new scene. Here's another example where I've gone ahead and actually cut him out completely. So go ahead and do that real quick. Get your image cut out and then we'll dive into the next video. 16. Photoshop compositing selections: all right. Once you've finished cutting out your photo of yourself or whatever photo you're working with, make sure you do a quick look one more times to make sure we got everything selected. So, for example, if I look at this, it looks good at the first pass. But as I zoom in here, I can see that I forgot to cut out the part around the trigger here. Some of the letter P. I'm gonna click and drag just to do a quick little selection here to grab what I forgot to select here. I'm gonna add to that selection down here. There's a couple more spots where I forgot to cut out the background. Now, nobody probably would have noticed this one because the same color gray as the stock here, it would be a minimal mistake. But I would know, and I like to make sure that I do things as close to perfect as I can. So I'm gonna go ahead and clean this up real quick. And now you've noticed I've got multiple paths going on here. If I like my path, it's all under the same work path layer. So what? I could do is command click. And now it selects that section as well as these down here with those selected on make sure on the right later and also hit the delete key to delete those pixels Command D to de select. And now, on a zoom out. I see that looks pretty good. And I think I got everything else. Let me look through the suspenders here. You know, nobody probably noticed this one at all, but I could come in here and clean that up just to make sure that there's nowhere in this photo that accidentally sticks out. That time I said command return and it made in my selection. I'm on this layer hit the delete key and now de select my selection. They're perfect. Okay, so now I'm confident that no matter what background I put this on, it's gonna look good And one way to tell before you actually put it into a scene I can hit command and click on the new layer I icon to put a new layer below it. And I'm just gonna click appear my color swatch area and let's let's do a bright color. Pretty obnoxious green. Make sure that layer selected. And now, since I selected that it's my foreground color Soto filled with foreground. It's Ault delete or come up here to edit Phil and choose that foreground color as an option . Okay, so now I've got that green fail. So now I can come back through one more time and just kind of make sure selections looking good for the most part, you know, everything's looking pretty good here. I don't see anything that I've for gotten hope. You know what? There's a couple things right there and this again. This would probably not matter. And this is where you can spend all day long. So you really have to choose. How precise do you want to make your selections? But that shoe lace their command return. Now, if I hit delete right now, I would just be deleting from the green layer. I want to make sure that I've selected the layer with my photo. I hit delete and now just what's within that selection gets deleted. Same thing over here on this part of the shoe I can come through Highlight that and again, honestly, like this is the way it went to press I this these little shoe lace things here. If we looked at that original poster I showed you, Ah, it you wouldn't even notice because the feeder on the ground and it's dark and nobody's going to see that. But again, you want to get in. The habit of doing as good of a job is. You can write. Do you want to make a mistake and have it be an expensive mistake where someone is to reprint something? Because they did notice? So all right, now we've got that selected. Let's work on a couple techniques here to help blend this into the background. Well, for starters, let's look at the edges here because we use that pen tool method. This edges super crisp and super hard. Now that's fine, but in reality it's not gonna be a crisp image is gonna have a little bit of a blur to it, so there's a lot of ways we can do this. Like I've said before in photo shop, there's 100 ways to do the same thing, one of which, if I command, click on this thumbnail here, I get my selection back. Are you hit the letter M to get my marching ants marquis toe over tenure, marquee tool. And with that selected appear about this refine edge button, I'll click on that. Once my view mode are changes to, It's kind of tough to see, so I'll put it on black. I can see the edges better here I'll click out, and now I can smooth the edges here and it's kind of tough to see, but you can see that green bleeding through from behind. So it's smoothing out those edges and, ah, you can feather the edges to excuse me and by feathering out the images or that I'm sorry, the edges here, you can see that my selection is gonna be pretty soft and blurry. I can also shift the edge in a little bit, maybe change my feather a little bit so you can really work with that edge. If I hit, okay, it's gonna come combine them back to a selection. So if I hit command J. Aiken, jump cut that new one to a layer in front, I'll turn off the eyeball here and now when I zoom in, it went from having a very crisp hard edge to now kind of a blurred edge, which, depending on where where you're working, that might be great. But another, another aspects or in other areas, it might be too much. It might cut in more than I wanted it to. So that's where you're gonna need to play with 11. I'm gonna turn that off. Actually, let's zoom in real quick. I'll turn the layer below and you can see how much crisper that edges, especially right here. Okay, so another way to work. And this is the way that I typically work. I'll grab my blur tool. So over here in the menu bar on the left, kind of midway down, I've got the Blur tool. I'll set my strength pretty high, maybe 85 then all just paint over the edge is just the edges. Not in further than just the edges, because that I can control what blurs and what doesn't. So what I'm trying to do is just soften up these edges a little bit to help blend it in with the background and so I can control how much gets applied, and sometimes it just needs a little bit just to sell the deal. And now Here's another thing as humans, right? We're we're a little more organic, so we're gonna have a little bit more of a softer edge than hard metals and machinery type thing. So look in nature, look at real life and just get an idea for what should be crisp. Like this this rifle image here, the butt stock versus, like, his clothing, his clothing is gonna have a softer feel to it. So go through your edges of the photo you just did and use this blur tool and kind of soften up those images. I'm sorry, those edges to help really convince that this selection belongs in the new background. So go ahead, take your time, go through and just brush up on the edges. So I've got my blur tool selected. I'm just clicking into ragging over the edge here. Make sure you've got that one slayer selected because here's the deal. If I'm selected the layer below it and I'm painting, you're not going to see any difference or anything happening because you're actually targeting that layer below. So make sure you've got the right layer selected, and then soften up those edges again and you could take as much time as you need it to, but just do enough to really seal the effect. And, ah, once you get that done, we'll go ahead and dive into the next video. 17. Photoshop compositing color levels: one thing I want to make sure doing. As we work through this project, make sure you're saving frequently, just in case Photoshopped crashes where computer fails in some catastrophic event. Because that will happen. At some point, you'll have some kind of a deadline, and then it'll crash. So make sure you're saving all right back to this paths window real quick as you make your work path. And as you're working through it, you'll have this work path option here. If you double click, you can name this path. Whatever you want. I just call mine cut out just easy to remember and is basically my workflow on how I do everything and simply by giving it a name, that path will stay with this image when you save it. So now I'm gonna go in it file save, and I will drop this into my design files folder and I just name it. Whatever the image waas in this case, when I've actually cut out a photo for my camera dash cut out. So whatever the name dash cut out and the reason why I do that you don't have to do that. But the reason why I do it that way. And so if I ever needed to find the original, I could do a quick search for that. I m g underscore 7309 and find the original if I ever need to go back to it. So that's why I do that. It save again, Make sure hit on format. You're the format. You've got to set the photo shop and you've got your layers selected. That way, you can come back through and grab his asset at any time. So I'm gonna close that right now. And let's make a new document command and or cook on the new button here and also make another letter size paper that worked really good. If you want to do that or you are free to deviate and create your own size, whether you want to make something for maybe a Web background like a desktop wallpaper or something, okay. And I've got my paper size and what I want to do actually want to change this. I didn't want it to be vertical and the horizontal, so I'm gonna come over here to image image rotation, and I'm just gonna move, rotate this 90 degrees clockwise since everything on here yet and then feel free to drop in whatever background it would you want to work with. Or in this case, if you don't work from the assets I've provided you and it's going to scale this up a little bit and get it ready to go here. Perfect. Now what we need to do is start creating this visual effect by adding in our layers or our assets. So I will open up that file that I just closed. I could have left it open, but good practice for you to find where you're putting your files will open up that Photoshopped file. We just cut out, click on that image dragon, drop over into your new file and then let it go. Once we've got it in there, it's going to hit command as to save this now. And let's call it whatever you want. Composite image is a great and I'll save it in that design folder. All right, now that we're back in here, let's start with some simple housekeeping here. I'm gonna command t and shrink this down and get it kind of close to size and then What I want to start working with now is the coloring of this piece. So I will come up here to filter camera raw filter, and this will apply to whatever layer I had selected. So this camera filter is a great filter to use on any image, especially photography. But you can come in here and adjust the temperature, just the tent. Maybe it'll under exposed or over exposed. We add contrast. We really come through here and and control exactly how our image looks. But before I get to fight on the road here, let's just let's just study this a little bit Here, let me command to you to shrink this down a little bit, get him a little more into the scene, okay? And let's just think about where the lights coming from. Think about how bright things are. So the lights coming from top down, top left or top top left down to the bottom, right. If we were to put this over here on the right side to really put him into the scene, we would probably have to deal with these windows shining at some point. So we would need to, for example, I could make a quick selection around his leg here. It command returned to get that selection. I'm a hit. Command l to get my levels panel, and I was gonna brighten it up a little bit. Hit. Okay, Command, eat a de select. And now it looks like he's standing behind that sunlight, which is great. But the problem is, is now assumes they're gonna move him back over here. His leg has been messed up. I didn't create a way for me to work in a non destructive manner. So what that means is, as you work through things sometimes you want maybe, let's say, wanted to save this like you were pretty happy with it. But you wanted to try and add that light effect here. I could hit command J to make a new layer and do that effect we just did again. I use my pen tool to just kind of make a quick selection here. Command returned to get it command l to open up my levels, and I just brightened up the whites a little bit. So that way, if for some reason I want to go back to the other version, I could turn that layer off and open a new layer didn't cost me anything to do that. You can have as many layers as you want, so it's a good idea to save layers at good stages along the way. So looking at this again, though, he's a little bit lighter than the background, and I could actually probably make the background a little more dark and ominous. A swell. So what I'll do here is I'm gonna click on this industrial layer, come to Filter and jumped to my camera raw filter, and I'm gonna go ahead and bring the contrast. Are the exposure down Just attach? I could crank the exposure. I'm sorry the contrast up or bring you back to soften it up, maybe bring my highlights down so it's not quite so bright. I could bring the shadows down or exposes shadows to make the shadows seem brighter, which then makes my highlights not seem quite as bright and balancing out the image so again. Just play with it, you know, just play with it and see what makes sense for your image, and when you get it to a spot that you're happy going, it okay. And now, if I command Z, I can toggle between what it waas and what it is now. So you seem a little bit darker, A little more contrast. But now he really stands out. So let's go back and a justice layers. Well, I'll come back to that filter camera filter, and I'm gonna zoom in a little bit here just so I can see him a little better. And I'm gonna move things around just so I can see what the background looks like and try and get a better match. So we definitely bring down our exposure a little bit. Not too much, but definitely a little bit. And ah, the contrast. You know, it's probably fine where it's at. I usually come through on the grab each slider and I scramble over the right. All the left is trying to find a good balance for where things need to be. So the whites obviously need back down, just attached blacks. Same thing will darken him up a little bit. Bring up the clarity and we'll hit OK and see what that does for us. So already it's looking a lot better, like he belongs in that environment now, A few more things to seal the deal here. There's no shadows. If he was truly standing in the space, if you look at where some of these other shadows air coming across the room, we would need some kind of a shadow s. So there's a lot of things we can do here. I could add a layer down below command. Click his letter B to get my brush tool and this jump over here and my brushes will grab a soft brush. Bring my size down a little bit. Maybe a little bit bigger than that. Bring my hardness downturn up my spacing and ah, up here We got opacity and flow would turn this down a little bit if it's at 100% and I start painting with we'll just do green so you can see it. You'll see that I get a really opaque green. Now, if I bring this opacity down and start scrubbing, you see it builds up and I could keep building and adding to it. So what I could do here, I'll leave that layer. If I had a new one, I'm gonna get the letter D to get my defaults watches over here, which turns it back to black and white. Or it could a double clicked on here and select a different color. Anyway, I'm looking for black. So what I can do with this layer below the one above it is start to paint and you'll notice that it doesn't paint over the top of him. It paints behind so you can build up this effect and it becomes a lot more believable if I do it that way so we can add some drop shadow here to really kind of anchor him down to this scene So you can paint this by hand if you want to. Another way that I work. Sometimes I'll click once on this layer Command J to duplicate it, and I grab the layer below. I command t no click while holding down the mouse now had to command to air them side the command button, and I can a warp this and bend it down. You know the pain where the light is in this case. I don't want him back behind, but I'll just show you the effect here and now I'll hit the return key to commit it now to do is lock right here. There's this tiny lock icon with this latest Like it, I'm locking the transparency. So now what? I can do this. It all delete to fill my foreground color. And it'll Onley Phil pixels that air there. It won't feel anything around it. Now, if that wasn't selected, I hit Delete. It fills the whole entire layer. So, Command Z, make sure my off of my Alfa Transparency Channel here is locked. It also lead to fill that now. So now what I've done, I'm gonna delete these layers. Now What I've done is I've created kind of a shadow here. And to further make that look re Elikann bring my opacity down a little bit. Maybe change my blood node from normal to multiply. And I could even work backwards and start, you know, maybe erasing away some of the shadow because a true shadow wouldn't have said to go all the way crossed building. What I like to do is I'll add a mask, a layer mask here, but the letter g and get my grade Ian tool appear in painting from the foreground color too transparent with a linear Grady int. So what I'm gonna do is in a mask, Blackwell hide and white road reveal. So I'm gonna click from the head, come down to here and now it's going to paint with a Grady int from dark to light. So now I'm painting on this mask layer and this mask if I hold on shifting click all it's doing is masking that shadows on actually destroying it, but that I get a smooth transition from his shadow. So go ahead and bring in your subject into whatever image you have. Start getting your colors right. Start playing with the levels. So that was command L to bring up maybe the brightness or the whites and the blacks to darken it up or your levels here. So play with that affect a little bit. Play with your camera rock. I'm appear to filter camera and try and get your background in your foreground color to be closer so they feel like they're in the same scene. We're gonna do some more effects here in just a minute, but start there and then start painting in your shadows wherever you think there should be some shadow 18. Photoshop compositing pushing further: all right, Here's where the fun really begins on our Photoshopped composite image project, hopefully of taking the time to follow along. And you've got an image in place here with the background and maybe a cut out of yourself or the assets that have provided and get your colors looking kind of clothes. Here. We've got maybe some shadows in place just to reiterate here. My shadow was just to show you how to do this effect, but realistically, you know, it's coming from the side as far as lighting, so that wouldn't be a great solution here. But anyway, take the time to get it right where you want, and now we're gonna push it further. This is where the fun really begins, because you can do as much as you want as much time as you have. You can go for it. Here's another example of a project that I made for a client. This was an actual poster we had printed. That was their battle wagon. They called it. That's a real thing. And the before photo here, I'll move us to the side. Here's what I started with. So we actually had some bullet shells on the ground, but the background wasn't that compelling. The sky was kind of boring. The colors were a little muted, and this landscape isn't that impressive. So what we ended up doing was bringing in some new mountain ranges, did some coloring. Then I brought in some custom flames that I bought it creative market dot com So they were already isolated for me. I've got a little more visual interest in the sky going on here. Then I brought back in the battle waiting here, and you can see where selections really play a huge part in selling this. I actually had to cut through the glass. But you'll see now we've got this blue overshadow here or this is blue coloring and I had to cut out right here. The bumper is that was, see through. So the flames show through so that a lot of attention to detail and even the reflection on the roof to make it look kind of riel. And then I came back and created a window. Fake windows over the top did some or coloring added a flare layer here to kind of blend between the sky and even at a huge moon just because I could. So it was a lot of fun to make this project. So you can see, you know, don't Don't just stop here with a background in an image of yourself. Go ahead and add more elements in. In fact, if you wanted to, I will provide this isolated fire folder for you. So if you wanted to, you can just start bringing in maybe some fire or anything else you can imagine. And again, this has already been isolated for me. So it does a pretty good job of blending into the background. But there's some ways that we can make this look even more realistic. So one of the ways is dragging this layer behind him. Maybe duplicating it or bringing in another fighter object will just drag and drop right over the top. Here, I'll scale it down, and, uh, we'll bring this layer in front of him. I'm gonna hit command and the right bracket key just to move that up One step. So now it looks like exactly standing in the fire. We can play this even further if I zoom in now, I'm gonna come back to this flame layer and double click. And just to clarify here, I don't want to double click on the icon. This is a smart object. If I double click there, it'll take me to the flame in the open in a different file in a different tab. So what we want to do is double click right here and not in the name either, cause that'll make us rename the layer I want to click over here on this side, and that opens up my layer styles. So that's where we can add a lot of different things, especially if it was was a text layer or something else. But right now, what I'm really interested in this is blend if mode. So right now I'm working on this flame in front of his foot, and I can say anything that's bright on this top layer. This layer, meaning the one I'm working on. I can make it go away. I can hold on the altar key and split this to kind of make it a smoother transition. But that doesn't look quite like what I wanted to do, so I could try the dark layers, and there's really not much dark in this flame. It's Albright that again doesn't do what I wanted to. So let's try the underlying layer. Also start dragging this back. So now anything with a light tone will start to show through Some of those flames and the flame behind Now start to peek through a little bit. In that way, it looks like they're blending together and I'll drag hold on the altar. Keane. I'll drag right from the dark layers. And now shoe kind of starts to come back and just a subtle effect. Just enough to know that it's still there, but the flames air in front of it. So this is a really great trick to start blending layers together so it okay and come back . So you could really push this a lot further. Another thing that we can do to sell this again. Our light source is from the left so we could use the Dodge and burn tools. I'm gonna click once on this layer, and I'm gonna rename it so it's double clicking here and I'll call this original for now. Really, it's not the original. We've already done some coloring to it, but it's close to the originals. I have a minute command J to duplicate it and come over here and grab my dodge and burn tools. So the Dodge Tool and the burn Tool basically what they do. Let's look at that. Let's look at the Dodge Tool first. Right now I'm working on the mid tones range my exposures at 50%. And now, as I paint over this layer, it actually exposes. It makes it brighter so I could come along this left edge here or any highlights that I want to really make pop, whether it's on his face and I can paint with midtown exposure at 50% and basically brightening it up. So we're essentially painting with light, and that's one of the biggest fundamental keys when you're doing Photoshopped composite images and you see some was really extreme HDR merged types of things a lot of times, just painting with light or dark, and I can turn this off and see where I've painted. But another way to work is to I could turn that layer off. Let's duplicate this original air again, and I could grab my layers. I'm sorry, my levels command l and I could just come in here and really crank up the details this way and I'll use a layer mask. I'll click on this layer mask if I click right now, nothing happens. It just adds a mass to be filled. If I all to click, it actually fills that with black by default, so you can't see it. Everything's been hidden. So now I can hit the B to get my brush tool. And because black hides and white reveals I can swap this right here. I'll hit the letter X to swap my foreground and background colors. Well, I can get this tiny little double arrow to swap, which was in front, but I basically want to be painting with white. So as I come through here and I start painting, I'm actually unmasking. We're revealing the layer below it. Now, up here, I've got my capacity, said the 12%. So you're really not seeing any change? I'm just gonna scrub that back up to 100% so we can see when make sure I'm painting on my ah mask later here and then One other thing is I got to make sure my blend mode is set to normal up here, So we see what's going on. There we go. Now. That's a pretty harsh brush. I could come back in, drop this opacity down quite a bit, you know, and just make some subtle, subtle changes here. And the benefit of working this way is if I change my mind. If I get too much, I just hit the letter X to swap. And now I'm painting with black, and I can come back in and reverse my mask. So this weighs a lot less destructive. It's a nice way to add some highlights or some dark tones, so let's go and do some dark tones. Now. If I grabbed my original layer and command J, there's a couple ways I could work here. Let's finish that other Dodge Burn section. I'll come back over to my Dodge Burn tool, and now he's my burn tool, and I can burn my highlights. My mid tones of my shadows, whatever you want to do, also like my mid tones. And now, as I start painting over this, it just burns layer, so it just adds more depth and, you know, I probably want to burn the right side a little bit to make it darker. And right now I'm mostly showing you technique. This doesn't look that fantastic, But you can play with this depending on what your image needs. And if maybe you need to work on the shadows of the highlights, you could just change the range. And now it will only affect the highlight tones, but not really the darker tones. So it's a really nice way to really refine what you're doing here. But again, I like to work non destructively. So what I'm gonna do is duplicate that original air one more time Command J. And I'm gonna change my blend mode to multiply. And now it's multiplying that layer and making everything dark behind it. That's one way to get it looking dark the other way could come back to my layer. I'm talking about levels Command. L and I could scrub here to bring in some darks, but maybe pull back a little bit on the Midtown. So I'm just really dealing with the dark tones. Like I said, there's a lot of ways to do the same thing. So now I'm gonna add a layer mask this male, adult and click on my mask. So now that dark tone has gone away. Make sure I'm painting on that mask layer with my brush tool. And as I hit X to swap my foreground. So it's painting with white to reveal so I can come in here and start adding some of those dark tones. If I wanted to, you know, really sell the fact that there's a shadow on this side and you can see right away. I do have some color issues here, so it's one of those things were depending on your image and what's in the image and what affect your trying to get. You might need to use multiple techniques the Dodge and Burn. You might need to use the blend modes over here to get different effects and masking. So these are all great ways toe work. But to really try and sell that effect and again, you're gonna need to experiment with what makes sense in your image. So I don't like the shadows. I did that. I was gonna turn it off, and I don't mind those bright colors. The flame thing is a little, you know, obviously a little ridiculous, but just wanted to show you that you can work elements back and forth and bring in some different, some different things. Now, if this truly was on fire here, his leg would be glowing on this side. So I want to do is command click on this layer to get a selection. I'm gonna click on the new layer icon right here to get a layer in front of it, and I'm going to let see. There's a few ways we could do this. I could sample Muse the letter I to get a sample of this color, this yellow color it be to get my brush tool and maybe drag my opacity down quite a bit and just kind of start to add some yellow highlights there. Maybe get the letter I again to sample a different color within that just kind of work in some different colors here. And then I can play with my blend mode there. I'll come over here to my blend modes, and this just changes how the layers interact with each other, how they blend, whatever's on top, blending with what's below. So a shortcut I like to use with your move tool selected letter V on the layer You want to change? Now, If I just hit, shift in the plus sign or shift in minus Aiken, step back and forth between these here and get a quick idea of what's gonna look good. So hold down, shift and plus, and I just cycle real quickly and see what color mode might interact to get the most realistic effect there. Oops. So, once I get something, I'm happy with this total of preference. Just whatever you want to dio, I can leave it there. I could even push us a little bit further. Maybe I grabbed this flame hold on the altar key to drag a copy over here. Command t to just change it a little bit here and maybe even reflected. All right, click. I don't flip horizontal. Okay. And now I'm gonna do is come back down to this layer and you can see him starting a lot of layers. So what I'll do is I'll tear this off so I can see more. All right, so this flame in this layers when I'm working with here, so I'm gonna drag this down, and there's a few things I could do. I could hold on the altar key and click between here and what that does is it uses whatever layers below as a mask if I want to undo it, hold on, Alton and click between the layers. So that's an easy way to now. I can move this layer around and you'll see it's masked by the shape below it. Another way I could work is well, that's actually probably favorite way to work right now. But now I can add a layer mask to this here, and I can start to paint with Black to hide some of this. And I need a drink. My capacity back up here and I can start to remove some of this here and just wants to be a subtle effect. So I'm gonna scrub my capacity for that layer down quite a bit, actually. I just wanted to be barely even just just barely hint that it's even there at all, and that those are the little details that as you build up, more and more will start to really sell the effect that this is really happening. So play with that, whether it's flames or putting it in a different environment. Get that where you want it to go. Use your your dodge and burn tools and now what we want to do is try and bring all of this into one cohesive image. So ways to do that now we want, affect this entire image we did. We did some of that with the color correcting, but now we're gonna look at adjustment layers. So let's go ahead and come down here to this little icon. We'll click once on it, and let's start with the photo filter adjustment layer. I'll click once on that, and it adds it right above whatever layer I was. I was selected. I had selected and you'll notice so it affects the background image. But it doesn't do anything to my flames or to the guy standing here. So what I'm gonna do is drag this adjustment layer all the way to the top, and now it affect everything down below it. And if I talk to this on and off for quick, it's a pretty subtle difference. But it does affect the coloring of the image, and it starts to make it feel more cohesive. If I double click on that I can see I have some different mask options by double took on the camera. It brings me over to the properties of that adjustment layer so I can change two different filters, some different presets, and you'll see they all have different, uh, effects on the image. So what I like to do is probably leave us on this yellow or maybe the warming filter, just to get a subtle effect here. Let's add another adjustment layer. This time I'm going to do the hue saturation, and there's some different presets and different things you can play with. You could work on the saturation to really pull out some of the colors if you pull it too far, turns it into a black and white image. 25 the other direction and it really starts to look terrible. So play with that little bit, maybe bump it down. Just a touch. You could work with the overall lightness of the image, but you'll notice it's affecting everything every layer and what this will help do for your images make it feel like the photo was taken at the same place at the same time. Or we could jump over here to the preset. I like the old style, and that helps really make it feel like it's part of the same image. Now, this is a little bit too far. It's probably got this photo filter here. If I turned that off, you'll notice it brings back a little bit of that. And you just need to play with it, Maybe maybe grab this layer and drop the opacity. Just a touch. So it's affecting the layer, but not not completely. Not at 100% strength. And that will help just all these little details as you build them up. Really sell the image. So now that you've done that, uh, go ahead and push this as far as you want and make sure you save along the way as Ugo and ah, the other thing we can do here, let me jump real quick into that nerd poster I made is you can add layers to the very top of this. So right now I've got this effect very, very subtle, but it's a little burst image. Let me show. You have got a locked. So unlock this layer, turn my opacity all the way up in my fill all the way up and you see, I've got a blend mode again, set to overlay so it overlays the color on top of the layers below it. But change back to normal. You see, it's basically a Grady int like a radial solar flare. And the whole reason that this is on this image change it back to overlay dropped on my fill and my opacity, and you can see it's super super subtle effect. But what it helps do is color all of If I turn it back off, you can see not all the coloring on these people look quite right with the background. So by putting this over the top of it, it really helps dark in this top right area, but brightened this like there was one unified light source. So that's basically we're doing with this layer is creating a light source now that helps the whole image look unified. These adjustment layers over here These help the coloring look consistent, and now we want to bring the light source from one spot. So there's a lot of ways to do this. Uh, I just happen to use this solar flare. Things I'm gonna drag and drop this over the top of everything in this new image here, command t to scale it up and resize it where it needs to be. And as a scale, you can kind of see those lens flares coming. But it almost works out perfect for where the light source in this factory is coming from. So I'm gonna scale it to get it pretty close return. And now it made my overall image pretty dark. So there's a few things I can do. I can just drag the opacity down, or I'm gonna come back over here with my move tool selected on shift and plus to cycle through some different effects here. Some of these are more believable than others. Some of these air totally unusable. This pin light might be nice if you're really wanted to keep that solar flare effect. But again, every image is different. So just cycle through and see what effect gives you the best. The best results on your image. And right now it's looking like nothing I gotta look at to is what it's doing to his face. Right. So it's looking like light might be a good solution. That one's not bad color Dodge just within your Dodge. So just play with it, play with it, see what works best. And then again, back off your settings just a little bit. So it's not such a new overkill effect, and it's all the subtleties that add up to create a really compelling composite image. So good luck with that. Go ahead and press on, Get your image is just how you like it. Be sure you save along the way, and in the next lesson, we'll take a quick look at exporting what we've completed. 19. Photoshop compositing exporting: all right, now that we're pretty much finished with our image and you've learned some different techniques for the Photoshopped compositing, actually, another idea wanted to show you real quick as I was looking at this image. And maybe you've already thought of this. What I'm to do first is locked this top layer. Otherwise, as I try to select things, it's only going to select the layer on top. So I'm gonna click on this little lock icon, and now I can select what's below it. I thought about this, Like, what if what if we had this guy dangling over like a fire pit or something? So I'm gonna drag him up and you'll notice that the other effects I applied didn't come with it. So before I get too far here, let's grab the layers that I used to create this effect. Let's grab the layers of him and I'm not gonna grab the flame right now. I'll grab the original and there's a couple ways because I could group them command G to group them into one group. No notice. His shadow didn't come with that. Let's click on that layer to see which one that is. Okay, so there's that layer. So he's gonna drag it up here, put it inside that folder. So now that all comes together, the other thing I could do is shift, click, toe, highlight all of those or right click. And now I'll link these layers. So you see these little chain link with all these layers? So now I can click and drag anywhere, and they all stick together. So what I'm thinking is I could bring him up here a little bit. And since he's in the air, that shadow doesnt make sense anymore. Says turn that off and maybe turn him a little bit. I even click and then hold on the command key after I click to Maybe Well, that doesn't look too real anymore. But what I'm seeking is having him like dangling up here. And I could bring this hook down from the backgrounds. Let's select that real quick. I'm going to right click. This is tied to my creative clouds. I'm gonna right click and rast arises layer, basically bring it in and flatten it into this image. And let's do a quick selection around this thing. I don't want to take too much time. So I was gonna hit my try the quick selection tool, and they just kind of paint real quick. I just want to see if this effect even works like I wanted to holding on the altar key to refine that Now I'm gonna do is move this down and there's a few ways we can go about it. But if I come over to the it's fine. This real quick, the content aware move tool. So it's Letter J gets us there. I can click and drag this down a little bit. Let's just put it down here and I'll let go. And let's see how good a job Photoshopped does. Not too bad. We need to refine this a little bit, but you'll see that it filled in the background with bricks gets a pretty decent effect, like command, you to de select. And now, if I wanted to, I could come back in here, and there's a few different ways we can do it. What I like to do is get my lasso tool. I'll click and drag around right here and then Control shift Delete brings up my fill instead of feeling with foreground color. I'm gonna feel content aware I'll select that hit, OK, and now it starts to fill in with the background to remove some of these lines from what was left over. So I'm just clicking and dragging control shift delete to bring my fill. And I'm not gonna spend too much time here cause you could play with us all day long. But anyway, you can see I've effectively moved down that hook and you could actually find a fresh image , maybe to do a better job. And then I could come back in here and maybe paint in some. Some of these cables was just the brush tool, or there's a lot of ways to do it, but now make it look like maybe he's hanging from his suspenders or something ridiculous like that over the fire. So hopefully it's not too sinister, but I don't know. It's where my mind went looking at this image, So have fun with it. Keep pushing on, and when you're all done, make sure you save your creditable PSD file, so just command as to save that real quick. And then when you want to show your friends and family what you been up to come up here to file export export as and we can really control the settings of this image by changing the quality or the file type and you can hear here, this would be 2.1 megabytes, which is great. I can't export and it'll spit out a J peg for me. I can put it right where I need to go. We'll put my file sent export, and now it saved out of J paid that I can share with whomever wants to see this thing. 20. Typography introduction: All right, let's take a first look at Adobe Illustrator CC in this section, we're gonna create a typography poster using the quote. A smooth sea never made a skillful sailor. And you can see I've got a couple of variations here of the same quote using similar graphics, but two different results and we're gonna walk through making multiple versions and how to export them. So when it's all said and done, you'll have your very own typography poster. You're welcome to follow along using the assets that provided, or you can create your own with your own quote if you want. So let's dive in. I'm gonna go ahead and close this window to get back to my start screen. I'm gonna come down to presets and create a new document from a letter sized preset. So now this is open. One other thing I'm gonna do by default. I'm seeing my essentials workspace, but I'm gonna hit reset essentials. There's a good chance your screen looks something like this. So real quick down the left hand side. We have all of our tools that we could be working with from type tools, toe warp tools, eyedropper tools, shaped tools, so feel free to poke around here. And then, of course, any of these tools that have a little air on the bottom, right? If you click and hold, that means that there's more tools hidden behind there. Depending on the tool you have selected, your options bar will change across the top. I'd call it the hug or the heads up display, but technically it's called the Options Bar and then on the right hand side or various windows that will modify whatever you're working with. There's also library assets and different layers. We can also add even more windows. If we come down to the Windows panel, there seems like alignment. Appearance are boards, brushes, all kinds of stuff. So usually, if you don't see it on the sidebar, you'll find it under this Windows tab. So now that were set there what? I'll go ahead and do on this top right? There's this tiny little double arrow expand panels button. I'll click on that. And now I have a better idea of what panels are actually open Now. You might already know what you want to use, and if I could, uh, put that back and shut that. You can see that we've got the shortcuts, and that's nice, too. If you want to keep your our board minimal and just focus on the artwork, either way is great. But just know that that's there now. The other thing I want to talk to you about real quick is shortcuts that will be using as I walk through, because as we get going, I want to speed things up quite a bit. I don't want you have to sit here and listen to me talk. So, uh, what I do a lot of times you have to move tool, the selection tool and basically what that does if we have objects on our campus and you kind of shape If I have the move to or hit the letter V, I can move that around. So if I have multiple objects here, basically, I just click and drag. No big deal right? I can drag in select multiple shapes. OK, that's that's the move toe, actually, technically an illustrator, it's called the Selection Tool. It's recently been changed to the move tool if you're in photo shop, so now that we've got that out of the way. The other thing I use a lot is the space bar, and the space bar is a short cut to get the hand tool. Now I could have hit the letter age to get my hand tool, but then I'm stuck using it. Let's say I was on the type tool letter T and I wanted just move things real quick just to see more of my campus. Well, I can hold on the space bar, move a little bit and then let go the space bar them back to the previous tool I was using . So I used that one a lot, too. The other truck had I used frequently is a while holding down the space bar. Hold down the command key as well. Or, if you're on a PC, hold down the control key and it turns into your zoom tool on again. I could have just hit the zoom or the Z for the zoom tool, but it's faster as I'm working to just hit thes modifier keys in time. So I've got the type tool hit space bar to get my move tool. Now hold down command with that space part of zoom in a little bit. Look at some details. Make sure it's what I want. And then I can add the altar key to that to zoom back outs. And I've got space Bar Command and Ault. Okay, so I'm gonna zoom through this as fast as I can. The other shortcut, that's really handy. If I've got my type toe, I can just hold down just the command key and that will default to my selection tool, then assumes that, like while the command key, it comes back to whatever previous tool I had selected. So that's the way we're gonna be working through a lot of these things. Just so you know what's going on? Alright, What I'm gonna do is computer view. I'm gonna come back and fit our board to Window Command zero to bring that up full size so I can see the entire art board is big as I can without getting cropped off. All right, let's go ahead and save our progress here, which really all we've done is created in document talked about shortcuts. But let's go ahead and save this. And in the next lesson, we're going toe, learn about working with fonts and typography 21. Working With Text: Type Tools, Adobe Typekit, and Creating Outlines: all right, if we're gonna make a typography poster, it's about time toe. Learn how to bring in our text. So what I want you to do is copy that quote you have wherever you have it or get ready to type it out. Hit the letter T to get your type tool, and I already have my quote copy to my clipboard. So I'm just gonna click once hit command V to paste that in there and you'll see it drops it in in a straight line. Now this was a long text. It's a whole paragraph because I just clicked once it would just put it in one long line. Now, with my type tool selected, I could also click in Dregg, which will create a text box that will contain my text. Now hit Command V to Paste. You'll see it contains it within that box. So now that we know how to bring in the text, let's learn how to modify it. So what I want you to do is go ahead and command click. And with that text selected, my options borrow changed to reflect the options that my type Till has even if let's say I click on the move to or the selection tool by Click Away. And now, truly it is my selection tool of my options by changes. But by clicking on that line of text, my options changed what the text tool has so I can click on this drop down menu at the top , and I can see all kinds of fonts for my entire font library, these air, all the fonts that are on my system currently that I have available. And if you find when you like, you can see the preview here on the side, you just click on it, and it will change your font to be whatever that is. Now, once you get a font, you like, you can come in here to the character window. Click on that, and I can further refine options like the size of the font. I can bring that up a little bit. The leading and what the letting is. It's the space between the lines. This isn't gonna be a good sample on this one, because it's not in two lines, but this one. However, I click once on that come back over my character window and I changed that, letting. If I bring it down, they get smaller. The reason why they call that letting is back in the day when these two set type by hand, they would put physical pieces of lead between the types of between the rows of text. So that's what that is, is not leading. It's leading. And then we have our Kern ing the space between two characters and how that behaves. And then we also have our tracking, which is when you track out every character. So, for example, as I bring this up, let's just jump to a bigger number. You can see that it's spaces out those letters so we can come in here and we can refine things. And if you decide that you don't wanna have to try and figure out the distances, you're right lying to do here. You can use the touch type tool, so I'm gonna zoom in a little bit. I'm gonna click ones, use that shortcut Space Command, and then click to bring it in a little bit closer. I'm gonna click once on my text again. Come back up here and choose the touch type tool. And now I can click once on any letter I want to mess with. And then I congratulate Hit to modify the space, or I can even scale it up. I can hover on this tab on the top and rotate it. There's a lot of things I can do. The benefit of working this way is it keeps my text editor ble. So now if I wanted to, I could just command click off to the side, get my text tool selected here with the letter t and highlight that s and I could change anything I wanted where there was a lower case letter We're back to that capital or maybe a different letter altogether. It's nice to keep that creditable. So that's one way to work. And let's say you're playing with this and you just don't see the right font you want to use. So what we can do is with the Adobe Creative Suite subscription. You have access to the adobe fonts from type kit. So with my font selected here, Aiken, jump over to the ad Frantz, advance from type kit. Or actually, you don't even have to be in there. Let's say you're just on your in your project. Coming prototype. Add funds from type kit. That's another way to get there. What is going to do is it's gonna open up the type kit library, and once you're in there, you can refine your selections further. So let's go ahead and pick a sand Sarah font and maybe I will choose. Now here's one thing to I want to keep the ones that I can sink. If it's just the Web based version, that's if you want to embed it on a website. But not all Web funds are available for your desktop. So since I'm showing you on my desktop how to design with typography, we're gonna leave the sink. Options selected So it just shows us the funds I can actually sink up with. Let's find some headings fonds thes air funds that might be a little more stylistic and not as good for a paragraph in this case will work out great for a quote. I want the weight to be a little bit heavier and maybe choose a more condensed font. So now what The's font options selected? I can kind of scroll through and see if any of these stick out that I want to use on the project. So how about this one abolition soft so I'll go ahead and use this font. I'll click on that, and it gives me the option to select different font families so the character should get regular and oblique families we can choose from. Oliver's both selected oblique is another word for italic saw Click on Sink Selected Funds , and what is going to do is immediately sink this to my Creative College library. Just x out of that now and jump back over into Illustrator and you'll see I get my notification appear to farms were added, and I can immediately apply that so I don't have to quit illustrator and opened back up. I can click once up on here to apply to this fund. Search for it. Abolition, Abolition soft. I'll click once on that, and now that font has been applied so you can see it's a lot quicker than it used to be. If you have any experience in the past with some of the older versions of illustrator, would you probably don't or you wouldn't be in this class, but if you did, you used to have to close out of your app and then reopen it toe load. But not anymore. Such a great way to add new fonts to your system. So now that we've done that now but confined tune our fonds a little bit further, so weaken again. We can click on here and click on the drop down this character menu. Teoh make changes here and click on the paragraph setting. If we don't want to hyphenate or if we want to modify, you know the layout of your font, whether it's left justified center right, Okay, so we can play those options as well. The other thing that I like to do is I use shortcuts a lot. So instead of even coming up to those menus, what I can do is sit command shift and the period key where the greater then and you can see that I can make my font much bigger, smaller, without even having to take my hands over to the mouse to find in the menu. So that's command shift comma to make it smaller command shift period to make it bigger. Now, as I make it bigger, you'll knows that letting get stacked on top itself. So now hit command option and the down arrow key to make my letting bigger or command option in the up arrow key to bring it back in. So this is the way I work a lot of times when I'm trying to quickly blitz through my font and get it kind of close to the size I want. And once I get this set where I want see, we're in this text box now. So the problem is, as I make this bigger, it's gonna start jumping Teoh to the lines it needs. But let's say I got this exactly how I wanted it in two lines. I could just click once on this. And if I start to click and drag, what's gonna happen is it's just gonna resize my box. But I want to stay the same size just bigger. I'm sorry. The same the same layout here in two lines, but just bigger. So what I'm gonna do is instead of the Letter e, which, if I hover right over here, that's my free transform tool. So now what I can do is click and drag, and it's going to make the whole thing bigger. The box and the fonts again. You'll see. Excuse it. So hold on the shift key to make sure it doesn't skew it. I'll let go the mouse first and then I'll let go. The shift key and you can see my font is much bigger. So All right, we're getting there. We're almost there. You're learning how to use the different tools here regarding type what I want you to do. Now, if you're up for it, we're gonna go up here to type, create outlines. So shift, Commando. Now, before we do this, what I want to do is probably make a copy. So I've got my selection tool selected. I could have my type tool selected. Just hit the command key. Either way, make sure that that arrow you're showing that black arrow and then hit the old key and you get the double arrow. I can see that there were at the black air on the white arrow next to it. Click and drag to the side. What that's going to do is make a copy, so we still have his edible text. If we want to come back to this and make changes, but clicking on this This copy we've got here on the main on the main our board Come to type and click on create outlines. Or you could just hit shift command. Oh, now what it does is it Convert your type two shapes. It's no longer a font. And if we zoom in here, you see all these little blue dots. What are those things? Well, those air anchor points, anchor points and paths. So if I hit the letter A and I get my direct selection tool, I can select just a few of these pads And you know someone there selected have solid blue. The ones that aren't selected have white in the middle there, OK? And I can click and drag. So now this gets really fun. Now I can really modify things and start making it exactly what I wanted to do. So maybe I want my l o. Or maybe they are over here. I can click and drag and drag this down a little bit, you know, and start making this my own and doing some really, really cool things to it. Maybe I want to highlight this tea. Drag it up and maybe put a sale on there like a pirate ship or something. But you can see how all of a sudden it goes from being a font that you really can't do too much with, too being custom shape that you can do anything you can imagine with. We can even use the direct selection tool to select either any one of these individually and add color to it and separate out the colors. So it becomes a lot of fun when you can really go crazy with those outlines. All right, so what we're gonna do now, I'm gonna go ahead and stop here. I'll take command as to save. This isn't what I want to do for my for the look of things yet. But in the next lesson, we're gonna dive into shapes, colors, graphics and art boards to create some those images I showed you with that introduction. All right, here we go. 22. Working with Shapes, Color & Graphics: all right. I don't want to get too far down the road playing with my typography until I know where my shapes and graphics are gonna lie because they need to work together. So in the previous video, we learned how to use the type tool and how to start getting funds set in motion here. But what I want to do now, I spent some time going over shapes how to modify the colors, adding some separate graphics and then making different our boards. We can have multiple calms. So right now, what I'm gonna do is just create a background. I'm gonna have the letter m to get my rectangle tool selected here and hold on the space bar to drag up a little bit. And one thing I want to make sure you're seeing I see these smart objects or I'm sorry, these smart guides here it's these little pink lines jumping up all over the place, and it's really helpful to let you know, you know, are you lined up with something else on the campus? In this case, I want to draw a rectangle to get my background from here down to the bottom and I couldn't quite see the bottom, so I just let go. I can grab his anchor point and finish my, uh, sizing of that. But if you're not seeing those pink guides, go ahead and jump up here to view and make sure you've got smart guides turned on and maybe even snapped a point that might help you out with your layout, getting things the way you want it. I'm gonna go ahead and change this color. I want to be more of a C vibe here. So we're gonna go for something more in the blue tone. And if you're not seeing this color window again, go to your essentials. I'll just hit reset essentials. Click on this little fly out menu and then I see my color bars. Here. I can also click on this tiny little drop down menu and hit show options, which lets me refined my colors even further. I still have this color bar the seem like a color spectrum, but I can come in here and add, Let's say, just a little bit of black just kind of darken it up a touch, maybe a little more science to make it a little more of a true blue. All right, there we go. Now in Illustrator, we have layers just like we do in Photoshopped, but that works a little bit differently. Inside of each layer, we can have multiple layers. So we have this main layer here, and I can rename this anything I want to. Ah, but if I hit a little drop down, you can see every element within this layer, so I could create a brand new layer here and draw something else, and I can tell it's on a different layer because my guides, when it selected, are different colors. So these air read anything in this layer, whether it's type or multiple shapes and has changed colors, you can see what's going on. All of these are in this layer, and you can see those objects directly here. I'm gonna delete that whole layer, which deletes everything on that layer. The only reason why I showed you that is because you can have your entire project on one layer, which is a lot of times how I work and the reason why Let me bring these back real quick. If I select this blue rectangle on a hit command right bracket to try and bring this up as far as I can. That's the same as going to let's see where we at object, arrange, bring forward or bring to front. That's how you can change your stacking order. Well, it will only go to the top of this layer. It will never come all the way to the front. Well, a lot of times when I'm working an illustrator, I'm creating logos or shapes or different things, and I want to work quickly. So rather than using multiple layers for what I do and some people would advise against this, you can work with however you want. But I like to keep everything on one layer and then that way I can quickly. So I've got the selected a minute command and the left bracket. It's the one right to the right of the letter P on your keyboard that left bracket key command left back, and you can see I can change it in the stack by hitting command left or right bracket. It's a quick way or command shift to throw it all the way to the bottom. So command shift left bracket or command shift. Right bracket. So again, I usually work in one layer so I can quickly change my stack in my layout here. All right, I'm gonna bring my layers panel back down in here. I'm a nest it back where it was. Alright, So I've got my background selected here, and I'm okay with this color for now. So I'm gonna do is I'm gonna lock this object and the reason wise, as I'm working with text. See? Right there. I was trying to grab that text, and I actually selected the background instead and move the background. So I'm gonna click on that one to command to toe lock it. That's the same as going to object. Lock selection. Okay. And what that does is it? It makes it so I can't select anymore. It's like it doesn't even exist that way. I can focus on my typography and my poster in the text changes that I'm making. Okay, the next thing I want to do, I'm just gonna move. That seems gonna move us over the side. I already created I wouldn't create, but I purchased a graphic for us to use, so I'm gonna open that up. Feel free to open that up from the assets folder. And they're just some vector illustrations here of anchors. Feel free to grab, whichever one you want. I'm just gonna grab this guy right here. I'll click once on it. Command. See to copy it. I'll click back on that document. We came from a command V to paste it in there. And now I can click and drag to resize this, but you can see I'm having a hard time really even seeing it because there are so many anchor points like the entire thing looks blue. It's one big selection. It's really a brown anchor. But as I zoom out, you couldn't tell that because there's too many anchor points going on. So I'm gonna hit command H Control H on the PC, and that's gonna hide those anchor points. They're still there and my items still selected. If I hover over you see, I still have these bounding box around it selected, so I know that it's selected. It just hides all those points. I can really see the color I'm working with. Now what we do. Is it a letter I from the eyedropper tool over here on the side. I'll click once on that blue color, and now it looks like it disappears. But really, it's just the exact same color as the background. The reason why I did this is I wanted to be in the same total range. I'm gonna click once on this thumbnail with this Phil here, over on the side, I'm gonna turn off only web colors because I want to be able to show any color I want here . And that was gonna lighten this up. Just a touch. So we're still kind of within the same color range of just making a touch lighter. Now hit. OK, so this looks pretty good. It's a nice, subtle effect too subtle anchor. And I want to make sure it's dead center. So I'm gonna click once on this, making sure it selected and my options bar. I have his tiny little aligned our board button. If you don't see these alignment options, it's probably because it's set to align to selection. And since I don't have any other selection selected, I don't see them. So I click that drop down click aligned our board and now it's going to use my our board as a reference to align this. So click once on the horizontal Align Center and I'll cook once on the vertical Align center. So now I know my object is directly centered in the campus here. I'm gonna zoom Ouch to touch, to see it. And we're also going to jump over to that original typography poster and made just as a reference here to see where we're going with things you'll notice it's a little bit different. I flip flopped the colors. My background is currently lighter, and my anchor is a little darker. So I'm gonna jump back over here and scale this one up quite a bit to reflect what I had on that original design. Let's look at it one more time. That's close. Pretty close. Okay, A smooth sea never made a skillful sailor. So this one is a pretty straight design. I'm gonna come back to this original edible text that we had command shift right bracket to bring it all the way to the front and ah, let's see a smooth sea click once right in there it returned. Never made click Once behind the A, it returned a skillful sailor. And now what I can do actually gonna highlight all this Command eight. A copy. Click over here, Click Once command view the pace And the reason why is because as I start to scale this up , it's going to get all wonky on me here because it's gonna hit those. Uh And I don't know, this could be a cool effect, too, but it's gonna hit that bounding box and make things flow to new lines. I want to do that. I want it to be to stay exactly how I intended. Someone had command ship in the period key here to make it bigger. And it's not gonna jump to two lines now because there is no bounding box number had command option in the down arrow key to adjust my letting here. Okay, let's take a look one more time. So not bad. That's about the way we went here. And what I'm gonna do is drag this in place. So the height of my font kind of matches center to that anchor there. Okay. And the other version, it was white. So what I can do is I can just come over here and select this white box there or it could I just use my slider to drag it up. Now one thing. If we look closely on this other one, you'll notice. Take a look at that, What we got going on. So I've got my font here and it's looking my transparency window so it's said it 100%. So what's going on here? I've got this anchor. Let's take a look at that. So my anchor is actually in front of my text here, creating that transparency effect. So what I can do? If you wanted to do that, we could bring the anchor in front command shift right bracket and see that's too much. I could bring the transparency down up here, or the opacity is dropping to 50% now. It's also going to make it more subtle effect in the background. Or I can put it back to zero or a 100% here, maybe bring my font to the front, and maybe I bring the opacity down on this a little bit so you can play with that and get the desired effect you're going for. But I'm gonna go ahead and stop right here on this setting, just as is, like command saved to make sure I save it. And in the next lesson, we're gonna talk about how to create multiple art boards, and we're gonna look at creating multiple variations and then how to export it. 23. Artboards and Creating Additional Designs: All right, This is where we stopped in the last lesson. Now, what we're going to do is create some more variations of this poster. We're gonna work with our boards and how to export. Those are boards. We're also gonna talk a little bit about bringing other graphics. In this case, we're bringing in an image of the ocean we're gonna end up with. Here are these couple other versions I made like this? So this one still has the anchor. I'm gonna show you how to create these little waves down here that will teach us how to use some of the shape builder tools. We're gonna get some different fonts in here, and we're also gonna work with images. As you can see, you can work with images and illustrator as well. So let's get started here. Let's go in and start working on this posters What I want to do. Um, just for the sake of speeding this up, let's go ahead and hit. I'm gonna copy all this command seat, a copy, and I'm going to throw it up in my campus. So this is again is like I showed you. We've got this whole big campus to work with. And a lot of times I'll litter my art board with stuff that I'm using as a reference. So this could have even been, like an idea or a sample you got from somewhere else. And you wanted to just paste it in here. And, uh, I'm gonna move this guy out of the way that we ended up not using. And what I want to show you right now is the art board tool. So right now, technically, we have his bagel campus, and then on the campus, we can have multiple art board. So this is an our board. That was 8.5 by 11. Reset this up with the very beginning. Kidding that preset button. So if I go to print this Onley objects within this black a black stroke there, anything within that will print on that and that by 11 everything beyond it will get cropped off. So in this case, let's say you want to see what that would look like. I can actually apply a mask to this. So this was locked, Remember? I'm gonna come over to object, unlock all command option to So now I can select it when it command C to copy it, click once the side commit after paste it in front. And I have two objects Now I'm gonna change closer. You can see that. I just pasted it right in front command F If I hit Command V, it's just gonna throw it anywhere on the our board that it feels like. But I want to put it right on top of that other one here. So I about two shapes, and now I'm gonna shift click on that blue anchor. So about the blue anchor and this blue box in front of a selected and I'm gonna hit command seven to create a mask. And what that did is it actually pasted that shape inside of the other mask? If you want to get rid of it, you can right click and click Release clipping mask. OK, but basically what I'm doing is I'm just cropping that it's not a destructive crop, though. So command have to pace that shape ahead in front shift. Click command seven. There you go. So I just trimmed it, and now it brought it in front of a text. Someone command left bracket key to put it back behind that text. Okay, the whole reason for that was so you could see. OK, this was gonna print like, but if you wanted to crop that off, you totally can. Using those shapes to mask. Okay, So let's get the art board tool now. Hit shift. Oh, it's the same. Is clicking right here on that, our board tool icon. And now I can click and drag. Let's see this little toggle up here in my options bar that's gonna decide whether the artwork comes with me or if it stays by itself. So right now is turned on. So if I hold on the altar key and now drag to the right and if I hold down the shift key, it should keep it there. We go in perfectly. You know, no matter where my mouse goes up and down, it keeps it Ah, in line with the other outboard. Now, if I let go, all of that artwork came with me. So this is a great way to build something once and then create multiple variations. Once I get this where I want, I can hit the escape key to commit that there and now about to our boards. And if I look over here in my anus my layers panel about this art boards minutes and I actually to art boards and I can rename them Hit shift. Oh, again to get my our board tool, I'll click once on the starboard, and I can see the name of here called Art Board one. Well, I could call this comp one, and I could click on this one and call it comp to. And the benefit to doing that is later down the road. When we go to export this now, it will use those names as part of the file name and we export it, saving us a step and also making it easy for your clients to see which version you're talking about. As you're working with them, cement the escape key to get out of that, and I'm gonna zoom out a little bit, just like what we're gonna do here. So I'm gonna grab this guy, move it down a little bit, and I'm again cheating cause I've got this right next to me if you wanted to. If you're on a PC, you can hit your print screen button to copy my screen and pause this video right here on a magnetic command shift in the number four, and you could click and drag and then let go. So go ahead and positive. Take a picture of my colors if you want Teoh. And then when you let go of that, what it's gonna dio is it's going to throw that screenshot to your desktop. So if I click on my desktop, I've got a picture of my screen. So now what you could do is drag that picture to my to your desktop with an illustrator. And granted, it's just it's just a picture. This is an edit herbal, but now you can use the eyedropper tool that the letter I and you can sample from that photo to get the exact same color. If you like the colors I'm working with here, you totally don't have to do that. But I do that a lot. I'll look online and different Google images or whatever and find color schemes I like. Bring in the photo and then I can copy those colors. All right, so I'm gonna go ahead and work on changing first this background color. And again, if you don't see this, if it's locked hit command option to to unlock that I get my eye dropper to with the letter I. And now I can click on any color and it'll change that background color. I'm gonna command Z because what it did, it actually filled the color of that shape in front of me. So now with that select If I click on that again, you see what it did? It just filled that mask layer. So what do you dio? Well, I am going, Teoh, There's a few ways we can work in this case. I'm just going to right click and release clipping mask for now because I don't want to deal with working around it. Click that layer hit command I learned I'm not command I but the letter I click once on that color, and then I'm gonna click on the anchor, hit the letter I and click once on that colored anchor in my document over here to get that color match. All right, what's going on? It doesn't look quite the same. That's click over here and see. Okay, So my anchor inside of that artwork has actually set out of 30% opacity. So if I click once on this anchor and I said it to 30% there we go now looks a lot closer. In fact, it's an exact match. All right, this anchors also centered. So I'm gonna click once on this anchor here, and I'm gonna click on that a line to our board, click on the horizontal line, and now it's centered. Okay, so next thing I want to look at is let's look at how we made these waves What I did the letter m to get your rectangle tool, click and dry rectangle and then hit the letter l to eat your lips tool. And I'm gonna change my color mostly. Just so it's easier to see what we're doing here. Groups now change my color and that that's de selected. And I'm gonna hover right over the line here until I get the little, uh, smart guy. That's his path. Hold on the shift key, and then I'll click and drag, which will start a perfect circle If I don't hold down the shift key, you could see Excuse it. Hold down the shift key. Now hold on the altar key. And instead of dragging from the top, it'll drag out from the center. Since I'm holding shift and halt. So I get a circle here and I let go with the mouse and then let go my modifier keys Hold on , command to change to my selection tool. Now hold on, Ault, To get my duplicate er copy arrow, I'll start to click, and then I'm gonna hold down the shift key. So now I've got my fingers on command Ault shift and the mouse. That way it drags a perfect copy and keeps it in line. Once I get it here, I'm gonna let go over the mouse first. And I let go of all three of those modifier keys. Now that I've done that once all have to do is sit command d to duplicate that transform or to step it multiple times. Okay, so now what I'm gonna do is I'm gonna highlight all of these at once. Just command. Use your command key or click on your direct selection or his letter V For that short cut, click and drag from outside to hear and then highlight all of those nominate shift em, and that's a shortcut for my shape, builder tool. And what that does is it actually builds shapes. We could actually talk a lot about this tool, but what I want you to do is just hold on the altar key and it's going to subtract those shapes. I could also click and drag through multiple, and I'm holding down the altar key to subtract them, but wanted to I could just click on it without any modifier keys that they all turkey and I would add to that selection. It would actually add those together. So now that is one shape here by my command. Z, I didn't want to do that. Hold on, Ault. And now just click on these to have to cut this out. So I've got that wave shape and ah, let's see, Let's bring it over here to my document about like that. And before I let go, though, just gonna make sure there was nothing else, um, hiding OK was just that text will bring this back up here, and that's good. And then let's work with the type a little bit. So we have a little bit of a fun going on here? I'm using a font called Lata. So if I click on this one second, see Latu thin. So if you want to download that for yourself, go ahead and search for Lata and you'll find latter alphonse dot com. You can download right here. Click on that button. It will throw a download zip file to your download stack when you unzip it. I can see all of these funds. So just go ahead and install these funds on a Mac to select all of them hit command O to open him. It'll open up with font book hit install font, and you should be good to go. Now it probably give me an air because yeah, I've already got it installed, so it's gonna tell me it's a duplicate fun. Are you sure you want to do it? And I'm going to cancel if it didn't already. But that is what you would do to get that new font to keep up with us here. And ah, let's jump back over into illustrator. Okay, so I'm just gonna click once on this font here. In fact, I don't even need to try and type in the new font name. I just did my eyedropper tool and sample this font here. Now, obviously, I'm cheating a little bit because I made this once. But just so you know, you can sample more than just colors with the eyedropper tool. You can actually sample the exact font size and styling. It looks a little different because this fall was typed in all caps. So what I'm gonna do is come up to type change case, and I put it to lower case. And now it automatically changed all my type to lower case K. Now, something else, though. I've got these as separate line items. So what I'm gonna do for someone with out of the way, I'm gonna grab my text here. And I was bringing appear so I can work with it. So a smooth sea I have is one line somebody my type tool Highlight this hit Command X to cut it. That cuts to my clipboard, copies it to my clipboard, but also cuts from the line. I'll click ones down here in the command V to paste it. Okay, so there's that. And then the word never so highlight that. Come in, See to copy or command X to cut it out of there and copy at the same time. Command V to paste. Now it's not the same size I want to be, so I'm going to. Here's another way to work. If this is selected and I click with the eyedropper tool, anything I click on will change that because that is still selected command age to show that we had hidden those guides a while back so you can see that that's still selected. So whatever I click on it will take you to that color or that font style. But another way to work is with nothing selected. I could say, Hey, apply this style So I cook once on the word never anything I pay. So now if I hit Ault, you see my eyedropper tool turns from the fill eyedropper toe, the one that's already filled up. That's what that little black line like. It's filled up there, and Aiken deposit that look right on to that text. Now it doesn't look quite the same. I needed to change. The one thing it doesn't come over is the capitalization, So I'm gonna come down to type change case changed upper case. There we go. All right. And then made a is the next word I'm going to do. So what I did when I made this actually just clicked once on that letter on that tax hit the old key and dragged down a copy and change it to made a and I could just type it in here. Triple click made a and then skillful sailor, Same thing. Click drag down command shift right bracket to bring it all the way to the front to make sure it's in front of the blue waves if you haven't already. And then all type and skillful sailor, we're skilled, sailor. I've seen it both ways. All right, command, click on that. Get the letter I from eyedropper tool and click once over here and now it's the same size and color, but I wanted to be all capped, so go to type change case upper case. All right, now, just a little bit of housecleaning to get this finished off here. I'm gonna click on all of these shift click to get multiple selections at once, and I want to align these to my our board. Now my options. Buyers got so many things going on that the align bar got kind of hidden here. And if you don't see it here, you can also come up the window and down to a line and that, lastly, pop open a separate alignment box here we can work with. So with all these selected, I'm gonna click this tiny little drop down and make sure I've got my show options and down hander aligned to on to make sure it's aligning to the art board. Okay, so I was gonna click once on the horizontal center now because we're aligning Toothy Art Board. It's going to use this as the reference. But let's say you had a couple objects here and you wanted these to align. Let's say that left Ed. You wanted to align, but you didn't want to worry about the are born itself so you can shift, click multiple objects and then take your finger off the shift button. Click once on which ever object, you want to be the one that references. So let's say we want never toe line up with the word with this sentence up top. So now click or so I've got my selection tool. I don't have any fingers on the keyboard. I'll cook once there and now you'll see it actually makes a thicker blue stroke around. So that tells me this is Mikey Object now, it's not the our board. We're not lining to the ob our board relating to a key object. So now if I align the left edge is here. It's gonna nudge over the word never toe line up there. Now you'll see that I do this for it. Has a little bit of space built in. If I wanted it to truly landed perfectly, I could click once here, command shift. Oh, to create outlines. Remember that shortcut under type create outlines. Same thing here. Command ship Oh, to create outlines. And, ah, the benefit to this is now it on. Lee sees it. Doesn't see how the excess type settings from the font it on. Lee sees. This is shape so I can shift. Click this one more time. Now click once more on that word, align the left edges and now it's going to be a perfect alignment down that left side edge . So that's the benefit. As far as working as a graphic image. But the downside now is that font is not creditable. If I needed to come back in and change it so you can choose how you want to work there, I'm just gonna shift. Click real quick on these. Change my alignment to, uh, the our board and them and hit center Align. Now they're all center align. Good to go there. I'm gonna just do a couple more little things here just to nudge these in place. You see my smart guys telling me that I'm balanced here. I can also shift, click all three of these, and now come back to my align panel and I can distribute the vertical center. So if I click on this, it was still selected. The art board. Somebody hit command Z changes to selection. So now it's referencing just these three as a separate selection, and I'll horizontally distribute that. So now it's perfectly balanced between the spaces here. All right, so let's go ahead and we've got that made. Make sure you're saving if you haven't already. I'm just gonna delete that sample. I mean, hit shift. Oh, to get my art board tool. Hold on. the altar key and drag another copy over, and it escaped. Now, in the next lesson, we're going to bring in these photos here and work with some photos. 24. Exporting Your Files: Alright, It's time to wrap up this project. We're going to create these last two versions where we've brought in a photo. So we're gonna do is jump back over to the document where we left off. We've got this third our board. That's just a copy here. I'm gonna delete these waves cause I don't need them. And that text now I can't see, So I'm just going to change the color white so it doesn't get lost. Let's bring in the photo in your assets folder. You should have this, si dot j peg photo. I'm just gonna drag it right in here. The one thing I should talk about is when you bring the object in and you see this X through it, What that means is it's a linked graphic. So as long as your file stays in the same spot here, you won't have any problems. But let's say I move this up a level and I come back in. It's going to say some files are missing or modified and it can't find it. So what that means is this is basically just a shell. It's referring to the original document here. So if you delete that you're gonna mess up your documents. So a couple ways around, that would be to go to your window down to the links window. And here I can see that link a have click on this little drop down and then we are looking for embed images right there. So click on that. And now that X goes away. And this image, Although it is an image, it's placed in here. It is now inside this document and will travel with this. So if you save it and then send it off to somebody else, this will still be there. All right, now we've got that covered. Let's go ahead and create our next version here. So we've got a smooth sea. Never made a sailor made a at the top. And then skillful sailor at the bottom and this image. So the way we're getting this graphic, we've got a couple things going on. We've got the image. Here is a hover. You can see those blue lines showing where the image is, but it's mast again behind another rectangles about the rectangle that's masking this image . If I double click in here, we can see my mask shape here, and I can actually change that mask. I click back out. I changed that mask. DoubleClick back in here again. Grab that corner. I could bring it back up, or I can click one more time in there. Now, I'm down inside of that linked file. If you can see the path right here, the layer, the clip group, and then now the link file. And I can move this around inside of that mask by double click back out here and you'll see the image moved. So we're gonna create the same thing over in our new document. All right, so let's go ahead and bring our picture over here and it's in the way. So I'm going to throw it all the way to the background command shift, left bracket to put it all the way behind everything else. I'm gonna click once on this shape command, see to copy it. And the reason why is I want to use this shape as part of the coloring. But I also want to use one of those shapes is a mask. So now hit command f to paste it in front. You can't change color against you can see about two shapes there. Shift click on my graphic and hit command seven to make a clipping mask. So now I've got my picture and below it I've got that the blue shape. So the way that we're getting the waves off, if we look at this, it looks a lot different than what we're seeing here. We're seeing the straight up photo, but I want to change the coloring. So if I click on this once, I can see that I've actually got a blend mode if we look into our transparency window of soft light being applied to it. So what that's doing is it's interacting with the layer below it. So if I click on this once come over to transparency changed from normal to soft light, we should see everything behind. It's starting to show through. All right. Now, that is great. If you want Teoh, you can click through these different blend modes and see it has a much different feel to it, depending on how it's interacting with the layer below it. All right, so now let's address the layout here. So we've got a smooth sea, never made a just gonna copy this command, See to copy. And I'm gonna throw this behind command shift left bracket through all the way to the bottom. Click on this blue layer once command ship left back through it all the way to the bottom And that way my anchor and text layers air above. Click once on this text layer hit, delete and just delete this text in here so we can get things in place. Click once on this anchor, click on the white thumbnail here. And then again, I can't see the color because I brought back those anchor points by the get command h to turn that on or off. So if I had commanded to turn it off, I can see reminder that opacity was set to 30%. So put that back at 100%. So it's a white anchor again. Command age to bring back my guides here and that I was going to scale it down with my free transform tool. And then up here the top I'm gonna click on my aligned to selection change to align our boards that these selections come back there and I know it's perfectly centered like we've got here. And I had copied this. So this is still my clipboard. I'll come back over here in command f to paste in front, which will paste it right in the exact same spot as it was in reference to this. Our board. I'll cook ones down here, commands you to copy. I'll come back over here, come in after paste. Now, again, I'm kind of cheating cause I'm not showing you how I set this up, but you get the point. You can kind of nudge these fonts around to make them the size you want. Here, we can see this is Latu thin at about 67 point. And you can just kind of play with those a little bit hit shift. Oh, bring back my art board tool than the old key. Click and drag to the right and then hold down shift to make sure it's in line here. And now for this last option, we have a very similar thing. The Texas at the top of my command. See to copy that text, Jim, back over. Delete thes two versions. Command F to paste in front, so it's gonna taste it right in line, and ah, now we want to change what's going on here with this image. So if I click and drag to the right a little bit, we can see we've still got that blue layer down below and it's locked right now. So if I goto object, unlock all our all too command, too. Now I can click on and see what's going on here. So this, actually, if we click on it, I thought this blue layer was in front. I'm sorry this image layers in front, but what's actually happening is this blue layers on top, and it has a lighten blend mode being applied to get that coloring. So I come back over to this image here and let's move this over again just to remind ourselves. So in this image, I actually have this above, and it's got a soft light blend mode. But I want to put this back to normal and then change this one. What was it again? Let's take a look set to lighten, so I jump back over here, click once on that shape, change it to lighten, but you don't see anything happen. Well, that's because it's below the image we're trying to effect. So I'm gonna click once on this guy hit command shift. Let's see left bracket the one right to the right of the letter p to throw it all the way to the bottom of the stack. And now we can see this top blue layers affecting the coloring here. So I'm just gonna direct this backup. Put it in line there just to make sure it's actually truly in line. I'm gonna make sure I I lined this to the outboard center and vertically zoom in a little bit, and now my anchor is still pretty big. Let's see what it did. Not last version. I had it small. Oops. Had it small in the center. And I had this blue color. So I'm going to copy that command. See the copy? I'm gonna delete this anchor for now, Command after paste. And so you can see how you can quickly come up with a few different variations here and now what we're going to do is export. These are bored. So hit command as to save. And now it's saved it and I only name those first couple are bored. So in my art boards, layer. Let's see. I've got shift. Oh, click once on there. So, Camp One, I'm gonna drag this to the top of the stacking order. And this will be the order if you export a pdf that they'll come out as well Cook once on this next one, that's comp to click. Once here, that's comp three. Oops. And I'll click on this bottom one. That's calm before. And I have no idea where this extra our board came in or how I did that at what point? So I got to our boards one stacked on top of the other ones. So sometimes it's good to check that. I'm just gonna delete that one. It won't affect anything. Okay, Cup 123 and four. And again, we can name is anything we want. Now when we go to export this, this is gonna have the name typography, Poster three, Poster three. Because this is the third time I've attempted to record this video for you anyway and is going to put that name in there. And then it's going to add comp one or comp to a comfortable come for at the end of the file. name. So let's give it a try. Will come here to file export, and I'm gonna go to design files file sent com's and we're gonna change this format from P and G down to J. Peg. And you see, there's a lot of different file types we could use. I'm gonna click on use art boards. So the difference is, if I didn't click that, it would spit out everything that I have, including this white text here. So, in fact, let's just do that real quick so you can see click Export. I'll leave it to seem like a resolution. I'll changes to 300 since we're gonna print it. Hit. Okay. And now if I jump over to those files sent, I see I have his j peg. But if I open it up, it's a J peg. This is exactly what I expected, because I've done this before on accident. Many times it exported any piece of artwork I had as one big J peg, sometimes its helpful. And this is where see where I cropped that initial anchor with a mask and I didn't do this one. So, you know, maybe you want to crop these off if you're gonna export it this way, like the waves. But if you let Illustrator do this for you, let's come back over here. Go to file Export and we'll use our boards. This time we'll use all of the R boards and we'll stick him back into that file sent. I'm gonna change this from poster three. Just a poster exports. So this is the name topography poster. But when I export this, let's see what it does and give it a second. Here we'll jump over to find her. And now look at these names. So it was typography poster and then added, Underscore Camp one, Come to company. Come. Force is a great way to quickly batch export your J pegs and notice. It cropped off those waves and the anchors that were hanging past. 25. Logo design introduction: in this section. I want help you create your very first logo. Chances are, as a beginner, you don't have a client waiting for you yet to create your first logo. So what we're gonna do is we're going to use you as your own client, and I want to make a logo using your name. The reason why it's a great place to start. You're probably going to need a brand for yourself anyway, if you already have a business name idea, maybe feel free to use that. But we're going to start by gathering some ideas, and we're going to mix some of the theory as faras Why we do. Certain things were creating logos with some of the skill sets how we do some of the things we're creating logos. So what we're gonna do is gather some ideas, will quickly create a mood board, which is where we gather our thoughts and our research on what kind of a logo we want to make. And they were going to dive in and start creating that logo. So feel free to follow along and here we go 26. Research and Gathering Ideas: all right, typically with my workflow. I'll start with a research and development, and I'll typically ask questions like, Who is my target audience? Who is my client? What are their needs? What are their businesses needs? And I'll use those to shape my research. So we always start with research and development will ask those clients those questions. In this case, you are the clients, so you can know what's your favorite color or who is your target market. Or maybe you haven't answered those questions. It now is a really good time to think about those things you want to define. What is your voice going to be? What is your story? What flavor are you going to bring to the market? You know what is going to be your unique sales proposition as you become your own freelancers. So take a moment to think about that, and sometimes I'll do that secondary and I'll just start flipping through logo's like I'm about to show you. And the reason why is sometimes it's just kind of nice to see what's possible or what ideas might help you evolve in this process. So let's go ahead and right click on your desktop will create a new folder. I was Call it Ideas and the little Do I usually have these three websites of the ones that I typically bounce between. I've got logo lounge dot com, be hands dot net and the logo pond dot com logo. Pond is kind of becoming my favorite at the moment for finding some simple logo ideas. And as you flip through this, uh, think about a lot of different things. For example, this one come I. It's kind of busy, but I also like that blue color so I can click on this and drag it right to that folder that I created or right click and save image as depending how you want to work. But I really like how bold that is really like the color combination. It's a little busy it would be, You know, you could simplify those colors if you needed to turn it into like a one color print. Here's another version that that artist did. I like that as well. I'm a huge fan of bold contrast e images, So I'm gonna throw that in my ideas folder like both combination of font. I like the styling of the subtle shadows that they've used. I like the colors, so that's why I put that in there outside the back button a couple times. And this is typically I work. I just flip through and find things that either inspire me or that I like, whether it's how they created the illustration or maybe the color they used. And I'll just grab, you know, maybe maybe, I don't know, half a dozen a dozen or so images of things that inspiring. And it could be for nothing else other than you know, In this case, I really like the organic feel of this, but that might not even make sense for the local we're about to make. So I'll go through and just find things that inspire me on Be Hance. Come appear to discover, click on search and explore, and then you can type in logo here or branding, and you might have some better luck there. And sometimes it's It's pretty helpful sometimes not so much. What I'll do here is if I see anything alike or that might be, ah, good, a good place to start that might inspire me. I'll hold down the command key. You hold on to control people on PC and click on that and you'll see it just opens those links in a new tab. In that way, I can scroll through without losing my place. And if it's at all inspiring, Aiken, just command. Click on it to open it up into a new window. So, command, click here, maybe command. Click here and you see, I've got a few more tabs to check out here. In a second. I'm gonna go ahead and jump over the logo lounge real quick now logo lounges, a subscription based service. But they still have some great articles on current logo trans or logos in the news. And this is a really good place for you to brush up on just your overall knowledge of what it takes to create a logo and what's popular and what works. Well, here's a shameless plug. Back in 2010 I was actually featured as one of the artist. I'll throw that out there, and I don't mind, but anyway, here's a logo that I created and way back in the day in 2010. Don't judge too harsh, but this one right here. This tender roles effect that was super popular back then. And ah, so that's one of the locals that I created. Anyway, you can go through here and look at some of those trends and see what's popular. And maybe that might help help you create your logo. I would warn, though, try to keep your logo simple. Try not to get caught up in trends because just like anything else, trends can die. And you want your logo to be as as timeless as possible. So that way you can't be like Oh, yeah, that was definitely made back in 2010. You know, when everything was trending towards this. Whatever affected Waas. So go ahead and scroll through, find some different ideas, gather them into this folder. And once we have these collected, we're gonna go ahead and create a mood board in the next video 27. Creating a Moodboard: Once you've gathered some more ideas and some screenshots of things that inspire you, it's time to bring those into illustrator and start our mood board so you can start with anything. I typically will just create a new document here, and I'll change it from portrait to landscape. Change my units two inches and hit. OK, now, with this ready to go, the next piece of this is bringing in those screen shots we just took. So I went ahead and cleaned up my files a little bit, too. Just a reminder this my file structure. I've got my assets by design files in the file sent inside my assets. All save fonts or photos or any in this case, all of my ideas that I gather here and then my design files all save right here in this AI foul. Since this will be an illustrator project. So coming back over my ideas real quick, these air, all of the ones that I've gathered, I could highlight all of them and drag and drop right into illustrator and it should bring them all in. And I was soon as Let's see here There we go as soon as they're all loaded. Well, I'm going to do is highlight all of these. I'm gonna come into window and open up my links panel because remember, when we drag and drop stuff like that, it links to that image. So if we ever move those images anywhere else or name them or delete them, they will no longer be in this illustrator document. So what we'll do now is I'm gonna click this little drop down in my links panel, and I'll click embed images so all those blue exes will go away. And now I don't have to worry about thes getting lost in this place. And you see that that icon here next to the the file name in my links panel telling me these are in fact, embedded. All right, so now my images here is gonna zoom out real quick, and I just start moving these around just to get them. And you can be a little 80 d like me and get him all lined up straight. Or you could just throw him around wherever you want. It doesn't really matter. I've got my, uh, selection tool up here selected, and I'm just kind of dropping these in all around my art board to inspire me as I work on this project. So you can see I grabbed a handful of different images, whether it's because of, like, the typography or the color combination. Or maybe it was the style of logo. Or in this case, you know, I've got a little textured logo that I want to remember. She had to do textures. This could be like a family crest. Since we're doing your name, we could also use some of these for different color combinations or styles. This one I wanted to remember to show you how to reflect things that make the shape ones and copy it to the other side. This one I want to show you how to make a reflected image. So anyway, they're all they're all here for different reasons that I was inspired by. So bring in your photos, get them going, and then now, before we make it too far, let's hit, save or hit Command s to save as and we'll call it. Um, call your name, dash logo, Dash mood board. That way you can always find it later. And remember what it was for Okay, I'm just gonna throw us onto my desktop real quick. Just so you have to wait for me. I'll hit, Save, Let's save again. And now we've got a document saved and we're ready to dive in. The next thing I typically do is I'll start thinking about some color options, and usually, while I'm thinking about color now, I don't show color to clients until about the second or third round. And the reason why is we want to focus on the shape of this thing first. But since we're here and I want to show you how I typically work is what we're gonna do. So I get the rectangle tool, hit the letter, M click Andrey, and a lot of times will hold down the shift key to get a perfect square. Lately, though, I've been doing long horizontal bars and I just throw some color and they're just so I can see it. And the reason why I feel like I can see more of the color without a taking Oppa's much of the vertical space. So now zoom in here, click once now all to click and drag straight down. I'll let go and I'll hit command D a few times. So there's one section Hi, Those all shift and Andre that down. Maybe he commanded one more time. So now I've got three different sets of color color options I could play with. I'm just gonna highlight all of these with the letter e to get my free transform to what? I'm just going to scale it down a little bit. So it fits on there. And now what I can do is grab my eyedropper tool and I can select any one of these else like that blue. And now hold on, Ault to paste it over here. And I'll repeat that step a couple times here to grab some of these colors that I like from this logo and maybe this gray. Okay, so there's one color sample and then let's make another color sample here and again. I just hit command as to save. I save all the time. I can't emphasize that enough. We'll bring this guy appear. Maybe we like this color scheme that I click once, and, uh, there we go. So there's the color from this logo. Let's grab. Let's grab one more here. Maybe this like this one over here, actually, So let her I'll click. That's actually white. So what I do when I am? Want a white sample? I'll actually click on the stroke, Phil. I'll make it black groups make sure object selected. I'll make it black. Then I'll click on this stroke window down here, and I'll change my weight from one point 2.25 So it's very thin. But that way it shows up like a white box without being too dominant on the page. So that's how I how I would show white in my color scheme, get the eyedropper tool again. Let's grab the brighter orange of this and then the darker orange in this and then this looks kind of like a purple, almost like a really dark purple violet. All right, so there's another color scheme. At this point, we've got a pretty good mood board going on as far as colors. I like logos that I like and things that I want to play with. So I'm gonna go ahead and hit save right now, and then in the next lesson, we're gonna dive in and start bringing in our own assets, our own ideas in our text 28. Bring in Your Text and Picking Fonts: Now it's time to start creating our own samples, our own artwork using your logo name, whether it's it's your personal name, your business name or in this case, if you really have a client, then go for it and do that. But what we're gonna do is just get the right text in here. So this is where spelling is insanely important. And double checking is insanely important because you don't want to get halfway down the road with a local comp that has a typo. Your clients are gonna notice it, and it's just not good. So let's click. Once on here. I was going to use my name, all right, and I usually just keep a sample of this summer because a sample of this somewhere on the campus, because what inevitably ends up happening is I'll drink a copy down. I'll find some fun that I like. Then I'll hit command shift Oh, to create outlines and I'll do something crazy to it. And I'll do you know, whatever. Whatever there we go, you know, I'll just mix it up and do craziness. This is not crazy, but you get the point. Hey, there's that anchor from our anchor poster. Um, anyway, and then what happens is inevitably I want to change just a little detail or something. And it's like, Oh, dang, I can't remember what font I used or, you know, I want to just just needed nudge this. Or maybe I need a lower case M instead of a capital M. Well, by having a copy up here, I can just drag a new one down and know right where I had started Get that lower case letter. Maybe if I wanted to do that instead And then I'm often running without too much lost time trying to re create whatever I made up here and had turned into a shape. So that's why I worked that way. I'm going. Teoh, delete that guy here. Now. Now, here's where it gets a little bit difficult for me. Personally, I feel like I struggle with phones I don't know about. You might come easy, but I always have a hard time deciding on a font for me. I could take hours finding the right funds and so away that I really narrow this down is jumping into the adobe type kit and letting it narrow some of that down for me. So typically, I'll try and create 3 to 4 looks for a client so I can come in here and grab, say, maybe a Sand Saref version, maybe a slab serif, you know, maybe a black letter version and then, you know, do a couple things here, this is try. This black letter will go a little bit heavier. Maybe a normal wits here. And there are no fonts available. All right, well, let's find something else than I was a bad example. All right. And let's just see here. Let's let's dive in with cash and see. This is where you could spend hours and hours and hours and hours, So I don't really have a good rule of thumb other than just look at it. Give it a try with whatever whatever logo you're using. In this case, I have some of these funds already installed. All just cycle through this way, a click once on my character and just kind of cycle through until you find something you like. And sometimes it takes a while. The other thing that I noticed it. Sometimes I end up coming back to the same funds over and over and over. One of them I like abolition. I use that font probably way too much. I like gin. That's another front. I probably used way too much. I like, uh, let's see. What are some other good ones here, den? Some of these you have to spend a lot of money to get, but ah, you know, you'll end up finding a few fonts that you really like That kind of your go to fonts for different things. So I'll go through and I just kind of find, you know, just a handful that inspire me, and I'm gonna run with this guy here. I really am a big fan of the condensed, super bold look, So I'm gonna run with this one. This is abolition here, and you can find that on the creative market creative market dot com But once I find a look that I like, what i'll dio is I might keep these around. I'm gonna move this over here, and I'll keep some of these ideas that I had around because inevitably, you know, I'll come back to it, but I feel like you kind of have to start with a few looks that you're gonna hate. It's just kind of the process. You just dive in, create a couple just to start warming your muscles up, right? You're creative muscles here cause I feel like it takes me a couple times, so I'm gonna click once on here. Hold on. All to click and drag command shift. Oh, to convert to outline. So now I've got my copy that I came from. I'm just gonna stash this guy up here and again. Memory is practically free. You have so much memory on these computers now that you can keep working like this and eventually your art board is gonna be a mess. It's gonna be a huge mess. And you could just keep moving stuff over, making more room for the looks that you're doing. Typically, the way I work is all all designed a look or two here. And then any looks that are keepers all kind of bring over into this canvas and the other stuff that I don't like to move it off campus. So I just work back and forth to refine the look. All right, so that's the process. Go ahead and get your name dropped into here, find a couple of funds that you like. And in the next lesson, we're gonna dive in and start playing with shapes and how I start creating more complicated , illustrative looks. 29. Basic Tool Overview: So in order to do more than just fonts and actually create shapes and more complicated, illustrative looks, you need to know how to use the tools and illustrator. So that's probably a good moment for us to step aside from this logo we started and to look a little bit about what tools We have our disposal. So we haven't even gone over this at all yet. But over on the left hand side is where all the tools live that we can use so we can do a lot of things. There's a lot more here than even I use. So let me just show you the ones that I use a lot. And then from there, that doesn't mean you have to only use those. It just means that those are the ones that pay attention to and then feel free to explore more cause you might find something that works great in your work flow. So I'm gonna start top down. So the pento, this is a great tool, and I use it all the time to create smooth and straight points. So the way this works is a little bit complicated, but I think you know, Give it a few minutes here and you'll get it figured out. So I'm going to click once and now click somewhere else and now connects those points. And because I'm painting, if I look over here with a black fill but no stroke, as soon as I create another shape under the line here work, fill that in. It will go ahead and fill it with whatever that foreground color is. I can hit Shift X to swamp my stroke in my field color, or I can click right here on the little button to do it. Sometimes it's nice to have it filled, but most the time I find I like to draw without the fill so I can really see what shapes are making. And right now I'm just clicking and everywhere Click. It adds an anchor point for straight lines. The next is I can click one place, click another place and then drag a little bit and you'll see I get these handles and it creates what we call a busy a curve. So now when I let go, it's gonna follow from this point to that point, but it's going to go towards that handle. So that's how can create perfectly smooth curves and corners by clicking and then dragging with the pen tool. And if you make a mistake, you can always command click. Let's make sure that my direct selection tool I can click once on that shape and I can grab those handles and really refine this to make it exactly what I want. So the pencil is a huge, huge, uh, part of my work flow as far as when I create custom shapes. And then the other thing I could do to create balance. This is kind of jumping ahead here, but I can use that pen shape and create something on one side command See to copy Command F to pace it in place i o. To get my reflect tool. And then wherever this little blue anchor point is, that's what's gonna reflect from. So if I click once here and then click and drag from the left to the right, holding down the shift key, it creates a mirrored clone of whatever shape I did. So that's how you can create logos like this guy. You can build half of this shape and then reflected to build the other half, so it's perfectly unison. So that's the trick will use coming up here. The other tool I like to use a lot obviously, is the type tool we've gone over that. But if we look in the hidden menu, there's a few other options we can type on a path that's a good one. So let's use our pen tool now to create a path. Let's say we want to click and drag here and then I'll come up a little bit and then click and then drag again. And now I get kind of his rising wave. Now, if I come back over, grab my type two will get type on path, I can click on this path, and I can start typing whatever I want. And now it'll follow that path. So that's another way that you might create a logo like let's see, where did I see that didn't bring it over? Here we go, This logo where we've got that rising wave kind of effect. Now, you can also achieve that affect another way. I'm just gonna bring down a copy, and I'm gonna come over to effect at the top click on warp Click down here on flag, and there's a whole bunch of them here you can check out. But click on flag and you can see that we have some different options here to create a similar effect. Granted, it's not quite the same, but you get the idea that see if there's a better Okay, we go rise. That's gonna be more of what we want. So click on the rise changed horizontal. Maybe drag that slider up again, and there we go. Now we get a much similar effect, but you'll notice a difference, though. See how it kind of skews those letters so they're still vertical, like this stem of the letter T, whereas this one it follows the path. It kind of like. The baseline follows the angle of that path, so you see the difference. There just a couple different ways to work is all. Someone delete those. Another tool that I use a lot is the blob brush tool, Another paint brush tool. A little weird when you paint with it. You would expect that you could come back in, see how we've got this line through it. It's actually a stroke it doesn't really paint like a paint brush like you would expect, but recently they've added the blob brush. And if I drop with this guy, it actually creates a fill with my color. So if I look over here, it's actually a Phil. If I click on my brush tool, it's a stroke. So subtle difference. We'll learn more about coming up, but I usually use the blob brush. If I need to paint something by hand or using my Wacom tablet, I want to quickly flesh out. I don't know, some kind of an idea, and then anything is longer the same color it'll added to that shape. So you noticed anchor points. There's always like it's one shape. If I click to change the color now, let's say I paint with black again over the top. It's not going to merge those two shapes, their independent OK, but if I paint with a broad brush, but the same color is going to add it to that shape. So that's another way that I worked. Actually, bring those back commands you to bring us back, and now I'm gonna hit Shift E to get my eraser tool. Okay, So now you can erase from things that you've done. So that's another one that I work with when I try and at a shape and removed from it. Another part of the workflow is all of these default shapes, like rectangles, ovals, polygon start, will you the idea So you can create multiple shapes to create a bigger part of the shape. A better example. This might be using the Oval Tool with the letter l and ah, all of a sudden here maybe were drawn clouds instead. Right? So we can draw a bunch of these shapes together to create some sort of cloud form. And then I'll select all these, and they're still individual shapes. If you want to merge them together, there's a few ways we can do it the quickest way to hit Shift em, which bring me up to my shape builder tool, which lets me drag over these selected images to merge them together. Oregon hole on Ault to remove some of those shapes, and I got kind of an interesting knock out here. It's a shift em command click to drag over all those to select everything at once and now just kind of dragging over with that shape, builder tool. And now all of these become one shapes as I click on it and move it. It follows over and you can see where I put over the other shape it knocks out. So I'll use that to a quite a bit to create shapes. Now, the reason why I'm going through these tools right now is because I realize you and I are gonna have different styles we want to follow. So after this video, I want you to play with these tools a little bit, get familiar with them so that you can start creating a logo that makes sense for you. All right, so some of the others the last couple I want to show you we've already played a little bit with the eyedropper tool on how that works. I like this tour here enough. I click once a dependable click shift click and then shift X because I wanted to take that Phil and put it to the stroke. Now I'm gonna hit. I think it's shift. W let me look right here. The width tool that can apply to strokes is pretty cool, cause I can click anywhere my stroke and click and drag to change the width at any point of the stroke. So they're way that I would use. This might be for, um, there's a few ways we could do this. Let's say you wanted to create a water drop. Well, I could click with my pentacle shift. Click it shift WD, my width to will Come to the end here, drag that out quite a bit, and then I'm gonna come to my stroke window, click down on the show options, twirl down, change my cap to around it cap, and all of a sudden I'm pretty close to a raindrop, right? So there's ways that we can build shapes super quick and effectively. All right, The last, the last one. I want to show you that I that I work with quite a bit is the blend tool so you can create two shapes. In this case, I'll create a square and then, actually, let's, uh, let's create a different shape altogether, a circle with a different color Emma. Click on this blend tool and you click on one shift, click on the other and then click one more time and now it'll blend between two shapes. I can hit return. With that tool selected, I can change it from a smooth color to a specified steps. Maybe instead of that many steps, let's just do five steps preview. And now from five steps, it goes from one logo to the other, or I'm sorry from one shape to the other. So these are just a few of the tools that I end up using the most to create my logo. So I wanted you to be aware of those. There's a few more tips and tricks we're gonna learn in the next couple videos. Play with those, though, get comfortable. And then in the next video, I'm gonna talk a little bit more about the workflow and then we'll be ready to go here. 30. Creating Your First Looks: all right. In the last lesson, we did just a really sky level overview of some of the tools that I use a lot. There's there's a few more tools in that panel that we could explore feel free to explores on your own time. But as far as the basics and getting a pretty comfortable foundation to know what to do, that's what we covered. Now what we're gonna do is just quickly mock up a couple of different logo ideas and the purpose in this so you can kind of see my workflow and then we're gonna do is push pause. We're gonna take a step back from our logo. Maybe you'll mow the lawn or maybe go do the dishes or something else. Step back and let your subconscious mind work a little bit on those logos and come up with some new ideas in the process. But in order for that toe work, we need to try and make at least one or two logos so we can kind of start problem solving and the living our mind kind of fight through that a little bit. So I'm gonna delete some this extra junk that we were working on in that last video. I'm gonna come back up here in my Derek Mitchell text that have already outlined. I'm gonna drag a copy. That all to click and drag, and Ah, I don't know. The 1st 1 that comes to mind is doing like a monogram. So I'm gonna zoom in, hit the letter A to get my direct selection tool. And I'm gonna click once on the letter D Command. See to copy it. Command V to paste it. Now, the problem with that, as soon as I d select this and I go to move this This is all group together. Sometimes it is this time it didn't group it, but sometimes these are all grouped together as one. So then whatever dio with that selected command x to cut it So it removes it from that group and then it command f to paste it backward was okay. Hopefully that made sense. It might not have, but just just trust me here. Oh, click One more time in the letter and my command seat, a copy command f to paste and that pasted it right on top so that I can drag up click off and click back there ago. That's what happens sometime. See how that left it as part of the other group. So to get rid of that are removed from the group. There's a couple things we can do. One is just a command shift. G. That's the same is going toe object on group and that'll on group all of the letters, which I don't want to do that, though I want to leave these still selected someone had command Z So there's still one group a way to cut that out, but still leave This all group had the letter a click once in here hit Command X to cut it , which physically removes it from that group that command f to paste it back. Oh, all that work. And now we have these as one group still, and now this is separated. Hopefully you're tracking with me, but it's just it's just the way it is just how we do this. OK, eso One idea I have is to reflect this letter D so that letter o to get my reflection tool and it's fine in the middle, I'm just gonna click from the left holding down the shift key and drag to the right. So now I just reflected that. Now move us over, and I kind of align these up together. So there's one idea. I'm gonna drag this up. Hold on, Alton. Drega, copy. Zoom back in, and then I've got another idea. Let's maybe knock out this stem so it looks like the D is kind of coming off of that letter . M is a few ways we can do this first. Actually, probably. Let me just see what happens here. We're gonna drink this right over the top, and I'm gonna hit the letter M to get another rectangle. I'm gonna draw right over the top of this guy here to stick with me here. And I'm gonna use that to knock out this letter D. So what I'll do is I'll goto window, go down a Pathfinder, and now with this window. This is kind of like the shape builder tool, but we can see what it's going to do here. So sometimes if you've got a lot of elements to work with, or in this case, I don't want to get mixed up with the letter M probably fast way to work would be. Just shift em command. Click on that. And now I can hold on Ault C command shift. Click on that one too, So that the rectangle and the letter D selected Hold on, Ault and I can erase away from those and see how quick that was. That works pretty good most of the time. Sometimes if it doesn't again, you could use this Pathfinder window and whatever's on top. I can use this right here that minus front to subtract whatever is in front. Okay, so now. But the problem with that is that kind of looks like a C M instead of a d m, which is not what I was going for. So that's not the greatest idea, either. I'll stick that back up here. I'll bring this guy back down into playoff command G to group them together. And now I can grab either one of these and they stay together. Okay, so I mean, that's not bad. It's not a really good logo yet. It's just created basic and nothing fancy about it at all. So some things we can add to it maybe would be, uh, let's take a look at some of our samples and see if anything sticks out. We could add an enclosure like this, this, uh, kind of crest. Look, shape here. Or maybe do a two tone option. And sometimes when you start adding colors, your logo will look better than it is. So let me show you what I mean. I just took a picture of that Come up here. Command V to paste. Excuse me. So I'm gonna do is I'm gonna select a word Derek Mitchell, and we'll make it this darker color. And then the m I hit the letter A to get my direct selection tool. The letter v selects everything, and since it was grouped, it gets both of them. But the direct selection tool gets just my a Have the letter I from Eyedropper Tool. I don't click on the darker color, the no direct select by holding on the command key. Click on that letter D and click on the lighter color, so I mean right away. It's still not the greatest logo, but as far as like, visual visually like I don't know, it's better, right? But it might be a crutch. It might be a terrible form and we don't know that if we're starting to apply color and we like the color But then if we where to go put this into black and white, we might realize that it really isn't a good solution. So and at this size, it looks like om instead of a d. M. So we have some issues there we need to work through. Okay, So that's part of my process for creating a look. And you know what? I don't want to spend too much time on something Gonna drag a copy up. I command you to copy to group both of these Another one group and let's play this a little bit further this time I'm just gonna draw shape around it, hit the letter m to get my rectangle tool command shift left bracket to send that to the back that we just did. And I'm gonna make my fill white and X to bring my stroke to the front and hold on shift and click on this color. Now the reason why if I just let's let's step back, Command Z If even though my stroke is in front if I click on a fill color. This is a fill color, not a stroke color. It'll apply the fill color, but having my stroke in front and then shift clicking on a fill color, it will force it to just fill the stroke. OK, so there's another look. And even that even just putting in an enclosure makes it feel a little more like a logo. And again, that's probably a little bit huge. And I'm just trying to show you my workflow. I wouldn't suggest really this as a final logo, but this is how you get there. You kind of have to wade through some trash before you get that. Ah ha moment and you get that idea you like. So here's some other things we could do to to add some visual interest was gonna drag this copy over here. So I'm gonna highlight these hit command G to copy and will come into effect. It's going to warp. That's right, Bulge. Let's just see what that does. Someone a scale this back. Just a touch. So that kind of bulges it up. I like that'll hit. Okay, that's kind of cool. I'm gonna drag a copy over here. Command G to copy those two together. Highlight that again. And now this time, instead of going up to effect down the warp, If I do this, it'll try and apply another effect on top of this. Instead, I'm gonna come down here to my appearance tab, and I'm gonna click on that. This is an effect being applied to it. And you know that because if we look closely, it still has the original shape showing up here. But it's showing the effect applied to it. So I can double click on that and come back in and dial in this effect. So maybe, you know, maybe we just kind of put it the vertical and horizontal scaling of this and that could be a cool effect. Now, one thing on those again, this is an effect applied to it. If we want to make this actually the shape and we wanted to modify it, let's say I want to modify this inner shape a little bit. Well, to do that, what you need to do highlight your artwork. Come upto object, click on expand appearance. They're ago. And now it expands that appearance. One other thing you'll notice, though this is still a stroke click once on that, and this is still a fill. So if you wanted this stroke to be edible as a fill, what we need to do is come to object, expand and then expand the filling stroke one more time. And now we have this white fell behind it. If I changed to green, you can see it better. And then on top of it, we've got this other Phil that's now this dark color here, and I can change that individually. So are you tracking with me? I hope so. Hopefully this gives you an idea of what's possible. So what I want you to do is work through some of these ideas you have, whether it's stacking the logo on top or to the left. Or maybe it's creating wings. Or maybe it's trying to, you know, fight your way through. How am I gonna make this shape and try and explore the pen tool, the blob brush and making something you like, maybe come up with about three or four options, and then I want you to push pause. Like I said the beginning. Go to your dishes or go mow your lawn or go do something, Maybe go to the gym, but let your brain be at rest. Don't do something that takes mental energy like your finances. Do something that your body can do but your mind can think. And that's how you'll start arriving at good logos. It doesn't matter what we do in this first phase. It could be a bunch of garbage, but what it does is it forces your brain to start thinking about it. Think about in school when you had a project due the next day and inevitably the night before you ended up doing it like Ah man, if I only had one more day would be so cool and that's what we're doing here. We're kind of forcing ourself Teoh to be in that final crunch like pretending like it's do . But then you you can step back, Go oh, OK, and then create some some space for your mind to start solving problems with your subconscious. So all right, so there's your homework. Create about three or four more looks just I mean, even if their garbage is kind of play with it and just get them out here, hit, save, and then step away for a little bit 31. Refining Ideas: all right. Did you give your brain some space to think and maybe Ah, get your lawn perfectly manicured, Your dishes done. I actually took the day off and I got to go swimming with my kids. That was a ton of fun and coming back. I'm fresh and have a fresh look at these logos. And I've got a couple ideas I wanted to play out were quick. So I'm gonna do is just experiment with a couple more mock ups and show you a couple more tips and tricks. Then we'll learn how to package and send these as a calm. What a comp means is like a comprehensive look or just an idea just ah, first around for if you were working with a client say, Hey, what do you think about these? Are these gonna be what you're looking for? So what I'm gonna do is grab this icon right here. I'm just gonna hit my direct selection tool. The highlight it command C to copy command V to paste it over here so we can play with it a little bit. And instead of knocking out the d like we did over here, where it looked like it was a C. I'm gonna try knocking out the M instead. So come over here and get the direct selection tool that a click once on that M and slide it over into place and you'll see when I get toward those two lines intersect, I get that pink line. And remember, that is my smart guide. If you don't see that come up to view, turn smart guides and snapped a point that will help you out, help snap things in place. So what I wanna do now is I want to cut out the letter M, and I'm gonna do a little more precise this time. I'm gonna click on the letter D with my direct selection tool. Come over here. Object. Come down to path and offset path. What that's going to do is it's going to perfectly follow the line of the first letter there. Okay? And you know, you might need change the offset amount a little bit, okay? And I've got two different shapes here, so you can see that I've got the original letter D and then behind it also turned different colors. When you see the m above it and ah, behind it. There we go is a full copy That's a little bit bigger of the same shape. So I'm gonna do is I'm gonna use this shape to knock out the letter m. So click on that shift, click on the M and then shift em to get my shape. Builder, Tool. Hold on, Ault. And I'm gonna delete all of that click and drag. All right, so now I've got a D in an M and that actually is working pretty good here. I'll just change the colors back. So there's one idea. Now I'm gonna keep pushing this a little bit further. Click once in drag. And now what we do is hit the letter A to get my direct selection tool. But I'm just gonna grab one of these anchor points because now what I can do is hit delete once and then one more time to delete that whole selection. And it actually pulled out the middle portion of that letter. So now it's just a solid shape and ah, maybe I'll play with Let's see. I'll leave that there, click and drag your copy, zoom in a little bit with the letter a to get that shape. Hold on, Ault, click and drag. And then after I start to drag a whole on this shift key, which forces it to stay in line. Okay, I'm with the letter O to get my reflect tool. Hold on, shift clicking drags. And I just reflected that. And I'm gonna drink this guy back in place right over here. And this is where changes color again so I can see a little better. I'll bring it to the front command, right bracket. This is where it's nice and illustrator, because we can zoom in really, really far so I can grab this guy and drag over till I see that it's exactly what I wanted to be. Maybe a touch pass. So that way it covers it up and then let go. All right, so now I've got kind of an interesting looking shape here, and the whole purpose of all of this is just to create something cool and unique, something that nobody else has made yet. So, that way it could be your own custom logo. So now I'm gonna dio. That's fine. I don't really care about the color yet. I'm just building shapes. Just trying to get some ideas. If it's bugging me, I can change it back to a great color. Eso That's kind of interesting shape. Now, now here's an idea. This could look almost like a spring or something. Let me show you what I'm thinking. I'm gonna grab this shape in the middle here. Myth, letter P. And I'm going to I want to add a path. Years. Let me actually click off here with my pen tool when I hover over it. It shows me when I'm on that path. So I'm going Teoh, click here and then just visually, I'm lining it up. So that line matches that stem there. Click down here and I'm just gonna fill this. All right, So what we're doing here, it's kind of a mess, but just track with me here for a second. I'm gonna hit letter a shift click on that shape there. So now I've got that weird shape I just made and the letter m behind it. Hold on, shift em to get my shape builder tool and I'm held on Ault and click away from the pieces that I want to break apart here Okay, so now it's tough to see, but if I click once on this, I can change my color. I'm gonna hold down. Irma, hit the letter. 80 Get my direct section tool on this shape. Command shift right bracket to bring them to the front. Try one more time. I'm hit Command X command after pace in front. There we go. That was stuck in the group behind it. So I've got kind of a mess behind there, but I don't really care, because right now I was looking at what's above. So now I could play with the different tones here. I could dio Let's just play with black and White Right now Let's go from maybe a 75% black to maybe a 90%. And maybe let's match this with that shape here. And let's make this one a much lighter click on Black and then bring that up to maybe 50%. So now we're kind of playing with depth of field, so it's kind of like that was pushed behind like it's in the shadows or something. So, uh, that's where you want to be. Careful. If we don't like this original shape if we had to make. This is a vinyl cut out for the side of a truck or embroidered on a T shirt. We want to make sure that we're happy with this shape, which you know it. It's all right, but nothing crazy. Ah, but when you start adding multi levels with tone or with color, it can add a lot more visual interest, which can be cool. But again, we want to be careful that we're not using that as a crutch to make something that's not a good solution. Look good. All right, so that was the one idea I had just just plain with it, just, you know, seeing if anything creative came with it. I can grab these. Maybe he's a little bit too thick. Um, let's see. Let me let me highlight all of it. Command GT group, drink a copy down. So that's command. Let's see what I even do that I'm working so fast. Click ones. Hold on, Ault clicking radio copy. Hold on shift to duplicate that. All right, get my direct selection tool and highlight those here, and I'm going to drag him into touch. But instead of just guessing I'm gonna use my arrow keys. So let's see. Hold on shift and do it by a factor of 10. Lost too much. So it commands. He said I was gonna nudge it with my arrow keys. So 12345 67 Sevens About good. So not and click on this side and go left. 1234567 All right, maybe I want to change the height of these. Let's go up. 12345 That's kind of interesting. To be totally honest, I like that shape a lot better than how heavy this one is. But see where we came from, we started all the way over with this shape, and then you can see the progression of just messing with it and polishing it until we get it to something we likes. Will highlight that command G to copy. I'm sorry, command G to turn it into a group so I can click on any one of these shapes. It'll stay together, and I'm happy with the shapes. I'm gonna drag a copy over here, and I'm gonna grab this tax and drag a copy down and bring this here. And maybe that's good enough like that. I can also play with a stacked version so highly that command X to cut it command have to bring it back in front command G to make sure it's still grouped. Bring that in line with the text above it, and then bring a copy of this down here. So there's a couple versions that I'm happy enough with that I would use. So what we're gonna do now, make sure you have your logo is ready to go. And in the next video, I'm gonna show you how to bring these ideas into something that's actually worth showing a client because we don't want them to see the mess. We don't want them to see the thought process. We want to clean this up and turn it into something that we could show them as a plausible idea. So, uh, here we go 32. Designing Your Presentation For Your Clients: now that you had a few ideas together, that you're ready to show your client in this case, it's you. But going through the motion of how would you take these looks and create something that you can show a client that's worth showing them? That then gives ah good direction for them to choose which way to go. So what I do next is I'll go ahead and zoom out a little bit and again we see our mood board. We have a lot of stuff going on here. We can clean this up if we want to. In this case, I'm just gonna move things a little bit tighter here so I could make a brand new our board hit shift in the letter O U my r board tool and all held down the altar key and click and drag over here to create another our board. Now, when you have in our board and you have this toggle up top move, copy our work with our board selected, you'll notice this be this black graphic came with, and the reason why is because I zoom in. It's barely touching that are bored, so it came with it as a copy when I brought a copy over. So the alternative would be to turn that off, and then when I drag a copy, it brings the size of the art board. But it doesn't bring any of the artwork. You could work either way. You want the reason why I brought a copy over It was so that way I can leave all of these over here in case I messed something up. I've got a backup to come back, Teoh, and I'll come over here and start working on these. Now, technically, this We're moving past my mood board into my first compass while you reduce it. Command shift s. It's the same as going to file save as. And the reason why is I want to save a copy of this as an actual, um, maybe a comp version one. So be one. Usually what I'll do is over to V one is in the first version one. If I had multiple versions or are one of the first round, so maybe the first round have multiple versions. Second rounds are, too. Maybe V one v two v three. If that makes any sense, that's how I do it is my first round. So it's gonna name is our one. So, Derek, local comp are one it save now. It saved. The settings are fine. Okay, so now I'll have to documents that technically identical right now have the one that we started with. That was the mood board. And now I've got this local comp are one. So we just change this final name and we're ready to go. So now I can always go back if I need two. All right. Now I'm gonna do is clean up the things that I don't want to show. So all of these Congar away and just hit delete, and that's kind of boring. I'll have the lead to leave. I'm gonna move these off of my canvas here, get that out of the way. And what I'm trying to do is just create a presentation for my client to see. Hey, here are some ideas that I want to present to you. So I'm gonna clean these up just a little bit further here. Um and typically what I do is I show them in black and white, so if I want to show color the way I do. It is kind of kind of everyone called tricky. But let's just drag a shape here. I'm gonna click on it once, and we need to resize this thing. So at the letter E. And then I can click and drag and what I was looking for. I'm not saying it's right here. It was hiding. Click on this transform button. There you go. Now I can key in the width and height, So this is an ain't half by 11 piece of paper, So right now it's 11 inches wide. So if we cut this in half would be 5.5 inches and the height would still be 8.5 inches tall . The reason why I did that now. So I've got basically, uh, split this in half. I'm gonna line this to the art board, so line it to the right edge to the center. So now I have this basically 50 50. Exactly. Okay, So what I'm gonna do is on the left hand side. I'll put the logos and black on the right hand side. I'll put the logo in white, but I'll put them over a color, so I can kind of show the brand color, but without really applying color to the logo, it's kind of a trick I do. That way it has the connotation of the brand. Um, but you're not Using the colors is a crutch for the logo and you'll see what I mean in just a second. So I'm gonna do is click on this greedy int tab. I'm gonna click on Radio, Grady in which will apply radio Grady into this out the letter g to get my Grady and tool, I'm gonna click and drag from about the top, left the bottom right to get a nice, subtle radiant And now I want to change this color. So click once on this Grady in slider. If you don't see this option, maybe you just see this. Click on a little twirl down and click on show options. Okay, so we'll click on a little slider. I had the eye to get the eyedropper tool and now I'm gonna Let's see, I think it's all coming a shift. Yeah, it's shift. OK, shift click on that color swatch to apply it. If I didn't hold down shift What it would do so for example, I've got this square selected. If I don't hold down shift, it'll just replace that whole greedy int with whatever philae click on. So I mean, it commands you to undo. So I'm gonna click on this little color swatch down here and hold on shift and click on the darker blue. So I got the lighter blue in the darker blue. It's a very, very subtle effect. Very subtle, but I'm just rearranging these. So the dark one is in the bottom corner and the light ones kind up. It's very subtle, but that way it kind of gets a smooth, greedy int from the top left of the bottom, right, just to add some visual dynamic, um, interest, I guess you could call it. It's another minute, do is finish up these logos here, and I'm just going to put him in black and white. So this logo here, I'm gonna turn off my get rid of that. Phil, I'm going to select this whole thing and let's just make it black, and these are a couple options will bring back in. So here's one option now, Technically, I wouldn't I would consider all of these one variation. They're all using the same font and very similar icon. So if you're going to send us to a client, you really should take the time to make three totally different looks with different fonts . In this case, they are basically the same thing. Um, but this is how I would how would packages up to send. So I'll get this up there. I command you to make sure that's grouped. Highlight all that. I command you to make sure that's grouped. And I'm gonna leave this one gray scale actually, so they can see the depth that I'm thinking. I'm gonna drag this over, dig a copy by holding on the altar key command shift and right bracket to bring to the front, I met the eyedropper tool. Just click right here on the white to make the whole thing light shift click to drink it over to the center. And now you can see how we totally lose that depth when it's and white. But that's why I do it this way. So you can see how is your logo? How's your logo going to translate? So I dragged this copy over its behind that objects of command shift right bracket to bring to the front I for my eyedropper tool and I'll click on the white. And then this one is the last version here. I'll drag it over. Command shift to right bracket to bring to the front eyedropper tool. There we go. Okay, Now, what we want to do is align these. So I'm gonna click and drag on all of them, come up here to a line and all line to the selection, make sure they're horizontal, and then I'm going to vertically distribute the centers here. So now they're aligned that way. Now, minute command G to group them and then gonna drag a copy of this background over here. I was going to change the color throw to the back and the reason why Let's align this to the left side, Aligned to the our board, aligned the left side and centered. I'm gonna click and drag to highlight all of this. And then I'm just gonna click one more time on this background layer And what that does. I wasn't pushing anything else. I just clicked once on it. It will tell, uh, the alignment options toe a line to the key object. So the key object is now this background. If I click once on this object, it makes this the key object. But I want the background to be the key object cause I want to align my logos horizontally and vertically that be the perfect. Now I can click on that background, delete it and do the same thing over here. So I'm gonna click once on that logo. I'm gonna shift Click Over here. Against that, I'll click one more time to make this Mikey object. I'm gonna line them to the top and then for the bottom local click once shift click over here, I think now, without touching anything else, Click wants to make that Mikey object. And now a line that to the bottom. Okay, so now I have to do is click and drag on these over here shift click to remove my background from this election because right now I just want to align it to the selection groups not aligned that way, but distributed and now want to center them. I command you to group shift, click the background to get that part of the selection. And now, without touching. Anything else, I'll click one more time to make that my key object. I'll make it horizontal and vertically centered. There we go. And now we've got two side by side. Looks at a few different logo options, Okay? And then typically, what I would do to wrap this up, I would just drop in some numbers, so I'll hit the type tool, but number one drug a copy down here and hit command D too quickly. Step another one down there at the same distance apart. Number two and number three. And if I have two looks that are basically the same thing in this case, these are identical. So I might put this is to a and this one as to be all right. And that is what I would send to a client just like this. One more thing, though, to get it out of the box. We're gonna learn that in the next and the next lesson I'm gonna go through and show you how I export these are boards descend for com's 33. Exporting and Sending Comps to Clients: All right, We're basically done with our first round of the logo here, and it's time to send it to our client. In this case again, we're just pretending because we've made a logo for ourselves. Now for you, you've hopefully made your own logos. You don't need to send us to a client. But this is how I would approach the next phase of this. All right, I would probably make another look, something like this. Just with a different color altogether. Maybe it's the same looks. Or maybe it's another round. And then what I would do is hit shift. Oh, to get my our board tool click Once on the are bored. I want to change here. And the name is called our board one copy. Because remember, we copied this one from that other our board at the very beginning, So I'm gonna rename this as V one. I'm a click over here and name this our board as V two. And then if we look at the top, we can see this is our board 03 This is our board 02 and is named V one there. If I named it something else like I don't know. Something else. You'd see that name right there. Okay, so this is the second our board. But we're naming this. V one is in the first version to show them this is the first our board that we have on our screen. 01 If you want to change the order and click on this art boards window and rearrange this and now V one would actually our board one. Okay, I'm gonna drag it back just so I don't get confused if you don't already confused. Now it's time to export these things, So I'm gonna go to file. Well, first minute command asked just to save my work. Right now, I'm gonna go to file down to export. And right now, I'm just going to throw this on my desktop. So click on desktop and I don't need to change name. It's Derek. Local comp are one. Because when I use our boards and I'm gonna use the range to through three, it will automatically add the art board name on to the end of this file. I could also if I wanted to do the first on the third, I could do one comma three and it will do just the first are boarding. 1/3 are bored, but I want two and three. All right. I'll use that in a PNG is fine or J pegs final. Use a J peg. In this instance, I had export all changes toe RGB because chances are, since I'm probably going to email this or send that my client a text message, it'll be an RGB for screen, so I'll click RGB and I will put this as RGB color profile. They're just so that way they have a better chance of seeing this. How I intended and because this is just a competent don't want them to take the final design and run with it, I'm gonna change the screen setting to medium. And I turned down the quality just a little bit. Just so. It's not a print production low that they could essentially steal, but that's a whole another topic about getting paid first for your work with deposits. Anyway, little tangent there. Okay, so those air exported will jump back into finder and I will jump over to my desktop. And there are those two exports news, he added. Underscore V one and underscore. Be, too. So there's that first version and there's a second version. So now what do you do with this? Well, Ah, couple ways we could work a lot of times. What I'll do is I'll just ping it directly to my clients, so I might open up a new message window here. Since I'm my own client, I'll send it to myself so I might grab both of those. And I just say And this is using the I messenger app on my messages on Mac. But I just say something. If I knew the client might be like, Yo, check out these first looks and then I would drag and drop and obviously I'm texting myself . So, uh, it's gonna be a weird conversation where we see everything in doubles. But anyway, I would just send it to my client that way. That's one way you can do it if your client is tech savvy and and that's the way you want to communicate. We also use base camp so I might make a new project in base camp. Let's just call this, uh, logo export sample and I'll create a new project, and I just make a new discussion and just say first looks and just say, Here's a few ideas for the first ground of logo designs All right, and then select files from your computer or Dragon drops. I can come back over here and drop those into base camp. And then when I email that it'll email it to people in this project. It was post its message, and now they can get an email with those designs that they can log into base camp and see it. So that's my workflow. That's how I work with a logo from beginning to end. The only difference now would be handling revisions if there's any revisions and then, of course, packaging up the final file. 34. Finalize Your Logo, Part 1: Refining Color and Creating a "Details" Page: all right. Now that we've got that first round done in that last video, we're gonna jump ahead and pretend like we've got everything finalized. You about the final approval on the logo and the colors. And now I don't want to show you is how it would actually package this up and deliver it as a final logo for a client. So this is my details page that I usually create for every logo I do. I'll share this with you in this project file just so you have it. If you want to build off of it, you're totally welcome to do that. Eso Here's what we have going on. We have the details of the colors, the hex values, some text that I give about, what clear spaces. And I'll cover that. Just a moment here. And then, of course, the two versions of the logo is I usually export a single color version, and that's great for vinyl graphics or embroidery. Things like that where you need one color, maybe a screen T shirt on, and then the full color version that she could use on other things, like websites or letterhead in the business card So in this first part of the finalizing section here, we're going to talk about the color and how I packaged up the colors. So what I did is I created these little thumbnails over here, and all those are rectangles. If I get the letter M tool, hold down shift click and drag to get a square. His letter V t. My move tool, hold on the altar key. Click down to drag. And then once I get one, I take command D to copy that a couple times. That's how I get those rectangles. And then what I do is I sample the colors from the logo using the eyedropper tools, and I've got my my color set up here. Now here's a few little tips and tricks, this kind of the nitty gritty details that'll separate you from everybody else. So what I do once I get the color value set up if I click ones over here and I looked at my color window, if you don't see this, just got a window and find your color window there and you'll notice these values and again , if you don't see this, makes you got show options right here. Click on that color bar and hit show options, but you'll notice my values are not round. They're you know they're odd. 79.63% 33.47%. So what I usually do is I'll click once on that color and I'll come back in here and I was around up. So in this case would be 80% this I'd run down to 33%. This had around up to 3% and that's an even 23% already. So now I want to update these values. Well, the problem is, as soon as I click in here to try and change that value, my colors change and I can't remember what those values worse. What I do is I'll take a picture or I'm sorry. I'll click on this and then I'll take a screenshot command shift in the number four on the Mac. Ah, clicking drag just over this section. And then before I let go, hold on the control key and then I let go of the mouse holding down the control key. Still, what that does is it takes a picture and copies it directly to my clipboard. Now I can click over here and hit Command V to Paste. And now I can see this color would know here so I can quickly go through and changes values . So that was 80. This was 33. This is three. And this is 23. So let's do that. One more time for this value will click once on that blue and we'll change that to 97. 41 down to three. And 28 is good there. So command shift four, click drag. Hold down. Control to copy to my clipboard That will paste it over here. All right, so this guy So we're changes value to 97. You can see where I'm going with all this year. 41 three and 28. Now, the next thing we need to dio this one is actually pretty simple. It's just 90 be at zero zero zero and 90 year. All right. Now, these names were in the world that I get these names. Well, I use is cool app called Sip s i P. And it's a cool little screenshot thing where I can hit my shortcut here, which is option control in the letter P and Aiken sample colors from anywhere in my desktop . Just a little app I found. And I use it all the time. And whenever you select a color, it gives it a name up here. So this was sea buckthorn. So that's why I came up with these names for Vulcan Bahama Blue Matisse, Incurious blue. I don't know. I just fun. I just threw it in there. But that's how he got those names. You could also just name it Light blue, meeting blue, dark blue and dark grey whatever you want. But I just give them the colors, a name, and then this hex value is what we're gonna use for Web development. So if you ever want to put colors into, say, a WordPress theme or a squarespace theme where they wanted with hex value is to find those will click once on this color square, and then we'll double click on it down here and that little Phil and then we can see our hex value right there so high that commands you to copy all coming here, command V to paste. And they'll do the same thing for these other colors. as well. Come and see a copy. And when you open it up by default, that's already selected. So I don't have to double click in the arts. Click ones double click on that thumbnail and then hit command See right away because that's already selected. And then last one down here. There we go. Now we have our color set up. Then whatever do is grab whatever far I used as the base font. Because remember, we have these outlines. So when you share this with people, they won't know what font that is. If you used a baseball, or maybe you created it completely from scratch misses completely from scratch, which is excellent. That's great. So, uh, what I do, though, is that when I did use a fun all put that front here and then I'll make the character. I'll put the name of it and then make it what it is. So then you can tell what it is. Ah, when we share that and then the next thing I'll create here is clear space. So with our clear space, what that means is we want to give our logo room to breathe. So as you're starting to build brand guidelines. These are little things you want to address. So rather than just saying, Hey, we want 1/4 into space because let's say your logo is huge. Will quarter inch of space might not be enough. And as it scales down, you know, that might be too much space. So we use a relative unit of measurement, typically just something from a logo. In this case, we use the letter M to just set off a boundary around our logo. And in the third video we're going to talk about and the 2nd 3rd really want to talk about our boards and exporting. And that'll come into play as faras, where how we give it that space. So all right, in the next video, we're going to create art boards and we're going Teoh, learn how to get our folder structure set up so we can share these assets in a professional manner 35. Finalize Your Logo, Part 2: Artboard Setup for Quick Export and File Management: Okay, let's get our our board set up so we can export this and then we'll get our folder structure set up for just the whole project management side of things. So the our boards, you might be saying, Hey, have already on our board. Let's export this. Well, when it comes time to actually export this weaken quickly batch export based on our board. So what I do is I will bring over this final full color logo version. All drag a copy over to the right here. And remember, we had that that letter m as our gap space. So what I'll do is I'll get my direct selection tool. We'll click once in here, commands you to copy command V to Paste. And now when I go to move this, I can just drag it down and they'll drag another copy. And I'm gonna change the color here so doesn't get confused with everything else. I'll drag another copy up here. My smart guides tell me when it's alignment aligned here. We're using the height of this M as the measurements on the side. Since we're using the height, I actually to turn it sideways here, so we're still using that height to set it off. Now I'm gonna hit shift Oh, to get my art board tool. And I'll just hover over here until my smart guides tell me that I'm aligned. I'll drag down. There we go. And now I've got a canvas or are bored rather with the proper amount of spacing around this logo That makes sense. Hope so. All right, so there's one version and then now what I can do is hit shift. Oh, and then I'll click and drag down. And that won't come with me this time because I have this option up here. The move copy Artwork turned off it escape, and I'll come over here and grab this other logo in all Dragon copy over here. And this time I'm just gonna hit this little drop down to align toe art board, and I'll just center that groups. Okay, so here's Here's a good example. I drug over a copy, but what did you know? I was hit X to cut it from here? Because if we look really, really close, there's a subtle black stroke around that our board, which means that's the one that's targeted right now, I click once on this. Our board. That black line comes in here, and you probably can't. I mean, it's really, really difficult to see. Uh, but anyway, it's there. You can tell which are board is targeted there. Now, with this one target, I can hit command V to paste it on that our board. And now I consider it to this our board here. All right. Now what we need to do, the next stage is name. These are bored. So I shift Go to get my art board tool again. And since I'm on this one already, I'll just go ahead and name this our board and we'll call it one color, one color, and we'll name this one full color. I will name this guy details. Okay. And I'm gonna come down to my art boards window and make sure that we're in order. And we are details full color and one color. This is just for when we export a pdf. That way, it puts the stack in order. So we see the details page first, and then the full color, and then the one color you can drag and drop to rearrange but the export will be on that all right. And our art board, they're set up and ready to go and hit command ass real quick just to save where we're at. And then now let's take a look at our folders in our file structure. So typically, what I export will be illustrator files E P s files, pdf C J pegs, sometimes tiffs and P and G's. So let's dive in and learn with those are real quick. First of all, men set up my file structure. So I've got my AI folder and illustrator is just the native ah file. We used to create this a little be creditable. If I ever want to get back into this and edit it later, I'm gonna right click and make a new folder and we'll call this one E. P s. The stance were encapsulated Postscript, and basically it's a lot like an illustrator file, but it's a little more generic, so guys who might have older software a lot time like Sign guys or people who make apparel might not have the most recent version of software that might not have illustrator at all. But an E. P s is still a vector based program, and you can use that file to to work with these shapes. So I'll send money PS And now I'm gonna do this just a blank folder. So I'm just gonna hit command D to duplicate it. I'm gonna hit return on my keyboard toe jump right into renaming it, and I'm gonna call this pdf I command you to duplicate return to change the name on this one Will call those one J Peg Dash Web. I command you to duplicate Return to change the name here and we'll call this one Jay Peg J Peg parent, come and eat a duplicate return to change name. We'll call this one p and G and ah, that's probably good enough. We could do tiffs and we could do some other things, but this is more than sufficient to get what we need here. So now we've got all these files set up and ready to go in the next lesson. What we're gonna do is actually learn how to batch export all of these files on make our life a lot easier 36. Finalize Your Logo, Part 3: Batch Export Files and Professional Client Delivery: All right, let's Jim back into Illustrator and learn how to export these and send them as a final file to our client. Or in this case, it's for ourselves. But, hey, it's good practice, all right, So let's jump into Illustrator And what I want to do is we'll go to file save as I'll jump over to my finals folder and inside of there will jump over to the E. P s folder and I'll change my format down here from Illustrator to illustrate E P s. And we want to use the art board so I'll click on that will use all of the art boards and then I'll hit. Save everything like this is just fine. There is a chance appear at the version. You might want to save a legacy format and that you'll have to you know, you'll if you go to send this to print or somewhere. And they say, Hey, we need, you know, version whatever for CS three. Well, then you could come over here and export that later to give them something they can work with if they don't have the most current version. But typically just leaving it alone like this is fine. So okay, we'll export that E. P s file, and right now it's gonna be writing those out. When I jump back over there, I can see their here now. One interesting thing when you send an E. P s out, it actually does four files. We had three R boards, but the fourth file is a file with all of them in one document, so I usually delete that. So if I hit space bar, I can do a quick preview and see which one that is, and you'll notice the names to the names change. So it exported the art board names. This is underscored details. This is full color and this one color. And now this is just that the original illustrator file that we explored and see has everything in there. Well, we don't need to send them that. So I was gonna hit command delete to delete that from that folder. Now it's going export some of these other ones. Now, an interesting thing when we goto file save as the only options that will have from that menu will be the E. P s illustrator and Adobe Pdf file types we can also do SPG es. But right now I'm just worried about these couple files finals, and we'll jump over to the pdf. We're going to use all the art boards here, and this will just rename D M Logo Finalist final hit Save All of this is great, just as is we can leave the illustrator editing capabilities on what save PdF. And when we check that out right there, it spits out just one file because it actually packages up those logo's within the one document, which is kind of handy. So I got a PdF done now now for the other file types instead of coming to file save as we need to jump down to file export so we'll click on export. And since it's on P and geology as a PNG it use, our boards will jump over to our ah, P and G folder. There we go, and let's go ahead and hit export. Now you could do a couple versions of the P and G. Right now I'm just gonna do one. But you could do a print based version at 300 then come back later into another one at 72 for Web based right now, I'm gonna leave it 300 I'm gonna make sure that transparent is turned on. So PNG essence for portable network graphic, And it supports Alfa Transparency. J. Peg does not. What that means is a J peg will export with a white background. It doesn't know how to make things transparent, but a P and G does. It knows how to keep transparency. So as I scroll around, you can see you know, it blurs it out on my system here. But if we look, we get this subtle colors poking through. So the art board is actually transparent, which is why we use a P and G When I send these off for people to use on their websites and will also notice notice the canvas of this. It included the art board. So that gap we made with that letter M here for a width stays with it to protect the clear space of our logos. That's pretty handy. All right, we've got all those versions. They look good. Now let's do the last couple versions, the J paying and this one. I'll show you the example of print versus Web. So come up here to file export. Well, uh, jump into that J peg for print will start there. So click this little drop down and we'll find RJ pig option, and you can see down here we do have a lot of other options of files we can export, but the ones that I'm showing you are the ones that are the most popular that I end up sending to clients that they use. So we use our boards, we use all of my export and this one's for print. So we're gonna leave our color mode and see him like a Because this is a final file, I'll turn the quality all the way up to maximum Senses for print will change our resolution to 300 and we'll leave this little check box selected, which basically embeds a color profile to try and get the colors to match as close as possible. No matter what system, when you're on with a round of windows or a Mac or, you know, depending on what printer you go to, hopefully all the colors will line up and look good. I'll just jump right in and export the next version will export. And this time we're gonna do the Web based J Peg so we'll use our boards. Hit, export. Make sure Andrzej pay right there. Well changing color mode. Toe RGB for Web and I'll leave this at maximum. That's fine. But what change a resolution down to 72 again, we'll inboard embed this profound the S RGB. So this is just a standardized color profile that again tries to make your colors look is consistent across the board, no matter who's viewing it on any device. So that exported. Let's jump over here and take a look So we have our print files and will notice the size. This one's about two megabytes, and if we jump over, this guy is much smaller at 118 kilobytes. So we've got a print based versions, and then we have our Web based version. Now, one thing to be cautious of, maybe even tell your clients is that when they see the J Peg for print, it isn't seeing my case, so there's a chance if they look at the colors on their screen, it's gonna look terrible. It might look faded, muted, but when they printed, it should print flawlessly. So that is how I export my files. The only other step here would be to include the fonts if you want to. So I might right click make a new folder and I'll just call it fonts. And I put a space at the front of it. So that way it stacks it to the top. And then I would I would open up on a Mac and open up font book. Search for that funds and one thing Pay attention to fault. Licensing you if you're buying fonts or to pay on the front you're using, you need to have a license to share this with them. So I always follow that practice. But I'm showing you how I would gather my fonts, you know, depending on which pond it is. And if I can share that license so I would right click on this font and I would show and find her. There it is that it commands you to copy. Come back over here, Command V to Paste. And now that font comes with my folder. A right click on that finals file and I will hit compress finals on a PC. I think it's sent to compressed or zip folder, and then we've got a ZIP folder so everything's contained right in there. It's only 9.4 megs, and I would post this either in base camp or send it via email. Let's just jump into base camp real quick, and I will go to that logo file that we made and post. A new message will call it Final Files, and then I use an app called Text Expander. It's pretty handy, and I have all kinds of snippets that I've already made, So I just typed in L L O G o for logo. But I had an extra L in there, and it spits out this text that I send to my new clients so I could come in here and highlight I was usually put this in bold. So it looks better. And this explains to my client what the file types are and why I included it. And then I will select files from my computer or Dragon dropped that zip folder right into it. And when it's done uploading, I can go ahead and post this message and send my client the final file. So there it is. Hopefully, you learned a lot in this section about creating logos and exporting them, and be sure to check the project files for those assets as well. 37. Introduction: Create a Magazine Ad: Let's learn how to create an ad for a magazine. In this case, we're going to use a real location. This is the route of the Hiawatha. It's on the Montana Idaho border. It's an incredible bike trail have never been there, but I'm excited to try it out some day. In the meantime, we're gonna learn how to work with assets from a riel location. How to use a branding that's already been set in place and create an advertisement for this magazine right here called Flathead Living. So this is a room magazine. This is the spring edition that's already out, so you see what the cover looks like. You can see this is a vertical added kind of tough to see, but it's kind of an editorial lifestyle magazine. There's a better shot of this tall vertical ad we can create. Or maybe we'll do a full page ad. Here's an example of the ad on the back of the magazine, and so we're going to gather some assets. I've already collected some text that we're going to use for this ad as well as the dimensions that are required for this magazine, so we'll look at add specs and following along a very, very detailed outline of what the ad has to be in orderto work with their publication. It's gonna be a lot of fun. You learn a lot of great tips and tricks along the way, so let's go ahead and dive right in. 38. Setting Up the Magazine Ad File: to get started with our ad design. We have some the very specific ads specifications to follow. So any time we're designing for a client for an ad, they will hopefully already have this information for you. If not, you can contact whomever will be printing this ad to get this information so we can create any one of these sizes you want. If you want to follow along with the assets I provide and make something different, I'm going to show you how to create a full page ad just because I wanted to show you some different terms like trim, safety and bleed. I'm gonna zoom in real quick so we can see what this means here. All right, so starting with the bleed size, this is the actual size of the document we're going to be creating. We'll go ahead and use photo shop for this. You could create the ad and illustrator or in design. I feel like I have more designed control in voter shop. So that's what I'll be using today. That dotted line represents how big the file will be. This blue line this trim size represents how big the page will actually be once they trim it back, and we print beyond the border with what we call it bleed. It bleeds passed so that when we trim it, there's full color all the way to the edge. If we missed that trim that said, we went, let's say we were gonna cut right on that blue line, but we didn't have any outward going past it. There's a chance if they're off, even just a touch. You'll have a little bit of white on that edge, which is why we do a bleed. We bleed past. So there's plenty of room for margin and for air, for the pages to slip around a little bit in production. The next is the live slash safety area, and what that means is this Red Line represents anything that you don't want to get accidentally, either cropped off or maybe hidden, You know, especially lets his the full page ad in and it's the spine is down the left hand side. Well, because of where the gluing is on the book and how it's produced, it might be difficult to read anything you know beyond this red line. It might get stuck in that fold a little bit or vice versa. If this sits on the left hand side and the spines on the right, same thing over here. So this red lines represents kind of your fence, your safety area to stay within. So you don't lose important contact information or other details. Other content. So what I typically do you can design past this like a full color image or whatever, but any taxed any Web addresses or phone numbers stay within that red box. All right, so let's set up our file the bleed size. So it's 8.625 inches wide. We do with by height, so it's always with by height. Here, command. See to copy that will jump into photo shop and create a brand new document. So I'm gonna hit command end to open up my new document window. Make sure you're using Inches are whipped is 8.625 inches wide. Then that's Jim back over to our pdf document here, and the next one is 11.1 to 5 inches. So that is our height. 11.1 to 5 inches. 300 dp I and we have our seem like a files set up. So we're good to go. Hit, OK, And now the first thing I always do you want to get this far a sit command s to save this document or save as if it's the first time you've done it. And also some my desktop for right now. And we'll call this, um, mountain bike. Full page ad save. All right, now we've got a document set up, but what I like to do is actually set up my guides as well. So the next area we need to do is our live safety area to know where that bound is going to be. So I'm gonna make a 7.125 inch box by 10.125 or 10 10 and that's an eighth of an inch. So let's jump over to photo shop and I will create a new shape using my rectangle tool. Ah, click and drag. It doesn't matter how big it is, because what I'm gonna do is hit command t to free transform this, and by default, it uses a percentage, but we can actually key in a physical dimension. So that was 7.125 Enough a type, I infer inches. It'll force that to be inches and let's look at this just to make sure. A 7.125 by 10.125 So make this height as 10.125 I end for inches will hit return, actually hit the enter key on my keyboard and now command a to highlight my whole canvas area, which gives me these align options here at the top and all align it vertically and horizontally. And now what I'll do is I'll jump into my layers panel here. My art boards kind are my windows are kind of a mess. I'm gonna reset my essentials. Workspace. There we go. Let's drag this layers out here, and I'm gonna with this still marching and selected him it commanded Make to de select my selection. Make sure this layer selected And if you don't see these numbers across the top, that your ruler I'm in command are or go to view and down here to rulers. Let's turn on your rulers because now we can drag down guides also make sure that you have snapped, turned on and what that will do with this layer selected weaken, drag down are guides, and it'll snap to whichever layers selected there. I can click and drag and now hold Ault to change it to a vertical ruler or just drag out from the left hand side here. So all I'm doing are creating guides for myself, and I'll rename this and I'll call it a safety. That way I know what my safety guide is and them to duplicate this command j to jump cut it and I'm skint all delete to fill it with blackest, what happened to be on my foreground color that I see both versions here and now I'm gonna come back over to my acrobat. Pdf here and let's look at the trim size of the trim size is 8.375 inches. So let's copy that by 10.875 So I come back into photo shop, click once on this safety layer, I'm gonna rename this to trim command T to resize it. And that with was 8.375 And make sure I type inches or it's gonna think that's a percentage tail skinny. That is it thinks 8% but I wanted inches. So I'll do that. And then the height was just double check. One more time. 10.875 Well, pace that in and again. Make sure you put in inches it return. All right. And now I know it's center. But just to make sure, I command a to highlight my whole campus here and now, I'm gonna line that layer to the campus command D to de select and then hit command left bracket Key just to put that behind so we can see the red is our safety. So any content we don't want accidentally cropped off or hidden in the folds goes in there and the black players air trim. So I'm going to the same thing here, is gonna drag in some guides, make sure that were selected, so it snaps right to it. And the reason why we're doing this is because I don't want to have to keep that red and black box in here. If right now, this was just to help me set up my guides. Now I can command click, get both of those selected and put him in a folder. Command GT group. Um, it was called us guides. Now I can turn this layer off, but I can still see my guide. So I know anything beyond this top guide is going to get completely cut off, and then anything on in this area is going to be printed. But if we want to keep it safe, we keep it within these guides, hoping that makes sense. But now we're set up and ready to start collecting our assets for this file. So go ahead and save that one more time and the next lesson will start pulling in our assets. 39. Gathering Assets and How to Scrape Photos: So now we've got our file set up. It's time to start gathering the things we need to create the ad. Now, sometimes you have clients who are on top of it, and they provide absolutely everything you need, like their logo and photos and text etcetera. And sometimes you have clients where they need a little more hand holding, and they need you to create the graphics for them. Since you're the graphic designer, that would make sense. So what do you do when you have a mixture of both and you need to get some of those assets ? Well, let's see what assets we do have. I'll start here. I do have this text that we created. So we've got the title on. We've got some details. Ah, bullet list and then information about where to find them online, things like that. That's great, but I have no images to work with. Well, luckily, they do have a website, so I condemn to the website and see what images I can work from. Or at least if I'm gonna buy stock retired photography. What kind of images I need to try and find so one thing to be careful of. If you're making a print ad, just about any photo you find online probably won't work, because when you go to print it, it won't look good because it's too low quality we call low rez. It's not gonna be a big enough file to print, so but let's just see that. Just poke around and see what we've got going on. I know I don't have this logo, so I'm gonna go ahead and just drag this over to my Assets folder here. So it's just click once and drag over to find her. Hold there for a second. I'll jump over here and I'll just ashes into my photos folder for now. So that brought in their logo. Now again. See, this is 32 kilobytes. It's tiny. It probably won't even work at all. But for the sake of the ad will pretend like they give us, ah, high rez version toe work with. So we'll drop that in there. Ah, and then looking at what this area is, if we jump over to media, you're welcome to watch the video. They do have a video on it, but you get a really good idea and understanding that it's only it's downhill the entire way. It's only about a 2% or less grade. So when it comes time to find images, if we can't find media that we can work without of their photo gallery, which will come back here and pull some. But as we're looking for stock photos, what that tells me is images like this where we have a serious mountain biker either doing tricks or going uphill really doesn't make sense. It's not that kind of a trail. This one might be okay, but it's not that flattering. We don't wanna look at the back end of people we want to look at, probably the faces of people having fun. And again, this landscape doesn't match. It's a cool photo, but it's not the right setting. So as we start to look through and pick stock photos, if we need to rely on a stock photo, we have to be careful that it matches with the setting and the scenery and what we're trying to convey as far as the message. So that being said, I've actually found a couple that might make it might make sense, so I'm gonna do here? Just grab a couple of them. You know, this one might not be the best photo for a couple reasons. One, I don't have a lot of space around the photo to work with, and it's a little cheesy. It does definitely like a canned, you know, stock photo. But what will do as we're going to save a preview? So I'm gonna click on this twirl down arrow and create a new library here, and we'll call it the Hiawatha was Call it that so that I know what it is I'll save are all . Add that rather and now it's saving that comp. One thing I forgot to mention is I just dove in here. I just want to stock dot adobe dot com to open up that page and started searching for images so you can search that way, or you can search for images right within photo shop. So now when I come back to my libraries here, I can automatically see that that new folder that new library created is right in here under my libraries Window and Aiken, search adobe stock right from in here so I can search for mountain bike and it's going to give me results right within the Adobe photo shop libraries, Windows. So let's say just again, for the sake of the exercise here, maybe we wanted to add one of these. Let me see if I can find a real quick that might make sense here without taking too much time. Maybe this one, and what I'll do is I have the safe preview or have the license option. Well, we don't want to buy it yet, so we're just gonna hit this little cloud icon to save a preview. And then I've got to stock photos to work with. All right, now, let's keep going. Let's go grab some more photos. I'll jump back over to their website and I can see that they do have a gallery. So let's just see if any of these makes sense. I'm just going to click on a couple of them here and I'll right click, and if I can, I'll hit. Save image as some websites, you can do that. Others you can't see it. I will save it to my let's see, let's create a new folder on my desktop. We'll just call it photos for now, as I just start scraping some stuff and dropping it in there might save and maybe this nice mountain photo. Now this doesn't advertise as well for us because there's no bikers on it. So at a glance, it doesn't really convey the message or the story we're looking for, but we'll throw it in there and maybe one more. I know they talk a lot about the tunnels and stuff, so let's just see if this one So you are happy bike riders. We've got a bike trailer for a kid, so that tells us it's a kid friendly, family friendly ride, so that might be a good image as well. So we'll save this image, all right, so let's say that was a strikeout. Let's say we didn't get the photos we want. Well, luckily, they do have Facebook and Twitter and Instagram. So I opened up their instagram and found a couple more photos that might work on Instagram . We can't right click and save as it gives us just the HTML file. It kind of protects it from scraping content, but we can take a screenshot so command shift in the number four to click in Dragon make a screenshot there that we just throw the screenshot right on my desktop. So if I go to my desktop right here, we can see that new screenshot that I just took. I'll drag that into my photos folder and then on Facebook. We can, you know, kind of quickly scroll through and see if there's any good images that we want to pull from . Here's kind of an interesting one looking down off of one of those bridges. All right, click Save image as. And I'll throw that in that full of photos folder as well. All right, so now we've kind of gathered our photos to work with next. What I want to do is look at some of the overall branding, so there's a cool app. I like to use another killer app. I guess it's an extension for your browser, and they have it for safari and chrome that I know for sure. I haven't tried it in the other browsers, but to know what fonts they're using for their website and their branding. So I have this little extension called What font? I can click on that, and now I can start typing or clicking anywhere on their website to see what Fonso using So looks like the using Oswald. And that's the color. They're also using this one. I've never seen that one before, but you known anyway, so we can do some research and try and find these fonts. In this case, I'll probably just stick with Oswald because I know we have access to that with the Google Fonts Library. And if you want to get that extension, go ahead and search for what font extension and you can see it here just added to chrome. And then you have this little icon and you can jump on any website and see what fun they're using for different things. I'll click on that. What fonts and you can see. Instagram uses proxy manila, so that's a great little extension. I use it all the time, and when you're done in, just hit exit appear or is it the escape key? All right, so we've gathered our act assets. We've got our text, we've got our logo and we have some photo ideas. So in the next lesson, we're gonna go ahead and start pushing some pixels around 40. Getting Things in Place: I went ahead and grabbed a few more photos that I thought might be helpful and found a couple more stock photos as well. So we're going to do in this lesson is bring in those photos, start gathering our text and just kind of roughly getting things in place. That's all we're gonna focus on right now. So here's a few more of the photos I found and they're they're OK. Some of them are pretty grainy because we did grab them from the Web. Uh, some of them look a lot better and, you know, like this one little kid having a good time. He's got a headlamp on for those tunnels and, ah, this one entrance and another one smiling kid again. This really speaks to the Ada's faras. Um, it's family friendly, which is I know what we're going for here. And then I found a few more stock photos as well. I'm in my library. I'll just drag this right over into my document, and you can see this is another one I found actually on Adobe stock, which I was surprised If this isn't the right park, it sure looks a lot like it so I figured it's a good one to use. Have another one here of them entering into the tunnel. It's not as is close to what I'm looking for, though, because again their backs to the camera, I want to see faces and all that black again. Isn't that flattering? But we could do an ad that speaks to the tunnels and stuff as well. And ah, so what I want to do now is just start working with this. And I like this image of the reason why is it gives me a lot of space to work with. The drop text over the top really shows off the landscape and how pretty it is there. So we'll start here and what I did, I just drug a copy of this over into my into my, uh, campus here. My are bored. Sorry. And ah, you see, there's a little cloud here on the icon that tells me this is part of one of my cloud assets so I can apply filters and things that I can modify this and I'm not committed to this photo yet obviously says the watermark. But as soon as we get approval from the client that this is the ad they want to roll with. All I need to do is license this in my library right click license image, and then that watermark will go away so we can do all these adjustments and then at the end of this thing licenses, Or maybe we'll get another idea down the road and use an entirely different image. So what I do now, I'm just gonna bring this in and start re sizing things, scaling it up and seeing what I have to work with. And I can bring this up if I wanted to. That number will go away as well. When we license this image, I kind of like the idea of putting them on. You know what would be the ground of this ad and then having lots of head space to bring in our text. So I'm gonna go in and hit return to commit that change here and this dive in and grab our bike assets here for the text, and I work a couple different ways. Typically, I'll bring this in line by line. So for this mountain bike, top 10 pick, describe that whole line of text commands you to copy. I'll come in here with my type tool. I'll change my filter. White click ones and Paste came in really small, so it command t to free transform to bump this up. Okay, And that's not the fun I want to use. I'm gonna use Oswald and I don't have. It's on my systems. This is a great time to see if this is in type kit. I'll do a quick search and it's not in here. And I already knew it wouldn't be. But this was a good exercise. What happens if it's not a near Well, let's do a Google search for it and already know it's gonna be in font squirrel or as a Google fonts here. We could do either one. Uh, I'll just show you font squirrel. Since it's here. This is another great resource for free fonts that you can use in any project. So here's Oswaldo. Go ahead and download this true type font. That's what T T F stands for worst true type font. And once it downloads, I'll click once to unzip the file. The highlight All of these command oh, toe open them all at once and then install the funds. So once I have that font installed, I'll go ahead and jump back over into photo shop and see if it picks it up right away. If I need to close and reopen it, There it is, Oswald. Now let's Oswald stencil bold. So this is close enough to that website font. So I'll just drop isn't right now as a placeholder to get our title in there. And then I'm gonna start bringing in the other assets here now for the bullet points because we can't really do bullet points in in design. I'm gonna show you a little trick here on how I use a system called font. Awesome. It's just another font that lets me do icons and bullet points, etcetera. So we're gonna do that once we get our text in here, will come back to that to get those bullet points. So I'm just copying and pasting and then command t to get my free transform just to scale stuff up a little bit and get it close to what I'm looking for. Here, let me go ahead and just hit fast forward here. So I want to sit here and watch this whole thing. All right, here we go. As you can see, we have a lot of content to try and gracefully place in this ad without looking too busy. So I'm gonna go ahead and hit. Save Command s on my computer here. So that way, at least we save where we're at. And in the next lesson, we're gonna go ahead and refine this lay out a little bit further. 41. Magazine Ad Design Continued...: the last video, we got our photo and place in some of the content ready to go. Ah. Had a little issue with that fund. With that Oswald found it brought in the stencil version so real quick to fix that because we're going to want to have that when I insult the font. It brought in the one fund, but I needed to close that, come back in and installed each version individually. So that's what happened there. Already done that. I got little yellow check marks giving me airs because I have already done at once. But that's what happened here in case you got stuck at that point. So I was gonna click on that triple click, and then we're gonna change is far from Oswald Stencil to Let's do let's see what Oswald Heavy, bold, bold is probably a good one to use. And now I'm gonna do is hit command shift in the letter K which is going to change this Teoh, the all Caps version of that ah hit enter on the keyboard to commit that text here. And what I want to do is I need to figure out my number One message is gonna be. Do we want to do mountain bike? Top 10 pick or ride the high out Hiawatha? Right. So what I'm thinking is that most people probably have never heard of this trail, at least not yet. But they have heard of USA Today. So for me, the biggest elements if we're gonna have some sort of structure, hierarchical structure is we need to figure out what is the number one message. Everything can't be the same volume right now. If we spit this ad out like this, it looks terrible. And it's really hard to digest, Obviously. I mean, for one, the texture of their face. But the text is all the same size. So everything is the same volume, and it's all loud. It's all bold saw caps. So we need to go through and refine this a little bit. So what I'm gonna do is just put this on two lines and it command a to highlight all of it . And then I'm going to change my letting by holding down command option and the down arrow key to kind of jump it down. And if it goes more than you want, we can refine that further. By going to our character panel, I'm just gonna dock this layers panel back over here and I don't see my character. So what I'm going to do is come over here, the window, come down here to character. There it is. It was hiding right there. And so now I can come and refined this. So by hitting the up and down command all up and down, it was jumping. You can see over here between 11 and 40. Well, that's too much of a jump. I want a kind of a happy medium. So I'll just keyed in right here. I'll triple click and let's try 20. That's not quite right, although that is kind of cool. So leave it like that hit. Enter command T. To make this even bigger and maybe, maybe not schools, I felt Let's go ahead and give us more space. I'm gonna hit the up arrow keys and just kind of nudge it down till I'm happy with it. That looks pretty good right there. Um, let's see. Mount by top 10 pick trying to decide if I'm on a mountain bike to be huge or if I want USA today to be huge. So I'm gonna do top 10 pick up in one line here. Return and scale is back down. Just a touch. All right, Mountain bike Top 10 pick. Now I'm gonna triple click this first line it command shift and the Kama Key to kind of step this up bigger, smaller and again. I'm having the same issue where it's jumping more than I wanted to. So my triple clicking here Interstate 40 for my point size. And remember these guides these air my safety. Technically, it'll print all the way out to here. Anything past that line gets cut off, but to keep it safe and make sure that nothing gets lost. I'm just gonna keep within these guides here. And I might change this to center it. Dr This back over. So we're getting closer here and seeing how this is starting to play out, I think it changed my mind again. And some is going to who put this back on this line. It's space and then hit my four delete key to bring that back in place. And now what I can do is change the weight of this fault right now. It's at the bold. Let's try light and see what happens there. I like that better. So I'm going to click on this and make it bigger grand shift in the period key to step that up a little bit now to get it exactly the with I want to hit command t and just scale it up . Just a touch. So it's exactly that size and then I'll triple click here, and I'm gonna change the tracking or the current. And what do you want to call it? Command Ault, Right arrow to kind of step it out a little bit. And it did pretty good. I got almost exactly where I want it and you can see right now that tracking is set to 240 . But I wanted to I could refine that a little bit further, but I'll call it good for now. It'll hit. Enter. I'm pretty happy with that title at the moment. You know the other thing I might change if I go back to their website here, they're not really using the italic version. They're using the ah nonmetallic the regular version. So, Jim, back over into photo shop. I'm gonna go ahead in triple click this top text click on my drop down for my father. And I'm just gonna hover to kind of see which one I want here because it looks like the names aren't very helpful. For example, I'm seeing Oswald Demi bold here, but that's a metallic or oblique font and the one right below it is regular. So obviously the naming didn't help me out too much here, the way this font came in. So I'm gonna just kind of hover till I get the one I want. I like that Super Bowl to Oswald heavy. I'll click on that triple click on this line below it. And I like the italic or the oblique version Better. But again, we're trying to match the branding and kind of keep it all consistent here. So, um, is going to scroll. There we go. That one looks pretty good. So this Oswald extra light click once on there. All right, we're getting there. Triple click here. Command shift and left. Comic, He that's too small, right? Commons to too big. So we're between 50 and 57 point, So I'm gonna triple clicking here. Let's go 55 about six. 57 to 56. All right, that looks good to me. And this bottom one triple click to grab. That is put 43 were I thought I saw it. Let's go down a little bit to 40. All right. And as you can see, you can just nudge in and chip away at this stuff way more than you need to, so I'm gonna get a close. Call it good. I don't want to bore you too much. All right, so we got a title in that took a little bit of time here, but I'm happy with it. And, Ah, let's see what else we can do here. All right, so let's work on the bullet list, actually work on this and then the bullet list here. So I've got my list. I'm gonna triple click on that. Actually, that didn't work. Someone's gonna click once in here in command A to get everything. And let's change our leading appear to auto, which will put it to the fonts. Default height will start there, and then we need to find a secondary font. So maybe we uses Oswald that we used appear. Let's Just look at this one more time. This is extra light, some and a click back in here. Command A to highlight all of that. And that's find this extra light. Now, the problem or something we need to be careful of. Let's see, maybe we use medium instead. Is that were you printing white on top of a color? So the ink around it is going, You know, as we apprentice that the ink is gonna want to train bleed in towards these areas. So sometimes if you're gonna do a reverse out like this, you want to have ah, little bit of a heavier font, especially if this is going to get much smaller, which we're going to make it smaller. Right now it's a 13 point. Let's go ahead and put it up to 14. Will call it good. I know that's gonna be a really good size for us and then highlight this. I'm gonna change from auto to. I'm just gonna hit command option in the down arrow to see where it jumps to. That's way too much. So let's put it back toe like 25 and we'll start there. So I wanted to space it out just a little bit just to give it some breathing room here. And now in the next section, what we're going to do is use a font called font. Awesome. So I'm just going to bring that in in the next video so we can create some icons for this bullet list. 42. Bullet Lists and Font Awesome Icons: all right for this section here, we're gonna take a tiny detour and talk about Bullet Lis in photo shop because you really can't do a true bullet list in photo shop without some, you know, magic. Fine tuning here. This is where in design would have been a much better choice for layout because of the way in design handles text and can do things like that. But I would prefer the power of photo shop for everything else. So I'm willing to work with this bullet list. So what we're gonna do is, uh, if we wanted to just straight up, make a bolt list, click in there and hold on the altar key and hit the number eight. So all eight gives me that traditional bullet point character. Okay, So I could come in here, commands you to copy, and then just click and paste command V to paste in front of each line, which is fine. Uh, it's not ideal way to work in the other. They noticed here, too. Is I auto corrected This when I texted when I type this upsets chain this change this to rails, rails to trails. Okay, That's where we converted a bunch of, ah train tracks into trails for people. So, uh, anyway, so we had a bullet. Listen, which is fine, but, I mean, it's not that compelling yet, So I don't want to show you. Is this thing called font awesome? So go ahead. And Google font awesome. And it's gonna be the top top research result up here. And then it's got this big download button right here in the middle. We'll click on that and they're going to try and take you to Fort Awesome, which is a really cool service you can check out later. But it is a subscription based service, so we don't really care about that right now. No, thanks. We just want to download font. Awesome. So once that's done downloading, you're going to get a zip folder. And inside that is the farm we want to use to install. So I'll go ahead and unzip this folder here and my downloads, and when opens up, we're just looking for the fonts. We'll click on the Fonts folder and then install this TTF file this true type font and then you should be good to go. You have the font installed. Next. We want to take a look at the actual font. Awesome cheat sheet. So just Google font Awesome cheat sheet and you should find this. And this is a reference of all the glitz or the characters within that font. So what? I'm looking for something with a little more Ah, style. So I'm just gonna grab this double right angle bracket it command C to copy that. That Cliff, I mean, I will jump over to photo shop and I will highlight this bullet character and hit command V to Paste. Now, what happened here? We see this little box with an extra it. Well, photo shopped doesn't know how to display this. So it tries to, you know, we were using Oswald, but it just defaults to myriad pro trying to help us out because it doesn't have that cliff character in the library. It doesn't know what to do with it, But once you've installed fun awesome, we can just search for font awesome up here. Click on that. And now it displays that image just like we wanted to. And the reason why I had you pulled the Cici. Did you concede there are a lot more icons we could use, such as this mountain when I just copied. So all downhill. This is actually, uh, let me just, uh, to see a better way to work. Well, we'll just click right here and do fun. Awesome. Again. We'll click on that. This is actually a graph. But you know what? It's pretty close. It could work for an all downhill situation. So what I would do if I was gonna apply Maura these? I'll just highlight that command, see, to copy and then paste these in. And then if I wanted to bring in, say, a unique one for each one, I'm just gonna grab any of them real quick for the sake of the demo. Now that this has already fought awesome, I can command paste, and it'll keep that font for it. So anyway, so that's that. That's our bullet character is now. The next part of this is actually styling our list in a way where it works. If we had more content, So what I mean by that let's say we wanted this to be on two lines of text. Well, if I click in here and hit return it's going to change the whole paragraph. Let's change this letting here. It's going to bump this down, but I want this text to stay up top right next to it. So I'm gonna click once here, hit Delete, Norman hit shift return. And now what I can do is change my letting for this line to get it How I want. Let's tighten it up just a little bit more here. So all I'm really worried about now is how these 1st 2 lines of text work and again I hit shift returned, not just a regular return. Now highlight all of these. I'm gonna jump over to my paragraph tab and now I'm gonna add space between each paragraph . So as I scrubbed this down, you'll notice that the leading stays the same, but the paragraphs jump so it doesn't see this as a paragraph. It's use. It has two lines of tech since I hit that forced break that forced return by holding shift return. Okay. And now I can spaces out, so it just looks better now. The next thing we need to address is I don't like how this text jumps underneath the bullet character I wanted toe fall between the next lines that command a and I'm gonna scrub. Let's see, we're gonna play. It is just a little bit here. I'm gonna scrub this top line negative until it falls in line with the text below. It says a little bit better here. I'll go ahead and hit return, and that is how I would create my bullet list. Now you'll notice when other thing is depending on where your text falls with other text below it. Let's say we're not using a bullet list in the next line. We can control where it falls by scrubbing this other text in Dent line up here so you can really refine and, you know, tweak this to your liking. But it's just the work around that I've learned how to do in photo shop and there hopefully there's got to be a better way. But that's the work around I use right now. So there we go. In the next lesson, we're gonna go ahead and refine our add get it finalized here and get it to print 43. Further Refinement, Adding Photos, and Masking with Shapes: All right, Now, we just need to do a couple more things to get our ad in place looking good. And, Ah, I won't go through everything. I don't want to bore you, but I will go through, You know, the few little finishing touches here, and then I'll show you what I come up with for the final ad and how to export it. So we're gonna do right now. Again. We need it. Continue with our structure here. We need to find a home for this text down here. And I don't really want this bullet list hanging out in the trees. So I'm gonna click once on this photo had command t. And I can see that I have a lot more photo below here. In fact, let me undo that. Are just hit return. I'm gonna eat the letter F which cycles through my screen mode. So we were right here in this 1st 1 There's three different views. I might have to get the next one in that way. I can actually scroll up a little bit and see more. Now I'm gonna hit command T. Anyway, I can see here that there's a lot more image down below. So what I'm gonna do is click and drag up a little bit holding shift in that way, it keeps it in a straight line. So I want enough space below to kind of put my text here, but not lose a lot of what's going on up here. So now I'll hit, return or enter to commit that that transition that transformed and, ah, ride the Hiawatha. This probably needs to be in there, but it doesn't need to be that huge. So bring us down a little bit and I'm gonna play with this title. And a cool effect you can play with is the blend mode. So with this title selected, I'm gonna double click, Not on the name. I don't want to rename it and I don't want to end of the text, but I kind off to the side of that later on a double click and it'll bring up my layer style. What I can do is change how it blends with the underlying layer. So I'm gonna bring this dark up a little bit, and what's gonna happen is it's going to start cutting into my text pretty cool huh? So sorry. Super cheesy. But it is. It's really cool. Eso I'm gonna drag is back. Just a little hole down, alter and split those So I can kind of get more of a smooth transition here between the darks and lights and, uh, bring it right about there. Awesome. I love it. I think it's great. We'll leave it like that just to add some visual interest. Maybe nudge it up. Just a touch here. There we go. Just little things like that. That kind of help her ad stand out. So now I'm going to work on this text a little bit, and we could do the same thing here. We knock out the text behind their helmets. Maybe with mask, so I could click right here. Bring it down, click once, make sure on that layer, and then click down here on this Masks We're gonna add a mask to it. So anything I paint with black will hide anything. White rule reveals where pain with black on top be to get my brush tool that the left bracket key The one that's the letter P and I can t size. It's smaller. And now I can kind of paint over this to bring his head back in front of the text. And this is just a quick selection here, so you'll see my Texas and affected. I've just got a mask going on. If I held on shift and click on it, it turns that off. So it's just just a way to bring them in front of that text here. And I don't like this list up top. I'd rather be down a little bit so we can bring all these down below and start making them smaller and refining the lay out a little bit more. And then the next thing I'll probably want to do is we could leave it like that. Leave it nice and big and bold and beautiful as Faras. The image is concerned, you know, kind of Uncluttered. I'll clean this up a little bit and I'll show you what I come up with, or we could maybe add more photos in here. So what I might do is I'll hit the letter you to get my rectangle tool, and it doesn't matter what color I'm drawing with. I just want to draw a few rectangles in here now. Hold on, Ault. Click and drag holding down Shift to trigger Copy. Perfectly centered. All shift and then click Nivette three boxes, All shift. Click. All of them command t and drag it up to fit within my guides here. So now I've got boxes that I can use as a mask. So let me show you what I'm talking about. I'm gonna jump over to, uh, that add real quick. And I just jumped into that photos folder that we had earlier cause I want to grab some photos that kind of show off what the trail really is. So here's a nice one where you can really see one of those. Skybridge is So I'm gonna click once on this rectangle. I want to put that one in the middle. Well, Jim, back over to find her, and I'll click and drag over into here, and I'll scale it down just a little bit return. And now coming over to my layers panel. I'm gonna hold between those layers, hold on the altar key, and then click, and the layer above will be masked by the layer below. So there's one image in there and I can scale it toe however I want. And that's grab a couple more real quick. I'm gonna grab one for the left side, so I'll click on that. So I'm right there that we want to bring in my full My photo. It'll come in right above that shape. So here's another nice one. Click and drag over there. Hold on, shift and click. There we go. Hold on, Ault to mask that. And I can refine this. You'll notice the masks shape. Stay still, but Aiken scale and transform the shape to fit. And now here, let's grab another one. And I could grab that one. It looks a lot like the other ones we have. Maybe we'll grab one of this, kid. Let's see which one I want to use. How about Yeah, Well, use no use this guy. All right, here we go. I'm just gonna look one more time. Make sure I'm on that rectangle layers when I bring that photo in its at the top, resize it a little bit it return. Hold on, Alden, Click between the mask It. And now I've got three images right across the top. Now, the next issue is they don't really stand out, and they blend in pretty pretty closely because of the trees behind it. So there's a couple solutions weaken do. One would be to maybe put a stroke around it, so I'll click on that rectangle layer and then I'll double click off to the side here, and I will add a stroke layer style and we can see it adds a nice stroke. Maybe I'll change the size of it and we can play with some different options there. But I'll leave that alone for now and then I can take that layer style. We can turn it on and off, so just added a layer style of that shape. I can hold on Ault on that effects layer. Click and drag down to the next one and automatically apply it to the next layer. Another way to do that is to right click copy, shape attributes or copy. Layer. Style actually is a layer style click back on this other shape that doesn't have it yet, right Click, and we want to paste the layer style. There we go, so a couple ways to work there. So that's one way to set these images off from the background. Another way we could do it would be to come back and grab these and I'm having a hard time seeing on my later. So it's gonna tear this out and we can shift click between all those layers and put them in their own folder. And I could apply maybe a drop shadow to help it stand off a little bit further, and it's kind of tough to see right now. I can make it a little bit darker, maybe make it spread out a little bit more and you're starting to see where it adds that drop shadow. Now. Personally, I'm not a huge fan of where this is going, But I did want to show you at least one way you can make this stand off of the background, so I'm gonna turn off that drop shadow. Though I don't like where it's going. Maybe we put a layer below it. So a command click that way I get a layer below the one I had selected, and maybe I will put some sort of shape behind there. So maybe all draw selection here and hit de to get my default colors and hit command delete to fill it with my background color. And now it's filled with white bar. So also not quite the right fit for this. So let me jump over their website real quick. Let's see what they did. They have. You know, this nice texture in the background. So we we could mimic that texture or find something really similar. Exit what font here. But I'm just going to take a quick screen shot just to kind of grab it as a sample command shift and convention number four. And if I hold the space bar, I can move the selection around to get it perfect. I'm just gonna hold down control to copy it to my clipboard. Come back over here, Command V to paste it. Command T to free transform. I'm gonna rotate it, holding on shifts. So it's perfectly at 90 degree angles. I'm gonna scale it up a little bit, so this might not print that well, but at least I can see if it's a direction I want to pursue. If this is going to work and help make it stand off a little bit, so that's another way we can do that so I'm gonna do now. I'm gonna go ahead and pause this video. I've given you a lot of tips and tricks. I'm just gonna work through this ad, kind of finish it up to where I would want to ship it, and then I'll bring it back up, and we can learn how to export this for press. 44. Export the Final Ad for Press & Reviewing Design Decisions: Alright, So I've got the final adhere and we're going to do in this video is show you how to get rid of the Adobe stock watermark in the background. And then how to export this for press at the end of the video will do a quick run down on the design decisions that I made. So first things first. Let's go ahead and get rid of this Adobe stock logo right here. So I'm going to do is click once on that layer to get my mountain biking image selected Now because I never rast arised or flattened this layer, it still has a tiny little cloud icon in the bottom, right? What that means is it's still it's still sinking to the cloud is a smart object. So what I can Dio is in my library appear I can right click on that image Click on Licence Image. Then it's gonna ask me if I want to use one of my licenses that I have available and I'm gonna go ahead and click on the OK button, and now it's going to start sinking right here. It'll show a little check mark that this is indeed licensed and then is as soon as it's done sinking. It's going to automatically take that watermark off of my background image. There we go. Just like that. The watermark is gone, have purchased that image, and now it's going to be a high rez image that I can use when sending this depressed. So how do we send us to press? Actually, is pretty simple. What I dio first and foremost, that will come up here the layers and I'm gonna click on Flatten Image and the reason why I'll go ahead and discard his hidden layers here. And the reason why I don't want the text accidentally get moved, or I don't have to worry about the printer having the right font to print this or anything happening. I want to say this is a flat image that where there's no chance anything. It's messed up. Once I send this out, I know that everything is exactly how I wanted. So I flatten this image. Go to file. I'll go down to save as and typically the best file format for Ah, print is going to be a PdF in this case, so I'll choose pdf actually, in this case, It's Photoshopped. Pdf from my format bar, and I'll just say this right to my desktop. For now and again, it's Mountain bike, Full page ad dash final. I'll go ahead and hit Save, making sure that we've got this color profile selected and that's it. You've just created your first ad hope One more thing here. Let's go ahead and turn off. Preserve Photoshopped editing capabilities. We don't need that in this case. I'll turn that off. I'll go ahead and hit, Save PdF and there we go. Now that sits, We have our new PdF file that will be saved on the desktop and you're good to go. You've made your first ad. So congratulations. All right. Now let's take a look at this ad from the perspective of a graphic designer and marketing in mind. So I think it's an effective ad in that it right off the top. You know, it's about mountain biking. You know the word Hiawatha is obviously like that's what this place is. And then in the bottom, right? The call to action. You know, if you need more information, here's what Here's the phone number and we've got a social media icons and left. So that's all great like from from the perspective of what add needs to do. It's working great now a couple of design decisions that I wish I could have done a little bit better would be Number one is. Always pay attention to your hierarchy or your hierarchical structure. You can't have the same volume on everything, right? So but I mean by that is this title Mountain bike is almost the same. Size is Hiawatha, but there's a conflict here because of the word mountain bike is at the top. Re read top down, right, left, right. So since this is at the top, we see that first. But our eyes fighting toe want to read the word Hiawatha down here. The other issue is because we have people in our ad. We are by nature when we see people will look at them first, almost always. And so we've got these people, but they're tiny down here in the titles big, so there's, you know, there's a lot of motion and movement in the ad, which is fine, but typically I like to pick one thing and make it the complete focus. So it's OK, but, you know, I feel like I could have pushed us a little bit further. And that's where you as a designer, have to decide where you going to spend your time, right? So sometimes budget or timing just doesn't allow you to pursue all of the design looks you want. So, uh, anyway, that's how I ended up with this look. And then down here, the rest of it is just making the text fit in a way where you're happy with the negative space and where it lays out. So, for example, this chunk of text right here, um, it, ah flows kind of nicely around where his hand is and where his feet, you know, the negative space is really nice, is it's a good balance between the space above this line here on the horizon and the footer . So I'm pretty happy with where the elements line up. But if I turn my guides on, you see everything lines up really well. So pay attention to the elements on a page and how they all come together like down here. That guy, it is carried all the way down to where my text falls on the right and on the left. So I always pay pretty close attention to that. No, I'm aligning this text down here across the bottom guide where my safety is. That logo kind of creeps past it a touch, and this text over here is lined up center to this logo, just trying to give it as much balance as possible. So these air little design decisions that you'll have to make as you work through things don't let stuff just fall on a page and not make a conscious decision about where it's at now. The other thing I did, I did bring in some custom brushes, and basically this layer right here is just It's got a light brown texture over the top of my dark brown footer that has kind of a roughed up edge. So that was just using custom brushes and photo shop, nothing too crazy or fancy and feel free to download this file in the Assets folder, and you can pick it apart and see how I made it. So hopefully as helpful, hopefully enjoyed this section. And ah, thanks for watching 45. How to Package Editable Photoshop Files to Share With Someone Else: So I showed you how to make a press ready file. But now I want to show you how to share the design file the edit herbal file. So, really, the main thing I want to show you is that because we used in Adobe Stock Image, it's actually linked through the clouds for this little cloud icon. And had I used any other graphics, let's say any logos or anything else that I brought them over from my Creative Cloud library. They would all be links. They wouldn't actually be directly embedded into this file. So when I go to show this PSD document, those would be missing graphics or missing assets. So there's two ways to fix that. One would be to simply embed that layer so right click on this image and go down to embed linked. We'll click on that, and now I'll turn this from a cloud element into a smart object, and it will maintain that visibility in that layer in that documents in gesture, the one document you're in good shape Minute command Z the other way around. This is to come up here to file down to package and throw it anywhere you want, it will create a new folder for use also on my desktop. Choose. And what is going to do is package up all of the links and all of the assets for this document. So it made a new folder for me. It created a Lynx folder for me, where we have that J peg layer that will be linked up when we open this new PSD. And then we also have the edible PSD file, so that's great. Now one thing that I see here that it didn't bring with me is fonts. So if you remember at the beginning of this, we used the font Oswald, which is not currently included in our type kit, so you wouldn't want to make sure that you send that font along, too, just in case the person who's openings up didn't have that fun to use. Other than that, that's pretty straightforward. So hopefully that helps you out. The last thing I would do would right click on this and compress it or send it to a zip full. Or just so it's easier to share 46. InDesign ebook intro: Let's take a look at Adobe in design for the first time I don't want to do in this section is get you up and running as quickly as possible by showing you what I think of the most important things to know. For anybody just starting out, we're going to do that by creating a simple E book. Actually, it's probably more like a white paper. It will be about a 10 to 15 page document once it's all said and done. So it's good and dive in by clicking on the new button here to open up our new document dialog box. And what we're gonna do now is change the intent from print by clicking on this drop down button and change it to digital publishing. With that said, it's going to default to the page size as an IPAD size. But if we click on this drop down, you can see we do have some other device presets available. If you were wanting to make something different, I'm gonna click on this portrait thumbnail right here to change my orientation of the document and then on the margins down here, I'll click on the little link button so I can set custom sizes for each side. So for the top, let's put out 100 50 pixels and that'll give me enough room to drop in the logo on every page. Since this will be a branded white paper on the bottom, left and right will put it 75 pixels, so put in 75 picks it command A to highlight that command. See to copy Hit tab a couple times Command V hit Tabal. More time in command V again, two pesos values. If you're on a PC, it's It's control C and Control V. We'll click. OK, and now we've got a brand new documents set up. So before we go any further, let's go ahead and save this So file save and I've got a folder on my desktop where I've got all of the assets for this project in my Design Files folder in my in design folder. I'll go ahead and save this document as e book. I don't click, save all right, so let's go ahead and dive in to the work space and start off with the first things I want to show you. So let's make sure We're looking at the same screen on the top, right? Click on that drop down, make sure you see advanced workspace. If you don't go ahead, click on that now and then Hit, reset, advanced. So we see the same thing, and the first thing I want to bring your attention to is the pages. So I click on this page is fly out menu, and right now we only have one page in a document, and we also have one master. So what the master is, it's like a master template. Whatever we put on this one master will be applied to, However, many pages refer to that master. So let's go ahead and start by double clicking on that a master and what I want to put in right now is just simple information at the footer and the page numbers. So I'll click and drag with my text tool by hitting a letter T and then clicking and dragging. And what has put in this simple copyright information Copyright 2 2016 period. All rights reserved and what I'm gonna do is zoom in a little bit with that command space bar shortcut. I'll click once on this text box. Hold down, Ault. Click and drag a copy to the right here and now with this text box selected, I'm going with the letter T to change my options, bar at the top to my text options and align this to the right. So now this will line up to the right side. I'll triple clicking here. And instead of having this text, we just made what I want to put in. There is some special type right here. We go to type, insert special character. Two markers. We can set our current page number, know what is going to do is just put the letter a in on our master page. It's just a filler, but if we click on Page one, we can see that it actually changes to whatever pages is. And if I have a couple more pages, you can see that each page has the coordinating page number. So where master pages really come in handy are if you have repeating elements that need to be applied to multiple pages. So here's a way to make this more obvious. I'll just quickly drive bigger rectangle here, using my rectangle tool on the Master page. And now these thumbnails along the right reflect that each page now has that same rectangle applied. So you could have multiple masters, maybe for each section of your book, where you have different colors for the opening section, or maybe different section markers or whatever you wanted to dio. And that's a great way to do the work once in one spot. And then if you ever need to change it, you can change it there, and that change will be applied to all the subsequent pages. So I'm gonna come back to this a master document. I'll click on that rectangle, and I'll just delete it for now. I'll go ahead and hit Save, and this is probably a good spot to pause. And in the next lesson, what we're gonna do is actually bring in the assets for this document So we'll start gathering the text and the photos on the logo's. We need to finish 47. Placing Assets and Basic Layout: let's start bringing assets into our in design file. First of all, what I'm gonna do is covered in these pages here and delete those couple extra pages I made at the trash can and at the trash can will more time to delete those couple pages. And now, on this first page, what I want to do is bring in our text first, so I'll come up here to file. I'll come down to place or command D is my shortcut, and then you can place any asset or any documents that I could be a word doc in this case, or a logo file or a photo and I'll click open. And what it will do is a load my cursor with that asset. So with this loaded, I can do a couple things. I can click and drag, which brings in most of my text, but you'll notice that I do have this little red box with the plus icon, meaning that there's some text that's not falling within that text box. It's over set text and I can try and drag these handles to make more of it fit. But maybe I still need more space So what I can do is click on that Icahn, and what is going to do is load my cursor again so I can draw another text box, and it's going to link from the bottom of the first to the top of the next. So as I scale this size, it's going to re flow dynamically into the next text box. And maybe I still need even more room so I could click on that and drag yet another text box. Probably a faster way to work, though depending on where you're at in your project would be simply too. Click on the top left border of your margin. Ah, hold down shift key and you'll notice my icon changes to that wave form, meaning it's going toe. Fill these margins. But it's also going to create more pages, however many it takes to fill the document and to not crop anything offer, have oversight text. So you'll notice, as I did that it went ahead and automatically created two more pages. All right, so we've got our text in here. I was gonna hit command s real quick to make sure I save, and the next thing I want to bring in is a logo to the top of every page. So you might think off the bat to just drag your logo right into the top of this page, which would be fine. But again, we talked about this in the last video where now that logo is on Lee on page one. That's on page two or three and I went on every page. So I'm gonna go ahead and cut this hit Command X to copy to my clipboard and cut it. Come over, my a master, and I'll double click here and then hit command V to paste it. I'll drink it up in the place right about that. Looks good. I couldn't let her e to get my free transform tool and scale this up. Just a touch. And there we go. Now that logo will be on every page of my document. Now I want to quickly take a look at another powerful feature of in design and that's paragraph styles. So again, making sure in the advanced workspace come all the way down towards the bottom and click on paragraph styles. Currently, we have a couple that came in with that word doc that we created, but I want to go ahead and start styling my text. So a good rule of thumb is any text you set for reading. You probably wanna have about 12 words across for optimum reading. It's just a number I heard somewhere our office tour falls, but I found that that makes a pretty, pretty good rule of thumb. So right now at 123456789 10 11 12 So 13 14 15 16 17 18 1920. About 20 words. So we need to make our text a little bit bigger to make it fall within that ideal reading range. I'm just gonna highlight some of this paragraph text here, and let's just kind of bump this up a little bit more. Let's try 14 point. That looks pretty good. 123456789 10 11 12 13 14. So it's still a little bit, you know, could be a touch bigger. Let's go to 15 point and we'll call that good. Now my letting needs to be adjusted. It looks like the words or just bumping right into each other, so I'm gonna highlight again, and I'm gonna adjust my letting till I feel like it's easily read more legible there. Okay, great. So now what I want to do is actually create a paragraph style out of this and one last thing here. So I'll just highlight any of this text, and we'll click on this new icon in the paragraph Styles Window is gonna create a brand new paragraph style for me. I'll double click on that, and I could name Miss anything I want. So let's just call this body is it'll be our Broady text. I'll make sure my preview tab is selected, and now I can come through and set a lot more options for this tech. So, for example, may be said of Georgia. We want to make this, Helvetica said. It's a regular. We can adjust a lot more settings here, but for right now that looks OK and we've got some in dense and settings. One thing that I usually go through and change is I will make sure that my hyphenation is set to none, so uncheck that right there and then our character color down here might be another option . You might want to update as far as what color you're using for the fund. I'll go ahead and click, OK, right now And we can see that this chunk of text has the body style set to it. So I'm gonna do is click once in this and hit command A to highlight everything across every page that we brought in. And I'm going to click on this body style now to apply that to everything. Now you see, we get this little plus sign. What that means is we've got our body style plus a few other. So what we want to do is go ahead and override that setting right now. I'll do that by all to clicking on this icon right here to clear those overrides. And now you see, the plus sign goes away and now truly every piece of text has that applied to it. Now, where this comes in really, really handy is let's say you have a bunch of different paragraphs set. You can come in after the fact click on this style and anything that has that style applied to it will be changed if you ever change your mind. So for example, character color If we wanted to be blue I click on that once and now All that text that had paragraph style applied to it will be blue Now, of course I want to be blue text. It looks terrible. So make it black click OK, And now the next text I want a format will be my headings So I'm gonna clicking here, grab this introduction title and I'll create a new paragraph style by clicking on this new paragraph icon We get paragraph style one, I'll double click on here And I was gonna call this H one That would be my heading tag And we will change the character formats from Helvetica to a font called Freshman And I'm gonna change the case to all caps. I'm happy with the letting for now I'm gonna change my tracking I'm gonna track it out Just a touch and then I'm gonna go ahead and click OK, so now what I can do is come through and find all the titles will click once in there. I don't even have to hide the whole thing. It just sees this whole thing is a paragraph I'll click on H one to set that. And I see I've got an extra space between here, so I'll just go ahead and delete that real quick to bring that together before my next title click once in their apply the H one tag. And again I'll kind of remove these extra spaces between here and I still have some over set text now. So I come back to my pages and I see that I've only got three pages. But now, because of the font changes, we have some oversight text. So I'll click once on this little plus sign. I'm gonna add a new page. Starting on page four, I'll come up to the top here and hold down shift to change to my re flow icon and click. So now it'll take the rest of that text that was over set, and it'll flow through until it has enough pages. So now I currently have six pages in my document. Now's a good time to hit command s to save and this finish applying those title tags to my other section so I'll scroll down and find that last heading here, and I'll come over to my paragraph styles window and apply that H one tag, Remove my extra paragraph and now we're good there. So we have our text in here. We have some basic paragraph styles set. We have automatic page numbering turned on and a logo for every page. So now what we want to do is bring in new photos for each section. So I'll jump back to my pages window and let's go ahead and start by adding a cover. So click up here on page one and I will click once on the new icon down here to get a new page. Right below that page one, I'll click and drag to bring that in front. So now I've got a brand new page in front without any text on it. Let's go ahead and remove this master page. Currently, it's set to the A master page will click on this none icon and drag down to that first page . So now we have no elements on this page whatsoever. I'm come over my creative cloud libraries, and I already have some photos that I've brought in specific to this project, so I'll just drag and drop this image right over to this cover page and you'll notice I get the loaded cursor just like I did with my text. Now, if I click once, it's going to paste this at full size for the image and you'll see that it's not quite full screen. But that's because we haven't purchased it yet, so it's actually just a small sample file. I command Z my loaded cursor icon again. I'll zoom in and I can also click and drag to make that image as big as I want right out of the gate. I command you one more time. What I want to do is kind of hybrid of both. I'm gonna click once to get it is Bigas It can be. And then I'm gonna drag it in place with the letter e to get my free transform tool over here. And I'm just going to scale this up until it fills in the entire page. Now. Usually what I would do on a cover like this is I would probably design it in photo shop, and that's something where again you can place anything in in design. So I would use Photoshopped because I'm more comfortable with some of its design. Resource is to create a more compelling cover. And then I would place that Photoshopped file right in here like we did this image. But in this case, I want to show you how to work mostly in in design. So we're gonna go ahead in this place is image. And then with my move tool selected, not my free transform tool. I can actually grab these handles and that will mask instead of actually scaling that image down so I could just grab these dragon into place. And now we have an image for our cover. I'm gonna go ahead and save here, and then what we're gonna do in the next video is push the design just a little bit further and then show you how to export this. Pdf 48. Finalize the Design, Exporting, and Packaging Final Files: Let's go ahead and add a few more finishing touches to this document, and then we'll go ahead and license these images and then send our document to pdf. So let's go ahead and click over here on the Creative Cloud libraries, and you can see I do have some or images toe ad for sections here. But if I add a new section, I don't want to have this logo over the top. So what we'll do is click on pages and I'll creating New Master page here. All right, click on this. A master. I'll duplicate master spread a master. And that way my guides come along and everything else here if I wanted to keep it. But I don't want to keep the logo. So I'll go ahead and click once on here to delete that logo image. And then I'm gonna go ahead and leave these copyright and page number elements down here simply because my new sections air only gonna have a photo at the top. But then it'll continue on with the tax. So I want to go ahead and keep those elements down there. Now the other thing I want to change is the size of my margin of the top. So what I'll do is I'll come to lay out one of margins and columns and that top margin I think I'm gonna double or triple it. So let's try 300 pixels and see what that looks like. I'm gonna go ahead and do maybe 500 pixels instead. And that looks about right, so I'll go ahead and click. OK, And now my margin on my be master pages starts about 500 pixels down. So I have roughly about two paragraphs of text space down here with a large image across the top. What I'm gonna do is also dragged down a guide and I'll bring it down to about maybe 400 pixels or so. And that way I've got plenty of space for a photo and then plenty of breathing room between the photo and word the paragraph starts. So now what I'll do is I'll come back to page two all double click there, and this is the beginning of this section. So what I want to do is go ahead and apply. Might be master to this page saw, click and drag from that icon from the B master page over page two and let go. And now you'll see my logo goes away, and also my margin moved down considerably. So I'll click once on this text box with my move tool. I'll grab this handle and I'll just scale it down. So that way start within that guide, and then I can see that I have my ruler across the page, too. So let's go ahead and ring over another photo for this first section. And since this talks about fitness beginning and ending in the kitchen, we'll go ahead and grab my kitchen. Photo of Dragon Drop getting my loaded cursor and I'm gonna hover over the top left of the document to my arrow, turns white on a click and drag towards the left until I fill the screen and you can see that I come down much further than I wanted to. So I'll go ahead and just drag up with that handle with my move tool, and it's going to mask now. If I needed to rearrange where that mask happens, I can click on this circle right here in the middle, and it's going to move my photo but keep the mask intact. All right, so now what I want to do is go ahead and add the other section photos. So I'm going to come back to my pages and I'm gonna scroll down. And one thing to keep in mind is because we lost considerable amount of tech space up here . As we move things down, we're gonna have over set text at the end of our document again. So I have to keep that in mind as we work. I'm gonna go ahead and jump to this next section here, and you see that it actually falls right in the middle of his page. So what I want to do is come to my paragraph style. I'll click on my H one and I'm going to change the paragraph rules, specifically the keep options. So if I click on this option here, and I can choose to start the paragraph on the next page so this paragraph is always going to start at the top of the next blank page. Instead of starting in the middle, I'll click. OK, and now we can see that any new section starts fresh at the beginning of a new page. Now, I've got my title in this text box here, so I'm gonna highlight it. Hey, Command x to cut it. Hit the delete key once a couple times here. And that brings that first heading where it should belong. And that title. I'm just going to click and drag on my cover page and hit Command V to paste it, and I'll come back to that later. So let's go back down our document here and you can see that we have a considerable amount of blank space down here, and then our new documents starts fresh on this page. I'll come back to my pages and we're on page four and I'll apply that be master page for no resize this down and I'll grab another image here. So for healthy food choices, we'll go ahead and grab one of these images and drag it over doing the same thing when you come to the top left, click and drag all the way to the right. It's a letter V to get my move tool, and we're gonna resize this until it lines up with our guides here and there. We have a brand new section heading for section one here, so let's just kind of quickly recap. But this is looking like it looks pretty good. We do have a lot of space here that we can fill if we're trying to keep each section starting fresh like this. All right, so that looks good. And let's go ahead and create our third section. So what I'm gonna do is where this falls on Section two. This is page six. Currently, I'll drag down my be master again. We'll scale this text down so that the top of our margins and we'll bring over one more image here from our library. Click and drag. And there we go. I was gonna resize this mask one more time. So now we've got pretty even consistent branding all across the document. It's a good time to save site command as to save this. And now we've got some over set text. So what I'll do is Jim back to my pages. Here. We're on page seven. I'll add a new page of the bottom. Come back to page seven. Click on that little plus sign here, come over to page eight and then shift. Click on that margin to refloat the rest of our text. We have our action steps here at the end of the document will add one more photo here. So I'm going to drag over that Be master to remove the logo and to change our guides here. So we have plenty of space for that image. Grab one more image here and then change that mask to fall in line with our guide. All right, so let's just do a quick recap here. We've got all of our text in place. We have our section set up, and now we just need to create that cover image that title here, and then purchase those photos. Let's go into that real quick, and then we can wrap this up. So what I'm going to do is triple clicking here to highlight all of that text command shift and the period key to just do the shortcut to make it bigger. I don't need the word title. I just want the word food and fitness 101 So delete the word title command A to highlight all of that, Emma, click up here to change my font color to paper, so it'll be white. Essentially. So now I've got that set The white If I hit the letter w I can change my view to hide all of my guides to see how this is looking. I letter w again to bring it back. The other thing you'll notice is this looks kind of terrible as far as his image looks really grainy. Part of that is this is just a sample, but the other part of it is if we come up here to view, we can change our display performance toe high qualities display and almost always all work with my high quality display turned on. This is just a way to save your computer from having to work too hard. If you've got a lot of images you're working with or if maybe your computer isn't that fast and you notice that the performance isn't that great, But I typically work with high quality display turned on and then you'll notice the image does get cleaned up quite a bit. So I'm gonna go ahead and triple clicking here and we'll change this font to that freshman fonds click, OK, and I'm gonna make it much, much bigger sums gonna keep hitting command shift and the period key to get the font much bigger. And I'm a hit command Ault and the Down Arrow to change my letting. Here I'll click on Move Tool and you'll see that we've We've got over set text because it's too big now. So I'm just gonna drag this text box larger to make it all fit. Tropical can hear one more time and just kind of nudged the funds into place and last, Let's just go ahead and click once and I'll hit the letter E now to get my free transform tool because I want to just scale this up just enough that it lands within both sides of my guides here So it's balanced and I'll drag this down here. I had the W key one more time just to see how this looks without any guides on. All right, so we're ready to purchase the images and then ship this off here. So let's go ahead and start by jumping over to our Creative Cloud library section. I'm gonna find this first image here for the cover. All right, click on it and I'll click on licence image, and it's gonna ask me if I want to use one of my 50 licenses, so I'll click. OK, and it's gonna automatically start updating that image moved to the top. Adds a blue check mark showing me that is licensed on what's done sinking. This watermark will go away. Now, let's go find those other images. We've got the image of the kitchen here, so find that image will, right, click license image, and I'll hit. Okay. Will come down to the next one right here of these foods. Right? Click license image. Okay. And this guy click on that once right click license image and I'll hit. Okay. And last but not least, we've got this blue image here. All right, click license image and I'll click. OK, up here. Now, once all those licenses finally sink up here, you can see the watermarks will go away. My cover looks good. Now I scroll down. Some of them are still sinking with the cloud. But once they're all all done, I can go ahead and export this file. So it's going to do one more pass out. It just kind of look at things. And one thing you'll notice here I do have some over set texts, but I'm gonna leave this here for just a second. I'm gonna come up here to file export, and I'm going to save this in that folder on my desktop. Under file sent will put this in my finals folder and I'm gonna change a format from Adobe pdf print to Adobe Pdf Interactive and then I'll go ahead and click on Save. So here we have some different options we can work through Right now, I've just got to set the pages, which is fine. Most of these settings come up by Default will be just fine, but you can look over them if you want. I tend to leave my resolution at 150 pixels per inch. Even though screen resolution is technically 72. This way I find that has better images. Is Fleming wants to zoom in? The image is will Stoke will still look clear and crisp so I'll click. OK, And here is the reason why I didn't update the text I wanted to show you. If you do have over set text, it will tell you where the errors are. So click OK, I'll cook. Okay, one more time and I'll screw all the way to the bottom of this document will jump back to my pages. Here, add a new page. Come back to page eight. Click once on that text box with over set text. Click on that plus sign, come back to page nine and then make sure I've got my a master applied to that Page nine. And then shift. Click with that loaded cursor toe load the rest of the text there. All right. We should be in good shape. So let's go ahead and export this again. I'm gonna hit command E this time to get my export box. I'm gonna stick it in that finals folder, making sure my format is still selected as interactive and not print. Since this is for screen, I'll go ahead and hit. Save all these options. Air good will hit. Okay. And it's going to generate our pdf and export each page once It's all said and done because this is intended for digital use is gonna try and take this full screen. You can hit yes or no whatever you want, but you can see here that we've got our document All done, and it takes over full screen beautifully. And from here, we can see we have all of our sections and our images without watermarks. And we're good to go to wrap this section up. We should probably talk about how to package all of these assets once it's all done. So what I'm gonna do real quick, like the escape key to get a full screen mode here. Well, Gordon, close that window will jump back into in design. And this time, instead of going to file export, we're gonna go all the way down to package here, and this will scrape together all of the fonds and any linked graphics that we used for this project. I'll go ahead and hit the word package here, and then I'll stick the final folder inside of that finals folders. Right now it's going to save a folder called E Book folder. And in that folder it's going to stick our fonts, any linked graphic. So all those images we bought from the creative cloud, as well as the logo we used it's going to update all of those links. So instead of being linked to the cloud, they'll be linked directly to a folder inside of this e book folder. It's going to include fonts, links and the I. D ML format, which will be, AH, format you can use to open this an older versions of in design as well as a PdF file that you could share here. So go and hit the word package down here, and it's going to go ahead and create are in design package. Once it's all done, I can jump over and defined her and I confined that e book folder and inside there we have our document fonts that reused. We have our idea Mel format, which again is a way to open this. In an older version of in design, we have our new in design file, which is an edit herbal version with updated links that refer back to these links. Here in this folder, where we have all those images and all of the assets, we need to share the instructions on how to print this and everything should be good to go . So that's it. That is your introductory course on in design. I hope you learned a ton and at the same time, keep in mind. There is a ton left to learn within design. It's a super powerful tool, so I highly encourage you to poke around and see what else you can dio. 49. Custom Brochure Introduction: all right. In this session, we're going to create a custom brochure for stand up paddleboard Rental company, a local company here in Montana. We're going to take inspiration from one of these product catalogs I found of Stand up Paddleboards here. So when I apply the look and feel of this catalog to a simple nine by 12 brochure, here is the, ah, the guide that I have downloaded from one of the printers we will use. So that way we have the right file settings out of the gate, and we're going to implement some of their photos and board that they rent out things like that to create a custom trifle brochure that then will be used to place in one of these rat cards that you might have seen at the hotels or different tourist traps. Here. We'll take a look at what would make an effective brochure, and I'll start from very start to finish everything from setting up your files, how to design something custom, and then how to ship it to print. All right, let's get started 50. Custom Brochure: Beginning With the End in Mind: all right, Before we get too far down the road here, we actually need to start with the end in mind. And what I mean by that is, where is this brochure going? Toe live? Where is it going to be seen and what's its purpose? So right now we're going to create a simple trifle brochure, and it's going to go in a rack card or Iraq like this, both in hotels and in like the Chamber of Commerce and anywhere else that will let us stash a brochure. So looking at this, you know, typically try trifle. Brochures can be an 8.5 by 11 or, in this case, it's a nine by 12. So when we folded up, it's going to be about four inches wide by about nine inches tall, and you'll see that we have a lot of competition. We have a lot of other tourist traps and destinations that this brochure has to stand out against. So as we look closer and look at some of these designs, which one stick out to you as you look at this now, to me, if I'm interested in activity, I see the ones that actually say what it iss. So, for example, this helicopter tours really sticks out to me. Rafting sticks out, fishing sticks out. You know, these are the activity. So if I'm interested in same mountain biking or in this case, paddleboarding, I probably want to see the word paddleboard right on top. Some of the other brochures over here that have their bullet list or or just part of the design that gets hidden behind the other brochures to me aren't nearly as effective as the ones that simply say, Hey, here's what I'm about So will definitely implement that as we dive in to our design will create some sort of design that probably has the word paddleboard right at the top just to catch your attention. So we'll keep that in mind. The other thing is the physical limitations of the size. So again, these brochures are about four inches wide by about nine inches tall. And what we need to do now is figure out well, who's gonna print this right for thinking with the end in mind, who is actually going to produce this brochure force. So I've got a few different printers here that I use personally that I wanted to share with you and that you take a look at you're welcome to do anything you want Here, pick any size you want here. But Print Runner is one that I've used for quite a while. They do a pretty good job there, nothing super fancy. But they're extremely affordable, very inexpensive to print with these guys. And you can choose some of the printing options here and see right away how much it's gonna cost if we click down on the drop down size, they do have an option stock right out of the gate for nine inch by 12 inch. So that's perfect for what we need today. So I know that the air definitely a good option to produce this piece for me. I've got another company here called Four Color Print, and these guys, I've been super impressed with their quality of their business cards. I've got a sample pack I ordered from them, and their incredible really, really good craftsmanship really impressed with them. I haven't ordered a brochure from them yet, so I don't know, but I would assume it would be of the same kind of quality and caliber. But here's another option. And then one that he used locally. I'm in Montana, so these guys are out of Montana printing for less dot com. They've got by far the best customer support I've ever seen or had to work with. I've actually been to their facility, state of the art, really great people and awesome capabilities. So I would definitely recommend them as well. If you're going to produce anything for print in this case, the brochure, so definitely give them a call or order a free sample so you can see what they can do. And then here's just a few other that I Googled and found. Jack Prince is a great one. Ah, ps print I've never used personally, but they do have some options here that look at the pretty affordable and then, of course, Vista print. I have also seen lots of commercials about them, but I have never actually personally used them. So all of that in mind, let's go ahead and get started. There's a couple ways we can work. One is ah, lot of printers already have the template for the file you're needing. So sometimes it's easy. Just to give him a call or in this case, just download the file you need, or we can create it from scratch. So we'll show you both ways here in just a second, I'm gonna jump over here to print Runner. So promoter dot com come over to brochures and then you can clicked on click on whatever side you want to work with. In this case, I've got the templates tab right here, and they have all kinds of templates already created for me. So the one that we want specifically is just this nine by 12. Trifled. So click the download button and I'll choose Photoshopped for my format right now, and I'll down with the template. And while that's downloading, in fact, it's already done here. I just want to show you one other thing that might be helpful for those of you who don't know anything about printing yet or the production of brochures. They've got a really great illustration here to show you what the folds look like. So we have 1/2 fold tri fold, and this is the brochure we're going to be making today. You see how that folds up, But they also have other options, like a Z fold and a gatefold that could be really effective solutions, depending on where this is going in what you want to do. So just take a look at that. Get familiar with the folds that folds that are available as well as the paper stock. In this case, we're going to be designing for £100 gloss book, so that's something I'll get into a little bit later. But basically it's gonna feel really good in your hands. It's going to be a little bit shiny, and it's gonna feel, um ah, pretty sturdy, but not too sturdy, not like a card stock. So it's a great choice for this brochure, and in the next lesson here, we're gonna take a look at that. Ah, template I just downloaded. And also look at creating a new file from scratch. 51. Custom Brochure File Setup: all right. So we just looked at the end in mind. We know what we're about to make, and we download the template for it. And unfortunately, this is about to be the most boring part of this whole section, and I apologize in advance, so we're gonna try and blitz through it as fast as we can. Ah, And also, even though we downloaded this template, I really want to show you how to create this from scratch. Because here's the deal. We want to learn how to do this and create custom custom projects here. So by learning how to set the projects ourself and set up these files like these templates , you'll be able to deviate from these and create anything you can imagine at any size. So let's look at these templates real quick and just kind of see what we've got going on. And then we'll create our own template for our own needs. So right now this brochure is actually the documents looking at Ah, portrait mode right here. Vertical. So I see my front cover. I see my back cover, and then I see my inside panel. So it is one document here and it's just got guides to show me where things fall. So if we wanted to dive in with the brochure, just building right over the top of this document, how I would work cause I'd come appear to image image rotation and I'll rotate this clockwise real quick just because we're going to build a standard, you know, tall, skinny brochure here. So I've got my layers here. This guide is just on this background layer. What I'd probably do is that command you to jump it to its own layer. I'll fill the background with black by hitting or with bite, I guess, by hitting command delete. It's a short cut to fill with that background color, and now if I turn off that layer, we just jump cut. If we got a blank white campus, the other thing I'd start doing is building in my guide. So with my ruler turned on, if you don't see that good of you and then rulers or command are I would drop in just some guides in the reason why is because I don't always want to see all of the extra, um, you know, all the extra text and stuff here, so I drop in some guides. It kind of showed me where my crops are going to be and ah, my trim marks in my folds and stuff like that. So then what I could do And I won't do all of this because this is not how we're going to work. But I just want to show you If I was building on this template, how I would go about it, I'll turn off this guide layer. Let's just rename this. Call it guide. So we remember what it is. I'll turn that off, and now we can see that I have the the regular guides from photo shop in there. There are a lot more subtle and it makes it so. I can really focus on the design now that I know where my cover sizes and I got the front back and the inside flap, I could start designing, and there's a lot of ways that could go about it. Maybe it's just dragging in one of these photos and, ah, scaling it up a little bit, maybe putting a title in here paddleboard rentals, you know, and you can get the idea really quick how you can start to build a custom brochure going about it. This method here, when it's all said and done, we could simply export this in Senate press, which again, this is great if the printer you're gonna work with has a template for you. But what if they don't? Well, you could build over this template here, and in fact, I recently just did that. And then my client went to a different printer who had different settings, and we had to recreate the whole thing from scratch anyway, So that being said, let me show you now how I would create this whole thing from scratch. So feel free to watch as much you can bear. I really hope you learn this and can see the value in knowing how to do this from scratch. If you're just too bored, feel free to move onto the next lesson and you can start with the template file. But here we go. I'm gonna go ahead and hit command end to open up a new document. And since this is going to be a nine by 12 it's actually manages tall by 12 inches wide. So we'll put 12 inches wide by nine inches tall. 300 D p I. And that seemed like a color mode for print. I'll go ahead and usually I would hit. Okay, we'll go ahead and hit. OK, now, here's one thing we did not account for now, this is the exact size of the trim. So if we come back over to this document and turn on my guides here we just made a document that's on Lee as big as this blue line. But we did not account for what we call the bleed. This is extra space that we need in order for the printer to be able to have room to grip the file and then be able to trim it back. So that way, it's a clean cut with color all the way through the end. We call it a bleed. So what we're gonna do now I'm going to make a couple guides real quick. I'll drop in my rulers right on the edge, actually, because what we're about to do is make this document bigger. And that way these guys will be right with my Trimark is. And in fact, I'm just gonna jump cut this layer to this background to another layer by hitting command J . I'll double click. And I call this trim that I know my trim size is now I'm gonna do has changed my campus size. So if I just hit command Ault in the letter C let's show you where that is in our menu, if you come appear to image canvas size, we can click quickly, change our campus eyes and what I'm going to do instead of making it. Ah, the 12 by nine inches I'm gonna relatively ad 1/4 inch. So that's 0.25 inches to the width and 0.25 inches to the height. And if we divide that in half, that I should gives us an eighth of an inch extra on all sides. So go ahead and hit, OK, and now we can see we have this extra eighth of an inch all the way around. Okay, so now what I can do is make another layer in here and I'll just fill this one with black. All delete all delete fills with my foreground color. Okay, so now I can see I've got my trim in front and I've got my background layer behind it. So now we can do is start building in these panels. And the best way to do that is to divide it in three. Now, there's one thing we do need to be careful of. So I'm gonna go ahead and start by just dragging out a shape here with my shape tool down here using the rectangle tool or the letter you and ah, it's currently behind my white trim, later sold to bring this to the front. And what I can do now is that command T to free transform. This will set the width 24 inches because we're to do three panels. So 12 divided by three is four. So I did four inches wide. And currently when we do this, it wants to default to a percentage. So by entering four and then I end for inches, that'll make my shape for inches instead of 4% my height. I'll put at nine inches a nine i n and it'll hit the enter key my 10 keypad. And now what? I can dio. We'll go ahead and apply this transformation and I've got one of the panels ready to go So I'll drag this over to where my trim mark is. Make sure it snaps to that. And if it doesn't snap, make sure interview. You have snapped. Turned on Now we're going to do is drag down another guide, so I'll drag it down. And then I had the old key to make it vertical. And I'm gonna hold down Ault to drag a copy of this rectangle. So actually run a name is first we call it left panel, all drag a copy. And now that snaps into place. And this is our back panel. And actually, technically, this isn't a left Panelist left on the screen, but it's the actual inside panel of our brochure. And then I'm gonna drag down another guide and my all click and drag to create another copy , and this will be the front cover. Okay, so now we've essentially done the same thing as well. We already had here. They do have a few more guides that they've set up that set up a little bit of space between those folds and everything, but we essentially have the exact same document going on. But you created this custom and that way Let's say you wanted to make a very specific size . You can do anything you want. So one other thing we need to be aware of if this is truly our front cover and this is our back cover and it folds right down the middle, this inside panel. If this folds, it's kind of hard to visualize. But if this were to fold towards the spine, if these are the exact same size, is there going to kind of run into each other on this fold? So we would need to trim just a touchback, And that's why we need to talk to the printers when we go to make a fire like this, to make sure that we know where their folds are going to be. Because there's nothing worse than having a specific color on each panel was to show you here, and then if you were to miss those folds, let's say our guides. Let's say this is, you know, this hard black line, but let's say the fold really happens, you know, I don't know, like here. It wouldn't look good, so that's where we really want to be careful. And if we do set it up this way that we've We've tripled, checked our measurements, and we make sure it works good. So I'm gonna do now is go ahead and hit. Save command s and I'll call this brochure out. This would be the outside of the brochure on my desktop here. We've got this folder for all of our design files, and I'll put it in my Photoshopped file right there. I'll hit save, and ah, now we're pretty much ready to go with the outside design. So what I'm gonna do now is go ahead and stop this video, and then the next lesson we're going to start actually creating the design. 52. Custom Brochure Outside Layout: Part 1: alright. With our brand new documents set up and ready to go, let's go ahead and start designing. And I'm gonna start with the front cover first and click once on this panel This front cover shape that we have here and Dregg over the image we have for the cover. And the reason why I clicked here is just so that way it brings in that image right above that shape. And I can hold on Ault and click between the 2 10 mask it and keep it within that shape just to kind of see how my color's gonna are, how my cover's gonna lay out here and I want to scale. This is Bigas. I can while at the same time giving enough space between where the fold is and where the right edge is going to be that we don't accidentally lose any of her arm or the board and the fold if it doesn't get folded perfectly or trim off any of this paddle of trim. You know, Mrs, the trend is to touch. So it's about as big as I, you know, comfortably. Want to make that? So what I'm gonna do now is go ahead and scale this into place. And I'm gonna unmask this now because it's actually hiding from the bleed as well. So I'll hit Ault and click between those to undo that mask and I wouldn't want to do is create ah blend a seamless blend between the sky And, you know, we needed a little bit more sky appear that we don't have So what I'm gonna dio is command Click on the new layer icon And what that's going to do is put a new blank layer below the layer I have selected now at the I to get my eye dropper to little clique is close to that edge is I can get without turning black here In that way I've got a match to color from the sky and I'll fill this layer to with that blue color So I've sampled out of my foreground color here I had all delete to fill that and now it's almost perfectly seamless. But there is a little bit of a transitions. Now I'm gonna do is apply a mask to this image. So click on that image. I'll come down here and click on the layer mask making sure I'm selected here. I'm gonna hit the letter g to get my ingredient tool. Let's letter d to get my defaults watches. And I met Letter X to swap my fill in my stroke so that when my black Phil is on front, then I'm going to make sure that I'm using my foreground to transparent Grady int right here and now. What's gonna happen is, as I click and drag down, I'm painting essentially with a black radiant. That thing goes from black to transparent, and what that is doing is it's masking. So whatever color is behind here, let's say I had, you know, any color at all, it's going to blend from that sky to whatever's below it. So I'll just leave that layer of quick and bring back my blue. So now I've got a great canvas area of real good spot to put that paddleboard rentals title . So again, looking at that sample image we had at the beginning of this, that means pull back up real quick. This is what we're designing for, so really, our whole Kalt inch are a whole call to action. Needs to be about two inches tall, from right here. This helicopter tours actually measured that That's about two inches tall. So what I'm gonna do here is if the letter you to get my rectangle tool I'm just gonna start drag a little bit. Oh, hide that like command T to you. My free transform and we're going to do is change my height and type in exactly two i n for two inches And now I know that this box is two inches tall. I command shift in the right bracket key to bring this layer all over the front. I'm gonna drag this up toward that. Trimark is and dragged down a guide. So now I know that my title really needs to be within this box If I wanted to show up in front of everything and not get trimmed off No, the other thing I could consider doing is bringing her up into that space. Because if we look at coming back to this again, you know, a couple things will catch our eyes. One is we've got this bright color here on helicopter tours or the big words raft. The other thing that catches people's eyes are people. So if we had a human, you know, a face are ahead right here, kind of peaking up that would also be prone to get attention. So that would be 11 way to do this. But I like it better with her kind of grounded down here at the bottom. And then that gives us plenty of space up here for that title. So it's going at a tile now will hit the letter t click once appear and I'll start typing in pedal board rentals. Change my color from pink toe white. Here is a really good spot to save. If we haven't saved yet, I'll go ahead and hit command asked to save my file. And I'm just gonna nudge this into place a little bit using my keyboard shortcuts command Alton up and down Arrow to change my letting and then command shift and the period key or the comic you to change my font sizes. And I just kind of play with this until I get it where I like it. And ah, right now I'm just working on my text placement and getting things kind of in place here, so I'm not going to spend too much time yet. All right, So we'll have our title here and then everything else is looking good there. And now for the back side, we need to put in some contact information. So I'm gonna jump over to my assets folder, and I've got this text file with all of the rental assets and all of the text that we need . So for the back, we're gonna put the directions and we're going to put their address as well as their Facebook page. I'm gonna go ahead and copy all of this. Text commands you to copy, Come back over here, had letter t to get my text tool, and I'll click and drag to get my text box. Take Command V to Paste Command A to highlight all of that. And I'm gonna change this size, back down to something, maybe like, 14 points and just see if that gets us closer. That's not bad. We're still clipping a little bit. So click once on this, I'll grab this handle and drag it down a little bit. Just to show is much of that text is possible. And I'm not too worried yet about the design. I'm just kind of getting things in place. So I know where they're going to go, and then the next you want to do is this inside flap? So when you open the cover, if you're looking at the front cover here and you were open that up, this panel is the first thing you would see. So we're gonna drop in. Here is some about text. So we'll grab this text right here and then Same thing was clicking. Dragon will make another text box, and again, we're gonna call this good. So for this first section, this first video, I'm just dropping in some content right here. And then in the next one, we're gonna go ahead and continue refining the design so I'll go ahead and hit, save. And in the next video, we're going to start creating some custom design elements and flushing out this outside panel 53. Custom Brochure Outside Layout: Part 2: all right. Now that we have our text in place, let's go ahead and push the design further. One of things to do right out of the gate is go ahead and license this photo because I can tell right away. I'm gonna get tired of looking at this watermark, and I know we're going to use it, so I'll go ahead and come over to that original image here. All right, Click on it and I'll click on Licence Image. And it's gonna ask me if I want to use one of my licenses here, I'll click, OK, and then assumes that's done sinking here. That watermark will go away, and in the meantime, I can keep pushing my design forward here. So I'm gonna click on the title. I have the letter t to get my text, My type tool hit command a highlight. All of that. I'm gonna jump over here in my fonds, and I'm gonna use proxy Minova for my title here. And let's jump over to one of the extra bold versions. Maybe even Black would jump into the black version just so that way it's is biggest possible to get the biggest impact with that minimal space we have. And let me try this, too. I'm gonna go ahead and jump this to two or three lines and just see how big it gets. So maybe we cut out rentals here. I'm gonna hit Command X to cut that. I'll drag a copy of this down the letter t highlight all of this and hit command V to paste that back in. The other reason why did that is so I could move his independently. It'll be a little bit easier to work with high command A. To highlight that. And let's bring this down to maybe a light. Just so there's a good contrast between the titles here. All right, let's see how this is looking here. And there's no right or wrong. You can do whatever you want, Whatever looks good. However, it's gonna play out whatever you know gets their attention and hopefully has a good call to action. So in this case, if they're interested in the rentals, they'll will see this, and they can pick up your brochure. All right, so another thing that I've talked about in some of these previous lessons to I could spend all day long playing with typography and, you know, nudging things around in place and just trying to get them, you know, perfectly set. So for your sanity and my own, I'm gonna force myself to just stop right now. Seriously? Seriously, I'm gonna stop. I'm about to stop. Okay, There we go. I'm just gonna stop so that we can come back to that later and, uh, push that further if we want to, But you can see how you could easily spend a lot of time there. Next I'm gonna do is click on this text in the back. I'm gonna set that to proxy Minova as well and will probably jump. Teoh. Let's try regular first and to see how that treats us. And one thing we have going on here, I don't even know where I learned the shortcut. But if you hit command shift in the letter K, it will change from your regular case here to all caps. And I had brought this in, apparently with all caps. I'm hit command shift in letter K, and I'll bring it back to my sentence case for my title case. Whatever it was when I brought it in. And then I'm gonna jump over to my character window here. And if you don't see that jump up here to window, go down to character, I'm gonna reset my letting toe auto. And then right here, I'm gonna hold over this and set my tracking 20 just kind of get it set back to its default setting. Okay, so now we can see that we do have a problem as far as being able to see this text over the cloud in that watermark, which I'm kind of surprised, hasn't updated yet. So let's take a look that real quick and just see what's going on. Most likely bought some other image that I didn't mean to buy, but ah, well, let it just think about it here for a second. And if it's not done loading by the time we do in this video, we'll get it fixed. So what to do now is I need to consider whether I want to have this directions text up here at the top, or maybe break it up a little bit here. So what I'll do is I'll grab this text, this phone number I command X to cut it and I'll paste in its own text box down here, Command V to paste. It was kind of scale it up a bit, so that wouldn't be bad. Let me turn my guides back on here. That's just command and the semicolon key Just turning those on and off here. I'm sure that on, though, and what I do sometimes I hit the letter you and I'll Dregg a rectangle between my guides. So from one guy to the other. And now what I can do is shift click on my text. And then I have my alignment options, and I can make sure that this is dead center between these guides sometimes will happen is you might have it off a little bit. So by shift clicking and hitting center, I can make sure that this is aligning to those guides. All right, so I got my text in place here, and, ah, let's bring down this Facebook link. I don't need the whole https. So let's just do facebook dot com for it. Slash And we'll delete that here, and I'll drag down another copy of this. So hold on all to click and drag command me to pace that Lincoln here, and it needs a little more room. So I'm a do is just drag this out a little bit by holding on Ault. It drags both sides of the same time. All right, so we got a Lincoln there that's looking good. And again, I'm trying to roll through this as fast as I can, so you get a pretty good idea of, you know, my work flow. But at the same time, I haven't sit here, watch me make every single decision that I'm doing here. Um, all right, so let's take a look at this one more time, all right? So we're really gonna need to darken this up. Or maybe let's try making our text darker. So I'm gonna click on this blue to get me close and them in a double click on my thumbnail and then just drag down or click down a little bit more to get something in the same tone but much darker and I'll click OK, and now I'll click once on that text and I can hit all delete to fill that layer with the dark blue. And that's better if I'm on this white cloud area. I'll go ahead and resize my text box a little bit, command a to highlight my whole our board. And then now we can hit the center key to center that as well, and I'm going to align this left. So click in my paragraph tab down here and click on the left a line and let's just kind of tweak this a little bit more. This is 14 point. Let's bring down a 12 point that looks a little bit better and then our title. Let's make this also be, ah, this extra bold just for kind of branding consistency and then also in a double click it command shift K to make those all caps command Ault in the right arrow key to kind of track it out a little bit. And that's getting better. And again, I could spend all day here, so I'm just gonna kind of get it close. Now, the next thing I wanted to you is, um, work on this left panel and make it may be a little more visually, visually appealing. So what I'm gonna do, is it the letter you to get, um, my my rectangle tool here, we'll go by Phil and we'll change it. Toe white. I'm gonna click and drag to get it started The minute command t to free. Transform this up to the top left and down to the bottom. Right? Hit return to commit that. And they'll hit command shift in the right bracket Key to bring all the way to the front of my stack. But now I can't see the text behind its I'll turn it off. I'll click once on this tax under the same thing Command shift, right bracket to bring all the way to the front, and I would turn my rectangle back on, but we can't see that text. Let's change the color of that text. I've still got that blue selected here, so it's had all delete to fill that with that same color, and I want to make this text the same size. What I'll do. Here's all highlight this. I'll jump over to my character styles and paragraph styles windows and again. If you don't see those, jump over here to window and make sure they're turned on down here. I'm gonna create a new layer style using what I've selected here and we'll just call this body and it's gonna keep all those character settings that we have all click. OK? And now what I can do is highlight this text that command A and apply that body style to it . I'm gonna click on this little arrow down here, which will reset it. So that way it matches exactly without any extra styling on it. And now I need to grab this heading as well. So let's make a new paragraph style for this heading. So I'll click on that and then add that new paragraph style will call this heading and I'll click. OK, and I'll play that over here to this word about as well. So click on the word heading. And now we have identical layouts and the bend, the built, uh, the bonus or the benefit to this is I can, uh, at any time let's say I want to change this color. I can double click on the body font and change the color to maybe more of a grayscale. And by doing that, it's gonna change both of these at the same time. All right, so we're getting closer now. I want to do is just bring in some design elements and maybe make this thing pop a little bit better. So let's go ahead and maybe grab this paddleboard image. What kind of scaled down into place here get it close and that looks pretty good. And then I want to add some are visual interest behind here. So what I'm gonna do is find maybe this mountain image. Or maybe this is a good spot to jump over to, like pixels dot com that we've been looking at before and find a nice mountain photo because this lake actually is in the mountains. So let's go ahead and find, Let's see, Ah, good mountain shot like this right here. So click once on this image, I'll click on the free download button here. All right, click and save image as and I'll say this to my Assets folder, so I have it for later. Let's come back to my desktop to this brochure, file assets photos, and I'll throw it in there. And then I'm just gonna click and drag right into my photo shop icon just so I have it in here to start working with and what I'm thinking here is I'm going to click and drag into my brochure and I'll drop it right over here into that about panel. And I'm going to hit command shift and you to de saturate this nominate command l to bring it my levels and there's gonna play with this a little bit. I'm just gonna lighten it up a lot, actually. Play with the contrast here in my levels overall. And what I'm looking for is just a subtle effect. So I bring this back down behind my taxed, and then I'm gonna bring my opacity down to maybe, like, 20 or 30% just enough that it's kind of showing up there. But I don't alter and click. So it masks behind this rectangle shape and then let's go ahead and turn my guides off and maybe drag this text up a little bit Here, drag the shape down, maybe scale it down a touch. So all I'm really looking for here just again, just a little bit of visual interest just kind of set it off. So it's not stark white here. All right. Maybe even letter to which will changes layer to 20%. You get your number keys to get any percentage you want here on the opacity. All right, that's looking pretty good. And, ah, like where it's going now, the other thing I want to start doing is adding some textures and ah, just kind of cleaning things up a little bit. So I'm going to highlight all this text I noticed as I move this up. Not all of this had that paragraph style applied to it. So let's go ahead and find that fix it real quick. We'll click on that body and reset it. Okay, so now I can't see. That also is gonna highlight it. And I'll changes from a gray to a white. There we go. That looks pretty good. All right. So I like the direction this is going now. The only a few things I want to do now is create some elements it will be able to repeat through all of this. So I actually have a texture that we can use in one of the asset files. It's a vector half tone. So what I'll do is double click on this to open it up in Illustrator, I'll click once to highlight that shape that command seat. A copy will jump back into photo shop and hit Well, it's before we paste it. Let's see what we're gonna paste it. I kind of want to put it, um, all over the place. But let's ah, let's jump into actually put it on the front, See what happens. What command V To paste it as a smart object. Okay, And now that texture comes in in front of everything, so it kind of looks like a mess. So let's kind of selectively add this to things. So what I'm gonna do is go ahead and hit. Delete. I'll click once on this photo to come back down to this layer. And now minute command be to pace that again and it'll paste right in front there of this photo and I'm gonna drag it down below. Ah, the image here. So that way, it only shows up in that textures sky area. I'm a change meant blend mode to multiply. And let's drop the opacity down to about 50% by hitting the letter fire the number five. There we go. And now we've got the subtle texture. That's kind of come in, maybe make it a little more subtle than that letter three to make it 30% instead. All right, so now we can add that texture over here to this white section as well. So I click on this rectangle had command V to paste that again as a different shape. And this time I'll hit Ault and click down that rectangle to mask it inside of the rectangle. And I'm gonna make this much lighter so that the number one to get a 10% screen and that way it's still there. It kind of shows up as one whole pattern, but it doesn't show up quite so dark. And, uh, there we go. All right, so that's looking pretty good. In the next lesson, we're going to take a look at the inside and get that ready to go. One more thing I wanted to add to this was this watermark actually never did update So looking at my library acid, I did license it. I've got the little blue check marks. I know it's licensed. So when we come down, let's click on this, uh, layer here, we can see that the cloud icon has a yellow icon over the top telling me that it's basically it's been updated in the cloud, but actually is an update on this layer. So want to do is right. Click on the title here, and then I've got a whole bunch options here. But what we're looking for is update modified contents. Let's go ahead and click on that. And just like that, the watermark goes away. It's now updated to the cloud, and we are good to go. 54. Custom Brochure Inside Layout: all right. Now it's time to start working on the inside of the brochure. So rather than do all that work we do at the beginning again and starting from scratch, let's just go and come up here to file Save as and that's called this brochure in this will be the inside of our brochure, so I'll save it right in that same folder as the outside of the brochure Click Save. And now we have two versions of is of the exact same Thing. So since this is brushed her inside, I can go ahead and start deleting a lot of this stuff that I don't need any more because we're gonna clean the inside of the brochure. Nothing I could do is just Let's see Kamala way down here to shift click between the top layer and then the layer right above where my guides are. It command G to throw those into a group, and then I can turn that off. And so that way I still have those files a reference if I wanted to bring over the text in the new front document, but right now they're not in our way. As we're working All right. So I'm gonna go ahead and bring my layers panel back into dock it with the rest of those windows, and we're ready to dive in and create the inside of a brochure. So it's a lot of ways we could do this, but let's go and look at the text we have to include. So I pulled my, uh, my rentals text. There really isn't that much more We need to drop in here. Everything else has been accounted for except for this chunk of text. So what that tells me is we could probably do a more photo driven approach on this. So this is the whole inside of the brochures. We've got it opened up. So what I'm gonna do is find a couple of photos that I think would be a good solution for this and the one that I already found before we started. This was this one where we've got the family on paddleboards and we've got the kid that's kind of looking at you. And the reason why I like this is because it shows the paddleboard and can be a family thing. It's not just, you know, um, it well it could be anybody, right? And so what I'm thinking here as I bring this in, I'm just going to scale it up and make it go full width here, and I'm gonna center him. Since he's the one that's looking directly at you, I'm gonna center him to the center of the document right here. And that gives me a lot of space over here on the top, right? And kind of in the middle panel to bring in those details on the rentals. So with that dropped in, let's go ahead and bring in some text. And what I'm thinking is will turn on this group again, Andre to the front. And I'm just gonna grab this directions text, and I'll hit command shift and the right bracket to throw it all the way in front. Out of that group. Well, tonight group back off and there's my directions text, and I'm gonna highlight all of this. And then I worked with a few different colors on the inside. Now I'm gonna click on this question, mark, and the reason why it's a question mark is because it's got blue and white and so doesn't know what to choose, since there are two different colors here. But also like that, I'm just gonna sample from his shorts. And the reason why is because it'll help tie these graphics together a lot better, and I'll do that a lot of time. So any time you're working with the photo, we could sample from ah, right here, or maybe his red shorts, and find something that ties back into this. But I found that this color right in his shorts seemed to be the best fit on that light sky . So let's see, we've got that set up here. Let's go ahead and grab our text and our titles gonna be rental. So I'll copy that, and I'll come back over and drop it in right here where it says directions. And then let's go grab the rest of our text here. Let's just work. Let's work one at a time. I'm just gonna grab this it command C and then jump back over here and drop it in this paragraph section here, command V to paste. All right, so we've got one set of text. Now let's bring back over the rest of it here, all right. And now these hourly rates here could kind of be like a subheading. So we have our main heading here into rentals. And then we also have this subheading. So let's go ahead and stylized this a little bit better here. So I'm thinking, Ah, we can start by just making it a little bit bolder. Maybe a semi bold might be enough to make it stand out. Triple click in there. Let's try. How about bold and thats better. So let's see here. I'm gonna go ahead and turn this subheading We just made into a paragraph style. So I come here to my paragraph styles and I'll highlight this text and I'll add a new paragraphs down. We'll call this H two our subheading to, and I'm gonna highlight this down here and apply that as well. When we have this little plus sign, that means it's picking up some other styles as well. So we're gonna hit this little back arrow button to reset it, just to only you have the H two settings. All right, so it's looking pretty good and let's go ahead and let's see. Let's put this up a little bit so it looks a little better. All right, so it's looking a lot better here. Ah, the next thing we want to do is make sure we have all of our text. And we have one mawr chunk attacks that didn't come over. Let's grab this here, and we'll drop it in at the bottom of this. Now, I could have just copy and pasted all of this at one time, but sometimes it's overwhelming to work with all of the text at once when you're not sure exactly how it's gonna lay out and if it's gonna look good. And in this case, the waves in the darkness of this color right here is kind of interfering with my text. So I need to spend some time here refining that. So I'm gonna go ahead and push pause, refined this a little bit, and then the next lesson we're gonna jump in and show you how to export this file. 55. Exporting Final Files, Part 1: Generic Export: Let's go and look at the changes I made real quick. We're going to just a couple more finishing touches and then we'll go ahead and export this project. So for the type, really, all I did was just reorder the U. So that way the rental period was above the pricing and I changed this. And now this H two has a underlying. It's a little bit bigger and it has a little bit of gap between the next paragraph in the way I did that. If we opened up this h two paragraph style, I turned on the underlined here and I went down to indents and spacing and I gave it a little bit of space, about a 10 point gap between where it is and the next line. And that's about it as far as that goes. And then h two I made it clear this is now an H three rather, and it's a 12.5 and bold and in the regular body copy that we made earlier is 12 point regular, So I didn't do too much there. I brought the text. The title over to the side made it much larger and the reason why was because once I gave all of these a little bit more spacing, I was running out of room to drop that title of top. And, ah, what I did here with these lines was simply used the pen tool, that letter p get my pen tool. I changed it to a very thin just a 0.5 Ah, point stroke here. And then I made sure I was drawing with the shape of the Pentagon just click to draw that path that I had there. So that's how I made that. And then, ah, the only thing we need to do now is just kind of touch up this font are this paragraph down here so we can read it better and then export it? And there's a lot of ways that we can do that. We could draw a rectangle behind it so we could put a fill of white will turn off this stroke, and we could just go ahead and draw big old rectangle right behind this text, which would be find it would definitely make it more legible. But I'm a huge fan of doing things with a little more subtlety, so what I want to do instead is click once on this photo. I'm gonna turn on the mask layer right down. There it is. Click on the mask. And now we're gonna do is actually paint with black with a soft brush to try and hide What's behind here now? As soon as I do that, though, what's gonna show up behind it is actually darker because we have his black ah, shape behind it. So what I'm gonna do is command click on the new layer icon to bring a new layer below here . I'm just gonna fill with White by hitting command delete. Since my background color here is already white, so that fills this layer with white. Now, when you click on this mask so that selected out the letter B to get my brush tool and I'm gonna jump over to my brush presets and make sure I've got a soft brush. I'll turn off my spacing here. I'll make sure the hardness is at zero. Will crank the size up quite a bit. Actually, I'll turn off my caps lock so I can actually see the size of the brush by turning caps. Lock on and off. It just changes from a precise cursor to the actual shape of the brush and then appear I'm gonna turn the opacity this brush down quite a bit. Probably down to about 25 maybe. And now again, making sure I'm painting with black on this mask so that it hides it. I'm just gonna kind of suddenly draw or paint with this brush until I'm happy with the results. So I'm just kind of scrubbing over this and again, the goal is just to make it so the text is ledge a ble. But so the background still kind of there. And I'm just gonna bring it down here a little bit too. So there's more of a transition, and we'll kind of highlight that horizon just a little bit more here, maybe appeared just again just to try and blend all this effect together. So you don't even really notice that it's going on. And there we go. Now we can read that text. Everything's looking really good. I'll go ahead and hit command s just to save this, and now we need to do is export this for print. So what we're gonna dio is go ahead and flatten everything. So the first thing I'll do is come appear to layer flatten image. And the reason why I do that is that is that way. Nothing gets bumped or moved in the printing process, and I have everything exactly where I want it. I'll go to file, save as, and I'll come back over to my main brochure file and make sure I'm into the file sent. Now this will be the final file, so click and finals and I'll changes from Photoshopped to a PdF Photoshopped. PdF, and I'll go ahead and hit save, So I don't need to preserve Photoshopped editing capabilities. Since is just a flat layers will turn that off. Everything else in here should be just fine. I'll just make sure real quick I will make sure my compression is no lower than 300. That looks good and I'll hit. Save PdF, and once it's done, saving will be able to double check our work here. But while it's thinking about it, let's come back and open up that outside file as well. So come back in here. We'll open this up. We'll go to layer flatten image and Now, when you do this, be very, very careful. You don't actually save your PSD or you would lose all of that work and you wouldn't be able to go back and make changes. So before I do anything else I'm gonna go to save as not save, we'll save this as a PdF as well. I'll stick it in there. And what save everything. Looks good on it. Save PdF. And now you've just made your first brochure. So one other thing I want to mention here. So when we look at this, we don't see any guidelines as far as where this is going to be trimmed or folded or any of that. And that's because we built on top of the template from Print Runner. But if you're going to send us to another printer and they have no idea where these guides are, we need to help set them up for success by giving them bleed marks and trim marks. Fold marks those kinds of things. So in the next lesson, I'll show you how to create a custom file that gives the printer all of that information 56. Exporting Final Files, Part 2: Adding Printer Marks and Fold Guides in Indesign: all right, if we create a custom brochure like this, on the one hand, we can see where there's probably obviously a fold. But down here, it's kind of a guess. And unless you've built over the top of somebody else's template and they know where the gold is supposed to be, you need to tell them where that's gonna happen at. So that's what we're gonna do In this lesson is show you how to create a custom export on your own that gives your printer your fold, marks and your trim so they know where to do those things. So we're gonna dio in this first lesson, I'm gonna show you how to do this in in design. Then we'll do it again and illustrator, and you can just kind of pick your poison. You know, choose, however you want to do it. I use both ways. It just really depends on the project. So let's go ahead and create a new document in design, and I'm going to go ahead and create a two page document, one for the front one for the back and we'll turn off. Facing pages will make this a 12 inch by nine inch documents. So it's the exact same size as our brochure. And then right now I'm gonna turn off the gutter and I'll put my columns three. Since they were equal columns when we did this, I'm gonna turn off my margins here. And then this is what were The important part is, so for the bleed, we want to add an eighth inch bleed all the way around, which actually adds 1/4 inch to the file size. So we'll put 0.1 to 5. That's an eighth of an inch on all sides and then for the slug. What the slug is is extra space around the document where you can put anything you want notes to the printer or other design elements or whatever it doesn't print. But it exports with the project so your printer can see that So is put a two inch slug on all sides here and then I'll go ahead and hit. OK, so now we've got a two page document here and by turning off facing pages now and said, these being stacked side by side, it's just two pages. All right, so we see our columns. Everything's ready to go. So what I'm going to do is first bring in that final our work. So I'm gonna go ahead and go to file and place right here, Command. He is that shortcut. And let's find our final brochure files the final sent finals. And let's go ahead and start with the outside of the brochure. I'll click open, and then I'm just gonna come up to the top left and paste it. And just to make sure it's where I wanted to be, I'm gonna come over here and make sure I aligned to page and then center and horizontal center that document. Okay, so now we're in good shape, and it looks really terrible. Why is that? Well, remember, Illustrator are in design, tries to kind of save you from yourself if you have a slow computer and it turns down your display performance so come to view display performance and turned high quality display and now should look a lot better. Alright, so I've got that going now on page two or double click there and hit command D to place the inside of my brochure. I'll open that and I'll just click anywhere since I'm gonna use this shortcut over here in the top, right to align horizontal and vertical centers. So that looks good. My margins air in the right spot. Just double check in that. That looks good. And that falls exactly where I wanted to be. So that tells me that I did set up my document correctly. All right, so it looks good now what we need to do we could just export it just like this and add crop marks. But I do want to go ahead and spell out exactly where my fold is supposed to be. There's a couple ways we could do this. We could do it on each page individually. Or I can use my a master and do it here. So what I'm gonna do is jump over toe layers and a rename this layer. Everything is currently on this one layer. I'll rename this artwork, and that is where my artwork will live. And they will create a new layer above it called guides. One thing to notice when we have the new layer, I can't open. If I double click on this, I can actually turn off. Print this layer so you can put layers on top, so you could actually have a true guide on front of your artwork and then turn that off and it won't actually print whatever's on that layer won't print. But in this case I wanted to print I'm gonna put my guides in this slug area. So what we printed to be able to see that, so I'll leave that selected no click. OK, now I'm gonna do is zoom in a little bit. And again, we're we are working on our master page, But let me just make sure here yet we're on our master page, and I'm gonna use my pen tool to draw a line here. Sums gonna click once and then shift click to another spot here right on that margin. And right now, it doesn't feel with the fill or stroke will come up here And this couldn't give it a science color so we can see it. I'm gonna change this from a solid line to a dashed line. And I'm just gonna move this up by holding down the shift key so it stays in line. I have the letter t to get my text box. I'll click and drag and you're gonna type in the word fold. All right, so we got that set, and I'm gonna change that to sigh in as well. Okay. All right. So there's one fold Marc, and then I'm gonna highlight this cold Ault, click and drag. Hold on, shift to drink a copy. And ah, you want to make sure you get this exactly on on point here, right where that fold should be. So just make sure that that's lining up in that that snapped in place if you need to. You could come right down here in your document. Hold on shift and dragged back up again to make sure it's right exactly where it needs to be. Okay, so there's my folds. Enough. I come back over here to a to the I'm sorry, Page one. And then the page two. You see both of those coming in the exact same spot, so we're in good shape now. What I can do is and that's that's that's a ton of room for the printer. They don't really need that much space. They can figure it out. I could highlight all these and maybe bring it down a little bit. try that again one more time. Just trying to grab the top of this line. We always use the arrow keys will nudge it. How's that? There we go by not selecting this bottom anchor. It stays in place, but I can just kind of nudges down a touch. All right, that's good enough. That looks good. That will give them the idea. And I could just double check and make sure those folds air hitting exactly where I want them to him our work. Everything looks good. So now let's do two things. First, let's save this so command as to save in case we ever need to come back to this document. I'll go to my brochure file. My design files will create a new folder here called I N D. It's my in design files and I'll call this, Um, let's call this final brochure and I'll hit save. Okay, so now what we can do. This is kind of where the magic happens as far as why we did. All of this will come over here to file export, and we'll jump into that final folder so file sent back to the finals. Ah, final brochure All right, let's go with guides. Okay, We're gonna make a print. Export will hit, save and let's go through. And look at all these settings real quick. We wanted to export all pages. We want them as pages, not spread. So looks good. All these options, those look good. We can view the pdf after saving. That's fine. I don't need to worry about thes right now. Come to the compression. Make sure it's not down. Sampling it toe like 72 d P i or something for Web that looks good marks and leads. This is the whole reason we did this. So we're going to turn on all printers, marks or have crop marks, bleeds, registration bars, page information and then also we're going to use document bleed settings. So we'll click on that and it'll pull in those settings. We set up a beginning that eighth of an inch, and then we want to include the slug areas. Well, that two inch border where we put in our fold marks. I'll hit export. And now you can see this is the whole document size. But your printer can take this and they're actually printed on a larger parent sheet and then trim it back. So what this tells them is when they see this? Okay, here's where this is intended to be folded and they can see their registration bars. These color bars toe. See what your system output it for a true science, you know, magenta, yellow, black. And then we've got the trim for the actual document size where it shows where that starts and then also our crop mark for where the intended trim is going to be. So that's how we do it. That is the probably the best way to send a file to a printer who has no idea what your intended sizing is for this. But of course, hopefully you called them before the project started, so they do have some kind of an idea. Anyway, hopefully that was helpful. And in the next section here, we're gonna do the same thing. But with illustrator 57. Exporting Final Files, Part 3: Add Printer Marks and Fold Guides in Illustrator: All right, now, we're gonna export this brochure one more time, but this time, using illustrators weaken, get thes. Same printer marks and fold guides on their somebody close this document we made from in design. But jump over into illustrator and create a new document here. We'll set the number of our boards to two for the inside and the outside. The spacing here is fine, but I'll give us a lot more space to work. Always hit one inch there. So we have more space between the art boards and ah, let's see what else we set the with the 12 inches wide, nine inches tall, such a bleed to to an eighth of an inch. So 0.1 to 5 inches make sure in seem like a and 300 pixels per inch here. Okay. And then we get a new document here with two art boards. So we're going to come up here to file place, and we're gonna throw in those final files we made started the outside will hit place, and I'll click once in there and same thing. I'm gonna come up here to my options bar and make sure aligning to the art board and will do those centers Senator alignments here and the whole place, the next one. So we'll go to file down the place and choose the inside of the brochure. Now, one thing noticed when I placed these these are actually linked. And we did the same thing within designed to you, but I didn't mention it. But with this linked, if we go back through an export, a new file with same name and replace this, it will dynamically pull in to this illustrator file with the updated version. This is really handy. If a client changes their mind, I have to do jump in the original photo shop document, make a change, save a pdf and then open. You're illustrator in design document, and that link will have automatically updated. And then you can export everything again. Is one whole batch to really slick and it makes it a lot easier work with. So Okay, I believe that linked I'll hit place. We'll click once in there and just center this up here. All right, so that looks good. Now in this in illustrator, we don't have the option for a slug area like we did before. So I'm gonna do is I'm gonna jump over to my layers panel. I'll double click. And just like we did with in design will create a new layer called art boards. I'm sorry. Artwork We create another layer on top will call this guides actually call this folds because that's what we're gonna put on this layer is the folds. So what we need to do is tell this where two fold. Now, I'm gonna have to do a little bit of measuring because I don't really have the margin set in front of me like we did with in design. So what I'll do? Is it the letter m to get my rectangle tool? And I will change this. I'll turn off my stroke and come back to my Fillon. Let's just change to a bright color that we can see really easy. How about full magenta here? Ah, click and drag. And now what I want to do is I'll hit the letter e and then up here at the top, You see, this transform button will click on that and Rich get a key and the exact with we want this . So this was going to be four inches wide. So four inches. And I don't really care how tall it is because this is just going to be a guide for the width where the folds are gonna be. So now what I'll do is I'll drag this into place and I'll have it snap. It doesn't seem to want to snaps. Let me just check and make sure that is turned on snap to create snapped point. OK, so now let's just come up here and make sure that we're getting exactly we wanted to be and that snapped a great is actually messing me up a little bit. So let's turn that back off. And I'm just going to use my alignment here to set that to the top and left of my thing here. So all right, so we can see that that is falling in line perfectly. So that's good news. I do have my measurements set up correctly, so click once on this will hit command are to make sure my rulers air showing up here. I could drink out from the left side here, a new guide organ, click and drag from the top and then hold on ALTs to flip it and it's gonna snap to that shape there. I'll drag a copy and this time, but I'll do actually don't even need a copy. What I'll do is I'll just throw this all the way to the right side during down another guide here, and I should snap into place. So there are my guides, but that doesn't help the printer at all. So what we're going to do is actually probably the quickest way. Just get my direct selection tool will highlight this corner here, and I'll shift. Click this corner here and delete those. And now all of a sudden I just have two lines, your shift X or click on this to flip that from a filter, a stroke. And now we can see if I turn off my guides that we have that bright pink bar right there. Case and I can drag a copy of this over to where my other fold needs to be. We'll shift. Click both of these, and I'll make it full screen here. And then let's change this to a dotted stroke. So click on the stroke here, Turn that on my dash line here and then in big bright pink letters. I'm gonna type fold in that way. Hopefully the printer realizes this'll is not. It is Hein Element. And remember to turn that layer off, But that way you'll catch it. You can see where that folds gonna be. So we've done that once. And let's click on these shapes here, Command See to copy. Actually, command X, I'm gonna cut it will come back into my layers and make sure on that folds layer command after paste. And then I'll click once on this to target this art board. But when I did that, it changed to my other layer. So I'll come back up here and target that folds later and hit command F to paste it in front. So he's here. My folds are supposed to fall. All right, so now let's go and save this document. Command s to save, and we'll call this final brochure and I'll stick this one of my illustrator folder here. It save. And that all looks good. Okay, Now, what we need to do is export. This, so I'm gonna do is go to file save as we don't want to hit export because I want to save a PdF and a pdf option isn't in. Exports were go to save as and we'll go find that finals folder. All right, It's a really long name, but that would we know what it is. Okay, I'll click on the drop down on the format bar here, and we want to select a pdf it save. And now what? We're gonna do it. We'll leave. Preserve illustrator editing capabilities turned on. That's fine. Redeem click of UPDF after saving, so it opens it up for us automatically. Our compression should be fine. It's actually not compressing at all. So that's great marks and bleeds this. We want to turn all of our printer marks, but we don't have the slug area like we did before, which is why we drop that stuff on a separate layer on top, and then we use the document bleed settings we set up. So it's going to hit Save PdF and there we can see we've got our fold marks right on top of the document. The printers will definitely see that we've got our trim marks. It looks a little bit different than what it came out of in design, but this is gonna work perfect. And then once they're ready to print this, what they can do is coming through Acrobat Pro Click on this layers icon, and they can actually turn on and off those folds or those crop marks, even if they wanted to and print exactly how they need to. So that's how it exported if I was trying to show folds from illustrator. 58. Business Card Introduction: Let's learn how to create a custom business card from scratch. You know, it's been said not to judge a book by its cover, but you know that we all dio and the same way when we hand your business card out to somebody or when your clients are handing out business cards. That's the first interaction many people will have with that brand or company. So we need to make sure that it's a high impact piece, that we've spent enough time and making sure that it portrays the brand well. And then also, we need to finish it through all the way to the end in the production and make sure that we print this in such a way that it looks sharp. It's on great paper, and it really conveys the feeling of the brand and that it all looks good. So how do you do that? Well, let's get started. Let's create a brand new document, and what we're gonna do is create a simple 3.5 inch by two inch business card. That's the standard size when it comes time to get this thing printed. Now we can deviate from that. We can make slim cards. We can make square cards. We can make teardrop shaped cards, but for the most part, you always will be working with 3.5 inches by two inches for your campus size. Let's go ahead and do that right now. We'll make a brand new document 3.5 inches by two inches. 300 dp I at seem like a color mode, and then the other thing we want to do here is give yourself enough room for recall. The bleed, and typically an eighth of an inch is more than enough for a bleed. So if we had an eighth inch to the left side and eighth inch to the right side combined, that's an extra quarter into your documents. What we're gonna do. Instead of being 3.5 inches, we're gonna make it 3.75 inches wide. And for our height, if we had 1/4 inch is simply 2.25 inches. So we've now added an eighth of an inch all the way around the document. We'll go ahead and hit OK to open this up, and now what we see here is our new campus ready to go. But it is not the standard size we need. It's a little bit bigger for that bleed. So let's go ahead and set up. What are termed area is gonna be to do that. I had the letter you to get my rectangle tool, and I'm just gonna fill it in with just a blue fills so I can see what it is. And I don't even need to drag it out the whole size. I'll just get it started in a command t to get my free transform tool and up here the width instead of 100% will set it to 3.5. And then type I infer inches. So it's not scaling it to a percentage and then for the height will set it at two inches highs a to I end will hit return. And now we've got a rectangle set up. I'll go ahead and close this properties with because it's bugging me there. You all right? Now, if you've got your snapping turned on, if you go interview and snap, that should snap for you to the center. But just to make sure just in case go and hit command A tow highlight your whole campus with his rectangle selected, we're gonna set it horizontally and vertically aligned centered, and I hit command d to de select it. And now again, with this rectangle still selected, I will drop some guides down. So we're gonna do make sure your rulers turned on hit command are or control are on a PC. If you don't see that ruler and then just click in that number two area and dragged down a guide and it should snap right to the sides of this shape, And then I can click here and hold on all to flip it from a horizontal to a vertical guide . Or I could just drag out from the side here and now I've got my guide set up. I'm gonna click once on this blue rectangle. I'll double click on the name here and let's name this trim cause this is gonna be our trim size. So that'll be the final size of this thing. Once it's all said and done, the next thing I want to do is actually set some safety guides in here. And what that means is, you know, in theory, they'll cut this right on the line. But if they move just a little bit, we want to make sure we have enough space to breathe that we don't accidentally lose some important information. So I'll get my my shape tool again. My rectangle tool By hitting a letter you this time I'm gonna change my filled to a different color here. And ah, I didn't mean to change that shape, but it was because it was already selected. So we'll leave that alone will try it again. Let's change that color by hitting letter. You changing my fill back to a brighter color. There we go. All right, Now we're gonna do is change this size. I would command t again. I could also just keyed in right here. And let's just do that to show you another way on the wave Here, I'll highlight that and hit 0.1 to 5. And type I end for inches from a height. I'll do the same thing. 0.1 to 5. That's an eighth of an inch type I n. So now I've got 1/8 of an inch by eighth of an inch square and I could just raise to the top corner. Sorry. Apparently got my phone turned on here, and Ah, well, Dragon copy down. All right, so now we've got that said to the bottom, and we've got a guide set up being delete that extra shape. And now we have our trim and our safety guides. All right, so let's go ahead and save this. Had command as to save. We'll go to my desktop in this business cards file. Design files will stick it into my Photoshopped file, and we'll call this business card front, make sure it's a photo shop file it save, and you should be good to go. All right, so in the next lesson, going to start gathering assets to start designing this card 59. Business Card Design: So the point of this video lesson now is to just show you how to start designing the business card. And you already know how to use photo shop at this point. So I'm really not interested in showing you a bunch of different ways to design something as much as showing you a few little things to consider as you design your business cards so you get the right results that you're looking for. So, like any good cooking show, I've already cooked up some typography, so have to sit here and watch me fiddle with it for an hour s. So here's some simple tax I've got for some contact information simply using the original fund that we used on the logo Abolition round paired with latte. Oh, so you're welcome to take response and creates. And if you want again, this isn't necessarily about the design right now, as much it is, is about some just different things to pay attention to. So one of the things I want to show use when you're working with fonts on a business card, the smallest font size you should really go to would be seven point font. So if I look up here, I can see about seven point fonts, and ah, now the The thing I would say you know would be the exception to this would be this graphic designer text. Because it is in all caps. I did crunch it down to 6.5, so that is the absolute smallest you'd ever want to go on the size. Right now it looks fine because we're zoomed in. But when you actually look at this at the viewing distance or the size of the card, you know anything smaller, and that's gonna be nearly impossible to read. So it's one thing to consider. The next tip that I've learned in making business cards is well, we talked about how the with is This is 3.5 inches and the height is two inches. So if I draw a rectangle shape and I free, transform this and let's just make it two inches wide, two inches by two inches tall. We have a perfect square, and this is actually a great ratio here to you know, you don't have to actually show the square on your card, but let me just show you something real quick if we snapped this into where the actual trim size is not the actual bleed, but the trim size. And we drop a guide either on this side. Or maybe we move it over to the left here and drop another guide over here and I'll turn my shape back off. It creates. It's kind of tough to see in that white background, but it creates, ah, natural break in the design. A nice grid. I guess you could call it to drop in a logo. So I'm just gonna jump over here to this other logo that we designed in the previous section. And let's just paste this over here to the side here. So you know, I don't necessarily love the fact that it's my name twice or anything like that. I'd probably just do the icon. In fact, let's just go ahead and do that. But let's pretend like we had Ah, this was the actual business name, and that might be the personal name right here. So if I align this shape within this box, so from here two inches across, which was two there and now I hold down Ault and shift while I transform this to the center . If I turn my guides back off, you can see that this is a nice division. Uh, nice centered, not quite centered, but, um, just it looks visually appealing. Ah, better example of that might be if I just grab this icon here. So I'll double clicking here and grab that command V to paste. Same thing. So if we kind of use that bounding box as a guide, you can see that visually, it's it's pretty nice. Now, granted, this card is incredibly simple, and the point is more so to show you that, um, the little tricks fires a two inch by two inch square thing for when you're designing things. Now, you could also make this a lot more, um, apparent by actually drawing that are actually putting it within a color of some kind. So let me ah, turn off my guide. Sterile Quick in the scale of cepa touch So we could do something like that. That's a lot more, um, apparent. And no, I've got this white box around it that's actually get trimmed off. But what we would want to do now that we have this square is you want to scale it up both to the height and now I don't want to do left and right here I just want to scale us to the right. So goes beyond that bleed. And sometimes it's hard to see what it looks like with the bleed. So what? I dio I'll turn on my guides again. I'll get my rectangle tool by hitting a letter M, and then I'll click and drag to my trim size area, and then I'll select the inverse command shift I. Where is that at here in verse area shift command high, and now it selects just where my bleed area is. I'll make a brand new layer command shift in the right bracket to throw it all the way to the top, but later I to get my eyedropper tool and I'll sample the canvas color. Now it all delete to fill just that selection area with the cameras color. And I usually just call this layer bleed mask because I'm literally masking my bleed. Just so, at least visually. As I'm looking at this, I can kind of get a feel for where the actual size of the business card is. So hopefully those tips help you create something that's a little more balanced as well as kind of getting an idea of the, you know, the size of the card. The next thing I would do is if I was going to send this comp to a client, I would actually hit command zero to make. This is big as I could. I'd hit command ship for to take a screenshot on a Mac on a PC visit print screen, and then I was clicking drag. So once I get started, I hit space part and move it up to the top left and then dragged down to the bottom right. And the reason why I would take a screenshot this way is because then the client doesn't see the extra space around. It's gonna get cut off anyway and wonder why. Hey, and that's a lot of space around the text or whatever, when really, it's actually eating trim to there. So now when I jumped to my desktop and open up that screenshot that I just took, we can see that it just shows that area. I took the picture off, so that would be how that's how I work with ah ah, the the creation of the business card. But again, feel free to push. That's to design further and to create something that you truly love. Now, the next thing I would do once I get the front, how I like it, I'd go ahead and save that, and then it hit. Command shift s to save a copy. We'll call this business card back it save. And now what I can do is kind of go crazy and maybe just turn off my content Here, pull those out to a separate group. Turn that off one more time. There we go, you know, And maybe fill the back with just the color with a matching color and maybe you something creative with a logo and, you know, depending on the logo, this might not be a good solution. You don't usually want to dilute the brand this way, but it really just depends on what you're doing. And in this case, it's my own thing, and I really don't care, because I'm having fun with it. So this is another way to take, you know, elements of the brand and create something that's unique to fund a look at and that reflects, you know, pieces of the brand and and still looks good together as one whole unit. So hopefully that makes sense. I had command as to save this, and that's all it took for the back. It really took me just a couple seconds to create something that's interesting. And if you wanted to, you know, you could push us further and maybe drop in your company's logo over the top. Here. I'm Jim back over here, command me to paste, scale us up and maybe put this in a white, you know, And maybe that's good enough, right? So you just gotta play with it and figure out what you like. What works? Well, in this case, I'm just kind of goofing around, but hopefully that helps you out in the next lesson. What we're gonna do is show you how to set up your files for special processes like UV coating in spot gloss and things like that, as well as how to export these for print 60. Exporting Final Files and Custom Finishes: all right, you've taken the time to design the perfect business card, and in this case, you know what we did was just a sample. Super quick, very basic. But we can take a basic card and make it epic by doing some simple finishing touches. So let me show you an example of some of those. So I pulled up a few different finishing touches that we can do. So here's an example of spot gloss. So in this case you see the shiny black that is a spot gloss. It's basically a clear coat that's laid down over the top, so there's actually no ink on this. It's just a clear coating that then shines depending on the on the angle of the light so we can do a spot gloss or spot. You ve they call it. We could also do a foil, so a foil is literally that. It's just like a metallic foil that shines and you can do reds, golds, blues, greens. You can, you know, anything you can imagine here, and here's some examples of some different foils, and again you can see how they reflect in the light. And that's a way to add some visual interest to your piece. Here is probably a really good example up close of how that metallic foil looks. We could do die cut business cards so a die cut is literally a die that's made to cut out or to stamp out a shape. So in this case, we have the shape of the coffee mug, or in this case, they've stamped out the shape of their logo. And then they've also done rounded corners, and that's also part of a die, so your diet can be the outside shape of the card. Or maybe it's the die on the inside where we've punched out a physical shape. So there's lots of ways we could use die cuts as well. We can do em bossing or d bossing. In this case, this milk is a D. Boss. Words actually sunk down into the card or an M boss like this, where it's actually raised up from the card. It's actually punched in from behind it. So there's a lot of cool finishing touches we could do, and what I'll do right now is I'm about to show you Well, how would you explain this to the printer. So let's take a look at that road quick. So first we need to decide. You know what we're going to do with our card? And in this case, I feel like a simple spot. You ve might be really effective. So what you would dio is first and foremost talk to your printer and asked them how they want the file because I don't want to set it up in a way that they're not able to work with her if they prefer a certain format. But typically, this is how you would work. You would create a new layer in here. Also, make a new layer, and I'll call this spot you ve. And that's really all it takes. And now anything I drawn this layer the printer will use as that fifth color where they dropped down that spot you be. So, for example, let's say we wanted to bump the letter m here and maybe my name with a shiny spot gloss on top of it. So what I'll do, I'll click on this layer, all command click to select it. So my holy on command you get, you can click right there on the thumbnail, and it'll select whatever pixels air in that layer. I'll cook once on my name and ah, hold down Command over the top of the letter T here in the minute ad in the shift key, which then changed to a little plus sign and adds a selection for both of these. I'll come back to my spot UV layer, and depending on the printer, they might not care. So you might just fill it with a black hole hit obsolete. Or maybe they want to really spell it out, in this case, like with a bright magenta or something. So, you know, I could fill it with pink, and then that way I know anything on this spot. UV layer is a separate color that gets printed. So then, if I wanted to take this one step further and actually send it to the printer, some of them will just take your your PSD file and they can get in here and they can see exactly what your intention is. As far as where is the spot you ve got to go. And some of them, though, prefer that you actually set it out as a separate file. So the way you would do that is I'm gonna turn off this bleed mask I've got going on, and I would turn off my spot. You ve as well. And I would export this card by itself. So let's just do that real quick, like command as to save my progress. I'll go to Image, actually. Sorry, Toe layer. We will flatten the image here to discard all those layers and they'll hit command shift s to save as and will save a Photoshopped pdf version. Go to my desktop and we'll put this in the finals folder of my file sent. Let's save. And that all looks fine for now. Hit save again. And then whatever do now it's a command options you to step back, toe unflattering my document. And now I would turn on just that spot UV layer, and I would turn off everything else. So this is all we're seeing here and I hit command shift s again and we'll save as pdf. And this time I'll rename this as front dash spot. You ve doesn't really matter what we call it, but that way we know that there's to turn files turn off my layers. We don't need layers. Let's save and I'll save this. Pdf, let's turn off the photo shop. Editing capabilities for this one will sit. Save pdf again. All right, So now we should have to phone, um, two files here in our finals folder. So have you had a front? Pdf and then we have our spot. You ve So they're gonna print anything that's black will be printed in that spot, you ve Or in this case, the exact same format could have been done. But instead of being a spot, you ve would just call it, you know, metallic foil or whatever it's going to be. And again, that's where you need to talk to your printer. So they understand. Okay, we're doing this in a blue foil or in a red foil or whatever we're gonna dio and this is the father needs. So they would take this. They'd print it one time through, and then they'd run the card again. But with this file to drop over that special effect. So that is how you send special spot TVs and metallic foils. And actually, it would be the exact same process as well for the M Boss and Debus. So hopefully that makes sense and gives you a much better understanding of how to take a simple business card design and turn it into something that actually is truly creative and stands out from the rest. 61. Build Your Portfolio: Introduction to Behance.net and myportfolio.com: in this section. We're going to take a look at how to create graphics for online usage. And in this case we're gonna do is take some of these projects as you've already created, and upload them to your be hands and my portfolio dot com websites that you get free with your creative cloud subscription. So it's gonna be kind of a two for one where I learned how to handle graphics for Web site usage, and we're also gonna learn how to create our portfolio because here's the deal. You know, nobody ever asked me what kind of grades I got in college or you know, what my GP a was in high school or any of that kind of stuff. They really don't care. They just care about what kind of work can I produce and do they like the style, So you're gonna have to have some kind of portfolio sooner or later if you want to land a career as a graphic designer. So what we're gonna do in the next lesson is quickly get an overview of both. Be hands in the my portfolio dot com websites, and I'm gonna show you how to export your graphics straight out of photo shop in Illustrator. And then we're gonna learn a little bit more about how to create polished graphics with Web . All right, let's get going. 62. Features Overview of Behance.net and myportfolio.com: first, let's take a real quick look at B hands and I won't linger here too long because we've already been looking to be hands for some design inspirations. So the chances are you've already kind of poked around a little bit. But if you haven't basically be hands is a way, it's a community for you to search and explore what other artists air doing. Upload your own projects in your own work here, maybe even search on the job boards. Find creative jobs. You can update your profile. So, for example, my profile looks like this where I've done some recent work and what I've stuck up here on my profile. We can also listen a little bit about ourselves. So it's just, you know, think of it kind of like emerged between Facebook meats linked in, but for creative professionals, obviously a little bit different, but hopefully that kind of gives you a little bit of an idea of what it does. So go ahead and poke around this, check it out. The other thing I want to show you, though, is Adobe Portfolio. So both of these services be hands dot net and adobe portfolio. Ah, the premium services are actually a paid subscription, but because you have the adobe creative cloud, you get this as part of your subscription. So that being said, if you're looking to create a portfolio, this is a great place to do it. Professional grade, and it's really easy and offer about coating at all, and it syncs with everything else that we're doing here. So it's easy to update your artwork and stay current. So let's take a quick look at this. I'll just kind of scroll through it. You should definitely check us out on your own time. So it's my portfolio dot com when you're logged into the Adobe Creative Cloud and a periods . No, you'll notice that we do have the same menu options we do if you're at adobe dot com. So it's easy to jump around to the other creative cloud parts here, and we also have your your account, where you can manage your account for the creative cloud as well. So that's all up here. If you didn't notice that, Ah, weaken, jump in right away and click on Edit your portfolio. But I'm going to scroll through here real briefly and show you some of the other benefits, so it's really easy to create. You know, stunning galleries that really feature your artwork beautifully so and you can do it in minutes to just like it says right here. As far as the features are concerned, it's really simple Dragon Drop kind of editing. You can see we'll have a section over here where we can change settings such as adding your logo or turning on a big header image, adding navigation really straightforward, simple stuff on the left hand side, where we can add new posts at new pages. Add content, things like that and that, like it says here, it's that simple. Here's a quick overview of what you get. I like that it sinks with the type kit library so you can add custom fonts for your brand. If you did that logo project we did at the beginning of this course, and you have custom logo you want to bring into the brand, you can sink it right here with type kit. There's a lot of other great things right here, too. That should you should check out probably another good thing to mention that while I'm here is you can use your own domain name so it doesn't have to be. You know whatever dot my portfolio dot com you can actually be a purchase domain name, and it's super simple to set that up and then layouts these air basically templates. They call it layouts. Think of it is the foundation to your site. Basically, you can choose from. I think they've got maybe six or so different layouts currently that just show different ways to, ah, to show your artwork, right? So it's a template. Essentially, so I have to do is just click on that button and you're often running or you can switch to different layouts. It's really simple, So let's go ahead and take a look at how we can get this set up. And then it also syncs with both be hands and your portfolio account. So we're gonna do the work once, and then it will sink up between both platforms. In the next video, I'll show you how to seamlessly export the work you're working on from within Photoshopped in Designer Illustrator and have it dynamically or automatically populate your portfolio website and be hance dot net Well, then take a look at how to create custom graphics and then upload them directly using the website interface 63. Export From Adobe CC Directly to Behance.net and myportfolio.com: So the one of the features we're gonna look at is what we call work in progress. So right here I have an image that I started with the original truck image for a client of mine. And since then, I've actually cut it out. And I've added some effects here to make it look like those led bars were on because the photo was taken in the day and really wasn't that great of a photo was just to show off the bumper. But in this case, we really wanted to make it stand out and be one of the featured images on the website. So I want to show the progress in the progression of this image. Now, I don't really want to show just the plane photos, so I'll start here and just show where I've got the truck already. Kind of cut out with the lights and stuff. And what we'll do is I come to file, I'll come down to share on be hands, and then it's gonna open up with the preview of my image and give me the option to set this as new work or revision and in this case is will be brand new. I haven't put anything up yet for this project. I'll give it a title and I'll just call it tough, tough country, and then we give it some tags. In this case, I'll just call it Web design, and then I composed to common to start the conversation. But in this case, I'll just leave it alone. We'll leave it visible to everybody, or we can make it private. Either way, in this case, I might just make it private, since I'm just showing you this is an example. Continue. And just like that, my work is live. So I can either close this here and go into my workflow or weaken. View it on, be hands, Let's go and just take a look real quick and were given the option to promote it via social media. We can also copy the link to it and share it on anything else we want. I'll close this and you can see we've got the tough country name up here. We can have a discussion about it, and then as we post new revisions will show up. Down here is thumbnail, so let's go ahead and do that real quick. I'll jump over into photo shop, close this window, and then we'll open up another document where I have actually started. To put this into a scene that we're going to use on the home page is one of the image slider. So I'll go ahead and do the same thing will come up to file share on be Hance This time. What I'm gonna do is click on Revision, and I can choose an existing project to add this, too. So we'll click on that tough country project, and it automatically populates it with tags from whatever I take before again. We can change these items down here, and I'm just gonna hit. Continue. Actually, let's put a commented at this time and we'll just say, starting to flush out, though. Home page slider image. Why it continue? And I have had it stalling me a couple times where you click update for the revision and it sits here and this is saving for a long time, and it looks like it's about to do that to me again. So what I'm gonna do is just X out, appear in the top left, and sometimes when I do that I get a little spinner cursor on my photo shop icon. Sometimes it works just fine and it is ready to go. So what I'm gonna do is jump over to my be hands page here and click on a work in progress . And there is the latest one, and sure enough, it's already up there. I'm not sure if that's a bug that'll be fixed when you're actually watching this. But if it does stall out on used X out like that, and it seems to work just fine down here, you can see the provision, and as you add more and more, you'll see the most current revision down here on the bottom left, and you'll see thumbnails for the stages along the way. So it's a really great feature to start showing and getting feedback from people. And then the other thing you can do if you messed up and you want to erase it or move it or edit it, just go back to your work in progress Page hover over the top here and you see a little pencil icon. You can convert this to a draft, which will then save it into your actual projects area, which would then also dynamically update your portfolio website or, in this case, Aiken, hit, edit or delete edit right now. And I could come in here and I could delete just this revision if I wanted to or make any other changes I want. But I'll cancel for now. So that's how you would export a work in progress directly from photo shop or get it ready . So then you can update it as a draft and then save it as an actual project. Another thing we look at here now we're in Illustrator, and here's this logo that we we did earlier in the course, and I want to show you a couple more things here as well. So if we do the same thing, let's say we want to share a project. We've got all these art boards here. Let's just go out and come up here to file and we'll go to share on be hands and you'll notice that when I selected that, I had my details are board selected. If you look over here on the right, we have our boards window, which shows us which one is selected. So I just have that details are bored, selected in another way to tell if it's probably tough to see on the screen capture. But there's a really subtle black line that shows up around whichever campuses targeted anyway. That being said, you'll notice it doesn't pull all of my our boards. It only pulls whichever one is currently featured. So same thing I could come in here and I could give it a title and we'll just call it D M logo. The tags will give it logo and, um, just a sample logo design, and we'll make this in private as well. But usually I would post everybody if I had a more polished piece to show. But right now, this is just to get you up and running here so it continue and you'll see that this works just like it did on photo shop. So I'll go ahead and will view and share this on Be hance real quick. Let's take a look at that. I'm gonna close this window, and here we go. We have RGM logo. We've got the revisions thing just like we expected. So I could go ahead and do the same thing here and export these one at a time. That's one way to do it. But then it adds, it has different revisions, so I can also target whichever are bored. So if you want to the one color or the full color icon, I'll click on that. And I could go to share on Be Hands. But this is where uploading directly to be Hance might be more handy. So what I'll do is I'll click on add work and I'll click on upload files, and I'm gonna grab those final logo files that I exported. And in this case is where it comes really handy that I already split out all those files of the different file types, whether it's a PNG or J peg or whatever. In this case, I'll grab. My details are bored and my full color and my one color logo's. I'll open all of those at once. And this is the difference between exporting directly from Photoshopped versus uploading a new project in to Be Hands or your portfolio site is now. I could do multiple images at once, and I can stack him up. They can give it the name here and go through and get this looking exactly how I wanted to with the customized design options here on the left so I can save this and come to it later or I can hit. Continue in this case will name the project D M logo, and I would give it a more descriptive name for search engine reasons. So that way, when people are searching to discover our work, they might actually find you. I continue, and now we can upload a custom cover image. So let's take a look at that real quick. We can click on upload image and grab one of these, but it's gonna have a problem if the if the images and more of a rectangle, I should give you an air. So what I've done is I've pulled up what the specs need to be for your own custom image size. So what we're gonna do is finish uploading that project just using the generic thumbnail. And then in the next video, we'll come back and use these dimensions to create a custom thumbnail. So let's just jump back over here real quick. Two. There it is. We'll upload an image straight from my details page which again, I wouldn't want to use this because it's such a small image and it's a PNG. So it's a black background. This is really not ideal for showing off this work very well. But I'll go ahead and crop and continue and they begin said in the creative field. So, for example, graphic design and branding, maybe typography or digital art. There's a lot of different ah categories in here that would work well for this. But for now, we'll just leave it like that I had done, and it has to have tags and descriptions. So let's just call this logo design logo illustrator and you could name a whole bunch of other project tags. This again is just for sorting and S CEO, so people confined it product description, and we'll just call us just a sample logo for fun and weaken. This is where it's awesome. We can click, push to pro site and select a page in this case will send it straight to my gallery. We can also control the placement, whether it's first or last in line, and then I'll go ahead and hit publish. Once it's unloading, we can promote our work again with the custom link or directly using one of the social icons here and here. We see my project gets loaded in and even cooler. If we jump over to our photo shop website and I'll click on edit my portfolio, it will redirect me to my personal portfolio page because I'm logged in with the creative cloud and you can see at the top here, give it a second to load that local came in, automatic it and have to do anything to it. So if I actually preview my website right now, I click preview. I updated it in one spot and it came over into both places. So in the next lesson, what we're gonna do is take a quick look at how to create custom Web graphics. For this, we're gonna create a custom cover image and show you the difference between working with print versus Web. We've been working in print predominantly up until this point. Let's go ahead and do that now 64. Create a Custom Cover and Full-Width Portfolio Image for Behance: in this video, we're gonna take a real quick look at the difference between setting up your file in this case for Web versus print. Like we have been going to create a custom cover for this project. I just uploaded to be hands. The other thing I want to show you real quick is the sizing for the bigger images. So we're gonna do the cover image. But we're also going to do the images that we would stick in line here. So, for example, we see this logo here and it crops it right here. This is biggest the images. But what if you wanted a full width? There will be called full bleed image on this website where one edge to edge. I'm gonna show you how to do that as well. So let's get started first by making a new cover image. And if we if I just Google cover image size for B hands, I can get this page and it shows me right here that it's going to display at 202 by 158 pixels. But we have to make the image at 404 by 3 16 At least because of the retina displays. So let's do the real quick need 404 by 3 16 So come to Photoshop and I had command in to make a new document. We'll do 404 by 3 16 Make sure you set the pixels. 72 d. P. I and there were an RGB color because this is for web now, so we don't see him like a We want to make sure this is set to RGB. And again, the resolution is 72 now, not 300. I'll go ahead and click. OK, and here we have our tiny little thumbnail image that we're going to use for this project. So what I'm gonna do is go ahead and fill this background with White. I've already got white as my background color over here, Associate command delete to fill it with white. I'm gonna jump over to Illustrator and I'm going to just grab this icon. So I click once and then I'll double click again to get inside of this group. Click one more time to grab just that shape it command C it a copy. I'll jump back over to photo shop and I command V to paste. And I'm going to scale this up big. Well, it return. Now. I want to flip flop this. I want to make my background kind of this gray in color in the letter m in white. So we get the eyedropper tool in all, sample this darker blue. Then I'll hold down the altar key, which would then sample the lighter blue. And I filled both the front in the back of my fills with the light in the dark color. I'll click once in my background layer at the letter G to get my Grady int tool. I am a changes greedy int from the foreground to transparent to the foreground, a background color swatch. And then I'm seeing a click and drag from the top left to the bottom, right, and it fills it with that Grady in. But I actually want to reverse how it's filling it so I can do one of two things. I can click the reverse button right here. Or I could just simply hit the letter X, which is the same as clicking on this double arrow to swap which Phil is in front. So Now, if I try that again and I have dragged from the top left of the bottom, right, I get that nice little ingredient. I'm gonna click once on my letter M I'm come down here to effects color overlay and we're just gonna leave. It is white. So again, this is just just for fun just to show you one way that you could maybe create something that looks better than the default Cover him and you're given. So now, because we're saving for WEB instead of just going save as and and saving it as a J peg like we've done before, we can actually come over here and come down to export. And then we have a few different options that are brand new. In the latest version of photo shop, we could just do a quick export is a PNG or we can click on this export as which gives us option for how to export this file and let's is really refine everything from the size to the quality of the image and where this is really helpful. When it comes to a web design, you want it to look as good as possible. But not be such a huge file that it takes forever to load. So if we look over here on the left, we get our final pixel dimensions and the size of this thing, so changing your quality and typically I found 70% is more than enough to still look good. But be a much smaller file size. And in this case, this is already a really small image. So 30 kilobytes is nothing. If I leave, it's 100%. I might just do that for here. But you know, on bigger images like saying your home page slider image, you might want to drop this down to like 70% maybe even 65% to get that number to be less than about 150 to 200 kilobytes. Max. That way you get a fast loading Web image, but I'm going to scale this back up. Everything else was good and I'll hit export all. I'll give it a name. Let's jump over to my desktop and what does drop it in there? We'll call this D M logo cover export, and there's my J peg. So now we're gonna do is jump back into be hands real quick and update this or and click on edit project. I'm gonna jump over here to my cover tab. I'm a click, Upload new image, go to my desktop and we'll grab that new cover image I open. And I don't really need to crop it cause we made it exactly to their specs. So hit, cropping continue. Everything else is good to go. So I was hit, save changes. And then now that that saved, I could just x out of here and I can view my work or make sure well, could save up here just to make sure that's good to G O. And we should be golden. All right, so now the next thing we want to look at us, how to get that full with image. So let's take a look at this and how this doesn't necessarily go full width. How can we make this take up the full width of the image? And right here it gives you a kind of ah solution. Basically, to do that, we seem to make sure the images at least 1400 pixels wide says come back into Photoshopped command and to get a new document and this time will make it 1400 pixels wide the height for right now, I'm not really sure how tall this is going to be. So let's just put it at a couple 100 pixels changing color mode to RGB and I'll hit. Okay, so this is really tall and skinny, so this is obviously not gonna work, but let's just kind of bring it in and get this to where we want it. I'm gonna jump over and grab that full logo real quick, commands you to copy one, jump back into Photoshopped, a new document command view to paste. And I can scale this up to be either full width or maybe not quite full with them. We'll give it a background, so I'm just gonna scroll their scale us down. And now what I can do? Is it command, option and see, So that's the same is coming up to image canvas size and we're gonna modify this campus eyes on this on the fly. So what we're gonna do is the anchor. I'm gonna set it to the top border here, so we're going to expand the height pushing everything down. So if I didn't click on that. It would expand the height on both the top in the bottom, but already know I've got this where I want it right here. I'm just gonna push it down so we'll click on this. Change the height we're gonna add, say another. Let's just do 500 pixels and see how far that gets us a click. OK, And that's more than enough. So I was gonna drag this down kind of towards the center. And let's feel the background color. Maybe with a version of this grace, all sample the gray from the letters. And then I'm just gonna come to my color sample here and just drag it up a little bit from there just to get a lighter grey. I all delete to fill my background color, and it's a little bit too close to the same color, but I just want to show you how you can make this full screen. In fact, let's just do what we did last time. I'll click once here, all click on the other one hit letter X to swap my fill and stroke, and that's just fill his background with that Grady int again because it looks better and I'll change this. Let's just do a color overlay. We'll make it white hit. OK? And now we're going to go. So the same thing here. Now a shortcut. Aiken, use command out. Shift on the letter s the same is coming down here to export safer web. And this is legacy version. So what? That tells us that that shortcuts probably going away in the next version. But for now, we can still use it. And I can do this. Similar settings here. I can set my image type. And this is where we can see that RJ Paige images about 149 kilobytes, which is fine. But if I wanted to crunch it down, I could put this to say, 70. And you can see, compared to the original image, you could hardly tell the difference at all. And that save is almost 50 to 100 kilobytes. So we'll go ahead and hit save through on my desktop, and we'll just call it G m logo. Full wits when it's safe on this trip back over here. And this is upload a new image real quick, so upload files. We'll grab that for with image and hit open. And then once it loads in here. Now I have the option up here to make this image full with. So if I click on that, you'll see goes edge to edge. Now I can save it and that's how you get that full width image on your portfolio website in the B Hands website.