Graphic Design | To Scale Frame Mockups in Affinity Designer for iPad V2

1. To Scale Frame Mockups in Affinity Designer V2 Introduction to Class: As a two t artist selling your work online, crafting a good listing can get the buyer in the door. And from there mock ups can play a crucial role in helping them visualize your work on their walls. The key is using the right ones. An effective mock up shouldn't compete with your work, but rather elevate it by matching its style and vibe. The problem is with so many mock ups out there, finding that perfect fit can be frustrating and expensive. Sound familiar. Welcome to class. Hey everyone. I'm Tracy Capone, a photographer and illustrator from the Chicago area. I've been selling my work online since 2009, and I've been using my mock ups to show my work since the beginning. The problem was when I first started using them, most of the mock ups out there were designed for portrait work and their style didn't match mine as an urban photographer. Once I took control and began creating my own, where I took an intentional approach to creating mock ups that complemented my style. It was like a switch flip. Not only did I sell larger pieces and more of them, I was spotted by national retailers like Ikea and Pottery Barn and had the privilege of seeing my work in various TV shows and publications. In this class, I'm going to show you step by step how I use my go to app affinity designer for ipad to create two scale custom mock ups that better suit your overall style and voice as an artist. We'll start out by talking about sourcing images for your backgrounds, what to look for and what to avoid. Because with so many options out there, you don't need to settle for images that are going to make you work to use them. From there, we'll talk about the basics of the measure tool and designer and how to use the drawing scale feature to set the scale of a space. You designate making the mock up process a lot easier and more accurate. Next we'll take a look at three of my favorite efficiency tools in designer assets, styles and templates. And focus on how they can make the frame mock up process easier, leaving you more time to create the work for them. Then I'll show you, start to finish how I create my frames from flat vector shapes through the final frames complete with texture and dimension. We'll wrap things up with a dual lesson. I'll show you how working with a drawing scale can help you quickly create a multi frame gallery layout. And in the process, I'll show you how with an image from a buyer and some key measurements, you can create custom to scale mock ups. This allows you to take a more consultative approach with serious buyers by giving them the tools they need to make a more informed decision. More often than not, I found this leads to selling larger prints rather than smaller and groupings rather than single images. When you take this class, you'll receive a set of real wood and metal frame styles that I've created for the class, as well as a set of metallic gradients which you can use to create your frames. Now I'll be using designer version two for the ipad, but if you're on the desktop version or in version two of either photo or publisher, you can still follow along as long as you know where the tools are located. This class is intended for intermediate users of designer and while beginners are welcome to take the class, it does assume you have some experience with the app as we won't be reviewing the interface. So are you ready to create mock ups that will show your work in its best light? If so, grab your ipad and let's get started. 2. The Class Project: The project for this class is to create your own set of two scale mock. Ups. Using the measure tool and the methods we'll cover in class, incorporate for use images or use your own. And consider creating multiple frame sizes in your various mock ups. Be sure to use backgrounds that will best complement your work and not compete with it. I'd love to see what you create, so please consider sharing your work to the projects and resources section of the class. Doing so not only helps potential students see what they learn when they take the class, it helps more students find it. I provided step by step instructions for sharing your project in the PDF provided with the class coming up. We'll take a look at the downloads. I'll see you there. 3. The Downloads for Class: The downloads for class include a set of metallic gradient swatches and 20 real wood and metal frame styles that I've created just for class. You can find the link to the downloads in the PDF which is located in the projects and resources section of the class. Let's take a look at how to download and import the swatches and styles on both the ipad and desktop. To download the styles and gradients, simply click the button in the PDF provided with class, and it's going to take you to Google Drive. Now I do want to note you don't need a Google account or Google Drive to access these, as it is a public link. If you have Google Drive on your ipad, it is going to take you directly there. But you can also open this in Safari or Google Chrome. If you open the link in Safari, simply click the three dots at the top of each box and choose Download. It's going to zip the files and then ask you at the bottom if you want to download. The styles are going to take a little bit longer than the gradients due to their size. If you open the link in Google Chrome, just tap each square, it's going to show you a message of no preview available. But give you the option to download again. The styles pack is larger than the gradients, so on Google Chrome, it's going to take a little bit longer to download. And when you do use Google Chrome to download, sometimes it goes to the Chrome folder on your ipad rather than your downloads. So if you don't see it in your downloads folder, locate your Chrome folder. In my case, mine is in my Clouds files. All right, let's head into designer to import our content on the ipad. The easiest way to import content is to click on the icon at the top of the live docs menu. Just choose Import Content and then locate your files. I'm just going to select both of these and choose Open. And it's automatically going to import them into the proper studios. And once it's done, you'll get a success message. So I have import content for the gradients, and then it's going to give me one for the styles as well. On the desktop, go to file and import content. Again, select both of your files and it's going to follow the same process. It'll put it into the correct panels and again, once it's done, give you a success message for both. If for some reason using import content doesn't work on either the ipad or the desktop, you can also import from inside the swatches and styles panel by going to the burger menu at the top and choosing import. I've provided step by step instructions in the PDF provided with the class. I'll show you how to use these throughout the class. But in the meantime, let's head into the next lesson where we're going to take a look at sourcing images for your mock ups. I'll see you there. 4. Sourcing Images for Backgrounds: I've pulled together a few images that represent what I look for in a background image and a few that represent what I try to avoid. The thing is there are so many images out there to choose from. Spending any amount of time trying to fit your mock up into one that needs a lot of cleanup or the lighting is a challenge or maybe the perspective is off. It's not really an efficient way to spend time. So let's start by taking a look at what makes a good background image first. This image by Nathan Do and splash is a go to for me for a few reasons. The first is there's enough wall space for a large single frame without being cramped, but not so much wall space that it's going to shrink. The lighting is coming from the left and is evenly distributed so I can easily follow the shadows and highlights with my mock up and integrate it into the image. The other thing is, there's nothing distracting in this shot. Even the cactus plants, while very noticeable, don't pull focus from the wall behind them. And in this case, all of the elements are warm, which will work very nicely with the way my photography looks and the images I plan to share here. I also really like that the perspective is built in here. It shot straight on, the lens is straight, so I don't have to correct anything. And because of the depth of field with this lovely soft boca, it gives the impression of someone standing at the edge of the room, perhaps looking in the door. With the frame in place, they could be looking right at that. I like this image from Raw Pixel for gallery wall mock. Ups. The lighting is very even again, just like the last one. And this large window is not casting anything on this wall that I'll either need to work around, clean up, or incorporate. Well, this plant is a bit large because of the wall space. It's not distracting. If anything, it balances the very large room. The same goes for the brick over here because there's not a lot, even though it's dark, it's not distracting and it actually balances with the plant. The other elements in the shot are soft, warm and inviting, and not at all overwhelming or distracting. And that's really important because your work should be the primary focus. And then finally, I like that this is shot straight on parallel to the floor, so I don't have to fix any perspective before I use it. This image from Raw Pixel has potential for a few different types of mock ups, which is why I like it. I could use this to create a single frame on the wall that's more of a close up. It's always a good idea to create one mock up that's a close up of your work. This is also big enough that I could create a small grouping, or I could create a shelf or two with frames leaning for a different perspective. Again, the lighting in this is very even and it shot straight on. Now, while there are a ton of plants on the table, because their overall colors complement one another and don't stand out too much, I don't find it distracting, especially because there's more wall space than plants overall. When it comes to what I look for, it's a well and even lit space, one that isn't cluttered with distracting elements that's warm and inviting. And that suits my work best, because again, if you're creating your own mock up, you have the opportunity to show your work at its best light. So I want to find images that fit my needs without having to do a lot of work to clean them up. So that said, let's take a look at what to avoid. While I love the decor in this image by Andrea Davis and I love how minimalist it is. I wouldn't use this for a mock up for a couple of reasons. The first is the angle of the shot is off as it's shot downward. I'd need to fix this before I could use it. And because it's already so closely cropped, I'd begin to lose the sides of the furniture before I could successfully get the wall where I needed to be. If this were an image from a client who wants to see a mock up of their wall, I wouldn't think anything of it. But for my own mock ups, the angle isn't worth the time to fix it. The other issue is this blown out high light on the table and on the pillow. They can be fixed, but again, it's just not an efficient use of time. And they would be too distracting to leave alone this one from data design on unsplash is a lot of fun. It's very neutral color wise, but I find the crop distracting. The cropped sofa and sideboard make it feel tight and not at all inviting. It doesn't feel like a room where you'd want to sit and appreciate the art on the wall. The cropped top doesn't allow much flexibility to add images to the wall. I'd be forced to sit the frame on the sideboard and lean it against the wall. Now I could extend the canvas on the wall, but again, that's not an efficient use of time. This image by a ads on unsplash is beautifully lit. I love it, but for my purposes, it's too cropped. Even if I use a small frame here at the top left, the chair in the plant would overwhelm it. And I'd also have to work in these shadows from the Monstera plant. Again, I could extend the canvas in the wall, but it would be an inefficient use of time. I'd rather find one that fits better. This one from unsplash has some great empty wall space for a gallery wall mock up. But I would avoid using it for a few reasons. The first is the perspective isn't head on. I would need to work my images into that perspective. Since I'm selling my images and not the frame, there's no need to see it from the side at all, so that wouldn't be an efficient use of time. The second is the lighting on the wall is very uneven. There's a faint shadow running right down the middle of it that I'd have to either clean up or work to incorporate into the mock up. And overall, the feel is rather cool rather than warm, which for me wouldn't suit my image as well. I could correct for that with adjustments. But with the other two issues, I would just avoid using this one entirely. The room in this photograph by Maria Orlova on unsplash is so much fun and has great colors. But I would avoid using it because I could easily remove this large piece to free up wall space. And it's really evenly lit, But there's so much going on in this room that it would be a distraction from my work. The work you're using in the mock up should be the star of the show. The surrounding elements should be secondary to that and should kind of recede while someone's viewing your art. Finally, I love the wall space in this one by pure Julia On unsplash, I could remove this frame using the clone tool and it would open me up for a nice gallery mock up. But overall, it's very dark and not evenly lit. I'd have to work my mock up frames again into a perspective that I don't need. It would be a better use of time to find a similar image that's well lit and shot head on if I wanted to create mock ups for a kitchen or dining area. While it may take some time to source the right images for your background, that time spent curating a collection of go to images that work well with your aesthetic and that don't present challenges, means less frustration and a more efficient and really fun process of creating the mock ups themselves. You get all that time back to create more new work for your site. In the next lesson, we're going to take a quick look at the basics of drawing to scale a designer so that we can use that to create our frame mock ups. Later, I'll see you there. 5. Basics of Drawing to Scale in Designer: In designer, there are two ways to set a drawing scale in the initial set up of your document or using the measure toll within the canvas. In this class we're going to be using the latter because we want to be able to apply scale to a known distance. In this case either the distance between two points on a wall or end to end on an object within the room. Let's take a look at how drawing scale works. So I've created a box here within my document that's 2000 pixels by 1,250 pixels. And right now, because I don't have a drawing scale set, as far as designer is concerned, the size of this rectangle is exactly as it's set in the transform studio. But let's pretend that I want to use this as a mock up wall for a gallery wall that I want to create. The real life wall is eight feet wide. If I create a canvas right now, say a 16, 20 inch canvas designer is going to create a 16, 20 inch shape based on my canvas size, not the rectangle, because I haven't set a drawing scale. So let me show you what that looks like. If I grab my rectangle, I'll just start drawing one out. I'm going to go to my transform panel and you'll notice that my units are in pixels because that's what my document set at. But I actually want to set this in inches just so I can show you what 16, 20 " looks like. So I'll do 16 by 20. And you can see that it's much larger than even the canvas, so that's not going to work. What I need to do is tell designer that I want this wall here, this pretend wall, to equal eight feet. So that anything that I set in inches is going to be sized accordingly. And I'll do this using the measure tool. I'm going to select the measure tool here at the bottom. It's a little ruler. If you can't locate yours, just tap the question mark at the bottom and these labels will pop up now on the ipad version. The easiest way to use this to ensure you're at the edges of your shape or whatever object you're starting with is to start outside of it was snapping on. I'm going to just tap and start dragging outside of the box. I'm going to hold my finger down so that it keeps the line straight and it's going to snap to the other line. And you can see that it says line there. Now I need to drag this one back. Because right now it's way past the box. I'll just tap and drag, and it's going to snap to the edge. You can see that it's showing 2000 pixels, because again, that's what I set it at. But what I now need to do is tell designer that I want that 2000 pixels to represent eight feet. Or in my case, I'm going to set it at 96 " because I want to work in inches. I'll go up to a sign drawing scale at the top here, underdesired read out. I'll type 96. ". When I do that, you'll see that it shows 2000 pixels equals 96 ". And it's changed it here as well. Now I'm working in inches as by measurement because that's what we use here in the United States. But you can set your measurement unit to whatever you're most comfortable working with. Now, in addition to seeing this at the top here, if you go to the transform panel, you'll also see that my units have changed to inches, which means that anything I create now, I can automatically create inches. You'll also see the drawing scale down here. And I can turn that on and off simply by tapping that, but I'm going to keep it on. Now if I go back to my rectangle tool and I begin to drag out a rectangle, I can key this in as 16 by 20 ". I don't have to change the units myself because it's already done that based on my drawing scale. And you can see that it works much better with this fake wall that I'm using to create my gallery wall mock up from here. As long as the drawing scale is set, any objects that I create are going to be based on that drawing scale. And I can continue to create shapes until I build up my full gallery wall. This is also useful if you're creating a custom mock up for a space that's already has objects in place such as chairs, sofas, or other items with the full measurements of the wall space, as well as any objects that are already there, you could more easily build an accurate mock up. All right, now that we have the basics of how to set your drawing scale covered, let's head into the next lesson. We're going to take a look at one of my favorite tools and designer assets and how they can make the mock up process way more efficient. I'll see you there. 6. Building a Libary of Frame Assets: I'm not going to dive too deeply into the ins and outs of how assets work in this class because I've covered them in many of my other classes. For this one, we're going to focus on how you can use them to make the mock up process more efficient in creating frame mock ups for your shop listings. I recommend featuring only those print sizes that you would offer standardly By creating a mock up of a very enlarged print size that you don't offer. For example, you could cause confusion for buyers and correct expectations. In my case, I offer both rectangular and square format prints in very specific dimensions that I rarely deviate from outside of the occasional customer request or when an image specifically demands it. What that means is that I can easily create an assets pack of flat frames that I can use to quickly add them to my canvas as I'm making new mock ups, rather than building them from scratch. This saves a ton of time and makes the process much more efficient. That's what I have here. I began by creating a category which I named mock up frames. I've also created two subcategories, rectangular and square. Again, to represent what I offer. Now with assets, you're always going to need to add at least one subcategory to start. So even if you don't plan on breaking them down the way I have here, you'll need to make sure that you have at least one in place. And you can do that by going up to the burger menu at the top. To create my frames, I pulled in one of my more common backgrounds that I used and set a drawing scale within that canvas. I use that same canvas to create all of the frames that you see Here, I'll show you how I created these in an upcoming lesson. But for the purposes of this one, the important thing to remember is that you need to group all of your frame pieces together before you add them to your assets. If you don't, you're going to end up with a lot of individual pieces. There are a few things that I want to note about working with assets as it pertains to the mock ups. The first is, there's no way to create or see names on assets within the ipad version that's only in the desktop version. So to get around that, when I create my mock ups, I create a layer that has the print size on the top and the frame size on the bottom. And I pull that in before I group everything together and put it in the assets panel. That way I can easily see which ones I'm using. The second is there's no way of easily sorting your assets in the ipad version. So if that's important to you, I would recommend either creating them in order and adding as you go. Or creating all of your mock ups and adding them at once in the order you want them in. Another thing that I want to note is that I don't add any texture to my assets until I pull them into the mock up itself. And I do that for two reasons. The more raster elements you say within your asset studio, the more you'll potentially bug your ipad down and run into issues. The second is that any texture I add to my frames up front might not work well with the background I choose. And I'll just have to change it, which adds an extra step. And again, we want to work more efficiently. Instead, I add my texture after either using styles, which will go through in the next lesson, or using one of the fill options. The last thing I want to note is that a drawing scale set in one canvas isn't necessarily going to be the same in another even if you select the same units. Let me show you what I mean. One thing I didn't mention in the last lesson about drawing scales is that while you can't set multiple drawing scales within the same canvas or artboard, you can set multiple drawing scales across different artboards. And that's what I've done here. I have two artboards, each with its own background image of a sofa. And I've decided that both of these are going to be set at 84 ". I've already measured each one end to end, and set my drawing scales on this, 180 4 " represents 915 pixels, again, end to end on this sofa. On this, 180 4 " represents 1,674 pixels, end to end on this. So what does that mean? I'm going to pull the same frame into each of my R boards right off the bat, they look exactly the same, right? They look to be the same size. But if I select this one and go to my transform studio, you can see that the largest point on that frame represents 85 ". Again, based on that drawing scale. That same frame in this one represents about 46 ", Again, because this drawing scale is different. So even though the sofa in each image is supposed to be 84 ", and the drawing scale in both is set the same, What might appear the same size in both images isn't truly the same if there's different pixels. But there's an easy fix to get that saved asset to match the drawing scale for the cannabis it's in. All that I need to do is select the topmost layer of my asset. So in this case, I already have that selected. It's the frame part. I'm going to go to my transform studio, and in this case I'm making sure my aspect ratio is locked here in the middle because it's square. That way I only have to set one side. I'm going to change this to 26 " because that's the largest point of the asset that I created. I'll do 26. It's going to make it a little bit smaller, but this makes more sense for this particular image based on that drawing scale. I'm going to select that one again. Just make sure I have the largest point selected again. I'll change it to 26 ". Now you can see it's made it much smaller, but because this drawing scale is smaller, it now works for this particular canvas. Now while this may seem like an extra step in the long run, creating a set of assets up front and just adjusting them once you have them in your new canvas with its own drawing scale. Saves a great deal more time than having to start from scratch every time you create a mock up. Once I pull my flat frames in from the asset studio and adjust their size, I can go from there to make any additions and changes I want to, from adding shadows and highlights to adding texture using either the fill tools or styles, which we're going to take a look at next. I'll see you there. 7. Creating & Using Styles: In designer, there are two ways to apply styles. The first is to use the style picker in the toolbar. And this is going to allow you to sample a style from one object and apply it to others on the fly. Nothing is saved, but it doesn't carry forward into future documents. For this lesson, we're going to focus on the other option, which is the styles panel. This option allows you to save the appearance of an object, it's fill, stroke any textures and effects applied to it, and create a preset of sorts that's going to allow you to apply those same effects to other objects, not just within the same document, but future ones as well. On the ipad version, styles are a bit hidden. If you go to the FX studio, you'll find it at the bottom. Now it comes with some default styles, but you also have the option of creating and adding your own, or importing styles that you receive from others. Now I've already showed you how to import the styles I provided with the class. Let's take a look at how you can create your own, just like assets. To create your own styles, you'll head to the burger menu at the top and you're going to add a category. Now, unlike assets, you don't have the option to create subcategories and there's no way to manually sort them on either the ipad or desktop versions. So keep that in mind when you add them, if you need them in a particular order. If you do, you're going to want to add them to the category in that order and rename them to something that will allow you to easily recognize which style you're choosing. And you can rename styles on both the ipad and desktop versions. I'll show you how in a minute. All right, so I'm going to change this to Frame, and it's going to give me a blank category to start with. This is a frame mock up that we'll be creating later in class. I have all of the frame elements created, The frame, the mat, and the space for the image. I've also added some wood texture from the stock studio, as well as the outer shadow and an effect from the FX studio. Now, don't worry, we're going to cover all of this in an upcoming lesson. Now that I have all of this in place, I want to save the style that's set on this outer frame so that I can use it quickly in future documents. So I'm going to go to my layers and make sure that I have that layer selected with my move tool. And I'll go back to my styles, find that category I created, tap the burger menu, and choose Add Style from selection. And you'll see that it gives me this little icon and it says style one. Now if you don't see the name, just tap on this little icon here. It's going to toggle between an icon only and the icon and label style One doesn't tell me anything. I want to change this to something. I'm going to tap and hold, choose rename. I'll just change this to Weathered Wood. Now, there's not a lot of space on the ipad, so some of it might get cut off. You could also abbreviate if you want to. Now one thing to note about styles, while they copy over Phil's strokes and effects, what they're not going to copy over is the shape and size of the object they're on. In other words, I created a thin square frame here, but I can add it style to any frame I create. Rectangular or circular? Thicker, larger, whatever. The size and shape doesn't matter. The only thing that's going to be covered over is the textured fill and the effect. I have this blank frame here and I want to apply that style to this frame. I'm going to make sure it's selected. I'll go into my layers panel and select that layer. I'll go back to my styles. There's the one that I just created. I'll just go ahead and tap and it's automatically going textured fill as well as the effect that I added to the other one. Now these are all non destructive effects that can be adjusted if I don't like how the texture is sitting for example, I can go to my gradient tool and I can just drag it back out. I can also move it around. I can adjust the direction of it. I think that looks good right there. I'll leave it like that. I can also go into the FX panel and adjust the bevel and emboss that's been applied to it. If I don't like how it looks on this larger frame, I can also adjust my outer shadows. Now because this texture was added as a fill, I can also easily swap it out if I need to, or again, just adjust scale based on this new frame. Just like assets, brushes, and color palettes, styles can be linked across all of the affinity apps on the same machine. In other words, if I want to be able to use the style that I've created in this category in both photo and publisher here on my ipad, I can just go up to the burger menu and choose link category. It's automatically going to push them to the other two apps. Additionally, if I want to be able to use this on my desktop, I can do that as well. I would simply need to export the style and then import it into the desktop. And if I link it from there, it's automatically going to push it to any other affinity apps I have on my desktop between saved assets and styles. Making frame mock ups can be a quick and efficient process. But what do you do once you have your mock up created? In the last of the efficiency lessons? Let's take a look at how to save your final mock up as a template so that it can be used over and over again without worrying about overriding the original version. I'll see you there. 8. Saving Mockups as Templates: This is a mock up of the single wooden frame that we're going to be creating. In the next lesson, I want to be able to open this, ready to go whenever I want to post a new listing in my shop. But I don't want to have to worry about removing any old images or any changes that I may have made to the frame or other effects from the previous mock up by saving this one as a template in this state, in other words, without an image in there and with the effects set just as they are right now. I'll be able to open it, pop my new image in, using one of the fill tools, make any adjustments that I might want to, and export it without impacting the original template. Anytime I pull that in, it's going to be in exactly this state. Now, I do want to note templates take a snapshot of your layers, effects, and other adjustments in their most current state. In other words, the moment that you save the template, the only thing that templates will not save, that AF design files do is the layer versioning. In other words, if you've made any changes throughout the life of this document, they're not captured by a template. If that's important to you, you may want to also save an AF design file with the version history. You can always save the template as well. For my purposes, I don't need the version history. I just want a snapshot of the final version complete with the layers and effects. So a template will work just fine. I'll go up to my Documents menu and choose Export as Template. And it's going to allow me to name it. Now I'd like to name line with something that tells me the frame and print size as well as something that identifies the background image. So I'm going to change this to 16 20 for the print and 2024 for the frame. And I'll just say Record player and maybe Cactus and click Save From there. It's going to work just like any other save document. So I'm going to save it in this cloud file that I've named, mock up templates. The reason that I like to save mine in a cloud file is that not only can I access them here on my ipad, but I can also access them from my desktop or anywhere. I have access to the Cloud files. When I'm ready to use them, I'll just go to new and choose new from template. I've taken this mock up template file that I have in my icloud and I've dragged it to my favorites, so it's always at my fingertips. So I can just go ahead and select one. And it's automatically going to open that template and I'm good to go now. Templates created in designer are also recognized in Photo and Publisher, which is another reason to consider saving them to cloud files. You can also pull these into the desktop version of any of the affinity apps and use them just like you would here in designer for ipad. Now that we've taken a look at the three efficiency tools that will help you create your mock ups, let's head into the next lesson where we're going to begin creating our mock ups, starting with a single frame. I'll see you there. 9. Single Frame Mockup Part 1 (Building the Frame): I have my free use image of the Living Room Wall by Nathan Dumlaow on, on Splash. And before we begin building the mock up itself, I want to bring your attention to the aspect ratio of this image. One of the things that I didn't mention in the lesson about sourcing images is that sometimes you'll come across background images like this one where the aspect ratio isn't going to work as is in a listing on C or other platforms. But it makes a great mock up background for a listing with text. Keep in mind that online shoppers look at images first and descriptions last. And depending on the layout of the site, they may not read the description in its entirety. Which means they could miss out on some important information. Creating a listing image that's half image and half text will allow you to share key info while still providing the visual reference of the mock up. I would take this and create a canvas in the correct aspect ratio for my listing at a nice colorful background. And then place this mock up inside to one side or the other. The rest is left for text. So you could share information about your printing process, what type of paper you use, information about customization, like whether you offer black and white options. One thing I would recommend definitely including is information about the fact that the framed mock ups are for illustrative purposes only. Especially if you don't actually offer framing just so there's no confusion. So don't discount images like this one because they might not fit as is into your listing. Use it as an opportunity to share information that might otherwise be missed if the buyer doesn't read your full description. I want to set my drawing scale from the right side of this window to what appears to be the corner of the room. Now in the lesson about the basics of drawing scale, I used a rectangle and went edge to edge on the rectangle. Well, since we're not going edge to edge on the overall image here, I'm going to set guides for myself so that I have something to measure. The first thing I want to do is make sure that snapping is engaged. Then I'm going to open up my guide setting. So I just tapped to the right of that icon. I'm going to make sure that the eyeball is on and tap the first vertical guide. I'll just drag this over just to the right of the window. I'll tap again to add another one. And I'm going to bring it to what appears to be the corner of the room. So now I have something that I can actively measure and something that I can snap to. I'm going to grab my measure tool and I'll just start at the left here again, I'm going from the outside. I'll hold my finger down until it snaps. And you'll see it says guide. Just zoom in here. And I'll take this one and just drag it to the left again, until it says guide between these two points. It's about 2,477 pixels. Again, I want to work in inches. So I'm going to set my drawing scale. Now in this case, I want this wall to be about 3.5 feet. But since I want to work in inches, I'm going to tap a signed drawing scale and key in 42 " and hit Apply. And now you can see that it shows right there, and it also shows here in my transform panel. Additionally, it's switched the measurements from pixels to inches, so I'm all set to begin creating my frame. I'm going to begin by creating my frame base using a series of flat vector shapes and the Boolean operations. I want to create a frame where the image is large enough that details can be seen, but not so large that it overwhelms this wall. I think that a 16, 20 inch print with a two inch mat and two inch frame would work nicely. But I can always adjust it if I feel it necessary. So I'm going to select my rectangle tool and I'm going to start from the inside out. So I want to start with the smallest part of the frame, which is the print I just grabbed, gray here, and I'm trying to drag out a rectangle. I'll go right to my transform panel and the measurements are already in inches. But I want to make sure that it's 16 by 20 exactly. So I'll just type 16 by 20 in the width and height. I'm going to go up and rename my layer. It's always a good idea to keep everything named, especially when you're working with a lot of layers like this. I want to use this layer to create my mate. So I'm going to three finger swipe down and duplicate. I'm actually going to duplicate that a second time. And the reason that I'm duplicating this three times is because we're going to use one of these to create the cut out in the mat in the exact shape of the print. And the other one is going to become the mat itself. I'm going to lock this top one. This is going to remain the placeholder, but I don't want to move it around. I'll go to the bottom one here, and I'm going to change the color to an off white for the Matt. I'm also going to change the name of this from print to Matt. Right at this point I want to use the trans foreign panel to increase the size of this box to have it come out from behind the print image. So I'll go to my transform panel. I just want to make sure I have that layer selected. And I again, want a two inch mat, which means that I actually need to add 4 " to the width of this in order to accomplish that. The first thing I want to do though is go to the bottom of my transform panel. And I'm going to change my anchor selector from the top left corner to the middle. Now anything that I add is going to go out equally on both sides rather than to one side or the other. So there are two ways that you can increase the size of this mat using the transform studio. And the approach that you take depends on the style of the mat that you want. If you want a standard matt where the aspect ratio matches the print, in other words the sides are going to be less wide than the top and the bottom, then I would simply select one of the dimensions making sure that my aspect ratio is locked. And I'll add four so that it's 2 " on either side. And then to accommodate the aspect ratio, it's a little bit more at the top and the bottom. The other way to do it is to evenly distribute 2 " all the way around. That's actually my preference. What I'm going to do is unlock the aspect ratio and I want to add 4 " to both the width and the height. If I add plus four, it's going to add 2 " to either side. And I'll add plus 4 " to the top and bottom. And now I have a two inch matt evenly all the way around. I'm going to use the same process to create the frame with it selected. I'm going to three finger swipe and duplicate the map. And then I'm going to duplicate it again, because again, we're going to use this as a cut out as well as to create the frame itself. I'll go back to my layers. I'm going to lock this one for now. I'll leave that alone. And I'm going to select this bottom one. And just choose any color. I'm just going to change it to this orange. We're going to be adding texture to this, so the color really doesn't matter. This is just so that we can see it in comparison to the other layers. Again, I'm going to go back to my transform panel and I'm going to add 4 " to the width and 4 " to the height. I'm just doing plus four on the width and plus four on the height. Again, that's just, so it evenly distributes 2 " to the top and the bottom and to the two side. We have all of our main pieces in place. Now we're going to use Boolean operations to create the perfectly sized cutouts in the frame and matt layers so that shadows can be created beneath them. Now one thing to note when using Bolling operations is that the top layer is the one that's going to do the subtracting, adding, dividing, whatever option you choose. So I'm going to keep the frame here on the bottom and I'll select the matt layer. I want to use the matt layer to cut out a matt size shape into that frame. I'll make sure that my move tool is selected so that the boiling operations are engaged. I'll go ahead and tap and choose, Subtract, and now I have a nice cut out in that frame that's the exact size of the Matt. I'm going to move this up to the top because again, we're going to be putting shadows under them. So I want it to go from the top down. I'm going to do the same thing with the Matt. I just want to unlock this. I'll select that and the print, I want to make sure the frame isn't selected. I'll go up to the bulling operations and choose Subtract. And now again, I have a nice cut out that's the size of the image in the matt. And I'm just going to drag that up, I don't need to do anything to the print. Next, we'll wrap up our single frame mock up by adding some texture and dimension using a combination of the stock NFX Studios as well as the fill tools. I'll see you there. 10. Single Frame Mockup Part 2 (Texture & Dimension): Now that all of the frame layers are in place and the cutouts are created, it's time to add some texture. I'd like to add the texture before I add any other dimension like shadows or highlights. Because the texture can drive how much or how little that you need. For this lesson, instead of using the saved styles that I provided with the class, I'm going to add my texture and dimension manually so that you can see how I created them. Now because of the distance, I'm going to add texture to the frame. But if I back this out, if I were to add paper texture to the mat, you wouldn't see it unless there was a color associated with it. So there's really no point in adding anything that's going to add pixel weight to the mock up unnecessarily. So I'll just leave this an off white flat vector. I'll go back to my frame layer and I'm going to use the gradient Tol to add some wood texture from the stock studio. With the layer selected, I'll engage the gradient Tol and I'll go over to my stock studio and I'll just key in wood. And I like this one by pixels. I'll just tap and it's automatically going to add it, but you can see that it fit it in so that you can see some seams. And that's where this handle will come in handy. So I'm just going to start dragging this up and I'm going to hold my finger down just to keep it up like this. I like that knot that just disappears, so I'm going to drag this over. Now, one additional thing that I want to do with this frame is add a nice raised lip around the edge. And I'm going to use this to create that. I'll go back to my move tool and I'm going to three finger swipe down and duplicate that. What I need to do is make this smaller so that I can move it to the edges of the frame. And I'm going to do that using the contour to. I'll engage the contour tool. I'm just going to start dragging it to the left. Now if you look closely, you can see a blue line there and that's where the contour of this top layer is changing. I want to make it nice and thin. I don't want it to be too thick. Now I need to change this to a curve. But before I do that, I want to take this contextual option here and change it from contour round to contour miter so that all of my corners are sharp and not round. Now I'm ready to convert this to a curve, so I'll just tap that icon. I can just drag this with my move hole to the edges of my frame. With snapping that's made really easy. Now you can see that my texture on both of these are in the exact same spot, so it doesn't look quite right. So I'm going to re engage my gradient tool just so I can move the texture on this one. I'm just going to keep it upright like that by holding my finger down and I'll just drag out until it's where I like it now. It's still a little bit difficult to see because we haven't added any shadows yet. But we're going to do that next and you're going to be able to start to see the dimension between the two pieces of the frame. I want to add a drop shadow underneath the two layers of the frame, as well as the matt. I'm going to start with the shadow on the topmost layer, this raised lip. And when you create shadows, there are two things that you want to think about. The first is the direction of your light, so you know which way your shadows should fall and the depth of the object that you're adding the shadow to. Because if that's off, someone who's viewing this may not know exactly why it's off, but they're going to know that it is you want to consider in real life, what would the depth of the shadow be on the object that you're adding it to? Now, the light, in this case is simple. We're working with an image and we have this window here with the light coming from the left. So I know that all of my shadows should fall to the right. And any highlights I add should be on the left side of my objects. As far as the depth goes, I want to have a nice deep shadow on the two frame pieces and a much more shallow one on the mat. Because in real life, the mat itself would only be a few millimeters deep. So the shadow itself wouldn't be. And then one final thing to consider about the shadow is that when you're looking at something head on like this, while the shadows on one side will be relatively deep, there aren't going to be shadows on the other side just because of the way that you're viewing it. But they're not going to be as deep. So we are going to add some on this side as well. So I'll go to my layer studio and select this topmost frame piece. And I'm going to go to my FX studio and engage the outer shadow by toggling it on. I'll tap to get the contextual menu, And I'm going to drag out the offset first. Now I could use the offset slider here, but I'm just going to tap and start dragging out. I think I'll set it right about there. Now you can see the shadow is also coming out on the outer edge. And we're going to talk about that in a moment because this is going to start getting a lot more intense the more shadows we add here. Let me change the radius of this. Just bring this down just a little bit. It's a little too solid, so I'll go over to my contextual menu. And radius is in this second slider. If you ever see a little dot on the contextual menu, it means that you can tap to get different options. I've chosen radius. I'm just going to drag this up just a bit. Right about there. Now I could start again with the next frame or I can simply copy this and paste the effect. With that layer selected, I'm going to three finger swipe and copy. I'll go to my layer and select that next one. Hit my Edit menu and choose Paste FX. And that's going to automatically apply that shadow again. You can see it's getting more intense on the outside, But don't worry, we're going to take care of that in a moment. Now, I think the shadow is a little bit too deep. I think this part would be a little bit deeper than this part. So I'm going to go back into my FX studio and because this is non destructive, I can change the offset. So I'm going to tap in there again to get the contextual menu for the outer shadow and just bring this up a bit. The final shadow that I need to add to this side is to the Matt. I'll select that layer. Go to my FX. And again, I'm going to engage the outer shadow. Now in this case, because I don't want it to be too deep, I'm actually going to leave the offset at zero and just bring the radius up. That's actually going to bring it up around the entire edge. I don't need to add a second shadow. It's hard to see because it's on gray. But let me zoom in here. You can see there's a faint shadow. And that's all I really want because again, this Matt wouldn't be that deep. If I need to adjust it, once I put an image in place, I could always do that because everything that we're doing here is non destructive. So now that we have our main shadows in place, I need to add the minor shadows over here to the other side. And designer makes that really easy. I'll go back to my original frame layer and my X studio, and you can see this plus sign at the top here. I'm just going to tap and it's going to add a second shadow. That's the exact same shadow that I had already added. Now I just need to change the offset of it. Instead of coming from the top left down, I need to come up from the right. So I'm just going to tap and drag up, bring it right about there. And I'm just going to bring the radius down just a little bit. I just want it so that you can see a slight shadow. It shouldn't be as deep as this one. I'm do the same thing with my frame layer. I go back to my FX studio, hit the plus sign, and again just change the offset. And then adjust my radius a bit. Now I don't need to add anything to the mat because again, I didn't make an offset on the initial one. I just pulled the radius out. So there's already a shadow around all of the edges. One final thing that we need to address is this very intense drop shadow that's spilling out from the frame, specifically the two frame pieces onto the wall. Now, of course, we do need to add a drop shadow to the overall frame, but this is way too intense because the shadows are stacking on top of one another and there's no way of controlling that. So what we're going to do is create a bounding box for all of our frame shapes that traps the shadow inside the frame, and that way we have control over it. So I'll grab my rectangle tool and I'm going to turn both the stroke and the fill off. I don't need any color on this. Again, it's just going to be a bounding box and I'm going to drag that out in the full size of my frame. So I have a rectangle right there. I'll take these four layers and I'm going to drag them up and clip them inside. It's disappeared. So of course, we don't have a drop shadow, but I can add a drop shadow to this layer and I have full control over its intensity, its depth, and its opacity. I'll go ahead and select that. Go back to my FX studio and again add an outer shadow. Again, I'm just going to adjust the offset now. It's going to be relatively deep because this is a frame, so it's taking into account all of the pieces. And then I'll just adjust the radius. I'll bring it right about there. I think the offset might be a little too deep. Let me just bring that back just a bit. Again, all of these effects are non destructive. If I find that I need to adjust it, I can. But I actually like how this looks. I think at this point I just want to add a couple of highlights to the frame pieces just for that final touch. So this last effect is optional. I'm going to add a slight highlight just to play into that whole three D effect. It's totally up to you whether you want to do this. It's probably taking it a step further than it needs to, but it just adds to that realism. And I'm only going to add it to the two frame pieces. So I'll start with this top frame, I'll go back to by FX, and I'm going to use a three D effect. Now this is way too intense. There's a couple things to keep in mind. First, this isn't metallic, it's wood, so any highlights that we add are going to be rather subtle. The second is we don't want it to be so intense that that's all you see. Let's go ahead and tap in there so that we can engage the contextual menu here. The first thing that I want to do is change the angle. I want the highlight to be on the left side of the frame, because again, my light is coming from the left. My shadows fall to the right. My highlights are going to be to the left, and I'm going to use as Amus to do that. That's in this bottom one here. I just tap until you get the right one. And I'm just going to drag this until it's right where I want it. So I'm going to drag it right about there. So about 01:41 So you can see that the high light is here on the left and here on the left on this side. Now, this might be a little too intense. Let's just back up. Yeah, that's all I can see. I'm going to soften this up just a bit. Again, it's on wood, so the light is blending into the wood a little bit. Maybe I'll take down the opacity just a bit. It's nice and subtle. It's blending into the wood. I'm actually going to use that exact same effect for my other one. With that selected, I'll three fingers swipe and copy, select the frame. Go up to my Edit menu and choose Paste Effects. And this way I don't have to play around with the Asmth or anything like that. I'm all set. Let's just back up and see how that's looking. Alright, I really like how this looks. So I want to save this as a template at this point, the way we discussed in the previous lesson. I want to do that before I add my image that way whenever I want to use it, it's in this state. So one final thing that I want to do before I save this as a template is to go up here to this bounding rectangle. I like to change the name of it to tell me what the frame size is, as well as the print size. That way if I use it in a gallery wall or I add any other frames, I know exactly which one I'm dealing with. This frame is 24 by 28 inch frame, and it's 16 20 inch image. Now I can go ahead up to my Documents menu Export as a template. And again, I would go ahead and change this to exactly what I just named that layer 2024. I'm sorry, 24 by 28, frame 16, 20 image. And I'm just going to say record player living room. Just something that tells me what the background is and I'll just save it to my mockup templates and I'm all set. Now that I've done that, I can go ahead and add an image in here. Now that I have my template saved, I want to add in an image so I can begin creating my listing for my Etsy shop and my square space site. There's a couple of ways that you can pull an image into this placeholder. The first is to use a place image up here in the Documents menu. The thing about that is you need to actually size it down, so it's going to place the image and then you're going to need to manipulate it to fit it into that box. You could also use the gradient tool the way that we did with the texture on the frame, but my favorite way to do this is to use the vector flood fill tool. I'm going to select that and I'll choose this option which is going to allow me to choose a bitmap and minor in the files here. So I'll just tap this train image. I want to make sure that that print layer is selected. And I'm going to tap and add that inside. Now I have max fit selected here, which means it's going to fit that image in that rectangle perfectly. I don't need to adjust anything. But if I found that I did, I can use these handles to do it the same way that you can with the gradient tool, But this looks exactly the way that I need it too, so I'm going to deselect it. Let's just zoom in and take a look. I like the shadow coming from the mat. I really like the shading on the frame. I think that looks great, so does the texture. So I'm just going to back up here and just see how it looks overall. I think this looks great. It's ready to add to a background or I can use the mock up on the one side and add some key texts on the other to give some buyers some additional information they may have missed in the description. If I wanted to export this as is, I could just go up to my Documents menu and choose Export. Export it either as a Jpeg or a PNG. I could even save it to my ipad. Now that we've created our first single frame, let's take that a step further and create a gallery wall for a potential buyer. In the next lesson, I'll show you how, with an image and some key measurements, you can take a consultative approach to selling your work by showing them your work in a custom mock up of their wall. I'll see you there. 11. Creating a Multi Frame Mockup: This is a background image I pulled for a mock up, but for the purposes of this lesson, we're going to pretend it's an image of a potential buyer's living room. I'm going to give you a scenario and we're going to walk through the process of creating a custom mock up. At the same time, I'm going to show you how you can easily create a gallery wall. Now in this case, this buyer is unsure what they want to put up behind the sofa. Whether they should go with a really large version of a single framed print or a smaller version along with a grouping of other small print. When I asked for a photograph of the space, I asked for a few key measurements. The first and most important is the length of the sofa. In this case, it's going to be 84 ", and the artwork is going to stay within the bounds of that. I've also asked for the height of the couch and the ceiling. Now technically, once I set my drawing scale based on the sofa, I can determine that with the ruler tool. But I find it's best to get an accurate measurement from the client because we don't know what we're not seeing in the picture. For example, I don't know how much higher the ceiling goes. We're in the Chicago area. There are a lot of lofts with very high ceilings and timber beams in some cases. So I need to know what I'm not seeing. I also noticed that there's lens distortion. So the measurement of the height on the sofa might not be accurate. If there was anything else in the area where they want to hang the work, I would ask for those measurements as well. For example, an interior softitor beams, exposed vents. Anything else that might take real estate away from where the work will hang? In this case, we're all set. I'm going to start by setting my drawing scale. Before I do anything else, I'm going to place some guides at the ends of the top of the couch. One thing to note about this image is that there is lens distortion that's causing the arms of the sofa to bow outwards, giving the impression that the end of it starts here and here. To play it safe, I'm going to set my guides to either side of the two pillows on the end. Now keep in mind this is to scale, but it's not intended to be 100% accurate depiction of every inch of the wall. If it's give or take a couple of inches, you're better to underestimate than over as it just means they have a bit more room to breathe when they're hanging in the work. All right. I've set my guides and I'm going to grab my measure tool again. I'm going to start on the outside of one of the lines and just start to drag with my finger down on the canvas until it snaps to the other guide. And then I'll just move this one back. I'm going to go up to my drawing scale and I want to change this to 84 ". Again, I want to work in inches, so I'm going to key that in as inches and I'll hit a ply. And now that's changed that. All right, so I have my drawing scale set and I have 84 " to work with. I want to start by thinking about the largest size I would want to put in this space, whether it's by itself or as part of a gallery wall. And I'll work down from there. Part of taking a consultative approach when helping buyers decide what they want to purchase for their space is giving them options to choose from. For example, I know that they're potentially considering that single enlargement rather than a gallery wall. I'll show them multiple size options for a single larger print, taking into account what's already in this space. They're also considering that grouping of images with one in particular being the centerpiece. Unless they have something specific in mind. As far as a layout, I'll give them a few options for that as well. Now for the purposes of this class, I'm going to stick to two options for the single image and one group layout option. But creating these mog ups means that you have the ability to show them as many variations as you think would be useful, whether it's based on size or the layout, in looking at their space. Overall, it's not cluttered. They have some things here on the shelves, but overall it's relatively minimalist. I don't want to overwhelm the space by going too large. The image that they have in mind for the single print is square. And I'm thinking a 30 by 30 inch print with a 40 by 40 inch frame would work well on its own. But I'm going to show them a couple of different sizes a step down from that as well. This is where having flat frame assets available will make the process so much easier. Now of course, because these were created in a different canvas with a different scale, they're going to be slightly off, but all they need to do is resize them within this canvas so they fit the scale. Here again, it's an additional step, but it's still less steps than having to create each frame from scratch. So I'm going to pull in the 30, 30 print. And I'll go right to my transform studio and change this from 61 " to 40 because that's the size of the frame. And I'm just going to tuck this off to the side while I'm here. I'm also going to pull in the 24, 24 print and 2020 just to see how they look, I'll automatically size both of them down. I can already tell that the 2020 print is too small on its own, but this could be a good candidate for the gallery wall I'm going to create next. So I'll just tuck this off to the side and just turn that layer off just so it's not a distraction. So that leaves me with the 30 by 30 print and the 24 by 24. Now I also think the 24 by 24 is just a bit small given the ratio of wall space to furniture. But I'm going to give it to the client as a mock up with the size along with the 30 by 30, just so they can compare. Remember, when you're taking a consultative approach, you're trying to show them options which is potentially going to lead them to purchasing the larger print because they're able to see it in comparison to something else. Personally, I think given the height of the ceiling that I can see and the space on the wall, the 30 by 30 is going to work best. So again, I'm going to present both of these. Now that I have both of these in place, I want to complete the shadow and texture detail and then add my images in them. I'm going to use a combination of the style studio and the style picker. And I want to start with this guy here. The first thing I'm going to do is select the frame. I'm not going to add any sort of texture to the matt, but I will add some shadow to it. I'll select that. Go to my FX and into my styles. And this is the weathered wood style that I created in the previous lesson. I'm just going to tap that. Now. If you recall in that lesson, the highlights were created on the left side of the object. In this image, the lights coming in from the right. So I need to switch that. Very simple to adjust that. I'm going to go back to my layer effects, select Bebble and Emboss, because that's where that highlight is coming from. And I want to go up here to the top and just switch it. It's going to switch the highlight from the other side. It's just shifting it now, I don't want to have to repeat that with this one. I'm going to use the style picker. In this case, I'll go into my layers. And again, I want to open this up and choose the frame. I'll grab my style picker, which is here under the color picker. The first thing I want to do is just make sure that nothing is loaded. I had just used it, so it's showing pickers loaded. I'll just hit Delete. And now that's empty and this is lit up in blue on the edge. That means I can just go right here, tap this. It's automatically going to add what I just added to this frame, to this one. And the highlights are already adjusted. Now one final thing that I need to do is I need to add a quick shadow under my mats. I'll go to the FX studio and I'll do outer shadow. I'm on the 30 by 30. I don't want to create an offset. I'm just going to bring up the radius. I'll go back to the other one and just do the same thing again. I'll go into the FX outer shadow. Just bring up the radius. Then I need to add a shadow underneath the two frames so that it's against the wall. Again, remember the light from this image is coming in from the right. I'm going to select the overall layer, go to X outer shadow, and I'm going to drag down into the left. And then I'll just change the radius. I'll just come over to the other one, go into my FX studio, drag down and bring the radius out. Now that the texture and the shadow are in place, one final step is to add the images into the placeholder rectangles. Here, the first thing I'm going to do is turn off the measurements. Remember the client has a very specific print in mind for the single framed image that they're also going to include in the gallery wall. If they go with that option, I'm going to use the Dr. Flood fill to the option with max fit. I'll go right to my files and I'm going to choose that image. I want to select the placeholders on both and just tap to add the image. And those are all set, so we have some options for the single prints. Let's go ahead and add some additional and create a multi print wall. Now again, I don't want to overwhelm their wall. And I already think that the 30 by 30 print is going to be way too large adding additional prints to it unless they're really tiny, which isn't going to do well on a really large wall. I'm eliminating that option right away. I like the 24 by 24 print in the 30 by 30 frame, which I already have created. So that's nice for the two side images. I want to provide two versions with two different sizes. I'm thinking 21616 prints in a 22, 22 inch frame, and they would be stacked on the side. Or 22020 inch prints in a 626 inch frame flanking either side of this. Again, I want to show them multiple options. I'll pull in those sizes. I just want to close these up. Go to my assets and I'm going to pull in the 16 by 16 and go right to my transform studio and adjust its size. One thing I didn't do there is I didn't make sure that my aspect ratio is locked and we back up, lock that and do 22. All right. I'll just create a second one while it's selected by two finger tapping and dragging. Then I want to pull in the other size as well, which was a 20 by 20 in a 26, 26 inch frame. My aspect ratio is locked. I'll just change this again, create a second image. Now, I want to go ahead and add the texture and the shadows, so I'm going to do that the same exact way. I'm just going to speed that up and then we'll go ahead and add in the images. Okay, so I have all of the shadows and texture in place. Again, I used a combination of the style picker which I didn't have to reload because I was within the same canvas and I hadn't used it before. So the style picker is always going to remember the last thing you sampled. And in this case, that's exactly what I wanted. And then I used a copy of the drop shadow for the one that was already in place and just added it to those four on the overall layer. So the final thing I need to do is just added my images and these are going to be different images, of course, than this one. So I'll go in these two and again grab my Vector flood fill tool. Now that my texture and shadows are in place, I want to take the two versions and get them set up on the overall background so that I can export them separately and share them with the client. What I want to do is create a three inch space between all three images in both versions. Now, I could certainly drag things around and was snapping on, you could see numbers, but it would take a lot longer than it would if I simply used the transform panel. Because remember, I've set my drawing scale to inches, which means that anything I do here in a transform panel is going to be based on inches. So let's start with these two first. The first thing I want to do is just make sure that these two are butted up against each other at the bottom and that they're centered. Because what we're going to do is take both of them. I'm going to align it with the center of this one and butt it up against the side of this with snapping on that makes it really simple. You can see I have that red line showing me that it's centered. I'll select that image. I just want to drag this up on the wall roughly where I want it. This one's going to stay in place. We're going to use the transform panel to move these two. I like that there. It's up a little bit high, but because of the pillows in this, I'm just moving it up a little bit more. I'll deselect this one again. I don't want to move that anymore. I want to stay where it is now. I need to move these two 3 " to the right. I'll go to my transform panel, because this is set with a drawing scale of inches. I can go right to my x position. Tap and say that I want this selection on the X position, which is left to right to go plus 3 " to the right. Now I need to separate them from one another, but I don't want to separate each one 3 " because that's going to give me a total gap of six. I want to move each half of the 3 " 1.5 ". I'll select this one this time we're going to be working on the y axis, which is up and down. Now I want to go up with this one. I'm going to say -1.5 ". Again, you could certainly drag these around, but if you want to be precise about it, it's a little bit easier to key things in. I'm going to tap and do plus 1.5 Now there's 3 " of space here and 3 " of space here. Now I'm almost ready to export this. But what I would recommend before you export any of your mock ups that you're going to share with a client, is to give some indication of the size of the frame and the print right in the image because you're not going to be sitting there with them. It'll allow them to have that information so that when they come back to you, if they have any questions, it makes it a lot easier to refer to the correct size. The easiest way to do that is to simply go back in and turn that number back on that's on your asset and just drag that out. So I can actually just duplicate that and drag that down. And I can do the same thing here for the 24, 24. Once I have some sort of text in place showing the size, I would just go up to my Documents menu and export it. I would give it some sort of name that the client would know exactly what they're looking at. But again, if you're putting some sort of text in here, they'll see it as well. Once that's done, I would go ahead and turn all of this off for the 16 by 16, and let's turn this off again. I want to drag this into the middle because this time I want to turn my 20 by 20 back on. These are going to be a little bit easier. I'm just going to butt these up against one another. Let's just center that up. Now that we have everything in place, I want to move this one 3 " to the right and this one 3 " to the left. Now I'm looking at this though and I feel like if I went 3 ", it would be a little bit too much because of the size of these. That's where I'd probably do 2 ". Instead, I'll select this one, go right to my position and do plus two. It's going to move 2 " to the right, and then we want to do minus two to the left. Once I have those in place, I would add some text again, sharing the frame sizes as well as the print size export this as well as the two single frames. And then I have four total mock ups that I can send over to the client to help them decide what they want to purchase. Coming up next, we're going to wrap up class with a few final thoughts. I'll see you there. 12. Final Thoughts: We're at the end of class and I thank you for trusting me with your time and creativity. I'd love to hear your thoughts on the class, so please consider leaving your review as it lets me know what I'm doing well and where I might need to improve. Plus leaving your review and sharing a project not only help future students see what to learn when they take the class, it helps more students find it. In addition to my Skillshare channel, I also have a Youtube channel where I share short form tutorials that compliment my suite of classes. Here you can find the link to it in my profile and in the PDF provided with the class. And speaking of my profile, I have lots of classes in the works for here on Skillshare. So if you're not already, be sure to hit the follow button on my profile. So you're always kept in the loop as to what's coming up and when new classes are published. And finally, I welcome you to join my free community for digital creators. The creator Collage, which I host with my husband and fellow teacher, Josh Mikelski. We're a group of creatives of all skill levels, with experience in a wide range of digital applications. You can ask questions, share your work, learn new tips, or share your own, all in a friendly, non judgmental environment. You can find out more at the link in my profile or in the class guide. If you have any questions about what you learned in class, please don't hesitate to reach out to me either here in the discussion or at the e mail in the class guide. Again, thank you so much for joining me here in class and happy creating.