Intermediate - Advanced Affinity Designer V2

1. Introduction to the Course: Hi, my name is Tim Wilson. I'm a graphics instructor and designer. I've trained for companies like Disney, admin, the NHS, BBC, and numerous others. And I would love to help you to learn Affinity Designer. Maybe you've been using Illustrator. Possibly you've been wanting to create amazing artwork, or maybe you just want to do something really simple. What ever the case, you've come to the right place. Let me take you through the software step-by-step. We're going to do it in bite-size portions. And by the end, you won't realize how much you've learned and how easy it was. The way. You'd be really surprised with how fast you learn. Have a look at this. These are some of the amazing projects that you worked through with me and we'll be doing it step by step together. I can't wait to help you to learn Affinity Designer. So start right now. 2. Getting the Most from Your Course: Before we get going with the course, there's a few things I want to mention. The first thing is about the way that you learn. If you watch what I'm doing, don't try and go along with it while I'm doing it. Just watch it first and then try it out yourself on your own. If you're not sure, go back and watch it again. And that way you might make a few little mistakes, but you will learn so much more. At the end of each section. We can have a project. And I'm going to take you through the projects step-by-step, so don't worry about them. However, I've got pictures for you to use in your project, but if you want to use your own, that's fine as well. Anyway. Let's just get started now. 3. Introduction to Interface & Preferences: In this section we're going to look at the interface again. Yes, I know you've already done it, but we're going to delve much deeper into this time. We're going to set up custom looks for you. We're also going to be looking into the history. And not only just the history, but actually saving history in with your files as well. And we'll do that in the preferences. Let's get started. 4. Custom UI & Presets: As you've been working in designer for a while now, you've probably had panels all over the place. And you might have actually discovered that you prefer certain panels in certain areas. So e.g. here, I might like to have this little panel in there. And maybe the swatches. I want that to be in with my color as well over here. Then what we can do is we can actually make this into a pre-made studio by going to the Window menu down to the studio and choosing ad preset. All you have to do is to give it a name and this is going to be color on. You can call it anything you like. I'm going to call it a color on left click. Okay. And now I've got another studio in there which says color on left. I could reset my existing studio. And then if I want to use that existing one, I can go to Studio color on left, and I've then got this particular studio. Now, we can manage those different presets by going to the studio menu and going to manage studio presets. And in here you can see I've got the color on the left. I'm going to click on that and I can delete it, or I can rename those presets in there as well. 5. Preferences for UI: We're going to go up to the Preferences option. Now, if you're on a Mac, you'll find that the preferences is in the infinitive in Affinity Designer menu. If you are on PC, you should find it in the Edit menu. I'm going to go to the Affinity Designer because I'm on the Mac, I'm going to go down to Preferences. And in here I want to choose the user interface options. And there's a few options in here that you might like to try out. I prefer the dark background, but if you prefer lighter background, just click on light to get the lighter background in there. You can choose your default operating systems color system as well in there. Now, once again, there's some other options in here. Feel free to try them out, e.g. we've got the brightness over here. So even though I'm using a dark background, I can still change the brightness. If you find that you don't like all of these tools in color. Particularly if you come from working with something like Adobe Illustrator where everything, all the tools are in black and white. You can choose mono in there to make them all black and white as well. There's also to tip, display or delay over here. So it's just how long the tool tips take to appear. But have a little bit of a look around. These options is quite a lot of options in here. And make something that works for you. 6. Save With History: Now, one of the really nice features about designer is the history. And it's not just the history that is different to a lot of the other packages. But the fact is that you can save history with your document. I've got a piece of artwork here of mine that I've been working on. And if I go to the Window menu down to history, you can see some of the things that I've done to it in the history. But of course, what happens with most bits of software is when you close the document down, you lose that history. But design is different. Because if you go to file, you could actually go down and say Save history with document. And in here it says enabling say with history means that anybody who sent this document too can see what you've done to it. I'm just kinda paraphrasing. So I do want to save it. I'll click on Yes. And now when I save my document, it will save with this history. If I open up again, it will still have that history in the document. Really nice feature. And I would suggest switching on for most of the work that you're doing. 7. Introduction to Advanced Working With Shapes: In this section we're going to be looking at advanced shapes. I'm going to start off with power duplication is so much good stuff you can do with power of duplication. Wasn't going to be looking at warping shapes. And then we're going to go onto expressions. Now, if you don't like maths, don't worry about this. It's gonna be very, very simple. There's no coding or anything like that involved, but it enables you to do some really cool stuff. So let's start off. 8. Power Duplicates: Now this is one of my favorite features about designer. It's called power duplicate. So if I were to go and get a shape now, I can use any shape at all. I'm just going to go onto the shapes over here and use a rectangle. I'm going to click and drag the rectangle like so. I'm going to give it a bit of color. So I'll go up to the colors over here and just choose a color so it's easier to see. Now what I want to do is I want to duplicate this shape. And if I go along and I were to duplicate it. Now this shortcuts for this obviously, but if I went to copy, I could copy it and I'm going to edit. I could paste it straight in. It's pasted directly on top of the other one. You can see if I move it like so. That's quite a long process to just duplicate an object. So there's a slightly shorter way. And that is called a duplicate over here. So duplicate copies and pastes altogether. And you can see now I've got another copy in there using duplicate. But we duplicate this really cool is when you want to repeat the process a number of times. So if I move that shape to that side and I go to edit and duplicate, and I make a copy of that. And I'm going to just move my copy across to there. Now, if I duplicate again, I'll go edit and duplicate over there. You'll see it'll place the new one over there. And I can just keep going, edit and duplicate in there. Now of course, that was still a lot of work having to go to the menu all the time. So what I'm going to do is just get rid of those. Let's use a different shape as well. While we're here, I'll use an ellipse in them holding down the Shift key to get a perfect circle. And let's make it orange. So I want a whole lot of orange dots. So I'm going to use my move tool. I'm going to move it across, but I have to duplicate it first. And this time I'm going to use the shortcut. On the Mac, it is Command and J. On a PC it's Control and J Command and J duplicate it first. So the first thing you do is duplicated. You can say I've got two layers in here. Then you move it. And then every time you duplicate it again, it will redo that movement. So Command J and I can just keep duplicating that as I go. Now, we could do that on multiple items. I could take all of these items. Once again, use Command and J to duplicate them. Move the copies down. It's angled them slightly older, missed out one day I didn't realize I hadn't select that one, but the principle is the same. And then Command and J to repeat that process one last time. Let's run through that. So I'll just get rid of this little one over here, which I seem to have locked. I used a shortcut, which is Command and L without actually meant to use Command and J. That was my fault earlier. So I'm just going to unlock it and delete that. One last time. Let's take a totally different shape. Over here. I'll use a little crescent. I'm going to use Command and J to duplicate it. Move it across, and then Command and J all the way along, like so. Try that out. It really is useful and we're going to take this command J and this duplication or power duplicating on to the next level. In the next lesson. 9. Multiple Transforms: So let's go on to the next level. I'm going to take a little shape and I'm going to use, I think, a little triangle over here. I'm going to draw in my triangle. And now what I want to do is that rather than just move it and duplicate it, I'm going to do a few things to it. So I think let's go with just an outline over here. I'm going to go to my fill and choose none in there. And so I've just got a stroke. Let's click on the stroke. And I'll change the width of the stroke, make it a bit thicker so we can see it a bit better. Now I'm back to my move tool. The first thing I want to do is I want to duplicate it. Keep an eye on my layers over here because that shows me when I've duplicated or shows you went to duplicate it. So Command and J or Control J to duplicate it. And now I want to do a few things. I want to move it, but I also want to rotate it. I'm going to place it over there. And I want to scale it. I'm going to scale that down a bit as well. So I've moved, rotated and scaled. Now let me duplicate again. So once again Command and J. And you can see the next one is moved, scaled and rotated. And I can keep going with this. It's kind of going off the page. I'm just going to drag down and select all those items. And you can see what I've got really interesting little spiral shape as things are getting smaller and moving. So let me do that one more time with a different shape. I'm going to just take a rectangle this time. With my rectangle. I'm going to duplicate it first, Control or Command and J. I'm going to move it. I'm going to scale it. And then I'm going to do Command, Control J again. So each one of those will scale. You notice that I'm squishing it down, but I'm widening it. So this one gets squished and widened, squished and widened, and each one of them is moving equivalently further apart. Try that out with multiple items. So once you do your shape, your Command and J, do what you want to it. If you click and de-select and then do Command and J, it won't work. I'm just clicking Command and J or Control and J, nothing's happening. You have to keep it selected. So just watch out for that. 10. Rotate & Transform: This time I'm going to take a little shape. I'm going to use an ellipse. And I'm going to draw in a little ellipse. And what I'd like to do is I'd like to get those to be corner points rather than rounded points. So I'll need to go to the top and convert that to curves. So now I can use my node tool and I can select this point and make it a corner point. I'll use the convert at the top, and I'll do the same over here and convert that into a corner point. And let's give it a different color because that color is so boring. I'm going to go with more of a purple. Now. What I'm going to do is I'm going to use my power duplicates, but I'm going to use it with rotation. So first of all, I'm going to rotate or duplicate this. So Control or Command J to duplicate it. You can see I've got my two layers in there. And then I'm going to start to rotate it. I'll just rotate it around a little bit like that. And I'm going to use my duplicate now, power duplicates, so Command or Control J, and then keep going all the way around. Now you can see the problem that I've got. And that is that, well, it doesn't actually finish where it should. I'm going to undo that. And you can see when I start to drag this around, right at the top, there is a little rotation angle. The moment you can see it says -16.1 degrees. Now, in order to get this to work, I'd have to choose ten degrees or 15 degrees or 20 or something like that. That would work because 27 might not work all the way around. So how can we actually do this? Well, I'm going to undo this and I'm going to get rid of my copy. So I can start this again. Now before I do this, I'm going to make sure that I can see my Transform options in the studio on the right here is my Transform options or pull it out over there. And you can see we've got an x and y position on the shape. And we've got a width and height on that particular shape. You'll see if I were to pull it out. I'm affecting the width in there. We've also got a rotation and a skew angle in there. So I'm going to be using the rotation over here. So let me do this again. So Command or Control J to make a copy. I'm then going to go along and I'm going to start to rotate it. And you can see now that the rotation angle is changing in there. Once I've started to rotate it, I'm going to go in there and I'm going to put in my angle that I want, I want this to go in 20 degrees. So I'm going to go -20, press Enter. And that will then rotate around. Now as you can see, it's rotated slightly off axis. So why is that happening in there? Well, it's to do with this little button up here. So as I'm clicking on there, it's going to rotate around that point and you'll see it'll go a little bit strange when I go Command J. That's not what I was hoping for. Let's try this once more. So I'm going to move these and go one more time. But this time I'm going to place that in the middle, so it'll rotate around the middle point rather than the corner point. Let's have a go Command or Control J. I'm going to start rotating over there. You can see it's rotating around its middle point in there. Make sure I'm on the middle point. And I'm going to then change this to 20 degrees -20 shots x. I want to go around that way. Let's try that and rotate it. And now it's rotating around the middle point. And this looks all good to go. After that. It is just Control Command J all the way around and it fits in perfectly. Now when you get to this stage over here, it looks quite interesting actually if you remove the fill, so you just get the stroke around the outside. Just make sure all of those are selected and we put a stroke on them. Popping a quick stroke and increase the stroke width. A little bit like that. You can do some really cool stuff with that. But do watch putting in the angle in your transform. And watch where the center point is of that shape. Try it out. 11. Rotate & Scale: I've made a little rectangle over here. And what I'm going to do is my Control Command J, to make my copy. I'm going to make a smaller version of that. So I'm just holding down my Shift key so I can drag it in to get a perfectly sized version. I'm going to move it across into the middle and I'm going to rotate it. Now I'm rotating it so it touches the outer shape. Then if I use my power duplicate again, you see it will continue to go in with editable shape and you can set some really interesting results. With that. That looks really cool. Try that out. And it really is just a matter of scaling and rotating a little bit. You can experiment with other options with that as well. 12. Move Registration Point: As you can see, I've done two more shapes over here. For this shape, I used a polygon and just made the corners slightly rounded. You can do that really quickly by going into the polygon tool, drawing in your shape, and then pulling in this little red line over there. And then I just offset it and rotate it slightly. This one, I used a teardrop shape and then scaled it down, but I scaled it down towards the base. Let's get rid of these. These all very well. But what about if we want to change the center of an object? So what I'm going to do is I'm going to make a little circle up here. And to change or move where the center of that object is, we go along to the top and I'm going to click this little tool overheads is enabled transform origin. I click that and you can see we've got the transform origin appears over there, all the registration point. If I move that down, now I can click and drag around that particular point. So we can always move this point wherever we like and then rotate around that point in there. So do have a go with that, with that shape. Just move that point of origin around. See how you get on with that. And then we'll put this into practice using power duplication. 13. Duplicate With Accurate Angle: I've got a little teardrop shape over there, which I'm going to select. I've made sure that my registration point is switched on. I'm on my move tool right now. And I'm going to use my repeat. So I'm going to use Command and J to copy it. I'm going to pull that little point, the registration point down. Then I want to rotate. So I'm going to rotate the petal width. This is a flower or son or whatever it might be to the right position. I want this position to be exactly 30 degrees. Now, very difficult to do when you're just dragging around like this. So we go down to transform. It says -28.2, I'm going to put in -30 degrees, press Enter, and then straightaway, use my Control or Command J to go round the outside. Like so. Do be careful you have to do things in the exact right order. And if you click offer them halfway through the process, you will lose the whole thing. Now, I'm going to make that smaller and just move it into position there. Let's try this the other way round. So I'm going to go in and I'm going to use my teardrop tool. Once again, I'm going to click, but I'm going to put the teardrop down here so that one's a son, this one's going to be a flower. Exactly the same thing. I make sure that I'm actually on the move tool before I start. Because if you stay on that tool and then you try and click to start dragging, it just makes another shape for you and it all gets a bit wrong. Then make sure I'm on the Move Tool selected. I've got my registration point switched on. And what I'm gonna do now is to use my duplicate to make a copy. I've got two copies in there. And I'm going to move my registration pointed to where I want it to go. You can see how it's the registration points snaps the middle as well. Then I'm going to click and drag this around. And same again over here. I'm going to put in the angle, I'm going to go to 20 degrees for this and press Enter. Same again, command J, and it goes around the outside. So do try that out, but do be careful because it's really easy to get the order incorrect. So make sure that you've got your move tool first. Don't change tools halfway through the process because it can stop the power duplication happening. And definitely don't de-select. Once again, that also stops power duplication happening. Try it out, see how you get on. If you're not sure about it or if it doesn't work, watch this video again. And then tried step by step, I still make mistakes with it. 14. Transform Panel & Expressions: One of the things you might come across in Affinity Designer is something called Expressions. Now, during this course we don't go deeply into expressions, but I want to show you where they are and how to use them. Well, how to use at least one of them? I'm going to go to the Transform options in here. And I'm going to make a little box ever there. So I've made that little shape in there. And it's got a width of a T3. And I'm actually going to make that width 105. Let's try that again. 105. Press enter so I can put my fingers directly into this little box here. But what about the height? While for the height, I want the height to be doubled the height of the width. So I could there be easily just double 105? Or I could use an expression in the height. And I can say it is the width. So I've put in a W. Now you can see the W has changed orange. So it understands it, but it's waiting for me to do something else. I'm going to say the width times two. So the height will be the width times two when I press the return key, which I'm going to do now, you can see it's put in this height at 210, so it's doubled the width in there. There we go. My boxes now become doubled the height. Or let me do that again. And I'm going to say the width divided by two. And I'm going to get rid of those millimeters in there, press the return key, and it's taken that into half, 105 in there. So just do your math very quickly. We can use the transform in here for all sorts of things, but there's a whole world of expressions. One of the best things to do is to actually go to the help menu to see the expressions. I've already got the page up to show you. And this is in the affinity help these expressions for field input. And you can see first of all, it tells you about the colors. So red denotes an error. It doesn't understand what's in that green, the variable has been recognized. And orange, which wished I showed you with the W, the input is valid and it's waiting for you to press the return key. We'll do some more mathematical functions in there. Then we've got all sorts of different examples that we can use in here. The ones I was using with these relational expression examples here, I was using the W and I divide it by two. Or I could say two times the width. Or what I did was W times two the other way round. It's the same thing. It understands that it's two times the width in there. You can see it just goes on and on and on. As I said, this is bigger than the scope of this particular course. But if you want to get into expressions, this is where you'll need to go. Do try it out, do some simple ones. As I've shown you. 15. Warp Group Tool: Now, for this little example, I want to make a logo and I want to put the logo into a photograph to show you the warp options. And to do that, I'm going to use this same technique that we did before. In fact, I'm going to use the same shape. I'm going to use the little tear in here and I'm going to rotate the T around. Now you can see before I start this, I made a quick gradient. If you haven't done gradients or you haven't watched the, the fundamentals course. You can do it by going to this little tool over here, the fill tool. And you can just click and drag to make a gradient any color you like. And you can choose from the stops to put in or change the colors. Now what I want to do is I want to rotate this around in a circle. So I'm going to make sure that I'm seeing my registration point or the transform origin as they call it here. It's quite difficult, but it is there right in the middle because it's blue. It's similar blue to the gradient that I've got going on. So that's the one that I'm going to be moving. But before I do that, I will go to Command and J to make a copy. I'm going to move this to the position that I want it to be in. I want you to rotate around that point over there. Then I'm going to start to rotate the copy. And I'm going to go into my transform options if you can't see it, it's in the Window menu near the bottom. And I'm going to change this. I'm going to do this to slightly smaller degree than that. I'm going to go 30 degrees. Press Enter, and then use my Command and J, Control and J to go round the outside. So I've kind of got this groovy shape in here. And I also want some text. I'm going to go down to my type tool. I'm going to be using the Artistic Text, click and drag. And this little logo that I'm creating is for snowboards. So I'm just going to do snow days or SD or an S over there. And I'm going to select it. And you can't see it because at the moment I've got white as my fill color. I'm just going to choose black so that you can see it properly in there. In fact, I think I will change the typeface because I don't like that S. So I'm going to go and find something a little bit more thick and heavy duty like Ariel black. So the S will be on that side there. Now, I want to actually use a similar color to what I've got in the middle. So I'm going to go and use my sample tool and just move over the area where I want to sample the color. And you can see I can do that straight onto a gradient. That's the Colombian to sample. Click the little eyedropper puppet. And that pops that coloring. And then I can make a copy of that quickly by holding down Command or Control and drag it across. I'm also holding down the Shift key so that when I do drag it across, it doesn't move all over the place. So shift would just constrain the movement. Everyday. This is snow days, so S and D in there. So here is my little quick logo. I'm going to just scale it down over. Then I'm holding down the shift key to constrain the proportions as well. Now, instead of just presenting the logo to the client, I want to show what it looked like on one of their snowboards. So I'm going to go along in the tools about halfway down. I'm going to go along to the Place Image option or Place Image Tool. And I have got a picture here of some somebody snowboarding. And you'll find this in your course. Pictures. I'm going to drag that out over there. Then what I want to do is I want to take this and put it on the base of the board. So to do that, I'm going to make a copy. So I'm going to hold down Command and drag a copy out. And I want to take this and I want to group it together. It will make my life so much simpler if it's grouped. So I'm going to go to layer and group. And then this is going to go, It's behind the picture. So I'm going to use a layer, arrange and move to the front. And this is actually going to go underneath the board there. But you can see if I start to rotate it round and scale it. Proportion wise, it's going to be totally incorrect because the board comes out towards the camera. There's some perspective going on. So what I'm going to do is I'm going to go down in my layers. Next to fx over there, we've got an option which is called the warp options. I'm going to click in there and I'm going to go along to the quad warp. What this allows me to do is to take that shape, whether it's a shape or group, and just move the corners around in any way that I like. I'm going to pop it over there. It's gonna go on the edge of that. And this one's going to go over there. And that one can go. In fact, I'll just move it in a little bit because it's a bit too close to the edge there. But that is actually warping that logo into the correct perspective. Almost correct perspective. This still needs to be moved back a little bit like so. So really quick to do. Now, there are other options that we have in there. I'm going to select this and I'm going to group this one. So I'll use a layer and group. And we'll make a copy so that you can see some of the other options in here. If I go into my, whoops, I've got a mesh. And the mesh allows you to select individual points and just move them around, like so. So I can move these individually. I can select a whole lot of them, and I can move them around and walk that shape to any sort of shape I like. Now, that doesn't look so good with the S and the D, but maybe it would work, will be more interesting. If, and I'm just undoing it, then I'll just do it again. So make a copy of that. I'm going to ungroup the copy. So I will just select just these bits inside here. Let's zoom into that. I'm using Command and plus or Control and plus to zoom right in. Over there, I'm going to select just those bits and I'm going to group them together. And then in here, I'm going to use the mesh. And maybe I can try moving some of these around to get a really wild looking center point. Like so. That might be quite interesting. What you'll find is there are a number of different options that you can use in the meshes. You can just have a play with them. Perspective allows me to grab the corners and change the perspective of an item. Very, very similar in lots of ways to quiet, although I like quiet because I can place things exactly where I want them. There's an arc of vertical and horizontal, which does exactly that. It makes it a little, a little arc moving further down. We've then got bends. Once again, Ben, vertical and horizontal, similar to the arc. And then if we go down to the bottom here, we've got the fisheye, which pulls it out from the middle. Given that fisheye effect. Or this one might actually look quite cool on there. The twist, which will just pull the middle and twist it around. In fact, I quite like that as well. So I can do variations on a design like that very quickly to show my client have a go with the warps. 16. Introduction to Project: Wild Interface Icon: One of my favorite times again, projects. So with this project, we're going to create this amazing graphic. Now, these graphics are done using repetition and we will be using power duplicate to do them. And they're actually easier than they look. Now, once we've done it will save it out as an SVG file. That's a scalable vector graphic. If you haven't come across them before, you use them on the web. And it means you don't have to worry about resolution. It's all absolutely scalable. Let's get going. 17. Create Icon With Duplication: Let's create a little interesting icon for a computer. I'm going to go up to File and New. And because this is going to go for screen use, I'm just going to choose print with RGB. Or I can go along and find my web and pick something in there. Now, what I would do want to do is I want to have a rectangle, sorry, I want to have a square. Perfect square grid, doesn't matter which of these are choose. I'll go with that social media one over there. That gives me a perfect square. Remember, this is all fully scalable, so the size doesn't matter. But what does matter is the color over here. I want to make sure that its RGB because I wonder is really vivid colors. This is going to be wild. I'm going to click on Create. Now what I'm going to do is I'm going to make a little shape over here, which is the computer icon shape, particularly for the Mac, where you've got those little icons which have got rounded corners are square with rounded corners. So I'm going to go in and I'm going to use my rounded rectangle tool to create this. Just going to start at the top there. Make the first shape in there. I think that's perfect. I'm holding down the Shift key so I can get a perfect square in there. But I think the rectangle is two rounded, so I'm going to pull it out a little bit. Now. I'm happy with that. I want to now have another one and cut out the middle part of this. Using this one. I'm going to use my shortcut. I'm sure you haven't forgotten already. Command J or Control J to duplicate it. And the top one, I'm going to make smallest. I'm holding down. On a Mac, it's Command or Control on a PC to scale in from the middle. I'm also holding down my Shift key while I'm doing that as well. So I get this perfect smaller version of that shape. I'm now going to select both of those. And using the Boolean functions at the top, I'm going to subtract one from the other. So that just gives me this outline shape in here. Now let's put on interesting gradient. You can do any colors you like. I'm going to go across to my fill tool, the gradient fill tool, click and drag on there, and then choose some colors. I think I'm gonna go with a very vivid blue over here, something like that. That might be a little bit too vivid actually, we'll just take it down a little bit. And then for the other color here, I'm going to go with a purple or a pinky color that I did say this was going to be bright. Now the next thing I'm going to do is I'm going to put a drop shadow underneath this because it'll look quite interesting. It will give the whole thing a feeling of depth. So to do that, I go along to the effects in here. Click on FX, and I'm going to use the outer shadow, switch it on. And in here I'm going to go to the radius. I'm just going to push the radius up fairly high so you can see how we've got that shadow coming both sides. I don't want to offset it because if I offset it, it will go to one side only. I wanted to come on both sides of that. And likewise, the intensity, the intensity makes it sharper. And I don't want to shop a shadow. I want to keep it nice and soft. Now that I've done that, I'm going to click on Close. So the next thing is we're going to use the repeat option, the power duplicate, to make copies of this. So I'm going to start off with this one here. I'm going to use my Command or Control and J to make a copy of it. I'm going to scale this one in. So I'm going to hold down the Command key or the Control key to scale it in. And the Shift key to make sure it's scales perfectly. Not too far, just a little bit in. I'm going to rotate it around until it goes to almost to the edge of the one underneath. That's it. Let's go and make something interesting now. So Command or Control and J to repeat it again, I'm just going to keep going all the way into get this incredible wild shape in there. That's it. It was just about doing an interesting shape like that. Unfortunately, you can see mine is just a little bit too far over. Now. There's really not much I can do about that at the moment, except I'm going to jump back to where I was to do it again. I'm going to do that by using the history panel. Now, if you can't see it out, go to the Window menu, but mine is showing it's down here. And in the history, everything that I've done will be there. You can see all those duplications are there. So I can jump back to this area over here before I started to duplicate and transform. Now, I'll close that down. I'm gonna do it again very, very quickly. So Command or Control and J to make the copy, I'm going to scale it in a bit, but not quite as much as before. So just like so I'm going to rotate it a little bit to the edge or near the edge. And then use my Command Control J to go all the way in. Like so. That's it. Have a bit of fun with that. You can do amazing things, try different shapes as well, and come up with something awesome. 18. Color Variations on Artboard: At the moment, we really don't have an art board app. We've just got a page. So I'm going to go to the art board tool and I'm going to say insert art board. So now I've got an art board over here. And you can see my layers. All of a sudden I've now got an art board with all my artwork in it. So if I now go to my move tool with the artboard still selected, I can then hold down Command or Control and just make a copy of that art board with all the artwork in it. I hold down the Shift key so I can move it absolutely in line with the other one. So let's go to this one over here. So I want to change the color on here. So what I'm going to do is I'm going to use an effect. Do that. If I open up, the art board is the one that I've just created in here and go to the very top. If I were to then create a new adjustment layer on that. So I'm going to go to, let's use black and white for the moment. Doesn't matter what I do in here, sorry, that's white balance, that's not black and white. Let's try that again. Back into here again. Use black and white. And as I said, it doesn't matter what I do in here. You won't see any anything happening on there Cause the top one was selected. So when I applied my adjustment layer, it applied it directly to that particular object. So I'm going to undo that. So the easiest thing for me to do is actually going to be to select all of these objects will make my life so much simpler. And I'm going to go to group, and I'm going to just group them all together. You can see that I've got one group in that art board. If I apply the adjustment now, once again, I'll go to black and white. You can see it affects everything in that whole group. Now that in itself is quite groovy and I could just go to the, some of the colors here and see what happens if I try to lighten them up or darken them down. And really the thing is to just have a bit of a play in here. So I've got to black and white one, which would be interesting. I could also go in and try re-color. Just put a single color over the top and I can choose the color that I wanted. And that's quite, quite exciting as well. Or I'm going to undo that. I could go down a little bit further down. I'm going to go and find an option to change. The charities, always lose it. To change the hue, the saturation, and the luminosity separately. I just want to change the hue, that's the color on the color spectrum. And I can just drag this around. Both colors will move on the color spectrum in there. And actually, I quite like that version of it in there. So let's do another version of that. So once again, I've got my art board over here, and I can then select everything. So select the entire artboard, hold down the Alt key and copied. I'll just make sure I've actually selected the art board, which I hadn't. Select the Artboard. Hold down the Command key or the Control key, and drag a copy out. And then once again we can go into this copy over here. And I've got The HSL on there. So we can do another version variation of that. Let's use a green, have a green variation in there as well. If it's too bright or not bright enough, you can adjust it using the saturation and luminosity, lightness and darkness as well. Here we have some fun with that. Try out various color variations of your creation. 19. Export as Scalable Vector Graphic: I'd like to export this. We've got so many options for exporting. I'm going to go down to File, down to Export. And we've got all of these options, PNGs, jpegs, gifts, tiffs, you name it. One of the things I do want to mention those are e.g. if I go to JPEG, I can either export the art boards individually or I could export the entire document. So do watch out for that. I could also export it as a vector file if you use PNGs or jpegs and converts it into pixels. But down here, I could use an EPS file and take it into something like Illustrator if I wanted to or if I'm going to use it on the web, I might go for an SVG file that's scalable vector graphic. And with this, once again, I can choose the whole document or I could choose the individual art boards. Now, I'm going to choose just artboard number two over there. I think that's the right one. I'm going to export it and I'm just going to put this on my desktop over here. This is a scalable vector graphics. I'll save that. And then we're going to have a look at it. If I open up a browser and I just drag that SVG file into the browser. There it is. It's a scalable vector graphic or SG, SG v file in there to try it out and save it out to wherever you want it to go with its jpegs, PNGs, PSDs, or an SVG Scalable Vector Graphics. 20. Introduction to Advanced Stroke & Fill Including Patterns: In this section we're going to be looking at advanced fill and stroke options, and there's quite a few of them. We're also going to be going into patterns. Now to create a really good pattern in designer is not a very obvious thing, but I'm going to show you exactly how to do it and we'll do it together step-by-step. 21. Stroke Incl Panel Caps and Mitre: Let's have a look at the Stroke panel because there's so many things going on here and there's so much good stuff in there as well. Now, if you can't find the Stroke panel, obviously, I'm sure you know by now go to the Window menu, you'll find it in there. I'm just going to go along and take a shape. I'm going to use a rectangle and put a little rectangle. Now you can see when I draw my rectangle immediately comes up with this dotted line. Well, that's because the last time I used the tool, it was on the dotted line in there. If I want a straight line, I can go in there with a straight line. If I don't want any stroke, I could choose none in there as well. We've also got options over here for brushes. We'll be looking at them later on. But just very quickly, if you click on the brushes, you can go down here and you can choose from the brush shapes down the bottom. If you have a brush which you don't want, or just pick the straight line and change the width in there. Now the next thing over here that we've got is the caps. So to do that, I'm going to make a straight line or a line using the pen tool. So I'm just going to click like that. Get a bit of a curve going on and some straight lines in there. And let's increase the width. So it's easy to see what's going on. I'm going to change the color as well to something upsets the fill color. Let's go to the stroke over here and change that. So I'm looking for a color that's easy to see the blue line against. So going back to my stroke now, you can see that the caps are set to rounded caps. These over here, if we zoom into them a bit, are rounded. But I could choose to just have the straight cut off caps. Or I could use the extended caps as well. These ones here extend at the same distance as half the width of your line. So as I'm changing the line width in here, you'll see the caps will extend the same distance as that. Now, the next thing that we've got other joins. So if I get rid of that, Let's go along and do a corner over there. And you can see we've got a rounded corner on that one. The next one cuts off the corner, and the last one gives us a straight corner. What I want to do now though, is to make this shape a bit more acute. I'm going to get rid of this shape in there. Take that down. I'm going to select this node here using the Node tool. So I'll select just that node and pull it down. Now look at that as I'm changing that, it goes from a corner point into a cutoff point, but it still shows as a corner point in there. Well, that's to do with something called the miter limit. This is your miter over here. If you increase that number, I'm going to put in nine in there and just press Enter. You'll see it brings that corner back. So what happens is that it automatically cuts things off so you don't have lines which just disappear off the page. There we go. You can see it's cutting it off at that point. But if I thought You know what, I really do want that to be a corner, I can still go in there and I can increase that amount to get that corner back. Lastly, over here we've got the aligned option. So I'm just going to take this little line back again there. We've got the central line alone on one side and align the other. Now this doesn't work on a line like that, but it will work if I've got something along that line. So you can see with a closed shape, I can then change the line from center to inside or outside the cell. It won't work on open shape because it doesn't really know which is the inside and the outside. I'm going to put a fill on my shape over there. So let's go and add a fill color. So we've got two shapes in there. Then the next option down here is the order that these things are in. And you see if I click on this one, it actually says that the fill is on top of the stroke. If I do that one, the stroke is on top of the fill. Now this makes more sense actually if you click on the little dotted line here and see it as dots. But then in order to do that, we need to make a few changes to this. Actually, let's just change the width over there and just make sure that we're on the the cap, the standard cap in there. So now going down to here you can see is above or is it below? The stroke, the fill. Do play around with that. It makes more sense when you have a go with it. Lastly, in here I want to look at the scale with object. Now, if I scale my shape, Let's get rid of that one there. And we take this shape here and I scale it up. You can see my stroke remains the same all the time. If I click on that. Now when I'm scaling it, the stroke will scale in size as well. So just bear that in mind. Sometimes you want it switched off, sometimes you want it switched on. It entirely depends upon what you are doing. So do experiment with those settings in here. Incidentally, if you can't see the dotted line, you might need to, first of all, in your caps, make sure that you're not on that right-hand cap because that will hide it in there. And then try out the joint options in there with a standard line. And the align options on the inside, outside or the, or behind. Have a go with that. 22. Dashes in the Stroke Panel: I've got my stroke panel open and I'm gonna make sure I select that. And then just change the width on that to make it a little bit bigger. I'm going to go to the dash option. You can see over here we've got the dashes and the gap in dash and gap, and they are both the same width. If I were to change my width of stroke, you'll see that they're getting bigger and I've got a dash then a gap there. So the dashes are comparable to the width of my stroke. Let me just take that down a little bit. Like so. Now over here where it says dash, I can then change the length of the dash. So if I put in two in there, you can see my dash is now twice the length of the gap. Or I could go in there and I could make the gap four times the length of the dash. And obviously it's all based on the width that you've got up here. So I'm going to just take that back again. And I'm going to put in a dash of two and a gap of one in there. And then I'm going to go and I'm going to go and add some more dashes. So I could say, I also want another dash over here, which is going to be four, and another gap, which is going to be two. So now you can see that I've got my dash of two, gap of one, dash four gap of two in there. And starting right at the top where I've put that arrow over there. Now that's where the phase comes into it. Because if I want to move this around and get that to start somewhere else, I could put in a one in my face. And you can see how it pulls it around. Or I can put in for in my phase and move it around over here. So it's just sort of starting and finishing on the same on a bigger one, I think, which is why we've got that really long one in there. But you can change this to get your dots and dashes to go where you want. I'm going to put in the three and then try that again. Maybe that's too much. Let's try six. And we're virtually back to, almost back to the start again, not quite. Do try this out, but remember when you're trying to mount, make sure that your caps set to the standard caps because if they're on the extended caps, you won't actually see exactly what this is doing. And likewise, if you go to the rounded caps, you might not see some of those very thin gaps in there. Have fun with that. It's an interesting one and worth getting right before you start working on a job. So you know what you're doing when you start working. 23. Panel Options Incl Arrow Heads: I'm going to go along to my pen tool and I'm going to do a line in here. So I'm going to click and then click again. So I've gone from this side to that side. I know that seems fairly obvious, but do bear with me on that because it'll become important soon. I'm going to go to my color and just change the color over to something entirely different. Now, I've just changed the color of the stroke, the fill by mistake. So what I can do is I can actually just flip those around by clicking on that little double arrow. I can remove the fill in there. I've shown you that before, but I thought I'd just remind you. What I want you to notice is with this line, I've started there, and I've ended there. And the end point always shows you a little red area so that you can see which direction the line is going in. Now, let's have a look at some options here. I'm going to get rid of my caps over there. And I'm going to go down. Instead, if you're seeing dots, just go back to the substandard tool in there. And I'm going to go down over here to my arrows. And if I click on the Start and putting an arrow, you'll see it pops it. When I started. The end point is the one where we've got that little red line. It just helps you know which of these to choose. I'm going to go and put in a great big old arrow on that side. But then I'll go to the start and change that to something else, maybe a little square. Now, when we're doing these, and I'm gonna go back to a sort of a standard arrow for now. We've also got a percentage that we can change. So if I were to go to the end, which is here where I finished, I can then change the percentage or the size of that. Now they're both changing because they're both linked. If I were to unlink them and then go to this bottom one, I can then just change my arrow in there. And it's given me a percentage of the of the width in there. So you can adjust that to anything you like. Now you'll notice that my arrow over here, Let's zoom into it. The point is right on that last node. If you move over to the right-hand side in this little stroke panel, you can click and you could choose to actually place it at the end. So the error only starts where the node, and you decide which of those two you want in there. So in here it says swap arrow head with a tail. So all I have to do is click on that and it flips it around. Let's zoom out a bit there if you do want it the other way round because it's easy to get wrong. Now. Have a little look at that. 24. Appearance Panel and Stroke: As you can see up until now, we've been doing one fill and one stroke per object. But you can actually add more strokes and fills to the same object. What I'm gonna do is I'm going to go along to the appearance panel. Of course, like everything else, if you can't find it. In the Window menu, I'm going to click appearance. And you can see over here tells me that there is a 100-point stroke on here and a normal fill, both as normals referred to the blend mode. Now, what I'm going to do is I'm going to add a second stroke to this. So down the bottom I can say Add stroke. I've now got a second stroke. And that stroke, I can actually click in here, which is naught points. And I can change the width of my second stroke, not the moment. There's no color on that stroke either. So I'm going to click on the color area here. And let's just pick a color for that. Once again, go back in here and I can adjust it in their incentive. If I click on normal, you can see all the different blend modes in there. So it means that I can actually have multiple strokes and do multiple effects. I'm going to make this one a little bit thicker over there. And I might actually use the alignment and put it on the outside. And it's got rounded corners with the underneath one has got a corner points. So let's do another one. I'm going to add another stroke. Choose a color for it. It's got a much lighter color this time. I'm going to increase the weight on that stroke. And this time I'm going to go along and I'm going to put in some dots. So I'm going to go to my dashes over there. And I'm going to do some rounded dashes and maybe increase the gap between them to two. So, as you can see, three separate strokes on one shape. And of course, if I go and adjust it, once again, my strokes will adjust with it. But if I go to the Stroke option and I can then change my scale with object over there. And I can then scale those with the object. Now, what you can see is it's actually only one of them, which is scaling with the object. It's this dotted line over there. I can do these independently. If I were to click on the green and go back to stroke. And now when I'm scaling this, I'll say Scale with Object of the green one will scale with the stroke, as well as the brown. Brown when I think of there because I've got that on. But I don't have it on for this red one over here, this one is set to scale with the scale with the object. So if I switch that one on as well, now all of them will scale with the object at the same time. There's so many options here for you to try out. So you'll find as well. We can also add fills. I'll come to those in a moment, but do have a little look at these options. You can click on them to select them individually. You can also move one below the other. So I've now got the dotted line is underneath the red one, but above the green one in there. If I don't want to see one of them, I can just click on the little dot to temporarily hide them. Lastly, if you really don't want it, all you do is you drag it and drop it in the bin, right? So let's try that sentence again. You click on the button to delete it. I'm so used to dragging and dropping that. I do that all the time. Let's move that one above that one there. Have a play with it. It's quite useful. Tried out. 25. Save Appearance as a New Style: I've created a shape here and on that shape, if you look at my appearance, I've got two strokes in their very specific sizes and colors and a fill color that I want. And I want to use that same effect or style on these two shapes here. So the way to do it is you go along to your styles panel. Obviously if you can't see it, look in the Window menu. I've got this style selected. I'm going to go to the top, up here, to the drop-down menu. And I'm just going to say add style from selection. And it pops it in. Here's a style. Now I can click and I can apply that style to anything else that I like. Go and do a line over there and apply that style directly to it. 26. Create a Basic Pattern: What I'd like to do is I'd like to make a pattern to use as a fill. Now, I've got a few little shapes over here. If you did the first course with me, you might have recognized this from one of the projects. Of course you don't have to use these particular shapes. You can use any shape you like. You can go to the pen tool, make a shape, or you can just use some of these little shapes down here for this example and just take a shape like so. Anyway, I want to make a pattern from this. So what I'm going to do is I'm going to make a new document to make my pattern. I'm going to get a file and a new. And in here I'm going to choose a, well, I'm going down to the web option actually, and I'm going to choose an exact size that I want to use. Now. I want to use 1,000 pixels by thousand pixels. Or you could do 2000 pixels by 2000 pixels. It really doesn't matter. We'll just do it as square though. So 2000 pixels by 2000 pixels in there. The next thing that I want to do is I want to make the background transparent. So if I go along to color and I choose transparent background, now I'll have a transparent background in there for my pattern. If you don't, if you use a white background, you level white background in your pattern. Maybe that's something you want. Let's just click on Create. So I'm now going to copy these across. So I'm going to select them all. Copy control C or Command C to copy and Control or Command V to paste. Now, if I were to just pop these round like this, I could do a bit of a pattern. I'm going to make them, some of them bigger, I think. And this one up a little bit larger like that, will pop the bird in the middle over there. And this one is going to go up to the corner. Maybe something like that. Now, to make this into a pattern, what we do is we export this. I'm going to go to File and Export. And in the export options come up, I'm going to use PNG because I want the background to be transparent. And then I'm going to just export it out. So I'll choose Export over here. And I'm going to put it in my case on my desktop and I'm going to call it pattern. You can call it anything you like. It doesn't actually make any difference at all. Let's click on save over there. Now when close this down, we're going to come back to it just now. Let me go back to my main document here and I want to now fill a shape with that pattern. So I'll get a little circle over there. I'm going to go over here to my fill tool. And up the top, we can choose how we want to fill things. So where it says content with filling the fill rather than the stroke. And then the type we're actually go down, going to go down and we're going to choose bitmap in there. Then it says what bitmapped you want to use. Well, there it is. Over there it's my pattern PNG file. And I'll click Open. And in the CMS, now, it just looks like it's copied what we've got a cross into here, but in fact, this is a fill which can be scaled down. So if I do that, you can see the whole thing comes in as a pattern. And of course I can rotate it around in there. So we have these little sort of things which you can just pull in and pull out to adjust your pattern. When I make it a lot smaller though you can see it does look very, very robotic. We need a few extra bits and pieces in there too. Take away from that. This is an obvious pattern which is, is in there, but we'll look at that in the next lesson. So try this out first. Remember, you've done this with a transparent background, so your pattern actually has a transparent background. If I just go and take a shape over here, Let's go and fill that with a color and move that below. So I'm just going to go in and arrange and move that to the back. You can see how my pattern comes out with a transparent background in front of it. Anyway, Do try this out and then come back. We'll take it on to the next level. 27. Create an Advanced Pattern: Now obviously the next level is to make this look less robotic. So I'm going to just delete the pattern I created and I'm going to go back to my pattern generator if you like, for want of a better word. So what we need to do with this particular pattern is to get things which are outside of the square. But if I did that, let's say e.g. that I made a copy of this bird. I'm just holding down the command or the Control key to make a copy. And I pop that over there. It would also need another copy on that side over there for the bird's head to repeat properly. Otherwise it'll just be the cutoff buddy in there. Now the trick here is to try and get this perfect. So it works with that one. And this axial, reasonably easy way to go about this. I'm going to put this bird over here. Then. In fact, I'll just move that in a little bit like so. And what I want to do is I want to move it across to their copy across today, but get it exact. Now remember, we made this document a certain size. I made mine 2000 pixels. By 2000 pixels, you might've made yours a different size. So if you can remember the size, that's why I went for something simple to remember 2000 pixels there. So I'm going to take this and I'm going to move it across to there. And then I'm going to do that using the Transform options over here. Now you'll notice that my transform option at the moment shows me the position of this bird. We've got the x position and y position. You'll see if I move it left and right, the x position changes. If I move it up and down, the y position will change. So what I'll do is I want to make a copy of this first. So we're just going to copy it. And your shortcut is Control J or Command J to make a duplicate. Or of course you can go into your menu and you can duplicate it that way from the Edit menu. So I'll just duplicate it first. And then I want to move the copy across. Now, I need to move this 2000 pixels. Now of course, I could try and work it out because this position is -1,901, whatever. I could do it manually or, and this is the great thing about the Transform panel. I can actually add in a little bit of maths in here to get it to work. So I will just say plus 2000. I think I'm missing 10 there to press Enter. And you can see how it's moved it across and it's done the maths for me. Let me do that again. I'm going to take a copy of a leaf over here. Let's get this leaf here. I'm just going to hold down command and duplicate it and maybe make it a bit smaller. I might rotate the angle a little bit over there, and we'll pop that in here. So same again, Command or Control J. Make a copy of that or a duplicate of that. Now, unfortunately, you can see it's duplicated and it's done it right over there because it's remembered the last copy that I've done. So I'm going to do this one more time because I've rotated as well in here. This could be a little bit of an issue. So we'll just take that back to normal form for now. I just want to show you the simplest way first before we start going wild with rotation. Select that. And I'm going to make a copy of that. I've used Command and J to copy it. And if you have a look in my layers, you'll see that there's a copy there. I'm going to go across to move it across. So in here, I'm going to add 2000 pixels to the exposition. So I'm going to just say plus 2000. Press Enter and it moves a copy across. Now, if I'm thinking that that's not quite in the right position, I can select both of these leaves. So I'm going to hold down the Shift key and select both of them. And I can now move them around because they are the correct distance apart and I can place them anywhere I like. In fact, I think I'll just take them over there. Let's do one more going up and down. So this time, I think I will use this leaf over here. I'm going to hold down command to make a copy of that. And I'm going to scale it down to the right size. Let's get in it, just rotate it up to the top. I want another copy at the top. Exactly the same thing. I will select it. Command or Control J to duplicate it. Don't move at all. Just go straight up here to its position. And this time it's going to be the y position over here. And now, do I add or do I subtract? If I subtract 2000 and press Enter, I get the copy up the top. If I added it, it would go down even further down. You just wouldn't see it. Once again, I can select both of those and move them around until they're in the right place. Now that I'm happy with that, I'm going to do exactly as we did before. I'm going to go to File. I'm going to go down to export. I'm exporting it as a PNG file. That way it gives me that transparent background. You could do it as a JPEG, but you'd have a white background. Then I'm doing it as a PNG. I'm going to click on Export. In here, give it a name. Let's call this new pattern. Not very creative naming. And I'm going to click on Save. So let's go back to the other document again. I want to put that pattern into an interesting shape. I'm going to use a different shape here. Let's go and get a little segment like that. And I think I'll just pull this down a bit. Like so. I go to my fill tool. I go up to the top, I'm filling the fill. And in the type, I'm going to choose Bitmap, it's going to ask me where to find it, and it's gonna be this one here. Click on Open. And then all we have to do is to scale it down. And you'll see how perfectly that pattern now works. We can always move that those buttons around, scale up, scale it down, put it around as much as you need. You can physically move it inside that area as well. Now, what about if this stage, I thought, you know what to be really interesting, to have a background behind that. Well, I could go along to my appearance. I could put another fill in there, find a color for this fill. And I'm going to fill this with, let's go with sort of a yellowish orange. And I'm going to move that Philip below my pattern. So once again, we can use multiple fills in a document. And then I can always change my color in here. This is y. I like to do my patterns with transparency. Try it out, see how you get on. 28. Create an Advanced Multipattern: Let's add a second pattern into our first one. So I'm going to do File New. Once again, I'm going to choose the same size in here. If I go back to this one, Let's do 1,000 this time. By thousand. In the color area, making sure it's transparent background, click on Create. And Stan, I'm actually going to take one of these leaves to make a background. And I'm going to copy that. Go back into here, paste that in over there. So I'm thinking of making it interesting background with this leaf. Maybe while I'm in here, are going to fiddle with a color and change the color to something a little bit less over the top. Just say so it may be just a, a medium green like that. I might make a few more copies of this. Of this, we get another copy over there and another copy over there. Now, of course, these two also need to be moved across. Once again, I'm going to go up to the copying, duplicate this one. And now that I've duplicated it, I can take my duplicate and I can move it across to that side there. So this time I'm going that way. So it's gonna be minus I'm going to take its position and -1,000 documents size. Now, look at that. It's moved it across, but I obviously didn't duplicate it properly. So I'm just going to undo that. Use Command Z to undo it. And let's just try it again. So I'll make sure it's selected. Command and J to duplicate. There we go, it's duplicated. And I can now go in here. And -1,000 in there. Press Enter and there's my copy. I'll do the same with this one over here. Once I've got them in the right position, then it'll be easy enough for me to start to move them around properly. So that's exactly the same thing going this way. So this time it will be duplicated. And then add plus 1,000. Press Enter. I can still select both of those and move them around if they're not quite in the right position. Same with these ones here. That one there. We'll move that one around as well. I want one going up and one going down. So I'm going to copy this one, move it up to the top over there. Maybe we can even rotate it around a little bit over here. So it's green, that angle over there. And I want a copy of that. So I'm just going to de-select it, reselect it again. By the way, I'm doing this sort of de-selecting, recollecting whenever I'm using my Command J because I don't want to get it to repeat something which had just done which I've just done. So by de-selecting, respecting you just stopping it from doing that. It's a kind of a adjusting case, okay? So I want this one to go downwards over there. So this is going to go plus because it's going to go down. So that'll be on the y. So I'm going to say whatever it is. And how have I done my copy? I don't think I have. I'm going to just check in here to make sure I haven't done my duplicate Command or Control J to duplicate it. There we go. You can see I've duplicated now into the Y-axis and I'm going to add 1,000 over there, press Enter or Return on the keyboard, and then it's done. Right, that's all, All good. So anyway, File export, exporting it as a PNG. I'm going to choose Export here. I'll call this leaves. Click on save. And then let me go back to the document that I want to work on here. So I would like to make this a background like wallpaper if you like. So I'm going to use a rectangle drawing my rectangular shape. I'm going to go in here and I'm going to fill. Let's try that. Again. I'm going to use my fill tool. And where it says solid, I'm going to choose Bitmap. I'm going to find my first pattern that I want to use. So that's going to be the leaves. And I'm going to just scale them down as well. So let's make sure that that works really well. And that's a nice pattern. Yeah, it's worked very well. You can't see where it repeats itself. I mean, you kind of get an idea over here, but it's pretty good. Now what I want to do, and here's the trick. I'm going to go to the Appearance. I'm going to add a second filter that on this fill, I'm going to click on that fill. I'm going to once again put another bitmap in there. And that's going to be the birds. You can see they've come in separately as well. So I can move them around at the same time. Maybe looking at them and thinking it's a bit too busy. So I could add a third fill in here. This fill, I'm going to go up to the top and I'm going to choose a color for it. Let's use a sort of a darkish, darkish green in there. Then that fill I can move all of them. That's that's talking improved over there. Or we could actually go in and move that between two of them. Then I can go along to my color area. I could change the opacity of that so we can get to see some of the other things coming through between them. Just make sure that is selected first before I do that. So go onto my fill and we can adjust the opacity in there. You can make up all sorts of patterns like this very quickly and you can just keep adding more and more fills in the appearance. So just add in Phil's, they could be patterns like this. They could just be solid areas or there could even be gradients as well. Have some fun and do something really wild and exciting with those. 29. The Basic Brush: What I'm going to do is find the brushes panel. And I can see mine over here, but if you can't find yours, it's in the Window menu as everything else is. I'm going to pull my brushes panel out only to make it easier for you to see what I'm doing in here. And I'm also keeping my stroke open up there. Now, in order to paint with one of these brushes, we use the vector brush tool. The vector brush tool paints with a vector lines as opposed to when we go over to the pixel persona. Later in the course, we will then be working with pixels. Now the vector brush tool doesn't entirely work with vectors because some of the brushes will contain pixel textures and pick pixel images in them. But I'll show you that when we go along. But basically when you click and drag like that, what happens is if you go over to the Node Tool, you'll find that it's a vector lines, so you can always grab those points and move them around. Now, let's have a look at the brushes themselves. I'm going to just select that and delete it. In the brushes panel. We've got a number of different sets of brushes. So e.g. here, these are the acrylic brushes, dry media in there. Going down, you'll find this oils, this patterns, some interesting pattern ones in the right way down to watercolors to give you that sort of watercolor type of look. When you use one of these brushes, you can just click and paint to use it. You'll find that you can still go to your colors in here. And with some of the brushes, you can adjust the color as well. So if I picked a different color and then did it, I can change the color of my brush. Let's have a look at some of the options for the paintbrush. Along the top over here, I've got the color and I've just changed it in my color area here, but I could change it in there as well. By just clicking on that. I've got the width. And the width can also be changed in the stroke. It's the same thing. The opacity or the transparency of the brush. We can change that. If you click More, it gives you options for the paintbrush itself. And once again, I can change the width. In here. We'll come to some of these other settings later on. 30. Create a Solid Brush: Let's make our own brushes. Before I create a brand new brush, I'm going to make a new category. These are the categories here, critics, dry media, engraving, etc. So I'm going to go to the top and create a new category here, just so that my new brush doesn't appear in the acrylics category or wherever I happen to be. I'm going to call this Test brush. And I'll click Okay, and now I've got a brand new category in there. You can see I've got my test brush category. Now to make the new brush, we go right up to the top. Once again. We've got three options here. A new solid brush, a texture intensity brush, and a textured image brush. We can also import brushes, and we can export brushes as well. So if you create something really exciting, you can send to other people or there's a lot of online brushes that you can actually bind. You can import them this way as well. But I'm going to go with a new solid brush. And now what happens is it creates my brush in there. I can then go along, get my vector tool, just going to make sure I change my color to something else. So I've clicked on there. And I can then paint using that particular brush. Now that I've created that shape, I'm going to double-click on my brush. And as you can see, I can change the size in there. But I can also change the size of variance. I'm going to adjust the size variants, so I get pointed ends over there. Now, if I were to select this line and then click on that brush, you can see it will apply those changes to my brush. Getting my brush tool again, once again, I just get the standard brush, but I can always apply a brush like so. Have a go with making a simple brush like this, double-click it and change the size variants in there. 31. Create a Textured Intensity Brush: Let's have a look at the next type of brush in then the next type of brush is a textured intensity brush. Now to create this, I'm actually going to make the brush shape first and save it as a PNG file. Let me show you what I mean. I'm going to go and do a new document. So I'm going to go to File and New. And I will just do a transparent document in here. The size is not that important, but I'm doing 1,000 by thousand. And I'm going to click on Create. Then I'm going to draw in the shape that I want for my brush. Now, I'm actually going to go in here and use one of these. It'll pre-made shapes. I'm going to use this double-headed arrow tool. And I'm going to click and drag in my arrow like so. You can see I can change the middle in there as well. And this is what I want for my brush. Now. I'm going to give it a black as the color. And I then want to save this out. So I'm going to go along to File Export, and I'm exporting this as a PNG file. Let me just put it somewhere where I can find it. I'll click Export and I'll call it arrow For brush. I'm putting mine on my desktop. You can place yours wherever you like. Just make that out the way so I can get to my Save button. There we go. Alright, that's done. And I could close that down if I wanted to. Now I want to use that brush in here. So I'm going to go along to the top corner and I'm going to make a new textured intensity brush. The first thing is when you do that says, Well, where's the file you want to use? Here it is. Over there. There's my little arrow. I'll click open. And I've now got this brush in here. So if I were to go in and use my paintbrush, just make sure that this is selected and click on it. You can see it's got a brush and the white area here is the painting area. And the black bit, or the transparent bit is the painting area. And the black bit over there is the arrow in the middle. So once again, just going to paint slightly shorter with that brush. Now, if I were to double-click the brush, you can see over here we've got some options for it. So the first thing is brushed is the brush width. But when I do this, what it does is it stretches that arrow all the way along. But if I didn't want to stretch the arrows, if I want to keep them, them just as normal arrows, but then stretch the line between. We can go down here and we can pull these little red lines along. So I'm putting it just inside that arrow over here, just inside this arrow as well. Now what will happen is it'll actually stretch between those two points in there. This is the head offset and the tail offset. And once again I can click on Create, sorry, close in there. And then when I'm working with it, you'll see we've got the little arrows coming through. Now. We've got one more option in there. And this is repeat. If I choose Repeat, let's just get rid of those hidden end. It will just repeat the whole of that shape along my line. Now, do bear in mind when you're doing this, that you have to have the head and the tail offset switched off. If you don't, then it'll cut those bits off. You can see it's cut off that one arrow, which actually could be quite useful if I'm looking for a line with arrows on it like that. If I wanted them to go the other way, I could do that sort of thing there. As it happens, I wanted to be like that. So I'm just going to click and paint now, you see I get little arrows. As I go. 32. Textured Intensity with Transparency Brush: Let's make another one of these brushes. What I'm going to do is I'm going to go and make the brush. So I'm going to go to File New. And this time I'm going to have a background. I'm not going to have transparency on there. I'm just going to have a white background for this since you can see what happens. And I'm going to go and I'm going to put a shape in the background. So if I do a shape like that over there in the background, and I'm going to move my brushes over a little bit so I can move that shape to cover the whole thing. And this shape I'm going to have with maybe a medium gray. And then in here I'm going to do another shape. So once again this time I'm going to create a little shape in here. Let's do a circle like that. And I'm going to have that circle being white. And then let's have another little circle over here as well, right in the middle. Make that one black. Let me just move that up a little bit. Like so. I'm going to save this now so that you can see what happens with this brush. I'm gonna go to File and Export. And Export, same as before PNG. I'm going to export it out. I'll give it a name. Let's call this. I brush. It's just it happens to look like an I. That's all. There was no other reason for that. Click on Save and go back to this document. Over here. My brushes, I'm going to go and make the new textured intensity brush. Choose that round shape that I had. Click on Open and you can see how the percentage has come in there as well. So this time, if I were to paint with the brush and make sure it's selected, I'm going to go along and get my vector painting tool, pick the color that I want to use. I'm going to just double-click and make that brush a little bit bigger. You get from that what it's going to look like when I paint, because this was gray. It's going to be semi well, it's gonna be a light purple color. If I go over that again, you can see how we've got this sort of areas which are either transparent or like this, light purple or semi-transparent. If I were to just move that across a little bit like that. And we'll change the color of that as well. You can see how that a light gray is semi-transparent from my brush. So if I wanted to have a brush which was just a circle like this, what I would do is I'd go to my background and maybe make that black. So if the background was black, and I'm actually going to just get rid of that one. I'm going to export this over here. I'll call this circle. And let's go back into there again. Make a new brush once more. So a new textured intensity brush. There it is. And now I'll have a circular brush. If I use this tool. Nope, wrong one. Just make sure that I've selected that one. There we go. You can see how that brush is going to look. Now, if I double-click on the brush over here and I can adjust it in there because it's live. You can actually see what it's doing. Let's say that I wanted one side to be more rounded than the other. Well, I can take my head off set and actually pull that around a little bit. I'm going to put it to halfway. You can see how we get this really rounded bit tailing off. That way. I can still adjust that tail using the size variants. In there. I'm going to click on close. So now I'll have a slightly more interesting brush like that one. Let's just click on that and pick that brush. Do try that out. As you can see, there's a few little issues over here with colors which just appear on my page. But those are just, well, it's just a screen issue over here. If I run over them, they should eventually just disappear. You can't select them at all. Try that out with another one of those brushes and experiment with some blacks and white, some grays. And you can see how you can change the transparency in your brush. 33. Textured Image Brush: Now I want to make a brush using a piece of artwork. I'm going to take this little bird over here. Now. You can use anything you like. We're just gonna be using something with color. And you'll see in a moment how we can even do it from a photograph. But I'm going to just take that little bird there and I'm going to copy it. I'm going to go and make a new document. Once again, I'm going to just keep the size, nice and small, maybe 1,000 by thousand. But I am going to have a transparent background for this. I'm going to click on Create. I'll paste my bird in there. I'm going to make it a bit bigger, so I'm just going to scale it up to a good size in there. Now I'm going to save that as a PNG files. I'm gonna go to File Export, export as a PNG as we've done so many times before. Just click on Export. This will be bird. Export that to my desktop. And let's go back to this document. Into my brushes. I'm going to make a new textured image brush. And over here, I can then go in and find the bird PNG. I'll just click on Open and look at that. What it's done is it's taken the bird and it stretched it along the brush. So if I were to paint with that particular brush over there, Let's just select that. That's the last brush that I had there. You can just about make out the bird has been stretched on that line. If I do it without any fill or stroke, then it will pick up the colors of the bird as well. Let me make it a bit bigger. So I'm going to double-click on it. And in here, change the stroke of the bird. And you can see, it does look a bit odd in here. But I've now got a picture which I can put along a line as a texture. But what about if we wanted a whole row of birds, like birds on a telephone wire. I'm just going to undo that. And I'll get rid of the ones that are there. I'm going to double-click. And you probably guessed, we can go to repeat. So I can just repeat that bird all the way along. I can change the width in there if I wanted as well. I'm going to click on close over there and then just run that bird alone. I'm going to change the color to none, so it'll pick up the original color of the bird and we make sure it's selected first and choose none on my Stroke. And there's the original color my bird. And of course, because that's a vector, I can always go along to those points and I can adjust the points on there to effect where my little character is going to go. Now of course, we can do this with a photograph as well. You can take any photograph and run it along. I'm going to go over to the web. And I'm just going to go to a website that I use called Unsplash. I'm not endorsing them. I just happened to use them. It's free, royalty-free stuff. And I'm gonna go and find an image in here. Let's have waves. And let's try that again. Waves in there. And I'm just going to find an image which has got some interesting ways, like this one over here. So I'm going to click it and I'm just going to download a smallish file. Right? That's it. That's done. Now. I want to make that into a brush. So I'm going to go and make a new textured brush. I'll go and find that it should be my downloads. Over here, somewhere. There it is. Over there. Click on Open and you can see straight away that I've got a new brush now without photo and it just takes that photon stretches along. And I've just got some lovely colors coming through there. If we were to double-click and make it a little bit larger, you can see what it's doing by stretching that photo along the line. Or of course, I can go in and I could repeat it. So we get the same photo repeated number of times. But I think for this, the stretching is probably going to work a little bit better. Even within here. I can then go and adjust it so I can maybe get some more of the of the main color in there. And the end is just this little bit on here. Anyway, try that out, experiment with a few different photographs. And don't forget if you get a weird color in there. It's probably because you've got a color on your stroke. So just choose none because you might want that. So it's entirely up to you, but have lots of fun with it. 34. Introduction to Project: Summer Picnic Menu: For this project, we're going to be making patterns. We're going to take the patterns that we're going to layer them up together. And we're going to do this around the menu. And we'll put some text in the middle. I mean, what you create with this really doesn't matter. It's the process that is very important. Let's get started. 35. Create Flower: For this project, we're going to be creating a pattern, well, several patents actually. So I'm going to go to File and I'm going to do a new document. Now, I want this document to be pretty small, not huge. I also, to keep the math simple, I'm going to make it just 1,000 pixels across. Now remember, this is not my final document. This is just for the pattern. So I've gone into the web area here and I'm going to do 1,000 pixels. Let's try that with a one in front of it, 1,000 pixels by 1,000 pixels in there. So I've got a square and I'm doing it in RGB mode, I'm going to click on Create. So this will be used for my pattern. Now I want to bring in a photo because if you want to draw something freehand, that's absolutely fine. I want to copy a flower which exists already. So I'm going to go down on the left-hand side to my place tool. I'm going to go and place the flowers. Now. I've provided the flowers for you if you want to use these ones, these are puppies. But you can choose anything that you like once you've seen what I'm doing with this, I'm just going to go and find my flowers over here, and here is my puppy. Now you can see there's quite a few of these puppies in here. And I'm just interested in this middle one over here that we're not going to be too detailed about it, just pretty rough. So I'll probably end up using my pencil tool for this. I'm going to check my stabilizers settings at the top and just make sure that when I'm drawing over here, I don't have too long a stabilizer because otherwise I'll never get in some of these little details around in there. So I've got my length set to ten. You can set it to whatever you like. And then over here we've got the stroke width or stroke weight. I'll make mine a little bit thicker so it's easier to see when I actually start working. Back again to the pencil tool. And I'm going to start drawing like so there you will have noticed that when I did that I was showing you where to change the width. It actually changed the width around my picture. That really doesn't matter at all. Let's get rid of that and start drawing this in. So I'm going to just start over here and pretty quickly go roughly around the shape of the flower. So this is the back petals over there. So I'm just done them round like that. So there'll be the back petals. And then next we'll have this one, this petal over here. And then maybe one or two at the front. I'm just doing this as separate items so I can then change the color independently. And lastly, I also want to have the middle section in their syringes going to go and then draw that in. Now, obviously you can't see what I've done. So if I go over here and just hide my photo, you can see it does look a bit of a mess, but bear with me, we'll make it look a little bit more exciting shortly. Of course, I also want to have the stem down here, so I'd like that to be quite smooth. I will increase the length of my stabilizer. So I can start in here and just draw up like so, as I said, it doesn't have to be perfect. Remember if it's not right, you can move it around. You can change anything that you like in here. E.g. if I go in here and hide this, you will see that some of my lines don't actually meet. So I could click on this one and just get it to meet that one there. Same over here, click there. And we'll just meet those ones up. This one here. I could do that. Honestly, I don't know where the starting point is on that one. I think it does. Just about Meetup in. I'm also can change the colors. So I'm going to go to this one over here, this back one. And I'm going to be choosing a shade of red. So let's have a red in there. And the front one, which is also going to be filled with red over there. It's just pick a red, but I'm going to choose a slightly lighter. They'd be more orangey red. For that. Let's go to this one here. Once again, that will be a sort of a medium red, a little bit darker. And lastly, this, which is the middle, that's going to be black. Unfortunately, it's behind that one. Oh sorry, in front of the other petals, I'm going to click on this petal and just go to my layer, go down to arrange and say, move that to the front. I think that's looks about right for what I'm after. I know it doesn't look like much of a flower at the moment, but hopefully it'll give that impression. Lastly, over here, for the stem, I'm going to go and choose green for that. And in fact, I want that to be green on the stroke and I don't want to fill in there. That green is awful. So let's go with a much darker green in there. And of course, even at this stage I can still go and pull that around. Move that like so. I think that needs to be a bit thicker. So once again, I'll go to my stroke, will increase the stroke width on there. And if it's in front of that, you could always go to your layer, arrange and move it to the back. I'm going to just select these petals over here or in that one as well. And I will get rid of the stroke around the outside. So I'm going to choose none for my stroke. And that's what I want. Just a very simple little flower. If you want to put leaves in it and stuff, That's absolutely, absolutely fine. But have a go get yourself a flower app, and then we'll go on from there. Don't forget to use your layer and arrange to move things to the front or the back if you need. And you can always move them around because I think that should go up there and this should be moved up there. Anyway. Try it out and come back. And we'll go into the next stage of actually making the pattern. 36. Create Flower Pattern: Now, I was looking at this flower and I thought, You know what, this doesn't look quite right. There's a big gap over there, almost like a petal is missing. So I can just go in and adjust this one. I'll just use my node tool and maybe pull that down. So it looks a little bit better like that, but you don't have to just get it to look as you want it to look. I'm going to select all of these items and I want to group them together. So to group them together, we're going to go to the Layer menu and just choose group right at the top, or Control Command G on your keyboard. We don't need the photo anymore, so that can be binned in the layers panel. And I would like this one to be maybe a little bit larger. Like that. Let's zoom out of it in the middle. Now, if I make this into a pattern, we will just have a very robotic flower, which is basically the same, all the way across, just going up and down, it will look awful. So we need to actually have some of these slightly offset. So what we're going to do is we're going to copy this. So I'm using Command or Control and J to duplicate it. And then I'm going to move this up. So let's try that again. Just move it up to the top. So I wanted to repeat across over here. Now I've got that right at the top. I want another copy in the same position over here, so the bits that are hidden will actually appear in there. Let's just move it down a little bit as well. So the whole thing is in there. So I wanted it in the same position over here. So to do that, now, I'd suggest you're doing this step-by-step as well. Click off of the flower first, then selected. Now the reason we're doing that is just so that it doesn't remember any other transformations. When we start using the power duplicate, use your command J to duplicate it. And then we want to move this all the way across to this side. We're going to go down to our Transform options here, and we're going to change its distance using a little bit of maths. I'm going to take the x position, that's the horizontal position. I'm going to say whatever it is, whatever that position is. I'm going to try minusing so -1,000 over there. I'm going to press Return. And you can now see that my copy has been moved 1,000 pixels across there. So these match exactly. I'm going to select both of them now. And I can now move them around because they're the right distance apart. In fact, if you are unsure, you could even go along and you could group them together so we can group those at anytime when I move them. Always been the right position over there. Now, I also want some more down here, maybe. So I'm going to put these up the top here and then do the same thing down the bottom. Just I think I'll move them up just a little bit like that. So once again, same thing, just deselected, select it again. And then we're going to get onto the y position. The y position is your vertical position. And I want us to move down, which is actually you can see your numbers over here. These are sort of going downwards. So I want to move the copy down 1,000. So starting again, click on it Command and J to make the copy. If you find that sudden your copy jumps out to the side. It's because it's remembering the power duplicate from something else that you've done. So just try it again, de-selected, do it again, go down here, and I'm going to then add. So I use plus over there, 1,000 pixels. That way. I think that's 100 and we try one more over there and press Enter. So now all these four are in the same position. So if I move them, I can select that one, I can select that one, R, group them together. I'm using Command G or Control G to group them. I can move them around and they'll always be in the correct position. Like that. If I pull this up, that goes down, but that'll come across in there. This one here will be out of the page, but it's matching that one over there. So all four of these are the same shape, but they're just different quarters of that shape. If I pull that in, just that quote and we can move them around as much as we like. Don't worry if you do scale this down once you've done it, because otherwise you'll end up possibly with something that's not quite correct. I'm going to take the center one now. I think I will rotate it slightly and maybe make it a little bit bigger so I can scale that up as well. So as a bit of skin, I'm not going outside the border edge. Just like that. If I do, then I've got to have a copy up the top to repeat whatever goes off the edge. Now that you've got your flower done, we're going to go along to File and Export. I'm going to be exporting this as well. You can either use a PNG file or you can use a JPEG file. In here, I'm going to go with the jpeg file, thousand by thousand pixel size. And I'm going to choose Export. I'm going to put mine on my desktop so I can find it easily for you. And I'll call this red flower oh, Fluor. Let's try flower. Red flower, and click on Save. And that's done. Now what I like to do as well is to then save this out as an editable file in case I need to come back to it when I run my pattern, try out my pattern, and maybe things don't look quite right. I can always come back, tweak this and then re-exported again. So I'm also going to go to File and Save As or Save. And I'll just once again call this flower or red flower. Flower. Original pattern. Whatever you like really. I'm going to save that out as well. Have a go with that, with a puppy. And if you want to try some other flowers as well, by all means do so, but be quite rigid about getting those four placed in the right position using a little bit of maths. If your page is 1920 by 1920 pixels, then you just add or subtract 1920 pixels from the position. I'm sure you know that though. Anyway, have a go with that and come back and we'll do the next insect. 37. Create the Butterfly: Now as you can see from mine, I've changed my flowers around a bit and I re-exported again because to be honest, I didn't actually like what I got before, just with the one flower in the middle, I flipped one of them around as you can see, I did that and I expose it. But let's go on to do the next one. So you can always change things if you need, and then just re-export them again as your initial jpeg. Now, as I said, the initial jpeg is because we will be doing the other ones as PNG's. I'm going to go and do a new document again for my next pattern. In here, in the size, I'm going to keep to the same thousand by thousand in the color. I'm going to be using a transparent background. So if you see a white background in there, go over to Color and choose transparent background. And I'm going to click on Create once again. So this one's got a transparent background. I'm going to do my next one in here. I'm gonna do this one a lot faster because you know how this works from the last flower example. I'm going to go and find the picture that I want. So I'm bringing in the butterflies. You can choose any insect that you like. I'm going to go and find my butterfly over here. And I'm just going to click and drag to bring it in. Now I will, in my layers lock it down. And that's not locking, that's hiding it. I'll lock it down. And then we're going to draw that out quickly using the pen tool. You can use any tool that you like for this, I'm going to just go round with the pen tool and you're going to see, I'm not being that accurate, just a few little curbs on here. You could do this and make it however you want it to look. So I've got my first wing there. I'm going to give it a color. So this wing is actually going to be almost black. I think it's gonna be very, very dark. And then I'm going to make a copy of that wing. So I'll select it and use my Control or Command and J to duplicate it. Make the copies smaller. And that'll go on inside, like so. And then this one is going to be blue. But it's not just going to be a standard blue like that. I'm actually going to make it more of a gradient. So I can use my fill tool over here in the type, I'm going to use linear. And I can then just click and drag around, put these where I want them go. So it's gonna go from very dark to very light blue. So I'm going to go to the dark side and just darken that down a bit more. I'm after something like that. Now that I've got the first wing done, I'm going to select it and I'm going to make a copy Command or Control and J, this one is going to go on the other side. So I'm going to use rotate in the top here, sorry, not rotate, flip. So I'm going to flip it horizontally at the top there. And then I'm going to use rotate to rotate around to the right position and move it into my final position. Over there. I said before, it doesn't have to be exact. You're just getting a rough feeling for the little insect. Let's zoom right in. Over here. I want to do the body of the insect. So I'll use the pencil tool. I'm going to switch a stabilizer off and just do a simple little shape in there. And I'm gonna make that sort of a darkish gray. Just have another little shape over there. Once again, fill that with a darkish gray and the head roughly around like so. And then for the antenna, I'm going to switch the stabilizer on. I'm going to draw out a line so I get a nice smooth line like that. And over there as well, we'll just drag that out. All right, so right, That's almost done. Some of these might need to be adjusted a little bit to change the shape. And lastly, I will also select all of these items. Select everything, and I'm going to get rid of the strokes are over there. I'm going to go and remove the stroke. Now, here's a quick tip. If you want to get rid of a stroke or a fill very quickly. You'll notice that the little icon over there has got a red line through it and the red line is going over to the right. So if you look at your keyboard, you'll see that forward slash on the keyboard is also kind of like a line going to the right. And that's the shortcut to get rid of a fill on a, to get rid of solid color on a fill or a stroke, you just press that and it becomes none in there. Now I'm going to go in and remove the photo as it did before. And the process here is exactly the same as it was. I will just move those into the right position. For some reason. I can't see the little antenna. And that's because when I did this. Remember I said I'd remove the stroke while I removed the stroke for everything including for the antenna, because the antenna or just a stroke. So let's go and put a stroke back on there. I'm going to my stroke increase. It. Said we're just going for a field, doesn't have to look perfect, right? I'm going to take that group, that one together. And I'm now going to go and make some copies up here. So Control Command J, move it to where I want this to go. It's going to go over there to start off with de-select, re-select again Control Command J. That gives me the copy. I'm going to go to my Transform options here. First one, I'm going to subtract 1,000 or the width of the page that you're on. That makes the copy on that side. And then we can select both of those are moving to the right position. So I want them to be up here. Once again, select both of those control command or command J. And then move the copy down by adding 1,000 to the y-axis. So this would be plus 1,000. Now I can go to the middle and I can just adjust this middle one a little bit as well. Do things like flipping it around to get a different look to it. You can make copies of it and take your copies and make them smaller and rotate them around. You could actually go into some of these copies and just adjust the color. I'll make another copy over there. I'm going to double-click it. I'm going to change the color of the wings to a separate color. Let's use a different color in here. Maybe it's more of a purple color for the fill, not the stroke. Purple in there. And let's have one more hold down Command or Control. Doing another one there. Angle that too, downwards that way. And same again. Double-click to select the area that you want. We can give that a different color too. Now that you've got to this stage, don't forget to save your pattern first. Normal as a normal designer document. So we'll call this butter. I'm going to save it somewhere. And then I can go to File. I can go down to Export. And I'm exporting this not as a JPEG. So this is the important part because otherwise the background, we'll just go white. I'm going to export it as a PNG file. That will give me that transparent background in here. Makes sure that the math is set to transparency. Over there in the advanced settings. Click Export. Give it a name. Let's call this butter fly. And save it somewhere. If you want to do a third or a fourth insect or flower, please do as well. Try that out and then come back. And the next thing we'll do is we'll put these together. I'm going to do a second flower, just a simple little flower, which I'll have tried out. 38. Put the Pattern Together: Let's start on the final document. I'm going to go to File and New. And what we're creating here is a menu page that's gonna be printed up. So this is going to be printed using an office printer, so we don't have to worry about it being press ready. Over here. We can just use the standard printing in here. And the difference is, if I choose this 1.5 in there, the color range or the color mode will be RGB. If I went for press radio to be CMYK, I'd like to make this a portrait rather than landscape. We don't need a transparent background for this, so you can switch transparent background off. And I've just gone for an A5 size. Now because there's going to be printed on the office printer, there probably won't be edge to edge printing. So I'm not worrying about a bleed either. Let's click on Create. What I'm going to do is I'm going to make my background picture in here, which is going to be, well, it's going to be the pattern. I'm just going to use my rectangle, draw rectangle in here. I'm going to fill this with a pattern. So I've got, I've got three patterns. I've shown you how to do two of them, and I did a third one, which is just some very simple little flowers. What I'm going to do now is I'm going to fill those. So I'm going to use my fill tool. I'm going up to bitmap and I'm going to find the first one. So the first one that's going to go on the bottom of this pattern option is going to be my red flowers that we looked at first, we saved out as a JPEG. I'm going to pull that in so I can see the flowers like so some reasonably small, they're gonna go around the outside. We're going to get rid of this middle bit. I like the look of that. The next thing is we're going to be bringing in the butterflies or whatever you've created. Now to do this, I want this to be on the same shape. So I'm going to go to my window menu and I'm going to find my appearance panel. Now in the appearance panel at the moment, I've got the fill in there. I'm going to add another fill. With this fill selected. I'm going to be using my fill tool and I'm going to then add in another bitmap. And this is going to be my butterflies. Remember it's got to be a PNG file. The reason for that is you want this transparency. So did you can see the other flowers below it? I'm just going to make those lots smaller. Maybe rotate them a bit so we can see both of them at the same time in the spring, summer type of pattern that we're creating. Of course, if these were the other way round and the puppies were above the fill because they had a white background. You wouldn't see the butterflies below. Let me go and add a third one. Once again, I'm going to go over to my fill tool. I'm going to choose Bitmap again. This is going to be my credit. These little daisy type of flowers. Once again, they've come in really small in there. Let me just make them a bit bigger there. As I've just increased the size of the. Now what has happened over here, you'll see I replaced unintentionally the puppies. Let me use my Command or Control Z to undo that. I happen to have that selected at the time. So it actually just replaced those ones in there. So let me do this again. I'm going to add a new fill, which is the bit that I forgot. Drag it to the top. I've got that new fill selected. And I'm going to go over to my fill tool, choose bitmap, and then bringing my daisies in there. And once again, we can just change the size of those. Like so. If you want to move them below the butterflies, That's absolutely fine. The only one you can't move is the puppies. Lastly, I want to cut out the middle because this is where my menu is going to go. So I'm going to take a little rectangle shape, put in my rectangular shape, in the middle area. Now, my rectangular shape is filled with a pattern. Let's go and give it a, just a solid color for the moment. But I need to make sure that both of these objects are lined up. Don't worry that this is bright green. I'll change it shortly. So you can see that it's not quite in the middle over there. If you drag things around, these guides will just show you where things are. So let me do it with this first one here. I'm going to move it until it shows me. Sorry, let's just move this other one out the way. So I'm going to move this. I will get this other one out the way. I'm going to move this until it shows me that I'm right in the middle, both horizontally and vertically. And then when I drag this one in, once again, I'll make sure that I'm lined up horizontally and vertically. The other way to do it is to select both of those shapes. You can then go up to your alignment options in here and you can choose to align things either horizontally or vertically. Now, I've got that and I've got the other one. If I were to select them both, I could use the Booleans tool to subtract one from the other. So this area here is now transparent. In the middle. Do have a bit of a go with that. Putting together your appearance panel with multiple fills. And remember, if you've saved it with a transparent background, you can then layer up as many of them as you like. If you haven't like our first jpeg one, you can undo one to time really. Well, you can do won't be just won't see them. There is one last little trick that you can use if you've done this by mistake and you've done all of them using a white background. Well, what you can do is if you move to the top, you can change the normal over there, do something like multiply, and that will mix them together, but you will see an overlap of the shapes in there. So we can see the puppies are sort of overlapping those shapes. It's not terribly clean. I'm going to just go back and do it the correct way. But it's another option for you. Try them out. 39. Change Background Color: As you can see, I've just brought in a little bit of text in there, so nothing too exciting about that. But what I wanted to do, because I find this whole area is quite harsh at the moment, is I want to change the background color of the surrounding area. So the way that I'm going to do that is I'm going to click using the Move tool on my background, go into the appearance, and I'm going to add another fill. So this fill over here, I'll just move to the top for the moment. I've added in that field. And in my, with my fill tool with the, with the type, I'm going to choose a solid color. Now, with my solid color, it's white at the moment, I'm going to change that. I'll just do as a yellow for now. So as you can see what it is, then I can start moving that below the various patterns down below that one, down below that one. If I go below the bottom one though, what will happen is that, well, you won't see it because the white of the background on the puppies is going to hide it. So how else can we do this? Well, as I showed you before, you can go to this puppy layer. Click where it says normal and choose a multiply. And that will then show through this layer plus the one underneath. It does mean that the colors in this layer will be slightly influenced by the color underneath it because it's multiplying the two. I use the word layers all the time, but the two different parts shall we say of the Appearance. Now, I'm going to just change on the yellow. I'm gonna change that and I'm going to make it a fairly pale yellow like that. It's looking quite busy if I were to hide the puppies. Actually, I prefer that to be honest. I think I might just go with something like this, but it's entirely up to you. You can change these as you need. Go into them individually and individually. You can actually go in and using your lips. Let's get rid of that for a second. Using your fill tool, you can actually still go and adjust them. So maybe I could make the puppies a little bit bigger. In the background. Really, there's no right or wrong here. Just play with them and see what you get. I think that actually looks better with just a few little puppies around. 40. Save the Pattern: Now I would like to save this background pattern so I can use it later on. So I'm going to go to the Window menu. I'm going down to styles. You might find it's actually already out. And I've got a new category here called Patterns. Now you won't have that one. So you can, if you want to make a new category, just go to the top. And over here, say add new category. I'll call this one patterns. For menus. There we go. I've now got a new one called Patterns for menus. And then to add it in, I select it so it is selected, go to the top and just say add style from selection. And this is now added in. So I can always use that for the rest of this job. Do try that out, put in some exciting text, change the background colors, and just have some fun with your patterns. 41. Introduction to Advanced Color: In this section, we're going to really delve into color. Now we're going to be looking into RGB and CMYK color, but we're also going to go into spot colors. Now, the spot color brand that you've probably heard of is one called pan tone. And there are some Pantone colors in designer. But we'll talk about spot colors in a more general sense. Not only that will also go into something called global color, you can see just how useful global colors are. So let's jump right in. 42. RGB & CMYK - What are the Differences?: Looking at color modes, there are two main color modes. One is CMYK. It's this one on the left hand side here, and the other one is RGB. So what are these color modes all about? Well, RGB stands for red, green, and blue. We've got red, green and blue colors in here. Let's just look at that one for now. I'm going to zoom in and move across to there. So we've got red, green, and blue RGB. All of the colors that you see on your laptop, computer monitor, television, iPad, tablet, smartphone, any device. All the colors that you see are made up of red, green, and blue light. That's the way that devices work. They work with red, green, and blue light. Now, if you don't have any light, I, the device is turned off. It's usually going to be black. So black is the lack of light. If you have a red, green, and blue light, all at 100%, it gives you white. So even when you're looking at e.g. your Word document on your monitor, the document is showing up with white background, white paper because those colors are made up or that color, the white is made up of 100 per cent of red, green, and blue. On the other hand, if we're going to be printing something out, then we actually have to use inks. So this is where cyan, magenta, yellow, and black come in. Cmyk. I know what you're thinking. What's the K4? Well, cyan is the blue, magenta is the pink and yellow CMYK, cyan magenta and yellow. And then you've got black over here as well. Now, the black is often called the key color, and that's where the K comes in. Also, if we use CMY be for black, it might be confusing with B for blue. On an RGB. Cmyk are the four colors that we use for printing. Now, if we don't have any ink, I, we just have blank paper. It's white. But if we take cyan magenta and yellow, forget black for the moment, just cyan magenta and yellow and mix them together. Together. We actually do get an almost black color in there. So why do we need an extra blacking over here along with cyan, magenta and yellow. Well, most printing tends to actually be words, which is black ink on white paper. So it would be a bit silly if we had two every time printing, printing a document which was just black words to use. Cyan magenta and yellow. Cyan magenta and yellow ink to produce black. That's why we have an extra black in there. The other thing is it also gives us the ability to create more rich blacks. So a good, solid looking black color by mixing this black ink with a little bit of cyan, magenta and yellow as well. So what you'll see is that these two color modes are not that far apart. If I just zoom out, there are in fact opposites of each other. You see if you don't have any light, it's black. But if you don't have any ink, it's white. If you mix together red, green, and blue, at 100 per cent, you get white. If you mix together cyan, magenta, and yellow, you get black. Obviously there's the extra ink in there as well. Now another thing that's quite interesting is that if you mix together red and green, you get yellow. If you mix together green and blue, you get cyan. And if you mix together blue and red, you get magenta. Cyan, magenta and yellow are the mixes. And it's exactly the same in here. Mixed together cyan, magenta, you get blue, magenta and yellow, you get red, although you can't see it because the blacks and the way a yellow and magenta, we then give you green. 43. What are Pantones: Now, one of the big differences between CMYK and RGB is the brightness of the colors. You'll notice over here that I've got quite a bright blue with RGB. But when you mix together magenta and cyan, you don't get quite such a bright blue. You'll find that RGB colors tend to be a lot more vivid than CMYK. Now, this can be a problem because if you've designed something using the RGB color mode and you send it off to the printers, you might find it comes back and it looks duller than you're expecting. And that's because with CMYK, you cannot make those bright colors out of ink. It's just not possible using those three colors plus black. If we go into the swatches and down to my colors in here, you'll find that we have got pen tones as our spot colors, spot colors on extra ink that we can use when we're printing. So I'm just going to go down and choose one of these spot colors over here so I can just click on coated in there. And these colors on extra ink that we can use, I've just picked one of them is sort of yellow. So when we're printing, we can tell the printers we want to print with CMYK, but our logo is in a specific Pantone color. And we could choose the Pantone color and the printers will then mix up that particular Pantone color. These are often just known generically as Pantone colors. And tone is a brand and the correct word to call them spot colors, because there are other manufacturers who also make spot colors as well. Now, once again, I'm going to go in there, go down into the pan tone range in here. And you can see there's a whole lot of different Pantone books that we have. Don't go wild when you're using Pantone colors, because when it goes to print, every color that you choose in here has a color that's used in your document, will have to be mixed up by the printers and it's going to cost you a lot of money for printing, so it will really increase your printing costs. So only use them if you have too. What other uses are there for Pantone colors? Well, it really is to do with making sure the color looks exactly as it should within your brand guidelines. If a designer has put together your brand guidelines, they'll very often specify a particular pen tone for the logo. And this is so that when they print the logo out, they can be sure that that logo looks exactly the correct color, whether it's printed on cardboard or paper or anything else, it will always be that a specified color. So by using a pen tone on a logo, you will always get that logo exactly as it was specified. If you print the logo with CMYK, it might or it might not be exactly as it should have been when it was originally designed. What about if I'm creating something for the web? Can I use a pan tone for that? Well, yes, you could. No reason why not? Because it's not going to be printed out. And there won't be any extra costs for that. So you can use pen turns. The document, the final document will be saved out as an RGB file anyway. So this pen tones will be converted into red, green, and blue light. 44. What are Global Colors and How to Use Them: Let's have a look at the way color can be changed and document. What I'm going to do is I'm going to make a new panel in here in the swatches. I'm just going to go up to the top. I'm going to go and add a document palette. If you add an application palette than it's for, it's for every single document that you open. It, it's pulled the application. If you had a document palette, It's only for the document that you're actually working in. So I'm going to add a new document palette. And I'm going to once again call this Test color. You can call it anything you like. Now in my test color area, I'm going to put a color in. So I've got a blue over here, and I'm just going to add it in using that little button in there. So if I were to use this in a bit of artwork and let's say e.g. I. Had that arrow over there. And maybe I had a little rectangle over here. And let's get a different shape over here as well, like a crescent. So I've used that blue for those three items. If I go back to the original blue and double-click it and change the color. I'm going to make it more of a purple and close that. Nothing happens to those items. If we were to click on one of them and then choose the purple, I could change it that way. So if you want to change colors or update them, e.g. you're doing a multi-page ambrosia and you've used a certain color throughout. And then a client comes along, says, Well, could you change that color wherever you've used it in my document? Well, what we can do instead is we can use what is called a global color. I'm going to click at the top. I'm going to add a global color. And I'm going to make up my color, which is going to be deep, ultra violet, blue. I'll add that in. Now. Let me go and make some shapes using that color. So I'll just get a few shapes going in here and a little circle, and maybe a square over there. So I haven't got any of them selected. What would happen if I double-clicked or if I applied is applied first, the global color to them. And then I de-selected and then I double-clicked on the global color and change the global color. You can see immediately the updates directly onto my document. You don't have to have anything selected. Wherever that color has been used. A global color will automatically update your color. So just bear that in mind. If you need to use a color and updated at any point, this is probably the best way to go about it. Let's have a look at this in practice. The texts that I've got in this document, all the black text is all a global color. You can see there's a global color up there. So if I need to make any changes, I can just double-click on the global color and then change it and actually live. See exactly what I'm getting throughout my whole document. I can test for different colors in here and have a look and see what it would look like with the blues, rather than having to select them individually. Let's see if white works in their various shade of gray. I'm going to go with a sort of a darkish bluey gray in there. But knowing that it's very easy for me to change it at any point later on. 45. Registration Color - What Is It: We've got another option up the top under global color called registration color. I'll click on that. And you can see it's adding a little color in my new panel over here. So if I were to select an area and use registration color, it will appear to fill it with black. But you really shouldn't be using registration color within a document and never, ever using it within a printed document. What is registration? Registration is used for printers marks. So over here we've got these little crosshairs in here. These little marks around the outside help the printer to line up the CMYK plates. And they need to be printed or appear on some magenta yellow and the black plate. So they couldn't just do them in black because it would only appear on the black plate. So registration marks means that it will work at 100% on a cyan, magenta and yellow. So the idea is that you only use them for printers marks. If you use them on something for screen, use the web to go to powerpoint wherever. It wouldn't actually make any difference if you used it in a printing scenario, e.g. if I had a big black area like that and I'd used registration black for that. That would print with 100 per cent of cyan, magenta, yellow and black ink. And they'd be far too much ink on the page and can cause all sorts of issues. So registration should only be used for printers. Registration marks. 46. Using Color Chords to Help the Design: I'm going to bring in a picture onto this page. So I'm going to go in to my Add Picture button and I'm going to find the image. I've got this black and white picture that I want to use. I'm just going to click and drag to bring it in. I, so now all I want to do is have part of that picture. So I'm going to go down past, just past the Place Image Tool to the vector crop tool. And I can then just crop that down to the size that I wanted. I think I'm going to take something like that. I'm going to just move to the right position. I think that's that's pretty much what I'm after in there. Now for this little project, or it's not really a project for this little example. I then want to actually have some color in here as well. Now, if I've got a specific color in mind, it could be my brand color. It could be the color that the clients told me or just a color that I like. And in this case, it's this orangey yellow color. I'm thinking that would be great. So I can then just bring that in as little square there. I'm just doing this as square so we can see what colors would work. Now, I also then want another color to go with this. So if I'm going to pull my Color panel out, if I go to the top right-hand corner here, I can go to add a color cord. So color codes are colors which worked together very well, scientifically figured out based on the color wheel. And the first one over here is the complimentary colors. The complimentary color is the color which is exactly opposite this color on the color spectrum. And if I go to complimentary, you'll see it's popped in those two colors over there. So it's going from there up to there, give me the same shade. And then I can maybe just draw another little shape down. Let's try that. Again. Draw another little shape down here with my new color. And you can see how well those two colors work like that. There are so many different options in your color codes in here, and you can try them all out. If you're not sure what all of these do and I'm not going to go through them all with you. You can go to the help. And if we go just got to help in here, Affinity Designer. And you'll find that if you go to the color area in here, let's choose color. And I'll go down to color codes in here to show you exactly what they do. These are all alphabetical, so you can go and see which ones do what. But the ones I'm interested actually are the ones near the bottom. So let's say once again, I've got a color like this over here. And I want to get shades of that color or tensor that color. It's so easy to do with this. I can go to add color code and I could say, give me all the tints of that color and it's going through from white through to that color in there. Or let's e.g. take the blue and the same again in here, add color code. I could see the shades, that color, which is from Black through to that color. So tense is going from white to the color. Shades is going from black through to that color there as well. Let's do one more over here. And that's going to be tones. And you can see that goes from gray through to that color. So tern go from gray through to your color. And you've got shades and tints which go from either black or white through to your color in there. Really useful to be able to just pick lighter and darker versions of your color very quickly. And of course, using the chords, these ones here to help you choose colors that work together really well. 47. Introduction to Project: A Simple Business Card: I've got a really quick and simple project for you now. We're going to just take a whole lot of colors to make up a little business card. Of course, if you don't like business cards, you could do it as a social media post or a postal, anything you like. Not gonna take long. Let's get going. 48. Set up a Business Card and Choose Color Mode: Let's create a little business card for this project. So I'm going to go to File and New. Now, there are two ways we can do it. We can do it either using print in here and choose the business card. That way. We can go to press ready and use the business card in there. Now, obviously, if I want to do this printing as commercial printing, I would use the press ready option in here because that gives me CMYK. You can see if I go to this one here, this gives me RGB. The great thing about using CMYK in here is that the colors are all than CMYK compliant. And it doesn't matter where you choose them from. You can't get them wrong. Let me go over to the top and get this set up correctly with landscape. And in here, in my layout, I've got the correct size. Now, if you're doing a business card, you might obviously have to talk to the printers because it could be a slightly different size, but you can change it in here. In color. We've got the CMYK option. And then the color profile will once again, depending on where in the world you are and what profile of printer would like you to use. Moving across, we've got margins in there. Do I want a margin? Well, maybe I might help with my design drawn to bleed. Absolutely, because this has going for commercial printing and scaling over here. We're just going to keep that switched off. What I'm going to do is click Create, and here is my business card. But let's have a look at the differences between the colors. You can see I've got all my colors on the right-hand side here. And I'm going to do another business card, but this time I'm going to use the standard print option, which is same as RGB CMYK. Click on that. As I flick between these documents, look at how the colors appear to be the same in here, but they are in fact changing ever so slightly. So e.g. this is my CMYK one. If I were to make a color and I went and chose a green. So this is 123456 squares in, that's the color for it. If I go over here and choose exactly the same one. So once again, I'll make that shape in there and it's going to be 123456. Look at the difference in color. That is CMYK compliant, that is RGB. So although they might look similar in here, the colors are not as bright. You'll find that with the blues, the greens, etc. And in fact, if you go to one of these colors, you can double-click on this little icon and you can go into the color chooser. Now, in here, if I want to see my k, I can change the colors in the color slider. But if I happen to go over to RGB and once again started playing with those colors. These colors are still CMYK compliant. Even though I'm choosing them with the RGB sliders, you can see this is 40 cyan, 100% yellow for the color. And any of these options over here, if I went to hue saturation and luminance are still CMYK compliant. But went into the RGB of the double-click, and now we go into the RGB, bright colors in there. So just be aware that setting up the initial document does make a difference to the colors that you're using. So what are we going to do with this? Well, what we're gonna do is we're going to create a little interesting color spectrum. And this business is all about a color lab which does printing. They want to show a color spectrum on their business card. So what I'm gonna do is I'm going to start off by making a little ellipse. And I would like to take the ellipse and I'd like to make the corners sharper. So I'll go over to my node tool. And you can see with my node tool, I can select those individual corners. It selects the whole thing. We have to convert this to curves first. Then I can select the corner points or nodes and I can make them corners like that. Select that note, it's not a corner yet. It's still a curve and I'll click over there to make it into a corner point. So just be aware that you have to sometimes convert things into shapes first before you can actually start to edit them. I'm going to stop over there. So if you'd like to make little shape like this, come back and then we're going to spin this around its center. The correct number of times. 49. Create Spectrum and pdf: Now I would like to spin this around. And then I want to color each of these petals in a different color. If we look at the number of colors over here, they're actually 18 all the way across and I want to use the first 16 of those colors. So I'm going to go from red through to pink. I don't want to use the last two because they're very, very similar to the starting red in there. So I want to have 16 of these little petals around there. If we take the number of colors or the number of petals that we want and divide them by 360, that will give us the degree that we need to move these. And if you take 360/16, that will give you 22.5. So 22.5 degrees. You can change that to a different number should you wish. So what I'm going to do is I'm going to go up to this little button here and make sure that I select that this has enabled transform origin. And what that does is allows me to move the origin point anyway, you can see it's a little circle over there with a plus in the middle. It normally comes up in the middle. You can place that wherever you want, but I want to place it right at the bottom of my petal shapes That's right down over there. Then I'm going to use power duplicates. So with this selected, I'm going to use Command or Control and J. And that duplicates the shape. You can see I've got two shapes over there, one on top of the other. Then I can go to the top shape. I haven't de-selected. I've just left it exactly as it is. I'm going to click and I'm going to drag this around and you can see the degrees right at the top. And I'm going to drag it until I get to 22.5 degrees. Now. It says -22.5, that's absolutely fine. If you go counterclockwise, it would say 22.5. It doesn't matter which way you go as long as that's 22.5 degrees. And then straight away without even deselected, I'm going to use Command or Control and J. And that will just make my copies all the way around, like so. So they're all evenly spaced. Now it's long and laborious process of going through each of these little shapes and just giving them the next color in here. So number of times I've, I've missed out on colors or hit the wrong ones in here. But I think if you watch these, you'll see that you on the right color, you haven't chosen the same color twice. I think that's right. So this one, note, next one. It's quite nice, bright of spectrum of colors that we've got here. Especially the blues tend to be a little bit darker than some of the others. But we're nearly there. Purple, Sydney pink, and another pink or Cyan. Right? So now that I've got those colors, I'm just going to select them all. That's the shape that I want. But it is a little bit dull because they're just going around the outside. So I'd like to see some of the overlapping colors. So to do that, I'm going to go along and I'm going to change in the color area, the opacity of those. And by doing that, I'll see some of the colors without overlapping each other. It just gives a lovely little sort of look to the whole thing. Not want to be able to move that around. So I'm going to select it. I'm going to group it using the Layer menu and choose Group over there. So now I can always click and drag to move it around where I wanted. And I'm going to actually scale it up a little bit as well. So we're going to have this rather large color down here. I'd like a background on this. So of course, I'm going to go and get my shape put in my shape in there that you can see my shape is semi-transparent. It's just remembered the last color in there and I want that to be solid. And I'm also going to go to the Layer menu down to arrange. And I'm going to say move that shape to the back and it will move it underneath that object there. You can, of course do that manually in here as well. I don't want such a bright color. I'm just looking for maybe a slight off-white in there which will help bring out those yellows and greens. I'm nearly there. Let's get some text in over here. So I just want the name of the company in there. I'll leave this blank so that the person can fill out their own details or we could put in the details once we know who the company people are going to be. So I'm going to go down here in the tools, I'm going to use the Artistic Text tool. I'm going to click and drag size that I want. And let's have spectrum. Just make that a little bit smaller. Like so. And I will just now select that. And then I'm going to go up and change the font or the typeface to something a little bit more bold. Now, do be careful when you're doing this because remember what you're seeing here is the bleed. This bit will be chopped off. In fact, even at this bottom section. Over here, we'll get chopped off. So don't go and put your text right up against it, or it will be right to the edge of your document. So give it a bit of room. And I'll just pull it in a little bit like that. You'll probably find if you put it too close, the printers will come back and say, you know what, your texts might just get chopped off in there. So we want to save this out now to send to the printers. So we're going to go to file. First of all, I'm going to do a Save. As I'm saving this, I'll call it spectrum. I'm saving it somewhere that I can find it. This is my editable version. Then I'm going to go to file. And I want to save this as a PDF and a print ready PDF. At that, I'm going to choose Export. In the top. I'm going to go down and find PDF. And there's a few options that I want to make sure are switched on in here. So moving down a little bit, I'm going to go in and I'm going to make sure that I include the printers marks in there and then I include the bleed in there as well. So we get the bleed and the printers marks and you can see the bleed. That's what the bit that gets cut off in there. Right? I'm going to click on Export and just save it somewhere. This would be spectrum for print. Click on save. And let's have a little look at that now. So that's been done. This is my PDF. It's opening up within Acrobat and there it is already to be sent to the printers. Have bit of a go with that, use some colors, go wild. 50. Introduction to Advanced Color: So what we're gonna do is we're going to look at layers. In this section. We're going to take your knowledge on to the next level. Because we're not just going to look at layers, we're going to look at sublayers. And then we're going to go into masking, having a look at Layer Masking and clipping masks and what the differences between them. So let's get going. 51. Grouping & Layers: Let's have a look at some more advanced layer options. I've got a blank document up here. And if we open the layers, if you can't find them, go to the Window menu. You'll find that there is nothing in there at all. And when we start drawing shapes, these shapes come in into the Layers panel. But this is where it gets a bit weird. These are not layers. These are shapes. So what is a layer? A layer is when you click this little button over here, and it makes a layer. The layers are there to contain your shapes. So you can think of them like folders rarely. So I could take these shapes here and I can drop them inside that layer. You'll see when I'm dropping them, it goes blue. I can do that. And then I can open this leg up and close it. And those shapes are in the layer. So how is that any different from grouping? Well, let's have a look at grouping. So you'll see it's gonna be very, very similar if I just delete all of those and get rid of that layer in there. If I make some shapes over there, and I select my shapes in here, and I group them together. Now the shortcut for grouping, it's easier than finding it in the menu is to use if you're on a Mac Command and G, if you're on a PC, it's control and G, and that will just group them together. Now that looks exactly the same. If I click in there, we've got a group of those shapes which are altogether. So how are these things different? Well, if I make a group of shapes like this, and then I go and add another shape. That shape won't automatically go into that group. I could drag it in if I wanted to. But every time I make a new shape, It's not part of that group in there unless I've actually clicked in the group itself. Let's just undo that. If I'm actually on the group there and then make a new shape, what you see it comes in above that shape. So if you're on a group and you've actually chosen one of those shapes in there. And you click and you make a new shape, it will come in inside the group. But if you've clicked on the group itself or you've clicked off of the group. When you create your new shape, it will be outside that group. Okay, So how's that different from the layers? Well, if I go along to my layers and I'm going to make a new layer before I start clicking over there. There's my new layer. I'll now get my shapes. And every time I start to draw, you can see my new shapes appear inside that layer. If I close this up and there's my layer, it will still go inside that layer in there. So what would happen if I click off of that? Now when I draw, it still comes into that layer over them. So layers automatically put the objects inside them. And we can have a number of different layers. So I can have another layer here. And I'm just going to use different colors this time. So we've got slightly different color to use. And you can see because I've got that layer selected, all my objects go inside that layer. I can take my whole layer and I can drag it underneath the other layer or above the other layer as well. In fact, you can even take a layer and drag it inside another land that makes a child layer. So I've got a child air inside the parent layer. I'd like to take you through to one of my own pieces of artwork and just show you how I use this in practice. Because these grouping and layers do very, very similar things. I like to actually keep things as neat as possible. So let's go over to this image over here. So when I created this, i've, I've drawn it using the drawing tools in here. You can see I've got various parts in there. There is my background, which is the circle at the back there. There's the legs over there. The skin which has these skin tones around there. The hair, the head itself, the top, and the shoes. Now you'll see all of these things I've got here are all layers and they're all contained in a layer called a jumper. I've got a layer called jumper and a background layer there. Inside the layer jumper, I've got these as a separate child layers. Then what about inside there? Because over here the skin is actually made up of two slightly different shades. So there's actually two different shapes in there. Well, if I open up the head, you'll see that there's a group, which are those two shapes in there. So I've got a group inside the head. I like to name my layers as I go along and groups, I just keep as groups. So to name a layer, all you do is you double-click on the name itself and you can just change the name. Just call this hair flow. Like so. Now, if I go inside one of these layers, you can see I've got a group. In then, in that group, I've got, well, quite a few different shapes. So I can go into a group and I can change the stacking order of items inside a group because this hair should be below the head details. There's the little details in there. It was above them like that. So you can move your stacking order around. Inside groups. Seem to just delete that. Let's try that again. Dragging it and dropping it either above or below the items you want to put it in front of or underneath. Remember this, next time you're creating some artwork. And just take your time and slowly work through a named groups. As you go. 52. Clipping & Masking: Let's have a look at clipping and masking. What I'm going to do is I'm going to take a, another little shape over here, a little circle, and I'm going to give it a different color. I'll make this blue and draw a circle on top. So I've got two objects here. We're not talking layers at the moment, we just purely talking objects. If I drag this layer down, you can see the line the highlight appears. I can drag and drop it there. I can drop into there. I can drop it there, or I can drop it there. So what do all these different places do? Because they all do slightly different things. So first of all, if I just go over here, well, basically it won't move. It's just dropping it exactly where it is. If I take it down underneath, then I can drop it underneath that layer. Let's just get that back again. If I take this shape and I drop it on this layer over here, what happens is it ends up clipping this and giving me a flipped version with the color on the inside. So it's using the red box, the red square, to mask this little elliptical shape. I can still go to the elliptical shape and I could e.g. over here, just put an effect on it or I could do anything I wanted with that shape. If I want to take it out, I can just drag it up to the top and drop it there. Let me get rid of this. And I'll just do a new fresh shape over here. So what about the other version? If I drag this and drop it not on the object itself there, but on the actual icon. Then what it will do is it will clip it so that it's clipped the other way round. So over here we've got both of those shapes now clipped. So we're just seeing the red coming through. This is a mask that we're creating over here. Let me put it out there. So the top object is going to mask and we're just going to see the bits that we want on the object. Underneath. You can see this is how the mask looks. It's just purely in black and white in there. Once again, I'll pull it out. Was if I drop it over here, then it's clipping it. And it's clipping the top objects so we can see it with the underneath object. Let's have a look at how I could actually put this into practice over here. So I'll just show you very quickly. If I went along to this background shape and maybe I wanted a colored stripes through that circle in the background. I'm going to make sure I'm on the background layer and I have unlocked it, so it's not locked in there. I'm going to make my shape. I'll just draw a little rectangle like that. And I think I will rotate it round a little bit. And then I'm going to add a bit of an effect onto that. Let's see if we can get a slightly different effect. Yeah, that'll do. Then. If I were to drag this down, if I dragged it onto the underneath object, the circle, you will see it like she clip it to that circle shape. I'm going to undo that. Was if I dragged it, Let's just get rid of that. If I dragged it onto the little circular icon. Now it will clip the circular icon, mask that out. So two slightly different ways of working. This one here is just masking and you don't get any of the internal details. The other one, when we drop it onto here, keeps the details of the object you're using to do the clipping with. And I can still affected and put anything that I like in there. Try that out on just some shapes like this, use to simple shapes and have a go dropping it onto the icon or onto the layers that you can see the difference between them when you do it, use two different colors. So it's obvious what you're doing. 53. Clip & Mask Multiple Objects: Let's have a look what happens if we use multiple objects. So I've got two objects here, the blue and the green on top of the red rectangle. If I drag the green shape onto the rectangle itself, not on the icon, but on the entire object. It will clip it to that object. If I drag the blue one onto the rectangle, it will clip that to the object. So we can use this to get multiple shapes to clip inside other objects. If I go across to my example here, this means that I could take three little shapes like that, and I can just drag them onto the ellipse to clip them all to the shape of the lips without having to worried about getting those edges absolutely spot on. Now, what about if we tried with this, with masking? Well, if you mask it, and I take the blue shape first of all and drag it onto the little icon. You'll see it masks the shape. Now, if I drag the green one onto the eye icon, everything will just disappear. Because you've got two masks over there and well, it just doesn't work that way. However, if they were overlapped, e.g. the blue one was overlapping, the green one here. And I then did the masking things so I could drag it onto the little icon with one and onto the little icon with the second one, it would keep that overlapping area there. And I can still then go into the mask and move the mask around on both of those shapes. Also very, very useful to be able to have multiple masks. So you can use multiple objects for clipping and multiple objects for masking as well. Try this out. Once again, just use simple shapes to start off with squares and circles. It just helps you to understand exactly how they work. 54. Adjusting Layers In or On Mask: Now I've got a few different shapes in here. You can see they're all just different rectangles. And I'm going to put a shape over the top of them. I'm just choosing this little cog shape over here. Oops, that didn't quite work out is I wanted Let's try it again. Cogs shape in there. And I'm going to move it below everything else. Now, you don't have to do this, you can just drag things above as well as below. Now that I've got that, I want to move all of these shapes. So all the colors are masked inside that area, are clipped to that area down the bottom. So I'm going to select one, shift, select the last shape. And we could do them all at the same time. So I can now just pick up one of them, drag them, drop them onto the object itself, not the little icon, but onto the object itself. And it will clip all those colors to that shape. As you can see. Of course now, I can always go back in and adjust any of them individually. But what about if I wanted to use an adjustment layer now on top of that, so I can go along, click on the cog, go down the adjustment layers over here. And I could pick any of these adjustment layers. And let's try this brightness and contrast. One. And you can see if I've brighten it up, it will affect every single layer in there. So at the moment, brightness and contrast is affecting all of these layers below itself. If this was outside of the COG, same again, it would be affecting every single object below itself. But the difference is that if I had another shape in here and this shape was underneath everything else, the brightness and contrast would be affecting. Not just, let's just make sure it's not in that shape. Not just the COG, but this objects as well. So if I put the brightness and contrast inside the cog, now it's only going to affect the colors on the cog, not the background in here. What about if I want to only affect one of these colors? And you can see as I'm dragging it down, it means that it's not affecting the various colors that are above itself. But I only want it to affect this color over here, that one there. Well, if I drag it onto that shape, now, it's only going to affect this yellow color there if I just hide that, you can see that's the only one that it's affecting. Just hide the background for the moment. So it's only affecting that one object. If I drag it out, it will affect everything inside that object. So be very careful where you drop things if you're dropping them below or if you're dropping them onto an object, it does make a big difference. In designer. Try that out on a simple shape like this. 55. Blend Modes: Let's have a look at the blend modes now, we briefly touched on them in the previous parts of the course. But what I'm going to do is use my selection tool, the arrow at the top, to click on this little shape. I've got this shape above the picture. I'm going to go up to the blends over here. And this will allow me to blend the shape with whatever is below it. I've used the photos that you can see exactly what it's doing. But let me take you through some of these settings in here. We're not going to go through each and every one, so don't worry about it. I just want to show you roughly the groups and what the groups do. This first group that we have over here is all about darkening the picture down. My favorite is multiply. So what it does is it keeps the darker pixels and gets rid of the lighter pixels when you mix those two objects together. Now the next slot over here does exactly the opposite. It's all about lightning the picture. So if I go to screen once again another my favorites, it will bring everything up light and get rid of the darker parts. You can see the darkest part of that image is the orange from the top shape. These ones here are about contrast over here. So you can just experiment, There's no right or wrong. You just choose the one that you think would look really cool for what you're doing. Then we've got some other ones here which have got some really strange uses. E.g. difference, difference looks at the layer at the bottom. And it depends on whether it's positive or negative, how dark or light it will make it positive or negative. You can see the lifeboats have gone blue and dark bits have got Oregon orange. So they are kind of opposites on the color spectrum, or negative or negative. Down here we've got two color options. So I can go along to things like color and colorize the image. And then we've got a few more down here. This negation average, just different ways of overlapping the picture. And we go all the way down to contrast negate at the bottom. That's quite a nice effect actually, where it's all very post-translation. Now, that's doing it on the top object there. If I flipped them around, the effect would be very much the same. Going down here you can see we're getting exactly the same options in there, except the colors. When we get down to color, you'll see the color is, it's trying to use the top color to shade at the black and white. But it's not, it's not giving you colors using the color from the background, which is black and white. So if that doesn't make sense, try it yourself. But if it doesn't work, flip it the other way round. So it's the top object, which will then be bringing through the color to the bottom object rather than the other way round, you'll see color will now work in there. Try that out on a photo. I've used a black and white picture because it shows up really well. But the same thing will work on a color image at this as well. 56. Blend With Gradient: I brought in this image and the first thing I want to do is to crop it down. Now, if you go to a corner and you click and drag, it's just resizing that image for you. It's not cropping it. To crop it, you need to use this little vector crop tool. And I can now just crop that down to the part that I want. Once I've got it to the size I wanted, once again, I can go back to my move tool and I can click and drag to scale it up. Like so. With this particular image, what I would like to do now is to put an overlay or a blend color on it. But unlike the last one, this time I'm actually going to use a gradient. Now, if you don't have a gradient to use, you can make your own by going along and using this little tool over here. This is the gradient fill tool. And you can click on one side. Choose the color you want. Click on the other side and choose the color that you want from that side. Got more of a blue in there. Then exactly the same. Have a look at what happens with the gradient on those colors. Now the one I want to mention is quite an interesting one because you'll see the effect all over the place and it's called add in here. Now, this is used a lot in illustrations to add warmth to an image. To a cartoon, e.g. it gives a really lovely orange glow. If you put an orange on one of your sides, you can get this lovely glow to the colors. So I'm just going to go over here from orange to orange to a lighter orange in there. As I said, use it on cartoons, comics, that type of thing. But you can still do some really wild effects on a normal photo like that. Try that out with a bit of a gradient on there and don't forget with your gradients, you can change it to anything that you like. I'll use an elliptical gradient over here. So let's just go and pull that in and move it across. Like so. Try it out. 57. Blend Options: Now this is a more advanced way of blending layers or objects together. I've got a gradient over here to show you on that photo. You can try it with a solid color, but you won't see the effect. I'm going to go next to the blend options or the blend modes to this little cog and click on there, and that brings me the Blend Options up. Now, on the left-hand side, we've got the source layer ranges. And you've got a little dot on that side then a dot on that side there. So if I were to pull this side down, remember I'm affecting the gradient object. If I pull this side down now, what it's doing is it's making the darks more transparent right the way through until the blacks are totally transparent, going into the whites in there. And you've probably guessed it. If I do the other side, it's going to make the whites more transparent. You can also make the middle tones more transparent as well by pulling them in. The whites are going to be solid, the blacks are going to be solid, but the middle tones will be more transparent. And although this is a sharp edge, you can switch off linear. And that gives you a little curves. You can actually do it with a curved so it's not quite such a quick fall off. You can put as many of these points in as you like and you can go really wild with this to get different effects from your image. If you make a mess like I've done, just click the reset button in there, try it out. 58. Introduction to Project: Paper Rocket: Now, you know that I love projects and this is one of my favorite projects. This is a paper effect. Then you've probably seen this effect. Well, all of the Internet. And people like to do this, especially with something like fish or balloons and clouds. We're going to do it with a rocket and some stars. So let's just get going. 59. Creating the Basic Paper Shape: Let's start the paper rocket project. Firstly, I'm going to do is I'm going to make a new document. And what you choose in here will depend on where this is going to go. Now, mine is going to be used for print. It's because also can be used for web. So I'm going to go with the print option over here. I'm just going to choose an A4 size. I think that's all that I need. I'm going with RGB and I'm going to click on Create. So now that I've got my page up, the first thing I'm going to do is I'm going to start creating the shape for the background, for the sky. So I'm going to use the pencil and I want this to be quite a nice smooth shape. So obviously I'm going to go to my stabilizer and do a reasonable stabilization for this. I'm going to start over here and I'm just going to draw a funny little shape in here. There's no right or wrong to this. You just do what ever you like with it. Now, if you let go like that, you can automatically go back, click on your last point and continue. If you find that that doesn't actually work. It's because of a little setting at the top you can see mine is still made two shapes in there. Let's undo that. If I switch on sculpt and now do the same thing when I click and drag. Go round there, over here, and by mistake, I let go back to that last point. And I can then continue on with my shape in there. So just be aware of that. If you've got sculpt switch on, switched on, you can keep going backwards. Now I'm going to move around some of these nodes. So I'm just going to pull these ones out a little bit over there. You could do whatever you like, just keep the shape reasonably simple. Don't go too wild with it. So once I've got the shape there, I'm going to put in a fill color. Just said there is something in there so I can see it quite easily. Anyway. Have a go, get your basic shape up and running like that. 60. Creating the Depth with Blur: Now I've got my first shape in there. What I want to do is I want to separate things using layers. So the first thing I'll do is I'm going to add a layer down the bottom here. I'm going to add a normal vector layer. I'm going to double-click this and I'm going to give it a name. So I'm going to call this sky paper. And the curve is now going to go into that layer. So if I'm on this layer now, anything that I create will come into that layer there. I can see that the two of these things don't actually meet up properly. Just going to use my node tool to pull that onto that one there. So they do link up and I get it reasonable curve on that. So I'd want to start off without a fill, but with a nice thick stroke. So we'll go to the stroke over here and we're going to increase the stroke size quite a lot. Like so. You can see I've kind of got a little funny curve going on there doesn't look so good when we increase the stroke. So at this stage, you might want to go along with your Node tool and just pull this around, change the handles and straightened up. So it actually does look quite good. When it's thick in there. It's just pull that one out a little bit like that. That's looking like quite a nice curve at the moment. So there's my first curve that I've created. And once again, the color doesn't matter. We can always change it later on. But I'm going to make a copy of that curve. Now. I'm going to use my Control J or Command J to copy its. I've got a second version in here. And this version is going to be slightly bigger. So if you made it too big, you might want to scale them down so you can just take them like that and scale the whole thing down because we're going to go from smaller to larger. I'm going to take my top copy. I'm going to expand it out a little bit. Now, when I'm dragging it out, like this, if you hold down the command or the Control button, you'll actually be able to pull it from the center out if you don't, it moves from the opposite side like that. So Command and drag out. And if you hold down Shift at the same time, you will see that you can get it symmetric or proportionate as well. Let's change the color on this copy over here to just once again, a totally different color. So I can see what I'm doing. When I'm pulling it out. I'm going to go with something like that. These don't all have to be exactly the same distance apart. It actually looks better if you've got some closer together in some further. Let's do another one. Command or Control. J will change the color of that so we can see it. And I'm gonna make that one bigger as well. I'm gonna go with something along that line. You can do as many of these as you want. I'm going to keep it nice and simple and just go with three. Now, the shapes that I've got in here are just stacked one above the other. And what I'd like to do is I'd like to now have a bit of a shadow underneath these shapes so that I can actually see that one is on top of the other and they have that paper feel to them. The thing is, if you go and you try and use some of the effects that we have in here. They really don't look that great. The outer shadows just don't work quite as well as we want. So what I'm going to do is I'm going to create a shadow by making a copy of the layer and blurring it. And that way I'll have full control over my shadow area. So let me start off with the top object over here. Now, if I were to make a copy of that, and I'm going to use my Command or Control and J to make a copy. I'm just going to hide the top one and go to the bottom one and make it black. And then go to my Effects and go along and find my blur. Now, this goes in blue there. And I can just increase the blur amount a bit like so. Click on Close. Now you see this one that I've hidden is on top of it. And there you can see we've got this blur coming in underneath. Now, don't worry about the bit that's around the outside. We're going to fix that later with a mask. So this is my first one. Let me go back to this one here. Once again, I need a copy of that so I will duplicate it. Control or Command J. The top one, I'm going to leave as is, I'm going to go to the underneath one, making that black. And then do the same thing again, go to my Effects and Use Gaussian Blur and just blur it out a bit. The problem is that the Gaussian blur at the moment is I can't see what I'm doing because the bottom one is black. So let's go to the very bottom one over here and change it to a different color. I'll go back to this effect here and increase the blur. Like so. Let's close that. And then the last one exactly the same onto this one here. Make a copy of that controller Command J. Go to the bottom one. Make it black and blurred as well. You'll find as you start working with designer, there are a number of different ways of achieving what I'm showing you here. But this is just one way of getting this effect. I'm going to click on Close. So I've got double layers of all of these in here. The great thing about them is I can go to any of them and I can actually just click on the underneath layer and move it around. So if I want more of a hard edge shadow in there, I can do that. And I can also adjust the opacity of that object to lighten up that shadow if I think it would look better. Let's go to this 1 s from the top. And I'm going to move it across a little bit. I get slightly more shadow. You can use the arrows on your keyboard to move things around as well. And maybe just adjust the opacity on that. It's ever so slightly. I'll do this one in the middle. I think I'll move that with the arrow keys on the keyboard. Here we go. We've got some nice shadows going on under there. Have a go with that and make these shapes and get some shadows going on. And then we'll start looking at coloring. And then the rocket after that. 61. Color with Gradients: If you want to increase the number of steps in here, it's very easy, you just make copies and that's what I'm going to do. I'm going to go to the very bottom one over here. Not the blurry one, but the bottom. The bottom is shape, but not, not a shadow. I'm going to make a copy of that controller Command J. I'm going to move that right underneath everything to the very bottom of this layer. So we're in the layer, remember? So I'm moving into the bottom of that layer and I'm going to then scale this one down as well. So that's going to be a little bit smaller, like so. Now. Lastly, I want a background sky that's going to be black in there. And I could, and this is the quick way to do it. Just make a copy of the bottom one. So I'll copy that. By that I mean Command or Control J. Go to the very bottom one and then just add a filter that I've now got my various stages and I'm going to just color them up quickly. Let's start off over here with the 1 s from the bottom over there, which is this one here. And I think I'd like to do some night sky purples. So I'm going to start off oh, that's the wrong one. Let me make sure I'm on Fill and Stroke, not fill. And I'm going to go and I'm going to get a nice purple color in there. The next one up. Once again, I'm making sure that I'm not on the shadows. It's gonna be more of a bluey purple. And then let's go with the next one. I think we will have more of a blue and bright blue. And this one over here is going to be maybe a darker blue. And I will just use my color to darken that down a bit like so. What actually looks quite cool with these is if you use a gradient, just a very subtle gradient on there. So I'm on the stroke. I go to the fill tool. And with the fill tool, I click and drag. You can see what it's done is it's jumped into the fill, not the stroke itself. So how can we put a fill which is a gradient onto the stroke? One of the ways we can do it is by going along to the layer and just converting that stroke into an object, a filled object, and we use Expand Stroke to do that. You can see this top one is no longer a stroke. It's got a stroke on either side of it, but it's filled with that blue. So now if I use my fill tool over here, I can just click and drag across like that. Or let's go the other way, I think so let's be a bit lighter at the top. I'm going to do that on the others as well. So I'm going to select the next one down over there, use Expand Stroke. And then drag on that one. It would do the shadow a little bit slightly differently. Next one up. Actually next one down. Once again, same thing. We'll just have a bit of a Expand Stroke and a gradient on that one. And the last one, exactly the same in here. Layer. Expand Stroke near the bottom, and then use your gradient tool to click and drag to get the shadow that you want. What's quite cool as well is rather than just using a single color in there, you can go between colors. So I can start off with maybe a brighter purply pink and then go into more of a darker purple up here. And maybe I'll do that with one of the blue ones as well. Maybe this blue one. I'll go over here with, maybe towards a turquoise color. And then the other side is a nice dark blue. Anyway, there's no right or wrong. Do watch out though. Sometimes you'll find some of those colors come through, e.g. this curve here has got a stroke on it, are removed that stroke to get rid of that little bit of pink that was popping through in their dry it out. 62. Add a Clipping Mask: Let's start to mask this out and get rid of this nasty shadow around the outside. So I'm going to use the pen tool and I'm just going to draw a path that I want to mask out. Now, like with a lot of this stuff, there are half a dozen ways of doing everything. And I'm just showing you one way at the moment and you'll discover all sorts of other ways as you start getting more and more into Designer. And then we just pull that round. I think I'm going to mask this bit here, down over here. So it's just a little normal path using the pen tool I'm creating. And you don't have to get it right because once you've done it, you can always go in and adjusted with your Node tool. So e.g. this bit here looks a little bit wonky. I'm going to just pull that around a little bit. And this one as well. Let's fill that with black. So that's the area that I want to mask. So I'm going to take this curve. Now. You might find it's there, you might find it's underneath some of the other objects, but I'm going to drop it onto the layer so it remember where we named our layer, but not where the name is. I'm actually going to drop it onto the icon and that will make a little mask. You can see how to mask that out. If I just undo that, look at this size, you see suddenly blocked bigger. So you drag and you drop it onto the icon to mask it out. Now, if you find that you've got some little kinks in there, just go back. I've got a funny little kink over here. So I'm just going to go back and adjust it. You can always just drag these on and off of that layer quite easily. So I think that's smooth enough. Maybe this one needs a little bit more work around. They're happy with that. Drag and drop it back onto there again. So try that out, create a mask on your layer for your background. 63. Moon & Stars: Now of course, for our sky, we need a few stars and moons. So those are gonna be really simple. They're just basic shapes. In fact, I've got a crescent tool over here, so I'm just going to put in a little crescent and we'll make that white. You can place these wherever you want. There's no right or wrong for this. I'm just going to maybe move that over there. And then a few stars to go in here at the same time. So once again, the stars will be using the Star Tool. And let's have a few shapes in here. In fact, I'm going to make my stars yellow because it then contrast, contrasts really nicely with the blue and purple background. You can see the colors are opposite on the color spectrum. So it works really well. Especially if they go more towards the green side of yellow, maybe over there. Then I'm going to make a few copies of that. So I'll zoom in there. Command and J to make a copy. Pull that out. I think the stars need to go in the background and you can just adjust the size on the stars and place them wherever you like. You can. Of course just hold down Command or Control to do them by dragging. So let's make that one just a little bit smaller. I think we'll Command or Control and drag another one in there. Now, the stars that I'm creating and the Moon, there's quite a few of them. And I might want to be able to grab them as a group to move them around. What I'm probably going to do, I think, is I'm going to put them into their own sub layer. So in here I'm going to make a new layer. And this layer here I'm going to call moon and stars. I'm just going to drag those into that layer. I think that's also need to be careful when you drag because otherwise like I did, you might end up making a clipping mask instead. I think almost got them all in. Sometimes when I'm in a hurry, I don't drop them quite in the right position. There we go. And my moon come in there as well. But then I'm going to take that entire layer and drag it into my Schuyler. But you need to be careful where you drop it because like that, you might end up actually making a new mask. So I'm going to drag the whole thing in, just drop it down there, pull it up, maybe above that one. There we go. So I've now got a layer within my main layer. If I close them down, you can see they're all in there. Do have bit of a go with that, put in a few little shapes like that, and maybe look at making a sub layer. 64. Create the Rocket and Save: Let's make a rocket. This is going to be really simple. It's just a couple of simple shapes put together. I'm going to go down here and find, well, the base of the rocket would be a little crescent. So I'll just draw in my crescent. Have there if you want a perfect Chris and you can hold down the Shift key while you're drawing. I'm going to rotate that around 90 degrees, just holding down the Shift Key. Whoops, that's not quite there. The Shift key to make sure that it snaps to 45 degrees. So there is my first bit of my rocket. Now look what happens if I pull this outside, it just disappears. And that's because the rocket is actually inside this paper group. I'm going to pull it out over there and I'm going to make it into its own layer. So let's have a little layer here, which we're going to call rocket and smoke. I'm going to put that little crescent into there. Now once again, be careful when you drop like I did there because it might just drop it in the wrong position, would drop it into the, the layer. There we go. So if you find anything goes a bit weird, just use your Command Z or Control Z to undo it and try it again. Now, I'm happy with the crescent shape, but I'm going to make it a little bit larger. Then pull it up just a little bit like that. And then I want, so that's the feet of the rocket. And then I want the top of the rocket over here. So for that, I'm going to take a little ellipse. I'm going to make a copy of that ellipse. I'm going to hold down command or control and make a copy of that. Select both of them. And then use my Boolean operations up here to go to the third button, which would just leave me the overlapping area. And those two are going to make my rocket shape. I'll just pull that down a little bit like that. I'm going to select both of those and use the Boolean or geometry it's sometimes called to unite them into one shape. So that's where the rocket is going to go. But I also want to show the sort of the smoke coming out the back. So I'm going to do that using one of the basic shapes. And I'm going to use this trapezoid tool to make little trapezoid shape here. And same again, just drag that into the right position. Over there. I can select them both. And then, as per usual, use the Boolean operations to get the steam coming out. If you want to put a window in there. Just go in to little circle over here. And I'm going to make that window a cutout. So I'll select both of those objects over there and subtract the front from the back. Now, for my clouds, those are going to be really simple. They're just gonna be a little circles. So I'm going to hold down the Shift key, create my first circle. And then I'm going to hold down command or control to just make others in here as well. So just a few of them. That one more. You can make bigger ones and small ones as well if you like. So I can make that a lot smaller and then maybe put it up up here so there's the smoke is coming up on the side and move the same on the other side. Over here there's a bit of smoke which is just about in there. I want to select all of these objects. So the great thing is because they're all on one layer. I can go into my paper and I can just lock the paper layer. So when I click and drag over, I don't select anything else. I'll use the Boolean to make them into one shape and make them white. There it is, my artwork is finished, simple little rocket with a paper background. You'll see a lot of these when you start looking around the web, rockets and skies, or fish with water, boats with water. And they're all done in a very similar way. But the most important thing here is setting everything up using layers and using masks when you need to mask things out. When you try these out, why not try some different backgrounds? But don't forget when you put your background in, like I've done here, it must not be in the same layer as your mask, otherwise you just won't see it. So e.g. if I drag this into that one with the mask is it will just disappear. So make sure it's the very bottom object. Add a little bit of text in. I've used the color for my background and I just took the color from the blue of the outer. I don't know, whatever you call it a gap in the sky. And then the white text shows up really nicely on that. Now, don't forget to save your file using Save or Save As. And then you can go to Export. If you're going to export this for web, then a PNG or JPEG will be absolutely brilliant. If you're sending it out to print, talk to printers and see what they want. E.g. they might ask for a tiff file, a PDF, or even possibly a PSD file in there. Another option that we have for web is the SVG file. This is a scalable vector graphic and it's great for this type of work where you've got vectors and you want them to be fully scalable. Have a go, try it out. 65. Introduction to Advanced Typography: Typography is such a big part of design. And what we can do now is we're going to really delve into it and have a look at all the little details in designer. So I won't say anymore. They just get started. 66. Character Panel: Let's have a look at the character panel and go into some advanced topography. I'm going to go to the Window menu and I'm going to find the text option near the bottom. And of course, across two character in there. Now you'll find this in other ways as well. E.g. if you've got your text selected or you have got your type tool inside your text. I'm just going to go down here to my frame text tool. This is just normal text. And if I click in it, I've got some options over here, but we want the more advanced ones. So there's a little a over here which is the character and that will open up the character panel as well. You might not see everything that I'm seeing and you can just open and close that little section in there. Now, I've brought in some type. I've selected the type and I've got no Styles on this. So in here you'll see there's a character style and there's a paragraph style in there. Once you've done that, once you bought the texting, select all your text. I just kept on clicking until it all selected. And in the top here, just choose no style. So we don't have any styles that will interfere with what we're actually doing. Now, starting in the Character panel, a lot of the stuff you know already from the previous course, examples. So over here we've got the typeface or font, the font family as it's called. I've got the size in here of my text. If I select this, I can go in there and I can change the size to anything that I want to make this a little bit bigger, maybe 16 points in there. And we've got the style, and that could be regular, italic, bold, etc. But moving down to decorations, now, you'll see that this little arrows on here, and you can click on them to see the bits that you want to concentrate on. So I've just closed them down so it makes it easier for you to see which ones I'm talking about. If I go to decorations, this is fairly simple stuff ready? We've got an underline option, we've got a double underline option in there. I can just choose none over there. Then we've got a strike through, a double strike through. That's the line through the middle or the double strike through. Over there. With these, you can go in and you can change the color of the strike through all the underlying. Now I don't want an underline or a strikethrough, so I'm going to get rid of those moving down. We've then got the stroke for the text itself. Now what I'm going to do is with my text selected, I'm just going to go along here and I'm going to make it a lot bigger. So it's more obvious. Then I can go to my stroke over here and I can choose a line width for round the outside. Now that doesn't make sense until actually go to the color and change the colors so that you can see that if I increase the size now, we've got a stroke around the outside of the text. If you don't want it, well, you can just go in there and choose none. For the stroke. I'm going to take the size of my title down a bit because it's a bit on the large side. 67. Leading Tracking & Kerning : So moving forward, we've got positioning and transform. Let's have a look at this one. First of all, here, this is our kerning. Kerning is the distances between individual characters. So e.g. I'm going to zoom in here to the word where it's just zoom right in. I'll just move down so I can see where in there. What I'm going to just, I'm gonna put my cursor between the R and the E. And then I can go over here and I can then adjust the distance is between those two characters. And you can see we've got very, very fine adjustments in there. Now one of the cool things about affinity is that you can actually go along and if any of you use Photoshop, you'll find it does the same thing in Photoshop, not the others. If I click on that little icon, I can just click and I can drag left and right to change it. So I can just adjust the distances between those. This is particularly useful if you've got a typeface which is not current correctly. Certainly some of the free ones that you can download from the web are not terribly well current. So this enables you to just adjust the distances between them. Or you can just do it for an effect. So that's for the individual words. But what about if you want to adjust a whole word or a whole line? Well, that's called tracking and that's the next one down. So once again, I'm going to zoom out a little bit here. And I'm going to take this title, I'm going to select the whole title. Then I'm going to change the tracking. So of course, I can click in there and I can choose the tracking in there. Or I can go to the little icon. I can just click on that icon and drag left and right to adjust the tracking. Now, certainly increasing your tracking like this works really well for large titles. So big titles, top of the page, those type of things. It's great. I wouldn't do it on my general body text in here unless I was trying to adjust the text slightly to get rid of widows and orphans where you have little individual words which are just sitting by themselves. So the first one allows you to change the distance between individual characters and you click between the characters. This one, you select all the characters and you can adjust the distances between all of them. So that's kerning and tracking. Now, another one which is very well used is this one down here, and this is our lending. So what letting does is it allows us to adjust the distances between the individual lines. Over here I can click and I can drag and you can see how I can adjust that distance between individual lines. I'll go back in here. If you're not sure what to use, use auto lending in there. Try those out and then we'll come back and we'll look at the other ones that I've missed out in here. But those are the three most important options in this area. 68. Skew Baseline Shift, H&V Scale, Super Sub Script : Now, between the three that I showed you, there's a little option in here and this is called baseline shift. And this allows me to shift the text up above or down below the baseline. The baseline is the line that the texts sits on. So e.g. I. Could take a little word here. I'll take the word ligature and select it. And then in here I can move it above or below the line. We can do there two words, lines, paragraphs, or just individual characters. Moving over to the right. We've got the option to skew the text and you can skewed one way or the other. Just try and get that back to zero again. After that, we can expand our text heart so horizontally scaling and vertical scaling in there as well. And lastly, we've got the option in here for superscript and subscript. Superscript is when you make things small and go up. Subscript is when you make them small and go down. So e.g. if I had copywrited the word ampersand and I put in a little maybe TM there, so I've trademarked it, sorry, rather than copyrighted, I could take that, go along to my superscript over here and choose superscript, and it makes it small and go up. Or I could select a character like that and do the opposite, which would make it small and go down. Not quite sure why I'd want AD going down, but I can do it. Let's give that back to none in there. Try those out. 69. Ligatures: Let's have a look in topography. If you can't see it, just click on the little drop-down arrow. And we'll start on the left-hand side with this little f. This is called ligatures, and it allows you to switch them on and off. So let me show you what a ligature is. Now first of all, I'm going to select all of this text over here. And I'm just going to make sure that it goes back to standard tracking. On my tracking here, I just want to make sure it's back to normal again, which will be zero there. I haven't got any kerning on that either. Now, if you have a look at this word find over here, Let's zoom in to find over this. Zoom on my keyboard doesn't always do what it's supposed to. Let's try that again. Over there and we get the word, find the word, find the F and the I on there are very close together now that's normal. There's no sort of strange tracking or kerning on that. So with characters like this and the F and the I are very, very obvious where you have especially little serifs, the little rounded edges in there. They can look really strange. They can also cause printing problems because potentially that could bleed into that and make one great big blob there. So if you switch on your ligatures, what it does, it converts those two characters into a single character. And that looks a lot cleaner and prettier to be honest. So there are a number of characters, were two of them together will make one character, and that is called a ligature. Now what would happen if I start to pull this apart using my tracking? Well, you'll see it'll just go to two characters. Once again, it gets to the point where it gets very close and then jumps into a single ligature. Have a look at that. Tried out. 70. Small Caps, Ordinals & Fractions: So let's have a look at a few more of the typography options. Some of them you know already e.g. here, this superscript and subscript which we've used up the top here. There's two over here that I really like. And these are the all caps or small caps. So I can take a piece of text like this and make it all capitals. So it's all uppercase. Or I can make it small capitals. So the capitals remain larger and the lowercase characters are capitalized, but they're smaller. Or you can actually have a combination of both, which means that all of them will be the size of the lowercase. But in capitals, just switch them on, switch them off as you need. I've got a little bit of text here with first, second, and third in there. And there's a little button skipping over to the left-hand side, which allows me to just very quickly change them. So they look correct. This little button, if you hover over, it's called ordinals in there. Now, moving on, we've got fractions, so I can take something like that and click on the fraction button to just make it into a fraction very, very quickly. There are more options down here. If you click in there, you can see you've got a lot more options in here. We're not gonna go through all of those, but I just wanted to show you where they were. Anyway. Do try out some more of those little buttons. I've tried to show you the most useful ones in here. 71. Paragraph Panel Align, Indent and Space Before: The piece of texts that I've got here is actually made up of a number of paragraphs. And you can find a paragraph by just clicking four times in the text. So I'm on the Text Frame tool. And if I go 1234, I will select the paragraph over here, 1234. To select that paragraph. You can see how the paragraphs are set up. Now, if I just keep clicking five times, it will select the whole that story. So I'm going to go to the paragraph panel now. If you can't find it, you'll find that it's in the Window menu under text and paragraph in there. When I've clicked into a paragraph. So I've just clicked and put my cursor in there. The paragraph options effect that entire paragraph that I'm actually in. So e.g. here, if I click on that top paragraph which is heading, I can then just choose a central line, right align. And it will affect the entire heading. You don't have to select all the text. Likewise, if I click in this paragraph here, just the ones. Once again, I can center or right aligned, just that paragraph. Now what I'll be doing is I'm going to actually be selecting the paragraph like that, just so that it makes it clearer as you can see exactly what it is I'm talking about. But you don't have to. You can just click once as long as you're in the paragraph, these will work. So over here, I have got left, center, and right alignment. It's pretty obvious the way that it's working. After that, we have the full justified type, except that it doesn't do the last line over here, but it does justify the rest of the time to both left and right sizes sides. The next one is exactly the same, but the last line goes to the middle is center aligned. And this one here, the last line will go to the right-hand side. Finally, we've got the one which will get all of the text aligned or justify to both the left and the right. But you can see the mess that it's made on that last line. Those words are way too far apart in there. So just be careful of that. Now, moving down a little bit. Over here, we've got options for aligning the text to the left-hand side or the right-hand side. So if I go along to this first one over here, this is indenting. I can either click in here and just change the numbers very slowly. Or as I've shown you before, you can click on the little icon and just drag left and right. So I can indent my text a little bit, like so I can indent it from the right as well. So if I go on to the right-hand side here, you can see I can indent it that way at the same time. Now below that, we've then got the first-line indent. So what I can do here is I could actually put in a negative on there. So the first-line goes back to the edge of the box. Let me get this back to zero again. I'm going to do it to all of my texts. So all this text here, I'm going to indent it and I'll just pull that across a little bit. Maybe 5 mm. Let's go 6 mm there. And then I'll go to my first-line and I'll take that back to zero. So each of the paragraphs is now back on. This first line is at the box, and the rest of it is indented. Once again, I'm going to just select all of that and take it back to zero. What happens if I want to adjust the distances between the paragraphs that are those two little buttons over here. And as you can see, I can put a space before a paragraph, like so. Back to zero. Or I can put space after a paragraph. Now you can see if you notice that very clearly, if I use the before, it comes in in front of the paragraph. So when I do this, there'll be a bit of a gap between that and the heading at the top. If I use after, then it will keep that the same and move all the rest of them. I could then always go to the heading and change that and use some space after to adjust just the heading by itself. Do try out all of these little options. Over here. They're really useful paragraphs and we're not working with any style at the moment. So keep that set to no style. 72. Tab Stops: Let's have a look at the tab stops. So I've just put in a bit more text in here, and I want to tab this into our press tab on the keyboard. That's the tab key, which is usually 1234 up on the left-hand side. And that's just tapped it and it's moved at a certain distance. And I can keep tabbing to keep moving this bit of texts in, use backspace or delete to get rid of it. So once again, I'm going to tab that in as well. But if I wanted to change the size of the tab, I can go back here and I can go to my tab stops and I can say, well instead of 18, I want this to be 25. And then once again click in there, press Tab and change this one as well. If I select both of them like that, I can change them at the same time. You can do them either independently or together. Try that out. That's your tabs and your tab stops. 73. Justification and Bullets & Numbering: Let's have a look at justification and Bullets and Numbering. Justification is all about getting the desired distances between words or individual characters. So over here we've got some options. This one in the middle here is about the distances between the words and the one below is the desired distance between the letters. And then we've got minimum and maximum for both of those on either side. I'm just going to select this bit of text over here. And you'll see then if I go to the desired option word spacing, I can then move those words further apart or closer together. Like so. Quite useful for making sure that you can get everything on a specific line or get rid of any widows and orphans, the little words that appear just by themselves. Now, moving down, we've then got Bullets and Numbering. So with Bullets and Numbering, I'm going to switch on in the type, this bullet list, and you can see how I've automatically now got bullets in there. If you wish to have numbers. Once again, you've got numbers in there as well, and there's a whole different set that you can choose from. But as you can see, when I put it on, the bullets appear there and my text is a slightly indented. We can of course, go up to the top and we can use the spacing in here, and we can still adjust the text in there. We can push the text over and we can use the first-line to pull it back to move the bullet points around as well. Now, I've got a bit of text in here, and I think I'd like to have some sort of sub levels to this text. So I'm going to do a return and put in a little bit of texts of a new style. For a new age. Just a bit of texts there, but that's part of this one. But I also wanted to be in there. So I'm going to choose a separate level for that. I'm going to put that in as level two. And I would use my alphabet for that. So you can see that comes in as a. If I do another one here, that will come in as B because it's on level two. In their old style. These ones, I can change from bullets, two numbers over there. Same over there. We'll go back and we use numbers for that one as well. So you can use different levels in here to achieve some interesting results from your bullets and your numbers. Try them out. Have fun with those. 74. Paragraph Styles: Let's start looking at the paragraph and character styles. Now I'm going to go to the Window menu, and I'm going to go down to text. And in here we've got something called text styles. So I'll choose that. Now in designer, unlike the Adobe stuff, you'll find that your styles contain both the paragraph and character styles in one panel. So these little icons here denote that this is a paragraph style. These ones donate a character style. You're not sure what the difference is. The paragraph style will apply the style to the entire paragraph. Was the character style can be applied to individual characters. So you could just do a word in the middle of the paragraph with a character style. Let's make a simple paragraph style. What I'd like to do here is this piece of texts that I've got. I'd like to have a style for the text. Now. I've got some paragraphs and I've got a few headings in there as well. So I want to paragraph styles, one for the body texts and one for the headers. So I'm going to start off doing it nice and easily by just selecting a paragraph over that. Whoops, Let's try that again. I think there's the my paragraph. And I'm going to set this up using all of the things that we've looked at so far. So I'm going to go to the Window menu. I'm going to go down to text and open the character options. And I'm going to set up the character that I want to use for this. So I'm gonna go with something fairly plain in here. And just nice to have bold ish type of text. Looking down over here, the size, maybe I want that just as a fraction bigger. I think 12 points. Let's go with 13 points. I think that looks like a slightly better size. And then in here I've got the styles, medium, Condensed, Bold. I kind of like the medium in there. We've got the text color in here as well. So what I'd like to do is I'd like to use a color. Maybe from the photo over here, one of these have greenie greening grays. So I can take my eyedropper tool and just drag it over to select the color that I want. That's the color that I want. And we can then apply that to the text. Now moving down, we can then use any of these options that we want. So I'm going to go in and I'm going to adjust the letting to move the distances between the lines ever so slightly, not too much, just a little bit in there. You can use anything that you want. In here. I'm going to go to the language. In the language. I'm going to check that my spelling because I'm located in the UK, I'm going make sure my spelling is set to United Kingdom. Now, that's in the Character panel. Let's go up to the Window menu, down to text and find the paragraph panel. Now, here it is. I'll just move that across on top of that one. What I want to do now is to just have a look at some of these paragraph options. So I could choose to central line or right align or justifying both sides. I'm going to keep mine set to lift alignment down to the spacing. I could choose to actually indent if I wanted to. And once again, I could also go to the right-hand side and I can indent the other way as well. But I'm going to leave it with just a little bit of indenting on the left. And you can use any of these options that you want in here. Now that I'm happy with how this paragraph is actually looking, what I can do is to go onto my text styles. I've just made sure that I've selected that. Now, before I go any further, I've just realized I've forgotten something and that is going to be the distance that the cam, the paragraphs are below each other. Now, normally I'd go back over here to fix it, but I'm going to leave it off. So we're going to pretend that I've totally forgotten about this and we'll fix it later so I can show you how to add a sort that out. So I'm going to go down to the very bottom, this little paragraph, the backward P in there that creates a paragraph style. So I click on there, and I'm gonna get my style a name. I'm going to call it body over there, or let's call it body texts. Actually. I'm going to click Okay, so I've now got a new style over here called body text. This means that if I go along to any text, I can click on the text. I can choose that body text style to apply it. Let's go down here. Body text style to apply it. In fact, I could select all of my text and I could apply that body text style to everything. And you see all of my text is now. Indented. But as I said before, there's the problem with the distances between the paragraphs because well, you can't really tell what's a paragraph and what isn't. So what do we can actually do is we can go to the body text itself. And you can either double-click or click over here on this little window to Edit. And this opens up the text style. Now, everything that we've been doing in those panels is available over here. So I can go into the character and I could change the character if I wanted. I'm going to my fonts, the colors, decorations, languages, epigraphy, the alternatives. Absolutely anything can be adjusted in here. Now I'm going to go to the paragraph options. You can see I've got my indents over there. And then I can say space before or space after. I'm just going to put a little bit of space after and look at that. Even though the text is not selected, this is live, so it's actually updating my text in there. Once you've done, click the Okay button, and you've now got a body text style. Let's do another one. So for the headers, I'm going to select header over here, which at the moment has got a body text style on it. Let's just go back to no staff for now. So for the header, I would like to go to the character. I'm going to once again choose the typeface that I want to use. I want something maybe a bit thicker, heavier, like that. I might increase the size a little bit more. I could go in and adjust any of these options as I did last time. But this time I think what I'll do is I'll change the color and I'll make this more of a brown golden color, make it easier to see for you anyway. I think that's just about everything that I wanted in here or no, no, not quite. I think I would like to have the lower case being smaller and the uppercase as being larger, but all of them have the uppercase look to them. Anything in the paragraph options over here? Well, I don't think I really need to change where it says I could central line to if I wanted. But I'm going to leave it on the left-hand side. And I can even go and adjust the distances above or below in here as well. So we can just push that down a little bit further. Now that I've got that, once again, I want to make a text style and I want this to be a paragraph style. So I'll click on the paragraph styles. Let's call this one headers ahead and click. Okay. And now I can just go to the headers, click on the Header, and choose the head style. And you can see how fast this is now, just apply the styles very quickly in there. Now looking at this, I'm thinking that actually there's a big gap between the headers and the body text. And in fact, I really want that gap to be small and I want the gap to be between the body and the header to be larger. That's not a problem. I can always go in, go back to the style, just double-click on it, go into my spacing and I can change it in here. So we can then just adjust the spaces between them. Now, I'm changing the header style over here. So we're adjusting that. Put that back to zero. I'll just adjust this down there. So this time now I'm getting more of a space above it. We better have a little bit more space over there. Click Okay. Once it's done. At any stage, you can go and adjust these styles by just double-clicking on them. But one of the things to be careful of is that you make sure that you just de-select everything before you go back to the header starts very easy to apply text to something you didn't intend. While you're trying to adjust it. Have a bit of a go with that, and make a couple of styles like that. So get your texts looking good first with paragraphs and characters, change the color, change all of the options, and then make a new text style. And it's going to be a paragraph style with that button down the bottom. Try it out. 75. Character Styles: Now there are certain words that I want to have. I'm not sure what I want them to bold or italic or italic and bold. I don't really know at this stage, I'll only know when I actually see them in the document. So what I'm gonna do is I'm going to take the word ligature. And I'm going to go in, I'm going to make that bold. So I'll go over to the character options. And in here I'm going to choose bold, right? So maybe I'll make it even darker, so it's a dark gray brown at the moment, I'm going to make it totally black. Now that I've got this little word here, what I'd like to do is I'd like to make a character style out of that word. So down the bottom, over here, there's a little plus with a a on it. If I click on that, it says create a character style. And I'm going to call this bold. And I'm going to click Okay. Now this means that I can actually go through and whenever I want to use, find the word, I use a word which is bold. I can select the word, and I can go to my style over here and apply that bold style. Let's go over here to centuries. I want to make that bold English. I want to make that bold as well. I think this occasionally can be bold to now that I've got that, I'm just wondering what it would look like if I made it. Well, Italic instead. I'm going to de-select everything so I don't click on the wrong thing by mistake, I'm going to go to my bold style, double-click it, and I can go in here and change it. Now I'm gonna move this over so we can actually see live what it's doing. And I go over to the font and where it says Bold, I'm going to change that to something else. Let's go with let's try light in then see if that works. Doesn't look so good. Bold extra bold black. Belt, try thin. You ever can't see what I'm looking for in here. Then I can also change the entire font. I can also go in and adjust the colors in here as well. Let's just do some italic on there. There we go. We've got an italic, semi bold. I think that looks a lot better. I'm going to click Okay. And it's done. So once you start using character styles, you can then apply them to any characters throughout your document. And then when you change the style, it will update all of that text for you. Try out a character style. In there. 76. Spell Checker: As you can see, I've got a few spelling errors in here. So where do we find the spell checker? Well, if you go up to the top to the text menu, and you'll find in the text menu there's a lot of the things that we've been doing in the panels, which you can get to fund the menu. Over here, ligatures spacing down to text styles are in there as well. But I'm going to go down to spelling. And we've got check spelling in there. Then I can just work my way through the spreading over. Yep, that's the one I wanted to change. The end should be later. And phrase changing then I can just close it down. So like any other spell checker in any other piece of software really tried out. 77. Glyph Browser: Now my text is kinda going right way off the bottom of the page here. And I want to move it up a little bit. What I'm thinking is actually the gaps between the paragraphs and the headers are a little bit too large. So it's fairly easy for me to do even without that selected. If I go back to my header, I double-click the header. I can go into the spacing and you can see the space before is 24. I'm going to reduce that. And by reducing this spacing here, all of my text, We'll move up just a little bit. I'm happy with that. I'll click Okay. So you can use your text styles, particularly the paragraph styles, to just adjust things on the page as well. Now, there's one more thing that I'd like to do and that is that maybe I have got a copyright item here. We're registered trademark. Let's e.g. say the word ampersand was registered trademark. What I want is the little r on the right hand side. So I'm going to go up to the Window menu. I'm going to go down to text and we're going to find something called the glyph browser. So glyphs all the characters that you have in your font set. So here are all the characters. Make sure I'm on the glyph browser itself. All the characters for aerial, rounded, empty. And over there is my registration sign, so I can just double-click on that to bring it straight in. If you can't find what you're looking for in that particular typeface. You can actually go in and just choose from any typeface that you want in here. So I could even go in and choose something like little copyright symbol from American typewriter. There it is in there. Now, I'm gonna get rid of that. I want to take that little r every day and I'm going to make it small and go up. So in my character options, I'm going to go over to superscript and just make it small and go up. Do check that out. The glyph browser is really useful finding all sorts of things. 78. Text on a Path: Let's have a look at creating some text on a path. I'm going to do it initially using the pen tool. So if I click and maybe click and drag, maybe click and drag again. I've got a little path like that. Now, my path, I would like to put some text on it. I'm just going to zoom in a bit to make it easier to see. I'm going to go down to the Type Tools and I'm going to be using the Artistic Text tool rather than the frame text tool for this. I'll move over to the line itself. You can see as I'm hovering over it, I get this little t, the wavy line underneath it. If I click now, I can then put my text straight in. So I'm just going to put in text. Not very exciting. I know my text is coming on the right-hand side and you can see there's some little colored arrows underneath. So there's a current colored arrow there and a colored arrow there. These are your right and your left alignments. If I align my text to the left, it will align to the green arrow. If I align it to the right, it aligns it to the other one. I can align it to the middle as well. Now if I aligned it to the green arrow, I could go along to that little arrow there, click on that arrow and move my text along the path. Like so. We're looking at these little arrows underneath the text, exactly the same if this was right aligned, I can move this along using the red arrow in there. Try that out. And then I'll show you how we can move the text underneath the path. 79. Move Text Below Path: Let's have a look at how we can move the text underneath. If I go to the little green arrow from there, remember that's the left alignment. And that's the right alignment. If I go alongside green arrow and I pull it along like that, the text will, when it gets to the end, just go underneath. Now, when it's underneath, have a look at the little arrows again, because we've now got some errors which are on top. And those are your alignments for the text when it's underneath. It's a bit confusing, I know. But you're always looking at the areas which are on the opposite side of the line to your text. I'm just going to undo that. Again. Remember these arrows are underneath the text and green is left aligned, red is right aligned. And when you pull them along like that and it goes underneath, then the ones that are on top, the opposite side to the text, those are the ones you're moving. That is your left aligned if you're standing on your head and you're right aligned over there, if you're standing on your head. And once again, you can move them around to move the text. Try that out. I know it can be a bit confusing. 80. Type on a Circle: I want to put some text on a circle. So I'm going to go and get the little circle tool here and just click and drag my circle out. I want to make sure that this is just a standard curve rather than a curve which can do things like convert to doughnuts and converted Pi because that can confuse the text thing. So I'm going to say convert to curves. And I'll move it into the position where I want it. Now I'm going to use my text tool, the Artistic Text tool. I'm going to go over there and I'm going to click once on the path. And now I can put my text in over here. Now if I want to move the text onto the other side of the path, well, I just move that green one closer to the orange one and it will go to the other side of the path. You'll find, if it's on one side, you just move the little arrows close together and to force it onto the other side of the path for you. So now that I've got that on that side of the path, once again, if I move my orange ones up, nothing's happening because it's on the other side of the path. But now I've got green and red on this path. I can move it around to where I wanted. Now I'm going to place that, the green one on the halfway point of my circle, and this red one also on the halfway point. So that if I then go up to central line, it will align it perfectly on the circle. I'm going to make that text ever so slightly smaller. So 64, I'm gonna go with 56 in there. So only because it looks a bit too big for me. So there we go. We've now got our text on a circle. Let's make a copy of this to put the text around the other side. I'm going to hold down the Command key or Control on a PC and drag this out. Just make sure I'm on my move tool first. So Command or Control and drag a copy will move that one up to the top. Now what I want to do is I want to change the text on here. So change that to the word ampersand. And now I'm going to start to move the arrows around. And this is where it gets very confusing. Because which ones do we move to remove? The inner ones are the outer ones. I'm going to go to the outer ones over here. Just pull them around until there's enough space for it to fit on the inside. Let me just do that again for you. So what I'm doing is I'm saying over here between these two on the inside because remember it's looking at the opposite side. I'm going to move it until we get enough space for it to jump in there. It is very annoying. I know that it's one of the things that I really don't like about affinity is the way that these little things work. So I'm gonna move that in a little bit like that and come to line it up. Same area. Over there. I'm going to center align the text which it is at the moment. I'm going to select it and then I want to move it outside the circle. So I'm going to go over here to the positioning and transform. And I'm going to use a baseline shift. Baseline shift will allow me to move it above or below the line that it's sitting on so I can move it just onto the outside. Like so. I think that's just about it. It looks like it's almost almost there. Once again, we can move these around. If I put that to the halfway point. And this is the halfway point, they just snap it to the right position. And there we go. We can move this across now. We've got a top and bottom, and they are both well, independent objects so we can adjust them as we need. Try that out. I must say that this, doing this sort of text on a circle is very, very annoying. And sometimes you got to think which of those objects to our need is that the green? Is it the arrow on the inside is the arrow and the outside. Just experiment until you get it right. But it does take a little bit of learning that one. Try it out. 81. Introduction to Project: Typography Poster: It's posted time. And by that I mean project time. What we're going to be doing now is we're going to be creating a poster using lots of texts. There'll be a picture in the background, but predominantly it'll be text. And we'll do all sorts of things with type in there, as well as also using our styles. Obviously. 82. Create A3 Doc with Text and Styles: For this project, we're going to be making a large poster. So I'm going to go to File New. And I'm using a three in the print settings. I don't need this press ready. This has just going to be printed by a local company on their inkjet printer. We don't need all of the PRE press stuff that we'd normally get with the press ready document. So I'm going to do it in RGB because I might also want a version for putting online. So in my layout, I've got my sizes in there. I've, in my color. I'm using RGB. I'm going to go along to bleed and I don't need a bleed for this. But obviously, if you're doing something different, you can put your own in. Let's click on Create. We're going to be using lots of text for this one. And we're going to be manipulating the text and moving it around. So the first thing I want to do is to get my main text in here. Now bear in mind that this is for a workshop, for a creative event. And the event that I'm choosing is going to be Affinity Designer. So that's going to be large in the middle. I'm going to go in and use my Artistic Text tool. Click and drag my first bit of text in and put in Affinity Designer. So this the first one in there. I want to make sure that the size is right before I do the word designer because I'll just copy this. It'll make life so much simpler. Now, I'm not doing a style for this yet because there's only two words in here. So in here I'm going to choose the typeface that I like. I want something fairly, fairly heavy duty, to be honest, I think would be good for this middle one. So I'm going to go in and look at something like Helvetica. Designers loved Helvetica. So this will work really well. Let's go with Helvetica. Helvetica. And in here I'm going to go with bold there. So once I've got this to the size that I think it's going to be. And I'm happy with that. I can then hold down command, make a copy of that. And this is where I can change this into the word designer. And there are my first two words in there. Now I'm going to have a number of other words around in here as well. And rather than having to go back and check my sizes and everything, I will make a style for those. So let me bring in the text first of all, for just one of those words and it doesn't matter what the word is. To be honest, I'm going to go in Artistic Text tool and just create a little bit of text in here instead of bold, I'm going to take this down to regular. And I'll put in the word that I want. So I'm going to say creative. In fact, I'm going to make that lowercase. Now, if I'm happy with that text, I can then go and choose the color that I want. Now, this doesn't have to be done The yet, we can always adjust it later on. But I'm just going to pick a sort of an orangey color for my text. Just make sure I've selected it first in there. If I'm happy with that and the way their texts is looking, then I'll make my style, I'm not quite happy yet. What I'm going to do is I'm going to go along and the style. I want to change a few things. First of all, in here, I want to change the tracking, so I want to just move those characters slightly further apart in there. If you're happy with that, then you can go ahead and make a style. Remember to make a style, you go to the Window menu. Get your styles open. Let's try that again. Go down to text and get your text styles open. Slightly different to standard styles in there. Let's pull those out. And I'm going to make a new style down the bottom. This is gonna be a paragraph style over here, and I'll call this one main text. You can call it whatever you like, doesn't really matter. Click Okay. Now when I put in my other words, I've got a main text style that I can then quickly apply. Have a go with that to just one bit of text that you make into a style, another bit in the middle. You don't have to use the word Affinity Designer unless you want to. Any two words will do. Try it out. 83. Make Text into Graphical Shapes and Customise: Now I've got my text in here and I want to make it more graphical. I'm going to change the texts from editable text into shapes. I'm going to do that by going up to the Layer menu. I'm going to just convert it to curves. And that now becomes just a normal shape. I'll do the same with this one as well. So I'm just going to use my selection tool to select it, go to layer and convert to curves. Now I can go and use my node tool on this. And what I'm going to do is I'm going to select two little points over there. Now to do that, I've just clicked on the I. I'm going to select to versatile points there. I'm going to pull them downwards. I want to make sure they go down exactly vertically. So I'm holding down the Shift at the same time. I'll just pull them right out to there. I'm gonna do the same thing with the I think so selected. I'm going to click and drag to select just those two points. And I'm going to move them upwards. But to make sure they go vertical, I hold down the Shift key, like so. You can do that with any of these shapes. So feel free to take any of them that you like. I'm not going to do this on my final piece, but I could take those two from the Y and just pull them out at a weird angle like that. I want to keep the vertical and horizontal feel of this, although we'll twist it when we finished. Anyway, have a bit of a go with that and create something interesting with your words. 84. Add Some Graphical Shapes: Let's do something with more of a graphic here. I'm going to take a rectangle. I'm going to draw a rectangle in the same height as my words. And you'll see as I'm drawing it, the little what are they? Smart guides come in and just make sure I'm exactly in the right shape. You'll see I'm doing this actually quite large, like so. Same again, I'll do this one over here. Now. To be honest, what is much easier once you've done one? Just hold down your Command key or Control key, and you can then just drag those around as well. So once again, Command or Control, I can just line that up. Do the same with this one Command or Control and align that one up over there. Now that I've got those, I could, if I wished, go in and adjust them to. So I'll just zoom into the a. And I could take my Node tool and maybe I could just select that point over there on the node. Now you can see how it's not allowing me to select it. And that's because it's still needs to be converted to curves up here. If I do that, now I can go to that little node and I can move it along. I'm going to hold down my shift key. So this goes absolutely horizontal as well. I couldn't maybe line that up with the a, the same over here. I could take this one, once again convert to curves. I can click on this node. I'm going to pull that in up to there to line it up with the a in there. Now, I think maybe I want to cut this bit off. So I'm going to just use a shape because that's the easiest way to cut things. Click and drag little shaping ever there. I want to see what I'm doing. So I'm going to go along and find the tool that allows me to see both the preview and the outline mode. And it's this little one over here. If I click on that now I can see the outline of both of them. And well, I've pretty much got that shape almost in the right place. I might need to move it over a little bit. I'm using the arrows on the keyboard to get it right. I'm going to select both of those and then use a my geometry or Boolean operations here to subtract one from the other. I'm not going to do anything with a D that would require doing a whole shape in there. However, if you wanted to, all you have to do is to take a copy of the D. Sorry, that's an R and D, that the R. I'm going to copy it. I'm using Command or Control J to make a copy. I can move the copy along on top of that. So I can then select both of those, the R and the shape. And then use the same Boolean operations to subtract one from the other. Now, the problem is that it's done the wrong way round if I undo that. And let's do two by stacking order. So what's happened is the object that's on the top subtracts from the object that's at the bottom. So what I need to do is to change the stacking order. Let's have a quick look in the layers over here. If I were to select the R in there, you can see there it is there. If I select the shape, the shape is above the arc. So all I need to do is to move the r above. The shape is selected over here, and I'm going to drag it up. Hopefully above all of those shapes. I think that's the top object. Now, once again, if I do the same thing, I can then subtract that from that. And that kind of gives me the little shape them after in that I wasn't actually going to do it on mine. But as I've done it to show you, I may as well just leave it there. Anyway. We can take these little shapes like so, and we can then fill them with a color as well. So I'm going to fill mine with black. Now, of course, the reason we can't see what we're actually doing is because we've got this little button up switched on. I'll just go back into normal mode in there. Now, what I showed you how to do this, I don't really like that shape that I've got there. I want to keep more simplicity. I'm just going to undo. I'm using either Control Z or Command Z to just undo. Back to when I had a normal shape in there. So have a go with that and make some shapes in there. We can add more shapes to this as well if you want. So I'm actually going to add another one down here. So I'll just take this shape here, hold down the Command or Control, and just drag another one down there as well. For an interesting, look, if you wish, you put more of them around as you want. So let's try another one. Up there. Have a go with that and get some sort of interesting graphical shape going on with your text. 85. Add More Text: Now I'm actually going to put a negative bit of text in here. So what I'm going to do is use my text tool. I'll go along and just find my Artistic Text tool and draw some texts in. Now, if I want to make sure that the text is the same as what I've got there. To be honest, the easiest thing to do is to take your text and just hold down Command and copy it. And I'm going to select that bit of text. And this text is going to say version two. And then I'm going to move that over there. Now I want to move it above that shapes how just drag it up in the layers panel. And I'll just keep going so becomes, goes right above that shape. And then I want to use the Boolean operations on these. So if I selected both of them and went to the cut front object from the back heel just cut the one from the other. You'll see if I've put it over the other. You can see version to through the whole. Once you've done that, then just have a go with some texts and put in some different names in here. Something which is whatever subject you're doing, which is appropriate for that. So I'm going to have creative, I'm going to make a copy of that and I'm gonna change this to art. I'm going to do, well, I'm going to do in all lowercase to be honest, because that's what I want us to look like. And then I'm going to keep going with a number of others in here. Creative art, illustration. Once you've done that, scattered them around. So I could take the word creative and maybe rotated 45 degrees, 90 degrees actually, and place it up there. And I could then take this illustration and move it around. You can change the size. You can adjust it however you want. Anyway. I'm not going to get you to watch me do all of my bits of texts. Have a bit of a go yourself and put in various bits of texts all over the document, either vertical or horizontal. 86. Rotate Artwork and Add Texture Background: As you can see, I've changed the size of some of the bits of texts. I've moved them around. I haven't got too many in there. Now what I want to do is I want to rotate them all so they're not quite such a perfect angle. And I'm going to zoom out a little bit like that so I can click and drag over everything. I would just rotate them to an interesting angle like that. And I might even move them down a little bit in there. Just watch the edges of your boxes so you don't end up with anything which sort of has a mouth gets cut off. And I'm happy with something like that. I think that kind of looks quite, quite cool. Then for the title of this particular poster, I want to have creative workshop at the top. So I'm going to do the same thing. Just use my text tool in here, Artistic Text, click and drag. And this will be creative workshop. I'm going to size it down just a little bit over there. We'll give it a different color shortly. But for now, I will just make it a bit bolder. Looking at this, I'm thinking that the word creative and workshop, it just, it looks a bit strange. So if I zoom into it over there, what I'm going to do is take the word workshop and actually take the size down a little bit in here. Let's just go and make it a bit smaller. I think that looks better. And once again, I'll just size it up to fill the space. Now I'm going to bring in a picture. So I'm going to go to and I'm just making sure I can see my whole document first. I'm going to go along to my important tool or my place tool and find the image. Remember the image itself is the one that is in with the, well, all of the downloads that you get from this project. And it's going to be this one everywhere. So I'm just going to go from corner to corner and bring that in. If you want to use another image. Absolutely fine. No problem at all. But I will move that picture right way to the bottom and I'm just going to keep dragging down, put it behind absolutely everything in there. 87. Choosing Colors: I pull my layers out so I can have a look at what's going on in my layers before I start to change the colors. And you can see I've actually got a group here with some things in the group, but not everything's in the group. It's a bit of a mess to be fair. So what I'm going to do is I'm going to take the photo and I'm going to drag the photo above the group that I can get it out of the group. And then I will move it below the group over there. You can just drag it straight below the group. It's just easier I find to do it above it sometimes. And then I can drag these characters into my group as well. So I'm just going to drag those in. And I think we will have most of these sitting in my group. Right now, got two groups in there. There's another group there. I think that's it. So there's my group and there's an empty group there. I'll just delete that. If you have the empty ones coming up by mistake, just get rid of them. So now all of my text over here is in one group. It will just make my life easier when I start to select. So what don't want to do is I want to select all of these items over here, right the way down to the group, but not the photo and not this creative workshop at the top. The reason I'm doing that is that I can change the colors of them all at the same time. But I don't want to use the little eyedropper here. I want to use the eyedropper tool, which is in the toolbar. And then just go along to my graphic and click around and see what colors would work well by taking colors directly from my graphic. In fact, I'm looking for, so if a darkish, darkish brown color in there, I can still go over here and maybe darken it down a little bit. If I wished. I don't want to go too. Over the top with that. I'm happy with what I've got there. So it's, it's more subtle. Then for the creative workshop, I'll click on that. Exactly the same thing again. Use my selection tool here and try and pick up a color. Whoops. Now, what's happened there? Well, I managed to, without realizing it, select the background, not the creative text itself. I'll make sure I'm on the creative text before I start to use that little eyedropper tool. Now, with the eyedropper tool, I want to click on an object down here. And you can see it's kind of picked up the color. But really I want a color which works really well with these colors here. I suppose if I zoomed in far enough, I might find a color there. But I'm going to look over here. So remember, my color that I've got over there was this sort of brownish color there and it's there on the color spectrum. If I go directly across, this color here will be opposite that on the color spectrum. So I could choose something in this range. Over here. We go a little bit further over if we want, but I think that will work quite well and it might just darken it down a little bit. So we've got something which is very, very contrasty of the other colors. That one seems to be locked. I'm just going to unlock it and make it a little bit bigger. In, then put the V on the line so it actually crosses across there. Anyway, there's no right or wrong here. Just experiment, try out and see what you can do with your colors and watch your layers in case like me, you had a group that you forgot about or you didn't actually create in the first place. And you created by mistake, shall we say? Just be careful of those when you start to select things. 88. Blend Modes and Export: Now I'm going to select all of those colored graphics and words. And as you can see, we can play around with the colors in here. But what I like to do is maybe change some of the modes and I'm going to change mine to darken. And that way you'll see some of the background details will actually come through the photon. We get some texture onto the graphics. Now, once you've done that, feel free to then play around with the colors in here and see what you can get from those. Now, don't forget if you're doing this. You don't have to use dark and you can try any of these other ones out as well. So some of them will give you some interesting opposite. So e.g. difference will give you the negative of that colors. You go to the opposite colors as well. But there's no right or wrong. Just experiment with them, try them out, see what you can get. I'm going to either use darken or multiply. In fact, I think I'll go with multiply. For me. That's looking a whole lot better. Now, once you've done this and you're happy with your document, make sure you save. In fact, you should have been saving as we go along. But also we want to just export it out now for printing. Because we're gonna be sending this to a local printer who's just using a large printed, not fully commercial, having 10,000 of them done, we're just going to have one or two of the posters printed up. We're going to go along and we're going to save it out as a JPEG or a PNG file. You can choose which one you want. I'm just going to go to Export in their choose JPEG at the top. The quality I'm keeping really quite high. And I will just choose Export over there and decide where to export that out too. That's it. Have a go and do some variations on the text as well. 89. Introduction to Speed Up Workflow: In this section, I want to show you how you can speed up your workflow. And we're going to be doing that by using artboards and other through all the artboard options with you. 90. The History Panel: I'm going to go and make a new document. And I'm doing this from a new document because I want to show you the history steps that we get with our document. It really doesn't matter which documents I choose. I'm just going to pick the first one that comes out, which happens to be a three, and click on Create. I've also brought up my history panel in here. Now, once again, if you can't find your history panel, go to the Window menu and it's listed in there. Or with the standard studio. If we just reset the studio, you'll probably find it down here in the bottom right-hand corner somewhere. I'm putting mine out so that you can see all the details and exactly what's going to happen in here. So the first thing I'm going to do is I'm gonna put a picture into my document. So I'll go along to the place to find a picture that I want to use. And I'm going to click and drag to place the picture in. And you can see straight away it says Add Image in there. Then I'd like to get some shapes going on for this little card that I'm creating as well. I'll use just the rectangular tool. And I'm going to draw a few little shapes in here. By the way, I have got my snap switched on in here enables snapping so that as I'm drawing and placing my cursor, I can see them lined up with the other objects. I'm going to do one little shape over there. And I'm going to choose a color for that. So you can see it says Add rectangle. I'm just going to pick any old color for the moment. Set fill. It's recognized that. Then let's move on with another shape. Oops, didn't mean to do that. So I did it. You can see it says Transform. I used Command Z or Control and Z has just gone back to Set Fill. Same again. Over here, I'll click and drag out this one. Same size as the other one. And then let's add another one. Over here. Click and drag to the same size as that last one. Now when did you notice there's a funny little thing of there. It's kinda like an arrow that goes off. That is actually a change in the timeline. But I'll be explaining that very shortly. We're going to choose some colors for this now. So I'm going to go in and just pick the colors. I'll use my move tool over here. Select one of these. You can see it says set current selection. And I'm going to use the eyedropper tool and sample a color off of the image. So I'll just choose that dark blue. Click on that to fill it. Let's do the next one very quickly. Let's have a medium light blue click on that to fill it. And the last one here, we'll pick a different much lighter color in there. And once again, click it to fill. As you can see, it's just recorded everything that I've done in here. If I go along to this one and just move it down, I'm holding down the Shift key and dragging it down. Once again, transform comes in. Class lecture means I've clicked off of it. Once again, same thing over there. It's just drag that one down. I think we'll put those two together. So all of this history can actually be saved with your document. When you go to File and Save As first of all, you need to actually say Save history with document. When you click on that little button there, it says it will save your history with your document. And it means that anybody who opens a document in designer can see what you've done, your history. Are you happy with that? Yes, I am. Now, when I save my document, all of this history will be saved with it. Let's stop over there so you can try that out. And I'd suggest trying it with a brand new document. Just put in a picture and a few little shapes in the movie shapes around. See what happens when you are clicking on them, what is selecting, and how these things appear in there. Once you've done that, we'll have a look at alternative timelines. But try this out first. 91. Cycle the Future History: I've got the history up. But now what I want to do is to make some changes. So I'm going to go and change the colors on these. So I'm going to choose some colors. Once again, I think I will just go and grab a color from here. I think I'd like to have that as yellow. And another color for this one here, pick orange. And I think that greenish color as well. So the last one, we would choose the green, dark green in there. So all of this history has still been recorded. But if at some stage I thought you know what, I'd like to go back to the last colors that I had. I could go back to when I actually did that clear transform. And back there takes me back to this part of the history or this part of the document, which is fine. And I can then see how that's going to look. And I can carry on working over there so I can just go backwards and forwards between those two options. But if I went back here, so I went back to when the colors were like that. And I thought, I wonder what this would look like if I took these and I moved them up to there. And maybe I rotated them around as well. Now you can see what I've got here is a change in my timeline because I went back and I did something. So if I click on that, it'll change. You can see it'll take me back to when the image was at that stage over there. Or I can click on that to go back to that point in my timeline. So these little splits in timelines can be really useful because if you do go back on yourself and then make some changes, you can always get back to the bit that you did before you made those changes. E.g. if I went all the way back almost to the beginning over there, when I'd added the first rectangle. And I'll give it a color. And then I'll go in and I'll put in a circle over there. And let's pick a color for the circle. So I think I'll use that color there. Now at anytime I'm thinking, oh, you know what? I really wish I could go back to what I did before. I click on that, it'll split in the timeline and go to my alternative future. All of these, you can click and you can change your history going backwards and forwards. Back to here again. And I can see those areas in there. Just click that little icon. And you can see it's a cycle future. We can just flick between those two futures. And I think I'll click on that and go back to there. It messes with your head to be honest, but it is quite useful actually rather than just undoing something you can undo. And then you could do something else. And you can still read you the last thing that you did, really, really lovely feature. 92. Symbols: Let's have a look at how symbols work. What I'm going to do is I'm going to go to the Window menu and find my symbols panel. So here it is over there. And let's just put that onto the side for a moment. Now I'm going to create something to go into my symbols. This little graphic that I've got here with three colors and a picture. I've just locked the background down and you can do that in your layers as I'm sure you know by now, by just clicking on the little padlock over there. So I want to make a little very simple snowboard logo. So I'm going to use the rounded rectangle tool and just draw the shape that I want, like so. And then I think I'd like to actually pull them the middle bits in because the middle of this board comes in a bit. So I'm going to convert that to curves. I'm going to use my node tool. Click on the center over here, and just pull it in and pull that one in as well. That kind of gives me my rough snowboard shape. Now I'd also like to have the brand inside there and I want to cut out the brand so you'll actually be able to see through wherever I place it on. I'm going to go along to my Text tool and I'm going to be using the Artistic Text tool. I'm going to click and drag to the right size that I want this to be. And I'll put in the brand. So I'm going to call this snow high. And of course we can always go in and change the size of that by just dragging out like so. So that's sort of thing that I wanted to go right in the middle of that. Now, I'd like to place it in the middle and I want to cut out that snow high texts from the background shape. If I were to select them both at the moment, and go along to the top, I've got the Subtract Front options from the back option. If I click on that, it just cuts the text out from the background object. If we have a look over here, it's still curves. There it is. In there. Now. I've got that. And as you can see, it is transparent in there, but I want to use this a number of times in my document. So it is going to go down here, over there as a large logo. But then I need a smaller version to go up the top over here. And another one which is maybe rotated on its side to go elsewhere. So to do that, rather than having to copy this a number of times, I'm going to drag it and sorry, I'm not going to drag it. Let's try that again. We drag it out, drag it in. I'm going to select it and click the Create button in symbols, and that makes a little symbol. Now, now comes the drag part. I drag it from the symbol out onto my document and I can then change this copy of it. And I'll place that right in the middle over there. I don't want another one, so I'm going to drag this one out over here. And I'm going to rotate this around. Just hold down my Shift key so it rotates in increments and that's going to go up the top there. Barely seen. Now, this is where these little symbols get really interesting because at this stage, if I then realized that I've made a mistake, if you have a look at the shape of the board, it's curved in, in the front there and the same thing in the back. I really should repeat that in my logo. What I can do is I can go and get my node tool. Go along to this one here. I can click and pull this in on there. I can put it in on here. And if you notice exactly the same things happening on all of the copies. So when you change one of these and I just pulled this out like that, you can see all the other copies change. I'll just undo that over there. So the great thing about symbols is they're all linked together. When you change one, the others will change at the same time. In fact, if I went to this one here and I changed the opacity there, you can see the opacity on all of them is changing. Now you'll know that you've got a symbol in here because you'll see the little orange line inside your layers panel. Let's pull those layers out and have a good look at what we've got here. So there they are. In there. There's my three objects. And they've got an orange thing because they come from the Symbols panel here. What I'd like to do is click on this one and change that one without affecting the others. So what I can do is I can click detach. And now if I go to this one and I adjust the opacity, I can adjust the opacity on one without affecting the others. Try that out. It can be really useful if you've got a lot of things that you need to use throughout your document. And you don't want to have to copy and paste them just in case you need to make change to them later on. 93. Create an Artboard and Copy: I've got a very simple little piece of artwork in here. It's just some corner pieces like that with a bit of a gradient and a few other shapes and gradients. I want to make some variations on this bit of artwork. So to do that, we're going to be using art boards. Now. We don't by default have an art board with the normal document. Unless you've switched it on. When you go to a new document, you'll see there's a crate art board button in there. When you switch it on, it will show you the dotted line around the art board. And that way when you click on Create, you know that you'll have an artboard. But what about if like me, you've created something, you don't have that art board. Well, it's very simple. You just go along to the art board tool. And you say insert art board at the top, and that makes an art board for you. I'm going to just zoom out a little bit over here. So now that I've got the art board, I can go back to my move tool. The art board is selected. You can see I just hold down Command on the Mac, Control on a PC and then click and drag to copy that entire art board. I'm going to place it over there. So it's very quick to make copies of your art board. So all you have to do is go back to the art board tool. Make sure you've selected one of those art boards by clicking on it. I've just clicked on the edge there. Go back to your Move tool. You're going to hold down Command or Control and drag your art board around to make a copy. I'm gonna do three of these over there. And now I can treat them exactly as I did before, except in your layers. You've now also got an artboard layer. So it's another type of layer. You'll notice we did talk about this earlier with layers. There's little icons over here on the left. And you can see that it's an art board icon that I'm seeing in there. So I'm going to start with this one in the middle here. And on this one I'm just going to change the color of the text to white and maybe make the sky just a solid color rather than the gradient in there. Let's go with something like that. Then this one, I think on this one here, I'm going to move the sun around completely, so I'll just select all of the sun very fast like that. And I'm going to move it around maybe two over there and do a bit of a change there will have the wakeup coming right in the middle of their leaving room for our text at the bottom. And we'll change the color of wakeup two. Let's go with black. So I've now got my three variations of my artwork. If I go to File and Save or Save As when I'm saving it, I will be saving all three of those art boards in my document. Let's call this wakeup. And I'll just save it out. So I've got all three of those saved. But what about if I want to export them as individual jpegs? Well, if I go to File, I can go down to Export. And in here I can choose which artboard I want to export or if I want to send them all to somebody so they can check them. I could go to whole document and then it will save all of those into one document. I'm just going to save the middle one. I like the color on the middle one over there. And then I can choose how I want to save it. Jpegs, PNGs, gifts, you name it. And as per usual, we look at all the options, check them all out, and then go to export and export that out. And I'll just call this wakeup to click on save. And it's done, tried out. It's really useful for all kinds of art to be able to do variations. 94. Create New Blank Artboards: If you want to remove art boards, well, it's very simple. It's the same as anything else. All you do is you drag it into the bin at the bottom, like so. Now, if you want a new art board over here, if you're in the art board tool, it says size, document, Insert Artboard. And I can just make a new art board the same size as my document. And I can keep adding as many of those as I want. I can also make different sizes. So in here I could choose one of the presets. So if I was doing something e.g. for an iPad, I could go into iPad landscape and then insert a new one as the iPad landscape size and format. Or you can actually click and drag to make a new art board. And then you can change your height in here. So I can go along to the width and say I want this to be 2000. It's putting a two in there by 1,000. And there it is. And we can always move it around as well. If you just go to the edge, you'll see that big black cross. And you can move it around to where you want. You can click on any existing art board and change the size of that manually as well. And you can, if I pull this across like so, you can always change the order of these items and just move them around into whatever order you want them to be in. Heaven bit of a goat with some art boards, you'll see you get new art boards in there. You just click on the art board that you want to work on. Try it out. 95. Effects and Fill Opacity: Let's have a look at some of these effects over here. So we've got some quick effects. This things like Bevel and Emboss outline 3D all the way through to outer shadows, Gaussian blurs, etcetera. These can be applied to our vector shapes. So I'm going to start off with this hill and I want to separate it slightly from the background. So I'm going to put an outer shadow on it. It's kind of like a drop shadow really. I click on the little tick and that opens up some options. And what I'm going to do is I'm going to increase the offset. You can just about see it coming through down the bottom there. If I change the angle, I can move the ankle around where that shadow is. If I change the radius over here, you can sack and soften it up quite a lot. In fact, I don't want to be quiet, so offset and I'm going to change the opacity. Just want something very, very subtle to separate it from the background. Now, exactly the same on this shape here. Once again, I'm going to go with an outer shadow. I'll put in quite a lot of radius, a little bit of an offset in there, and you can change the angle in here. So just very subtle. Like so. Now I'm going to go to the Sun. And for the sun I'm going to use a glow. So I'm going to put in an outer glow. If I can find it in here. There it is, outer glow there. Once again, just change the radius slightly to make it a bit bigger. And maybe reduce the opacity. So it's not quite so harsh either. Last, I'm going to do the text. Now. Initially when we do the texts, this is going to look really bad, but bear with me. I'm going to go and put 3D on there. And you can see that gives us This embossed type of effect. Once again, I can choose to change that embossed effect to whatever I want. I just wanted to fairly subtle embossed effect. But what I really want to show you with this is not the embossed effect, but the fact that you can then go to the Fill Opacity and you can reduce or remove the color of your text and just leave the effect there. So that's just that 3D. 3d and in a very light sense of the word type of effect. So we can see through what is underneath. You could do that with anything. So I could go to the son and I could remove the fill opacity from that, which would actually just leave the glow around there. Now, I think for the sun, I probably do want to keep the sun in there. Let's pop that back. Anyway. Have a bit of a go with these ones over here. And they'll work in pretty much the same way. But beware of the film opacity, you can remove it to get rid of any fill on the object that you're trying to put your effect on. Try it out. It's great fun. 96. Introduction to Project: Infographic: Another one of my favorite projects. Now, what we're going to be doing is we are going to be creating this infographic and we're going to be adding a lot of things like gradients in today. We're going to be using repetition. We're going to use different art boards so we can create variations. So let's get going. 97. Create a Donut: Now for this infographic project, I've started a new document. And my document is an RGB file, it's A4 size and its landscape, although that's not the important part. So make yourself a new document. And then we're going to create a circle, Indiana. We're going to break this circle up. I'm going to start off by going down to the doughnut tool over here. And with the doughnut tool, I'm going to go and draw a doughnut shape. We can then adjust the inside of the donut by grabbing that little red.in there and moving around. If you wish, you can actually use this little dot here to just decide how much of a doughnut you actually want in there. I'm actually going to keep mine at 100 per cent for now because we're going to end up breaking the whole thing up into parts. I've got my first donut in there. And in case I need to make something else with it, I'll make a copy on that side. So just hold down Command or Control and make a copy which you can leave on the outside over there. With my shape. I want to now get this broken up into areas. So what I'm going to do is first of all, I'm going to center this whole thing. So I'm going up to the top. I'm going to choose Horizontal Align, Center, and Vertical Align over there just for the middle. And that just centers it in the middle of my page, making it easier for me to draw other shapes in here to divide the whole thing up. Now I want a little line down here so I can divide the whole thing up as well. I'm going to use the pen tool to just click over there, move down to the bottom. And you can see it tells me when I'm exactly vertical, I'm going to click over there. Now I want to make sure that this line is also aligned perfectly. So I'm going to select it. I'm going to go up once again over there and make sure it's centered at, it's centered that way as well. You can see I've jumped up slightly in there. So that's the first thing I'm going to do that I can then start to divide this whole thing up into pieces. Anyway, let me stop there. Have a go, make yourself a doughnut shape, get a line down the middle, make sure everything is lined up perfectly. 98. Divide into 8: Let's use this line now to break this shape up into smaller chunks. Remember though, you need to de-select and re-select before you do this procedure. I have got my one line there. It's called that curve. I'm going to use Command J or Control J to duplicate it. Now it's duplicated. We're going to go down to the Transform options and make sure that you've clicked the little middle dot over there. So it will transform it around the center of the object rather than the top and the bottom. And at the moment this is set to rotation of -90. I want to rotate this 45 degrees. So if I go to -135, that'll be 45 degrees on there. I'm just going to click in there and do -135 and press return and you can see how it's automatically made my copy. Don't de-select it at this stage, just do Control or Command and J to keep going all the way round. Now that's in the right position. I'm going to select all of those shapes like that. And then I'm going to go up to the top, to the brilliant area and when to use the little button over here. This one is called divide. And when I click on it, what it does, it just divides all those up into individual shapes. You can see I've got all those shapes over here. Instantly. That doughnut, the full doughnut is this one here which I made a copy of. So if I need it again, I can get to it. You'll find some times it's quite useful to actually take a shape like that. Hold down the Alt key or the Option key or the Command key, and just make a copy just in case you need those shapes again. Now, I've got all of those shapes ready to go. And you'll see if I click on some of them, I can actually start to delete them like that and I'm going to remove a few of those over there. Try that one out. 99. Create Second Half and Add Arrows: Now so you can see these individually. I'm just going to go and give them some arbitrary colors. We'll color this up properly later. Later on, I'm just clicking over here and giving them all sorts of weird colors as we can see them or the chunks easily. Now, I want to then get the circle to kind of go round the other way as well. And quite frankly, it's really easy to do because all I need to do is to move that over, make a copy of this. So I'm going to hold down command or control and copy that. I can then rotate this around. And in fact, I'm going to use my rotation in the transform over here. And I'm just going to rotate this 180 degrees. Press Enter. And as you can see, I can then move that into the right position over there. Now, this one, of course, are actually not quite in the right position. Let me make sure that it is absolutely perfect. I think that's I've got those selected correctly. I'm just going to zoom in and I'm going to go up here to this little area so I can see this in the line mode and I can see clearly then, then it's not quite in the right position. I can just use my arrows along here to make sure it lines up perfectly. Let's go back to normal mode. Over there. Then. I'll just change the color on this one to something else over there. And these ones, well, I don't actually need these ones, so I'm going to get rid of them. Now. We're going to have some arrows on the end of this one there and one there. So to make an arrow, if I go along to my shapes in here there is a triangular tool. And I can then click and drag to make a triangular shape. I'm going to rotate this 45 degrees for that 1.90 degrees for that one. So I'll start off, let's make two copies of those. Click on one. This one here, I'm going to rotate to 45 degrees. Now, if it goes the wrong way like-minded, you can undo it and just do -45. So -45, press the Enter key, and that's perfect. And I can then align that up on that one. And I might have to zoom in to get that. Perfect. But for the moment, I'm just going to pop it in there. This one will be 90 degrees or -90 degrees, -90. And same again, we can just align that one. In the habit of, uh, go get that shape going, add some arrows in there, and then we'll start to make this look a little bit more exciting. 100. Add Color: Now I've chosen a number of colors. And all I did was I made a little box, made some copies of the box, and I then put those colors into the box just that I could see if it would work together. And I quite like those colors and they just choosing colors from in here. You can do any colors that you like. But now I want to just get these colors in there. So I'm going to actually use the eyedropper to just sample the colors that I've created and I've sampled that and it hasn't come on there. What has it done? Well, because I've got the stroke as the front object, it's just change the stroke color. So let me go to the fill and now do it again. So if I then sample that, it picks up that color. And I'm just going to work my way through the various parts over here, sampling the different colors. Now you don't have to do it this way. You can just go along straight to your swatches and pick colors directly from the swatches. But I've chosen to do it this way so I can use the colors that I like. And if sampled in there, just find something that works for you. By the way, if you want to do these as little mini gradients, that kinda looks cool as well. So you can have little gradients on the object itself. We're going to keep it nice and simple. Over here. I'm nearly done with these. I think I've got the green to go and finally the yellow. So let's get that yellow in there as well. These token to make them gray. So I'll just go to gray. In fact, I want a lighter gray than that. So if I go to my drop-down in the swatches and over here I can go to the grays and I can then pick any of these grades over here. So I'm going to go with a medium light gray. It's the colors that I'm interested in over here. So that one will be the same. Now I am done with these, so I could move them to the outside if I didn't want to use them or I can get rid of them. Exactly the same with the shapes over here. I put them there in case we needed to come back to them. Or if you made a mistake, you can always go back to them there. You can get rid of that. And you can get rid of this one as well. It's just there in case you want to make a mistake and you need to go back to them. Lastly, I'm going to select all these items and go to my stroke and just say none for the strokes that we just have the fill colors on them. Let's move that slightly into the middle. And I'm just going to select the whole thing and put it into the middle a little bit like so. Try that out, get those colors in there, makes something interesting. And then we'll come back and we'll give this a little bit of depth. 101. Add Depth: Now, initially to give this some depth, I'm going to select those items. And I'm going to go across to my Effects or quick effects. And in here we've got a 3D option. I'm going to switch that on. You can see straight away we get a bit of depth from that. You could choose how much depth you want in here for those little items. I'm going to keep mine fairly low down. A little bit subtle, just to give them a little bit of depth in there. Over here you've got the opacity, so you can also adjust how much of that depth is showing up. So it's up to you how much you want to do. I just want to give mine a little bit of shape like that to lift them up from the background. Talk with backgrounds. Let's go and put a background in here. So what I'm going to do is I'm going to go in and I'm going to make a shape to go over over my document. There. I'm going to send it to the back. So once again, I'm going to go up to the Layer and I'm going to go to arrange and move to the back. So it moves it right to the back of those shapes. Then I want to lighten the middle. So I'm going to be using a gradient. So I'll go to my fill tool. And with the type, I'm going to choose elliptical, which gives me a gradient. And then I can go in and I can just change these colors if I wanted to make them either darker or lighter, I think I'm going to have a slightly lighter one for them and for the middle, much lighter. Again. So we're keeping it sort of subtle and it's up to you. There's no right or wrong here. You just do whatever you think works. I will go to the middle and move it around. So it's kind of in the middle of my design. In their life net went up a little bit more. And this one will lighten up even further. Once again, adding an interesting background for yourself and give these some three-dimensional feel, feel to them. Once you have done that, select all the objects that you've got and group them together. So that is under layer. And we can group right at the top. Once you've grouped them, you can go back to your quick effects again. And we can then put in a bit of a shadow underneath it. So I'm going to go to outer shadow, switch that on. And I'll just take these up quite a lot so you can see what we're getting from that shadow. Now that does look a bit rough that shadow. So I'm going to increase the radius to make it a lot softer. I'm going to take the offset down a bit so it's closer to the shape itself and then just reduce the opacity. All I want is a very subtle amount of darkening behind it. Once again, to just lifted off of the page. I'm lifting it off the page. I think that these two arrows that I've got on the side, or too much like the background. So all I need to do is to select them because they're grouped together. If I go into the layers, I can go into the group, go and choose the shape individually in there. So let's just pick two of them. I've held down the Shift key to select those two. And I'm going to go to my color and just experiment with a lighter color and then see if that actually looks any better. I think it does. I think using a very light color works for me. But it's up to you how you want to do those. Anyway. Try that out, get to this stage. 102. Add More Graphics as Symbols: I can't touch the background. I'm going to make sure it's selected. Go to my layers and just lock it. Now, if I want to change any of these items in here, obviously this is all grouped together. I can select inside my group and I can select the object that I want to effect. And I want to get rid of this one over here. But maybe I want to add another shape in as well. So maybe the arrow should be further along. And we have another section in there too. How do I go about that? Well, I'm going to ungroup this. I'm going to use Control or Command Shift G to ungroup it. And I'm going to move this along. So I'm just going to hold down the Shift key and pull it along like that. And then I'm going to go and make my shape in here. So I'm going to use a little rectangle tool. I'm going into outline mode so I can see what I'm doing. And I'm going to zoom right into there. And I'm going to start over there and draw in my next shape. I'm actually going to overlap that shape a little bit because I want them to be one piece. And in fact, this one needs to come down just a little bit like that. Then these two I can select. So I'm going to select one and then select the other. When you're selecting items in this area, you have to just click on the line to select them. Let's go back again to normal mode. And I can then unite those two into one shape like that. That's looking a little bit better over there. But what about if I want to change this again? Well, once again, I'll just put it out a little bit more. I want to shorten it. I would use my node tool to just select those two points. And then on the keyboard I'm going to hold down Shift and use the right arrow to push it along to get the size that I want. I think I'm happy with that. Once again, I'm holding down shift all the time to get the exact sizes. So you can adjust any of these, you can add to them, you can subtract from them. The style will still stay there. If you want to save a particular style that you want to use in other areas of this, you can go to your styles and just top right-hand corner over there, go and say add style from selection. So there's my new style. So at anytime I can make a new shape and I can apply that style to the shape very quickly. Let's get rid of this one over here. Now, the next thing we're going to do is we're going to make some little icons to go around on these things here. We're going to be using, well, I'm going to be using you could do whatever you like, but I'm going to be using the little cog. I want three COGS together to show the sort of how things work together. So I'm going to zoom in a bit here. I'm going to draw one little cog in there, which that's okay. You can always go back to the cocktail itself and you can adjust any of those settings in there. In fact, I might take this out a little bit. So we've got something more like that. And this could be pulled in a bit like so. Now I want three of those cogs. So I'm going to hold down the command or the Control key and make a copy. So I've got another one over there. And let's do one more. We're going to make this a bit smaller. Now, technically this probably wouldn't work, but that's okay. It's just for illustration purposes. I'm going to select that over there and you can see not quite close enough together there to work. But anyway, I'm going to select those. And I would like to have those with a white stroke and no fill, so no fill on there. And a white stroke around the outside. I'm going to go to the Stroke option and just increase the stroke width of those like that. I want to use these shapes throughout this. I'm gonna be saving them. Do that by going to the Window menu, down to symbols. I'm going to select those three objects there, and I'm going to create a symbol for them. There. You see it's created three symbols in there. Let's undo that. If I group them together. So we can go to a layer and group and then do the same thing. Click on Create and are created as one symbol, like so. Now when you want to use your symbols, all you have to do is to drag them out and drop them into your document. Another symbol here, I'm going to be putting one of these symbols into each one of those areas. And then the great thing about this is that if I then decide that it just doesn't look right because it's a symbol. I can always go in and adjust it. Over here. I don't like the look of that. I'm going to go into one of them and maybe I would adjust that and move it around, say, well, let's see what had to happen if it looks, if it's over there and you can see how all of them are changing at the same time. If I selected all three of those and rotated them around, they all rotate on all of those areas. So I'm going to go with something more like that. If I go to this one here and resize it, it only resizes that one. It doesn't affect the rest of them. So let's stop over there. I'll get these into the right position. Over here you can go and re-size yours to whatever size you want. Remember if you've have resized one, you could just, oops, didn't mean to delete that. You can just delete the others, resize one of them. And then you can just hold down the command key to make copies that way as well. So you don't have to go back and redo them again to the right size. 103. Create a Shadow: Now as you can see, I've put in bits of text, and my text is a combination of Artistic Text and frame text. I've used a Artistic Text for the bigger areas like beyond and AI future. I've used the other one, which is frame text for the little bits of text in here. Now you can do whatever text you like. I've just used filler text in there. But I want to also give this whole thing a little bit more depth than I'd like to put in a shadow under it. And I want to show you another technique that I use for shadows rather than just painting things in. I'm going to get an ellipse and I'm going to draw in an elliptical shape. So I'll just draw in my shape over here. Let's make a round. I'm going to fill the shape with black. Let's make sure that's up to 100 per cent. Then what I want to do is I want to use the transparency tool. And I'm going to click and drag on my shape to get some transparency. You can see that that is set up to linear at the moment. If I change it to elliptical, now I've got a shape which goes from the black in the middle out to transparency. Of course, I can then use my move tool to just squish this down and pull it out. And this will then give me my shadow underneath. Now, while it's there, you can then go to your opacity and just adjust the opacity to make it a little bit less obvious that if you find that it's actually on top of your shape, you can see it's darkening, they're a bit, you can then go and just move it underneath the shapes in the layers. I quite like that darkening effect because I think it sort of gives the idea that there's something then it's rounding a bit, but that's entirely up to you. You could also, if you wish to go to the shape and change the colors, I can make it more of a bluish shape as well. So these things might be casting a slightly blue shadow on there. Try that one out and get some sort of little shadow going underneath your shape. We'll just move that down there. We pretty much done with this now. So you can make any changes that you like with this. Do make sure that you save it. So do your Save As the usual way. And we'll call this info G. And I'm just going to save it where I can find it again in my case, it's on my desktop. And then finally, you can save it out for wherever you wanted to go. And that means exporting it. Choosing jpegs, choosing PNGs, choosing Photoshop files as even PSDs in there, as well as PDFs. Once you're happy with that, just click on export. 104. Introduction to Pixel Persona: When you first go into the pixel persona, it looks like a whole new piece of software. But we're going to be going into there and having looked at all the most important things, e.g. the selection tools. And then we're gonna go into the Brush Tools and we're going to do some corrections as well. All the things that you really need to work on. After we've done that. It's gonna be the final project time. And obviously we're going to be using so many different tools for that. 105. Working on a Pixel Layer vs On a Vector Layer: Let's have a look into the pixel persona. So I've gone from the standard persona into the pixel persona or at the top, I'm going to go over to my brushes and I want to show you the difference between painting on an object or painting on a pixel layer. I'm gonna get rid of any objects that I've got in there. I'm going to make a little object. So I'll just pop back into Designer and choose a little shape that. And let's give it a slightly lighter color. And I'm going to go back to the pixel persona. You can see there is my object there. If I get my paintbrush and to paint, I'm going to go across to my brushes. I'm going to choose a brush type. Now. I can use any of these ones here, or I can go into the brushes and pick a totally different brush. And there's so many different ones to choose from. There's some interesting engraving ones in here, and I think I'll pick one of those. Now to change the brush size. We can of course, go up to the brush, brush, the brush width at the top and just adjusted in there. But very often, Let's get rid of that assistant. It's much easier to use the square brackets on the keyboard. The right square bracket makes the brush bigger and left square bracket makes it smaller. If you've worked in Photoshop, It's exactly the same shortcut. So let's make that bigger. And then what I'm going to do is I'm just going to paint. You can see it only affects the object. Let's do a different color in here and just paint across. With that. I'll change the brush to something else as well. Let's go with a sprain splitter. I'll choose a split of a splatter here. And it's a tiny splatters. I'm going to change my paintbrush size in here and make it a lot bigger. And then I'm going to just paint with that splatter and it's changed the color for that as well. So where is all this painting happening? Well, if I go to my layers, you'll see that because I had that object selected, it's made a pixel object, which it's placed inside that object. So it's using the masking process. I can actually take that and drag it out of there. So we've just got the paint in by dragging it on top of it. I can once again get that clipped area from my paintbrush. But what about if you didn't want to have to go to all the effort of paint and then remove it from there. Well, what you can do instead is you can just click on the little icon at the bottom. This is the ad pixel layer button. And what I'm going to do is click on there. It adds a pixel layer. And now I can paint on my pixel layer. If I did want to clip it, I can drag it on top of that layer to clip it or out again, like so. So it's basically the same thing that you're painting on a pixel layer, but it's how it produces it. Does it do it automatically and clip it to the object? Or does it put it on top? You might you make the layer and it puts it on top. Anyway, try that out. Habit of fun. Have a go at some of the brushes and then we'll look at some of the settings along the top of the brushes. 106. Difference Between Opacity and Flow: I'm on the Brush Tool over here, and I want to have a look at the brushes and some of the options rarely. But I'm going to go to the basic brushes to start off with. And I'm just going to pick one of these medium hard brushes and a bit of color in here so that you can see what's happening. Now, let's go up to the top. We've got the width up the top there. And as I said, you can change that by changing it using the square brackets. After that, we've got the opacity. So let's see how this works. So if I do that, I'm getting a really weird brush in there. It's hard on the outside, but it's slightly lighter in the middle. Well, that is to do with the wet edges. If I just switch that off, now you'll see I'll get a normal brush like that. So if you have that, just turn off the weightage, is it supposed to replicate? We paint, goes towards the edge of a stroke and leaves them the middle of slightly more transparent. So anyway, I've got my brush there. The opacity is set to 100 per cent. And if I set it to 50 per cent, then we'll kind of get something which is more of a 50 per cent like that. If I go over there, you'll see it's going over the top of those. We do that again. So there's 50 per cent over there. So what is the difference then between opacity and flow? Well, I'm going to take the opacity up and I'm going to go to flow and I'm going to take the flow down as well. Once again, I'll start to paint. And apart from the fact that you can see these little dots, which I'll come to very shortly. It's kind of similar. So exactly what is the difference? Well, I'm going to undo this. I'm using Control Z or Command Z to undo those. Flow is about how the spray comes out. So if you think of a spray can, if you're spraying with a spray can and you sprayed, then you just carried on spraying on the same spot? It would just build up the paint in that area. I'm just holding down the mouse button and painting. Whereas if I did it and I'll just take the floor up to 100 per cent again. Was if I did it with the opacity and had that at about 50 per cent. And I painted and I held down the mouse button and I went over and over that spot. It would still be 50 per cent. Opacity gives you a certain capacity and it will only build up when you release the mouse button and then go over it again, release the mouse button and then go over it again. With flow. You don't have to release the mouse button. Just built it up like a spray can or an airbrush would. Over here we've got the hardness. So take the Hardness down to zero and you've got a softer brush. Take it up to 100 per cent, and you've got a much harder brush in there. Try those out so you get to know the difference between opacity and flow. Sometimes you want one, sometimes you'll want the other. 107. What is Brush Spacing: Now, as you can see in my layers panel, panel, I haven't got anything the moment and I click with my paintbrush, it automatically makes a layer for the pixels. And you can see that's what that little assistance says. So you don't have to worry about always making a new pixel layer unless you've actually got some objects up. In which case, you might end up by making a pixel layer and being clipped to the object as we saw before. So I'm just going to undo the bit of paint that I did. And you can see it's undone that layer. Once again, I'm in my brushes. I'm in one of these brushes over here in the Basic brush settings. And I'm going to make my brush a little bit bigger. I want to show you more of the brush settings. So if I'm just painting like this, we've got some basic settings in here. But if you go to the brush itself and you double-click, you'll find you can go into all sorts of different settings in here. Some of them will replicate things that we've got at the top, e.g. the size is in there, the hardness is in there. But what about this one? The spacing? Remember earlier I said there was a whole of little dots that were appearing. Well, that's to do with the spacing. The further along the spacing is the more of those dots you'll actually see. So if I'm painting and I'll just leave this set to the default setting over here. And I'm going to make my brush a little bit bigger. And I'm going to make it a bit harder as well. So I'm going to change the hardness and take that right up to 100 per cent. You'll see when I'm painting, it's putting down blobs of paint like that. Whereas if I double-click and I change my spacing and I pull the spacing over to the left. Now, once again, same thing. I'll just close that down, make my brush bigger. But this time, there's no bluffing around. Once again, let's take that hardness up to 100 per cent in there. And you can see we don't have any of those blobs. Just a nice straight line. So be aware. If you find that blogging happening, you can double-click your brush and you can go in and you can change your spacing. In there. You'll notice some of the other settings we've got flow. Flow is just below the spacing. Now it's not within the scope of this course to go through every single option in here, but I'd like to show you a few of the others in the next video. But try that out first. 108. Brush Options: Let's have a quick look at some of the other settings in the brushes. I'm just going to change to a different brush in hand. I'm going to go down to a halt. Let's try the textures brushes. I'm going to pick one of these brushes. It really doesn't matter which one and double-click. So in these general settings, we've looked at some of those already there, the sort of general overview settings. But the great thing is that you can actually see what you're getting in the little preview. So in here, if I go in and change my spacing, I can see what it's going to do in then how it's going to paint. We then have some tabs along the top and the next setting or the dynamic settings. So the dynamic settings are all about randomness. And the word jitter basically means randomness. So we can have random size and random flow and random rotation. All of these settings can be changed. In there. We can go to the textures and you can use different textures for your brushes and you can actually change your texture in here as well set of texture. We can remove the texture. If I remove that, watch what happens to the brush. It just goes back to a standard brush. Now if you do that and you think, oh my goodness, have ruined that brush, don't worry, just click the reset button at the bottom so you can play around in here without any issues. And lastly, there's the option for some brushes. So one brush based on another brush. 109. StabIliser, Pressure & Wet Edges: Let's have a look at the rest of these options here. Firstly, we've got a little button over here, which if you're using a webcam tablet or a graphics tablet, when you switch it on, it allows you to use the pressure sensitivity of the stylus. Otherwise, it'll just work like a mouse. Next, we've got a stabilizer and the stabilizes the same as we have with the vector shapes. So as I'm dragging this along, I'm using the rope option. You'll see the little rope is following me around and it keeps that distance all the time, doesn't matter how fast or slow I go. Whereas if I'm using the window one, it's called Window mode, then it's flexible. And if I go slowly, the Roper be small and if I go fast, the rope would be bigger. Exactly the same as in the vector brushes. And we can then change the amount of that little rope or elastic band. I like to think of the window one as an elastic band. Next, we've got the wet edges I mentioned before. You can switch them on, switch them off to be careful if you've left them switched on by mistake and you're wondering why your brushes not giving you good coverage. That's possibly why. Try those out. And then we'll have a look at some really interesting ones called symmetry and mirroring. 110. Symmetry & Mirror: Moving across this symmetry, when you switch symmetry on, you get a line in your document. Now that line can be rotated to any angle that you want. And this allows you to then create multiple copies of what you're doing. Let me show you. First. If I go to the mirror over here, I can then just draw things out and it will mirror it on the opposite side. So I could just do a quick I like that. Let's do a little circular shape in the middle. I shouldn't have my smoothing said quite so high for this. But you get the idea. And we'll do a little bit of a nose in there, and finally a mouth down the bottom there. Now, that's with the mirror option. I'm going to remove this layer. So I'm just going to delete it and I'm going to go down and I'm going to add a new pixel layer in there. This time I'm going to go switch off mirror. But in the cemetery I'm going to change the number of stages. So you can see if I take that up to two. Now, with my symmetry, I'll get four of those because we've got two lines there. You can increase that all the way up to a maximum of 16. So with this, now when I start to draw, you'll see I can do some amazing things. With that. Let's just change the color. I'll do another little line which kind of comes in and out. Well with playing with, or you can use it for making dream catchers. Either way. 111. Burn, Dodge, Smudge, Sharpen & Blur: Let's have a look at a few more of these little tools down here. Now, I've brought in a picture, and as you can see in my layers, it's come in as a picture layer. What I want to do is I want to convert that into pixels into a standard pixel layer so I can work on it. The great thing is the software actually do it for you. So if I went to e.g. my Erase tool, I'm just going to increase my brush size using my right arrow and I click and drag. You can see the assistant says that the layer was previously, sorry, the layer has been rasterized because it was not a raster layer. And you can now see the little icon is going to be rasterized icon. I'm going to just undo that and do it again. That's the original icon. When I click and paint it, rasterize the layer for me and changes the nature of that layer. And it's the same with any of the other tools. So that's the erase tool, looks like a brush but it erases. But going down over here, I've got a burn tool. Now once again, it will need to do the exactly the same thing with the Burn tool. But before I do it, I'm going up to the top and I'm just going to change the opacity, maybe make it a little bit less in there. So I've gone to about 26 per cent in opacity. A lot of these options are the same as with the normal brushes. You've got things like the hardness, the flow. Over here. You've got the stabilizer as well. And we've also got symmetry options with these tools to, but then the tonal range. The tonal range is either the shadows, mid tones or highlights. I'm going to keep that set to mid tones and I'm going to keep protect hues on. So the Hughes will be protected. The q's being the color of what I'm doing now can go into my image. And once again, I've just clicked, it's rasterized that photo for me. And I can then use this little tool here. This is what it looks like a flame. This is called the burn tool. I can just darken down some of these bits with that tool is he's just ever so slightly darkening them down. So what I'm doing here is I'm darkening down some of the less important parts of this image because I really want to just draw attention to a few bits of the fruit here. So maybe the star fruit in the background, but just darken them down as well. You can use different size brushes, whatever you like. Over there. The burn tool is just about darkening areas down. I'll just paint on the basket, darken that down a little bit as well. Then the one above it, this is the Dodge tool, and it works in exactly the same way. All the settings along the top are the same, except with this tool, it lightens. The burn tool darkens, the Dodge tool lightens and you can see I can just lighten up some of these fruit in here. I'm going to click a few times on the kiwi fruit to lighten them up. Maybe the highlights on the Apple could be lightened. I'm going to make my brush a lot smaller and then just go through some of these grapes, enlighten them up as well to kind of give them a bit more of a inner glow. If you like, which do a little bit more on that one over there. Make sure you use a reasonable size brush for this. Otherwise you end up with stripy Britain stripy bits. So that is the Burn tool to darken, the Dodge Tool to lighten. In here we've also got a smudge tool. And the smudge tool, I'm going to make the brush a bit bigger and does what it says. It allows you to smudge an image. And you can see as I'm smudging these around, it's kinda like dragging your finger through wet paint. It's good for doing art work where you actually need to smudge a few of your brush strokes less. So for photographic work like this. Moving down, we then got the blur tool. And I'm going to make this brush bigger. I'm just going to drag it a few times on the basket over here. And what this will do is will slightly blur that basket out. I can just keep going to blow that more and more. I don't want too many details in those fruit either. So I'm just painting a little bit of blur on those. And then after that, this is the opposite with the blur tool. This is the sharpened tool. And as I go over here, what it'll do is it will intensify the detail in that image and sharpen up the image. I'm going to click a few times. On the most important areas, show more texture on those, maybe a bit more texture and in that, and it will just sharpen those apps. Likely. All of those tools are working with the brushes and the settings are pretty much as we've used before. Let's have a look and see if we can see what this will look like with before I did all those settings. So I'm going to go along and find my history. So let's go down to history. And now I can see that it's out. I'll look over there. There it is. There's my history. Let's pull that up. And with the history, I'm going to scroll all the way to almost to the top where I actually added the image. We'll click on there. You can see the difference. So that's how it was before compared to that's what I've done to it now. Very subtle, but enough to just draw the eye in a little bit. 112. Basic Selection Tools: Let's have a look at some selections. In the pixel persona. I'm in the design persona and I'm going to go along to my place tool and just find a photograph that we can look at. And I just want something really simple so that I can show you how these things work. I've placed a photo and I'm going to go into the pixel persona now. Now, in the pixel persona, we've got a number of different selection tools. And each of these tools has different options along the top. So let's start with a simple one like this. If I click and drag, I can make a simple selection. And everything inside that area is selected. Everything outside isn't. Now, if I were to click and drag again, you see it just gets rid of my first selection. Click and drag again. It gets rid of my other selection. So what we can do is we can actually add to the selection, and that's in this mode over here. So I can say Add and I can add in another selection in there. As you can see, they don't have to touch. I can also choose to subtract from a selection so I could click and drag over those ones to subtract from them. The last one, and honestly this one is not as important as the others, but still good is if I click and drag there, it would just leave the intersecting area. Now I'm going to de-select, so I'm going to go up to the Select menu and just choose to deselect my selection. Let me do that again using the selection tool. I'm going to click and drag, but I need to make sure I'm on the new one now. I'm going to click and drag in there. If I want a perfect circle, I just hold down the Shift key to get that perfect circle. Everything inside is selected, everything outside isn't. Well, what does that mean? If I go along to my layers and I go down and add an adjustment layer, I'm going to click on there and I'm going to choose an adjustment. Now I'm going to choose something fairly simple, just that you can see the results. I'm just going to go to this. Well, what should we use? Brightness and contrast? If I brighten that up, you can see it will only affect the area inside that selected area. Now I'm going to undo that. So I'm using Command Z or Control Z to undo that. What about if I wanted to select everything else? Well, you go to the Select menu and you choose to invert the pixel selection. So now everything else is selected. Once again, if I go to the adjustment layer over here, I'm going to go along to brightness and contrast. And you can see it's affecting everything else except the bit that is selected. When you do this, by the way, what you're doing is you're creating a little mask on the adjustment in there. So let me undo that. Once again, Command Z or Control Z to undo and select and deselect. Now over here we've got exactly the same tool with, which is a circular tool. Once again, I can click and drag a circle. I could then go over to my rectangle and say, let's add in a rectangle over there so you can mix and match the different tools in here. Moving on to this one here I'm going to click on Add. And by adding this, and you can see it's just adding rows of pixels in there, either horizontally or vertically. I'm going to get rid of those. So I'm going to just make sure that nothing is selected in there. So let's try that again. We'll just de-select everything. The problem with these is if you do use one of them, you can't always see that something is selected. So it's a good idea to just go select and deselect if you think that something isn't actually working. And that's just the second one down. The great thing is the de-select is the same shortcut that you get in Photoshop. So if you're using Photoshop, it's exactly the same as that. Now, those are the basic tools in here. And then we can go to the more hand-drawn. And with a hand-drawn, we've got various options along the top. I'm just going to start off with this one here. This one, we just draw it by hand. Like so. Once again, I can then go to Add and I can add in the next bit on the selection. Now I know this looks a bit rough and ready, but bear with me because we'll be using these to refine some of the other selection tools that we have. The second one along here is just straight lines so you can just click pointer point to make your selection like so. The last one in here is the little magnet. Now I'm going to deselect this and zoom in to my subject. However, here, using the little magnet, what I can do is I can go onto my subject and I can just click. And when I move my cursor now, I'm not holding down my cursor at all. I'm just moving it and you can see, even though my line is a little bit wonky, look at that. I'm going all over the show. It's just magnetically finding that edge. I can go all way around to the end and click to finish it off. And then as before, we can go in here and we do whatever we need. I'll use brightness and contrast. And I will just increase the contrast on that and maybe darken it down a bit. Do have a little bit of a play with those and get to know them. And especially these three options for the last sue tool, the free hand tool. And then also make sure that you understand the new, the add, subtract and less importantly, the Intersect. We'll talk about feathering and anti-aliasing in a little while. Try them out. 113. Antialias and Feathering to Soften Your Selections: Let's have a look at what the feathering is. I'm going to take a little circle and click and drag a so-called out. And now my circles in the wrong place, I want to move it over to where that camera is. So you'll see that if I'm on the new option, I can just click and drag and move that selection around. If we go to the Select menu in here, we can also do some options in here, e.g. there's a Grow Shrink option. So over here, I could actually shrink or expand my selection at the same time. I'm going to cancel that. Remember Control or Command D to de-select. So let me do this one more time. I'm going to go to the camera. I'm going to click and drag from the middle out a little circle like that. Now, if I went along and use one of these selections in, sorry, one of these adjustments in here. And I'm going to use the brightness and contrast over there and just darken that down. You can see we have a very harsh edge around the outside. I don't want that, so I'm going to close that down and undo that. So what about feathering? Well, let me de-select. If I go to my feathering option and I put some feathering on here. Now when I do the same thing, I'm going to draw that shape again. But look what happens when I go to my adjustments. I'll go to brightness and contrast. And same again. Close that down. I will de-select that. And you can see we've now got a softer edge rather than that harsh edge. Going to undo these again. Add more feathering to this. Now this does seem like a very long procedure of going to feather first, test it out, try it out. That is a better way, but I just want you to understand what feathering actually does. So brightness and contrast. And once again, when I do this, now, you'll see we get a very large feather over there. And it's really useful so you don't get those harsh edges when you're selecting something. Once again, I'm going to undo that and de-select. Now, the other option we have in here is from the center. So if you're drawing a circle, you can either draw it from the center or if you switch that off, it draws it from the top left hand corner down or whichever corner you happen to drag from over there? I can drag drag from the bottom right corner. Just be aware that that is there. Now let's have a look at anti-alias. And I want to show you what anti-aliasing does by making two little circles. So one day with anti-aliasing switched on, then I'm going to switch it off. I'm going to go to Add, I'm going to do another circle over here. And I think what I'll do with those circles is, Let's try that again. Sorry, just hit a wrong key on the keyboard. It will get to do with those circles is I'm going to go along to the adjustments and I'll use levels this time just for a change. And I'm going to then increase some of these levels in here. I think let's do the black. Perfect. I'm going to de-select this. Remember, one of these had anti-aliasing on. One of them had it off. And if I zoom right in, you see straightaway the difference between these two. Look at that edge, it's soft. This is anti-aliasing. This is where you switch anti-aliasing off. Anti-aliasing just ever so slightly softens your edge to make sure you don't get these Jackie's coming in on your selection. It's usually a good idea to leave it switched on most of the time. Once again, have a bit of a go with that. Check out, the feathering checkout from the center and the anti-alias. 114. Magic Wand Selections: I'm going to go back and get another picture. So I'm going to the designer persona over to my place tool and find the image that I want to use to demonstrate. I'll just drag it in over there. Moving back to my pixel persona, if I wanted to select the sky, one of the tools that I can use is this little tool over here called the Magic Wand. Now, the way the magic wand works is that when you click, it will select pixels which are similar and are touching. So if I go over here and click on that image, you can see it's selected some of these blue ones which are all similar. If I clicked up here it's selected those which are similar in color. If I click the Add select these which are similar in color, but it hasn't selected the same color on that side. Now, this has to do with a little option here called contiguous. I'm going to de-select. So Control or Command D to de-select. If I switch contiguous off and then do that again, you can see it selects pixels which are similar on both sides. I'm going to leave contiguous on and I'll de-select. So the way I work with this tool is I'll do my first click once and then I'll go long to my Add button. And I'll just say, let's add in these other bits over here. And I can just keep going around adding in all of those until I've got the whole sky selected. This also a tolerance setting in here. I'm going to de-select this. You see what your tolerance, you can increase the tolerance to get into select more. If I click with that set to 16, you can see it's selected quite a lot of blue straight away. Let's de-select this. If I increase that number two, well, let's go with 57. Click over there. It's selected not just the sky, but some of these areas as well. So you can play with that setting until you get exactly what you want. But I find, I keep it really quite low. And I'll just click. And then I use the Add option to just add in the other bits as I need. In there. Once again, there's anti-aliasing in there, which I would generally leave switched on. If you've got multiple shapes are multiple layers, you can also choose to work with all layers, or just the current layer, the current object that you are actually on at that time. To try that out, the Magic Wand can be really useful if you're trying to select either large areas like this, which is sky, or maybe small details. So what you do once you've done that, we'll I'm just going to go along to my adjustments over here. I think I'll go to HSL, which is hue saturation and luminosity. And I can then just adjust the color of my sky to anything I like. Close that down and de-selected quick and easy as that. Try it out. 115. The Selection Brush: Let's have a look at this other little tool over here. This is called the selection brush tool. With this tool, you painted things in and you have a brush size. Now you can change your brush size up here by adjusting that. Or you could do it manually by just using the left bracket or the right bracket like you would with a paintbrush. So I'm going to start with a smallish brush. Then I'm just going to click and paint over this area. And you can see I've missed out something, so I carry on clicking and painting onto that. And very quickly I can just paint in windows as I need. Now that I've done those, I think I'm actually going to go in here into my HSL and just maybe make them a little bit pinker as well. Maybe less pink than that and darken them down a bit so they're kind of match the sky. I'm going to de-select that. This little brush allows you to click and drag to paint. Now, let me go back to the original, sorry, to another picture and show you how we can do some more settings for this. I'm going to get rid of the one that I've got here. I'm going to go back into the pixel, into the design persona and go and find an image. Now have supplied these images too. I'm going to do a few images here and show you how we can use this in practice. So first of all, I'm going to put this little sunrise or sunset, whichever it is into my background. Then what I want to do is I want to blur this background. You'll see where I'm going shortly. So I'm going to go down to my quick effects. And I'm going to find something there called Gaussian Blur. And I'm going to click on Gaussian Blur. I'm going to blur that shape out like so. Now, I want you to notice here is when I do that, we get this nasty line along the edge. And in fact, if that was right up against there, it'd be the same old way round. And when you use this, if you switch preserve Alpha Ron, it'll actually get rid of it for you. So just watch that if you see that funny little, little edge. Anyway. So that's my background in there. I'm going to go to my layers and I'm just going to lock it. And then I'm going to bring the picture that I want to use to select and cut out. So I'm going to go over here, find the image. It's going to be this camera picture. I'm going to drag that in. Like so. Then I want to cut the camera out. So I'm going to go into my pixel persona, go over to my selection tools. And I can choose from the various selections, selection tools to do a good selection. So how am I going to do that? Well, I'm going to start off by using this brush tool. With the brush tool, I can just click and drag. And you can see as I'm dragging, it's just selecting areas which are similar to the ones that I'm dragging on. Now, I can change my brush using the right arrow over there, sorry, the right bracket over there to get a bit more of those. That unfortunately, having done that, I've gone too far and it's gone over the camera. Let me just undo a little bit in there. So I'm just going to go over these bits here around. And I think I'll just go around that area there. Now you'll notice that there are a few problems because over there at the top of the camera, unfortunately, it's it's eating into the camera. Let's go back down there. And we want this bit as well. So I'll go up to there. Okay, That's okay to start off with. Now, I'm going to zoom in a bit. So I'm going to use my Command and plus to zoom in a bit so you can see my selection. So there's a few areas here. Let's start at the bottom that are missing. I'm going to use a smaller brush. I can just add these bits in manually. I can add this put in manually over here. And that bit over there. I'm sure you're looking at those and going, TIM, are really bad selection and you're right, it is. So what can I do about it? Well, I can go to the subtract option over here. And then I can just remove that little bit in there and bring it back. So same again down here. I can just go and get that, that bit at the top of this thing. Now sometimes if you go too far like that, you might find that you have to go back to your other one and just drag that in as well. If this two won't work, you can actually mix and match tools. So I can go along to my Lasso Tool. Now remember, this bit is selected here. This bit is not selected. We zoom in. So let me say that again. This area is selected, it's really easy to get confused with this. This area is selected, this bit is not selected. So do I want to add or subtract? I actually want to subtract. Over there. So I'm just going to draw around that area to subtract that a little bit of the selection. You'll probably do it wrong a few times. I know I did when I first started out with these type of packages. It just takes a little while to get used to am I adding or subtracting? Of course, if you own the wrong one, Let's say e.g. I. Was on add and I did this. You just get a huge area like that. So, you know, just go to the other one and try it again. So I can then just subtract, but try and figure out which bit is selected which isn't. And you can then add or subtract those areas. In then I still, despite years of working in this, still occasionally get things wrong. So let's not spend too long over there. I'm going to go along up here because there's a few bits. The extra that I need. And I'm going to start off with the brush tool, make my brush a whole lot smaller and zoom in. So I'm going to try and select that little area there. Now, I need to make sure that I'm on, actually on the Add option. So I can add that little bit in my selection. And then I've just realized I should be on the subtract one. So I'll subtract that one over there. And then this one needs to be added in, in the middle. And I can work my way around there. Am I adding? Am I subtracting? And we can just go all the way round the whole of the camera until we get everything spot-on. Sometimes these things do take a little while, but sometimes it's worth pursuing because you'll get a really good selection when you're finished. Let's move this on a little bit there and down over here so you can see my brush, I'm just taking it to the very edge over there. Same with this. Along there. And go into their very quickly. Drag along. You don't need to actually have a drawing tablet to do this, but it does help. So I'll just go around that little area there. Okay. Well, I'm going to say that that's as I as I wanted. Once I've got that right, what I want to do now is to manipulate the edge. I'm going to go to refine edges that's right at the top over here. And what refined edges does is it shows me my image over here with a mat or a mosque. This allows me to do a few things. So one of the things I can do is I can smooth those edges off. So if they're a bit rough, I can smooth them out. I can also feather things. I could soften that edge if I wanted to. Now, what I've done, softening, there's way too much. I'm just going to do a little bit of softening in there. I can also use a ramp. What ramped does is it either increases your selection or decreases your selection. So you can see, as I'm pulling this in, it's going in from the outside. Or I can go the other way. That'll push it the other way in there. I'm just I'm not going to do either of those. I'm going to leave that right back. On zero. You'll find we do a few more settings in here in the project for this particular section, I'm going to click on Apply. And now I can then go and add or do my mask. So I'm going to go down to the bottom and click to make a mask and you'll see it's done the wrong area. Command or Control Z to undo. Of course, all we have to do then is go to select, invert the pixel selection. So now the cameras selected, remember before we were always selecting everything else except the camera. And I can go and add my mask, like so. I'm going to deselect this. So I've got my camera in there. Now. There is a little line around the outside. If you want to get rid of that, you have created a mask. So it's possible then to go in and use a paint brush and paint directly on that mask to remove that line. I'll just go around this very quickly. Over there. You might not get this. It was just due to my Settings in the refined edges area. Now that I've gotten rid of that last area of the mask, and we need to do something else. I want to darken down the camera because for this quite dark scene, the camera looks too bright. So I'm going to go down. I've still got the camera layer selected. I'm going to go down over here to the adjustment layers. I'm just going to choose brightness and contrast. And I'm going to darken down the camera to suit the scene. I think that looks a whole lot better in there. Now, next thing is to get a picture, the back. So I'm going to go back to my design persona, go cross, find the original image again and just drag it in. Like so. Now I'm going to hide it and zoom in to this area. Over there. I'm going to use a selection tools. I'm going to the pixel persona. I'm going to take the last sue, but I'm going to be using the straight edge less sue for this. So straight edge less Sue. And I'm just going to click along that edge there. I might want to just rounded a little bit over there. So just a tiny sort of cutoff corner. And back in now minds just disappeared. Why would that have happened? Now this is genuinely, I have made a mistake here. Well, the reason is because I was on subtract. I've left this in the recording so I can show you what happens when you are in the wrong one. I really should have gone to new or add to do this. I'll do it again. I'll do this a lot faster now around here. So if things do just disappear, it is because you are on the subtract option. The top right, I'm gonna go back there and this one will work. Now. There we go. You can see I've got my selection. Now I'm going to go into refine. And I don't want any feathering, but I want to smooth off those edges a little bit. And what it'll do is it'll just kind of smooth and round them off a little bit. In there. We don't actually need any border width on here. We're just going to keep that really nice and tight. As a good selection. Click on Apply. Now that I've got my selection in there, what I'm going to do is switch on this layer. Because I'm actually on this layer at the moment. You've not hidden it. I'm going to add a mask and de-select that. And there's my picture coming through the background. Now, it's probably a little bit bright. So I might go in there and adjusted. Maybe I could actually go to my opacity and adjust that slightly as well. So we've got some of the dark background coming through at the same time. Anyway, do have a bit of a go with that. Using the brush tool. And with the brush tool, just try painting in the areas that you want. Don't forget the little settings up the top there where you can either add or subtract from your selections. Change the width of the brush in here. And don't forget with refined edges, you can go into refine the edges. And you can then, well basically to, as it says, refine the edges of your selection. 116. Introduction to Project: Magazine Cover: Unfortunately, this is our last project, but it's gonna be a good one. We're going to go into the pixel persona and we're going to cut this personnel. And we're going to then put them into a magazine style publication. We're then also going to be putting some text around. We're going to be using layers and we're going to add some shadows underneath. And if you have a little bits and pieces to make it look like a really, really good cover. Let's get started. 117. Create Document and Place Cover Image: Now for this project, we're going to be doing this magazine style cover image. We're going to be working with the pixel persona. But first of all, let me go and get a new document in here. And remember if this is going for press, I'm going to go into the press ready and I'm going to choose A4, which gives me automatically the little bleed around the outside and my documents CMYK. But I'm sure you remember that. I'm going to click on Create. Now we're going to go and find the picture. So I'm going to go across to my place icon. And I'm going to go and find that it'll image. And this is the image over here that we're going to be using. I'm just going to click and drag it straight in like that. The only thing is that we don't want all the background, we just want the person in there. So we're going to be using some of the tools and the pixel persona to cut that person out. Anyway. Before we go into there, if you'd like to get to this stage here, just make a background bringing the picture, and then I'll show you how to cut it out. 118. Cut Out Person and Adjust Mask: Now let's take this into the pixel persona and cut him out. I'm going to go over to the pixel persona or at the top. And we've got a number of selection tools we've looked at in the course. I'm going to be using this brush over here. It's called the selection brush. And when I'm selecting the area, I can just start and click and paint around the brushes not selecting as much as you like. You can just change the size of your brush. You can do that either by going to the brush width in there. And you can see how much of a bigger brush I get now. Or you can use the left and right square brackets on the keyboard. The left square bracket will make the brush smaller. The right-hand rule make it bigger. Now I'm going to just make my brush a little bit smaller and do his head. Now I have got some of that background. I'll show you how to fix it shortly. Smaller brush over here, zoom in a bit. I'm using Command and plus or Control and plus. And I'll just do his shoes. And maybe that's a little bit there and the shoe over there. Now, I've got a problem here because I've selected too much. So with the selection tool, if you want to deselect items with the brush, hold down the Alt or the Option key on the keyboard. And you can then go over the area to de-select. I'll just paint those areas there. When I let go of the alternate option, kid goes back to adding and I can then add in these little bits over here, Alt or Option, and remove them. Now once I've got the selection pretty good, it doesn't have to be perfect, but reasonably good. I'll just zoom in a bit actually two, fix this with a slightly smaller brush. Hold down the Alt or the Option key. To get rid of that. I think those are not too bad. I might need to alter option to remove that little section in there. Now I'm happy with that. What I'm going to do is I'm going to add a mask. So we go over to the Layers panel and we go down and we click on the little mask button, which masks him out. Now, that's a quick way of doing it. But this selection that I've got, if I go into close, you will see doesn't look that great. So I'm going to undo it. And before I do the mask, I'm going to click the refined button. Up here. You click the refined button. This takes you into this roughened area. And what we can do is we can then refine certain parts and particularly hair in someone like this. So I want to zoom in a bit. You can see I've got a brush in here as well, but make my brush a little bit smaller. I'm still using that keyboard shortcut, the square brackets on the left. I'm just going to paint around his hair area and get the software to just look into that again and try and redo it. And if there's any other areas as well, I might want to work on them, particularly for and her work really well with this tool. But I can go down any edge to get it to look at that edge again. Now, the other thing while I'm here is I'm going to put a tiny bit of feathering on this. Not very much. You'll see I'm sort of going like 0.2, 0.3 of a pixel over there. It's just enough to take off that harsh edge. We can use the ramp over here to either increase or decrease our selected area. So I'm going to just do a little bit of a decrease over here. So maybe sort of minus two, minus three. Once again, not very much, just a small amount. And click Apply. And now once again, when I go back here, I'll add the mask and I'll have a much better selection. It's still not perfect. When I go to select and deselect, you'll see there's a few little extra bits in there, but it's not a bad start. Then to clean it up, I'm going to be working directly onto the mask. So I'll click on the mask. I'm going to go and get my paintbrush. And in the settings along the top, the opacity is fine. 100 per cent. I don't want to stabilize them because I wanted to be fairly accurate with this brush. But there is a problem when I start to work with it that I want to show you that you might come across. Remember, if you're subtracting from the image or from the mask. So let's try that again. If you are adding your mask, you use white. If you're subtracting from your mask, you use black. If I go over to black over here. So I've got black as my painting color. And I painted on there. You can see it's not getting rid of all of that image at all. This kind of some transparency in the middle. But you look at your opacity and it says 100 per cent. So what's going on? Well, it's because this wet edges is switched on. So make sure that switched off before you use this tool. And you can then go in and take out absolutely everything that you need. Now, once I've done that, once I've got the wet edges off, I might just go around the edges over here and remove any details that I don't want. I'm not gonna spend too long on this. I don't want you to just getting bored of watching me. Tweak this. I will go along to the hair on his head and maybe get rid of a little bit over there, a little bit over there. And if there's any which is actually missing, once again, I'm still on the mask. I can go over to white and I can paint it back with this tool as well. So we can just paint back those bits on his temple that are missing. And then over to white to black again. And remove the bits that I don't want. In fact, looking at his ear over here and I'm going to go to much smaller brush. It looks like something is missing on his ears. I'll just paint that bit in again up to there and then use black to get rid of the other bid around the outside. Now, once I've done this and I've spent a while getting it absolutely perfect. I'm happy with that. We can then go back into our design persona and carry on building the document. Have a go with that. Try the cut-out. It requires a little bit of patience and sometimes a little bit more messing around as well. 119. Add an Infinity Background & Shadows: Now let's put in a background because there's white is very, very stark. I'm going to go and get a shape. And I'm just going to draw the shape, remember to do it from bleed to bleed. And that shape, I wanted to have a bit of a color and then I'm going to move it behind his layer so we can actually see him cutout in there. If you want to take it further, use your fill tool. And in here we can change this to a linear gradient. So I can actually move a gradient around, maybe have a darker bottom and lighter at the top. Or maybe I'll just take it down. So it looks like one of those infinity photographic backgrounds. You can do whatever you wish with this. Now, if you do want to go in and maybe add a bit more shadow underneath him so he really looks like he's standing there. What you could do is you could go back to the, to the pixel mode, to the pixel persona, shall I say, and add a new pixel layer. So this would be a blank pixel layer in there, in front of the background but under him. And just use a tool to paint a few shadows. And now I'm going to make my brush a little bit larger. You can see it's quite small at the moment. There. In fact, I'm going to go bigger than that. The opacity is 100 per cent, the hardness is zero, so it's going to be soft. And I'll just zoom in a bit over there. And maybe painting with black. I could maybe just put in just one or two little clicks in there to paint in a bit of darkening underneath them, which kind of gives that look that he was actually standing there. Now, you'll find that when you do this, you might end up like mine is going with a shadow which looks too dark. So of course, because that's a layer, you can go into a pasty and you can just adjust the opacity to suit. So are we just want a little bit of darkening in there. And you could keep building this up so I can go and do another one in there. Maybe make my brush a bit smaller and make that closer to the shoe itself. So we've got more darkness right underneath the shoe like that. That will look a little bit more natural with the two of them together. Once again, if I switch that on and off, you can see that the before and the after, It's quite subtle. And you can always adjust the opacity. Should you need to watch your shadows? Shadows which are really close to the body should be very dark, but they fall off very quickly. Like so. Do try that out, add a background, maybe add a little bit of shadow under him. He looks like he's actually standing on the background. 120. Add the Title Text: Now we just need to add in the text. So back to design mode. Go along to your type tool. We're gonna be using the Artistic Text tool and put in some text along the top. Now, I'm not going to get you to sit and watch everything that I do, but I'm just going to put in let's have classic or better still. Let's go cool. In fact, I'm gonna make it all caps. I'm going to select it. There's gonna be more texts than just that. Go along to my Fonts and find something which works for this. Now, I'm looking for something which is going to be, well, very high-end magazine type of look. So things like Didot or Dido, depending on how you pronounce them, look really good for that. This is a very high-end magazine type of typeface. So we can go with that or anything else that works for you. I'm going to go down and see if I've got something else which I can work from. And I've got another one here which is very similar to that, but a little bit thicker. I'm going to change the size of that. So it fills the background. And I'm gonna make it white. So I'll just get white over there. Now. That's going to come down and he's going to be in front of that. I've selected him. I'm going to scale him up a little bit. So go to the corner, scale him up and you can see he's coming in front of that. Now the problem is, but scaling him, I haven't scaled the shadows. So do watch that when it comes to scaling, makes sure that you select all the layers that you want to scale together. And I've done that by holding down Command or Control and selected those three. And I can scale them all at the same time. Like that. Let's move him into the right position. Now, the reason that the text is under him is because it's behind him over here. If I move that above his layer, it will come in in front of him. But we just pop that behind. And if you then want to go in, add in anything onto the text, I could go in and add maybe a quick effect, like the little outer shadow over here to put in bit of drop shadow behind it. If you're going to do this though, be very gentle with your drop shadow. If you make it too harsh, it's going to look awful. Look at that. It's that looks so tacky. So very, very subtle. Over here. We'll make the radius well quite thick and just reduce the opacity so we can barely see it in there. You can experiment with that. You don't have to add an outer shadow if you prefer it without, that's absolutely fine as well. Pop that in and then pop in some more text around the rest of the document. I'm going to do mine now. I'm just going to put a few little titles in here like London Fashion Show and jackets or back or black is back, something like that. Feel a little titles in there, maybe one across the bottom. And then we'll do the last bit, which is going to be the pull-out little section advert at the bottom. 121. Add Corner Image and Color: Now the last little bit is really easy. I'm going to go to my place tool. I'm going to find that the image that I want to use and click and drag to bring that image in to the document. So what I want is just part of this image in there. I'm going to go across and I'm going to be using this vector crop tool, which will allow me to crop the image down to just show the bit that I want. And I'm now going to pop that in the right position. Move it across to here, and I'm going to rotate it around. So it's kind of at a corner angle like that. But at any time if I'm thinking, oh, you know what, I need a bit more of that, I can go back to my vector crop tool. I'll just put it out to add a bit more of that picture in there. Now, to be fair, we probably don't want that much of the image just a little bit in the corner to give a sneak preview of this furnishing pullout section that might appear in the magazine. If you want to finish this off with maybe a bit more color in here because it is very, very black and white and gray. And maybe you want to have a key color in there. What we can do is we can then sample colors from this photo, which will then work really well in this image. So if I just zoom in a little bit over here, maybe I could try the word hot addition. I'm going to go and select hot addition, and then use my little selection tool to go and select the orange over there. And you can see it's just made that the hot addition now which has gone orange, or I could have selected from the green if I thought that would have worked. The other thing that of course we could do here is we can go over the top and add a border around the page. I'm going right into my bleed to the other side of the bleed there. Now I'm going to go to the stroke because I want a stroke on here. But I don't actually want a fill, so I'm going to get rid of the fill color. So I'll go to the stroke. I'm going to increase the stroke width in there. And using the line, I just want to align this to the center so I can align that in. Now makes sure that if you're going to be doing this, that you bring it in past the bleed, otherwise, it won't look so good. And of course I can still do the same thing there. Go along to the eyedropper, make sure by the way that you're actually on the stroke, not on the Fill in there. And I can drop a color off of that area. I think I'm gonna try and get that. Orange. If not, we can zoom right in. There we go. That's a little bit easier for me to eyedropper off of and I can pick up the color from there. It's up to you if you want to do that last little section or not. I think it looks better without, but you can try it out and see what you think. Anyway, have a go with those. Just a quick simple cut out like this with a few bits of texts can look really, really good. Try it out. 122. Well Done on Completing the Course: Thank you so much for doing this course. I bet you're creating amazing work now. Don't forget to share it with us. And also lookout for the other courses that we do. I'll see you in another one.