Transcripts
1. Intro Luscious Marble and Alcohol Ink Textures: Hi there. My name is Doris NASCAR. It I'm an artist living in Sunny Manitoba, Canada In this class, luscious smart wing and alcohol, Eight textures. We're gonna explore a new technique that I talk myself so that I could use some artwork that you see out there in the marketplace right now. That's really trending. When I set out to figure out this technique for myself, I found a few tutorials, but they were mostly based in procreate. So I checked it out on my iPad and I bought, like, first generation iPad and very old procreate, and I could not do what I wanted to do. So I decided to create this class using for a shop. Instead, you're gonna use a couple of Superfund techniques, and one of them is the liquid buy filter, which, if you've never used before, you're going to see use in a completely different way. We're gonna explore creating both Marbling and Alcohol Inc textures, so you'll come out with two completely different skill sets. With this, we're going to explore a completely different way of using voter shop. So I've created this tutorial to share my process with you. I know a lot of artists ask me, Why would you teach someone else how to do this? Then you're setting up your own competitors. I create large wall art pieces for corporate locations, banks, apartment blocks, hotels and homes. This is one of those techniques no one can duplicate exactly what you are doing. Everyone's work will be original. It's August is something that is needed out there in the marketplace right now. So your class project will be kind of cool. You're gonna produces texture, and then you're going to apply it to a mock up and then you're gonna posted here. And believe me, you're going to see that with my examples, you will find that you could create many, many different iterations of your art. You could easily produce have a dozen or a dozen textures out of the same artwork and use those to selling your peut site or through our licensing. I'm selling this work, so I think that you will do, and there's no possible weight that two artists can make this look the same. Like I said, it's impossible to copy anyone else, so your designs will be completely original. Even if those things are already out there. Take a look right now on the society six Web page. Search out marbling and you'll see there's quite a range, and what we're gonna produce is very different, so you will definitely have a standout product. This is the perfect timing for you to start, especially if you're trying to fill some time and just pick up some more knowledge and skills in voter shop. Think about the colors better out there right now, what's trending and let's see what you can produce. I found this whole process very therapeutic, and it's perfect timing for it. So let's get into it and I'll see you in less than one where we'll get started studying up our first document.
2. Inspiration, Examples and Overview: Hi, guys. Welcome to lesson one. So this lesson is all about inspiration and an overview, and I'm gonna show you a bunch of examples. Let's get to it. So, like I said, this was my starting point for wanting to figure out how to do this sort of a design. I bought this phone case because I loved it so much. My daughter bought this one over here, and they had asked her where she got it. I was thinking of getting it a swell and then thought maybe that'd be too much infusion if we have the same phone. So I took a look through the ones that were offered here on this page. And I mean, I just love this glittery early kind of stuff. I really loved this blue and pink one here. So this is the one I ordered. And then I thought to myself, What did I do that? Why didn't I actually just treat some artwork myself and order it with my own original artwork on it? So that set me on this path to try to figure out how to do this process in photo shop. So I don't know if you've seen Besides what I just showed you on Amazon there. How much this type of art is being produced right now This is maybe one take on it here, the acrylic ink pouring. I personally love this stuff. And when I see it, I'm just fascinated by the different effects that people achieve with the acrylic poor. And I've always loved this Siboni Gashi actually a couple of classes on this. I've seen that really specifically tell you how to do this technique. And there's the A brew arch at an open pronouncing that right. But Abreu art that one is very similar process. And basically, these marbling techniques here is work on the same principle. Three of them, I think, work on the principle of applying a non water based into a surface of water and then dropping a sheet of paper card stock onto it and then pulling it off quite gingerly. And you will get this gorgeous, marbleized looking art. Now I have seen a couple of classes on how to do this and procreate. So I have an iPad with appropriate. But it is so many generations back that I can hardly get it to even run. That's on my from my wish list on human new iPad with the latest Procreate software on it. But I diverge. A lot of people don't have procreate just like me and just work with photo. Shaw and I have figured out a way to do this in photo shop. It's really similar to the processes people use. We have procreate, but I've done a few things that I think make it easier. So let's hop into photo shop here, and I'm going to show you This is one of the artworks that I created and this one, I mean, I really like this. I would I would take This is a phone case. I quite like it. I think it's very similar to the one that we were just looking at on Amazon, the one that I bought. And I can show you how to do this quite easily. With this particular technique, you honestly won't even believe how easy it ISS. Whether you have any photo shop experience or not, you can produce this project, so that's what we are going to do next. Let's just tick, get right into it. I'm going to set up a new document. I'm gonna go 10 by 10. I find this is a good size that doesn't end up being too slow. When we do the techniques that were going to dio and go back to that phone case, I'm gonna open up this PSB file so you can take a look. This artwork I created, I could cry any number of ways I could have also enlarged its if I wanted to feature a little bit more of a visible gold line here, long as I save it here in my PFD file upload on my phone case just so you could see a little bit better. And so the document that we're gonna be creating it's gonna be this size 10 by 10. You can produce it in any color scheme that you want. We're gonna go over choosing the color scheme. Then we're gonna go over how to do the marbling. I'm going to show you how to add some of these really cool little blobs, your artwork, and then I'm gonna show you how to use your artwork to create a mass that we will use for this gold trim. All right, so this could go any which way? I have no idea how it's going to turn out. That's one of the cool things about it is that it could go just about anyway. What? You're doing this and there's no way that I'm gonna be able to exactly recreate what I did here for you. We're going to start in on it anyway. So the very first thing I want to show you is choosing a color scheme. I personally use this adobe color theme. I like it because, you know, you can quickly just scroll through to find a color scheme that you like. I think the one I chose was this one here. Antwerp. So let's move on into the next lesson where I'm going to show you what the procedure is from here. All right, I'll see and listen to
3. Filters to Create Marbling: Hi, guys. Welcome to lessen, too. In this lesson, we're going to work with the liquefy filter and the fibers filter. Let's get started. All right, guys, You ready to have some fun? So the way I started my other project, this one here that you saw was by choosing a nice color scheme to start out with at the end of lesson one There I showed you choosing on adobe color scheme. And there are 100 different ways you can do this. You can just choose one that you like. You can use a photograph to start out with. Believe it or not, I will demonstrate that a little bit later on. Probably the easiest way is to just used the adobe colors. Seems right now and that's just an extension. Not sure if it came pre loaded. I don't think I person downloaded it, but if you don't see it there, it should be in your extensions under the window. So if you don't see it here in your tools palette, go to the color themes here and open it up. And if you don't find it there, then go to this. Find extensions on exchange and grab it from there. So let's just go to the themes adobe color themes and just scroll through until you find one that you like. Let's do this one. I think it was Yes, I think I used this one Antwerp. So let's actually use that one just so that we can get it similar to my original sample. So basically, you can see that as I move my cursor back and forth over this set of colors that I get this eyedropper and whichever color I want to paint with, I click on it at the color that comes up in my color wheel So you can change this if you would prefer to work with swatches. I personally like working with the color wheel when I'm doing this kind of project, and the first I'm gonna do is just grab a big brush. It really does not matter. Think it was the mega pack here and I think it was a good wash. Like I said, it really doesn't matter. What you want to do is just lay down some of the color. You don't even have to try to make it look like the marble at this point Just basically want to start feeling your screen with the color. So I'm gonna switch to another blue here. I've got a pressure sensitive brush so you can see that if I press really softly, it's a thin line. And if I press hard, bigger line basically, you just want to feel your area. I will be this along in time. Lapse it so you can see it was help me having to jabber all the way through. If ever you want, you can slide around on your color picker here and, you know, introduced maybe some slightly different but related shades. You can also decide whether you want any of that white showing. I don't mind it. Actually, it sometimes as to the design to have a little bit of the other colors showing through, I'm going to go a little bit more yellowy here, and I think this is more than adequate for what we need to dio in the filter that we're going to use. So I actually do to filters the 1st 1 I'm gonna dio I've got this other layer created here . You don't have that. You just click on the add a layer button down here in the bottom one with a little plus sign and then go under filter to render. And then you're gonna go to fibres. I'm actually gonna pick one of these blues, one of these darker blues. I'm gonna go with the darkest one here. What this is going to do is create the fading that you see. See all that vein ing that's in here. That's what we're gonna create with the fiber. So we're gonna go back to that filter. Now that I've got my darker blue chosen, I'm gonna go to render fibers and here you can experiment. This is something that you will definitely be experimenting with. I can't tell you what exactly to do, but let's just try 11 and maybe 15. You can click on this. Randomize changes the appearance of it a little bit. I like this because you've got some light and dark areas that will work great again. Like I said, this is something that when you are creating your multiple marble pieces after you can experiment with. So I'm gonna hit okay here and then what I'm gonna do is choose multiply. You could experiment with any of these other ones as well. I'm just gonna use multiply like I did last time, and then I'm gonna select both of the layers close off those colors, so it's less confusing. But I bought both layers selected, and then I'm going to command E, which puts them into one lier. All right, so now we're ready for the liquefy. So that is the next filter we're going to use were under filter here toe liquefy. And this gives us a nice preview of our work. And we're going to experiment with a few of these different tools that we have here. The main one is this forward warp tool. What I like to do is set my brush size really large, that large. Let's cry about this size. So I'm gets approximately. I'm less than half of the width of the whole document. But it's a nice large brush, and I can move and create large sweeps of the marble by doing things like this. So I'm kind of twirling and pulling, and the more I do it's the more distorted it becomes. And that's basically what you want. You're trying to create this feeling of marbling like what you see with the Shemonah Gashi and a brew kind of techniques. When you've got the color kind of moved around to where you like it, move your brush down in size. Let's go about, you know, 500 then start even tighter and moving around areas that you want to adjust. Like I said, this is really addictive. Honestly, you could spend hours playing with this. As you learn, you see different ways of pulling it, the different effects that it gives you. And you can see now what the fibers did in the way of giving us that really cool blend and vain ing going on throughout. I guess that's the word for gaining aims. Marble veins in the marble. That's what it's making me think of when you see actual marble. So that is what the forward work tool does. This other one here, the reconstruct tool, does something completely different. What I like about this one, like creating a different sort of ah, spread it moves it around just completely differently, and then the smooth tool. If you wanted to smooth out certain areas. And then there are these tools, like the twirl, which do some really funky moves here. Experiment with making your brush smaller and bigger. See what different things you could achieve your brush. Now, this is another thing I like about this tool here, the reconstructed I'm going to try to create some spots that look like slobs. And you could see that if you hold down one spot, you can get these little round dot kind of things appearing. And I think those just make it look so much more realistic. And it's not like we really need Teoh Pleat Lee mimic. Those different styles were basically creating a style of our own. That's kind of fun, like going through and creating those little blobs. Think I'm gonna create one great big one in here, get a bigger brush that makes kind of in each people with smaller 12 That makes just kind of a really neat focal point in this area here. I like that. So experiment with all of these different settings to see what you can come up with, and you can stop any time you can keep going. It's all up to you. I'm but a quick come out of this filter right now, so we can move on to the next step, and that will be adding some of the gold and glitter trim that we want. All right, I will explain some of these other tools later on these air masking tools. And we'll use those when we try to do some repeat tiles with this marbling technique. So I'm gonna say OK, right now, Teoh this so far, and you can see what we had before and what we have now. So that's pretty need When I did earlier, turned out like this just goes to show you how different you could make these look us using that liquefy. All right, so in the next lesson, we're gonna start working on that gold trim. I'll see you there.
4. Varied Foil Accent Techniques: Hi, guys. Welcome to lessen Three. In this lesson, you're gonna learn all about adding foil and dramatic glitter, textures and trim. This is fun. So I've been taking a look at my overall design here. I'm not 100% happy with it. It's a little bit difficult to be creating and explaining at the same time, But let's make the most of it here. So maybe I'll do one more pass with liquefy. Just work on that for a second. So I'm gonna Yousef. It's the regular tool and I'm going Teoh Post area back out again. Do you think I like that a little bit better? And of course it depends on what you're using it for in my mind right now, I'm imagining this as a cell phone case. If I was doing it as an artwork for the wall, do something a little bit bigger or a little bit simpler, for example, something like this. Now this is done with Alcohol Inc so it's completely different touch. That is also a really lovely look, and I think for while our is nice to keep it simpler, although you look at some of these and they're definitely not that simple. But what I like about some of these when you really take a look at them is how they've got almost like rule of thirds thing going on where they've got a great big sort of feature area and then some supporting areas in and around them. So I think that's what would be a great thing to aim for if you were doing Wall art. These are excellent examples of what we will be doing in this step, which will be adding this gold trim along the let's go back to our documents and think I'm going to add a couple of lobs, inhumanity, a few little changes here and there. And honestly, this is something that you just kept from experience. After doing it for a while, you figure out what you like and carry that through. Some would say OK, here. I think I'm happier with this design than this. Okay, so the next step that we're gonna do is to create what will end up being our gold trim. I did a lot of experimenting. The first thing I'm gonna do is duplicate this layer. Some to do command J. Let's just temporarily hide that original layer. And first thing that I want to do is go in and use thier levels to create incredible contrast in our image. So that really changes it. What I need is this contrast for the next filter that I'm going to apply. There are numerous ways that you could do this. I'm gonna be showing you to the ones that I found the most successful. First. What I'm gonna dio is through the filter and go down to the filter gallery. And this is the one that I chose. So in the sketch shoulder, go to this stamp and apply it and you'll see that this is what happens. So without it applied, say, we just had one of these artistic ones applies to all these different things that you could do in here. None of these air gonna work for us. What we want to do is something like this, because what we want is just to have these lines left for us to apply our goal to again, you could mess around with your settings here. I found that keeping it quite low worked well for me and kind of increasing the smoothness because what I want to do is eliminate a lot of the lines. I don't want all of these lines because with most of these, when you see the example the gold is not everywhere. It is just accenting certain parts. So with an accent, you don't want it to be too busy. So this is my version one I'm going to say Okay, here it basically will Just over some of the edges. Right. So the next thing we want to dio is grab a gold background of some sort. I downloaded a couple. I found a lot of these free vote your browser type in free gold later images. What I did was I went into tools I went into labeled for re use eyes large, Want something with a high resolution and then I just grabbed one of these. I can't remember which one it waas So that's how I got the textures I'm gonna be showing you today. Is one of them have been a select all on Been a coffee it. I'm gonna go back to my documents, but it paste it in there. Let's enlarge it to fill the space and what we're gonna do is apply a layer mouse to it. So down here in the bottom of your layers palette, click on this icon, which will give you a layer mask and then go back to your this layer Here, select all and copy. And this time you're gonna auction. Click right on the mask here in the layers palette gonna paste in that layer that you copied that had the stamp filter applied. Okay, Now what we need to do is inverted it because we want just these areas, these white areas to show through our gold. And now you can see here with mine. It's kind of gray in there. So what I want to do is adjust the levels so that we get that pure white. You could mess around with these two because these can sometimes control how bright the areas are hit, OK, and then when you click back to your layers, see that the gold has been applied just in those lines. Okay, so let's hide this one and tough. You've created a gorgeous, gorgeous marbling with this gold trip. So that is a lovely effect. And if we were to lob sees layers together, so command e. I'm going to select all I'm gonna actually undo that so that we're back to this. I'm gonna go to my phone case to my PSB file, which is connected to the smart object in this phone case, Sile. But a paste in large edge to Fitch. And what do you think? What area is the most interesting to you? That kind of like this area like that. Really deep gold that's going into you here. And I just think composition wise, this is a lot more interesting and hit return. Save it. When you go to your phone case, your new pattern will be applies. Gorgeous. I think what I would do is adjust the levels on this one as well. Just increase the contrast a little bit like that. Really deep blue thief. Very nice. You will be thrilled the first time you create one of these Jessica's of how gorgeous they look. And if you were to go to society six or one of those kind of stores right now, do it. We're gonna look up marbled phone case. Look at all the ones that come up and yours would definitely be a contender in this mix and really the techniques that I'm teaching you. Depending on how you apply color and what sort of combinations you create, you can easily create this sort of effect. Let's go back to photo show and we're gonna go back to our class experiments. And this time we're gonna do is slightly different technique to duplicate this layer again . And with this one, we will go to image and Adjustments and we're gonna go down to rush holes. And this is a different way of creating that black and white that we're gonna use for the Mass. Remember that you could make adjustments. So give that a try. Do some experimenting. See how much old you want in that the more black you have is the more gold that will show. I'm gonna kind of go for something like that. It okay, and now I'm going Teoh, find another gold that I have. Which waas Not this one have a glitter one as well. Let's like that. Copy it, paste it into our documents. Enlarge that too. Fitch still getting used to these new trolls for transform. I held down my shift key to make that sort of hit the space used to be that shift key would constrain the proportions. Now, shift is what you used to unconstrained edge that makes us okay. So on this one and the same as we did last time, we're going to add a layer mask. You're gonna select all here and copy, auction, Click or all click in our layer mask and paste inverted. So command, I invert such When we click out of it, you can see that our gold is now in all of the areas that were white on our mask. And let's bring our illustration back. You are marbling back, and that is really neat to So this main difference that I can see here is that that original one, this one here was really just along the edges. This one actually has filled a lot more of the area. And, you know, that's something that again you could have adjusted based on how much you applied the contrast on that threshold filter. Or you can go in now, option. Click on your mouse and you could make changes here. One of things I have done is take a brush and let's go for that kind of charcoal. I want something really textured. So I'm gonna go with this charcoal. I'm gonna make it bigger and got my black selected over here. I'm gonna go in and I'm going to paint in some areas where ever had painting now is where that darker blue is going to be introduced again. We'll just switch into it again quick so you can see that you see, wherever I've painted. Now this darker blue is being reintroduced. Option click back in there and you can go in and change and anywhere that you think you want your daughter s color to come back. So let's back into it. And now you can see every introduced a lot of that darker blue in there. I'm going to adjust my levels here, increase the contrast. Just see how that looks to who he could really do. Something fun. Things here just by adjusting things like the contrast eight. And the other thing, of course, to play around what just for the fun of it is adjusting your color here. That could be really pretty too. So there's so many things you could do here. Let's save this one out. So we're gonna just select both list. But the minute group, actually, that's what I should done with the 1st 1 This was the blue one. And this is the pink one. Here. Reach. Yeah. Now that I've got it in a group, I'm just gonna duplicate the crew command E. We'll flatten it with a select all copy. Let's go back to that PSB document. I'm going to use a completely different section of it. Think maybe what? You rotated slightly. Kind of like that. Sort of an angle with it, and we're gonna save it, Go back to our phone, and that's another very pretty option for a cell phone case. Okay, so that is another way to add some detail to your marbling. In the next lesson, I'm gonna show you a couple of other really cool things you can do. All right, So I'll see you in the next lesson.
5. Planning Alcohol Ink Document: hi guys. Welcome to lessen. For So in this lesson, we're going to switch from marbling Teoh, creating an alcohol big texture. Let's get our document set up. This is the next project that I want to show you a little bit different than the marbling, which gave us the effect of the Floating Inc or oil based inks on water it. That's what we did with this one here. This new one is going to be something that we do to try to mimic the look of this sort of effect. So these are actually alcohol ANC's. It's a completely different process, but it gives a really gorgeous effect, in my opinion, quite similar in that it's very organic looking. And as you can see, there are some here that have had the added gold trim, just like we've done in our last project. What I'm saving for with something like this, you didn't turn out quite the same because of my color choices. But I can walk you through it and we'll see if we can produce something really as pretty. So again, my document is 10 by 10. I like working with that size. It's not too unwieldy. So Photoshopped tends to run efficiently. I still have it. As you can see here at 300 pixels pre is a good base that I often use for pattern design. So 10 by 10 is what I'm gonna use for this particular design. If you go back to that test document that I did, I'll show you how weird it looks before all of the effects were applied. So originally I didn't do the painting in these colors, but this is how it ended up. If you look at my folder here, you see that exact background is here, and it's with the blending modes that I chose on these other layers that the color turned out the way it did. So we're going to start by just laying down some big areas of water color. So you must be on her keyboard and you'll get your brush tool. You can either go up here to select the brushes or over here, and this is what I'm going to use because then it'll just stay open for him. He had a little bit easier, especially with a 10 by 10 document. I've got more than enough room on my screens. I was working with Kyle's watercolors and initially, I will paint in similar colors to this to when I want my final Two look like one of things you can do is to take a screenshot of something that you're trying to get the colors off. Just done command shift for and that gives me these crosshairs. And I am going Teoh. So let most of that image. It comes up here at the corner of my screen and I'm gonna open up in preview. Selected old Copy it. I can close this document and we can go back into Photoshopped and paste. The beauty of doing this is I can get the colors that I want. So I'm going, Teoh, create a few new swatches here. You sample the colors on screen, hold the auction key and you can see here I can sample whatever color want to with the eyedropper tool. So I really don't need a lot of them. I can just choose the color and double click on it and then go to this actus watch is gonna bother naming them. They're gonna show up here, and that's exactly what I watch. And so on and so forth. Go through and add your new set to your swatches. I am going Teoh, use a bunch that I've already got over here just to make this faster from accuse one of Kyle's big watercolor brushes. I'm going to make it about 1400 units of it too big. I'm easy, my bracket keys to enlarge, reduce. And I'm going to just start randomly painting the lines that I want on a screen. The committee will get smaller so it doesn't take too long, but a grass one here. And I'm just going to start painting out. I find that too dark. So I'm gonna go to a lighter color and this particular brush harder I press is the more vivid the color it. So all of these are settings that you can fool around with in the brush settings. Palate takes a little bit of experimentation. I don't think I've actually made any changes on his setting so that settings air actually here as they were, and as they will be in your photo shop as well. And you see, I'm just laying down color here and you can see that I'm bringing it down kind of in the stripey pattern. Now, if you wanted to have some control over the and thin of your line, you can adjust the size jitter here. And if you're using a pressure sensitive tablet like I am harder, you press is the thicker you're lying will be. Also, I've got this one set for buildup or it has been set at build out. So when I paint over other lines that previously painted you can see that it intensifies the color. I can tell you right now, there's no way I'm going to be able to fully replicate what I did before. So this one is an experiment just like the 1st 1 waas maybe try it. Changing a few of your brushes wouldn't use too many different ones, but a few different ones will contribute. Teoh the interest of your piece. I'm gonna start introducing some yellow as well. You can see at times I build up the layers to make it a little bit more intense. So I keep going layer wise, I could get quite a few layers built on the color gets way darker. You see here almost turns into a red and in this case, I'm actually trying to cover most of the background option Click to re sample a color if you want to. So this technique looks equally good if you use a monochromatic color scheme. So if you had chosen, let's say just all blues blue greens, it would also make for very striking all art design. I'm gonna be showing you a few examples of the pieces that I've done at the end of the class just so that you can get an idea of the kind of things that I have produced. Just so you know, this is something that I have sold through art licensing. So it's not like a weird technique that is not out there. Selling it actually is selling. Just so you know, that there is a method to my madness, so I generally don't do anything that isn't going to sell. So a lot of times I will experiment. I will send a couple of ideas to my agent, and then he will let me know he'll contact customers, see if there's a market for it. If there is and I go ahead and I do it, okay, so at this point, I am ready to move on to the next state, which is going to be going into the filters and doing a couple of things. I'm gonna close off this brushes panel actually gonna double click on this background so that it becomes a layer and I'm going to duplicate it. So command J will duplicate it. And then I'm gonna take that layer. I'm going to go into the filter. I want to go into the filter gallery. And of course, you saw that. I couldn't right there. It's great out. And that's because I still have my documents set that C M Y k So go into the image menu and down to RGB. We're gonna not merged layers and then let's go back into the filter gallery. A lot of these filters only work with documents that are in RGB mode. You can always switch back to your C n y que if you need it to be C n y que for printing, but that can happen later on base. I'm switching into my filter gallery, and you can see that the last filter I used here waas photocopy The photocopy is the one that we're going to use to create these edge effects that we want for our next effect. And here you can make a lot of adjustments. Teoh control how much detail you have. So generally I try to keep the darkness right about here and reduce the detail so that we start to lose some of those hard lines in these areas. So we don't want all of that detail coming up and you'll see why in the next step. Now, one thing I forgot to mention is that whatever color that is over here, currently selected is the color that your document or your layer will become. In using that photocopy filter, we'll show you here. The one that I did was actually hide that kind of a greenish color. So that's actually the color I would prefer to have. So I'm going. Teoh sample that dark green color. Here we go, quite dark. So we've got that reading selected now, and that's our foreground color. So let's go back into the other document and back into built a gallery, and now you can see that that is the color that we now have for our effects and bring that darkness down a little bit and detail. Now, this again is another one of those things that's super subjective. And you have to decide. You know what actually works. And the only way that you're going to do that is by experimenting. You can use these exact settings that I have. You might want to try a couple of different ones, for example, Duplicate that layer and try two or three and then dry. The next effects that we're gonna do with those just to see how your color affects it, how you're races here affect it. Like I said, very subjective. I'm gonna hit. Okay, Here and now I'm given I end up with this sort of. Also, if you look back at my other documents, is very similar and you can see right away. That's just the way I did. The pattern was quite different. Again going back to this document, you'll see that the choice I made here was different. And that's why you're going to see that I changed this to be such a funny set of colors. All right, so let's go back over here and go to my document and as a blending mode here, I'm gonna choose difference. Now you can see that with the original colors that I have. It's super weird. So what I did here was went to hue and saturation taking off color up colorize here. And I'm going to experiment by using the hue slider to change the overall color. So that's a little bit more of what I was looking for. So I'm gonna hit. Okay, Here you go back to this document, you could see my colors were actually quite a bit different. And I'm gonna show you a couple of different ways that you can start working with Individual areas of color have been just a little bit more. I want to get more of a turquoise and red kind of a color scheme going So it's a little bit more like what I want before we go too much further. I'm going to save my document all the alcohol test document to and I'm gonna wait till the next lesson to you, give you the next steps in producing your final armor, So I will see you there.
6. Lesson 5 Adjusting Alcohol Ink Layer: Guys, welcome to lesson five. In this lesson, we're going to do some adjustments to what we created in the last lesson. Let's get started. This will be the lesson that will be the hardest for me to keep short because there is so much I want to share so many ideas for you. The first thing I want to do here though, is slightly adjust the overall composition of my pattern here. And I'm going to use the liquify filter to do that. I'm going to select the background layer here first, and I'm going to go into liquefying. I've got my brush set really, really large. And I think what I wanna do is just kinda pull this area over a little bit and this area just kind of adjust its overall shape and kind of wanting to avoid having this main area perfectly in the center. And I think what I'll to you is bloat a little bit of it over here. So these are the kinda things that honestly only experience can teach you. And the only way to get the experience is to experiment by that's kind of the composition I would prefer to have. Now I'm faced with the dilemma of what to do to adjust this layer. I'll thank goodness. Photoshop can do it for me, do all that calculation. I just need to go and choose Liquify here on the top of the list. It's going to change it with the exact adjustments settings that I just had. And I think I'm just going to enlarge these two just a little bit so that I get rid of that white area that I had in the back. Okay. So there are a lot of different stages here. And again, like I said, you can do a lot of experimenting with this until you find the kinda look that you're after. But remember that what I'm after is something like this. My 90 is going to be a lot deeper in color, but you can see here that almost anything goes. This is a really pretty one down here, this purple one, kind of like the ones that are really specific color schemes like this one. I don't know why it's really appeals to me. Back to my document. You know, there's a lot of things as you look at it here that are wrong with it. It's way too deep in color. There's too much detail in some of these areas like this that detract from the overall look of it. And just a bunch of little changes that I want to make. So I'm going to walk you through those right now. The very first thing I wanna do a blur some of the areas. Because if you look at this area, there are some really soft areas where it does look kinda blurred. So let's go through and do that first, the back to my document. And what I wanna do is soften the edges of my selection. I'm going to use the lasso tool. I'm going to go vote a 111. And that's only because I'm lazy, could do a 100, you can do less. You could do more arguing. A 111, suddenly have to press one button. And I'm going to select some of the areas that I want to effect. So this area was one that I don't like. I want to blend in and I'm thinking this area here on the side. And you can see that with my selection, it immediately softens the edges of it. Area here and maybe a little bit in here. So I'm going to have to do each layer separately. I'm going to choose bottom-most layer first. And I'm gonna go to Gaussian Blur, which you can see here. I have a shortcut for us I use so often, so Command G, I'm not sure maybe that was built in, but if it wasn't an always go and add it right now, all that is blurring. Maybe I should hide that layer first. I'm going to go back. And you can see what happens when I apply this blur. So I'm going to do a really spread out kind of a blur first. This is why I like the Guassian blur because you can gosh, and Guassian blur because you can control how much. Actual blur is happening. So ILA, something about here. We're going to say OK there and then I'm going to go back to this layer. And again, you can see here, if I choose a here, it's going to apply the exact same settings. So you can see that is softening all of these quite nicely. If you want to apply it again, go ahead and just hit that a couple of times. And I think I'll go back to the other layer and do the same thing. And maybe in this case I'm going to go back and adjust it on here. I'm just going to soften it about half as much. Okay. So I've gotten rid of those areas that were kind of bothering me. You can always go in with a smaller feathering and select smaller areas that you might wanna do and try 55, maybe right in here. And we could apply the same caution or that I did before. And I can do it to both a little layers, maybe twice on this layer. Okay. So I have done a little bit to improve the look of my document so far, so good. Now I think what I wanna do to lighten this background layer, so I'm going to hit the levels here, and I'm going to use the adjustment here to do that because then it's a layer adjustment and it can be easily changed without having affected that original layer. In other words, it's non-destructive. When I get to stage of the design, I like using this. And there's two or three reasons to want to do this. One in the being that you could duplicate this document at the end and then end up with a completely different look. I'm going to show you that later as by adjusting all the adjustment layers that you created. One of the things to note here is that it's kinda the opposite of what you normally get with your levels just because we've got this difference, blending mode on the top layer when you're adjusting this one here, instead of making it darker, which it normally does with the levels, it actually makes it lighter. So we're doing kind of the opposite of what we normally do. And I'm going to work with this until I lightened it to what I want at this moment. So I'm going to leave it at that for now. Just know that you can also go in and do a lot of adjustments later on with these. And I'm going to show you some really neat effects at the end. Okay, so now I'm going to go in and I'm going to smudge some of the areas on this top-most layer. So I'm choosing this smudge tool here and setting my brush size. And at this point, I'm just using just one of the watercolors, so it doesn't really matter which one. Honestly, I've experimented with more than one and really the effect ends up being similar. So I'm going to go in and I'm going to smudge some of the areas here on my first layer. Okay, So I'm good with that amount of smudging for now. The other thing I can do is I bad and this is completely optional. A layer with a couple of more squirrels that I could just use to add a little bit of detail into these big areas of kinda plain color. But that's completely optional. Alright, so I'm ready to move into the next lesson. And in that lesson we're going to really add some detail. I'll see you there.
7. More Foil Details and Finessing: Hi, guys. Welcome to lessen six. I love this part. Adding the foil details and the finesse e Let's get to it. This is where it really just comes together. I am going to create a folder and then I'm going to give it a mask down here on the layers palette. You click on this and it gives that group a mask and I'm gonna go back to this layer, select all and copy, and then I'm going to hide it. And then I'm going Teoh option, click in my mask here, and I'm going to paste it. So this is what will become our gold trim. What we need to do first is inverted it because, as you know, a mask is going Teoh show through whatever's in this folder in these white areas. So I'm going to actually work a little bit on the contrast here. I'm going to open up the levels palette, and I'm going to lighten it up so that we get those lines just a little wee bit bolder. Now, this is something again, is really experimenting is the only way you're going to figure out what you like, But I am going Teoh really bump up those darkest lines and I'm gonna lighten up the gray areas, which is thes kind of speckles you're seeing in the background. I'm gonna hit. Okay, here, click back to the document, and then this is where we grab some of the metal. Got copper open here. A copy yet Make sure you're highlighted on that folder and paste Dada, you now have beautiful metal trim on the edges of your color areas. So you can see now all those things that we were doing munching some areas, getting rid of some areas what that has done with those lines, I think I'm actually gonna go back. And I'm going to increase the white even more so that those lines are even more given. And I'm taking even a little bit more out of the gray areas. Now you can see my copper here. Copper edges have come out even better. Must have done that accidentally when I was working on that layer. So I'm just going to select that it's still feathered. Here, use the black and fill this area. Actually, I'll just go, Phil Black just to fix that up a little bit, you could also see here that my copper stopped really suddenly. And that's because it didn't feel the area. And you see that over here is only this big and I want to fill the area. So I'm gonna hold my shift key and in large. So get used to that. They've changed when constraining your transformation. It used to be that you would need to all the shift key if you want to keep the proportion the same. And now it's the opposite. If you want to change the proportions hard to teach an old dog new tricks, thinking that this area here also I'm going to enlarge because, you see, I had a hard line, their bottom, and now we've got some really cool copper edging on that. I think I wanted bright in some of the areas of it. And I'm going to open up. I've got a really nice gold glitter. Grab this one here, Open it up, select All copy back into my document. I'm gonna paste that into that layer. A swell, but I don't want all of it to be gold. I want some of it to be kind of capri and some to be kind of gold, so I'm going to select areas that I want. Teoh have gold, so I'm going to select. Let's say this area, it's almost gonna be like a highlight to the copper. So I'm just going through. I'm just selecting a few of the areas here, and I'm gonna select in verse. If you look over in the layers panel, you'll see that when I hit delete than the gold on Lee remains in those areas so that some of anything that you could do to bump up your copper a little bit Everything we can do is in the copper layer. We can also adjust the levels so we can increase. The contrast isn't brighten it up a little bit, so that brings it up quite a bit. Now I want to add some glitter that is kind of just over at this sample again. You see these areas here where there's just sort of little bits of the copper or gold almost like noise. We're gonna go in and add that with a data brush. So I'm going to create a new layer, and that's above all of these other layers here, and I'm going to use Kyle's spatter brush is cause he's got a really great selection down here. A bunch right in here. I'm going to set my foreground color to blouse so you could see what I'm doing and I'm going Teoh, go in and just rush some noise into some of these areas. So play around. Do two or three different brushes. Some of them are white, transparent, while others are very intense. So they'll give you brighter gold orb writers oper in those areas. So that's what I'm going through. And doing was trying few these bigger blobby things. Some of these you know, you could just use almost like a rubber stamp where you just stamp down and you get a color and you could also paint with them. And then you get a different effect altogether and do that, actually, and just do well here. That'll be nice. You can also still go back and use some watercolor brushes and think about look at the samples you'll see. Say this one. Here you'll see some areas that aren't even on the edges here. They're just kind of all over the place. Some pretty old areas. That's what you could do with the brush. You could just paint in some of those areas. So and do a couple like that, I'm taking advantage of the fact that my brush pressure controls. So like this one, the best can be some really nice, bold dark matter. Sure worthies in. And I'm gonna paint more these areas in just to get, like old Hays fold or glitter. And I know it's kind of hard to visualize what this is gonna look like. So let's take the time right now to make our clipping mouth and paste in that glitter should be still on my clip word. And yes, it is. And I'm going Teoh make a clipping mask by hovering just on the line between the two layers could see that there and clicking, and now you can see that the gold is just showing through where I have painted on that layer. That's cool, isn't it? I just love that, I think, but sometimes it's easier to just do this, create that clipping mask, and now I can still go through and continue doing this painting and adding the detail. But then it is doing it in the metallic inspection room right on the actual mayor. So click out of your glitter if that's where you were and back onto your layer and start painting. So you see now, as I'm painting, those bits of glitter are appearing here. It's it's neat because then you can see Let's say I paint with an actual brush. Here. You can see the areas materializing right before your eyes. Go back to your examples and take a look. You can see that at times the glitter is just kind of spattered in an area. Sometimes it's super bold on the edges, like this one here, so big, heavy areas again. This is one of those things where it is totally, totally your judgment. Call here, experiment with some different types of brushes. They don't always have to be watercolor, by the way, especially when you're doing this glitter, you can go in. And you mean I'm not even sure what to suggest. But you could try kind of rough, dry media brush lights one. Here, let's just see what that one looks like. Look, all that much different, you know, like I said, experiment. That could be neat. If that was Look, you were going for really, when I'm going for but she could work. What's really great to is having a pressure sensitive tablet or if you're using, I've had for this. You can see that if I have a brush match and be controlled in that way, you could see right now when I put a lot of weight on it, I get a thicker line. That's kind of need as well. All this deliciousness in this lesson. No, there's this other set of spatter Brush is, too. I don't know if that's his original. Yeah, it looks like even the legacy one's legacy brushes trying some of these anyways. Yeah, that's that's fun, isn't it? Okay, so now that I have finished with my gold trim, I want Teoh and we can always go back. Remember that this is nondestructive, so we can always go back and add more. I want to do some experimenting now with the overall color scheme. And I'm gonna do that in the next lesson where we're going to use the radiant map and other adjustments down here. Teoh, accomplish some other really neat effects. I will see you in the next lesson.
8. Color Options, Gradient Maps and Other Layer Adjustments: Hi, guys. Welcome to lessen Seven. And this lesson. We're gonna use the greatest mapping and other later adjustments. Let's get started just before we start saying with the adjustment layers, I want to actually go back to this layer here and add a little bit of I guess you call noise spatter and texture in color rather than in glitter. I want you to remember that because we applied the difference as our blending mode or that layer there. Whatever colors we choose here it is a complimentary of the color that you see. So if I option click here in this teal colored area, the color that's going to pain, she is going to be the complementary color. So opposite on the color wheel watch I have just selected. So in this case, because I have sampled the you'll color, it's going to be painting in red so you can see that that would be the perfect complementary. And so that is not a color. I would use their in the teal that probably would look perfectly fine over here on a color that it matches, right? So think about that as you're going through and adding this noise. If that's too confusing for you, you can add a layer above regular leaders that you have there, and you can sample the color normally. So it's not going to be affected by that blending mode. So I think that's probably that's confusing for you. So let's just go ahead and add some noise using that technique. So if you can see in their viewing in adding some of those, I guess what you would consider flaws. If you looked at your samples, you would see that a lot of that goes on in the background areas or large color areas. You'll see noise in all money of them. And again, that's it. That's what you're looking for. You don't need to do it if you don't want to. This is really optional, but I like adding a little bit of that sort of graininess in there. Okay, so I'm gonna go through and do a little bit of that all of time. Lapse it so that I can save you a little bit of time here. All right. Okay. So I think I've added as much of the spatter effect that I want I'm gonna do is I'm gonna leave that on separate layer, that we can adjust it later. And what we're gonna do now is go down to this autumn most layer. And this is where we're going. Teoh experiment with some of these different adjustment layers. Okay, so these adjustment layers are the same as the adjustment layer ocean that you can yet to hear in the manual. So all of these are different things that we can choose. And the 1st 1 I want to do is the greedy int mats. So we're gonna do Grady it map adjustment layer. And before you freak out, what I suggest that you do point is to select all of these layers here with them in a group and then duplicate the group. So you've got your original color group. I would call it original color or something to that effect. I'm going to hide that I have not destroyed that later group. So now I can always go back to it before I go ahead and make changes using the radiant mountain changes to my color. Overall, I have to apply this layer which was the world's that we did in liquefy, and I forgot to do that before. So what we're gonna do here is we're gonna release this layer mask, and I'm holding down my option key and clicking and that released it. I'm gonna drag Batley or down who? Just above it, Of course. Now that is being affected by blending mode here, The difference anymore that I have on this layer, I'm gonna have to make some changes. The easiest way is just to go in and change the human saturation. Somebody use the shortcut command option. You and I'm going to just make some adjustments here, Right, Matt? Up have to go darker if I want to make it lighter that's being affected by that blending mode on the other layer Have kind of what I wanted to just that little mixing of the color here. So I'm going to merge those two together doing you man even know we've got the single year that we wanted and I am going to re apply this levels to it. So again we're gonna select that layer, and this time we're gonna go to radiant matter. Don't freak out because it's going to look really weird at first. But the changes that we make here in this Grady in map are what will affect our overall color so you can double click on the actual ramp. And let's just move that we're here so you can see the screen a little bit better. Now, we're gonna go and make some changes here to the round to affect the color. Really? This is all fun and experimentation at this point. Cancel Over here. I'm gonna turn off my decorative spat. We can change the color of that later. But let's go back into here and actually double click on the radiant map, You get back into it of a click on the round. And here is where you're gonna make your adjustments so you can add more color stops. That's by clicking underneath the ramp here. And then if you want to change the color, you you could click on the one that you want to change and then go in and make adjustments to the color. So here you can see that there are gonna be all kinds of fun things that you can do to experiment with, depending on what look that you're after. So if you were to look back at those examples that we saw online as a starting point to get some really great ideas for other schemes. Now they're really cool if they're kind of monochromatic like this, or like what we did, which was complimentary kind of color scheme like this one up here and you could see that some of them are very, very dark. Some of them are just re scale. At this point. Let's have some fun and experiment. So even this I mean, we haven't done anything I haven't really even tried, and it's already a really cool and very different kind of a ski. And that's one of the reasons why you don't want Teoh destroy your original because you could probably make you know 10 different artworks out of this just by playing around with the settings. I'm gonna do just that, and I'm a time lapse it. If I something significant to say, I will pause to tell you you'll see me going through and changing the colors on the other stops and getting some very different effects. When I do note that the darker you go is the more muted or saturated your color will be as you slide through the colors. You can get a pretty neat idea of the effect that your changes have really pretty like. Isn't this just mind blowing doing this right now? Remember that you can also go back into this levels adjustment and overall adjustments to your brightness and contrast. And the great thing about is that it doesn't actually change that original layer so we could take this layer I'm going to duplicate. It will move it above in another area here, and you can see that that area or that layer is completely unaffected at this time. So this is where you could continue to experiment with different adjustment layers closed my group, their whole this color 12 and that went off for a sec. And let's do a little bit more experimenting with that radiant map. Click on that ramp and let's just change this color so you can see how easily you could change your image. Just with a few of these adjustments, remember that the darker you go is, the more de saturated and darker your color will be again. It just depends on what you're looking for, what you're trying to achieve here like that delicious pointed. Just not one A little bit really loved this round that's happening here. And what do you think of that White? Sometimes that's actually really nice. I am going to change it, though with a little bit more Teal about blue in here. That the color scheme that's right on trend right now. Isn't that neat how we're affecting the saturation of the color here when we drag this around. So we've got two very, very different color schemes happening here. We're gonna call this one color too. We're gonna groupies, too, and call it color to you about this. Just hide that per sec. And we've got this two very, very different and very, very interesting color schemes. So let's go back and wake up our noise here and we'll see what we're gonna do with color on that. Hide this one for now. So this is something you could also apply ingredient map to or you could change the blending modes right now we've got it on normal. We could go and experiment with the different blending moments here. We could separate these into different layers so that there are being affected differently . Must apply it just to this layer. Do you want to try that greedy in map just to take a quick look at it? Remember, option click between. Undo that. So you can see Right now it's affecting everything beneath it. But if we want to effect justice lier, it's auction. Click on the line separating the tube and it marries to that layer. So again, when and play with your stops here had some contrast. Different effects can be achieved here just based on your adjustment. Have something with that one as well, because that can really enhance those little details that you've added at another adjustment layer this time with levels. This reminds me of this example here where you see a lot of that noise in the background or this one here. So I'm going to actually take and separate this bunch. Think over here and make those into another layer. So I am was gonna cut and paste. I'm gonna go above this last adjustment layer here and paste and that around. I like the position and I think for this one I'm just going Teoh use. Use my blending moods until I find one that I like going to go for this saturation so you can see how that just blends with that underneath layer without it being Teoh glaring. I think I'm gonna do that with this one to down to the slayer, touch to this layer and do pay special paste in place, which is command shift be puts it right back in the same spot. And I think I'm going Teoh use multiply her dark and on this one, like dark and no multiply So you can see that it's blending in with that black really nicely. And I think I'm just gonna cut this. No, I'm going Teoh selectees and just change the color of just that lunch there by lightning and saturating it and moving this along to like it kind of a teal blue eagle so you can see what I mean about getting lost in the process. You could spend hours and hours changing, fixing, adjusting, and after. While you definitely get a feel for what works and what doesn't, I'm gonna copy those gonna get rid of that Group three. Um, I'm going to copy those of noise and apply them to my other Heller group here. And of course, I would go in and make adjustments here and now I've got to super pretty and usable or schemes that I can use on any number of products. What I'm gonna do at this point is take some time off camera and use a few mock ups to show you how these look and perhaps use, um, or experimenting with color and what not to show you different things I've created with these documents. So I may be a while. We'll see in the next lesson.
9. Mockups and Examples: Hi. Welcome back. So I'm gonna walk you through the transition of this particular artwork through all of its different color changes that I've experimented with. So, looking at this, I mean, I'm almost embarrassed because it looks so horrible. Like, really, it's just ugly. But then, you know, it turned into this raisel. With this one, you can see that my little outline that I had created Let me just shut off this cool for sec. You can see the outlines that were created with that photo copy filter. And really, that's the whole key to reading this kind of design with the boy alleging I used it to create the mask for the foil. I could have gone in here and brushed in any number of other details. I'm going to show you that in a second, but I'm gonna just quickly go through these other color changes with you. So this one I really love, I think this one could be a good seller right now in the art market with its neutrals. And I love the foil. And here you can see how much I adage in extra detail on my mask. I'll quickly show you my mask. You can see where I painted in some additional details. Here's another one that I think would be very salable in today's market. Navy is a big color right now. The latest inspiration files my agent sent me. They're not black or blue baby blue with yellow. I guess it's the thing now. I also tried one with e soft blue greedy colors. Kind of reminds me off jade. And then, of course, I did one in straight grayscale, so that one is a little bit different than that 1st 1 This one had a bit more of a creamy tone to it, and this one is straight grayscale with the gold trim so you can see how easily you could create many different artworks with that original, and remember that you could always crop it. So if you were to crop it in close to let's see this area here for a cell phone, it would look lately different Teoh cropping it. Just say down in this corner for a cell phone. That's not one kind of remind you of that cell phone case that I have chosen. If this was in the blue and the pink probably would look a lot like it. This is kind of how it was cropped. So those air a bunch of really cool color changes that I did just without one artwork. I'm gonna go back to the 1st 1 and we're gonna play a little bit with this layer mask, adding a little bit more of the gold detail to show you how that could change it. So I'm gonna open up my brushes. Spatter brush is that I have Kyle's spatter brush is and remember that if you paint with whites as long as you're highlighted right on this layer mask, any painting that you do in white is going to show up in gold is if you're doing it in real time. So I'm just brushing on a little bit of additional gold here. You could add any number of different layers with your goal. You could duplicate that group mask and fill it with, Let's say, a copper. If you want to add some copper details on their this brush here is pretty cool because it's actually got a line running through the middle of it. Ever want to see what brush it is when you've got this list of Kyle's brushes. Of course, All you see at the beginning is this line that says Kyle spatter Brush is I just double click on the name and I get rid of that part, and this one is called etching dirty. So once you've done that, that list will always show it in that way. Change another one. Here, I'll show you double click on the name. I just use command shift and delete and it gets rid of beginning part off the title of the name. And then you can start painting. Now, if you're ever painting and you don't see anything coming out here, a lot of Kyle's brushes he's got Satu. Multiply here. So if you start painting and you see nothing, go back and change it to normal and you'll see it coming up. So, depending on how sparkly you want it, you can go through and add a ton more. Just painting with the white brush on your layer mask. All right, so what I'm hoping you're gonna do is go back to your documents and experiment with a bunch of different things. Different colors, different foils you're gonna come up with something just amazing. Oh, yes, and I almost forgot. Here's one of the marbles that I did just exactly the same way as we did in lessons one into that was done with the liquefy. I am added a little bit of sparkle there, and I just wanted to show it to you. Has a repeating pattern, so that's kind of exciting. We could actually take these designs that we've done with liquefy and with the techniques that I've taught you make them into repeating pattern tile. And in my last course, I plain very clearly how to take a design like this and create a repeating pattern. If there's enough interest, I might even consider making this into a course. And let's just take a look at what that would look like. His wallpaper. Wow! Super stunning. So that's just another one of the ways you could apply this newfound Marbling and Alcohol Inc skill said that you've got all right. Okay, so I will meet you in the last lesson where we're going to take a look at the rest of the mockups that I did and we're gonna wrap up. So I will see you there.
10. Outro and Wrap Up: all guys. You did it. Congratulations. You're at the end. Now you've got a bunch of beautiful textual artwork and some patterns that you can apply to some of your products that promise that I would share some of thesis apples that I made. And these are mockups of cell phones, and all of the artwork here was created in the class. Some of them are different color variations, some of cropped differently. You could see that there really pretty on a cell phone case. And I'm sure much more. I even tried one here on a wedding invitation. I thought that would look really pretty as a backdrop. What you think about this really pretty chocolate brown and teal artwork. I really like that color scheme. And I think this deep blue green one here is my absolute favorite. And the bright colors turned out just beautifully as well. I really hope you're gonna do that and post some of your finished products here. It's lovely to see the work that you've done. Honestly, if you have any questions or comments, if there's anything I missed, please added to discussion section below. I answer all of your questions usually within 24 hours. If you liked what you saw, you enjoyed the course. Please follow me so that you'll get information on my upcoming courses as soon as they are released. And if you don't mind, I would really love it if you would leave a review of this class. Your reviews really help me to improve on to chip forces. If you post on social Media, could you please hash Tag me a glorious mass cringe slash skill share. I would love that. I really appreciate the time that you've taken out of your day and take my course. Please pass it on to anyone else you think might be interested if you'd like to. You could follow me on Instagram and Facebook at the Lord, start Canada and visit my stores. I would love to see it There. Thanks so much. Bye bye. See you next time.
Delores Naskrent, Creative Explorer
