Mastering Special Effects & Animation with Canva

1. Course Intro: Hey, this is Greg, and thanks for your interest in this course mastering special effects and animation in Canva. In this course, I'll teach you how to push your creativity with Canva to the limit. I'll teach you how to create pop out effects like this. I'll teach you how to create custom overlays. I'll teach you how to create custom frames like this and this and this. And no, this is not an instance where you have to create multiple copies of the same photo and put them in each frame and then read re size so they all match. No, this is just one frame. The process of creating custom frames that you can bring back in Canva, is actually way easier and comes with way less restrictions than most people think. So I'm going to show you just how easy that process is. I'm going to dispel some of these misconceptions, and I'll teach you how to use these frames in really creative ways. So we'll learn all these techniques and tricks, and then I'll teach you how to take your designs even to another level by starting to incorporate animation in Ca. I think it's going to be a ton of fun. I really think you're going to learn a lot. However, this horse does come with just a little bit of a disclaimer. A disclaimer, what does that mean? Well, let me tell you, and let me explain. The disclaimer is basically this. I am not someone who buys into the 100% Canva mindset. And what do I mean by the 100% va mindset? Well, all the time in social media groups, I'll see someone post a design. Sometimes good, sometimes not so good. And they'll add the tag line 100% made in Campa. Now, that's great. There's nothing wrong with making something 100% in Canva. However, sometimes I'll see them used this tag line and post to design, and then they'll have a description of their process or they'll show a video tutorial and it'll leave me thinking to myself, I would never have tried that 100% amba simply because I know there's a much more efficient way, a better way of doing it. Listen, I love Campa. I've been using amba and teaching Campa for nearly a decade. So I get it. Campa is great at so many different things. Ampa isn't great at everything. I've been using Photoshop for at least twice as long as I've been using Canva. And so when someone comes up to you and says, amba can do everything Photoshop can do, I can tell you that that person is 100% role. Look, that's okay. Different software excels at different things. So when I sometimes say I would never try that in Canva, it's not meant to be a knock on Canva. It's just an acknowledgment that as creators, we have to be aware of the different tools around us, the different approaches we can take. We should always be searching for the best approach, the most efficient workflow to get us to the result we want in the least amount of time. If you've taken any of my other courses, you know that that's something I harp on. That's something I always say. I'm always looking for smart workflows. I'm always looking for ways to take back time. Because time is the one resource we all share. It's a resource that's finite. We really have to be guarding our time. So in this course, we will be working in Cam with the vast majority of the time, but occasionally we will step out into a free version of an online image editor called Photop that mimics a lot of the functionality and a lot of the options you get in photoshop. By doing that just a little bit, we're going to be able to take some assets back into Canva that are going to let us push our creativity or our designs in amba even farther. So yes, this course is all about creating super cool designs and animations in Canva. But yes, this course is also about looking for smart workflows, ways we can save time, ways we can just work more efficiently because that's important too. So if this course sounds like it might be for you, then I would absolutely love to see you on the inside, and I can't wait to help you take your designs and creativity to the next level. 2. How to Get the Most out of this Course: Hey, this is Greg. I just wanted to jump on with a few quick notes here before we really dive in because I really want you to get the most out of this course. Okay, so this course is structured in such a way so that the lessons will build on each other. So you don't absolutely have to watch every lesson, but it is encouraged that you at least check out these. So you make sure you're familiar with the concepts before you proceed on to the next lesson. So the course starts sort of with the introduction. But then these first several lessons here are really introductory concepts that are sort of going to be the framework for all the other lessons in the course. So we talk about some basics that you have in Canva, like layers, frames and masking, gradients, photo manipulation, textures, and overlays. So these are sort of basic concepts that we're going to use throughout the course. So if you're not familiar with these concepts, make sure you check out these lessons because we're going to build upon them throughout the course. Then throughout the course, I'm going to have these challenge exercises, and these challenge exercises really take what we're learning and allows you to put it into real practice. So you try a project, you try to do something yourself. Then you can share it down here under the discussion. So that's just the way to reinforce everything we're learning. So make sure you take part in these challenge exercises. I encourage you to t I encourage you to share so we can all sort of learn from each other and get inspiration. Then as we proceed through the course. Let's just go through it really quickly here. So we have these introductory sections. One of these introduction sections is photo P because we're using not just Canva in this course, but we're using Photop sort of to pair with Canva and to extend Canva to fill in those gaps for all those things that Canva might not be great at. So we're going to bring Photop in and it's going to allow us to do some things like custom frames, custom verlates. We're going to create those in photo P and then bring those back into Canva. Now, Photop is a free online editor, so you're not going to have to pay anything for that. It's a free editor. So I'll just give you a brief introduction here to that and then we're going to use it throughout the course. So then once we do this introductory sections, then we move onto a section all about creating custom overlay. So we go through custom overlays. We talk about creating lighting overlays, and then you have a custom overlay challenge. Again, a chance to reinforce what you're learning, a chance to create something yourself, put into practice. And after the overlay sections, we're going to move into another large portion of the course. Of course, that's all about creating custom frames. So amba has its zown set of frames where you can sort of use something that's an image placeholder, and then you can drop an image directly into it. But it has a limited number of options. But now, suddenly, with what we're going to learn in this course, you're really going to be able to take any shape at all, anything you can possibly think of. You're going to be able to turn it into a custom frame. And so we go over a lot of different creative options in here, creating frames from texts, multiple frames, frame collages. All sorts of creative things we're going to learn in this part of the class. And so you do all those, and then you have a custom frame challenge. We're again, reinforcing the concept, so you get to create your own frame. Then we go to an advanced compositing section. So basically, when you're putting images together a whole bunch of images into one design, maybe you're trying to take one photo and make it look like it's part of another photo, we're going to go over some fundamental concepts that are really important to learn if you want to get this right. So we have a couple sections on that, and then that's going to culminate with a couple of movie poster examples. Again, learning some more about Photop that tool we're going to use to pair with Canva to allow us to do even more. And then you have a final challenge here, where you create your own poster or you create your own double exposure effect. And so, again, a chance to practice everything we learned. We're learning, a chance to lock in that knowledge and really show that we understand what we're doing. Again, share it down here, get feedback from your class. It'll be a fun way to learn from each other, see what we're all creating. Then we get into all the animation features in Canvas. So we start with the basics, but then we start to talk about some different techniques you can use. So we talk about using the rotate feature to do some things. We talk about the match and move feature. We talk about the custom animation feature. We go over some special spotlight examples, some challenge exercises. I go through a bunch of creative ways you can use animation in Canva. We talk about some more examples, creating movie posters, adding animation to some of the things we did earlier in the class. So again, this final section, of course, of the course is all about using animation, really to take our designs to the next level. So there's really a lot here. It's really going to let you expand your Canva knowledge, but then also pair Photop with canvas to really take your designs to the next level. So you're going to be able to start to create things that really pop that really stand out that set you above the average Canva user. I hope you enjoy this course. Have fun. Good luck with everything, and I'll see you in the next lesson. 3. Understanding Layers: Okay, let's talk about layers in Canva, because understanding how layers work in Canva is going to be crucial for just about everything you do in Canva, especially when it comes to creating complex visual effects. Now, I understand that much of this might be review for some of you, so of course, you can skip ahead if you want. But since layers are so important, I just wanted to include this section to be sure everyone understands how to get to the layers menu, the different methods for selecting layers, repositioning layers, moving layers up and down in the layer order, grouping layers, and all that good stuff, so let's get into it. Anytime you add something to a Canva project, it actually becomes its own layer. So I could hit R right now to add a rectangle. That's the keyboard shortcut for adding a rectangle. And I've brought this rectangle into Canva, and so this is actually on its own layer. Now, I don't necessarily know that until I start mousing around. And then as I mouse around my project here, You can see that as you get over a particular layer, you start to see this blue outline. And if you click on that with the blue outline there, it'll be selected, and then you can move your mouse off and it stays selected. So you can select your different layers just by clicking on them here. However, I have a circle layer in this project, which just by looking, you would not know. You cannot see it. Now, I happen to know that there is a control keyboard shortcut, but I can control and then click, and I actually can select that circle because I know it's there, and I know that control keyboard shortcut trick for selecting a hidden layer. And that would be command on a Mac control on Windows. However, Normally, you wouldn't be able to do that, because if I try to just click right here, even though I know a circles there, I'm only going to select the top layer because this woman is on top in the layer stack. Now, the only way to be able to really see your layers and understand what is in what order is usually by going to the layers menu. And yes, luckily, there is a layers menu where you can see all this. So if you have nothing selected, then you're going to have this position menu here and you can click on that. But any of your layers selected, you're going to see the same position option up here in this top menu, and you can click on that, and you're going to get over to two menu, the arranged menu and the layers menu. They both exist under this position menu here. Now, the layers menu is where we're going to see all the layers in our project. So we can see this square that I added that actually is the top layer in this project. And then I can see I have the layer of the woman. I have this yellow circle, which we can't see. Then we have the text layers in Canva, and then this here is the sort of Boca effects we're seeing in the background, and then the flowers. And then, of course, this one here with this symbol, this symbol means it's the background. That means it is the backmst layer in our project. Okay. So all these layers, at any given time, you may have any number of layers in your project, including layers that you can't see. The good news is you can come over here. You can select any layer just by clicking on it here so I can click on the circle, and then suddenly I can use this little icon here. I can grab that and I can move it up. And suddenly, I've moved it up to the top of my layer stack. So this gives you a way of repositioning your layers in your design. And of course, this is crucial because as you move a layer around in your design, of course, that's going to control what appears in front of what appears in front of other objects. Now, there are some keyboard shortcuts here, so let me just move this square over this way. And then I'll move it up a little further just so we can see even better. Now I'm going to use the control key on my keyboard along with the bracket keys. So if I do my control bracket keys, you notice over there in the left menu, you can see the layer move up and down, so I can use control and left bracket to move it all the way down on the layer stack. I can't move it behind the background, of course, but then I can use control in my right bracket key to move it slowly up the layer stack again. Now, if you were on a Mac, that would be command plus your bracket keys. But I can do it with control and bracket keys on here on Windows. And of course, if I do control alt plus bracket keys, then I can make it jump from the top to the bottom of the layer stack. Now, if you ever forget these keyboard shortcuts, let me just move this back to the front. Let's see, you can right click on a layer. You can go under layer, and you'll see here where it shows you what the keyboard shortcuts are. Right click, you can also just go to the contextual menu via these three dots. And again, under layer, it's going to show you those keyboard shortcuts. And of course, the keyboard shortcuts can save you a little bit of time, but also at any time, you can also just go under the position menu, just drag and drop. Drag and drop to reposition layers in the layer stack. So understanding this layer, understanding this layer stack is going to be very important. Now, under here, we also have the arrange menu, and under the arranged menu, you can actually have precise positioning of layers. Again, it allows you to move your layers forward and backwards. You can align them to the top of the page to the left of your page. If you have multiple items selected, so let me select this layer here, and then you can shift click to select another layer. So if you're selecting a layer just by clicking on it here in your project view, you can just use the shift key and then select something else, then you'll select multiple layers. If I go under my layers menu, I can see these are both selected now. And if I come back under the arranged menu, when you have multiple elements selected, then suddenly you can align them in relation to each other. So suddenly, I can get these exactly lined up. So it's just good to know all these commands. I'm not going to go into them. Super detailed here. Just know you have this layers menu and you have this arranged menu. On the arranged menu, you can also do things like precisely position things in here. So if I wanted the object to appear 200 pixels into my design, I could hit 200 here to 100 and put that directly in here. And the same thing here, I could do these coordinates here. So if I hit zero here, let me hit zero, and let me hit zero, just to show you that would move it to the exact top and the exact left of this. So you can use this for precise positioning. You can even resize elements here. So if I wanted this to be a bigger rectangle, I could go like that. Of course, this isn't locked, so it's going to hit Enter. It's going to resize it, and suddenly, we have a different shape here. If I hit control z again and I had this locked, and I did the same thing. Now, when I do 600, it's also going to resize the height, okay? So I won't get into all the details beyond that, but just know you can select things by clicking and dragging to select the multiple items. You can click one item, shift click another item. If you're actually over here on the layers menu, you can click an item, and then you can control, click another item to select multiple layers. So there are all these different ways for selecting layers, and then you can move them up and down just by clicking and dragging or using those keyboard shortcuts I talked about when you have something selected. And one other thing would be if you wanted to group layers together, Now, if I look and I select both the square and both this circle, then suddenly we have this group option, I can click on group, and then you'll notice they get clapsed into one group. Now, even if I click off them, when I click back on them, they're both going to be selected. They're going to move together. And I can start to do things together with these shapes. I can come in here, I can change the color. But you'll notice that only happened for one of the things. So there are some things where you are going to have to come up into your position menu, and you're going to have to ungroup items. So if I just have this option here, Ungroup, then suddenly there's separate layers again in the layer stack, I can select just one of them, or I can shift click. And do both of them, okay? But it's good to know all these layer tricks for working with layers in Canva, because it is going to be crucial that you can get over to this layers menu. You understand how to reorder things. You understand how to see all the layers in your design, just because things can become hidden, because they're behind other objects, or maybe it's a layer where you have the transparency turned all the way down. So again, you're not going to realize it's there if you don't check out this layers menu, okay? So these are layers in Canva. They're going to be crucial to just about everything you do, especially when you start to build out complex visual designs. So make sure you understand layers, okay? I'll see you in the next lesson. 4. Frames and Masking: Okay, let's start by talking about frames and masking because we'll be taking advantage of frames a lot in this course. And then masking is an important concept that you'll hear talked about in photoshop and other programs. So how does masking relate to frames? Because that's going to be important, and it really does get to the heart of what at this point in time still is a limitation of Camva that we're going to have to deal with. So when we typically think of the word frame, we probably think of something like this, a photo frame. In other words, something that contains something puts a decorative border around something. So you have something like this. Now, if we go over to our elements in Canva, we can go ahead and type in the word frame, and we can see that we get lots of things like that. We can see that here, if I click on this, this is this little polaroid graphic. This one over here, is actually a photo. So if I click on that, I have these photos. And so these items have transparency as part of them, So I was able to drag them over, and then I also brought over a photo of this gentleman and I was able to position them behind. So, if I come up here and I look at my layertack, we can see that I have the frame here, and then I have the photo positioned behind it. Now, when I did this, let me just show you by moving the frame out of the way or by grabbing the photo, you can see that sometimes you'll have a photo that doesn't fit exactly in the frame that you brought on screen. And so then maybe you would have to resize it like this to make it look like it's totally contained within the frame. That's the same sort of thing that I did over here. So I have this polroid and then of course, if I needed to adjust my photo, I can grab the sort of side handles and have it so it fits perfectly behind this little polaroid, what we're calling a frame. But of course, the heart of what I'm getting at is that there is also something in Canva that's specifically referred to as a frame that works a little difference. So if we come back over elements again and we again type frame, We also notice that you have this category in Canva elements called frames. And if I hit C all here, we can see that we get all of these sort of shapes that have this placeholder image, and they're all sorts of different shapes, creative shapes, and then regular shapes like this first one. Now, this first element is the one I use the most often. It's just a square, but then it has these side handles so you can really drag it out to any sort of rectangular shape you want, But as I mentioned before, there are also creative ones in here, for example, you get other shapes, you get some crazy patterns down here like this. And of course, later in this course, I'm going to teach you how to create your own custom frames that you can bring into Canva, which is really going to extend the types of things you can do with frames because there are a limited number of frames in here. But just so review for anyone who doesn't know how frames work. I'm going to go over how frames work right now. And so if I click on this photo here, I can actually right click on it, and you'll see I have detach image because that image was actually currently in a frame. Now, I'm not going to find that if I come over here, if I right click on this image, it can replace the background and replace my entire background. I'll hit controls Z to undo that. But this is just a free photo on the screen. It is not within a frame. So whenever you drag something out on screen like this, that is specifically what's called a canva frame is basically then you can drag something over top of it and once you're over top of the frame, you'll see it snap into the frame, and then suddenly it's contained within that frame, okay? How this relates to masking is that in other programs like Photoshop, you'll hear the term masking, which is the same sort of concept. Well, basically what a mask is. It's a defined area of the screen where you're going to show the pixels, and then everything else is hidden, okay? So they call it a mask because it masks away certain pixels and allows you to see other pixels. So that's the same idea here with all these frames. They're going to let you see what specifically the shape is, but then anything that's not part of that frame is going to be hidden. So with this photo here, if I double click on it, you can see that there is more to the side here and there is more to the side here, I can even resize it within the frame. I can resize it by dragging corners and then sort of grab it and click it to move it around. And then when I click outside of it, it snaps back to the frame. So even though if I double click on this again, we can see there's a lot of photo here that's being hidden away because it falls beyond the area of the frame, okay? And this is how a mask works in programs like Photoshop and in Photop which we're going to use in this course, which is sort of lightweight photoshop clone. They use the term mask. But mask and frame are basically synonymous in the way they work that they hide certain pixels and allow you to see other pixels. Now, there is a limit to Canva frames. They are very useful. We're going to use them a lot in the course, but they have what I consider to be two major limitations. The first I've mentioned already, and that's the fact that you only have a limited number of frame options in here. You can't just create any shape you want on screen. You can't make a selection and turn into a frame. You're limited to these shapes here, okay? We're going to talk about a work around for that. We're going to talk about how to create custom frames, so we'll get into that. Now, the second big limitation in Canva is that if I look at this frame right here, right now, I can see all the pixels completely. I I come up here, I can make all the pictels a certain level of transparency, I can make them all, so you can't see them at all, but there's no way to have varying levels of transparent. I can't create a gradient on this frame or this is 100%, and it fades to 0% here where you can't see anything at the bottom, and you have that soft edge. We cannot do that. That is a major limitation. Okay, so let me just jump over to Photop and we'll go over what I mean here, so we're just going to jump over to the Photop. Now, if you're new to Photop, Photop is basically a lightweight photoshop clo, So if you have photoshop, by all means, use photoshop. The interface and Photop is meant to look exactly like photoshop. So if you know your way around photoshop, you're going to know your way around Photop and vice versa. But just know that Photop is a free, lightweight photoshop clone. The reason why I'm using it for this course because I know everybody's not going to know photoshop. I know everybody's not going to have a budget for photoshop. So in this course, I will be doing the work here in Photop for those times when we need to step outside of Canva to do some things like create custom frames. Now, let's just go over what I talked about the limitations here and just show you how easily you can get around some of those here inside a photo P. So I'm going to come over here to the left, and I'm going to go to the third tool down, this Lasso Tool here. And if I click on this here, same photos we had before, and we can see that there's a layer here where the photo is, and then we have a layer that's our right background. But if I click on this Lasso select tool, and I have our top layer, the photo layer selected, I can just draw any shape I want by holding down my mouse, any shape I want, I can drag around any shape I want, then release. It'll make that selection. And then anytime you have a selection like this inside a photo P, you can automatically turn it into a mask or what we think of as a frame inside of Canva. So if I come in here now and they click down here on this little icon here, it's add Roster mask. That's what we want to do so. We're just going to click on that, and we can see that instantly it creates this mask. And we can see there's a little icon here. What you can actually do is if you hold down the alter option key on your keyboard and click on this mask. I'll show you the entire mask. The way this mask is working now, the white area is that's what we're going to see in the black area. Those are the areas that are being hidden. And we can see that if we just click anytime you want to get back from this view of the mask to your photo, click on the photo itself, and now you're back viewing the photo with that mask or frame, if you want to think of it that way, applied. Now, the second limitation I mentioned about frames or mask in Canva is that they can't have varying levels of transparency. Well, that is not the case in photoshop or photo P here, because I can click over on this mask. Now, you notice I clicked from the photo to the mask, so I can now work on the mask, but I don't have the Alt option click so we see the mask. I want to see the photo itself. But I click on the mask so I can work with the mask. And then my favorite way of just doing a simple blend with the mask and applying some transparency at the edges is to click on the mask itself, and I'm going to go up here and find this properties menu or I could go under a window and find properties if it wasn't turned on. Here's properties. But I see it right here, so I'm just going to click it here, and then I can work on the mask itself. So I clicked on the mask. And now I can start to feather. And what this does is it starts applying a feather at the edge. And so now if I do something like that, now you can see suddenly that now we have really blended this image here, so let me just zoom in a little bit here so we can see even better. Just the way how now we have this mask. We created just a sort of custom shape, but we had that hard edge. Now we have this really nice soft edge. So you can do really creative effects very easily in programs like Photoshop and Photop that you cannot do in Canada. Now, good news, bad news. The good news is that if you want to jump over to Photop, you want to do something like this, and then you want to export it back with transparency. I could turn this off, I could go file. I could do export as. I'm going to export as a PNG. I'm going to keep transparency, and I could export this back and then re import it into Canva and have it as a Canva element I could work with. However, I cannot export a frame with soft edges like this. If I want to go back and hit? Let me just hit Control Z here. Someone hit Control Z, just to go back to my keystrokes. If I want to go back to this hard edge frame, then yes. I'm going to show you how you can bring a custom frame in the canva that has this hard edge. But if you want to start dealing with transparency, then that's where you'd have to bring back a PNG, something with transparency. You could not bring back a usable canva frame. What do I mean by usable canva frame? Well, here I am back in Canva, and we can see that shape I created in Photop. I was able to easily convert into a Canva frame. And so now it will work just the way you expect a frame to. So you can very easily create something like this in Photop and bring it back as a reusable frame in Canva that you can use again and again. And this gets you beyond the limits of just the custom frames you find here. So now you're no longer limited to just these frames here you see in Canva. Now you really can with Photop create any shape you want. And turn it into a frame, and I'm going to show you how to do that in an upcoming lesson. However, it is going to be a frame with a hard edge. You can vary the transparency, but you cannot have different levels of transparency. So if we look at this image here, another thing we can do is we can go over to Photop. We can apply that feathered edge or a mask with transparency, varying transparency, and then we can bring the final element back, but this is just a final element It is not an image within a frame because you cannot have these varying levels of transparency, this sort of feathered edge with a Canva frame, okay? So I just want you to understand how you can create custom frames that can end up saving you a lot of time. You can also do things like this where you go outside of Canva and then bring back an element with this sort of varying levels of transparency. But within Canva itself, you are going to have limitations. I want you to understand that because I want you to know these workarounds. But then also if you always find yourself doing advanced things where you need to step outside of Canva, then there is a point where you have to start to invest in another program like Photoshop or use a free tool like Photop for those workarounds. But again, it's just finding the white right workflow that works for you. Of course, in this course, I want to show you all these ways to get around some of these Cava limitations and to push yourself in your creativity as far as you can. 5. Gradients: Gradients are another design element that can add visual interest to a design. So let's talk briefly about gradients and Canva. So how do you find gradients, how do you create custom gradients, and then what other options do you have? Again, I know some of this might be review for some of you, so skip ahead as needed. Okay, so I have some gradient examples on screen here. A gradient is just when one area of color blends to another area of color, and they can be simple gradients like these, or they might have a lot of colors where one color blends to the next to the next. So let's go over how you find gradients in Canva and then how you can create your own custom gradients in Ca. So I'm going to select all these and delete these. And first, we're going to go under elements menu. This would be if you want to search to see what gradients are available in those canva elements, so you could do something as simple as typing in gradients here. And if you do, you're going to get all sorts of results from graphics to photos to videos to frame. So let's look at all these really quick. So here's just a graphic we can put on screen. This is not a good example because that's a white one. So let me just go and see some more here, so I could put this one here. Here's a gradient, so you can resize it this way. That's a graphic gradient. There are photos here where you have photos that you could use this as backgrounds, get rid of that. You have videos where if I play this, it's actually sort of like a moving background gradient. We can get rid of that. And you even have frames in here. We frames where then I could come in here under my elements, and let me just type in any sort of prompt here to get a picture, and then, of course, you could put something into a frame here. If I can grab something, and then suddenly you have that color overlay, that's sort of a gradient overlay on top of your photo. So you have all these different options. But the most basic idea here would be you just come over here and you search, so the more specific you can be in your search, so I could say something like red to orange gradient and put that into the search. And then suddenly I'm getting more specific options here since I had a more specific search term. And then suddenly I can come in here, I can find things I like. I can add them to my photo. That's the first option. You can come over here. You can search up here. You could use search terms like semi transparent. Semi transparent gradient, something like that. And then suddenly, you're going to have gradients that come in here where you can see this does have some transparency built into it. And so this is one way you can search for gradients. And if you search for gradients, I would say, be as specific as possible with your keywords. You use keywords like transparent, keywords like radial or rectangular or circular. Things like that are going to help you return better results. Okay, so that's option one. But now Canvas also has a way where you can add your own gradients to shapes. So I'm just going to hit R to add a rectangle on screen. We'll close that side window. And so now when you have a shape and you come to the fill color, you can come in here and add a new color. You can have solid color, or you can also add a gradient. Now, let me make this a little bit bigger on screen just so we're going to see it even better here. Now, suddenly, you come under your fill and you come under the option here, you come under add new color. But instead of choosing solid color, you can choose gradient. And then now you can change the color of this, and you can change the style of this. So under the style menu here just gives you some different style of gradients. Is it a circular gradient? Is it going from the top left corner to the bottom right? Is it sort of a horizontal gradient that goes from one side of the screen to the next? And then, of course, you can come in here and click on any of these colors and come in here to adjust the color to update your gradient. Now, you can also come in here and add more colors. It's got one color now, excuse me, two colors, green and pink, but I could come in here and say, I also want to have a blue. And then suddenly we've added that to the gradient. Now, you can even come in here and you can add transparency to this. So if I add a new color, it's going to add this color, but then I have this transparency slider where I can make it fade to transparent. I could add another color. Maybe I want that to fade too just so I have more of a fade out to transparency. So you'll have to play around to get to know this gradient tool, but know now with any shape, you can come in here and you can come under the color And instead of adding a solid color, when you come in under here, you can come under this gradient menu and you can play around with adding different colors. Now, if you have something you want to remove, like maybe I don't want that blue, I can just click the x and get rid of it. And again, I think it will let you add up to five colors to your gradient here. And then, of course, you can see the different options down here for what type of gradient you want to apply. Now, as a perfect, no, it's not perfect. I love the gradient tool in Photoshop, and I'll show you in Photop in a later lesson and of course, how you can create gradients if you want to create a gradient in another program, because that's your other option is to create a gradient elsewhere and then upload it to Canvas. So your three basic options for gradients. Are you search in the elements menu here? Search for gradients, B as specific as you can with your keywords. Other otherwise, you can add a basic shape and then come in here under the fill options and choose a gradient instead of a solid color. And then, of course, your third option would be to create a gradient elsewhere and then upload it back into Canvas so you could make use of it in Canvas. Gradients and make sure you're familiar with all the options. 6. Favorite Photo Manipulation Tricks: Okay. In this lesson, we're going to talk about some of the photo manipulation options you have in Canva, and I'm not going to cover everything, but I am going to cover a few tricks that I use all the time. So I'm going to select this photo here, and everything I talk about here, you can find by selecting a photo and then coming under this edit photo menu. So this applies any roster image inside of Canva, so photographs, things of that nature. So once we have it in here, we have these magic studio options, which we're not going to go into great detail in in this course. But then we will talk a little bit about some of these special effects, and I'll briefly mention the adjust menu. So under this adjust menu, you have different things like temperature tint, brightness contrast, highlight shadows, whites, blacks, and then some color options and texture options down here. Now, most of these are self explanatory, and I'm not going to go over a lot of these in detail just because I don't use a lot of these very often in Kanva Usually, I do photo retouching in a program like photoshop, because usually you have to combine it with masking, and we talked about how masking is not a strength inside of Canva. So it can just be a little too heavy handed trying to do photo edits here inside of Canva, but I'll go over some of these very briefly. So you have the option to edit your whole image or just a foreground or background. And again, how effective this works is going to depend on whether your subject has a simple background. This is a photo with a very simple background. So if I select background here, then I can come in here and make brightness adjustments to just affect the background. If I switch the foreground, then I could make brightness adjustments that just affected my main subject, and so on and so forth with any of these sliders based upon what you have selected up here. Now, a lot of times you might just be working with the whole image. And again, you can come in here. You can shift the temperature like that, so make it cooler, make it warmer in tone. And then if you actually want to change and shift the colors, you have this tint slider. And again, very easily to get a crazy result, so you can't be too heavy handed in here. Again, brightness, that just makes things brighter and darker. Contrast is going to push your brights brighter and your darks darker highlights and whites. Those are going to push the white areas of your photo. And whites are sort of the extreme. So you can push the highlights up and it's not going to quite wash out your whites. But then suddenly, if you go do the white slider, then it's sort of pushing some things to pure white. Same thing when you talk about shadows in black. So usually shadows will push things And so if I drag this down all the way, it'll push the shadows a lot darker, but it usually doesn't go to full lawn all the way black. But if I do the black slider and I push that up, then suddenly it's starting to wash out some of that black and really go to full black. Okay? So those are the sliders in here. Then you have color adjustments. You can try to edit just a color. So if I select on this color here and it finds that color in your photo, and then I just try to just do a venette on that. Again, a lot of these don't work too well. So I don't mess around with a lot of these a ton, especially these color edits down here. It just doesn't do a great job. But you can do some minor edits in here and have some success. So feel free to play around. But I don't do that a lot, and we're not going to talk about that a lot in this course, because this course is really about sort of some of the special effects and things we can do inside a cava. First of all, let's talk about the background remover first. So this is a pro feature. So if you're a free Canva user, you do not have this background remover. However, what you can do is if you're a free user is you can click on your photo. You can come under here, under your apps tab. So if I come over here under apps, then I can search for background eraser. So I'll start to type it out. I'll see it here. I can do background eraser, and then I can find this one here, this background eraser, and remove backgrounds within seconds, so your images can truly spotlight people. So you can open this and it'll let you upload a file. So if you're using a Canva element here, you might have to download it, then re upload it. So it is a work around, but that is something you can use if you're free user. Now, I have the Pccount here, and anyway, the Pccount here can use this background remover tool. So you just click on this background remover, and then it attempts to automatically remove the background from your subject. And it doesn't work perfectly if you have a super complex background, but for most subjects that have a relatively simple background, it does very easily remove the background. And so this is a very helpful feature because now suddenly you can use your elements to your main subject in a different way and get more creative. So I love using this background remover, and that is a canva tool that I use all the time. Now, let me go ahead in size or down slightly. And let's just for fun. Let's go in here. Let's make this background gradient. And so I'll go ahead and choose from my first color. Let's just use this color sampler. We'll choose one of these greens here from our dress. Didn't quite get the one I wanted. Let's make it. Well, that's good. And then we'll go ahead in it here again, and we'll take that same color, but then we'll make it a little brighter. Just for fun, we'll put a little gradient like that in the background. So that's what you can easily do once you have your subject removed from the background, then suddenly, you can choose what sort of background you want to put behind them. Now, the background maneuver is the first thing I use all the time. The other thing I use all the time is actually down here under the effects menu. I end up using this Detone and blur all the time, and I sort of use this as a hack, and this hack sort of lets me take any photo like this that's removed from the background, and it lets me do two things. Turn it to any color I want, and then I can also add a blur to it if I want to sort of have a soft edge effect or, you know, make it something that looks like a shadow. So what I can do here is first duplicate her, so I'm going to duplicate my image here, so I have a second copy of the image. Then I'll come not under mock ups. Let's go back under edited photos. So then I wanted to go here to do atone. And do atone basically, it takes the highlights and applies one color to those, and then it takes your shadows and applies another color of the dose. But you can come in here and you can set them both to the same thing. So I can make these black, and I could also come in here and make my highlights black. And by doing that, I've turned it to a solid black, okay? And so now that I have a solid black, I can go ahead and I can put that behind my subject, so I could come in here and put it behind my subject. So maybe I want this to be sort of a shadow on the wall, so I could move it over here. And then suddenly, I could come in here and again, go back under edit photo. And this time, I'll use the blur on that one, and I can sort of change the intensity of the blur and go ahead and go back and now suddenly we have this wall shadow effect. Now, you'll notice one of the things I wanted to point out to you, one of the issues that you have with this sometimes is if you have a subject that goes to the edge of your frame here, then anything that's on the edge will get this hard edge like we're seeing right up here. See how it has that hard edge, So you're going to have to watch for that, and sometimes you would maybe even have to download something and re upload it if it's something that gets pushed right up to the edge. So in this instance here, though, maybe I would just come in here and take this and make it really big. So it looks like that light maybe the light is farther away. And of course, then, once you do this, you can really come in here and you can play around with the transparency. And of course, we can go back in and play with that blur setting. Now, I know this doesn't look particularly good here, but if we made her bigger, it would match up a little better. But the whole idea here is, I just want to show you some of the tools that I use all the time, because they are going to be things I referenced throughout the course when I'm doing some of these projects and we're making use of some of these effects, okay? So these are some of the ways you can manipulate a photo inside of Canva, just to make it work a little differently for you and to get these different effects, so you can come up with something new, okay? So I'll see you in the next lesson. 7. Textures and Overlays: Using overlays in Canva, like texture or window lighting. Things like that are another way you can really give an image a specific feel, get creative. And also, when you're working on a photo composite and putting multiple images together, using texture in that way can really be something that helps unify those elements and make it look like a more cohesive design, like they belong together. But let's just work through a basic example so I can show you what I mean, and then this is something we're going to use throughout the course. Okay, so let's look at this image here. Let's pretend I wanted to give this more of a grungy feel. So I could come on here under elements, and I could search for something like grunge. So I'm just going to type in the search term grunge. And then I'm going to have results here in graphics, photos, videos, and so on. And those might each have some advantages. So if I go to graphics here, I'm going to find a number of elements that have some transparency built in. And that can be a good thing. Let me just select this one here. So if I select this here, we can see that it does have some transparency knockouts. So I can apply this and it's not going to totally cover my subject himself. And of course, because it's a graphic, I can also come in here and choose a color, right? So that makes that an interesting option. But of course, I could also come in here and choose a photo. So if you go under a photo, I could choose a photo that has no transparency at all. So if I could use something like this. Now, of course, if I cover him completely with this, I'm not seeing my photo at all now, but now what I can do is come under here, and I can start to knock this way back so that I start to bring my subject back, but I still pick up some of the texture that's part of that overlaying image, okay? We're laying that on top, and then we're getting some of the texture that shows through. Now, if I come under here under my position menu and select my subject, and if I wanted to brighten him up, I could come in here and do things like brighten him up just to try to bring him back a little bit more, But again, one of the disadvantages of using a photo that has no transparency, no knockouts through it and putting that on top is that you do have this trade off where you start to work with it here. In other words, if I want to get more of this texture here, I lose my subject completely. If I drag it down just a little bit, maybe it's too dark, it's not really going to work. But so I have to find it trade off, that area where I feel like I'm not losing my photo, but I am starting to pick up the texture. Now, the good news is in this course, I'm going to teach you how to create your own custom overlays, your own custom textures, and I'll show you how to build transparency into some parts of them so that you can start to use them and get even more texture into your photos. Now, let me just show you a few examples. So I'm going to go here under this projects tab. And under my folders, I have this favorite texture folder, and I've started to populate this with some textures in here. And so we're talking about textures, but it can also be things like lighting effects. So just for example here, if I add this one here, this would just put sort of this dark window light over here, so I could do something like that, and then of course, I can come in here, still make adjustments to make this a little bit more subtle. So you can do things like that. Now I have other textures in here. This is like a cracked Earth texture. So this is a little extreme for this photo, but you could take something like this. Of course, you could dial it back, find right situation to use that. But let's get rid of that one. Here's another one that's a little bit more subtle. It's this brushed metal texture. So I could put this over top and I could dial it down, so it's not quite as strong. And again, this has areas of transparency built into it. Let's try another one real quick. Let me just get rid of this one so we don't have too many textures in here. But let's try another one. So here's one here. That is another type of texture we could add, okay? So again, when you do a texture like this, the other thing is, if I zoom way out, I could make this texture just way bigger. And so then when I zoom back in and fit this back to the screen, then suddenly we're getting a whole different look here. And I could again make this smaller and more subtle. So again, just different ways to build up the texture in your image, okay? Here's another one. Here's an extreme example. You could create something like this, okay? And again, once again, bring it in here has some transparency built in, but you can always lower it down. Okay? So in this next upcoming section of the course, I'm going to teach you how you can create your own custom textures and overlays. So you can start to build up this library of reusable creative assets that you're just going to have organized and at your fingertips. All right? I'll see you in the next lesson. 8. Photo Pop Out Challenge: Okay, you've reached your first challenge project in this course, and this is the fun part. This is where you get to take all the techniques we've been learning this far and you start to practice them, and you just get to experiment around and you get to have fun. So the way this is going to work is I'm going to show you how to create a design. And then I'm going to ask you to create something similar. I don't want you to create the exact same thing I do, but I want you to take some of these techniques that we go over here and then put them to work in your own design. Okay, so I call this the photo pop out effect. And basically, is you start with a photo in a frame. It doesn't have to be a rectangular frame. I've used a circle here, and then we're going to use a couple of different layerings of those photos to make it pop out. And then we're going to add some other background effects. You can use anything we've done in this course, textures, gradients, grunge effects, anything you want to create an interesting design. So here's one I did. So I'm going to walk you through this one step by step. We're going to actually create this one from the ground up. And then I'll just show you another one I created that's totally different. This is just in a totally different style. So just to show you, you don't have to do exactly what I do. You can create anything. It can be a person coming out of a frame. It can be animal. It could be anything else you want. Um, but I'm going to walk you through it, and then I want you to create your own project. All right. So let's start on this one. Okay. So here I am starting with the photo. Again, you can start with any photo you want to use. I decided to start with this one here. And a lot of times I'll make my background color for something like this. Something similar to a color in the photo. So I might come up here and use this color picker and come somewhere here in the photo and grab something, and then maybe I'll come up and modify it slightly. So let me come and maybe move it a little bit more towards orange, maybe a little darker, something like that. Again, you can tweak around here, maybe a little bit closer back towards red. But something like that. That's just my starting point. Then I'm going to come to the photo and I'm going to immediately duplicate the photo. Because, again, as I said before, I'm going to want to use multiple versions of this photo. And then I'm also going to want to put one of the versions in the frame and then layer another version on top so we can make it look like it's breaking out of the frame. So here, let's start with going over to elements. Let's look for a circle frame. So I'm just going to type in circle frame. And we'll see what that brings up. Here's a basic circle frame. So let's do that. Let's start by putting this subject into the frame. And then what I want to do is double click so I can sort of resize and reposition in the frame. I want her elbow sort of breaking out of the bottom of the frame, and then I also want her elbow to break out of the top of the frame there. So something like that, and then I'll click outside here. But before I click outside here, something helpful is I'm going to want to be able to position this photo right over top of this photo here. So it's helpful to know where the bounds of this photo are. Otherwise, you can spend a lot of time resizing and you're never going to get it to line up exactly right. But if I know the bounds, then I can make this photo layer right on top of this photo. So what I'm going to do is hit Shift R, and that's just to bring up my rollers, because then from when your rollers are on screen, you can just drag out a guide. So I'm going to drag out a guide. So it's basically right where that top border is. I'm going to drag out a guide basically where this side border is. I'm going to drag out a guide, basically where this bottom border is. Now I could drag one out over here, but I don't really need it when I have these three because these three are going to be enough, okay? So once I've done that, I'll go ahead and click out to commit that to the frame. And then what I want to do is layer this image on top. But first, I'm going to use the background remover inside my frame, I want my photo to show. But then when it breaks outside the frame, I want to use this background remover. So first, let me come up here. And again, if you're not a pro version of Camb, you're going to have to find another way to remove the background remember. I did mention that one app you can find over here to remove backgrounds, but we're going to use under the edit photo, this background remover since I have a pro account. Okay? So once I have that removed, I have my background removed, but now I needed to get it to line up, Uh, it still has the bounds of this photo. So I know what I need to do to get this to line up is I need to bring it over here, put it here, and then resize it. Now, something to watch out for, if your cursor now when you click on this, ever moves over the frame, it's going to want to snap into that frame and replace the photo that's in there. We don't want that. So I got to make sure that when I'm dragging this photo, my cursor doesn't move over this frame. So I'll grab it by this far corner. That way, I can move it and get it right aligned to those bottom two guides without actually coming over the frame here, and then I'll grab this top corner and then I'll pull it out here, and we can see when I snap it into place, you can see how it basically is perfectly aligned there. That lets me know I did my job. These guides have been helpful, okay? So once I've done that, I'm going to want to hide this portion here. But again, I'm going to need a third copy because if I try to hide this up to the frame. Let's see. If I want to hide this up to the frame right there, then you can see that the issue is, for me to get her whole arm, I'm going to get some spillover on the side of this. So I also have to drag it over here because I don't want any spill. So I want something like that. But because I'm doing that, I'm going to have to duplicate this yet again. So before I even resize that, let me just take this here. I'm going to hit Control D to duplicate it. Now we have another copy, which again is totally over top, right? And I don't want it to be in the frame. So let me just move it out of the way for a second. Just to show you again, now, let me just bring up the layers menu just so we can see, we have the one in the frame. Now we have two other copies. I'll move both of these copies so they're in front of the frame. But so we have the one in the frame, and now we have two other copies. So now we're working with this first copy here, and remember what I want to do is I want to bring this up just so I have the whole arm like I do there, but then I'm going to drag it in so that it's not spilling out of the frame there. Then I'm going to bring this one here, and this one again, I'm going to line up based on this guy to remember. I don't want to have my cursor over here, so I'm going to grab it by this far corner. I'll get it into position like that. Now, it looks like my resizing is off, so I'm going to have to just drag it up like this, and let's see, let me get it positioned. Sometimes you'll have this issue where the sizing does get skewed slightly. So sometimes you do have to tinker, and I think what happens is is sometimes if you accidentally start to resize something, the full photo isn't there, so I have to make sure that I have my bounds out again, and then there, if I go like that, that's perfectly an alignment, and then I can pull this. Again, sometimes the guides in the way now, so I'll get that guide out of there. I'll pull this up, and then that should do it. Now, because I have three different versions of this photo. I can make it look like it's contained in the bottom part of the frame, and yet it's popping out of the frame here and it's popping out of the frame here, and I've done all of this because I'm using these three different layers. Now, not a bad idea now to shift and group these, I can always ungroup them later, but now I know I can move this around, and I'm not going to lose that alignment. Now, I want to have sort of like a white edge to this. So there are a couple of different ways I can do that. I'm just going to use a basic circle. So I'm just going to hit C key on the keyboard to bring up that circle. I will make the circle white. And I want the circle to line up perfectly over top of this. And so if you can't get that to line up perfectly, one of the things I could do is come in here and ungroup my other thing for a second. So let me come under position. Let me come in here and let me ngroup this for a second. So I'm just going to ngroup because now that this circle frame is an element again, I should get this to be able to snap to the center. It wasn't snapping before because it's taking the shape of the whole group into account. But now that I have this circle separate, this circle frame separate, now I can bring this and I can have it snap exactly to the center of that circle frame. Then when I do that, I can sort of grab a corner. I'm going to hold down the ult key. That would be option on Mac, but the aught key on windows, just to make it a little bit bigger, sizing from the center outward. And now what I want to do is just bring it behind everything, and then I can full around with how thick do I want this? Again, this is holding the on the aut key on windows. That would be option on Mac, and I'll just make it about like that thickness looks pretty good. Something like that. So now already we have this really cool effect. And then when I did that, I can see since I've added that circle background here, that white background, that is changing slightly where I want these images to expand to because this looks a little wonky here at the bottom. So in other words, I would want to take this particular side and tuck it up slightly so that something like that so that it's not obscuring the bottom part of my frame. So some little adjustment like that. You got to make these little adjustments on the way. Once you get comfortable with the tools in here, you'll be able to make them fairly easily. Okay, so that's the big major part of my design. So now I would probably would select all this again, but by dragging around everything. I will group all that, and then again, I can come in here and I can resize this, and I can position it roughly to the center of my image here. Okay. So now that you have that in place, if you don't want these guides anymore, you can hide your guides at any time by just doing Shift R, we'll hide your rulers and guides. So now they're not going to be bothering you visually. Now we have those on screen. And now I can work on some of the other elements here I want to finish off this design. So I decided I sort of wanted a grungy look for my background, And so I just came under elements here and I searched for grunge, or actually, maybe I searched for splatter. I'm not sure. So I think I searched for splatter, and I think I found this photo here. So if I click on that now, then I can add that to my design. Again, I can go to the position, remember, but remember we have those keyboard shortcuts. I can use the control and my bracket keys if I want to move that behind. And since all of that is grouped now, I basically only had to slide it behind the one layer. And so then I would come in here position that however I want. And then the only thing I did to sort of make it a little bit more cohesive with the rest of the design is, I actually hit Control D to duplicate that splatter. Again, once again, I moved that back in the layer stack. So again, that's control bracket key, and I did it again to move it back to the back of my design. And then what I did was I just zoomed out so I could really grab this and really stretch it, so I was getting this grunge sort of throughout my whole design, and then I'll come back here and again, fit to screen so I can see a little bit better. And then I'm just going to take that and really dial that back because I don't want that nearly as in your face as the yellow that's around here. And I chose the yellow color because that really pops out against the red. And then the other splatter effect just sort of brings everything together, I feel like. Okay? So that's really it. There wasn't a lot to this. But by adding some different layers, It makes it a lot more interesting than just having this photo of this woman by itself or in a frame by itself with no other effects. So this is something that you can do layering like this just to really bring a design to life. Okay? So I want you to try something like this and remember all the tricks we've learned. Remember how you can make duplicate versions of your photo. Remember how you when you're clicking in on a photo and you can see the bounds, you can drag out guides. So you can see where the bounds of that photo is when you have to align your other photo on top, and then remember, just to take advantage of your layers in the layer stack, moving things up and down, doing things like transparency, adding some of these fun textures and have fun with it. Just if you want to see another design, I'll walk you real quick through this design. I'm not going to create it from scratch, but I want to show you some layers I used, and then one trick I used at the end. So if we look at this version here, I think it's this version here, let me come in here. Under my layers here, and if I go to position and I go to layers. There's actually a background here. And if I bring it back, we can see that I have the white hearts here, and they sort of bleed out onto the background, but I really wanted to end up with a look like this. So I'll walk you through how I got that. But first, let me just start here in this entire design, and I'll sort of go layer by layer. So on top here, this is just a sort of a paper texture, a grunge paper texture, and I've just lowered the transparency down just to give the whole feel more of an antique fear feel to the whole thing. And then, of course, we have a copy of our dog. This is him cut out from the background so I can make him pop out of the frame. I did another layer behind him where I just have a shadow. So it's a little bit of a drop shadow. And again, remember the trick, I showed you where you can use the Duotone filter to make anything, whatever color you want. So I made it black, and then I added the blur effect using that blur. And then for this frame here, I just have rectangles basically making up my frame. So these are just rectangles, and I can move those up and down. And of course, I have those behind the dog, the cutout version of the dog. So it looks like he's coming out of the frame here. And again, just here's my actual frame, the actual dog itself. So if I drag this one to the top, we can see that that's the actual dog itself inside of a frame. So just a rectangular frame, I'll bring that back down. And then I just added some hearts and sort of repeated the shape, changed the size. Sometimes some simple repetition, adding the same shape or a similar shape, but varying the size, varying the position. Sometimes like that, I can just make a design more cohesive. And then, again, I like this background sort of cutout here. So this is just this texture here that I used sort of the frame to design. But then when I did that, originally, I did not have this layer here. I had something like that. So there was this sort of cool effect of it looking like these white hearts were cutting out into the background. But then what I really wanted to do is I wanted to maintain that sort of antique look, so I wanted to make it look like almost like inset paper with the tear here. And so the way I was able to do that and not have these hearts bleeding out is what I did was I lowered the transparency of this for a second, and then I exported this image as a Jpeg. So this image with the white background. And so then when I had this image as a white background, and I brought that back in, One of my heart layers here, let me just this heart layer, I think I accidentally changed the transparency. For some reason, that doesn't look like, oh, this doesn't look like it's bleeding to white because I have this over top layer. But if I come in here and just turn that off for a second, you can see that this is what I exported. And then when I brought this back in as a Jpeg, since this is all sort of central area and this is white, then I was able to cut out the photo. And so in this other version here, here's my cutout photo. So if I turn off this background here, now I have this cutout photo that just is because I exported the Jpeg. I brought it back in, I cut it out, and that allowed me to do the background effect like this. So sometimes it's those little extra steps, you have to decide whether it's worth it. To me, it was worth it to do that extra step just to come in here and get this more cohesive look. I did not want these hearts to spill out of the frame. If I read to this again, I would probably take this little photo frame and maybe find more of a vintage frame for him to pop out of, so I'd have more of a a more cohesive look. But this was still a fun little design. So that gives you two ideas. You can choose something similar to these. You can choose something totally different. I just want you to do some sort of frame pop out effect. Using a number of the techniques we've learned thus far in the course, and most importantly, I want you to have fun, okay? That's how we learn. We experiment around, and we have fun. And then I'd love to see what you create. So if you want to share your design, what you're going to do is just come up under the share option here and choose this public view link. And in here, it says, You can create a public view link to allow access. Anyone to access a view only version of this design, no sign in required. So you're just going to do it and create that link. You can copy it down here. And then here in Skillshare, you'll come to the challenge project in question, and you're going to come under here and you'll find this discussions tab. And under here, you can choose this share a project option. And then you can embed a link or upload an image. Now, I said, public share link. A Public share link is a link to your live project, but it's not something people can edit, but they can go in there and view it. Forse, you also could download a JPEG or PNG, whatever's appropriate. So you could use either this upload image or this embed link, depending on what you've done, and just go ahead and put it all in here, submit it, and then everybody will be able to see your work. And we can all give each other feedback in a supportive way. All right, so that's a challenge project. Best of luck. 9. Photopea Introduction: Now, obviously, in a lot of this course, we're going to be using Canva. But as I mentioned in the intro of this course, I do believe in knowing what other tools are out there and taking advantage of tools when they make sense. And for this course, we are sometimes going to be stepping into an online photo editor called Photop, and we're just going to use the free version of Photop. So it'll be easy for everyone in the course to take advantage of this. Now, all you're going to do is go to photop.com. Now, that's actually just out of my screen here, but I'll put it down here so you can all see photop.com. So you're going to go there, and then you don't even need to sign up for account. We're just going to use the free account, and you'll be fine. So, there shouldn't be any need to sign up. You can just get in here and immediately start taking advantage. Now, there is a paid version of Photop. And if you click on this account button here, then you have this option to go premium. And all it does is you get rid of the ads, you get a few other features. You can look into that if you want to. I don't really find it necessary. You can't see right now because of the way I'm doing my screen recording here, but just off to the right off the right of the screen now, there are some ads that sort of play in the right hand side of the screen when you have this free version of Photop. So, of course, you can upgrade this if you want to, I don't think you need to. And again, this is sort of meant to be like a very lightweight version of photoshop. But the menus in Photop are really set up to mimic photoshop. So if you're watching any Photoshop tutorials, a lot of times, all those tools are going to be set up exactly the same way in photo. And I'm not going to make this class itself, like a full tutorial and Photop, but I'll show you everything I'm doing so you can follow along with all the different lessons and exercises we have in this course. And then I'll think about, you know, if there are enough questions, if people want a section of the course to be on Photop. I could always add that later. But I'm going to wait and see what the feedback is on that. But I'll just go over some very basic things here. So you're going to come to photop.com, and then you could click New Project and you can select between all these different, you know, starting templates or file sizes or enter your size up here. But for the most of the time here, we're going to be bringing stuff over from Canva. So all you're going to do is go file, you're going to go open, and then you're going to find on the computer, you know, where you have that particular images. So you'll navigate to that folder and just click on it, and then it's going to open here inside a Photop and this is the Photop interface. And again, I'm not going to go over everything in here. I'm not going to have tutorials on all these different things within Photop because we're going to keep this mainly, of course, about Canva, but we are going to take advantage of some of the tools. And so you can follow along with all the things I do. And if you ever want to learn more, just, you know, ask questions in the Q&A part of this course. I'll think about adding sort of another section of the course on Photop if enough people want it. And of course, if you ever have any questions too, you can look on something like YouTube and type in searching for something you can do in photoshop. And if you can do it in photoshop, most of those features are available in photo here. Okay? But so just some very basics here, there's a layers menu down here where you can add new layers, you can sort of reposition your layers, you can turn layers on and off. You have some other features up here related to layers. You have all your tools over the left, and then you have sort of contextual menu up top. But again, as we go through this course and as I'm doing different things, I'm going to show everything on screen here, so you'll be able to follow along, no problem. Now, the other thing I'll mention is a lot of times you're going to go file open, and you're going to open just a JPEG or a PNG. So a flat image file that's just going to come in with one layer. However, if you're ever doing work and you have different layers in here and you want to save all your changes and be able to come back and work with all the different layers of your project later, then you can save something off as a PSD. So you would go file, save as PSD, and then save that on your computer, and that is a file that you can then reopen later in Photop that's going to maintain all those layers. Just as an example here, if I go file open, let me go back here and let me look under my PSD folder, and I'll open this one here called course image. And so if you remember that course image I used in the intro videos here, it's loading here. It should pop up on screen here in a second. Give it a second here and it should load on screen. So here it is. So you can see actually I have quite a lot of layers in here. So I saved this off as a PSD, so I could work on it later. Now, I do have a version of a photoshop that I pay for. So I don't actually use photo P that often, but I'm using it in this course because it is like a free light weight version of photoshop that anyone can access. But again, very easy for me to get around it here because they set it up, so the interface is exactly like photoshop. So that makes it very easy to teach to you. So if you have any questions, just let me know in the Q and A of this course. Okay? So again, this is all at photop.com. We're going to be taking advantage of this tool, It really is going to fill in a lot of gaps where Canva has some shortcomings, and it's going to let us bring a lot of cool assets, including those custom frames, custom textures, all sorts of things that we can create quickly here, do a better job, do something we couldn't do in Canva, and then take it back into Canva, where you can very easily try out different elements. We're going to use the power of both of these programs, the advantages of both these programs in concert with each other just so we can get the absolute most out of our workflow. This is photo p.com. I'm going to be referencing it periodically in the course, periodically in the course, we'll jump out of Canva, and we'll jump into this, but don't be nervous. It's going to be really easy and you'll be able to follow step by step along with what I'm doing on screen. Thanks for watching this, and I'll see you in the next lesson. 10. Creating Custom Overlays Part 1: Okay, let's talk more about creating your own custom overlays. Obviously, we can come in Canva and we can search for different things. We could type in something like texture, and if I type in something like texture. We know we can find a photo where we like the texture, and then you have the option of lowering down the transparency. So you get some of that texture effect and you can still see your photo. But, of course, sometimes you may want to create your own custom overlays, things that you could use again and again in Canva. So let's say I wanted to do some sort of splatter effect overlay. So I might come over here and do something like type in splatter. So I'm going to type in something like that. And now I have all these different elements. Now, I could start to look under graphics, look under photos. I could keep some of these color elements if I knew I wanted always to have a pink and blue thing like this, and I could add some more elements to this. So maybe I want to do this. And of course, if I like that color, that's good, or I could come in under D atone and change the color to something that matches this pink and blue. And then if I have a bunch of these together and I've built out something more complex, it would make sense to download this with transparency. Nil transparency. The ability to download with transparency is a pro feature, so keep that in mind. But if I did that and then re uploaded it to Canva, then suddenly I have an overlay that's a little bit more complex. I don't have to rebuild every time if I like it. It's just another thing I've added to my Canva library of assets, and I saved off to a folder organized in a way that made sense to me. Now, of course, you don't have to have color involved in it at this point. I could just come under graphics. And here, let's just say I want to do some sort of splatter effect here. I'm going to come in here and change these around. And then at some point, I might bring in something and I might say, Okay, I want some of these elements to have a little bit of transparency. So I could come in here and I'm just going to lower down the transparency for this one here, and then come back under elements. Let me search for splatter again again under these graphics, C A. And I'm just going to add some different things out onto screen that I think are interesting. Again, at this point, I'm probably thinking about what layers show up behind others. I'm thinking about things like transparency and so something like that. And so I could make it more complicated if I wanted to. But let's just at this point, stop with this, and then of course, once again, size it up wherever you want. I usually don't size it past the edge because then you're going to get that hard edge, and I want something where I can sort of apply it and not see that hard edge if it doesn't happen to go to the edge of the screen. So I watch to make sure my bounds are sort of within the design, and then I'm going to go ahead and once again, share, and we'll download this, and we're going to download it. Once again, it's a PNG and once again, I'm going to save it with transparency. So transparent background. Yes, download. And then, of course, once again, once it downloads, save it I'll call it whatever I want. So again, I'll just call this splatter two. But you can name things appropriately. And then once again, bring it Roy back into Canava. So really easily, just drop it back into Canva And then, of course, when things come in to Canva, it's always a good idea to check it off and save it to the appropriate folder. So you might have called something called splatter effects, or maybe it's called favorite overlays, favorite texture. Whatever it makes sense to you. But the more you do this, the more you build up your library of assets, the more you stay organized. So that's always a good idea. Now, again, once you have something like that, let me come ahead in here, and I'm just going to type in a model just so I can not under my uploads, letter elements. I'm just going to type in model just so I can find a picture to bring in here just so we can see, go under photos, we'll grab a picture here. Let's see which picture we want, doesn't matter too much at this point, but something like this where I bring this back in. And then, of course, I'm going to come in here and I'm going to go ahead and remove the background from this. I'll go ahead and do edit photo, remove background, or maybe I would use this tool here. So if I go under something like, Magic Grab. Magic Grab is another one of these magic studio tools where it basically applies the background remover. But then if I look at this here, what it also does is it attempts to fill in the pixels on the background where your subject was so then you can reposition your subject anywhere you want, you can size down your subject. So maybe I want her more over on this side of my design. Now I have some space first copy, but I also now have her on a different level from the background. So now I can go under my elements here, go under my uploads, and I have this splatter effect which we just created, so I can bring it in here. And of course, we created it in black and white, but we weren't so concerned about that because I was more concerned with the transparency levels. And I also know I can at any time come in here under edit photo, and we've mentioned before, this duotone effect, you can start to apply any color you want, so I could do something like that. And of course, I can make these colors whatever I want. So I could come in here and say, I want this a little bit more in the orange range, so I could do something like that. And then, of course, I'm going to come in here and the position, I'll move it behind my subject. And of course, then you can size it up. You can do whatever you want. So maybe I'm going to frame behind her a little bit like that, but maybe then I'll also just duplicate this layer. And this one, I'll put behind both of those. And then I'm actually going to scale way down and just drag this way up, make it a little bit more dramatic. And then also drop down the transparency, maybe rotate this level a little bit, and then we'll come back here and fit to screen. So you can just start to do these different creative effects. Uh, by creating your own overlays. And this is the first technique. The first technique is just taking some different elements that may have transparency, building your own little custom overlays that may be a set of a whole bunch of canva elements you find. So you're making something more complicated. But then once you bring it in, then it's a single element here that you can save off to one of your libraries. You don't have to rebuild it every time. It's just this cool asset that you've built and you can reuse again and again. Now, the next level of this we're going to get into in the next video, which is, how do we step outside of Canva first second into photo P and how do we use that to take something that's more complicated, that's a solid photo and knock out some parts of that photo. So we have some transparency built in, and we just sort of bring the texture back into Canva to again add to our assets our overlay assets. So we're going to look into that in the next video. 11. Creating Custom Overlays Part 2: In this lesson, we're going to talk about a more advanced method for creating your own custom overlays, which is going to give you an even greater level of control. So let's look at an example. So let's say I wanted to go under elements and look for something like antique paper. So I'm going to do antique paper. Now, we know from in the past, I could look at all these things here. I could find one I like, so maybe I like this, and I could sort of drag it over my whole image here, and then of course, I could come in here and we could lower down capacity. So we know this, and you can get good results like this. But if you want even more control, Here's another method you could use. Now, for this method, we are going to make use of Photop again. Again, I've mentioned before that Canva just cannot do certain things. So every now and then, if you want to create a certain asset, you may have to step outside of Canva, and then what you can do is end up with a asset that you bring back into Canva that's going to work for you going forward. So let's say here is the background we wanted. So first of all, maybe I want this entire thing, so you can see the way I'm doing a presentation style right now document. And this dimensions of this doesn't quite match up, but maybe I do like the way that it has sort of like more at the edges here. And so maybe I don't want to scale it up all the way like this. So something I could do is just leave it like this. Let me go back under my position, and let's turn off the photo I have in here for a second. So if I just come under position, and I'll take this one, I'll just drop the transparency down on that photo layer. So now we just have this layer here, and it comes sort of to the edges here. It comes to the edges, but it doesn't make it to this right edge. So I'm going to leave it like that because I'm going to show you how we could make this work better with a document that has different dimensions. So I'm going to go ahead now, and I'm just going to go under share, and we will download this, either as a JPEG or a PNG, so I'm going to go ahead and download, and we'll just do JPEG since that's going to be super simple. So we'll do that. We'll leave this the same. We'll go ahead and we're going to download this and stick it somewhere on my computer. I'm just going to call it right now garnge antique paper antique paper. So we'll call it antique paper. We'll go ahead and save that. Now I'm going to jump over into Photop here. What I'm going to do is go to go file. I'm going to go open, and then we're just going to find that antique paper that I just saved off. So here it is right here, so I'll go ahead and click on that, click Open. So now I have it in here in Photop. Now, I'm not going to make this course a full tutorial on Photop because we're trying to work mainly in Canva, but Photop again, is this lightweight photoshop like tool where we can go in here and do some things we cannot do in Canva. The first thing I can do is I can sort of change the dimensions of this here, so it matches better with this presentation style, which is wider than this particular paper is here. But I want to resize just horizontally now. I don't want to lose this because if I just go and do a resize in Canva, let me just jump back for a second, so we can see. So here in Canva, if I wanted to resize this, I only can pull from the corners Let me just make sure I have my photo here. Let me just get out here. Let me get on this layer. I can only pull from the corners. If I pull from here, you notice how everything resizes, so it doesn't matter. So I can't really resize it the way I want to here in Canva. But here over in photo P, what I can do is I'm going to do Control Alt T is the keyboard shortcut for resizing this. I could also go up here to the menu and I could choose Edit and I could choose free transform. And you can see it has that Alt Control T keyboard shortcut. So I could choose free transform, and I'm going to drag out by this control point to get rid of the white here. But before I do, I'm going to hold down the Shift key. And when I do that, it means it's only going to resize in this direction, it's not going to re size up and down. So again, I'm holding down my shift key, and I'm just going to drag this out until I get rid of that extra white, and then I'll go ahead and the enter key once I've done that. And so this is just a way we can resize something like a background to better fit our design. Now, of course, if you had a photo or something, you wouldn't want to do this because the pixels would stretch and look weird. But if you have something that's sort of nondescript, like a textured background here, it's not going to make a difference, and you can make the background better fit your design dimensions. Okay, so, what we're going to do now is we're going to knock out certain brightness levels in here so that we can see through some of this picture here and create an overlay we can bring back into Canva. Now, I'm not going to make this a full Photop tutorial, but just some basics here. What you can do with the background selected, you can just hit Control J to duplicate that. It's going to make a copy. You can also just at any point in time, make a new layer by using this icon down here. Click on that new layer. And then anytime you have a layer highlighted, you could use the delete key on your keyboard to delete it. And another trick that's helpful is if I'm on this layer here and or off on this background layer, I can turn on the visibility of any layer. I can turn it off and on. But with any layer highlighted like this, you can fill it with either the foreground or the background color. Now, it shows red and white here, but usually it's black and white by default. And you can return to that by just hitting the D key on your keyboard. It'll restore this to black and white. But you can also come under edit here and choose fill. And anytime you can choose to fill with the foreground background color, or you can choose a custom color. So right now, I'm just going to fill this let's just fill it with a background color, which is currently white. We'll go ahead and click Okay. So now I have white here, and then I can turn this back on and here is my textured layer. Okay? So a lot of times I'll put a white or black background behind my texture, which is on the layer above. And then what I'm going to do is you want to double click on the layer. So this is your left mouse button. You're going to double click. It's going to bring you into this layer style menu. And then here you have these blend if sliders. And what these lets you do is blend based on the brightness level of that layer, or you could blend the background. We're going to focus on this current layer here. And so I can start to drag this out. And as I do, it's going to start to blend pixels. Real quick, let me just close out of this, and I'm going to put another layer above this, and I'm going to come back here with black and white selected. And I'm just going to create a gradient that goes from black all the way on one side to white, all the way on other side. Okay, so we have this black to white. And now, if I come up here to this, and let's just make this background layer, something like red just so we can make the super obvious red. And so now I have this layer above this here. And so I'm going to do the same thing where I double click in here. So, suddenly, if I start to blend using this slider, you'll notice that as I drag the white things, it's starting to show through to the layer below. And I didn't actually change that to red. I thought I filled this with red, but let me make sure I do that again. Backspace. There we go. I filled with red. I just used a keyboard shortcut, which was the same as going to edit fill fill with foreground color. Now, let me do this again. We come in here and if I start to drag this back, then suddenly, you'll see that I can blend based on the brightness values of my current layer. So I can blend from the black slide side using this slider. I can blend from the white side on this slider. So basically now when I drag to the middle here, I basically say anything from 50% gray to white, I don't want it to show. Now, if you notice, if you look really closely, this is actually two little triangles. The other trick you can do is you can actually alt click holding down the alter option key, and you can drag these apart, and then suddenly you make a softer edge here, where you see now suddenly it is blending more subtly, making a bigger transition area right at the edge here based on how you split that. So you split again by ult dragging, either one of these triangles, got to get right on it, hold down your ult key, and then you can split with dragging. So, this gives you all sorts of sort of ability to come in here and blend these layers. Now, even though this one isn't a desaturated gray scale image, it still has brightness values from white, all the way to black. Now, this doesn't quite go all the way to black because there's nothing super dark in here, but it still has those brightness values. We can see how it's brighter in here, some darker areas at the corners. So if I do the same thing where I left click, double click into this image, and then I come in here and I start to use these blend sliders, I can blend what we're seeing. Now, let me just make this white again behind this. It doesn't really matter, but you find what colors you like to have back here. If I was sort of going to be blending and keeping my dark areas, I might want a white background like I'm doing. If I was keeping my lighter areas and I wanted to be able to see them, I would maybe have a black background here just so I could see better what my result is going to be. So again, double click. I'm going to drag out, and I'm going to start to start blending and getting rid. And for this one, I'm just sort of going to keep some of these rough corners, and then I might split this and start to drag it out just to bring back some of the stuff intruding into the center a little bit. But then suddenly, I can click. And if I turn on this background turn off that background layer, now we have this sort of overlay with transparency in the center, but this grungy effect at the edge. And so that's going to give us even more control than putting just one photo over and then having to lower the transparency of everything at the same level. So I'm going to go ahead now, and I'm going to go ahead and save this off. So I will export this as a PNG, and I'm going to go ahead and click Save. And when I do, let's just call this grunge. Corners, something like that, grunge corners. But then I'm going to come back in here and just show you you can do this as many times as you want, so you can have one single photo that you bring in here because you like the texture. But then you can start to pull out different areas. So I'll go ahead and double click again. This time, I'm going to drag it back to the center. But now, suddenly, I'm going to drag in from the side here. And so now we get this central area. And so I'll drag it way over here. But then again, I'm going to use that alt trick to split our sliders and start to bring some of this back. So now we sort of have this center area where we don't have anything at the edges, but we have this grungy part in the center. So go ahead and click Okay again. And then I can turn my background on and off. But so that's what it looks like, but I'm going to turn it off because I want that transparency. And then once again, I'm going to go file, and I'm going to go export as. We're going to export to A export this as a PNG. I will once again hit Save, and we'll call this grunge center. Again, whatever names make sense to you. I'm going to do that. Then if I jump back into our Canva design here, so let me just real quick delete this. Actually, I'll keep this for a second, but we're going to go ahead and turn that off. We'll bring the transparency of this photo back up. But now what we'll do is we'll come into those downloads. Again, you can go into your uploads and navigate to it, but I like to just use this quick shortcut of dragging and dropping from my recent downloads. And so now the advantage of this method, let me just fit to screen here. I'm going to come under elements. I'm going to find a frame. I'm going to add a frame this kind of frame here. I'm going to pull it over my image here so it covers my entire image over top of my photo. And then if I go back to those uploads, again, you can always click on these and move them to a folder, so you stay organized. But now, very quickly, boom, I can add texture that just appears at the edges of my photo. Now, if I wanted to duplicate this frame, let me just make sure I'm seeing it on my layers here. Let me just hit Control D to duplicate. You could also come under here. Use these three dots. Choose duplicate. Again, make sure that it's sitting right on top of the other frame. But this time, let's go back again to our uploads, and now we'll add the center texture, okay? But so now we can work with these independently. Maybe I want some texture over the center of my image, but I don't want as much as I do on the edges. I want to keep these sort of darker tones at the edges, but then suddenly the center of my image, which I just added, I can affect the transparency of that separately from that center layer, so suddenly I have a lot more control. And, of course, you can do the same thing you did in the past where you have all the other tricks we've learned at your disposal, so maybe I'm going to go under position. I'm going to go under this subject here. We'll come in under the edit photo. We will use this magic grab tool. Again, what does the magic grab tool does. It removes the subject from the background, but it replaces those background pixels. It puts the subject on its own layer. So now the subject wants to snap into the frame, so I have to be careful as I move it here. Now, one trick is if you keep your cursor outside, of the area. So outside of that area where the frame is, then you can sort of adjust something and not have it snap into the frame. So I'm just going to put the subject like here. And then because I have the subject on its own layer, let me just go back to my position here. I could duplicate the subject, and I could make sure that she is right on top lined up. And then one of them I'm going to put behind all the texture. But the other one is on top of the texture. So now if I actually, I didn't mean to lower the transparency of that one, I want to lower the transparency of this one. So now, suddenly, if I turn the transparency of this top subject layer on, there she is behind all of the grunge texture layers. But if I decide, I want to be able to independently make her stand out a little bit more, then suddenly I could bring the transparency back on this top layer, so suddenly my subjects going to pop out a little bit more because I'm sort of reducing the amount of texture I have over top of that layer. Okay, so this new method of going into Photop and using these blend sliders. And remember the ability to choose the alter option key and split those sliders to make a more gradual transition. And what you're doing is you're paying attention to the brightness levels in your photograph. Then suddenly, this opens up a whole new world of possibilities with these overlays because you really can create endless backgrounds and textures where you take textures from photographs and you pull out certain parts of it using these sliders and keeping a certain amount of transparency. And now you can have things at the corners and things in your center that you can independently operate. So it really is a nice trick to know Even though we don't want to constantly be stepping out of Canva and back into Canva because it's not a smart workflow. If you do it occasionally to build up this asset that you can then have in Canva, have organized in Canva, and reuse again and again, then that can become a smart use of your time. So remember these tricks for creating overlays, and in the next video, we're going to talk about even another type of overlay you can create because it really is just about thinking creatively at this point, and you really can come up with a lot of cool things that you can do with this simple technique. 12. Lighting Overlays: In the last two lectures we were talking about creating texture overlays. Of course, you don't have to use overlays for just texture. In this lesson, we'll talk about using overlays for pseudo lighting techniques. And I say pseudo lighting effects because we can actually go back in time to when this photograph was taken and adjust the lighting that is actually on this model here. But we can use these overlay techniques to fake it a little bit and get some pretty interesting results. So, as always, is the case, you can go under elements, and you can start your search inside a cameva just to see what elements already exist. So if I come in here, I see one of my recent searches was window light. I'm just going to click on that to search for a window light again. Of course, you get all these photos and you get all these graphics, and some of these graphics already have some transparency built in. I could click on any of these and suddenly we have an interesting element we can add to our design. You can search for other things as well. For example, I could search for something like Palm front then once again, get some different graphics and photos and other things. I go here, This is a photo cutout, and of course, remember all our techniques. You always got to remember all these techniques we're learning, so I could come into this and we could do edit photo. And remember, we like to use this stu atone where we can then change the colors to whatever we want. And then, of course, we can also add the blur in here so we could do something like this. And then suddenly we could take this here, position it, wherever we want here, and then go ahead and lower the transparency. And so suddenly we're getting this interesting lighting effect. So this is just showing you that there are multiple techniques. And once you learn these different techniques, you really can start to think creatively and end up creating your own assets, so you're just not limited to only what is in the Canva library. So I typed in Palm fran but maybe we're looking for a different type of leaf. So I could come in here and let me just type in leave. I'm just going to type in or maybe leaf, I'll type in leaf. And so I could even take a graphic here. But let's just look at these graphics for a second. So I could start to go down here and I could say, Okay, this is pretty interesting right here. So I could take this leaf. I'm going to hit control X to just copy it. I'm going to put it on a new page. I'm going to hit Control V, and we'll go ahead and expand that out here on this page. Let me do another one as well. So let me just go to a new page, and then on this other page here. Actually, let me go back to that first page. So we have this leaf here. I'm going to turn that into a background element. But then also here, let me come to this page here. We'll throw out these two examples we put in here. Let's just use simple rectangle. So I'm going to hit R to put a rectangle on screen, and I just want to make this into what's going to be my light ray. So I may bring it up here and maybe I want the light to come in and sort of be streaming over her eyes here. Let me just lower down a little bit, so I have a little bit more room to drag this up, and then I'll hit my ult key option on Mac, but alt on Windows. I'm holding down that ult key. I'm dragging out a copy of this layer. I'm going to rotate a little bit. And again, this is just going to be my light beam here. And so I'll expand that out. And then I'm going to put this on its own page. So let me just hit control and then control to select this one as well. Excuse me, shift to select both of these. Control X to copy again. We'll put it on a new page, we'll hit Control V. And so I have this element here, and then I have this element here. Now, I'm going to export each of these. I won't make you watch me export these, but I'm just going to come on here and I'm going to go share and I'm going to export and I'm going to download these. I'm going to make sure I choose PNG and then make sure I choose a transparent background. And then we're going to take these over into Photop to turn it into the background element that we're going to use sort of as a pseudo lighting effect. So here we are over now in Photop with these two images we just exported from Cambus we have this leaf image, and we have this image with the two rectangles. And I'll start with this leaf image. This is going to be really easy. So remember, in Photop you can control click on any layer and windows that would be command click on MAC to select that layer. So I've selected this leaf here. Now, I actually want to select the inverse of the leaf, so I'm going to go up here under my select menu and I'm going to select inverse right here. And now we have the inverse selected. Next, all you need to do is add a mask so we're going to click the add Mask icon, Now we have a mask here. Now, we're not seeing anything because if we look at our mask, so we'll click on the mask to look at it, we can see that the black is what's being hidden. So we're actually hiding the leaf, and then the white is everything we're seeing, but there's nothing in this here, so we're not seeing anything. But we're going to fill all this with black. So now back over on our layer, not on our mask, but back over here on our layer. I'm just going to do control back space to fill with the background layer. And so now we have this black, which is what we want for our overlay, So we have the Black field in that area. Now, the last thing I'm going to do is, I'm just going to come back on the mask itself. So again, you can alt click over so you can see the mask and work on the mask. And so now, what we're going to do is go under the filter menu, and you have these basic filters. I'm not going to go through all of these, of course, but you can come down and I'll show you this filter blur Cause and blur gausian blur. And with this, you can just basically come in here and add a nice blur to something. You can full around with the amount here, find something that looks good to you. So maybe we'll go 32 pixels. Go ahead and click Okay. And so now if we come back here, we can see this is what it actually looks like. This is what we're actually going to export back to Canva and use as our overlay. So all we need to do now is come under a file. We'll go export as PNG and give it a name, whatever you want, and go ahead and save that off, and I'm just going to save it here, and we'll look at that in a minute. But before we look at that, let's fool with this one here. So now, with this one, let's go through the same process. We're just going to control click on our background. And then we're going to go ahead. And this time, it is actually the area that I want to fill with Black, so I'm going to go ahead and add my mask here. I don't have to worry about inversing. And then I'll come back to this slayer again, control backspace to fill with black. And then again, I'm going to hit Alt and click on my mask. Now, on Mac, that would have been, option and click on the mask. And then when I have the mask. Once again, I'll just go under Filter, Blur, gauze and blur once again, and again, once again, dial it down to something that you think looks good. So maybe something like that, we'll go ahead and hit. And then, of course, once again, we're going to come back on the layer itself, and we're going to go file export as PNG. So you can see this really does not take much time at all. Of course, it would be nice to stay natively in Canva, but we're doing some things that you're not always going to be able to do in Canva. We have our tricks, but they don't work for everything. So sometimes if you do step out of Canva and you can do something quickly and create an asset that you might want to reuse again and again, then it can still be a smart workflow. Alright, let's jump back over into Canva and see what we have. So here we are back in Canva. I could go under uploads to upload those two overlays we just exported from Photop, but I'm just going to grab it from my recent downloads in my browser. Now I'm going just off my screen to see this, so you're not quite going to see what I'm doing. But same thing you saw me do before. You should see it pop up on screen now where I'm just grabbing this one here, dragging it over, I'm dragging this one back over. Now that's going to bring the two overlays we just created back into Canva. And now, of course, we could select them. We could save them off to something called lighting effects, a folder that would make sense to us. Then, of course, we have these reusable assets that we can suddenly bring in here and get some interesting effects. Let's look at this leaf one here. Of course, we might want to come in here and lower down the transparency a little bit. But suddenly, that's really a pretty cool effect that can add interest to a photo, and now that's something we can reuse if it's something we like. So let's throw that one out. And let's look at the other one just to see what we have. So here's the other one that's just this beam of light sort of. So, again, I would probably come in here and lower down the transparency to something more subtle. But I just wanted to illustrate to you that you have to think creatively when you're doing these overlays. So you might bring in texture, but maybe for another project, another photo, you're looking for something that's more like the pseudo lighting effect like we're getting here. And of course, I'm applying it on my subject here, but now you saw seen in some of these other lessons, how you may have lots of different layers in your projects, so maybe you're adding lighting to the background layer. So just learn these techniques, learn these tools, and you're going to have lots and lots of options. All right? Thanks for watching. I'll see you in the next lesson. 13. Custom Overlay Challenge: Welcome to your next challenge exercise. Now in this exercise, I just want you to take what you've learned in this section of the course and create any kind of custom overlay. Now, it can be texture, it can be a lighting effect. Really can be anything you want using what you've learned in this section of the course. Then I'll just pretend here I was completing the challenge. So maybe you'll have a photo that you're going to apply that overlay to. Maybe just give us a page with the photo by itself, and then I'll just come in here and create a duplicate on this page. And on this page, I'm just going to put a frame over top because this is what I'm going to drop that overlay into. And so then I will go find my different overlays. I have them all organized in a folder. I encourage you to do something similar. So I'll come here. I'll find here's my favorite textures. I also have ones with lighting effects, but I'll just grab this texture one and I'll drop one in. Now, if you want to show off multiple versions of a texture that you created or different textures, you're welcome to do that. So I could just duplicate this page again. And I'll come down here and I'll find a different texture I like. So maybe let's see what this one here is like. And then maybe for this one, I want to lower down the opacity. That's fine. So I could come in here and lower down the opacity. And then once you have it applied and you're showing off a couple of your textures or overlays that you created. Again, it can be lighting effects as well, whatever you want. Then you can just come under the share as we've done before. And then you can come up under the share menu and you can come down here and if you want, you can grab a public view link. This lets people look at your project. They can't make edits, but they can look at your project, or if you want, you can download appropriate media. Then here in Skillshare, just come under whatever challenge you happen to be currently working on. Then come under here and come down to this discussion tab, and then you can actually use any of these tabs, start conversation, ask questions share project. Any of those are going to work. Just come in here and either insert the link. If you have that public view link or if you downloaded some media to share, use this add media and you can upload your media that way. And that way, we can check out your challenge, but you can all get inspiration from each other as we share challenges here. And you can offer critiques, just keep your critiques friendly and try to be as helpful as possible. All right, I'll see you in the next lesson. 14. How to Create a Custom Frame for Canva: Okay, in the first section of the course, we started talking about frames, and we know that we can come under the elements tab in Canva, and we can scroll down and we can find this area called frames, and we can see all of these frames that come with Canva. There's a decent variety in here. But what if you really want to create anything you can think of, anything you can imagine? Well, in that first section of the course, I also offer to you the promise of this ability to create custom frames in Canva. And I'm going to fulfill that promise right now because in this lesson, I'm going to teach you how to create your own custom frames for Canva. So if you want to create a frame like this, you'll be able to do it. So this is just a frame now in Canva. If you want to create a text frame, without using the little elements here, I've seen people that they painstakingly take these letters. They're stuck with just whatever fonts is. They build it out one by one. Then they have to add their picture to each frame. Well, no, you won't have to do that anymore. This just looks like text, but it actually is just a frame filled with a solid color. So I'll teach you how to use curate frames using text. Of course, anything you want, so something like a aspersion effect here. Yes, you can turn that into a frame. You can even start to get creative once you understand how to create these frames, and potentially you can even do something like this. So if I look at this here and let me just come under my position and look at my layers here. This is actually a frame with some other layers over top of it. So it actually is just a frame here. So let me take that image out of the way. So let me take that out of the way again. Let's move that up here. We can see that this is just a frame, okay? So to add to that, I actually have to get to where I can pose the frame a little bit. But then we'll see that, yes, this is just a frame there to have this in front of it still too. But this is just a frame. So I'll teach you how to do something like this, if you can start to think creatively, then you can start to create these really complex ideas where you take a frame and you combine it with some other layers. So suddenly you can create an effect like this. Or maybe something like this where if you look at this, again, once again, this looks really complicated. I've seen things where people were one by one, add a photo to a frame, and then again, they have to make sure it lines up in each thing. So you can spend a lot of time, but no, we're going to get it so you can just create one frame. And so now if we look at this and we detach this image, this is just actually this frame here behind everything else. So I will teach you how to potentially be able to do things like this and then turn it into this more complex project where you start to think creatively, you combine that frame with other elements. Later section, of course, we're even going to look at animation. Once we can start to create our own custom frames. How do we suddenly bring things like animation into our design. So we're going to do lots of cool stuff. And the way we'll work this is we're going to sort of look at individual projects and I'll show you examples so that you can start to think creatively as you see some of the examples I work through. But in this lesson, let's start very simple. Let's create a very simple frame outside of Canva in Photop and then you'll have an idea of how it works. And then we'll get into more complex frames. Now, you've heard other people say, you can only use vector images to start with. You have to do it in programs like Figma. No, we're going to do this all in Photop, and it's going to be super simple once you realize how easy this is, you're really going to get excited because you're going to be able to really just use your imagination and create any kind of frame you want, so let's get started. Now, I'm going to start in Canva, and a lot of times you will be starting in Canva and using photos and graphics in here for inspirations, building out what the shape of your frame is going to be? You don't have to do that, but I'm going to start in here just so you get an idea of the full process. So let me just jump over to a blank design. And again, you could build this out with any sort of shapes or elements you want and you're not limited to just using vector graphics. You could start with a picture if you remove that picture from the background or shapes with cutouts, photos that are cutouts. But I'm just going to do a very simple shape to start. I'm going to hit C to put a circle on the screen. I'll size it up a little bit. And again, I know they're circle frames, so you wouldn't do this. You wouldn't create a frame that already existed in Canva, but I'm just doing something very simple just so we understand the whole process that you'll be working through a lot of that time when you create a frame. So what you want to do is start with the shape here, and then I'm going to go ahead and I'm going to export this with transparency. Now, obviously, if you're not a pro user and you can't export something with transparency, you're going to have to find a work around. And one of those earlier lessons, I talked about an app. You can find it here that will remove from a background. You can find lots of sites that will remove the background from a photo. So, find a work around if you need to. But if you're a pro user, you're just going to go ahead and come up here and you're going to export something. So I will go ahead and I will download this, and I'm going to choose P and G, and then I'm going to make sure that I have this transparency box checked on. So I'll go ahead and download this. I'm just going to put it in here, and I'll just call it circle something simple. And so now I have that circle graphic. I'm going to jump over to Photop and Photop. This is where we're going to take that shape we just created, and we're going to turn it into something that we can bring back into Canva as a working frame. So I'll just choose open from computer and open that circle we just created. And now we can continue on and turn this into a frame. But that first step is always going to be creating the basic shape you want for your frame, or maybe it's a complex shape you want for your frame, but some sort of shape that also has some transparency, not transparency within the shape itself because that frames are not going to support that. But, in other words, your frame is going to make up the shape you want. And then things that aren't part of that shape are just going to be the transparent areas on screen. Now, a lot of times you're going to probably create that shape in Canva, but you don't have to. You could do it in another program. You can bring in a picture that's already cut out, or you could even create something here within Photop itself. But a lot of times you'll do that in Canva. But so once we have that, now let's go through the steps of how do we take this and turn it into something that we take into Canva as a frame? Okay. So the first step is you just want to be able to select your element, select what's going to be your frame. And so all you have to do to do that here in Photop is you just hold down the control key on your keyboard and then click on that layer, and it's going to make a selection around that layer. Now, that's control on Windows, that would be the command key on a Mac. So now we have this selection around here. So now what you're going to do is you're going to go over to this path icon here and we're going to go down and we're going to find this little icon at the bottom right here, the fourth one in that says selection to path and we're going to click on that. And when I do, you'll notice these little marching ants, this sort of dotted line around your selection is going to turn into sort of a blue outline, and you're going to get this work path here. So, what did we just do? Well, for something to be a frame in Canva, it needs to be a vector image. You don't have to start with a vector. You can bring in anything, but then you do need to go through the step of converting it to a work path. And then the next thing we're going to do is we're going to come back to the layers icon here, so to our layers menu here. And now that we have that work path, what we're going to do. So we created the path. The path is highlighted because we see the blue is around the thing. We're coming back on our layer, and now we're just going to come up here under the layer menu, and we're going to choose vector mask, and we're going to choose current path. And when we do that, what we've created here is we've created this sort of vector mask around our item. Now, it's just showing as red here because that is what is currently the layer, but we could even come in here on this layer now, and we could back space to fill it with white. We could back space to fill it with black. It doesn't matter. Even though we have all black right here, we now have this vector mask that is being applied, and that is the key step. You have to turn whatever your shape is into a vector mask because a vector is going to be what we can then bring back into Canva. And so that's it. That's all we need to do and we have something ready to take back to Canva. I'm sorry if you were expecting more steps. It's really not hard. So just remember you control click to select it. You came over here under the path, and you use this little icon down here to turn your selection into a path. And then you went back on that layer, and then you went up here and you went under layer and you go under this vector option and current path will be an option, and then you turn it into a path. And so, once you have that here, you'll notice this little gray mask. Let me just add another layer, and let me just real quick draw something else on screen. So let me just do a little circle, and I'll do all back space to fill this. And then, if I were to just add a mask right now, this little mask icon, you'll notice that this mask is black. So one of the clues that you've done this correctly is you don't want this black mask, you should end up with this sort of gray mask. This is going to be a vector mask. So this is what we want it to end up with here. And so, once you've done this, all you have to do is come under your file menu here and we're going to do export as. And then a key part of the step is you want to export this as a PDF. When we export something as a PDF, we're going to be able to import that PDF, into Canva, and it's going to recognize what we've created. So if I choose PDF, and then you'll see the save for web dialogue. An important part about this here, these options here, rosterize all vectorized text add crop marks. You want to leave all of these turned off. So make sure none of these checks are checked, and then you're going to go ahead and you're going to click Save, and it's going to save this off to a PDF, and so put it wherever you want. So it's just going to be called circle for me here and this one thing. And then what I'm going to do is I'm going to come back to my Canva home screen, and then you can go in here and you can find the upload button, which is just off screen right now. Let me resize this screen slightly so you can see everything. So I could use this upload and find that PDF or you can use the trick which I've been doing before. If you can see your recent downloads, you can actually describe whatever and bring it right on your home screen. So I'm just going to drop that circle. And we can see right now it's importing this circle PDF. So it just looks like a circle here, But if I click into it now, suddenly, we saw the way it flashed, we could see that it's a frame. But if you click on it, you can see that we can detach this image. And so let me do that again, detach image. I'll delete that image. And so, yes, now we have a frame here that we created outside of Canva and Photop, and we brought it back into Canva. So that's the very simple process of this. Let me just go back into Photop for a second. Because I did want to show you that you can create more elements that come back into Canva than just the frame itself. So let me add a couple more layers here. I'm going to pop these behind that circle. And so on one of these, I'm just going to grab here, and I'll come in here and drag out a circle, and we're going to make it a little bit bigger. And then let's fill that with a different color. So I'll come in here and I'll change this to Yellow, whatever. This doesn't matter so much, but okay. And I'm going to control alt back space to fill with that color. So we have this yellow circle behind it now, and then I'll come down here and add something with the actual shape tool down here. So I'm going to add another circle, and I'm going to shift drag out again. And this time, let's change the color of this to blue. Now, I did that two different ways, and they're sort of not aligned up perfectly. I could realign them here. I get that more behind everything. The reason why I did two different ways is because this first one here, I created just by filling pixel, so that's going to be a roster image. Now, the second one, I used the shape tool, which is going to turn into a vector image. You can see the little icon path icon here on this that indicates that's a vector image. And that's kind of important because they're going to import differently into Canva, just the same way this frame is going to import differently. So let's do the same thing. Let's export all of this to a PDF, and I'm going to go once again under file up here, and we'll use export. And once again, we're just going to export this as a PDF. And we'll go ahead and hit save. We have these turned off. That's fine. We'll save this again. Circle one, that's fine. I'm going to go ahead and save that. And then back on the Canva home screen, the same thing. I'm just going to drag in that PDF that we just downloaded. It's going to get imported here into Canva. And then when I open it up, now we're going to see that we have three different layers. We have the one on top, which should be our frame layer. So if I click on that, yes, I can detach the image, get rid of that. So that is our frame layer. But then behind it, we have this yellow circle, And this first one here, if I come to edit this photo, you'll notice that I'm getting all the options you get with photographs where you come in here, you have access to your blur tool, so you can do things like come in here and blur. You have access to that Duotone tool because it's behaving based on the type of image that we brought in, and this is a roster image. However, if I go to the blue circle below, Then suddenly, we'll notice, I don't have the same options here. I don't have those edit photo options because this is a vector, right? I can scale this up, and the edges will stay sharp. I'm not going to get those hard edge edges because it's a vector, but it's not going to give me the same options that I have here because this is a roster image. So I just want you to understand that you can bring in frames, but you can also bring these other elements in when you export as a PDF, okay? And so the last thing I'll say, let me just delete these couple of things. So we just have our frame in here. Because this frame is an element you brought in, there's not an easy way to come under here and move just this element to a folder. So let's say you want to organize all your frames. So just a note on organization. What I would do then is instead of saving this individual element to this folder, I would save this file to this folder. And so, maybe I would even build out different frames on different pages. So this was just a file full of frames. And then I would come up here and I would go save to folder. And I don't know if I have one in here called favorite frames, but let's look favorite frames. So I do have one in here. So let me find that again, favorite frames. So then maybe I would save it into there. Okay. And so then imagine you're working on a project and you want to have access to a frame, then you would just come under your projects tab. You're going to go under your folders. You're going to search for favorite favorite. If I can spell favorite frames. Let's just type that out and search. There's that folder. Now, suddenly here, I can access all these different things. And if I click into something, suddenly, I can bring that frame back, okay? So it gives us a very easy way to access our frames if we organize those things that way. It's not quite the same as when you go under elements and you can save off an individual element and save it to a folder. But you can add save this file to a folder when you have all your frames in a file, when you have these custom frames. So you do have a way to organize frames and get back to them quickly. Okay? So that's how to create a custom frame. Of course, we did a pretty boring one, but now let's work through some more examples in the lessons coming up and create some really cool frames. 15. Creating More Complex Frames: Okay, let's look now at how we can take the technique we learned in the last lesson, but now we can start to create some more complex frames and get some really cool things. So maybe I'll start with a rectangle on this one here. Again, the color is not going to matter. I'm just going to sort of drag this out like this, looking at the overall composition of my page here, but not worrying about the color at all. And then I'm going to come under elements, and maybe I'm going to search for something like dripping. Maybe I want to sort of give an edge to this. So I'm going to go under graphics here and we're going to look down and find something that I think will work. Maybe this here, so let's try this. We'll bring this element down. I'm going to size it up. And again, I'm not worrying about the color at all. I'm just sort of getting it to line up with my other element. And if I don't like that one, I can get rid of that one. And I can keep trying some other ones until I find something I like. So maybe this element here will work a little bit better. So again, just keep fooling around until you get something you like, you're not worrying about the color here, you're just building out the shape. Now, I could add as much to it as I wanted to, but maybe let's just keep it simple like this. And then the same thing, I'm just going to export this shape as a PNG with transparency. So I'm going to come under here and go download. We'll make sure I check on transparent background, and I'll go ahead and download this, and then we're going to bring it in the photop do the same thing we did. In the last lesson. So I went ahead and I downloaded it there, and let's jump over to Photop. So here it is in Photop. And then we remember those simple steps. I'm just going to control click on my layer to select it. I'll jump over now to the path tab here. I'm going to click on this selection to path, and then I'll jump back on my layers, and then I'm just going to come up here under layer vector current path. And that's all I need to do. I've done a few simple steps. Now I can export this back out of here. So I'll go File Export as. And remember, you want to save as a PDF. We're leaving all this checked off, and we're going to go ahead and click Save. And now we can save it off, and then we can jump back over and pull it into Canva. So, I'm back on Canva now, I could use this upload button, or I could just pull it from my recent downloads. I can see it up here, so I'll just drag it right on screen. It's going to bring it on screen. Process it here. And then, of course, I can jump into this and we have that new frame. So let me just detach damage so we can see the frame itself. And then, of course, the great thing now is we can come up here and we'll just type something like people. And of course, we can now drag anything at all into this frame, and we've got that interesting drip effect built in on this frame now. So that's the really cool thing about this is that you can really easily build these assets and have some of your own ideas, and then very quickly, you have something you can use again and again here in Canva. Now, you can take just about anything you want here and turn it into a frame. However, if you get super detailed, then when you transition it from being that raster image to a vector path, then you can lose some of that detail. Let me just show you what I mean here just so you understand this limitation that you do have. Again, you can create a ton of cool stuff, but if you really get detailed, then you could start to lose a little bit of that. So let me bring this splatter image up here. Actually, let me just go in our graphics and start bringing out some of these graphics here. Again, just whatever, we're just going to drag a few things onto screen here. And so in other words, we have something here that because I'm bringing these elements with these little tiny fragments, these little dots here, that is something that when we export this, then suddenly, we may have trouble creating a path that really captures all of this detail as a vector shape. But let's go ahead and try and see. So we're going to go ahead and share, and we're going to go ahead again, download. Remember, you going to do a transparent PNG. So we'll go ahead and download that, and then we'll bring that into photopia real quick or Photop. So here's that image and Photop. I'll just control click to select it, jump over to the path. Now, when I click this here, and we turn this into a path, we'll notice that we don't see our blue outline around all of these little smaller flex. So if I come back under my layers panel now, I'll go ahead and do this layer vector mask current path. And then just to see exactly what we have here, I'm going to go ahead and fill this entirely with black. So I'm just going to go off back space to fill. And then we'll see when I click off my path here, just to see that we did lose some detail, okay? So I can bring this back. I'll go ahead and export this as my PDF. So file export as and we'll choose PDF and we'll save this and we'll bring this back into Canva. But then we'll compare it with that original to see that we did lose some of the detail. So here we are back in Canva, and I brought that frame back in Canva, and I've sort of put it over top of that original graphic. We export it, and we see that we have lost all of the little tiny particles at the edge. Now, this in and of itself is kind of an interesting effect because you could take something like this and you could bring it back and then you could keep that original that you used to create it as well. And even though you've lost that detail in the frame, you still have an interesting background element with a splatter behind that matches up nicely. So I could come in now under photos and do something like colorful or whatever, and I could pull something out of here, and I could go ahead and add this into my frame. So you could do interesting things like this, but I do want you to keep in mind that you can lose edge detail if you have a really complicated shape or pattern sort of with real weird shapes that are pretty small. Now, this is sort of an element of Photop. There is other software where you could do the same sort of thing, creating vector shapes that you bring here into Canva. So if you use something like Illustrator and Photoshop, I know those have a little bit more advanced control, and you can sort of control how complex you allow your work path to be. So you could create a frame that was more complex in another program. But that's sort of beyond what I'm going to talk about in this particular class because I'm going to stick to this free software photope and you really, really can do a lot of things. And it's not that limiting that you lose sort of some of this edge detail if you get really, really particular about the shapes that you're creating here, okay? But I just want you to keep that in mind. That's that one little limitation you have. When creating this sort of frame. But other than that, use whatever you want in terms of the elements that you use to create your frame. Okay? So in the next couple of videos, let's look at a few more frame examples just so I continue to give you some creative ideas that you can use as you go forward and you start to create your own frames. 16. Enhance and Organize your Canva Assets: Here's the drip frame we created in the last example. And before we go on to more examples of other frames you can create, I just want to hammer home what I think the process should be whenever you create something new that you might reuse in Canva. And that's to make an enhancements that you think you're going to need, thinking about how you're going to regularly use this asset. And then organizing it by getting things set up the way it should be to save you time and then making sure you save off to a folder so you can easily recall it later. So let's look at this example, this frame here. This is cool, but I think maybe I might try experimenting with duplicating the frame to make the drip at the bottom look a little bit more enhanced. I might come up here and I might duplicate this. This one, I'm going to put in the exact same position, but let's lock this top one and then this one here, I'm going to come down and we're going to slide it down slightly. But let's fill it with a color. Let's come up here. You can fill any frame with the color. I'm going to sample just a color from the photo here. I'll sample this paint here, something like that, and then I can play around with the positioning. I want it pretty close, something like that. So it just starts to give it look like it has a little bit more depth. And then I might go ahead and once again, I might duplicate this. So come under my menu here. I'm going to duplicate it again. Again, this one here, I will lock the position. This new copy, I'm going to bring down. Again, we're going to get it in position and lower it down. So again, it comes, but now I'm going to lower the transparency. Let's go for 50%. So let's lower the transparency, and I might need to have this lowered before I can finalize my repositioning, so let's move it. Let's have it slide a little bit farther down like that. Let's do that one more time. I'll lock the position here. Actually, let's duplicate it first. Then we'll lock the position of this one here, and then this one here, I'm going to move down. And for each of these, I'm not changing the color. The reason why I'm not changing the color is because I know if I come in here later and apply a different photo to my main frame. I might want the drip color for these duplicates to sort of pull from a color up here. And I know if it's all one color, I can change it once and then use the change all feature in Canva to change the color of all of these even though they're lowering in transparency. So we'll go through an example just to make sure that's obvious. But this one here, again, I'm going to come in here. Let's take it down from 50% now to 25%. Then I will go ahead and reposition one more time, so we'll bring it down to something like that. So these extra layers are just sort of enhancing this drip effect. But if I like this look better than the original, and I think I want this when I'm going to reuse the frame, why not do that work now? Because that way, I'm not going to have to do it every time I sort of reuse the photo or reuse the frame. Now, another thing I might want to do is put a layer all behind this because I might want the white background. But what if I want something different? Well, I'm probably going to want to drop it into a frame. So I'll go ahead and add that frame now. So I just come under my elements tab here, and I will search for a frame. Just going to take this regular rectangle frame, apply that over here. We'll make it fit the full screen here. I can see that the other layers behind it leave just a little room Let me drag up for a second to show you. There's a little room here at the bottom, so I will be able to just barely fit something into this frame without bringing it up to the top layer. But again, we'll work through an example. I'll just put this here, and then of course, we're going to take this frame here and we're going to move it all the way to the back. So it's in the back there. And we could fill it with white if we want. So that's the default. But we can always decide later that we're going to drop, you know, a texture or something different in there. Okay. So now that I sort of have this with the steps I wanted to do to enhance this, now I would make sure I save this off to a folder so I can always find it anytime I want to reuse it. So I will just come up here and go file, and I'm going to save to folder and I'm going to save it to this favorite frames folder. Go ahead and hit Save. Okay? So now that I have it saved off that folder and organize, I can easily access it anytime in the future. So let's just go to the home menu. So we're leaving this project. So let's imagine sometime in the future, we're launching a new project, but we want to make use of that frame. And that work we've done already. So then I could just come under my project tab here. We're going to look for that folder. Sometimes you'll see reason folders down here. But if you can't find it, you can come under folders. You can search by those keywords for the folder, but I see it right here, so I'll click on it here. And so here's that copy of that. But I click see all I can see everything I have in here, all my favorite frames. And I can just click and add one to this project. So if I click here, I can add it to the project. Now, if I look at this, I notice when I saved it off here, I didn't actually unlock some of these layers, and I want these unlocked, so I can easily work with it. So let me just hit Control Z to back out of it because when you click on something, you're just basically adding a copy of this file. This is sort of like your template, and we're adding a copy here. So let me just hit Control Z to undo that. And I just want to show you anytime you want to get back to that original project, sort of like your template, Of course you could be under the home menu and go under the projects table on the home menu and find that file and open it. But also, right here, you can just use these three dots and actually edit the design itself. So that's going to open in a new browser tab. And so now I'm actually editing the original here. And so I want to go ahead and unlock this because I want it to be unlocked so I can go in and change those colors easily. So I'll just come under my position menu here and we'll unlock the ones that I had locked when I was setting up my design, but I just wanted to unlock them so they wouldn't be locked. So now I'm just make sure this is saved. It should auto save, but I can click on Save. And so now we have that saved. So now if I come back here, and again, we're looking at our favorite frames and then the favorite frames folder, I can just boom to add a copy, and now if I look at this now, now all my layers are unlocked. And so if I wanted to make use of this and do something new, I could come in here under the elements tab and let me look under photos to find a new photo. And let's just try this photo here. We'll just drag that into the frame. And then, of course, because I set up all these layers with these extra sort of drip duplicate copies at the bottom here. I could just come under my position menu. And so maybe instead of this pink, I wanted to change the blue. So I could just come under here and do this color option. Use this color picker and just select that blue. And then because I set up all these sort of layers with varying transparency. But with that same color, I can now use this change all. And you'll notice I changed all my colors there. And so it's just another way of saving time. We're just trying to think about smart workflows and ways we can save time. Now, of course, we have the background here, too. So, if we look at this, we also have this bottom layer. That's just a frame at the bottom, that's just a background color. So if I wanted to come in here and change the color of that, I could also do that very easily since we have that set up. So I can just come in here and maybe I'll sample the yellow from her hat. So you can see how very quickly now we can make use of these frames because we've done the work up front just to stay organized to do those extra steps to enhance our design. And those are things that may have only taken 30 seconds. Maybe they only take 5 minutes, but that's time you save every time you make use of that asset. So think about the ways you can enhance it before you save it off sort of to that place where you're going to keep it organized. Now, one more thing I'll show you. Let me just hit plus here to add another page. If we go back under where I have my frame. So here I am back in that favorite frames folder. This one here just had one page, but sometimes you can save more than one frame in one design if you want to. So if I click on this one, I can see that there are actually multiple pages in here. So I can click and apply any of these, or I can apply all three pages. So you can also work with, you know, It comes down to how you want to organize. You can organize things by, you know, one file, one frame, or you could have ten frames all in one file, and then you can still access them all here from the folder. So just think about what organization method makes sense for you. Maybe you have a particular type of frame like circle frames or some variation on themes and you want to keep those in one file. Maybe you have other situations where you want them in separate files. That's really up to you. And then also to point out if you notice in this folder, I have designs in here, but you also have images in here. And so these I'm calling frames, but these aren't sort of canva frames we think of cava frames. This is just really an element where I could come and frame my subject. So I'm calling it a frame. Got to be careful, it doesn't snap into your other layers like that. But so you can make use of storing things like that. And so for actual projects like the frame project, we came and we used this file safe to folder, But if you're looking up and you find elements like these images, I was just showing you and you have ones that you like, or maybe photos that you might reuse, you can just use the three dots, and then you have save add to folder option here, this add to folder. So this does the same thing. This will put things into folders. And then when you add elements like that, photos and such, they're going to show up under the image tab in here. And then you have the design tab to see your design. If you're looking at all, you're going to see the designs up top, the images down low. Sometimes you'll have to expand out to see everything. But that's just how you take advantage of organizing your assets. So I really stress how important it is that you take advantage of folders like this because you can really save a ton of time. All right. Thanks for watching this, and I will see you in the next lesson. 17. Frames and Transparency: Before we work through a few more frame examples, I just want to point out one more thing with regards to creating frames for Canva. You cannot export a frame that has varying levels of transparency built in, like you see the edge of this circle, how it fades from solid black to, you know, transparent at the edges. You cannot have this. So if I were to take this now, I could do the same control click where we select our subject control click, and then I could come over here and create the path by coming under paths and do selection the path. But when I do that, it's just going to create a solid edge. It's not going to have any transparency varying transparency within that vector shape. Vector shape cannot have varying transparency like that. Now, if I come back here under the layers menu and I come here and I were to go now and do select, excuse me, layer, and then choose vector and current path, if I were to export this right now, since what I have within this vector shape does have a varying edge, what it would do is it would take back a graphic. It would just take back a P&G circle with transparency, because you can export PNGs with transparency roster images that have transparency. But if I were to fill this all the way with black, something like this, back space to fill the entire thing here, when I exported this now, it would bring back a frame, but that frame would not have varying levels of transparency. What you'd end up instead is something like this where if I detach this image, it is just solid. There's no transparency at the edges. I can drag anything I want into this, and it's just going to be solid at the edges. Now, of course, with any frame, you can come in here and change the transparency level. I could then duplicate this frame and put one of these behind the other one, so I could move this to the back. I could make that bigger. And then, of course, I could come in here and change the transparency level of that, so you can have different frames with different transparency levels. But within a single frame, there is only one transparency level. Hopefully that makes sense. So I just want to make sure you understand that about transparency and frames. And before we get back to talking about creating some custom frames, I'll give you one sort of work around if you do want something with a feathered edge that's sort of in a pseudo frame. So I'll give you one example next, how we can do that using a different trick, but something that's different from a frame. So we'll do that in the next lesson, and then we'll return to talking about creating more custom frames. 18. Solid Color Overlays: Now, in Lesson of frames, we talked about how you can't have frames in Canva with a soft edge. So this here is just an image that we brought back from Photop, but we don't have a frame that has a soft edge. This isn't in a frame. However, what if you did want to have images like this where you could use different photos, and they would be on a plain colored background. Well, there is a work around we could do, making use of a photo P to create an overlay. Let me show you what I mean. So here I am back on the Photop home screen, and I'm going to create a new project. Now, let's just pretend that I want this sort of blended look of a photo on a plain colored background. Maybe it's a look I want regulate to use for Instagram. So I'm going to come in here. I'll create a new project. We're going to make this ten 80 by ten 80 pixels, since that is sort of the standard dimensions for Instagram square post. So I'm going to go ahead and hit that background color white. That's fine. I'll go ahead and create. And now we have this new document here, where we have this background layer. I'm going to go ahead and click this just to unlock the background. And we're going to go ahead and we're going to come in here and we're going to create this overlay, which is then going to be a Canva asset we can reuse again and again. Now, the color actually isn't going to matter. Even if you wanted to do a different color than white, I'll show you another trick we can use in Canva to make this asset that we create reusable and reusable as any color. Okay. So in here, what we're going to do is the same thing. So let's think about where we want our photo to show. So I'm just going to come in here and let's just sort of create an organic shape, something like this. We're not gonna worry about it to much because we're going to give it that blended edge. But let's just do something like that. And then, again, to create a mask, we're going to come down here and we're going to hit this mask icon at the bottom. Now, this is actually the opposite of what we want because we're creating an overlay. So with the mask collected here, you can use the keyboard shortcut Control that's on Windows on Mac that would be command. So I'm going to do that now. Control. And now, suddenly, I have this white area. With transparency, and this is what we're going to end up taking back to Canva. Now, of course, we want to feather the edge. So with this selected, we're going to find our way to a properties. Remember, you can come under window and look for properties if you don't see it up here, but it's this little icon here. So I'm going to click on that. You want to be on the mask part up here, and then feather, we're just going to drag out this feather a little bit. Now, you might see here when I'm doing this that it's actually not just feathering the center edge. It looks like maybe it's feathering the bottom here in here as well, and I don't want that. And I've noticed in here that Photop is a little weird with this feather. If I click on my mask now, It's actually not showing the feathered edge in here, because in photo P, it actually keeps this feather separate from the mask itself. That's different from photoshop. So because of that, I can't just come in here and paint black on my mask to hide these edges. So what I'll do instead is just create a new layer, so create a new layer, I'll drag it below. And then what I can do is grab this marquee rectangular select tool. And make sure that up here, this one is set to unite because I'm going to select this edge here, and then I'm going to come down here. I'm going to select this bottom edge, making sure not to go into that center blend, but just getting the edges there where I can see that transparency. Once I have that selection, I just want to fill with my foreground color, which is white now. So filling with a foreground color, I believe it's the Alt backspace keyboard shortcut. So let me try Alt backspace. Yeah, so Alt backspace on Windows, that would be option backspace on a Mc computer, but you could also come up here and you could go edit and you could go fill, and then you could choose your foreground color. So we're just filling with white. So now we have this mass that we want. Now, this is what we want to export back to Canva now. So you're just going to go file, you're going to go port as and just choose PNG, and then go ahead and click Save. It's going to save this with transparency. You can leave it 100% transparency. You can call it whatever you want. So we'll just call this feathered. Frame or something like that, or feathered overlays, maybe a better one. I'll call it feathered overlay. But you can call it whatever you want. Go ahead and click Save. When I do that, it's going to ask me, where you want to save it. So I'm going to go in here in this course. I have some files. I'm going to put it in overlays. I'm going to call it feathered overlay. We'll go ahead and hit Save. It shows up right here under my downloads. And so, going back over to Canva now, because I'm working on Chrome, the Chrome browser, because I can see downloads right here in my recent downloads, I can actually click on that, find that feathered overlay and drag it right in, and I find that's a way that saves even more time for me. Anytime we can find a way to save time. Of course, we do want to take advantage. But if you can't find the recent downloads on your browser. You can also, of course, just come under uploads and to upload files here, and you can search for it and find it that way. But let's go now and make use of this. So this is sort of a different format. I'm going to go over to that square Instagram. And again, if I go under uploads, I have this under uploads now. Of course, you can check it, and you can move it anywhere you want, and it's good to stay organized. So maybe I'll take this and move to a folder. And let's see if I have one called Overlays. So I'm just going to go search for overlays, and there it is. So I'm going to put it in this folder because it's good to always stay organized. And then anytime I want to get to that overlay. I would just have to come to my projects tab under folders. And if I don't see the overlay, I could search for overlay here. But once you find it, you can just click on that, you get right in there. And now we can easily just click on this and apply this to the page here. Now, of course, it's going to make a lot more sense if we have an image here. So let me come under elements. And let's just search for let's search for a woman picture of a woman. Let's just go there, under photos. So we'll grab this picture here. We'll drag this out. We'll let that fill the frame. Now let me come back to position here, position so we can see our layers. Here's this overlay. We want the overlay to be on top. So of course, we can drag this to the edge. And drag it to the edge here, and we now have the overlay apply to this image. Now, if I wanted to reposition my subject here, because the overlay is on top, it might be tough to click on it here, but you could click over here, so it's selected. I'd probably want to zoom out a little bit so I can see a little bit more. And then I can actually resize this photo and I can position it anywhere I want to in the frame, of course, then release off of it. Now, something I would do if I was going to try lots of different photos with this is I might click on the overlay itself and drag it down a little bit. And now I could come under Let's fit the screen again here. But now with a little bit exposed there, that means the problem is, let me just show you if I have this all the way up and I go under my elements, and let's just say I want to grab another photo. And I want to drag it. I can't really get to that frame. What it's going to do is it's going to overwrite everything. So if I do that, it's just going to put it on top. If I look now it actually went ahead and it replaced my entire overlay itself. Let me control Z because I don't want to replace the overlay. Let me just drag this down a little bit. Now I can get to that photo below. And so now if I come under my elements menu again, let's just see all these recently used. Now I can suddenly drag something and I can see and get to that layer just behind it, so I can go like this. And then whenever I want to just go ahead and size up my overlay again, I can do that. So what I would probably do is I would do something like this. And then I'd probably name this and save this whole thing off as a particular file, probably a template, so I can get back to this anytime I wanted to create an Instagram format with this sort of overlay. And even though the overlay we created is white, we can really make it any color we want because of this edit photo, Detone option. So if you go to edit photo and then you come under the Detone option. So let's say right here, Duotone. If you don't see it, XMn you might be lower like that, but you can click over, get this Duotone option. Choose the custom option or any of these options, and then just go under highlights. Since this is white, we don't even have to concern ourselves with the shadows. Just the white option, click on that, and then you can come in here and choose any of these, and then you can see that you can make this frame any color you want. So that makes it even more flexible and it makes it as an asset you can reuse again and again. So, again, if you want to create any of these sorts of overlays that have some sort of transparency knockout with them within them, even ones that have sort of that feathered edge, you can do that in a program like Photop, and then you can bring it back into Canva and set it up so you have a reusable asset. All right. I'll see you in the next lesson. 19. Creating Frames from Text: Okay, one obvious cool use of custom frames is that now we can create mask for text. In the past, you had to individually go under frames in the elements, find those letter frame. So if I come here under the frames and I see all and I scroll down or I search up here for letter, you're going to get some options. But then if I wanted to spell something, I have to drag out one letter at a time, and then I'd have to put the image in each letter frame, and I'd have to make sure the images line up across the frames in huge pin, right? Well, you don't have to do that anymore. One of the obvious things we can do with this new method we have is to type text and use it as a frame. So I'm just going to type the word love here. And I'll go ahead and make that all capital letters. And then I'm just going to size this up a fair amount, and I want to choose a thicker font. So let me just click on this and come over here. Let's just look under these thick ones here. So you can foold around a little bit, find something that works for you. I think I did this once before, and I think there was maybe this one here. This one here. And so I'll use this here. And then, of course, you can do all the normal stuff, so I can type out whatever I want here, and I can come in here and do any spacing I want to do. So maybe I want to pull these closer together so I can really have this cool frame. And so maybe I'll create something like this. So obviously, any spacing, you know, whatever you're going to type, you can do all that ahead of time, of course, because once it becomes a frame, then the text itself is no longer going to be editable. But we know we can do this frame process custom frame really quickly, so it does make it convenient if you want to jump out of here and create a frame. I wouldn't do it all the time. But for things that you might reuse as part of your marketing, your social media, whatever, then sure this gives us a fun new technique. Okay? So we know how to do the custom frames now. And so I no longer feel like I need to show you every step. Here I am over on Photop. You should know I export it as a PNG with transparency. And then what did I do in here? Obviously, I control clicked on the layer to select it, went over the paths, path to selection right here, back to the layers, and then I went under here layer, vector vector mask current path. So I'm not going to start to show you that every time. Sometimes I'm going to skip a few steps because you should know that by now from those prior lessons. So I want to make the most of your time here. So let me show you one more thing that you can do while you're in here though. Another thing you can do is when you have your layer selected is you can come under here and choose this effects button down here. And so if I wanted to add a simple drop shadow, I could come in here and choose drop shadow, and then I could come in here and these are pretty self explanatory settings. You can change the angle, change the opacity, how big is the spread, what's the actual size of it? So you can make all these adjustments in here. Now, you could do some other special effects in here as well. I will say some of these are going to conflict with your mask, and when you go to export it, it means you'll lose your mask. So, in other words, if you tried to do a color overlay, gradient overlay, those aren't going to work. So you can fool around with these as you want. We're not going to make a whole course out of that. But I'm just going to turn on the drop shadow for now, just to show you you can turn on drop shadow. Actually, I didn't finalize that. So let me come in here again and choose drop shadow, and then I have to click Okay. So now I have the drop shadow, and now I'm going to go file export as PDF, same thing. So we're still exporting as a PDF, and then I'll show you what we get when we export this and bring it back into Canva. Here we are back into Canva, and we can see, yes, we have this top layer, which is the mask that we created. But then if we look here, we also can see that that drop shadow layer came in as layer as well. So if I just lower the apacity of my mask, we see that we have this other layer behind it that is that drop shadow layer. So it's just something to keep in mind, it's something we talked about earlier too, that you can export back from Photop more than just your frame if you have other elements that you want to bring back as well. Okay. So now that I have this, I could go under my elements. Maybe I'll search for something like love, find a picture I like. So go under photos here, something like this, and you can drag it in. Of course, I could leave it like this or stylistically, I could do other things as well. So maybe I'm also going to add a regular picture here, and let's just bring this one over. Let's size this one up, so it goes all the way to the edge here, and then let's make sure we push it to the back position. So come under a position here. Let's make sure we push that to the back behind the drop shuttle and everything. And then on the layer itself, the mask layer itself, I need to click in, and I need to make sure that I expand this photo so that I can push it over and have it line up exactly, because remember, we push the other one right to this edge here, So now that should have them lining up. And so now, let me just click out of that, fit back the screen here. Now we have this pretty cool effect where we're using the whole image aligned because we have the mask, and then we have the image behind it. But because we have this drop shadow, we have this really cool effect, where just subtly, the lettering starts to come out. And of course, you could do other things as well in here, so I could come on my background here. I could decide I want to lower down the transparency. All kinds of things you could do. Really, you have a lot of creative freedom. But it is something new that we can do now that we know this trick. We can create our own text, we can turn it into a mask, and we can bring it back into Canva, and then we have an asset we can reuse. So experiment around with this and see what fun ideas you can come up with using text in concert with creating a mask for that text and Photop. All right, good luck. I'll see you the next lesson. 20. Multiple Frames Example: Let's work through another example because I really want you to see and appreciate how creative you can be when creating your own custom mask here and when you start to utilize all these different techniques in concert. I'm going to start by adding text to the screen here. I just add a heading. I just have a poster design here that I've started a blank poster design. And I will go ahead and I'm going to type out the word surfing here, someone types surfing and then what I'm going to do is just expand this up, and then from my font, I'm going to come up here and I'm going to choose this Pacific font, so I'll choose this. Then I just want to expand this. Actually, because there's a space between the S and the u here, I don't think I want that. What I'm going to do is I'm just going to get rid of the S, and then I'll just alt click and drag to duplicate this, and then I'm going to put the S on its own there, and then I'll just position these together like this, and then I can group it together. So now I can re size as one. Okay. I'm get these centered in my screen, looking for my center point. I'm just going to alt click to size out from the center. I want to get it so that it just barely touches the edge of the screen. I'll use my error keys to nudge this and get it. I just barely goes off the edge on each side. Then I'm just going to shift and drag it up here. Again, I'm just looking for basically that center point It doesn't matter. It doesn't have to be exactly in the center of my design, but I want to roughly in the center. I'll move it up my page a little bit. Okay. So this is sort of going to be the basic starting point for our design here, I've seen people attempt this type of design before where maybe they have a word in the middle of their design, and then they're going to come under elements and they're going to search for some photos, and they're maybe going to have one photo on the bottom, but it's only going to extend up to the text, and then there's going to be a different photo or something different on the top. But when I see people try to do this in Canva, they really don't do themselves any favors because maybe they're going to use something like the the background remover tool, and maybe it cuts out just this surfer, but then maybe they'll try to use the eraser tool, which is not a good tool in Canada and try to slowly erase out everything above the letters. And it's just something that's not going to be user friendly. It's going to take too much time. And this is where if you're going to do something and you have access to these other free tools that are going to save you a lot of times time you may as well take advantage. So this is going to be a case where using Photop and stepping in there briefly to make this into some assets we can bring back into Canva that's going to make our workflow a lot easier. It's going to make a lot of sense. So that's what we're going to do. We're going to start with this here, and we're going to export this off. Now in the past, I've been exporting things off with transparency, but I'm actually going to keep the white space now all the white. So I'm just going to come under my share here and we'll download this, and we're going to do it as a PNG. And we're not going to worry about transparent background. We're just going to download it like this. And so we're going to go ahead and this is called surfing. We accidentally named it Erfing but that's fine. So now we're going to go open this up in Photop. Okay, so here we are with the design open in Photop. Now in the past, we've done the method where we control, click on our layer, we select the entire layer. And because we have some transparency, we're not selecting everything. But if I do that now since we have white, and so all the pixels are filled, it's just going to select everything. So that's not what we want. We're going to have to use some other selection tools in here. So at the heart of this masking technique is always a selection, right? So before we've been typically bringing in everything we want to select all at once, but now we're going to have to make a selection in here. This course isn't going to be about everything you can do in photo P, but it's good if you're going to work in Photop some to bring assets back into Canva that you at least know some of the basic selection tools. So we'll cover a few of them in this course. For this, since we have solid color, I'm going to be able to come up here and if you go one, two, three, four tools down, you'll see this magic wand tool. If we click on this here, we can see that there's the other ones here. So for some reason, you don't see it, click on this and find this magic wand here. That's what we're going to want. Anytime you select a tool, sometimes you get a contextual menu up here. And what happens with the magic wand tool is if I click on white, it's going to select everything that's white, okay? But if I were to have some gray in here or something close to white and and I up this tolerance number, I could start to select more than just white, okay? So if I have this tolerance set to zero, then it's only going to select things that are identical in color tone to the pixel I select, okay? But as I up this tolerance, it's going to start to look at close colors. In other words, something that's very close to the color we clicked on. And the more we raise this up, the more different colors it's going to select. Now, we could raise this way up right now and because this is black at the other end of the color spectrum or the other end of the brightness spectrum, I should say, that it's not going to select this black. Okay? So just know with this tolerance here, you can sort of affect what you're selecting, okay? Keep it at zero if you're just clicking on a solid color. But if you have something where you have whites, and you also want to select some, you know, things neighboring white that are close to white, you might have to up this tolerance a little bit. Now, the other important thing here is this contiguous. Without this checked, it's just going to find any white in here, even if those pixels aren't directly connected to each other. So you can see that this black actually divides the white on the bottom from the top, But since contiguous is not checked, when I click on anywhere in the white, it's selecting all the white. Now, let me hit Control D to D select. That would be command D on a Mac. Control D on Windows. If we turn on a contiguous now, if I select this white here, you'll notice that it's just select everything above the black because this white here wasn't actually neighboring and touching the white pixels here. Control D again, just to show you that, I could click inside here and select the central part of the F. Control D, again, I could do the same thing here. That's just this contiguous coming into play. That's going to be important because we're going to want to separately select the white on the bottom. And the white on the top, okay? So in this instance, I'm going to make sure that contiguous is checked because I want to select just the white on the bottom here to start. So if I click down here now, I can see by the dotted line, the marching ants here, that it's only selected these bottom white pixels. Now, anytime you're making selections in Photo P, it has this menu up here also, where as you make additional selections, if it starts on this one here, you're just going to replace the selection. So if I click on the top, now the top selected. Now, I click down here, we're going to replace that selection. But if I want to select additional items and have them add to my current selection, well I have an option here for Unite. There are other ones like subtract and intersection. But in this case, we want this Unite. I'm going to make sure that D is checked, and then I'm going to come down here, and I have to think about how I want to do this because I could make a mask for this bottom area. I could make a mask for this top. We could just use the texts we have in there. But I might want to include the lettering as part of that first frame. So the first frame would be sort of the text itself and all the white below it. And then the other parts would be maybe the top would be the other part. And then maybe the top would also include the central parts of the letter here. So again, these are just creative decisions. But what I might do now with Unite still checked on is I might now with my magic wand, click on the Black area. Now, when I do, I see that it's not quite getting the very edge of the letters. I don't think I should be seeing a line here. Let me hit Control D. This is just where you can finagle with things like tolerance here. So I'm just going to put this way up. I think I'll actually turn on the anti alias as well, because that might help with the edge of the letters. But now I'm going to try again where I click on this and then I click on the Black. That looks like a better selection. It looks like now I'm getting everything from the lettering on down. And so now if you remember, we're just going to go on a path. I'm going to turn this into a path. So right here, this option here, selection the path. Then we'll jump back to our layers. I'll add a new layer. I'm going to do at back space to fill with black, and then we're going to go under layer vector mask current path. Okay? So that takes care of the bottom. Now, I could use the same selection techniques to select the white on the top. Or since I have this now, and I know I want to do the opposite of this. I could just control click, and then I could go select. I could grow inverse, and then we're going to go back to paths again, again, selection to path. And then we'll come back to the layers and new layer, and this time, we'll fill with white. I'm going to do control back space we will again go up here under layer. Vector mask current path. Okay? So now, if I turn off the background for a second, we can see that we have that layer there, and then we have this layer here, okay? So these are going to be our two mask. Now, I made a mistake, didn't I? No, I didn't make a mistake because I did inverse, I did get the central parts of the letters. I was thinking I forgot that. But no, I did get that. Okay? So I could stop there. I could take these back as my two mask. But you can also get creative and give yourself options. So, what if maybe I want to have the option of just have the lettering itself as the frame. So I could come in here now. Again, magic wand tool. We're going to select that black. Let me hit Control D because I wasn't actually on this layer. That's why I did not select the correct area. When you're using the magic wand tool, you have to be on the layer here that you want to work with. So I'm going to do it now. Now I have my surfing selected. Now I'll go under a pass. We'll do a work path yet again, and under layers this time, let's come to the top and let's fill this one with a different color. So something like red, and we'll go ahead and do back space to fill with that red, and then we'll go under here layer, vector mask current path, okay? Oh, see what we did here. We lost that part of the eye because I was not using I had contiguous checked on, so I didn't get that. So let's just do that again real quick. Let me just throw that out. I could just come in here and I could just delete the vector mask, okay? So let's come back here to the bottom layer here. This time, we'll just turn off contiguous and boom, now we see we got the top part of the eye selected. Again, go under paths, real quick, do that, back to layers here, and now we're going to come under a layer. Vector mask current path, okay? So now we have our three different mask here, which we're going to export back. So I'm going to go ahead and do that now. I'm going to go ahead and export these back. So we'll go into our file, and we'll go export as PDF. We're going to leave all this checked off, and we'll go ahead and save that back. I'll call it ERFing again. Sure. Put that back there. But now, let's do one more thing. So since I have this layer here, this current layer here. Maybe I want to add a drop shadow, okay? So let me just show you here. I'm going to add a drop shadow, and so you can come in here and full with the different settings. So maybe I want it to be angle this way. And you can do some other things. Let me just take this background layer. At this point, it doesn't matter. I'm just going to put another layer here, fill with whites just so we have this white layer underneath. Uh, here's another thing you can do. Sometimes your drop shadows will come back, and if you have transparency, it's not going to work. You're just going to get a gray layer. Here's another trick you can do inside of Photop. Anytime you have these special effects added to your layer, you can actually get them to show independently of the layer itself. So if I go on this layer with this layer highlighted, I can actually take the fill down, and what that does is it lowers the transparency of the layer itself, but it keeps that special effects layer. In other words, that is still still turned on. We can still see that. And so then what I'm going to do is turn off these underlying layers here. So now we have a layer which we can take back with transparency. So we exported before as a PDF because we wanted frames. We wanted those frames. But remember, we learned how to do overlays, And when you take back an overlay, you want something with transparency, usually. So, let's just take this back as a PNG file with transparency. So we'll export this one as a PNG. It's going to have that transparency. RVing again, sure. So now we got our RF PNG and PDF, save and we'll save that again. And so now, this is just how we can bring back some different assets to give ourselves some different creative options once we're working in Canvas. Let's jump back over to Canva now and see what we have. Okay, here we are back in Canva. And if I look at this, we can see as expected in here, we have three different layers because we brought back sort of a mask for the top and the bottom and then for the text itself. So with all these, I can click on it and I can detach the image to just reveal the frame itself. Let's go ahead and do that. And so now we have these three different frames in here. And so now we can start to get creative. Now, remember, we also have if I go under uploads. Actually I don't have to go under uploads. I can just bring in. I remember we also did that drop shadow. So I'll bring that drop shadow into here as well. And then I can go ahead and start to play around in here and see what kind of creative results we can get now that we have these different frames. So I would type in something like surfing to look for some surfing images. We're going to go in our photos, and we're going to grab this one here, and I'll just drop that into the bottom. And let's find something different and put it into the top layer. Maybe we'll throw this into the top layer. And then, of course, the text itself is also a frame, we can choose to use that or not use that because remember, we made this text also part of the bottom frame. So let me just come under my layers for a second here. And for the moment, let's just turn this top layer off, okay? So now we have something like this. This in of itself is pretty creative, but you do lose the text a little bit at the bottom. Remember, that's why we did the drop shadow or where we can make use of the drop shadow. So let's just click on that drop shadow, and let's expand it out so that it fits from edge to edge, and then it should line up perfectly. And again, that's the advantage of building these assets together in the same photo P file because if they're lining up there, when you export them and bring them back up here, they're going to line up nicely. And of course, we can come in here and still full with this transparency even farther in here. But this creates this really, really cool effect. Where we have lots of different options now because we can come in here, we can keep trying different pictures to see what pictures we like best. Now, you see, because I brought in this surfing thing, which went from top to bottom, now it's blocking that frame. But that's okay. We can just use the top and bottom control handles here just to pull it down so that it's out of the way. In other words, we don't want to hide it, but we can pull it down so we can get to these frames. And now we can just drop something else in here. And so this is the beauty of this is that now we have this where it's really flexible, and we could continue to try different results. So I could, for example, just duplicate this page, if I like that first version, but now I'm like, Oh, I want to try something different. I could start to do other things. Hey, what if I use this bottom image, and I actually use that in both frames. So let me click on this bottom frame. I'm going to double click to get into the frame itself. Let's position it right lined up there. Let's drag it out, so it goes all the way to the top. And now I'm going to click into this top frame. First, actually, we got to replace it with the picture, right? So let's go find this other surfing picture. Let's add this into this top frame as well. Let's double click into there, and then we got to resize it a bunch. Let's get it so we can resize it and get it so it matches with that bottom corner. And then let me just get so I can pull this top one down and until it lines up nicely. So there we go. So now we have it in sort of both frames. And because we have this drop shadow effect, we can still sort of see the text. So that's interesting in and of itself. But then we could also do other things like maybe we're going to come in now. And now maybe here's when we'd come in here. You could try these different filters, just to give the top half a slightly different look so we could try any of these different filters to give an interesting, stylized look. So maybe I like that design. So maybe I want to have this option. I want to have this option. So maybe you'd be showing this to a client and you're like, I want to show them different options. So here's option one. Here's option two. Let's give them another option. Let's duplicate this page. Maybe this time, instead of using that particular style, let's go under this Duotone option, and maybe we'll come under here and choose different color, something like that. So in other words, you have all the different flexibility, just because we brought back these different design elements, and now it's something we can work with quickly. Imagine if we had to each time, use the background eraser and then erase out to the edge of this text, that would take forever. That would not be a smart workflow. But when you have something like this, then suddenly it's something you can make a lot of changes quickly. So let's do another one. Let's duplicate this again. Then also, remember, we have that original text item, and we also have the text frame here. So let me come in here and I could bring this frame back to the top. Let's bring the transparency back up. And then, of course, you could add anything different into here, anything at all. So maybe you could put type in something crazy like polka dots. I mean, you could do anything you want here and just add something different to that frame. So you really can get as creative as you want. You could also bring back the original text. So this was the original text here, so I can hit Control C to copy this group here, and then let me come back here, hit Control V. And so now I've pasted my original text on top, which could be interesting, or I could position it behind the frame, so I could slide it behind here. I could give it a different color. So let's give it a white color. And then suddenly now, I could bring it out. Let's give it a different color so it stands out more, maybe yellow. So now suddenly you could have a little bit of drop shape. That's a little too off center, there's lots of different things. I'm just giving you an idea you could fool around endlessly because you have these different elements, okay? Now, this example, we're just using the word surfing for fun, so that would make sense if you were working on, you know, a poster for a surf shop or something like that. But of course, if you're doing your regular Instagram and you wanted to have this type of effect, Maybe you wouldn't use surfing. Maybe you would just use like a zigzag line or something different, so it would be more conducive to more than just one project. So you also always want to be thinking about what's the best asset I can create for myself in terms of my workflow and in terms of saving time. But it's also fun just to go in here and experiment around with something specific like this, okay? So I hope you learn something. I hope you can take advantage of these techniques, and I will see you in the next lesson. 21. Creating a Polaroid Collage Frame: Okay, let's look at another example. In this example, we're going to build a frame that spans across multiple polaroids here, so it's sort of going to be like a collage. And the reason why we're doing a bunch of examples, it's just so you really start to think creatively and you have an idea for all these different sorts of frames you might want to create. Let me create a copy of this page just so we can take it apart and see. So I have everything grouped together, but if I group it, then we'll see that I actually have individual polroid elements, and then I put the red behind it because this was just a element with transparency, and I wanted to make sure I had that red because I need to make sure I can make the selection when we go over the photo pe that I'm going to need from my frame. Now, I could have done this a bunch of different ways if we go under elements and we search for polid. Let me just do polroid real quick. You have a bunch of different options here. I think I chose a graphic element. So if you go to come under graphic elements here, you can see this one here has transparency behind it. However, if I chose a different one, like, one, like, let me go back under all, and let's actually go under the actual frames. If I chose something like this, I probably would have wanted to come on here and actually change the color of the frame itself. So, again, I would have something easy to select. And then, of course, all I did was size them down to what size I wanted to, spun around, positioned them in different spots on the page, you know, moved them up and down on the layer stack depending on what I wanted. I landed on something like this here. So I don't need these extra pages. So let's just get rid of these extra pages. So you know now that you could build out something like this. There are lots of different polid elements here in Canva. You could take something, you could build something out like this. You could even build this with regular rectangles. You could put four rectangles together to make the polaroid shape, another rectangle to make the central shape. You could group them all together and then take those groups, make copies, and then stack them on top of each other like this. You could even do a drop shadow effect of sorts. So you could get something similar to what I want here. But, you know, There are lots of elements here, so I figured, why not save time. So I use some ready made elements, and then I just put the red behind them again so that I'll be able to make that selection. Didn't have to be red. Could have been any color. Okay, so I'm going to take this now. You know what I'm going to do. I'm going to come up here, share, and we'll save this off as a PNG transparency sure. We don't have to have the transparency here, but it doesn't really matter in this instance, I'll actually turn it off. We don't need it because it's the red that we're going to be interested in selecting, and we'll be able to do that, regardless of whether we have transparency. So I'm just going to turn the transparency off? We're not going to worry about that. So we'll go ahead and download this now. Give it whatever sort of name you want and save it off somewhere, and now we're going to go over and open it in Photop. So here we are. And just like in the last lesson, we can't just click on this because right now it's just still one image, and we want to select this red area. So we're going to go ahead and we're going to choose this magic wand tool here. Tolerance is set at 100. That's fine. Everything else is one. We could lower that way down if we needed to. But we're just going to click in this, and we want contiguous turned off because, of course, some of these or all of these really aren't touching each other because you have the white edge that prevents the red from touching each other. So we'll leave contiguous turned off and we'll just boom, click that. Everything red gets selected. So now we can jump over to the paths panel here. We can choose this one here, turn it selection into a path. Now we have that. We can jump back over to our layers here. We'll do a new layer. We don't need a new layer, but we'll do a new layer. I'll go all back space. Just for fun. We'll do that and then we'll go ahead and go layer vector and current path. Now, I could have just been on this layer, and I could have done my layer vector current path right on this layer, but I'm just in the habit of creating this new layer. And so now we have it right here. So now we have this, so we'll go ahead and we'll go file, and we'll go port as, and again, port as PDF, and we'll take this back over to Canva. Okay, so here we are back in Canva, and here is that file I just imported. And so let me click on it now and we'll open it up, and so I'll just click on this frame. And I'm just going to hit Control C to copy it. You could also right click and choose copy. I'm just using the keyboard shortcut. So once I have it copied, I'll just jump over here. Again, you could right click and choose paste, but I'm just going to do Control V, keyboard shortcut for paste. And it paste right on top. And that's a good thing about using a file, taking it over to Photop and then bringing that back and then back to the original file because they have the same dimensions and everything. Everything's going to fit perfectly right over top of each other. And now I can right click. I can detach that image. We'll get rid of that. And so now we just have this frame. Sitting over the background layer here, which is all those groupings of sort of the white border. And I don't even have to put this part behind here because it's fitting perfectly on top. So I can start using it right like this. So I'm going to come now under my elements, and I'm just going to search for models, so we have a model to put in here. I'm going to grab this photo here. We'll throw this photo in here. And then I'm going to double click into this, the re size, so we can start to size this up. So let's get it so we fit it right at the bottom edge there, and I'm going to size it all the way up to the top here and go ahead and something like that. Then I might choose to add another copy of that photo. So I'll just click on that to bring it over here. Let's grab it. Again, put it in that bottom corner. Again, we're going to size it all the way up until it snaps to the top. And then we'll go into the position, and we're going to move this one behind everything else. And so now we have that in the background. And I might do something like the side to take the transparency down on that. I could also decide I'm going to sort of separate her from the background. So maybe I would come in here first and let me go edit photo. Let's do background remove her. And then maybe I'll take that version here and duplicate that. Again, make sure it's right on top of the other one. And then one of those versions here, let me just come back on the position menu. We should have two versions. So here's the one all the way in the background, and we have one in the foreground as well. So let me turn off the transparency in the foreground for a second. Come to that background one. The background one, I'm going to lower down, make this more subtle background effect. But then maybe I actually want some of her hair and other stuff to come back. So that's why I have this top layer here. And so for this top layer, maybe I'm going to pull it up and make it everything even to this line here where you can still see her face. And so we're starting to get these different layered effects. Of course, this is sort of what we've been doing throughout this course, and it's really up to you to take this as far as you want. Maybe I'll just come in here now and we're going to search for frame, so I'll type frame. We'll bring out this basic frame. Start with this on top. Sometimes I'd like to make this full screen here just so it's easy to add other elements, so I could do something like that. Let's search for something else. Let's just do something like water, color, art, something like that. Let's see what kind of photos we get. Let's just try one of these. Let's just take this, put this in here, and then we're going to take that, and we'll push that all the way to the back. And so now we're starting to get this really interesting look, and we're taking advantage of this cool frame we created. I realize now that I adjusted the crop for this top layer, but I never brought back the transparency, and I also need to move it down in the layer sax If I bring all the transparency up now, and I leave it in this top layer, we have this hard edge. I don't want that hard edge there. So what we want to do is we want to move it behind both the frame and behind sort of the polaroid images themselves. So we're going to bring it back there. And now that hard edge is sort of hidden behind things. Now I might come in here and maybe I don't want it to be fully transparent, so I'll take it down a little bit just so it's a little different from what's in the actual frame itself. But it also just gives some interesting differences in transparency throughout this. You get the idea. I could keep playing with this as much as I wanted to. I could come under here. I could look for my favorite textures. Let me just look in here and search for something like texture, and I have a folder, and so here's some different images. And then if I go under folders, I would actually have favorite textures. Here. But actually, if I go back out there, too, there's some interesting things here, so I could start to bring in some of these different things here. And I would probably use a frame. I wouldn't just put it like this, but you get the idea you could continually play with this and you could continually build up this design. Now, I wouldn't want it like this where I have this hard edge at the bottom, but you get the idea. So I'll delete that for now, but you could come in, you could add texture. You could do all sorts of things. To play with this. Now, we're going to stop here for now because I think you get the idea of how to create this polaroid frame. But in a future part of this course, when we start to talk about animation, we're going to return to this poloid frame, and we're going to show you how you can take something like this and you can push the design even farther with animation. But for now, play with this idea, have fun, see what you can come up with. All right? I'll see you in the next lesson. 22. Photo in the Sand Frame: Let's do one more example. In this example, we're going to create a frame, and we're going to make it look like this photograph is partially buried under the sand, but we're still going to have it as a Canva asset where we can change the picture that's in the frame very easily. Now, this is the type of thing where you really do need that complimentary tool like Photop because you could try to do this in Canva, but it would be really difficult. You'd have to come under elements here and maybe you'd look for something like sand spray or something like that. So sand spray. Let's see what we get. We do have something here. So let's just see what I can do in Canva real quick. Let me just hit CL and we do something like this. So I would have to change the color of this and maybe I would use something closer to my sand. But you see it doesn't really look good. So I'd have to duplicate that. I'd have to use a different color. You could do something, but it would be difficult. This would be better for us to rely on the skills. We're now picking up with Photop, and I'll teach you something different. And so as your skills in that program, or if you start using photoshop, as they start to grow, you'll start to understand how you can create reusable assets and bring them back here into Canva, okay? So what we're going to do is the frame itself is the easy part because we could even describe a rectangular frame here, reposition it and size it over where it's black here. But the tricky part is going to be this overlay of sand where it starts to look like the corners and some of the edges of this photo are actually under the sand. Okay. So to tackle this, what we're going to do is we're going to export off both the image of the sand, both the image of the picture here. And these are just simple assets I found here under Canva elements. And now what I'm going to do is I'll export them one at a time. So let me come under here under position, and let's temporarily turn the transparency down of this. So now that we're just going to be exporting this sand layer. So I'm just going to share. We'll download that as a PNG. So just a PNG. Don't have to worry about transparency. Just download Sure. You could do a JPEG as well, whatever. So we'll download that. And then, of course, I'm also going to do this for this top layer. So now I'll come in here transparency of this. And for this layer, we could even leave the background sand turned on. It's not going to matter. So go ahead and share and save this as well. So share download PNG, and we're going to download this. Again, once again, PNG, and go ahead and download, y? So now we're going to jump over in a photope and that's where we're going to create this little sand overlay that covers the edges and some of the corners of our photograph. Okay, here are the two images we exported from Canva over in Photop. So we just have our sand layer, and then beneath that, we have just a background layer that has the sand. Also the photograph on it. So what we're going to want to do is we're going to want to take this background layer and basically hide all of it except having some sand spilling over the edges. Well, how are we going to do this? We're going to use masking, and we've talked about this before. This is what we've been doing throughout the whole series of lessons when we're creating frames, we're creating a selection, and in essence, we're creating a mask. If you remember a mask, just controls what shows on that layer. So if I hit a mask now, excuse me, let me hit this button. Again, if I hit this mask now. You can see it's all white, and so everything is currently showing. But if I suddenly hit control back space to fill with my background color, now my mask is black, meaning none of it shows. Now, I could make some of this show just by coming here and grabbing a white brush and then suddenly painting over the edges. So you could do something like this to hide the edges. So we're going to try a technique like this, except we're not going to want to just use a hard brush like this because that's not going to quite look realistic. So let me just hit control back space again to fill with black, and what we're going to need to do is be a little bit more creative with the brush that we use so we get something that we paint on the mask that mimics the shape of sand grains so we can start to make this look more realistic. So I'm going to show you how you can create your own brush here in Photop, and then how you can adjust the brush settings. Now, if you ever use a program like Photoshop, you can do even more. They have a really powerful brush engine. But even here in Photop, you can do some really cool things, and it is a really useful skill to know. So, again, this tries to be as much like photoshop as it can. So it's similar. It just doesn't have all the features you have in photoshop. Okay, so here's what we're going to do. We're going to create a new layer. I'll go ahead and turn off these two background layers. So we just have a transparent layer here. And then under the brushes here, if you come up here, by default, there are some default brushes that load into Photop, but then you can create your own brushes. But so now let's just choose this second one, this hard brush here, and you can see any brush has this hardness setting. So we're going to go ahead and make sure the hardness is at 100%, and then we're going to come down here and start painting some dots. Now, we could have a white behind this, so we could have a white layer behind this, but we're not going to worry about it. Painting on this transparent layer is going to be fine as well. So if I just click once, it puts down a white dot, I don't want white. Let's switch so that our black is our foreground color because when you paint with a brush, it's going to paint with that foreground color. So I'm just putting down a dot. Now, if you want to resize your brush, you can use the bracket keys on your keyboard, so you have that right bracket to make your brush bigger, left bracket, to make it smaller. Boy, Canva ever does something with brushes, I hope they do this because right now, the one background racer they have when you come in and use the brush, you cannot do this, and this is also helpful. Okay, so don't worry too much about the size of this because we're going to be able to scale it down later. But what I want to do is just come in here and start to put a little scattering of dots, sort of at varying positions, sort of a circular shape, but then I'm going to have some more at the edges that sort of go out a little farther. Again, sort of trying to concentrate this in the center. Now, I've made this way bigger than I intended. Let me hit Control Z to undo the last one. I've done this way bigger than I intended, but I still think it's going to work out just fine. In other words, you don't have to be perfect with this aspect of it. The other thing I could do is I could have come in here and I could use something like 50% gray, and now these dots are going to be 50% transparent because when you paint on a mask, which we're going to be doing here or when you use a brush, when you're defining something with a brush, anything that you make black, when you use that brush, it's going to be 100% opaque, you're not going to be to see through it. But when you use something that's gray or a shade of gray, then the closer it is to white, the more see through it's going to be. So 50% gray would be like 50% s through, okay? So now what we're going to do is you're going to grab that rectangular selection tool, make sure you go all the way around it. And then once you have a selection around all of it, you're going to go ahead and you're going to define this brush. Now, the reason why I said you could have white behind here because anything that shows up as white here isn't going to show up in your brush because what did I say White was, that's going to be 100% see through. So now we're going to come up here, edit, define new and define new brush. And it says brush added. Well, where is that brush added. So right now, if I go to draw something on screen with my brush here, I'm still drawing with this same brush, okay? Now, let me reset my color here to black. So I'll do that, and I'm going to hit control A and just delete delete everything on this layer. So, where do I find my brush? Well, just come up here. It's going to be at the very bottom, the most recent one you created. So here it is. And now if I draw something boom, I get something like this. Of course, that's going to be way too big for sand, but you can scale it down and make it really small, like this. So that's step one, you can scale it down, but then we're also going to want to adjust the brush settings. So, what do I mean by that? Well, you can come in under the brush settings, which you might see over here. Otherwise, you can come under a window and you can choose brush. Well, there it is here, so it popped out from over here. And you have things like shape, dynamics, tip dynamic scatter. So let's start with shape. You want to come in here and you want to increase this spacing. And if you drag it way out, you start to see little stamps of your brush shape, and they'll get wider and wider apart. Well, let's bring it back so there's just a little bit of overlap between those, okay? And then if we want this to be lots of sand and we want to be able to draw lots of sand at one time, because I don't want to draw out individual grains of sand. I'll never cover my photo the way I want to. I want to come down here and adjust some of these other settings. Okay, so I'm not going to worry about tip dynamics, but I am going to come down to scatter the scatter setting, we're going to come in here and we're basically going to take this count. And as we do, we can make it so it puts down more and more instances of our brush at one time. So I won't take it all the way up, but maybe something like this. And then position iter is just going to be how spread out, does it end up becoming? So maybe I'll do something like that. And then count, again, does it always put down the same count? Does it put down varying amount each time? So we'll drag that up. You can look at these settings. It doesn't have to be exactly like that, okay? Now, if I draw on screen now, we'll start to see I can put down a bunch of things at one time, and this is starting to have more of that texture that you would expect of sand. Okay? So let's just delete that, and now we're going to start working on the mask itself. So now, because I'm painting with black, if I paint on my mask, what's going to happen? Well, nothing, nothing's going to happen because I'm painting with black. So let me hit Control Z. Undo that. We don't need to undo that. But so now let's switch and paint with white. Now if I paint with white on my mask, suddenly, I'm bringing back some of that underlying photo, which is the sand, right? So now I can just sort of start brushing at my corners, anywhere I want to start bringing some of the sand back, I'm just starting to brush, and suddenly we can start to work this photo and we can start to bring back some of the sand on the edges. So it starts to look like this is buried under the sand. Now, if I don't like and have gone too far, I can go in there. I can switch to black, right? Actually, I can just switch my foreground and background colors like that, and then I can start to paint at that edge where like, maybe that's a little too strong. I want to get rid of some of that, right? So you can do it either way. You can add or you can bring back from this mask. Now, I don't think I've created the perfect brush here, so you might have to fold around to get your sand brush the way you want it. So you really like the effect that you create here, But this is maybe close enough for this example. I'm not going to try to make it perfect. I'm just going to come in here and work these edges a little bit, put a little sand there. And then I don't want it to get totally out of control. So it's spilling a little more on the photo than I wanted to. So what I'm going to do is I'm just going to paint like this. But then I'm going to come and switch back to white again. So let me make that switch here, switch back to white, and then just start to bring back some of those areas where I think it's been a little too aggressive. Just sort of paint some of those away. All right. So again, we're not going for a perfect, but you get the idea how you can use this to make it a little bit more realistic. And the reason why it's more realistic is because we're actually bringing back the actual sand that exists in that photo underneath. So we are getting that real look of sand and our brush, as long as it's somewhat reasonable, it's somewhat close to that speckled nature of sand, then this is going to give you a reasonable result. Now, I don't think I've done a perfect job here, but it might be something we call good enough. I could also come in here and just carefully start to take more away. I could play with it more. I could redo my brush. But I'm not going to worry about that so much. I think we get the idea of this spilling over, okay? So once we've done that, we're going to bring these assets back into Canva. So we could create a frame in Canva itself, where we just drag something out and resize it since it's just a rectangle. But of course, we also know we can do it here. So here on this background layer, I could grab this magic wand tool that we learned about tolerance to set to 50. That should be fine because there's a white edge here. I don't have contiguous checked. So I'll just click on that and we can see it highlighted that black layer. So now I can go under paths. I can come here and I can do this, selection a path. And then I'll come back on my layers here. Let's add a new layer for this. We'll fill it with black for now. Sure, and then we're going to go layer. We're going to go vector mask and current path, okay? So that is going to be our mask itself. But before we even do that, let's just take back independently. Let's take back this sand layer because this sand overlay layer is going to be something we want to take back by itself. So for this, we're going to go file export as PNG. And so we'll save this back. That's going to be our sand layer. That lies over top. So we've created an overlay. And now, for this other part, we're just going to grab this mask, and this mask is going to be what we take back. So we're going to go file. And this is the one we'll save as a PDF. So a PDF because this is going to be the mask, we'll save that back. So now we have the mask and now we have the sand overlay we need on top. So now let's go back to Canva and see what we have. Okay, so here's that frame that I brought back. So I'll just hit Control C to copy it. We'll go back to this one here, the project we started. We'll hit Control V to paste it in. And then, of course, you can come in here and detach the image and throw it out. So now we have our frame sitting right on top. And so now all we need to do, is grab that new overlay we created, which is right here, just drag that in. And so now we have this sand overlay. So I'll wait a second for it to load. And then I can just click on that. And then because we created it from the same project, if I size it up corner to corner, it should be perfectly positioned. And so now suddenly we have this frame that's looking like it is hidden behind the sand here. Now, of course, if we want to add photos to it, we're going to have to drag just so we can see an edge of our frame, and then I'll come under elements, and let's just look for family on beach or something like that. We'll go under photos. And now, suddenly, boom, I can add things to this frame here, and suddenly we have this really cool look. So if you want to add something new, just expose the edge, and of course, you can reposition this in the frame. And then, of course, you can grab this layer on top and you can bring back hoops. I grab the wrong one here, this one here, and you can bring back all your sand on top. Somehow, I lost this photo into the wrong thing. Let's hit Control Za a couple of times. There we go. There we go. So I didn't do a perfect job with this example. Like, I think I could have done a better job, take a little bit more time with my sandbruh. But the whole idea really is just to get you to think creatively and get you to understand that sometimes if you want to reach your creative aspirations, you might have to reach beyond Canva and learn a few tricks in other programs like Photop. If you want to get into something like photo retouching full time, yeah, then you better go learn photoshop. But Photop is a great free solution. You compare with Canva, like we did in this exercise. And of course, you're always thinking about creating assets for Canva that are reusable and can save you time in the long run. But it's also just about having fun. So I hope you had fun in this lesson, and I'll see you in the next one. 23. Building Ripped Paper FX: Okay, in this video, we're going to be talking about getting sort of a ripped paper edge effect. So I have this photo in here. And I'll just show you under my uploads. I have sort of this paper edge here, and then I have this paper edge here. Now, I couldn't find either of these exactly as I wanted in Canva elements. So part of this video is we're also going to talk about now that we're stepping into photope to set up some of those custom frames we can bring back in. And we're learning some symbol techniques, how do we can we apply them to sort of help us manipulate other assets just to get more of the look that we want. I'll show you what I mean as we go along. But just for starters here, let me get rid of this one here on top, and I'll take this one here, and we could, of course, drag this out and get a look like this. So this sort of looks like the photograph underneath has ripped into two halves here. But then, of course, what if we didn't want it to be this white? That's just built into that. So if I wanted to change this to sort of a different type of paper, I would not be able to do this as it is set up now. Now, another look we could go for would be using something like that first graphic here, something like this. And then if we had the drop shadow and this cava element and then a paper texture, then maybe we could. But of course, to get this look here, you know, how are we hiding this photo? How are we hiding the rest of this texture? There's got to be some sort of frame at work here, right? So, how can we take some of the starting elements that we have like this edge here, or this edge here and get this sort of look. So let's work this problem from the beginning. So I'm just going to start here and let me actually get rid of this off screen. So we just have a plain gray background. So let's just start by looking for some of these ripped paper elements that you have in ama. Somebody is going to go under my elements tab, and let's just typed in ripped paper for charters, ripped paper and see what some of the different graphics and photos we have are. So if I go under photos, we have things like this, That's got a little bit of a drop shadow on it. That's actually kind of cool. So we have things like that we could use. Let me just see all photos for a second. We have other things like this, different type of paper, and then we have some other ones here, but maybe nothing exactly like I want. So let's look under graphics now. Under graphics, we have things like this. Okay, that's kind of cool. And I could come down farther and see, we have things like this. We have things like this here. So again, lots of interesting elements, and you could type in other things. I have ripped here. You could type in torn paper, so you could vary your search term a little bit just to see what kind of different results you get, something like that. Let me just try torn paper edge, slightly different just by adding that edge keyword. Okay. So I'm not finding anything exactly like I want, although this is getting in the area in terms of the sort of shape of the edge here. Let's just hit CL, so we can see more like this. And now what I'm going to do is, I don't want to scale it up because I don't want to be quite this big. I'm going to put a couple of these together. Let's start with this one here, and then maybe we want this one to join up. So I'm going to have to do a little finagling here, so let's you just zoom in a little bit. I try to get that top edge. Using my error keys just to nudge this one picks a lot of time. Let's start by matching the top edge. Using this nudge right and left until we want that top edge to blend pretty much. Then since when you resize, if I resize from this corner, then it's going to be moving that away. I don't really want that. I'm going to pick the opposite corner. I want this to stay the same, so I'm going to nudge from this corner. It is going to shift the other one a little bit. But this will let me start to play around here, and then clicking off occasionally to see. Again, I'm going to resize a little bit, clicking off to C. Again, I can nudge it right and left as well. So we're getting closer. Finagling around a little bit until I get something that I feel like is believable. Now, maybe I didn't start with the best part. So let me just sort of go like this and sort of nudge back and forth. Something like that, suddenly, I believe that is one edge there. So I'll take that. And then once I have it sort of believable, I'll group those together. I can zoom back out. And then I could continue to build it out, or I could do something like take the whole group and I could hit Control D to duplicate. And then with it duplicated like that, maybe I'll just try spinning it like this. So it's one 80. Then I might be able to get these to match up better on the other side. That looks like it matches up pretty good. And now I can take this whole thing and group this together. I may not have done a perfect idea, but you can put different elements together like this. Then if I duplicated this again, you always would have the option of spinning it this way and having a different edge that's just in different because we'll move it a little bit, so it's not going to quite be lined up, and of course, it's flipped upside down. So you can get different shapes like this. The problem with this shape here is I want my paper to have texture. The edge of my paper, I want it to be more of a textured feel. This is just a solid color. Well, this is where we're going to take advantage of some of the things we've learned in Photop just to help us manipulate this element and combine it with another element. I'm going to come under my elements tab. Again, this time we'll search for paper texture. I'm going to specifically look under photos. There's some graphics here, so I could do stuff like that and find some interesting texture. That's actually not bad right there. Actually, I'm under A, so I think this is a photo. If I go under graphics here, see, some of these just don't quite have the look I want, but let's go under photos, and we'll try this one. How about this? We could play around and look at some other ones, but let's just go with this. This is sort of an interesting texture that I like. So what I'm going to do is I'm going to export both this texture, and then I'm also going to export this layer here. So I'll just create a fourth slide here. Let me start by just grabbing my texture, control x, we'll copy it. We'll hit Control V to paste the texture over here. Make sure it spans the entire width there. Zoom in so we can see a little bit better. Yeah, I sort of like that. So we're going to go ahead and start by just exporting this as a PNG. So we'll just share, we'll download this. PNG, we don't want all pages. We just want page four current page. So page four. Sure, done. We're going to do that. We're going to download, and I'll just call this paper texture. So let me find this folder here, and we'll call it ripped let's call it paper texture paper texture. Okay. And then I'm going to do the same thing where let me go back now and let me grab this edge we created, Control C, and we'll hit Control V. Now, I'm not sure actually. Let's do a test. When I export something with transparency here, I think it's going to ignore even the color gray because it is our background layer. So let's just go here. We're going to export this edge here. Let's go ahead and share one more time. We're going to do download. We're going to do P&G. This time, we do want transparent background. But once again, we just want this fourth page, current page, page four, done, download, and we'll call this one paper edge or something. Rip paper. That's fine. Let's put it images germ. We'll go ahead and save that off. So now I have those two images, and now we're going to open these up in Photop and we're going to work on creating a custom frame. And then we're also going to work on giving this paper edge some texture. Okay? So I'll jump over in Photop and we'll start that now. Okay, so here we are in Photop and I have those two elements open, the paper texture that we brought out of Canva, and then also this ripped edge here. Now, I mentioned that I don't like this just as a solid color. I want to have that paper texture. So we're going to need to put these together. So let me just come over here onto this file. Then if you remember some of these keyboard shortcuts, we're going to hit Control A. That would be Command A on Windows, but Command A on a Mac on Windows. It's Control A. We're selecting everything, and then we can hit Control C to copy. And then we'll just go back to this tab and I'm just going to hit Control V, and it's going to paste it in on a layer above. But let's turn that off for a second. Now, if you remember before, when we've made custom mask in here, we start by making a selection which we're then going to turn into a path, but that selection is something we can make use of now, and we know that you can select everything on a layer just by control clicking on a layer. So if I control click on this paper edge on this bottom layer here, now, suddenly, we have the selection that we need for this top layer. Now, on this top layer, I could just come in here now and hit this mask button, and then suddenly I have this paper edge masked out. Let me hit Control Z just to back out of the keyboard shortcuts. Another keyboard shortcut is if you hit Control J, it copies whatever is selected on the current layer to a new layer. So I could also hit Control J. And if I did that now and then turned off these two layers, we see that we have this paper edge. Okay, so different ways to do the same thing, but they're both going to give us what I want. Now, let me just go ahead and put a solid background color in here. So I'm just going to create a new layer below. So here we are new layer. It's below this layer here. Then I'm just going to go edit and we're going to go fill, and let's fill it with let's see. Just the gray. So we'll choose gray here. Okay, so we can see that a little better. Now, I do want to bring this dark edge back on top for a second. I can do that, move any of these layers just by clicking and dragging, and you can just reposition these very easily. So I'll just drag it all the way to the top. Of course, turn it back on so we can see it. Now I have this black edge over top of all of this. Now, I actually might want to make a copy of that. So I'm going to go ahead and just the way we used that Control J keyboard shortcut when we had something selected, and it copied just a selected area. If nothing is selected and you hit Control J, it's just going to copy everything that's on that layer. So I turn that off. Now, actually have two copies now of that black line. Now, let me do the same thing with my gray layer here. Somebody's going to hit Control J. It just made another copy of that layer. I can position that up, and now I have the black edge on top of the gray background. I'm going to teach you another new command here. If I hit Control E, if I hit Control E with a layer selected, it's going to merge that layer down with the layer below it. So you can also come under layer here and you'll see this merge down. You can see it says Control E. So basically, what I do is that's going to make this background copy in this layer three, just one layer. So if you hit Control E, now those are merged together, and that's just one layer. I can turn it on and off. That's just one layer. So I might want to do that, but actually, let me hit Control Z to undo that. I don't want to do it yet. So I'm going to hit Control Z just to step back through my keyboard shortcuts until I've separated those layers out again. There we go. Now we have them as separate layers. Because what I'm thinking about now is I'm thinking about, if I want to create a ripped paper effect, where do I want it to be? I want it to be sort of in the center of my image? Well, I think I actually want it to be a little lower. So again, this layer is selected. If you want to move something when it's selected, you have to have this select tool here. So do that select tool. If you have this transform control selected, then you can resize it. But it doesn't matter if you have that selected or not. Even if you don't see that, if you have this layer selected and you have that selected up here, this move tool, then you can move stuff with either clicking and dragging with your mouse or using your keyboard shortcuts, your arrow keys, shift plus your arrow keys, just to move something around. So maybe I want it to actually be right here where I have the rip to be. And so then if I was using this in concert with a photo, I would want the photo to be up here, and this would be the ripped edge of the photo, and then everything below, I would not want the photo to show. In essence, what I want to do is I want to have this B the mask area, this gray part of the photo here. The problem is, if I go on this background and I use this magic wand tool, which we've learned before, you can use to select contiguous areas of color. Let me take the tolerance down to something like ten. But even with contiguous, if I select it now, the problem is it selects everything because on this gray layer, well, everything is contiguous. This black edge is right now on a different layer. But that is where this hoops. Let me do that. I was trying to hit control D to D select but when I do that, sometimes it gets into this edit bookmark. That doesn't happen in photoshop. That's just a quirk here. So I could also go select de select. You see Control D is for deselecting, but it doesn't always work perfectly in Photop. Now it's deselected. Anyways, back to what I'm talking about. This here, we can now merge down to make it part of this background. So if I hit that control E key or shortcut, we've made those one layer. Now, suddenly, if I use the select tool, now, suddenly, look, we are now using this magic wan, we've selected everything, which is exactly the area that we want to become our mask, okay? So this is one part of the process. Now, something we've done many times before. We can come over to pass. We can do here selection to path, and then we can come back onto our layers. And with this layer selected, we don't need to worry about filling with any other colors. That's not going to matter. All we need to do is come layer vector mask current path, okay? So now, right here, we have the frame we're going to take back in, but we're also going to take back in separately, our paper edge. Now, right now, our paper edge is still up higher here. So what we want to do is take this layer and this layer. Let's go ahead and group those together. So I'm just going to click on one, and then you can either control click on another or if you wanted to slick the multiple layers that were all next to each other, you could do Shift click and click from one to another. But I just really want this background layer. And then I want this other layer here. So control click. And then what you can do is once they're selected like this, I can drag and move them together. More than one layer selected. Okay, so actually, it's because I had the wrong tool selected. But if I go to my move tool now, now with more than one layer selected, I can move them together. If I hold down the shift key when I'm moving, that'll restrict me to moving just in a straight line. So let's just move it down. And of course, we want to see this here because we want to line it up exactly with that other layer that we created here. Since we already did that frame. So let me actually just control click to see where that edge is. I could have positioned everything first, and that would have been helpful. But since I didn't, I need to sort of have that visual guide. So again, my select tool here, let's grab these and move them up and we want it to be just below that, right? So we want it to basically meet at the top edge like that, and that's where we're going to position our paper edge, okay? Let me get control D to D select. But then also, I now have to move this edge on top because I don't really care about the black part of our paper edge. I just want that white torn paper edge. Okay. But actually, the black part I am going to make use of because let me just take this black part here, and I will just now suddenly use my move tool and nudge the black layer down. Move tool, let's nudge it down using our shift key. Let's just get it so we can fully see it. And then what I'm going to do is I'm going to have this become a drop shadow. So we're also going to take a drop shadow back in. Now, in Canva, we could just take back the paper edge, duplicate it, use the D atone, use the blur. But that's a bunch of steps we could just accomplish right here even quicker. So let's just grab this background layer, which is the black paper edge, and let's just go under filter, blur, Gausian blur, and then just dial in the blur amount we want. Maybe something like this because we can, of course, lower the transparency and everything later. If we need to, let's just do something like that. So now we actually have three things we're going to take back in Canva to work in concert with one another. So if I turn off that bottom gray layer, up top here, remember, we have our vector mask here, which is going to become our Canva frame. And then we have now the white textured paper edge. And then we also have this drop shadow. Now, the drop shadow itself, I'm ultimately going to position sort of behind like this to make sort of a drop shadow look. But if I put it right below this now, what's going to happen is it's going to export this layer as a frame. But then these two sins are overlapping, it's going to bring them in as one graphic. I actually wanted to bring them in separately as two graphics. So for now, I'll just grab this bottom layer, and let's just drag it down on the page down here. That way, they're definitely going to be separate, and they're going to be brought in as separate layers. So again, whenever you have sort of things that aren't masks, so you don't have vector shapes, other things that you're going to bring in these roster parts of your image, if they're overlapping and you go to Save as PDF, then they're going to put them together into one graphic. So if you want them to stay separate, you're going to have to export them where they're not touching like this, and then you can sort of reposition in Cama. So that's what I'm going to do. So now let's just go file. Let's go export as, we'll export this as a PDF. We'll hit save, and then I'm going to see you back in Cama. Here we are back in Canva, I could upload the PDF via this upload button. Or since I can see it up here in my browser. I know it's just beyond your view, but I can bring it open. I can see it right there. I can just drag it right in. I usually do that. It's the quickest way. So then I'm going to have it load up in here, and then we'll open it up and we'll see that if we look under the position tab, we have one, two, three layers. So again, now we can position this because we want that to sort of be that drop shadow. But because we brought it in separately, now I can come in here and I can do things like adjusting the transparency and adjusting the position separate from this element above. So that is just something that gives us more flexibility. So I think I might bring the transparency all the way up, but then let's nudge it way up. So let's grab it and try to move it just so it's right up and just gives us a slight subtle edge like that. And of course, this top layer is our frame so we can just detach the image, get rid of that. Let me get rid of that, so that's not blocking our view. And of course, now we can just drag anything we want in here. So here's that photo boom. We can bring that in. If we wanted to do something like the look here, where I had this canva element underneath. Let me just copy that, copy that and bring that over, hit Control V. And then, what did I copy and bring it over? Not what I wanted to. Let me go and make sure I have this canva logo, Control C, back to here, Control V. There it is. And of course, we would come here and we would reposition it. So position, let's send it backwards behind all these things here. Then of course, if you wanted to have a different paper texture underneath everything, we could easily go under elements, search for just a regular frame. Bring that frame in, so I'll just click to bring that in. I will just resize it to fit our whole screen here like this, drag it over like this. But then, of course, you'd want to push this in the back. Now, even though it's in the back now, it's still exposed here, so I can very easily add stuff to it. Let's just go under elements. Look for texture, see what different things come up. Let's just see all here. Now, things, suddenly, I can really easily come in here and add all these different looks just to try different sorts of backgrounds that I might want underneath that, okay? So this is all about a workflow that gives you more flexibility. It gives you better options, and you spend a little time stepping out of Canva briefly, but then you bring something in that just is going to work better. And so you end up saving time versus trying to really do things in Canva that Canva wasn't meant to do. Now, at the beginning of this, I mentioned another graphic. If I came back over here, let me just look under my uploads. I think it's under my uploads. I showed you this one here as well. So I could just show you very quickly over in Photop how we could do something akin to this look if we wanted something like this edge here, that would be something that sort of stretched across your whole thing like this. So let's just jump over. I'll show you that real quick and then we'll end this lesson. So here we are back in Photop where we were just working and I'm not going to create exactly what we just looked at, but I'll do something similar just so you get the idea. Let me hit Control Z to see if I can get back to where before we blur this black edge. So let me hit control Z a couple more times. Just stepping back there we go. So I was just stepping back through keyboards not through keyboard trick but stepping back through prior commands using the keyboard shortcut Control Z. So now I have this black edge again. So let's just turn off the white edge. And here's this black edge. And so let me just drag it up somewhere. So I'm just going to hold down shift. Actually, let's bring it to the top here, so it's above everything. Now I'll move it around. So let's bring it sort of up here. Then control J to Copy it. All right. So now we have a second copy of it. Let's actually rotate the whole thing. So if I come under the transform controls here, I'm just going to go if you go just outside, you know, if you just click here, you can move it, but if you go just outside, you see how the cursor changes to that rotate icon, then you can start to rotate something. And if you hold down shift when you rotate, then that sort of constrains it to 15 degree moves at a time, so I can get it exactly back to something like this. I'll bring it up here. And now we sort of have this area in between this gray is sort of what I'm looking to create another frame where we could put anything we wanted in there. So again, we have them all on separate layers, but I know if I group them all together, then suddenly, I'll be able to do what we did before and just select that gray that's in between. So let me select both of these layers. So click one, click the other, hit Control J. Now, with two layers selected, I just copy two layers. So I'll just turn off those top two copies for a minute. Let me just bring my gray background below these two new ones, and then clicking on the top one here, Control E, merge down. Control E, merge down again. Now we have one layer that just has all of that on one layer. Let's grab our magic wand tool, boom, And now what's happened here is I think I have one of these edges that's just not quite all the way to the edge. You see how it's going beyond. So let me just hit Control D. Let me hit Control Z. You hear me doing Control Z a lot because it's a great way to step back through prior commands. So Control Z. Now we have these layers, these lines again on the same on a different layer. So let me just hit Control T. Whoops. Let me just use the transform controls there. I drag it out slightly this way. If I just grab the edge and drag it out slightly, grab the edge, drag it out slightly because somewhere, I feel like it was there was a little bit of gray open space at the side. So let me hit Enter to commit that change. Now I'll go ahead and hit Control E to merge down. So now we have them again on one layer. Let's undo the transform. We don't need to see that anymore. But now let's grab this magic wand tool and it's selected everything because I did not have contiguous checks. So let's turn on contiguous. Let's go ahead and do this, so it's going to be doing a new selection. We'll click there again with the magic wand tool, and there we go. So now, this is going to be the area that we're going to turn into our mask. So we'll come under the path icon here, and we're going to choose this selection to path. And then if we come back over to our layers, we can come on here. But actually, this time I'm going to create a new layer, such as a new layer, at back space to fill with black, and then we'll come under layer, vector mask and current path. So that's going to take care of what's going to become our frame in Canada. But now I got to sort of bring back the other elements. So up top here, I have these two black things, and I also have them on this one here. So let me just start by making those a selection. So again, I can use my magic wand tool. Again, I'm going to use this time, I'll turn off contiguous. I'll click on the Black. So now I have the Black selected. And if you remember, somewhere back in this project, if I bring it to the foreground, I still have that paper texture. So what we're going to do is use that Control J trick to copy just out of that, cut out of this, just what selected. So Control J, and it's going to put that up on a new layer. So now that's going to be our paper edge. And so now we have our mask. We have our paper edge. But then I also want to have a drop shadow. So let's come here and this time, let's go back and again, use this. But this time, we will turn on contiguous, so I can turn on just this top edge because I'm thinking actually, I was on the wrong layer when I did that, so let me come down here and do this again. So now I have that selected. And I'll just go to a new layer up top of everything and do back space to fill with that color. And then if I use my move tool, I can just scoot that up a little bit. I want to make sure that I don't push it beyond the image, but there we go. And so then I can come under that layer here and I could go filter blur, gaussian blur. So I'm just creating what's going to be sort of our drop shadow layer. This one I might want to be really blurred. So let's make it something like let's go something like maybe something like that, and I'll click Okay. Now, remember, I'm ultimately going to want to reposition this, but I want it to be separate now so that it doesn't overlap with anything so I can bring it into Canvas separately. So let me just change what I have turned on here. So we have this layer here, which is going to be the mask area itself. We have this layer here, which is just our paper edges. And then this color is black here. So let me just change that the white so we can better see how our drop shadow is going to come into play. So I'll just hit control back space to fill with my background color, which is white. It doesn't matter what the color is because again, it's just what the vector mask is. That's what's going to bring in. And then with the drop shadow itself, I think, ultimately, yes, I'll bring it down, something like this, and it'll be behind this layer here. So let's drag it behind so we can see a little bit better. So it'll be something like that. If the light's coming from sort of the top, then you wouldn't get a drop shadow down here. So I think I'm just going to have it on this one part of our frame. I could put something where I did a drop shadow here as well. But I think for this example, we'll just leave it like that. But again, I am going to move it up out of the way for now. So let me actually try to do that again. Move it up out of the way for now just so it gets taken into Canvas separately. We have these three layers, and so I'm going to go ahead and do file, and I'm going to do export as PDF. And then I will see you back in Campa and we'll take a look at this real quick. So here we are back in Campa. Here are those three elements that we just brought over. Some is going to hit Control C to copy them all. We'll just paste them into this project here. So paste them. Then, of course, I could come and reposition things. So let's just go real quick under position menu here. We'll grab this drop shadow. We know we're going to bring that down. I also want to make it a little bit more subtle. So something like that, nudge it up a little bit, maybe. Whoops, I lost my layer, nudge it up a little bit using my arrow keys, maybe something like that. And then we could take all of these. First, let's take the frame itself. Let's put it on top temporarily, just show you now that we do have this as a frame. We could get rid of that white. I wanted a different color, if we wanted a different texture. We'll just go look for something like antique paper. We searched for that recently. So we'll do that search. We'll see all photos graphics. Let's look at photos, and then we could just start trying some different things in here. This could even be like newspaper. It could be whatever. Of course, with all of these things here, we want the frame behind this and behind the shadow. But then we could group all these together or select them all together, move it around. Woops not have them all selected. There we go. Now we can move this around, so it's positioned differently on our photo, something like down here. So again, just different ideas so you can start to take advantage of this ability that you have now to create custom frames, this ability you have now for due working with things like drop shadows and things like that. And actually, let me group this for a second. I think now because I have a different thing behind here, I would actually maybe make my drop shadow. A little bit stronger. But this is the advantage you have of bringing things in here separately, because now suddenly that drop shadow layer is its own layer, which I can adjust independently. So you just have a lot more flexibility when you learn this process of being able to step out of Canva quickly to do things Canva is not good at, and then bring those in as assets you can work with in Canva and get them to do the things you want. Okay? So I hope you learn from this lesson, and I will see you in the next video. 24. Custom Frame Challenge: Okay, welcome to your next challenge exercise. And since we've been creating custom frames in this section of the course, you guessed it, I'm going to have to create a custom frame in this challenge. So it can be absolutely anything you want. You can use one of the ideas we discussed in this section, and you're also welcome to just come up with your own ideas. So here are a few more ideas, just to help you come up with something. And maybe you're working on something already, and you've already created something you want to share. That's great as well. But you could do something where you're playing around with edge effects on the frame, so you could do something where the frame has some interesting edges. You could do something like this here where you create some sort of grid effect like this. So then maybe I'd come in and resize that up so we can see your eyes. So you could play around with something like that. Here's one that is sort of a torn paper effect, and this actually has a frame here. And then it also has a frame here where you can put in a different texture if I actually get to my position layers and see that. This bottom one here should also be a frame. So let's see. I think I just need to move it to the top for a second, so I can access it There we go, detached image, you can see that it's actually two frames. You could create something where you take something into photope and actually create two frames that you're going to use in concert with each other. Here's another one that's just this dispersion pixel effect here, so I can see that yes, this is a frame here, so you could play around with something like that. Of course, you could take any shape and play on this theme, or if I took something like this into Photop, it would be very easy to select just the non white areas and turn that into a frame, so you'd have something that had some spacing between the different shapes. And of course, I might decide even before I take this out. Maybe I want the shapes to be a lot bigger, so you can size it up before you go out of canva into photope thinking about what sort of effect you're going for. So any sort of abstract shapes you can play around with come up with something cool that you might want to turn into a frame. Of course, any photo, you can sort of use the background remover and take any photo and cut out the subject and turn that subject into a frame. This would be especially useful if say, I wanted to work with this person here and apply an overlay just on the person and I wanted to be able to contain that overlay, then I could use that frame so that I could put the frame on top of her and then you have a custom overlay in that frame. So you could do something like that. Again, anything with edge effects, which we talked about previously, something like this, but you could find some ripped paper or some other interesting canva elements. Of course, if I take this out of here, it's very easy to just select this inside a program like Photop, make a selection around this and then turn that into the path and into the frame. What about something like a ripped paper effect where there's actually a hole where the frame itself is this, but then you have a hole in the frame that shows through to a layer below. That could be interesting. And of course, any sort of shape, so you could create something with this butterfly, any kind of shape, any kind of object, you could turn into a frame. So it really is whatever you want in this exercise. And then, of course, you know, show us how you're using that frame. So maybe if I did this frame here, you know, do I want to duplicate it and use it to have a background shadow as well? You know the technique for that. Maybe you want to have some other graphical elements behind your frame, some splatter effects or something totally different. So let us know how you're using your frame as well. I'd love to see that. And then you can come up under the share menu, and you can come down here and if you want, you can grab a public view link. This lets people look at your project. They can't make edits, but they can look at your project, or if you want, you can download appropriate media. And then here in Skill Share just come under whatever challenge you happen to be currently working on, then come under here and come down to this discussion tab, and then you can actually use any of these tabs, start conversation, ask question share project. Any of those are going to work. Just come in here and either insert the link if you have that public view link or if you download it some media to share, use this ad media and you can upload your media that way. And that way, we can check out your challenge. We can all get inspiration from each other as we share challenges here. And you can offer critiques, just keep your critiques friendly and try to be as helpful as possible. Alright, I'll see you the next lesson. 25. Advanced Compositing Fundamentals: Section of the course, we're going to talk about advanced compositing. And all we really mean by that is starting to put different elements or different photos together into one photo one design. Now, this does come with a word of warning because this is the area where I most see Canva users go too far and try to do things in Canva that really they should be attempting in another program like Photoshop or like at least Photop which we're learning a little bit about in this course. So when I see other Canva users attempting this sort of thing, they're either spending way too much time on something that could have been done very easily in another program, or they're missing some of the basic components that should go into creating a good photo composite. And we're going to talk about some of those basic components, those basic fundamental principles you should apply in this section of the course. And then we'll also talk about what you can do in Canva. And then, of course, I'm always going to advise you on times when you should go beyond Canva. Because Canva has its limitations, so we're going to push it right to the brink. But then we have to remember, Hey, there are other tools out there. Let's not spend tons and tons of time on something when we just don't have the tools we need, and we need to step outside of Canva, okay? But we are going to see how much is possible with Canva, and we're sort of going to push it to its limits in this section of the course. Okay, so let's continue on, and let's talk about these basic fundamentals that should go into creating a photocosite when you're putting different elements together into one single scene. Okay, so let's look at the photos I have on screen now. And let's imagine I have this scene here of sort of a highway through this foggy forest here, and let's imagine I wanted to put a car in this scene. Well, which one of these cars of these two choices would I put in the scene? Well, unless I wanted to pretend like this car had got into an accident and flipped up on its side, This car is not going to make a lot of sense because the top down perspective that this photo has been shot in just does not match at all with the scene here, right? So, this car is probably going to make a better choice. We'll still have to try it out. But that's the first thing to keep in mind is that you have to match perspective. If the perspective is just totally different between the two images, you're not going to get it to work, no matter what you try, you're not going to be able to fool the viewer's eye, okay? So that's the first thing to think about is you want to find two different images that have the same perspective so that's going to match up. You can't have one that's shot with a camera pointing top down, and you can't have another one where the camera was pointing up and then expect those two images to go together, and for it to work visually with the viewer's eye. You're just not going to be able to trick the viewer's eye. We're used to looking through our eyes and seeing something that looks realistic. If you do something that's just totally different, that's not going to work. So perspective is the first thing I want you to keep in mind. When you're searching for elements available in Canva, or maybe you're using text to image, you can keep in mind that perspective and give it some keywords that's maybe going to help it. So maybe you would type in something like top down, if you were looking for this shot or aerial shot, and if you were looking for this, maybe you would type in something like car headlights or front of car or straight on. So you can try to use keywords when you're searching, so you're going to have better results in terms of finding images, they're going to match up perspective wise for what you're trying to do. Okay, so you decide you're going to go with this car, so we're going to place that car in the scene. Now, if we place it here at first, well, I can see several problems. But the first problem is, the scale is just off. I can see that this car basically stretches from side of the road to the center of the road. We know that that's not quite right. So size wise, it's not quite matching up. And that's part of perspective is scale. The scales have to match. So we can't have this car where it's way too big. We can't have this car where it's way too small. We have to get to scale right, so you're thinking about perspective, and you're thinking about scale. Okay, so we'll size the car down. So here it is size down. Looks like more appropriate in terms of how it fits between the lane lines. But if we look at it now, we still have a perspective problem. Because if you look at this photo here, it's really shot sort of with the camera right in the center of the frame. You can tell that by how straight this line of the road is here. And if we look at the car, it's the same thing. If this car was actually in the photo of where this camera position was, you would expect to see a little bit of the right side of the car because the camera is positioned over here in the center of the road and the car is in the left side of the road. So perspective, you really have to get right. So that's not going to work where the car is there. So if we advance to the next frame and we put the car in the center of the frame on this road here, we could even move it over a little bit more so we could move it over a little bit more like this. Now, suddenly, it looks like, Okay, perspective wise, we have the car where it needs to be in the frame. Of course, contextually, now we have a little bit of a problem because we have this road line here, and we're not used to seeing a car drive on the center of the road. Now, could a car be on the center of the road? Yes, it could, but it is a contextual clue that works against us. So if I was trying to make a convincing composite here, I would either look for a different car, and if I was going to use for this car, I would try to get rid of that lane line. So, in Canva, this is maybe a case where you could use that magic eraser tool. So if I come in here now and I select the photo here and we edit the photo and we use this magic eraser, I could grab a brush. And I could come in here and just go right over the center line here. This is the part that I'm trying to get out of here. And what this magic eraser does is it just goes ahead and it tries to replace something in your photo that you brush over using context clues from the other parts of the image. So if I do something like that, since this is really pretty simple, a basic pattern on the road here, it's going to be able to do a reasonable job of that. Now I'll missed a little bit here, so I would go on, and you might have to take a couple of passes of this. And again, this is not a perfect tool. And again, there are tools and photoshop that work better. But in Canva, you could do something like that. And so now suddenly we can have the image. Where we've gotten rid of that one contextual clue against us. Now the perspective of the car and the perspective of the photo are lined up, so we're going to have a better match. So if we go to the next image here, you see I'm still tinkering with the position slightly. But you can see now I've attempted to adjust the image just so the lighting and saturation of this car fits a little bit better with this scene here. So if I click on the photo and we go in under edit photo, all I did was come under the adjust slider here, and under this adjust slider, you know, I brought the brightness and contrast down. I brought the highlights down. I brought the whites down. I did a saturation adjustment. Made all these edits and attempt to make the color and the lighting of this scene match a little bit better. Now I don't know if I've done a perfect job, but it certainly is much better than here where the car is just clearly too blue, too saturated. And so we've made some progress. Now, are we there yet? No. Because if we look at this car, even though it's a cloudy day and you wouldn't have harsh shadows, you would absolutely have some shadows here underneath the car. So you can't have a situation where the object doesn't interact at all with the environment around it. It's just going to be obvious. It's just sort of sitting flat here. It doesn't really sit in the scene well, so we're going to still have to do something add some shadows, add some other things to make this really live in this environment. Okay, so let's attempt to add a drop shadow underneath this car. Now, word of caution, when we start to do this sort of edit, this is where photoshop just has way more powerful tools. Even Photop has a lot more powerful tools when you start to manipulate pixels like this. You are very limited inside of Canva. But I am going to attempt to do it in Canva. I'm going to attempt to do everything in this example in Canva, because we're pushing it just to see what's possible. It's good to play like this, but then you have to realize at a point if there is a better tool, sometimes you have to use that other tool. But so we're going to try to do this in Canva, and I'm going to rely some of the old tricks I've used throughout this course, some of my favorites. So what I'm going to do is we're going to come in here and we're going to just start by duplicating this so we'll just duplicate this layer. And now we're working on this car here. And what I'm going to do is I'm going to come in here and we're going to edit this photo, and we're going to do a couple of things. So first things, the background, we already removed the background before I started this example. So this car was in a different scene. So we've cut the car out. But anytime you remove a background, you can still come back under the background, remove or tool and you can make additional adjustments. You can race to erase more of the subject. You can restore to bring back more of the subject. And you can turn on this show original image, which just shows like a semi transparent version of your original if you want that. Now, there are definitely things I don't like about this interface. For one, in my brush size, I have to adjust it here. I can't do it on the fly with my bracket keys like I can in other software. I can't click once and shift click to do a straight line. You can do that in other software. But we're still going to see what we can do in here. And the reason why I like to do this technique this way is because to do an accurate drop shadow, you have to know where the car is, right? So, if you want to attempt this in Canva, I don't want to just search for drop shadow elements. Sometimes if it's just a rectangular shape, you could get away with it. Not doing it custom like this, but a lot of times you'd want to come in here and actually see where your subject is because you have to know where the shadow is going to be. So I'm going to use this restore option. I'm going to come here and I'm going to draw here. And again, this is where if I could shift click into a straight line, I absolutely would, but I'll attempt to bring something, and I'm going to go a little bit beyond the tires here, we're not worrying about if it's totally straight because we're going to blur this, but we'll do something like that to attempt to have a drop shadow, and of course, you can come in here and you can erase things if you think you went too far. Again, not something I would typically try here inside of Canada, but we're pushing it as far as we can. So let me just do a little bit more on the front here. Just attempting to get something in the rough shape. Again, sometimes if you do really quick strokes, then maybe you have a better chance to go in a straight line. If you do have a a walk m tablet or something. You could use that. But again, most people aren't going to have that. So this is just one of those things where Canva is not going to be the best tool, but we are going to see what we can get done. I'm not going to spend too much time on that. But then I also have this here. I don't need the whole top of the car. So I want to definitely erase some of the back of this car, places where I don't want the blur to show up. We're going to race here. We're going to race there. We want this to just sort of be the basic shape here. I don't want it to show on the sides too much. I'm sort of cut it inwards like this. Same thing on this side, maybe just cut it inwards slightly. Let's try this. It's hard to see with the original now. Let's turn that off. Let's try this. So I know it looks nothing like a drop shadow, but this is where we're going to use these different tools, these different tricks we have in concert. Okay, so we're going to do that. Next thing we're going to do is we're going to come here and we're going to go under D atone. You've probably seen me do all this before in the earlier sections of the course. So come under here. We're going to change this totally to black, and make sure everything's totally black. Okay. So now we have a totally black image there. And then one more time, we're going to come back and we're going to fool with the blur and the whole image. And this is where we're getting that blurred drop shadow look. So you figure out where and here the intensity is going to be what you want it. We'll try something like that to start. And then I'm going to come back here, and then we're going to take all of this and we're going to push it behind the car. And now suddenly, you can see what I was getting at. So let me zoom in a lot here. Let me grab that and try to move it into better position under the car, so it's just under the car in the wheels. Now, it's peeking out a little bit at the side, but we're going to call that good enough for now. I just wanted to give you an idea how I was able to go in and add this drop shadow, okay? So just looking at that, even though it's not perfect, it makes the car sit in the scene a lot more realistically when you have that when you don't have that. Now, there is some shadow creeping out here and here, which you would not get necessarily. But still, that's a step to just make this fit a little bit better in this scene. Okay, so now we have a little bit of drop shadow underneath our car, and we certainly come a long way. If we just go back now and look at the very beginning in the different stages of this, we've done a lot to start to think about perspective, scale, think about having it fit into our environment, working on the lighting, okay? So these are all the things you do to make things better. But we can go even further. I like to think about atmosphere. In other words, what are some atmospheric elements that can sort of unify your scene together? Because sometimes when you're doing composites like this, you're not going to get everything perfect. And so, to some degree, it's about adding these other little elements to unify things together. And maybe also to hide some of your mistakes. So let's do a few additional things just to push this even further. So the next thing I did, well, adjustments to my shadow slightly. So once you have that shadow here, you can still come in here, and of course, we can pull this transparency up and down. And then the next thing I did was using the same technique. I went in and I added some headlights, because if it is lower light like this, clearly the car had head lights on, so we might see the beams of the head lights something like this. Now, for these, I use that same technique, you saw me use for the drop shadow underneath the car. So I've actually looked at one of these layers and we go in and we edit this photo. We can see we have the same things done. So, in other words, this one does not have a duotone, but there is a blur here. So if I take that blur all the way down, then suddenly we just see this white. And actually, if I come in under the background remover, and we actually restore the whole image. So let's reset this. Reset tools. Yes, you'll see that this image here was actually this image of a post it note. I rotated it the way I wanted the beam to go. I used those other tools. So it's amazing the little tricks you can do to turn something into a different effect using that duotone, using that blur tool. Now, of course, I do feel like this is a little bit of a convoluted method once you start to learn photoshop or Photop if you're just using the free version. So I'm not saying do this all the time, but it is something that's possible here inside of Canva if you just want to play around with that technique. And then the last two steps I took to try to make this a little bit more of a convincing composite was one. I just added some more clouds and fog. So I just searched under different elements, and I added some clouds and fog. So if I take the transparency down on this layer, I was just trying to bring in a little bit more of that atmosphere. Again, something that's going to be a little bit of a unifying element across the whole scene. And then the same idea, I brought in some texture. So if I take this layer here and I turn the transparency all the way up, it's actually this layer here, and I brought it down. So it's really subtle. I don't know if I love it. But again, the idea is to just bring in a little bit more texture, a little bit more atmosphere and have it be a unifying element. So that you have that same texture over the car. You have the same texture over your background scene. Suddenly, they feel more cohesive. Suddenly, it's a little it's something that's a little bit easier to sell to your audience. It's a little bit more believable that this could be the same image. If I was going to do a final thing here, perhaps I could do something like this. So what I'll do is I'll take this whole image now, and I'm going to download it as a PNG. So we're going to P and G. We're just going to do this current page. So let me come down here and make sure I have this current page. And I'll go ahead and I'll download this, and then I'm going to re upload it back into Canva, just so I have another version here with all these elements together, since right now, they're all on separate layers. But now that I want to do one thing that affects the whole image, I can just have one layer that I lay over top. I'm going to let that download wherever it is fine. And then, of course, I'm just going to bring that right back in. So I'll just drag it back in. And now I have this whole image together here. So let me let that load for a second, and then we'll pop that back into our scene, and I'll let me fit to our view again, and we'll take that and have it stretch from corner to corner. So it's right over top. And then what I could do is I could come in here and I could do a couple of things. So one, I could just come under edit photo adjust and maybe I'm messing with the temperature or the tint. Or I could also go in and use that Duotone. But let's just say I'm messing with the tint, something like this. And, of course, that's way too strong, but I could come in here and I could adjust the transparency slightly. So what you're basically trying to do here is just give a little bit of a color grade to your image. Once again, you're just trying to make a more cohesive element so that it really feels like the scene belongs together. So let me just go full screen here and just really quick review just to walk through this here in Canvas present mode. So you're paying attention to the scale and perspective because those are going to be crucial and getting your scenes to match together. Obviously, like the lane lines here, you're looking for contextual clues, things that are going to help your story. And then, of course, things like adding in drop shadows, things like that, lighting, so lighting and color are going to play a big role. And then at the end, you're also just looking for those atmospheric elements. So things like overlays that you can put on top, just to blend things together, and then color grading at the end, if you want to do a final step. So just look at the beginning here, basically, going from this to going for like this, you definitely have a more convincing story with this image here. Now, is it perfect? Of course not, but you get the idea when you push Canva, you can really take things a long way. Now, should you always do Canva. That's where I want you to start to think about your workflow, what makes sense for you and be willing to learn other tools if there's a better way to get things done. Now, I did one more example. We're not going to go through this whole example, but for something like this, obviously, you'd be looking for a car that fits a little differently. And then obviously, you would start to do some of those same things where you try to get to fit better to the scene. Now, this one, I definitely think doesn't work totally, but you get some of the ideas, some of the things I was trying to do to get these scenes to blend together. Okay, thanks for watching. This has basically been an overview of the type of things you should think about when you're trying to combine images like this in Canva. And then the next lesson or two, we'll work through a few more examples, so I will see you there. 26. Creative Example Creating a Movie Poster: Once you start to learn some of these compositing techniques, then you can start to put them to use on fun projects, where you start combining multiple objects together into one design. It's fun challenging yourself in this way, and one type of challenge you could give yourself to practice these skills would be a movie poster redesign. Now, of course, on a lot of real world projects, you're going to have your own unique creative brief, and you want to be careful about copying other people's work. But looking at other people's work is a great way to draw inspiration and trying to recreate something you see can be a fun challenge and a good way to improve your design skills. So, for fun, I've selected this Dune poster design, which I think is pretty cool. And so I'm going to try to create something similar in Canva. The Dune book by Frank Herbert has long been one of my favorite books. If you're a fan of science fiction genre, then I highly recommend it. And, of course, as I record this, we're about a month away from the release of another Dune movie, so it's a good time for doing something Dune related. But the real point is practicing your skills. Now, this poster isn't really complicated. There aren't tons of elements going on here, and that's a good thing because remember, I've given you a warning when it comes to complex selections and blending. That's not what Canvas strong suit is. So while it's a fun sort of project to take on to see how far we can push Canva, I do also really encourage you if you like this sort of thing to invest in learning software like Photoshop or at least Photop so that you'll start to understand when you can save a lot of time by stepping outside of Canva. But for this exercise, I attempted to stay completely in Canva. Okay, so I ended up creating multiple versions of this poster. We're going to look at two of those versions in this video where I just go through my layers and show you how I broke it down and how I put it together, so you get some ideas of the techniques I was using. And then in the next video, I'm going to go on and create a third version, and we'll do that one from scratch just so you can see the whole process. Okay? But so here is the first version I created here. So again, tried to keep it relatively simple with a main subject in the foreground. And then I have sort of this worm here, this drag in here, just for fun. And then I wanted to keep that element that we had in this of just basically a big sun in the background. The mine is not exactly the same, but you can see, I went for a pretty simple design here, and we have some other things in here if we really zoom in. So let me just zoom in here to go to 100%. And if we zoom into 100%, we can see that if we really start to look at that, we have some splatter here. I have sort of a castle here, I have another sort of land dune or a mountain here. And then, of course, another range here. So again, I'm just taking some different elements, pushing them into the background, just trying to give this a little depth. But I kept it relatively simple here. There's nothing crazy going on here, not tons and tons and tons of elements because you can easily get carried away and get to the point where canvas not going to be the best program if you go too far. But let's zoom out here to fit this back in the screen, and we'll look at some of the different layers I have here. Just go under a position here and I look at this position, and then we look here. So the first grouping here, that is just my border here. Now, the border, the white edges here, I just created with four different rectangles that I grouped together. So if I come in here and we turn the transparency on and off for that, you see that it really just helps push things into the design. So I was really just using that edge there just to sort of frame my whole image. I like to put that sort of frame a lot of times on a poster. I feel like it looks good. And then if we go through the layers here, a lot of these layers here are just helping sort of with atmosphere, lighting, texture, things we've talked about before in this course. So if we look at this one, this is a semi transparent layer, it's just bringing a little bit of darkness there, especially on the bottom of the image there. And then my next layer there is just a text. Now, this dune text here, A lot of times if you're trying to replicate a movie font, you might have trouble finding the exact font. You can experiment around, look for Canva fonts that are similar. You can use websites liked font.com that will help you look for a font, you can upload a font or an image of a font to that website, and it will attempt to find similar fonts and tell you what those fonts are. On there are lots of websites like that, you can just do some sort of Google search where you say, find this font or something along those lines. It's going to bring up font similar websites that will help you. You can upload a font, and you can look for similar fonts. Now, if I remember correctly, I think I had trouble finding a va font that would work for this. So I think this is something I just ended up creating on my own, this basic shape. And the cool thing about this is the shape is just rotated, of course, for each letter. So each letter is exactly the same just in a different orientation. But it does end up looking like the word doing here. So that's pretty cool. One note about fonts if you start using other sites for fonts or images. Of course, when you're just playing like this, you don't have to worry about things too much, but if you ever start using things for commercial projects, make sure you then pay attention to any usage rights attached to that f attached to that image because you do not want to be responsible for copyright violation. Below my text grouping, I then have a few more layers, which are just sort of atmosphere. So if I dial these up, you can see sort of that boca glow in the foreground. And I have that dialed back a fair bit. But again, these sorts of layers are again, just about setting the atmosphere and sort of adding that unifying element that will start to sort of bring your design elements together. And again, same with this here, if we dial this all the way up, we can see I only have it at 15%, and it is just a texture layer. You've seen me do a lot of this in this course, where we started creating some of our own textures, but you can find these age, paper textures and other things where you can bring them over top of something. And if you really bring that transparency down, then you're just sort of bringing in a little texture, and it's subtle, but it really does help unify the elements on the page. Everything behind that layer is getting that texture. So I don't have it over top of my text or my borders, but everything else is getting that texture applied to it. So it just sort of does bring things together. Below those layers, that's where we have this female warrior in the foreground here. So let me just zoom in a little bit so we can see that slightly better here. And again, with these layers here, I duplicated the layer. And so I think with this, I actually started with a Canva image. I think I have it open here. So I started with this image. I actually searched in Canva, and I found this image. Now, I don't think it fits totally with maybe the Dun theme. But when you're having fun like this, creating a poster like this, you really can take your own creative liberties. So I decided I would go ahead and use this image here. So I cut her out from the background, then I duplicated her. And this front layer here that we're seeing here, this is just showing it 18%, but I actually used that Duotone trick you've seen me do before, and this is just to bring a little bit of that sort of orange color sort of on my subject here, so maybe it fits a little bit more with the scene. And then this layer here is just normal. But again, with this one, this layer here, if I look at this image here, so if I go in her edit photo, and I go under the adjust menu here. You see, I have adjusted temperature tint shadows whites. A lot of things here to again, just try to make her sit and fit better with the background. You've seen me do those color adjustments and talk about that before. You really have to get colors to match up at least reasonably if it's going to be a more believable scene. If I were to just hit the reset adjustments here, then you can see that maybe she now isn't quite fitting as well with the scene with the light in the back, she's back lit. So maybe she would have a few more shadows up front. So I just felt like I needed to make some adjustments to make her fit a little bit better with the scene. If I come back out, I'll hit Control Z just to undo that reset. So let's see, there we go. So now we have her back fitting maybe a little bit better with the scene. But let's come back here so we can see our layers once again. Now, this layer below her is just a slight shadow, which I applied on the ground there where her boot is. Now, I don't even know if I needed this because I sort of have her standing at the very edge of the frame. I can turn this all the way down and all the way up, and it's making a little difference. But since those borders are hiding most of it, not such a huge deal. But if you remember from the last lesson in the car example with the dropshd on the road, sometimes these shadows are really going to be vital to making your sort of image fit with the scene you're trying to put it in, so you do have to pay attention to shadows like this. Now, moving on to below this here, let's look at this layer here, 47%. Again, just bringing in some of that sort of fog in the foreground, just another little thing to bring some atmosphere to sort of blend things together. So I do a lot of these little layers a lot of the time, just to again, help blend things together. They sort of have a unifying effect. So I usually do bring in some different textures and atmosphere like that. Now, this image here, you have to zoom way, way in. Can't even really see it here unless we're zoomed into 100%, maybe even more than 100%. But if you can see that there's a horse right here. I was going for this castle idea with a horse in the background way on the hill. So I was paying attention to things like scale. And because he's way in the background, and he doesn't have anything behind him, I was able to just take his transparency here and really push the transparency way down. Because if you're looking at something like this way off in the distance, because of all the atmosphere and atmospheric haze that you're looking through, it's going to have less detail. It's going to have less contrast. It's going to start to take on the color of the background. So I pushed all those things way down. Again, both that and the castle, which I have below it here, those are both elements that don't necessarily fit with this design, and I probably didn't need them. But sometimes you're having fun, and it's okay to play around. So go ahead and do whatever you want with your design, especially when you're just playing, you can always take things out later, so just have fun with it. Below this, actually have a drop shadow layer for the horse, which, again, getting carried away, I think, because I don't think you're really going to notice this at all, given how far this is in the background, but just thinking of something that's backlit like that, thinking maybe there would be a shadow. Now, really, if the sun is that low on the horizon, you wouldn't necessarily get this shadow. But maybe shadows are something you have to be tricky with because it's easy to get them wrong. But it is fun to play around, and they can bring a realistic element when you're blending things together. Continuing on here. If I fit the screen again, expand out again, this layer here. If we turn this one on and off 100%, you can see that's just the dunes in the foreground. I needed to have this foreground element, just to sort of set the scene here. Below that, we have our castle layer. So again, castle, and we talked about how we did that, just pushed it to the background. Obviously, I extracted it from a larger image, pushed it to the background, just really lowered down the transparency, just to make it fit better in the background there. Then all these layers here, and this. This are just the splatter elements that are coming up by my sandworm. With all of these, I brought them in here. Some of them are full transparency. Other ones, I may have dialed back the transparency a little bit, or at least I changed the size, I changed the orientation. This one here, I lowered down the transparency just so it wasn't quite as obvious, made it a little bit more subtle. So I have those layers. And then that brings us to the next layer, which is this sandworm creature here. And this element actually took me a decent amount of time to find here. So, before you can search within cama, that's where I found this female here. But for something like this, you could also turn to AI art. So I think I tried some text image. Go on here. Some of these text image options generate your own. I probably tried something trying to create some sort of sandworm. I was not really looking I was not really getting results that I liked. So I actually ended up doing a little research and finding this creature here, which is actually a sea lamprey, so an ancient atlantic fish that has this look here in its mouth. So this is just to illustrate that sometimes you do have to be creative, and so sometimes you're really going to have to work to define those design elements that fit well with your composite. This one I thought sort of fit with the look I was going for that you see a little bit in the Dune movie with that big circular mouth and something that looks like it could be rows of teeth. So I ended up going with this image here, and all I did was I extracted this from the background. Again, used that trick of duplicating, applying a duet with an orange tone to one of the images. And then I overlaid it on top, lowered the transparency, and I rotated everything a little bit here, and we ended up getting this look in the background here. Now, if I come to position again, and let me click on that again. I'll show you that this layer here is actually at 83% transparency. So if I turn it way up here, maybe it was getting a little too strong. I wanted to put it to the background a little bit, so I started to lower it down and started to fall with that transparency a little bit, just to push it since it's more of a background element and have it blend with the background a little bit more. So maybe even a little lower than what I have it. Maybe 65. I like that better. But then because of that, you have to pay attention to other elements of your design. So if I zoom in here, I sort of had this, if you can see it, sort of this horizon line of mountains here. But because I was lowering the transparency, they were then showing through. My worm here. So what I did then is, if I look in the position layers again, I think I split those. So if I look at here, if I look at this element here below that right here, this is sort of that horizon line here. And then on the other one here, I think that's a duplicate, which I actually forgot to push to the other side. I would maybe want to do something more like this, so it sort of blends a little bit better and looks like maybe the horizon line is coming along here, Then, of course, you wouldn't see it below here. If you start to lower the transparency of something, then you have to be careful if you have hard lines behind it that they're not showing through, where realistically, they wouldn't show through. So that's most of the elements here. Let's see what else we have here. Then we have sort of this one here, which, if I look at this layer here, let me fit this back to screen. If I look at this layer here, all this layer is doing is bringing in again some more shadows to the bottom of our image. Then we have the dragon image, which is just for fun. Now, this may have been a fantasy art one. I can't remember whether I searched for this or whether I used that text to image tool. But again, since there's nothing behind it there except for that sun, which isn't really showing through, lower down the transparency a little bit, because that would be a little too bold there. So just have it fade and really start to fit in with that background. It would be behind some of these clouds and some of this fog. And then the bottom layer here, this big circular element, All I've really done there is I've found a few different circular objects that I could bring in and then play with the blur, play with the transparency, lay them over top of each other. So if I look here, I had this object here, which is what we're seeing here, just enlarged and with the blur applied. And the same thing down here, I have this object, which I then apply a blur to. So if we look at that here, that's all we have here, and these are sort of layered on top of each other. So this one's at 75%. So if I dial it up, I can get different looks if I dial it down. You can see I have the other one behind it. So you can find what works. That's kind of cool there, but I think I decided to lower it down to 75%. Actually, maybe like it applied even more. So maybe I'll dial it up even more. But let's go down so we get a little bit of that behind texture showing through. So maybe 81. And then again, here, same thing with this, 100% transparency. It's just adding a little bit more different color, maybe bringing a little texture through. And then here on the bottom and the same thing, applying this, which I think we're not seeing this as much because now we have the transparency turned up there. And then one more on the bottom here, which if we look at this one here, lower down the transparency, bring it up. You can see if I bring it up all the way, we get that hard edge. If I lower it down, we don't. So that's sort of just affecting whether we get a little bit more of an edge on our sort of sunset sun there. So all of these different things you can bring in and play with, but you get the idea of how we're able to take all these separate elements, bring them together into this cool design here. Now, I'll show you this and I'll show you my next design as well. So here's my next design. For this one, you can see I use some of the same elements. But again, I found a different image to make this element here in the foreground just sort of pop out. I did some different things, but I use all the same techniques here. So I won't show you all the different layers here, but the same techniques I used to create this that I used to create this poster here. And as a final thing here, I'll go full screen and show you what these look like full screen. So here's a look at version one. And then if I go forward here to the next slide, we can see the second version I came up with. And the next part of this course, when we get to the section on animation, I'll show you how you can take one of these poster designs and push it even farther into something a little different when we build in some animation. So we'll look at that later. But in the next lesson, we're going to do one more dune poster just where we play with a different art style. We go a little bit more simple. I'm going to show you how you can easily take something and just push it in a different direction just by choosing a specific art style. All right. So thanks for watching and I'll see you in that next lesson. 27. Creating a Movie Poster with a Distinct Style: In this lesson, I'm going to create one more version of a Dune poster. Now, I have the individual elements here on screen that we're going to use, so it's going to be really simple in terms of the amount of elements. But I'll talk to you about how I've got these elements, and then you can watch me take it from this to a final poster. And once again, this is sort of my inspiration. This poster here, I like the simple composition. At the same time, style wise, I want to push it a slightly different direction. So if you type in Dune poster on Google or something, you're going to get all kinds of results. So this poster here is not my poster. This is just one of the many examples, I found of just this more simple, slightly illustrative, minimal style poster you sometimes see. So I want something in between what I created last lesson and sort of this simplistic style. So I'm going to start with some very simple graphics, and we're going to see what we can come up with. And I'm paying attention the whole time to that style. I'm going for something that's a slightly more of an illustrative feel but very minimalistic, not too much in terms of detail. So I'm going to see what I can come up with here, and you can watch me create this from start to finish. I started with the image of this woman here. I wanted someone that was going to be a hero of the poster. Now, in the previous lesson, you saw me search for and find a woman within Canva elements. This time, I knew I was going for a particular style, and I knew that I probably wasn't going to find what I wanted under Canva elements. And so this is where I used the text to image tool. So if you come under elements and you get rid of the search out here, if you come under elements, you have to generate your own AI image generator. So this is what I used to create some of the artwork you see here. So I used it for coming up with my sandworm images here. And then I also used it for this character here. Now, a few things about this. I'll start by showing you a few of the prompts I used to create this. So if I come over to this other one here, these might not be the exact prompts, but these are close to what I use. So here, dark haired, sun kissed skin, female warrior, loose flowing robes, knee high boots, sunset light on a plain white background, digital illustration. Okay, so you really can start to add in details, but it is about experimentation because the AI is not always going to nail perfectly what you're asking for. Some details may get right, other details, it may not get right. But there is definitely a learning side to it, where you can start to figure out what it's good at. For example, for this one here, a lot of times it would be cutting off the legs of my subject or it wouldn't give me a full version of the person. But suddenly, if I describe the boots, what she's wearing on her feet, then suddenly I'm more likely to get that full image of the full person. So little tricks like that also describing the art style. It's very, very good if you give it an art style for giving you something back in that style. Now, not every style, But it really can give you some good variation, just to show you an example of this. Let me turn to this other file real quick. So this prompt here, beautiful woman with the blue with blue flowers in her hair and a lush green meadow. I use this prompt in the Canva text to image AI generator, and just by changing one word at the end, asking for something in this style, I get this. And then if I ask for another style, I get this. So look at all the different styles and how drastically different they can be just by changing that one word on the end where I'm giving a style prompt and I'm asking it to do something in a specific style. Either an art style or you might describe the mood or you might describe something else about your image. Just for example here, looking at these results here, these results are not very culturally diverse, right? So I may have had have to be more specific with my prompt. So you have to get in there, and it really is a game, just experimentation and starting to figure out what works, but definitely starting to think about what art style, what look you're going for. If you can describe something you can reference and draw from, then you're going to get closer to you want in terms of the results. Turning back to this image, and this prompt, obviously, descriptors are important, obviously, describing an art style is important. And then a lot of times, you might be describing something specific in the background that you want your scene. But in this case, when I knew I was going to cut it out, I usually will do something like on a plain white background or describe some really simplistic background. It's not going to give you back a plain white black background like it's already cut out. But it does make a simpler background. So then, usually, when you come in here and you go up and you edit photo and you use the background eraser, you're starting from a better point, and you're probably going to get better results. So you can think about that too when you're typing art prompts, if you think you're going to return something where you're then going to cut out the main subject or part of that image to use a composite like we're doing in this exercise. Then for my sand worm images, it was the same sort of thing experimenting around with my prompting, experimenting around how I was describing the subject. And then, as I mentioned in the last video, I found that a lamp ray fish sort of has the look I was going for. So I incorporated that into my prompt. But even still, I could not get something that exactly represented what I wanted. So I ended up with two images here, and I think I'm going to be able to take these and put these together in one image. But again, it is all about experimentation. And seeing what you can pull off, you're not always going to get it on the first try. It's going to take several tres, but the more you do it, the better you're going to get at using this tool, this text to image AI generator that you have here in Canva. Okay, so let's return to this file here and let's take these elements now and let's start to put them together in one design. Now, I describe these three images up top, how we got those. The other thing is just a simple background here. So this is a background texture. This is just something where I typed in, like sand dudes or something, got a simple graphic. And then we just have a couple simple splatter effects, and then just a plain circle here. These are the only elements I'm going to use here, but I still think we're going to be able to create something really cool just using these elements. Let's see what we can do. Let me just start here by taking my main subject, what's going to be in my main subject. Let's go ahead and create a new page here. So I'll create a new page. We'll just move it here. Let's go like this just so we can see a little bit more. I'll go ahead and paste my main subject. That's not my main subject. That's just some text I had copied. Let's hit Control C, again, copy. Let's paste our main subject over here. And so let's start just by sizing our subject up here. We're going to place he centrally in the frame Uh, starting at the bottom, we're going to have her feet just go just out of frame, and maybe something like this positioning here. We can always tweak this and full with a little bit more. But I sort of want her face sort of centered here and to center of this frame. So we'll just start with that. So next, let's go back up to this first page. We're going to grab this circle. So just control C to copy it, and we'll hit Control V to bring it down. Now, let me take the circle and show you how it can become something totally different. So we just got a plain circle here. But what if I want to make it be this sort of background sun element? So actually, let me take the circle, Control C. I'm going to bring it all the way down to this page, Control V. And what we're going to do is instead of having a plain background plain black background color for the circle, let's give it a gradient. So we'll come in here and we'll go under the color for this. We're going to apply a gradient. We're just going to stick with this linear style, but then we're going to add maybe three colors here. So we'll start with three colors. This first color here. Let's just pull from the top of this here, and then let's come in here and grab this one, something that's a slightly darker orange, and then this one here, let's go even darker still. And so just like that, you can take something and you can turn it into something with a gradient. So let me take this back up here. And actually, what I want to do is I'm going to create a new page because when you have a circle element like this, the problem is, I cannot blur this shape. Because it doesn't let me do a vector blur, since this is a vector shape. I'm going to have to turn this into a roster shape. So what I'm going to do is just create a new blank page here. So here's my blank page. Let me hit Control C. Let me hit Control V. Now, if I wanted to, I could have brought my subject down. So Control C, Control V. I'm trying to get a feel for how big I want this other element to be. So let me size it up in the background here. I wanted to take up a good bit of the background. So I can always scale it up later, too, though. So let me just actually bring it down to Uh, let me bring it down. Let me hide my subject here. Let me take her and we'll just make her transparent because I don't want her to be exported. In fact, I don't even need her in this frame anymore. Let me take the circle and I could make it bigger. But first, let me rotate it because I want the darkest part at the bottom here. And then what I do is I want to make sure I get the whole circle because I can always size it up. So this will give me more flexibility. I'm just going to go like that, and then this is page three. I'm going to go ahead and share, and I'm going to go download. We're going to download page three. I just want page three, just occur on page page three, and I do want to make sure transparent. Download. I'm downloading this circle here. Just so we can bring it back in and apply a blur. Let me just put it in this Canva images folder, save that. And now we can bring it right back in. Remember, find it under your downloads. You can go into the uploads tab and upload it, or I'm just going to upload it from right here and drop it over here. So here it is right here. And so now that we have that, let me get rid of this one that's just a circle. We don't need that anymore. We don't need the circle anymore. We've turned it into this element. The advantage of using this now, let me come and make it bigger, and let me go into position, and we're going to drag it back here. Well, we'll go like this just so we can see even more. I'm going to make it really pretty big. Again, I wanted to fill a good bit of my frame here. So let's try having trouble grabbing it now there. Let's try right there. And then what I want to do is I want to come under edit photo. And now we have this blur option. We didn't have this option before. But now we have this option because we've turned this into a roster PNG image, right? So I can apply that blur. And now, suddenly, just like that, if I fit this back to frame, we're on our way to a really, really cool background. It's very simple, but just adding that gradient that sort of looks like this sun in the background, it really has a cool effect. Now, I also might come in here and do something like change the color of my page background. So if I come here under this here, I'll come in under my page background color, and let's go under here and let's find something in sort of the orange brown range. So something like this. And then really the background of my image is really coming together. I really think that looks pretty good. And so I like that. And so just by using two elements. The main subject here, and then that circle and then just changing our background color of the background. Already, we have a great start here where we're creating something pretty cool. So next, I'll just come back up here to the first page. We're going to grab this sand dune graphic. I'll hit Control C to copy it, and we'll bring it down here and we'll hit Control V, just to paste it in. Now, I'm actually going to duplicate it as well, so you can right click and hit duplicate or you can hit Control D to the keyboard shortcut. I'm just going to duplicate here. And then with the duplicate copy here, what we're going to do is flip this horizontally. So now I have two different graphics here. I'm just going to sort of line them up here so that they meet centrally like this, bring them together like that, and then I'll shift click on the two of them and just group them together. And then what I'm going to do is just push this behind my main subject here and we'll bring it down to the bottom. This, again, is just a very simple graphic element. And where those two seams meet together. I might hide behind my subject there a little bit. But I don't think you're really going to notice it. So maybe I won't maybe I'll push it like this here. Again, because I'm going for this very simple graphic look. I'm not too concerned at the moment about this looking unrealistic. I'm not really concerned about that. I think it's all going to come together. So we're going to try this basic element here. Now, let's come back up and let's work on our sandworm. So I might create a blank page here just so we can bring down these two images, this one here, and then I'll shift click to get this one, hit Control C to copy them, and then I'll go ahead and hit Control V to paste here on the page. Now, let's start with this one here. We'll just size it up a little bit. But all we're going to do is come in here, and use the background remover on each of these, so we want to remove the background there. And then the same thing over here, we're going to use the background remover. So edit photo background remover. And for this one here, I could use the background remover to paint out this bottom, but it's just as easy to do this. For this one here, I'm obviously going to crop out some of the top part that I don't need, and I'll crop out some of the bottom too, but we don't worry about all of that right now. We'll go ahead and get rid of some of it, though. And now I want to figure out where these are going to fit in my image. I'm going to put them together as one element, but I'm just going to move them one at a time. So control C to copy, and then back here, we'll paste it in, Control V. And then for this one here, let's position it behind my subject. And I know this one is one where I want it to sort of be centrally located right behind her head. So something like that, we can fall with it slightly to get it. Exactly what we want. Maybe the arrow keys just to really nudge it into position. So it's really central around her head. Then we'll go up and grab the other part here, Control C. We're going to come down again, Control V, and again, we're going to move it behind our subject. And then we can full around here with resizing this element and getting it exactly where it needs to be. I know it's going to be much bigger, so let's start by just sizing it up, and then we're going to come in here and we're going to drag in this side here. We don't need all this extra space. We don't need the extra space over there. Let's start to rotate this a little bit. Let's bring this down. We're going to maybe have to zoom out a little bit just to really finagle this and see, something like that, where it's starting to come from down here. It's coming out on the other side of her, and then it's joining up here. Let me just zoom in a little bit just so we can fall with this top a little bit. That's close to what we want like that. I may just have to make this top part slightly bigger, like that. Then I'll come back on this layer here and we'll tuck it down slightly. Actually, I'm going to have to do something different to get rid of this top edge here. If I pull it in from this side, I can just get rid of it. So that'll work. But some of these little tweaks that I have to do, this is why I would caution you not to go overboard in Canva because in things like photoshop and everything, you can warp, you can make complex selections. It's just easier to get rid of some of these things. So you do sometimes have to finagle in Canva more than you would otherwise in another program. But that looks pretty good. So let's fit all this back to the screen here. And then what I'm going to do is come under my layers, we'll grab these two. We're going to group these together now. And then what I actually might do, I'm going to duplicate this entire page here. And on this version of the page, I'm going to get rid of all these other elements just so I have, don't need to get rid of all of those. I wanted to get rid of this one, but keep the background there. And then, basically what I want to do is I want to take this top layer here and I'm going to lower down the transparency to what I think maybe as close to what I wanted in the final design. So maybe something like that, I want to be a lot more subtle. And I want the color the blend. But I don't want this with transparency. I think I have enough of a hard edge here that if I download this whole thing, including the background, I can then remove the background again and then keep this image here with the color, but it won't have that transparency. So let's go ahead and try that. Soon to go ahead and share, and this is page four I'm working on. So we'll go ahead and do a share. We'll go download I don't have to worry about transparent background, but we just want the current page. So current page four done, so I'm going to go ahead and download that, so we save, and then I'm going to bring it back into Canva, so I can just grab it right here, bring it right back into Canva. And then now if I come back up to this version here. Then on this version here, I no longer need this group to part here, so let me just go in a position. Let me look at my layers here. I'm no longer going to need this one because now under my uploads, I just brought it back in. I have this version here. So if I bring this, I think I should be able to come in here and remove the background, and I think it should work since I have enough of an edge still here. Yeah, that's still going to stand out. So now what I can do is position that down here. I can drag that up, so it's basically in the same position. And now I can go ahead and I can move that down here, get rid of this other one. So now we have the one here. But again, even though we've blended it, the transparency on this, it's not going to show through. So I don't have to see that sand dune behind it. And I also want to bring it up that's the wrong layer, this layer here. I also want to just bring it up to right here because we're going to put a splatter effect and maybe look like that sand worm is coming out of the sand from right about there. The image. So what we're going to do now is come back up here and we'll grab some of these splatter effects. So let me just grab this one here, control C, to grab this splatter effect. We're going to come down here. We're going to hit Control V. Again, we're going to change the color on all of these. So let me come in here and take this color, and we're going to make this color something closer to our background here. So we can start to fool around with the colors that we already have in the image. And let me grab this other splatter, too. This is going to work better, I think, Control C. Let's bring that one down here. Again, Control V to paste it here. Again, let's go under our color palette, grab something that's already close to what we have in here, and then we can come in here and we can sort of spin this around, start to put it in front of where our sand worm is coming out. Of course, we'll move it behind our main subject here. So we can start to fool around with that, and we can start to fool around with these splatter effects in general. But we want to think about keeping our subject in the foreground like this. So we're going to start to fool around and place a few of these splatters in here. Again, going for minimal detail, but we want enough in here to make it interesting, but not so much that it's going to distract from the simple, nice composition we have going. So all I'm going to do is grab this one splatter effect that we have here. I'll control C to copy it, actually control D, just to duplicate it, and then I'll just drag it up here and let's just give it an angle like this. And we're going to size it up a little bit, so let's make it a little bit bigger. Something like this here, we'll play with the rotation a little bit. All I'm going to do is make a couple of different copies of this. I'm not worried that it's in front of our face because I'm going to push all this to the background. But first, all I'm doing is I'm making a couple of different copies, and then I'm going to experiment a little bit with the size and I'll experiment a little bit with the color. Again, control D to duplicate this one, I'm going to flip, so it's going the other way. So we'll flip it horizontally. We'll have that one coming off this side of the screen. Again, can play around with the size in the positioning slightly if you want. Again, control D, let's copy that again. This time, I'm going to rotate it back this way a little bit. Let's just have something coming this direction a little bit. Then again, you can full around with a different size on these different ones here. Let me control D to duplicate that again. Let me flip it once again from where it is. So we'll flip horizontally again. I could flip vertically too. So actually, let's flip that one horizontally and vertically, just to get some different splatter coming up. Again, just fooling around here with the different elements and where they're going to show on the screen. Maybe I want that smaller. I want it to be more pronounced up here. Some of these ones on the top, I think I want maybe to be slightly bigger, but then the color is going to be a big deal. So again, you come under this menu here if you want to select the individual different ones, move them around. And now let's mess with the color and the positioning here because all of these here are going to be behind my subject. They are going to be behind the worm and everything, too, so we'll push them to the back. But then let's come in here and let's get the color of these different ones here. So let's grab this splatter effect first, and let's go in here and pick a to one of these tones, it's going to be darker. Then let's pick this one over here. So again, we might have to full around here on your position menu to figure out which one is which. Let's make this one, that same darker splatter. Then the other ones in here. Let's go lighter. So let's go to the other ones here. We have this one here. Let's come in here. Let's go into color. Let's just dial it down this way, let's make it much brighter. Again, just giving some interest here by just varying the different colors in here and the shades of colors. I could even duplicate these splatters, maybe even one more time, if I wanted to, but you get the idea. Actually, what I might do is I might take one of these here, one of these splatters here, and let's take this one, and let's hit control D to duplicate it. This one, let's really just make it travel well across the frame here. But then let's push the transparency on this particular one way down. Let's maybe make this color white, but let's push it way down. Then again, let's push position it way back to the background like this, something that's cutting across the frame. Now, that one there, if it really does run the whole length of the frame, I don't know if I love it on the bottom there. Let me just look at that. Let me just look at that particular splatter if I can find my way to that splatter. This one here. Let's go way out here. This one, I might just change to something more like that. And then if I were to duplicate that, I would hit Control D, and I might flip that one again horizontally and have that on the other side of the screen. I don't know if I like these two yet, fooling around. And at this point, it's okay to play around. When I include all those splatters, unless I lower down the transparency, a lot of these, it's going to be too strong. But I think I could go very subtle like that. And then maybe I'll just come down to that first splatter, which was slightly different than we added. So this one here, control C, control D to duplicate. This one here, This one, again, I may come in here and just again, size it way up, so it's covering a lot of our image here, but not our subject's face, and then we're going to lower the transparency way down. But again, just to bring a little texture element into this. So let me just go full screen here to see how this is looking. So not too bad. I mean, I think I need to deal with the edge of that a little bit. It looks like down here on my subject, something a little funny is gone here where she got cut out a little weird. So I might have to hide that. But we're pretty close. This is starting to look fairly close to what I was envisioning. So let's see if we can add a few finishing touches to this. Zooming in just to take a look at the corner of this dress here, it's kind of a hard line. I don't know whether that's the way it originally was. Let's just take a look at this photo. So if I go into edit photo back on remover, let me just zoom in on that part of her dress here. So let's zoom like this. And then if I restore that with the restore brush here, I can see that It looks like it actually did a good job. It's just kind of the way the illustration was, but I could hit control Z to undo that restorer. And then maybe if I wanted to make it look a little better. Maybe I could just sort of curve it a little bit like that. I hit control Z and attempt that again. So anytime you're doing this, you can at least do control Z to redo your paint stroke. So I'm just doing a couple of strokes until I get sort of a shape I like. So maybe I like that better. So if I wanted to, I could do something like that, just to mess with that edge. And it should apply that change there. I think it's just taking a second. Let me go back under a background remover. Yeah, I think it's just taking a second to update in my main image here. But there we go. So now it updated there. So that does look a little bit better, I think. Over on this side here where maybe I wanted to change that a little bit, come in under my layers again. Let's grab that one that's right in front of this guy. Let's just duplicate that. So we have another splattered layer splatter layer. Let's come in here under the color for that layer, and let's just make it a little darker, so let's push it down a little bit. And then we'll position it so it's behind that layer. So let's push it back right here. But then let's just grab it and let's move it, so it's a little farther out just so we get a little bit more nice looking splatter effect there, and we hide the edge of that. Now, that's really all I would need to do in here. Of course, with these splatters and everything, we're using the same shape over and over again. But you get some good repetition, as long as you're varying the size and the color, you can't really tell that it's the same shape. This is the sort of thing you can really play with endlessly. For example, let's take all these main splatter effects here. So it's really all of these here. I could do a lot of things. I could decide, well, maybe I just want to group all these together, now that I have them like that, and I could decide that, Hey, I want to reposition all that. So maybe I want to take all those splatters and I want to bring them down even further, or maybe I want to make them even bigger. So you could do really endless things. I think I'll push them back to where they were, but just to show you that you can come in here and really do endless edits with this. Now, the last thing I do is, I think I'm just going to take from another file and bring in my done text in my borders. So I'm going to go off screen here for a second. I'm going to copy those borders. I'm going to copy that do text. I'm going to bring in a little signature, which is just font here. It's not my actual signature. You don't necessarily want to put your own signature on here, but it's just a little digital curse of writing here. So I'll grab all of that. I'll come back over here. I'll hit Control V, just to bring all of that in. And then we'll go full screen and take a final look at this. So here we are full screen taking a final look, I think we ended up with something pretty cool, considering we started with just about seven different elements. We have that splatter effect. We have a circle that we turned into a cool background. We had, you know, the images of the sandworm, the images of this girl. But there's really not that much in here, but because we had a style in mind and we stuck to that style, we really were able to play around and create something that was pretty cool. Now, you could play with this endlessly. So this is the type of project where you could just spend hours and hours if you want to tweak it. But you can also very quickly just arrive at something that's pretty cool. So I hope you play around with this type of thing, this type of image compositing. And again, if you start to do really complex things, blending and complex selections, you're going to have to step outside of Canva. But within Canva, you can do a lot just by being smart, understanding some of these tricks. So I hope you're willing to play in Canva and you have fun with this sort of thing, and I'll see you in the next lesson. 28. Photopea Blending modes: In the last few lessons, we worked almost exclusively in Canva, and we were really able to push it to create some really cool designs. However, I will continue to caution you to not be one of these people that adopts the 100% made in Canva mantra and use that as a badge of honor of sorts. It's great when you can do something in Canva. But when you start to learn another tool like Photop and realize, hey, that's a free tool, I have easy access to. It does then become a matter of just what is the workflow that's going to be most efficient for you that's going to make the most sense and help you accomplish what you're trying to accomplish in terms of the design you're trying to create. Canva is great. You're taking this course. You probably love Canva, or at least use Canva for a lot of things, but we do not have to feel like it's the only tool we have to use. So let's look at this example. So this is sort of like a cover slide I created for this course. And if we look at this image here, it's basically made up of three different images here. So we have the photo of the woman here. We have the sort of graffiti wall, and then we sort of have this brick wall. And then on my main image here, I'm pretty much blending these all together. Now, we could accomplish some of this in Canva alone. So let me just come back here to this layer here, this slide here. And if I turn off this top layer, we'll see that I have the other three layers in here. Let me go ahead and turn off the transparency for this graffiti layer as well. So now I just have the image of her over top of this brick wall. Now, of course, I could come into my transparency sliders. And let's say I'm trying to go for that look of sort of like this is a mural on this brick wall that's made up of this image of this girl, but then also the graffiti and these three differentlayers. So I could do something like that. I could come back to my graffiti layer, and I could start to bring it back, and we could get a very interesting result. So maybe this is something we would use. However, I know that in Photop, there are blending options that I don't have here that are really easily going to give me more choices. So this might be a case where I take these images out of here, and I work in that other program because I know I'm going to be able to achieve the look I want, okay? So it's not only about deciding, like, what's going to give you the best result, it's also about deciding what is going to be efficient and what meets your end needs, you know, what's good enough, what do you need to accomplish. So let's jump over to Photop and I'm just going to look real quick and show you about blending modes in Photop just so we understand how they work and see that that's another option that we have. Here we are in photo P, and we have the same three images. So we have the graffiti image. We have the image of the woman, and we have the brick wall. So I'm just going to start with the image of the woman here. I'll leave the graffiti layer turned off for the moment. And in Photop and you'll also find this in photoshop, you have blending layers. So with this layer selected, right here, this drop down here, that shows what the normal blending mode is. So I said, blending layers before. I mean blending modes. You have these blending modes. Normal is sort of the default. When you bring a layer in, it's going to be all normal, but you can come in here and you can cycle through all these different layers. I've selected one, but with the blue sort of outline around there now, I can use my arrow keys on my keyboard to start to go down and see these different layers. And so with these presets, if you want to think of it like that, Very instantly, we can go through and see a number of different options. So what these options are basically doing is it's making a choice, comparing pixels in this layer with pixels in this layer. Sometimes it's showing the darkest pixel from the two images. Sometimes it's showing the lightest image. Sometimes it's doing some variation on that. So you have a bunch of different options here and it's going to sort of bland the images together based on what you've chosen here. Now, a lot of these up top are making the image darker. A lot of these will make them light lighter, and then you have some different options throughout here. It is going to vary based on the two images. So for example, if I come down here and I choose lighten, I know that it's sort of choosing the lightest pixel from each image. So if I were to suddenly turn off this layer, and so now it's applying this layer with the background layer and because the background layer is all white, it's just showing the background layer. If I were to change this to darken here, it's just showing this image because every pixel in this image is going to be brighter than the pure white that we have in our background layer, okay? So you'll start to play around with these and you'll start to get a feel for what each blending mode is doing. And you can also go on something like YouTube and look up, you know, blending modes and photoshop because photoshop has the same thing. So a lot of times you can find tutorials and photoshop, and you're going to be able to follow it exactly here in Photop because a lot of the file menus and everything are made to look the same. Now, there are some features that photoshop has that you will not find in photo P here, but lots of them are exactly the same. Okay, so you can experiment around very easily. And of course, if you have one you like, you can also still come in here and do things like adjusting the opacity. So you're affecting how much that's being applied by affecting how transparent the pixels are in one of the given layers. Okay. So I could go in here and choose something like soft light. Let me actually keep going down through. Maybe I like this hard light better, okay? And then you could do the same thing with other layers above it. Of course, this is completely showing through. I could just the transparency, or I could again start to play with these blending modes, and now it's applying this blending mode on top of the layers below. And so we're starting to get these interesting effects, okay? So I used something like this when I was working on creating that title slide that we saw over in Canva. Now, of course, in a prior section of the course, we talked about creating your own custom overlays, and of course, we know that if you double click on a layer, you can get in and you have this blend slider, or you can take some manual control over how these different layers are blending together. Okay? So you have more and more options, and of course, you know, we used that to create custom textures, which you could take back into Canva, where there's some transparent pixels, and other ones are completely non transparent. So you have all these different options, and it starts to become, you know, you making a decision on to what option is going to give you the results you want and what option is going to be the most efficient. I just wanted to let you know in this lesson that these blending modes exist within Photop, and that's another option for you to explore. All right. Thanks for watching, and I'll see you in the next lesson. 29. Advanced Selections and Masking: So let's look just a little further at this example from the last lesson. You notice here that things are blended, but the eyes really stand out. If I go back from one to the other one slide to the other, we see that the eyes don't really change, and that's because they are not blended to the same degree as the rest of the wall here. Now, this is something you just couldn't really do in Canva, but this is when you have the ability to make those complex selections. You have the ability to do masking and something like Photop. Then suddenly, something like this is very easy to do. Here we are in Photop and we have those layers, and you'll notice that the graffiti layer has a soft light applied to the blending mode, soft light again for this and they're both above this layer of the actual woman. But again, we could take both of these, so I'm just going to click on one and then I'll just control click on the other to select them both. We can put them in a group just by using this little folder icon. Now they're in a group. They both exist together. And we can apply a mask, so we can apply a mask. But when you just apply a mask with no selection to start with, it's just going to be all white. And what does all white mean? That means everything is going to show through. So I'm seeing everything here. And if I just click over on this layer, then I can see the mask itself. I can just click back on the folder itself just to see the layer again. Now, what if I just come in here and I grab my lasso tool. So I'll just grab this lasso tool, and what if I draw just a rough selection around this eye, doesn't have to be perfect. And then I could make sure I have this selected, so it's going to unite whatever I draw. So it's going to continue to add to that selection. I'll draw one over the other eye. And then I could just come in here and what if I just fill this with black. So that's our background color. So control back space to fill with the background color. Control D to deselect. And now suddenly we filled this area with black. So that's where the blending modes is no longer being applied. In fact, we're not seeing these layers anymore. Both these layers inside this group are being hidden because of this black mask just around the eyes. Now, of course, we have a hard edge there. One way we could have got around that is we could have applied a feather right here would make in our selection, but you can also do that after the fact, if we come up here and we go to our little property tab. And remember, you can get to this mask and you can apply a feather right here, so I can drag this out and just drag it so basically just the eyes are showing through and everything is blending else. Everything else is blending nicely. So just like that, very easily, we can make the eye stand out. Now, you really could play around in here endlessly. So let me just add a new layer to show you an example. I could do something now like use a big keyboard shortcuts. I'm going to do Control Alt Shift E. And what that did was take all the visible layers here and it's merging all those visible layers onto a new layer, that was control Alt Shift E. So that's on Windows on Mac. It would be Command Option Shift E. And now I just have everything up here on a new layer. So then I could come up here and I could do something like let's just grab a rectangle. Let's do the lip tool again. This time, though, I'm going to apply a feather to start with. So let's just put in a father of 30 pixels to start with. And then I'll drag a selection maybe around the central area of her face here. But then I could also come up here and do something like select inverse. So now I just have these outer pixels around this inner circle selected. And then I could apply a mask to this whole thing. So let me just hit the mask down here. And now you see the white area is what's showing through and the black is being hidden. So we're just showing the outer areas on this new layer. Now, of course, it's the same, a copy of everything below. So we're not seeing anything yet, but now we could come in and play with these blending modes. Now, some of these blending modes like darken, it just compares pixels and picks the darker of the two. So this is the same as below, so it's comparing two of the same pixels. So obviously, it's not going to be different. But then some of these have an additive effect. So if we go down to multiply, suddenly, suddenly it's making everything here a lot darker, okay? So this is just to show you how you can play around endlessly. And then, of course, I could always still adjust this transparency, up and down, this opacity, so I could come in here, get rid of this completely and then slowly bring it back just a little bit, just to push the focus more in the face of my subject here. Now, in Canva, you can't do this. You cannot select specific pixels and make adjustments when you're dragging those adjust sliders over your photo. You're affecting the whole photo. Yes, it allows you to choose foreground and background. So there's a little bit of control in there, but not nearly the fine controls you have in a program like photoshop or a program like Photop. Now, here's another example. So in this file here, I have the image of this woman. I have her both on a separate background and then with the background itself below, and then above it, I have this texture layer. This texture layer is on overlay. Let's just turn it back to normal for the moment. So I have this texture layer, and let's bring the pacity all the way back up. So let's imagine that I want to apply this texture to the woman here. So I could do something like control click to select that, and then I could come up here and add a mask on my subject. So now I have it just to her. I could come in here and I could adjust this to overlay. But let's say I want to apply it to just really her skin. I don't want it to be on her hair. I don't want it to be on her clothing here. So, how could I do that? Well, if we look at the image of her here, and I'll turn it off the background for a second, we can see that, like, so what represents her skin texture here? Well, really, she's got on this dark dress here, and she's got dark hair. And then dark eyes. So really, the areas that we want it to apply to are all the light areas within this photo. So there are all kinds of selection tools. We have some over here. We haven't talked about all of these, but we have tools over here. And again, if you look up Photoshop tutorials on Photoshop selection tools, you'll find tutorials on all of these. But you also have the ability to use the blending sliders, like we talked about. But then also you can come in here, and you have some options like select by color range. So it could come under color range here, and I could choose an actual color by actually come in here and do sampled colors. And so I could click into photo and actually click a specific photo like I could click on this ear ring. And then suddenly, if I do that, we're going to see it adjust down here. So actually, let me do this replace option, so it's not so it's replacing the selection completely. And then if I click on the ear rings there, we're going to see how this has changed. I kept a lot of her skin tones because her skin tones are similar to color that we're seeing on the ear rings. But I could choose another color. And in this instance, since we're talking about highlights and shadows, I could also come up here and say, I want to select the shadows or I could select the highlights. So let's select the highlights. Since we know the shadows are the areas we want to avoid. So let's do select highlights. And then in this sort of image down here, whatever is white is sort of representing the selected area. Whatever is black is not going to be part of your selection. So I have high lights selected, but then I could also come in here and you can adjust them in and max. So you can dial this down, you can dial this up, so you get more colors included or excluded. So let's do something like this. We don't really want it on our hair, so something like that. And then, of course, the fuzziness is how particular being, how many adjacent colors are we really allowing. So if we dial this down, it gets a harder and harder edge. But if we dial this up, then suddenly we have more of a transition area at the edge. So you could very easily do something like this, get a pretty good selection, and then suddenly we could come in here and modify this here. Now, of course, we already have this white part selected. So what I would want to do is select an inverse dis selection. So I could have done the shadows instead of the highlights. But I could do something like that. And now since I have the inverse selected, I want to hide that. So let me find black here. Blacks my foreground to alt B space filling this mask here with that. And now, suddenly, we've hidden sort of the cracked layers from things like her hair, things like her clothing. And then, of course, we could play around with the blending modes, and we could play around with, you know, how intense is being applied. But this is just a level of control that you do not have when you're working in a program like Canva. But if you come over to Photop, which you should do if you're trying to do this sort of thing, then you can save yourself a lot of time and you can have a lot more creative possibilities. Just one last example. You see this blended image effect all the time, like this with this classic movie poster, where obviously this image in the background of the couple here, Leo and Kate. They are obviously blended, so they blend out and fade into the sky here. You can very easily do that sort of thing in a program like Photop or photoshop, not something you can do in Canva. So what I would do is just add a mask here to the woman that's in the front, so I could just add a mask here, and then having a gradient that goes from white to black. So foreground to background, linear gradient, I could easily just come in here and start playing around with some sort of gradient. Where I have her just fade into the background, and of course, I could combine this with other blends. So let me take this slightly down the page a little further. So again, you can play around with it all you want, but maybe I would also have. Another black layer. So let's just fill this with black here. And then again, once again, I'll do foreground to background. Let me just start by dragging out something hoops, forgot to add my mask. So I'll add my mask first on that layer, and then just controlling what shows by dragging foreground to background. Very easily, we could have another layer down here on the bottom, just to sort of push the viewer's eye. And again, you can play around endlessly here. Endlessly playing around for the type of look you want. And then, of course, here's just a little title up top, and we could push that title two behind our subject. So there are just lots and lots of things you can very easily do in a program like Photoshop and a program like Photop that you can't necessarily do in Canvas. So be willing to step out and use another tool when appropriate and when it makes sense, okay? Thanks for watching, and I'll see you in the next lesson. 30. Double Exposure Effects: Earlier lessons in this section, we looked at some compositing techniques where we were working just in Canva. Then in the last lesson, we looked at how when you step over in the Photop or a different program, suddenly, sometimes you get more options when it comes to advanced selections, blending and things like that, and we're going to continue on this theme in this lesson when we're going to talk about creating double exposure effects. Because as you start to figure out some of the shortcomings of Canva and where other programs excel, you have to start to realize that by stepping out of Canva, sometimes you just give yourself many, many more options. So it is always a workflow choice. You know, it comes down to what software you know and then how you're making use of your time. But sometimes you're really doing yourself a big favor by not trying to do it all in Camva. So in this lesson, we'll look at creating double exposure effects. So we'll look at how you create something like this and how very easily you could take something like this and instead create something like this or something like this. So sometimes by stepping out of Canva, you just really open up more and more possibilities. And when doing double exposure effects like this, you really do have infinite possibilities if you step into a program that's really good at blending and creating advanced mask, advanced selections. And then, of course, we'll look at how you bring those assets back into Canva and can make use of them in Canva because there are advantages to working in Canva on certain parts of a job like this. But for some of it, it is really going to be helpful to rely on a program like Photop as well just for some of those advanced blending techniques. Okay, so here is the image I started with. Now, this is actually a stock image I purchased from Adobe, not one you're going to find here in Canva. Now, Canva has a lot of great images, but the quality of the image really does matter. Sometimes they'll see people start with a not so great image and they'll try to do lots of cool things no matter what you do, it's not going to make a difference if you start with bad assets. So I encourage you to start with the best possible assets, especially if you're working on a project where you have a budget, and then you can budget that in to whatever you're charging your client. Just playing around doing stuff for free, you probably wouldn't go out and pay for an image. But it is something to keep in mind that if you want the best quality results, sometimes you have to really pay attention and have the best quality assets that you start with. So anyway, this is the image I started with. I wanted sort of a striking profile image. So we'll go ahead and we'll start by just removing the background, and I'll do that here in Canvas. I'll just come in here and I'll do edit photo. We'll use this background remover. We'll take the background off. Then I'm just going to sort of position this where I want it here. And so I'm going to go something like this, so it's full screen, but then let's bring it back over, and we'll sort of position it towards this side, giving her a little bit more space this way, but that'll be my starting point, okay? So I'm going to export this now, and then we're going to work with it so and Photop because I see people try to do double exposure effects just in Canva. So if I go under my elements tab here, let's go under my elements and find one of these photos I was going to use here, So they'll come in here and they'll start doing blending things in here just by lowering capacity, but you really only have limited options. And then, of course, how do you create the mask? There are all these things where we know now we have a better way to do that. We have a way to create custom overlays. We have a way to create custom mask and sort of all these things sort of build upon each other and work together for a project like this. And then if you're in a program where you're just trying to sort of use tools that aren't quite right, it can be really frustrating and it can be really time consuming, and it can also lead to not the best results, and maybe also not give you as many options for the results you can get. Just by stepping over the photo P with this, I'll show you how many different options we can have. All right. So what we're going to do is export this. I'm going to go ahead and export this as a PNG, and I'll do that with transparency, and then I will see you over in Photop. Okay. So here we are in Photop with that image extracted from the background that we just brought over from Canva. So now our goals here in Photop are really twofold. So we want to create a frame. So we remember how to do that. So we're going to create the frame so we have this shape as a frame that we can bring back into Canva. And then we also want some sort of overlay That's going to show some of the features of the woman here, but then let other areas fade the transparency so we can see an underlying image and get that double exposure effect where we're starting to see to see two images blended together. Okay? So let's do the frame part first. That's going to be easy. So we're just going to come over and remember, you're going to click on your layer itself, and then we're going to control click to make that selection around the layer. That would be command on Mac, Control click on Windows. Then we'll jump over this path tab here, and we'll come down here and do this, selection to path. Now we have that selection. Let's come back to our layers, and then I could apply the vector mask right to this background layer, but I'd like to usually use a solid filled layer. Just have a visual representation. I'll just create a new layer using that little new layer button down here. Then I'm just going to fill this with the foreground color. And if you remember, that's At back space. This would be Option B space on Mac, Alt backspace on Windows, and I filled with black, and then I'll just come up here under layer vector mask current path. Now, that's our mask. This is what we're going to take back to canva to be our frame. I'll go ahead and turn off the background. I don't need that turned on. I'll just come up here and go under File, Export as PDF. And remember, this is how we're going to get our frame. So everything checked off here. We don't need anything checked on. We'll go ahead and save, and we'll save this in our frames folder here. I have a frames folder. And I think I've done this already, but we'll just call it profile woman. We'll go ahead and save. You want to replace it here. We'll go ahead and replace that. But so now we have our frame that we can take back into Canva. That's step one. But remember, we also want to create some sort of overlay that's going to have some transparency, so we'll end up exporting a PNG with some transparency back to Canvas, so we can start to get that double exposure effect when we lay that on top of some other images. Okay, so what I'll do is I'll turn on this background layer. I'm just going to drag it to the top here in front of this. And then since I'm going to full with the blending sliders here, and I have some really dark images here, dark parts of this, the black and then some parts that are closer to white. So I think I'm going to change this here this layer behind it to some sort of different color just so we can see a little bit better. Let's just come in here, find a yellow. Then again, I'll just do back space to fill that with yellow. And so now I have that just sort of behind here. Now when I start to click and blend this, all those areas that show through with yellow, I know those are areas that I've knocked out the transparency. Okay. So remember how to get to those Blend If sliders. Now, there are other ways you can do a blend. And we'll talk about some of those in this lesson. But let's start with the blend I sliders just to see what we can do. A lot of times, that is a good fun starting point. So I'm just going to double click on this layer itself to get in and bring up this blend slider here. Let me just bring it over here. Make sure you're still seeing it on screen. And then I'm going to start to just fool with this. So the black I might want to keep her hair and her eyelashes on some of these details. So I might start dragging in this side of my image, and I'm just going to drag this slider sort of way to the left just to see. I'm going to take it way over there, almost all the way to the black slider on the other side. But then let's do the trick where we hold down the alt key. That's alt on Windows, that the option on Mac, and we'll just split this slider here. If I hold down the lt and I grab this one triangle, then I can split this slider here. And what I can do then is just sort of increase the transition area just for a blend that's going to be a little smoother. So if we take it all the way to the left here, you can start to see how it's sort of a rough transition between her hair and the yellow areas. But if somebody start to drag it out to the right, then we can make a much more subtle blend. And that's going to make it look even better when we put two images together. So flowing around and splitting this blend slider, a lot of times is a good idea. Okay. Now I'm going to go ahead and click Okay, and so we have this now. So if I turned this off, this would be an overlay we could take back. However, I'm looking at this here, and we're losing part of her lips. We're losing some of the features of her nose. I kind of want to bring back some of those features. So they're a little bit more prominent. So what I'm going to do is I'm going to duplicate this background layer. So I'm just going to click on this duplicate on this background layer, and then I could right click and I could find duplicate layer. But I also like to do keyboard shortcuts just because they're so ingrained into my head. So I'll teach you that just control J to duplicate that layer. Again, you could have clicked and duplicated as well. That would've been fine. But now with this layer, I can play around and I can sort of add different areas to bring back along with this layer below it, because I still have this layer below it using that blend. But now with this layer, I'm going to bring back some different areas. So let's start just by sort of resetting the Blend If slider on this top layer. So I'll just double click to get into it. We copied it, so it carried over the blend sliders being adjusted. But I'm just going to take it all the way back to normal and go ahead and click Okay. All right. Now, I only want certain parts of this. I maybe want to do her lips here, maybe her nose, maybe around her eyes and eyebrows here and maybe her ear as well. So what I'm going to do is I'm going to grab this lasso tool. Again, you have lots of select tools and Photop. I'm not going to cover all of them extensively in this course, but you can sort of watch what I do and we'll go over some of the basic ones here. And so this lasso select just lets you do sort of any kind of custom shape. You can drag out any shape you want onto the screen. And for a lot of things, it would be a little heavy handed and tough to get a really good shape. But for something where we know we're going to feather the edge, we don't have to be that precise. So I'm going to use the lasso select tool. Since I know I'm going to feather it, I'm going to start way out here and not right in close to this edge because I want to keep this edge solid. But then I'll sort of loop around the different features I want to keep. So I'm just going to click with my left mouse button and hold it down as I drag out. So I'll sort of go around her prominent features here, something like that, out here, and then I'll release it. Okay? Now, I also want to add her ear in. So I'm going to come up here and make sure that I have this second option clicked, which lets you just sort of continue to unite and add to your selection. Other ones here, if I had it on here and I dragged out again, I would lose this initial selection. If I had this one here, I'd be subtracting from my current selection. So just get to know these little options up here. But I'm going to use the second one here, which is unite. I'm going to do the same thing where I just come over and I sort of drag around her ear, go around the ear ring as well, something like that, and then boom. All right. Now that I have these, this is the ear I want to mask. And when you come down here and you click this mask icon down here, it's going to build the mask based on your current selection. So if I go ahead and click Add Rostra Mask now, I can see that now I'm adding this part to what is below it. Now, obviously, this is what I meant, how you can't really make a good selection, and it's going to be really harsh if you don't feather it at all. But we can now come on the mask itself here. We can add a feather. So make sure you're not over on the layer itself, make sure you are on the mask here, right there. And then you just have this little properties window. If you don't find it, you can go under a window and find properties, but it's usually going to be right up here, so I can just click on that and then go onto a mask part here. We can see right now there's no feather applied to that mask, but I can just start to drag it out and I can watch my image and look at how it starts to blend seamlessly into that yellow area. Okay? So this is just about finding what you like and what suits your taste. And so maybe I'll go with something like that, and then I can click this just to close that out of the way. Now, if I turn this off, now I have this as my areas I can see. And then we can see we have a lot of areas where the pixels below are going to be allowed to show through. So here's my overlay that I've created, and this is what I'm going to take back to Canva. Now, hopefully, you can see there really are endless things we could do in terms of what we choose to take back. I could have ajed those blend I sliders differently. I could have not used them at all. I could just take back this. There's really so many things you can do because there really limitless selection possibilities when you're using a program like Photop or photoshop. Okay. But this is what I've decided to go with. So I'm going to go ahead and export this back, so I'll just go file. I'll just go export as PNG, and I'm going to save this PNG off, and then we'll bring both the frame and this in the Canva, and then we'll see how now suddenly we have some assets that give us a lot of possibilities. Here we are back in Canva, and you can see I've brought that frame into Canva. So now you can put absolutely any image you want in that frame, so I could drop this image into that frame. And then, of course, the uploads, I've also uploaded that overlay. So what I'll do is click on that overlay, and then I'm going to want to resize this so it fits perfectly over top, so I can do that. And then suddenly we're getting this really, really cool sort of double exposure effect. And of course, we can try different images as well. Now, right now, the top layer is the overlay here, and that's slightly blocking my ability to bring something into that frame. So I might just drag that up just so I have an area below where I can see that image below. And now I could come under my elements. Let's just search for something like nature. For nature. We'll see all these. And then very easily now, I could start to try all these different images. So very quickly now I have an asset that's something I could sort of reuse in Canva, trying out different possibilities. And this is what I mean where different programs have different strength. All these blending techniques we did, I could not have done in amba. At the same time, over in photoshop, it would take me a lot more time to bring in all these different images. If I was in photo Per photoshop. I couldn't just drag and drop and try out different possibilities like this. This is really a strength of the Canva interface. So different programs are going to have different strength, and there's no reason why you can't take advantage of both of them, okay? So I'm really likeing that first one the best because I just feel like the color and everything works really well. So I could hit Control Z to find that, or I could just sort of go back out of here. Let's get rid of this nature tag. See my recently used, hit C all. Here's the one I liked. So let's put that back in there. Of course, you could do other things like you could come in here. Double click. You could resize this completely, whatever you want, you can reposition resize it in your frame. And then something I did. Let me just create a duplicate of this duplicate this page. So here's a new copy of that page. And then under uploads. Let me just go back under my uploads real quick. So if I can find my uploads tab over here. Here's the uploads tab. So let me create a new page and just show you here is another overlay I created by taking the image that we're now using. So we're using this night sky images. I took that over into photo P. And using that same technique with the Blend If sliders, I was able to do something like this where I sort of knocked out the center of this image. And so I could come back over here now, and now that if I double click back into that photo again, we see that let's have it, so it starts right here at the left edge, and then there's something like that. And then if I made sure that my photo layer here started in the exact same position and expand it out, then suddenly I have that matching up with what's in the frame there. And then, of course, I could move it behind if I wanted behind everything. But suddenly, we're getting sort of this totally different look. Now, at this point, if I had it the way I wanted it, I would want to drag this overlay all the way back down. And of course, because the white background is showing through, you could come up here and you could change that background to absolutely whatever color you want. So let's click on something and then once we have it selected, you can really come in here, change it to anything you want. So that's just how I got one of those possibilities that you saw in my intro. And then let me duplicate this again. Just duplicate this page, and we have this image in the background, but we easily now could search for something like abstract, something like that. Let me get out of uploads. I meant to do that under elements. So let's go back under elements. Let's search for that term abstract, something like that. Now I could even drag something like a video into this. And so now we're getting that. I actually don't want that to be in the frame. I just want that to be on the screen behind everything. So let me hit control Z there, and let's actually come up here and actually I could get rid of this completely now. Here's a technique where I don't even need the frame. I just need the overlay. So let me leave this little spot here just while I add a video. So let's go back and do that one more time. Here's that video I just added. So let's do that. And we'll position this, of course, behind everything. So we'll just drag it back down here. We'll drag it down low. We'll make it fit the entire screen. And then this layer here, we'll make sure we pull it all the way down. And then, of course, this is a video. So, of course, we could play this and let's get to that next. Here, let's play it, and let it get to the next frame here, and we'll see that video play. So it's still looking at that first one, but there you go. There's that second one, and this is the other example I showed you in the intro. I'm just showing you how you could very easily do so many different things with this and you give yourself a lot of different possibilities and more possibilities just by using a program like Photop. Now, let me show you one more thing in Photop real quick just to show you really how you really do have endless possibilities. Here we are back in Photop, and of course, you could have brought both layers over. So we could have brought both the woman and the background over just to really give ourselves total control over how these layers blend together. So it really is up to you to decide what workflow is going to make the most sense. Again, I could have come in here. I could have blended this. So let's just drag this over something like that. Again, I'm going to split that slider, so I'll drag this one back. Maybe drag that one back even more. So now we're getting a look that's totally different than anything we've done before. And of course, if you remember a couple of lessons ago, we also have the blending modes in here. So now that I've done that, I could come in here and I could start to cycle through these different blending modes modes, and now, once again, getting something that's totally, totally different, okay? So you learn these different tools, you learn these different techniques, and then suddenly you're going to have tons and tons of options, and it's really going to be up to you to decide what option makes the most sense. Now, something, I don't know if I mentioned that yet in this course, which I should have mentioned before. At any point in time, if you're working with layers in here, you can come and you can do file, save as PSD and you can save a PSD back to your computer. And then if you come and open that later that PSD that you saved on your computer and you open that back here in Photop then you'll have all the layers, all the edits you made, okay? So, I've showed you before how you can hit file open and you can open a JPEG a PNG. And open that up here. But at any time, if you're doing work in here and you have layers and you have changes that you want to save, and you want to be able to work with those layers again, go ahead and choose file, save it off as a PSD, and then that's something you can reopen back here in Photop and work with again. All right, so I hope you learned something in this lesson. Remember, the creativity really comes down to all those options you have, and then you get to decide what workflow makes the most sense for you. All right, thanks for watching. I'll see you in the next lesson. 31. Poster/Double Exposure Challenge: Okay, welcome to another challenge. I am calling this the poster or double exposure challenge. In other words, you can create either of these as your challenge exercise, or even make it more open ended than that. Doesn't have to be a movie poster, any kind of poster, basically, any kind of design that makes use of the skills you've learned in this section of the course, you're welcome to do. Now, poster is a fun idea. Movie poster is fun, but also if you want to do a double exposure, either of those is fine. Let me give you an idea. I I choose double exposure, you can do whatever you want. Have fun. Be creative. If you choose movie poster, let me tell you how you might want to approach it because part of this challenge, too, is also if you choose to, like, mimic a movie poster or some other design, It's up to you now to decide how much of that you want to try to do in Canva and how often are you going to step out and do some of the work in another program like Photop because one of the things I really want you to get good at is starting to realize when Canva isn't the right tool. In other words, we know it's great for a lot of things. We're going to push it and use it for all the things where we know that it's a good tool, it has good solutions. But other times when we come into some effect where we know, Hey, wait, this is going to be complicated to do in Canva, or maybe I'm not going to be able to do this all on Canva, that's when I want you to have another tool in your tool bag that you can make use of. So here's another poster that I created fairly quickly, and so let me just show you how I approached this challenge. So I just went to Google and started by searching something like movie poster posters, and then I started to bring up posters that I thought were interesting. And as I brought those up, it's sort of an interesting exercise to look at those posters and start to think about how they were designed and how some of the effects were done. Now, obviously, you know, they have big budgets, they have, you know, photographers, they have illustrators, So you're not always going to be able to mimic things exactly, but you can start to look at the effects, for example, look at this Mulan poster here, the way the sword crosses over her face. But the way you can see through to her face here. That might be tough to do in Canva, because all you can really do is lower the transparency. But if you start to think about those blending modes that we talked about in photope, we know we can create custom frames if we need to do that. So you start to get an idea of how you might create effect like that. Going through a couple of other posters, I just thought were interesting. So this poster here, it's actually quite simple and that we have the image of this man in the front here. And then, of course, we have the big explosion in the background. But look at how they're really making use of colors to their favor. Even his shirt here matches the explosion in the background, and then they're just sort of blending out this image here, so it fades into the color in the background. And then some of this here looks like maybe they have some of this smoke overlaying on front of them or a lot of it's behind them. So again, things where you can start to think about the different tools and the ability to have sort of transparency gradients in a program like Photop or photoshop where you can start to think about maybe how they did some of this. Going through a couple more. So this Star Wars poster here. I mean, obviously, you can see how they're making shape of C three PO here and using that as a frame and then able to put other things in the frame here. So again, fairly simple approach and something now that we know how to create custom of frames, we could certainly take on something like this. Go through just a couple more here. So this Hamilton poster. Obviously, a lot of different photographs here of different people. So laying those together. Of course, some of these could have been the same photo, I don't know. But laying those together, and then of course, they all sort of have a feathered edge. And then, of course, we see the way they're using some texture overlays over top here and controlling where it appears, so it's not on its face here. So again, starting to think about some of the ways they may have put this together. Here's another one, very simple. So just basically one photo fades out at the bottom here, but then look at all the texture they're really using they're bringing this poster to life. So we've learned about texture overlay, so that's certainly something you could apply in a poster design. And then another one here, this clockwork orange. Obviously, very early in the course. We learned about how you can do pop out effects like this. And now that we know to create custom frames, you really could make a frame that was any shape, so we could start to contain something within the frame, let something else break out of the frame. You could even have two frames. One could be the shape of this sort of A here, and then another frame could be everything else. And then you could have images in each frame or you size them so they matched up here. So we start to get a feel for how you could create an effect like this. Now, ultimately, I decided to play with this idea here, this Black Widow poster. Again, the X shape here, that's something where it seems like they could use a frame for something like that. And then, of course, there are a lot of texture overlays and other things going on here. So I thought this would be a fun one to try out. So let me just walk you through my process real quick that I did with this. I'm not going to show you everything, but I'll just show you my basic way I approached it. So maybe that gives you some ideas as you go forward. But again, you don't have to choose something like this. You can choose absolutely anything you want. So here in Canva, here's the ultimate poster I ended up creating and I used the text to image features. So I went under elements. Let me clear this out. You have this generate your own. That's where I typed in some different things. I created some hieroglyphics to be part of my poster. But then if I just go under my uploads here, let me just come back under my uploads tab here. If you actually create something and add it to a project, then under here, they actually make the name of your prompt. Name of the file, your prompt or you can see it up here. Now, I think it cuts it off eventually, but let's just see if now, I said it makes it that, but let's see. It's actually not here. I've seen other ones in the past where actually I have my prompt in the name here, but I guess that's not happening. So I don't remember exactly what I typed in here, but it was something like female hero, leather outfit. You know, something you have to play around with your prompting to get the type of results you want. And I don't think I got great, great assets, but I got some that I decided to use. So I had this asset here. I chose these two assets here. And I knew these were going to be background elements. So those are just sized down in sort of position where I'm going to use them. And I have this one here. On this page, I was thinking about that X shape in the background. Now, if we look at my layers here, this is just actually one layer that's the letter X. So I sized up a letter x, and then I filled in the other areas with triangles. Now, this is also something where I could have used the selection tools in photo P to create this mask, but I thought it would be easy enough to create the basic shape here. So I went ahead and used some layers to create the basic shape here. And then all these files I'm showing you here, this, this texture layer, which I pulled in, this Taj Mahal picture, which I thought would be interesting in the background, this layer, and then this layer here, this image. These are all things that I just exported as PNGs, sometimes with transparency, so I could easily select them and mask them. Other times, Well, I probably chose all these with transparency, but of course, this doesn't have any transparency. So I just exported them all over, and I brought them all into Photop here. And so we can see here all the different layers that I brought in. And then, of course, I put this image together using all the different photop techniques. Now, this is one of those decisions where I basically decided just to work here and Photop, but I could have created just right here, this layer here, if I just hit all real quick. I could turn that shape into a mask and take that back to Canva, play around in Canva. But since I knew this is the type of thing that requires a lot of these blending modes and more complex things we've learned here, I thought it was better to just stay and design in here. Okay? So it is one of those things. Sometimes you're going to be taking final assets back to Canva. But also, if you have a project where you know you're going to be doing this complex blending, you may have to stay longer outside of Canva in a program like this. So I'm not going to show you all this, but I'll just so slowly turn off layer so we can see sort of what they're doing. So just some texture over top of everything there. This layer here. It's just that background hypoglyphics there. And I'm using something here on this layer here called a clipping mask. So if you have a particular shape, here, I have this text. Now, this text I created just by typing in Black Widow texts to Google and finding this generator here and just bringing those in. Again, this is something where if I were going to use this commercially, you'd have to make a donation or payment, but this is just a fun free thing. So I always be respectful of copyrights and stuff. But of course, if you're playing around, you can do a lot just playing around. It's when you start to publish or sell things, then you really have to pay attention to copyright, make sure you're doing the right stuff. But we're just playing around here. So I just have a clipping mask here, and basically what a clipping mask is. I'll just show you real quick. So let me just create a new layer over top of everything. I'm just going to fill something with a rectangle shape. So t back space to fill with a rectangle shape. Now, if I were to come above that and create another shape layer, so let's have one that just partially overlaps, and I'll fill this with my foreground. So control back space to fill with the foreground color. Now, when you do a clipping mask, it's basically the same as creating a mask, but you're just making use of the layer directly below it. I have this red rectangle directly below this. And so if I come on this layer that's over top of that and right click and choose clipping mask, it's going to constrain everything that's on this layer just to the pixels that exist on the other layer, which is that rectangle, that red rectangle. That's why I'm not seeing the other part of my white rectangle up here because it's being clipped by this layer below it. I could come in here, turn off that clipping mask and suddenly I see the whole thing again. So that's all I'm doing with this layer here is I'm clipping some texture to my text that I brought in. Then if we go down past that text, then we have everything in this group here that is sort of the sort of masks into that X shape. So just the way we have frames we can bring in Canva, we're doing the same sort of thing here in Photop just by, you know, having it be a roster mask here. It's going through the different things. I add a little glow to the edge of her outfit there. Then that's the picture of herself, a little glow behind her, which is similar to what I did in Canva, where we blur something and turn it all black with duotone or all one solid color with that duotone effect. Here, I'm just filling with pixels, and then I'm using the gaussian blur, which we've talked about in other lessons. Then behind that, just a little highlight on the edge. There's my two images in the background, which I just use different blending modes. So we come down to this layer here, those two here, it's normal here, but some of these use different blending modes. Here's a linear burn for my Taj Mahal images at the bottom here. Then some different gradients for lighting, different texture. So you get the idea. But as you progress in Photop there are more and more tools you can use when you start to get into these complex blending effects and some of these photo editing effects and different things you have that are just not the strength of Canva, and sometimes things you can't do at all in Canva. So one of the reasons why I made this an open ended assignment, It's just because I want you to really start to experiment around with when you stay in Canva and when you leave Canva for something else. And if you only work in Canva, that's great. That's fine. If it suits your purposes, that's absolutely fine. But if you start to take on some more complex edits and things that require blends and things like that, I want you to understand that there are other programs and software here like Photop Photoshop, where you're just going to save a ton of time And so being willing to spend a little time learning what you can do in that software, it's going to be very helpful, and it's going to let you stretch what you can do in Canva? Because you can create assets, and then you can take them back to Canva? You can use them for whatever purpose you want, okay? So enjoy this challenge, create a poster, or, you know, come back here, create a double exposure. Whatever you want to create anything at all, it's all on the table. Just have fun. I want you to play. And then if you do take on things that are more complicated, think about, is it something I can do in Canva? Is it something I should do in Canva, Again, I love Campa staying there and working there when it makes sense. But if you need to go over the Photop because that has a tool that's going to save you a lot of time and give you the results you want, then that's the route you should take. And then you can come up under the share menu and you can come down here and if you want, you can grab a public view link. This lets people look at your project. They can't make edits, but they can look at your project. Or if you want, you can download appropriate media. Then here in Skillshare, just come under whatever challenge you happen to be currently working on. Then come under here and come down to this discussion tab, and then you can actually use any of these tabs, start conversation, ask a question share project. Any of those are going to work. Just come in here and either insert the link. If you have that public view link or if you download it some media to share, use this ad media and you can upload your media that way. And that way, we can check out your challenge. We can all get inspiration from each other as we share challenges here. And you can offer critiques, just keep your critiques friendly and try to be as helpful as possible. All right. I'll see you in the next lesson. 32. Animation Basics: Lesson, we're talking about animation basics in Canva. Now, if you're looking at the screen right now and you're thinking, This is kind of ugly, and this is pretty obnoxious. Well, I tend to agree with you, but this is the first layer of animation in Canva, and that is the fact that you can search for and you can find animated graphics. So at any point in time, you can come under elements here. You can search for anything you want, so maybe I'll search for something like fireworks. And if I do that, I'm going to start to see all the results. And if I look under graphics, I'm going to see some of these are animated. And if I want to see just the animated elements, I can come under my filter menu here, check on animated. And now with that checked on, it's going to show me just the animated elements in Canva. Now, if I find any that I like, I can come under here, and maybe I'll add it to a folder, and maybe I have a folder called fame favorite animated assets. So I advise you to do that, stay organized. If you find things you like, however, I do not think this is the best way to animate in Canva. Now, I'm not saying you can't find some graphics in here that are pretty cool. But other ones here, I just think they're not really that modern or exciting. So I think this is limited. Can you find some cool animations? Yes, you might find some that you like. If so, save them if they're ones you're going to re use? Otherwise, let's move on to what I feel like is the better feature in Canva, and that's the ability to add sort of pre made animations to any assets in your project. The whole page or single elements on a page. So you probably know a little bit about this, but if not, let's just review. So at any point in time, you can click on the entire page. And if the entire page is selected, you have this animate option up in the upper left here. If you click on that, then you have all of these sort of presets that you can apply to the page. So you can just mouse over any of these and see what the animation is going to be. Now, if you click on any of these, a lot of times they'll have some options, whether you want to apply it when this page first begins or when it exits. So sometimes you can apply it to both or one or the other. And some of these other ones have different options like you may have speed. This one has intensity and direction. So you have to play around with these different options to see. But right now with the page selected, any one we mouse over, it's going to show us a preview of how that's going to be applied to the whole page. So every element that's on the page, however, if you instead select a single object, then suddenly you'll know, Aside from page animations over here. Now we have element animations. And anything that we select now over here is going to be applied to just the object that's selected. So again, there are a bunch of different options. Some are the same or very similar to those page animations, but you also have some different ones down here. So again, you can just go over mouse over each one. Click on it if you want to see what additional options it has. This one has on Enter on exit and speed, and also direction. But you can click on any of these or you can just mouse over. And then with these individual ones, you also have some motion effects. And so you have this rotate here. Now, you're not going to see anything with a circle, but if we go to this square down here, then we'll see with the rotate, suddenly that's going to rotate. Now, we see some other ones moving around because I still have that page animation applied. So let me go back and do the whole page before. And we had applied this drift before. But let's go ahead and remove all animations. It's going to take that page animation off. So we shouldn't have any page animations applied now. Now, if I select this rectangle and we go back to animate. So instead of the upper left for the page, if I select the page, it's in the upper left, single object, then it's going to be up here sort of in the middle of this contextual menu. Click on animate again. Now if I apply rotation or something, we'll see nothing else is moving because they no longer have any page animations applied, but I can apply an animation to just this selected object, okay? So now we have an even finer level of control. Some of these can be pretty cool. Now, right now, just looking at a page of shapes, they're not that cool. But if we start to apply these animations to some of our other creations, then suddenly it can become a lot more interesting. Just as an example. This is a dune poster that we created earlier in this course, and now I've just added some simple animation over it. Now, we'll walk through a lot of examples like this as we proceed in this section of the course. But the take home is just that this animation that we can add in Canva very easily. Can really allow you to take some of your designs to the next level and create some of those attention grabbing graphics that are going to really get the attention of your audience when you're posting to things like social media, and it's just a lot of fun. Now, there is also one other easy way to add animation to your canva design, and that is with page transitions. So here, whenever you have a project and you have this video timeline down here, you can go between slides and you'll see this little transition option. And if you click on that, suddenly, you're going to bring up these options I'm seeing to the left here, So let me just click off of this to get rid of that. But let's see if I go back under here, click on that. We see that menu comes up. And then suddenly, just like before, we can mouse over these different options, and we're going to see a preview. We can also click on them. And again, sometimes we have some options that we can play around with. This one here, we can change the colors in the color wipe, the direction. And also the duration. So you have all these different options that you can go through. And you even have this match and move option, which is actually one of my favorites. Let me just illustrate that real quick. So let's go to another page here. I'm just going to put a circle on this page. We're going to control C to copy that circle. We're going to control V just to make sure it's in the same place on this next page. But then suddenly, what if I wanted to move the circle? Well, I can move it over here. Let's add another page. I actually, let me just duplicate this page, duplicate that page. Then maybe I want the circle to go up here. Let's duplicate that page again. Maybe I want the circle to come over here. And then suddenly, if I go to all of these slides here, I'm just going to shift click to select them all. We're going to come in under them and add this match and move. I'll apply between all pages here. So let's apply between all pages. And then if we come back here and I actually present this to play this, so let me go full screen real quick. Now, if I start to go through these pages, then suddenly we can see that animation gets applied where it transitions that object from where it was to the new position on the next page. So it's yet another cool option we have here in Canva for adding some animation to our design or to a presentation or something like that. So this was just a quick intro to some of the basics of animation in Canva. But in the lessons ahead, we're going to work through lots of examples, and we're going to see how this animation, combined with everything we've learned in the course. So creating frames, creating texture, adding different images together in a composite image. We're going to see how we can bring these all together to create something really cool and how this animation layer and these animation options are going to let us take our designs to the next level, okay? So, thanks for watching. I'll see you in the next lesson. 33. Getting Creative w/ Match and Move: In the last video, we introduced some animation basics and talked about some different ways you can animate in Canva. In this video, we're going to talk specifically about the match and move, transition you can use in Canva. And so we're going to go over some things you should know and give you a more complex example just to show you how you can get creative with this technique. So on screen right now, I just have this text, match and move, and I have a simple rectangle. And so let's start to make sure we understand the basics of how this match and move works. Basically, what it's going to try to do is when you have two slides and you use that as a transition, it's going to try to match from one slide to the next, and that's best just seen through example. So let's go ahead and duplicate this page. And this is always a good way to start with this animation is to start with a page and duplicate a page. That way, you have the same starting position of all your elements. When you go from slide to slide, and then on the slide that you duplicate, you can make those adjustments and start to have some animation between your slides. So, this match and move here. I'm just going to come right up here, and I'll just duplicate this page. And so now we have these two different pages here. Right now, everything is in the same place, so I could come up here and add this animation match and move 2.5 seconds, and I'll have duration turned on here so we can see our playhead. But as I scrub through here, we can see there's nothing happening currently because, of course, the slides are exactly the same. But if I were to come down here and then I'm just going to grab this match and move text, and I'm just going to move it straight down. I'm holding down the shift key as I move it down. Now I'll go back. And now, as I scrub through, we can see that that just slides down, and so it animates from one position to the position on the next slide. Now, I just moved this text straight down, but I also slit it over this way, now we can see it's just going to move diagonally down. So no matter where you move your text from slide to slide, it's then going to move it in a straight line when that match and move transition comes into effect. Now, what happens if we were also to resize it? So let me just click on it. Let me just drag it up to make it bigger. And then now we're going to scroll through here. And we see now, so it's also resizing as it slides. So again, moving on a straight line, but now also sizing up. Now, I wonder what happens if we come in here and change something on this, like this is center aligned. What if we go ahead and left align it? It's not going to make a difference or does it? Look at that. Now, because the alignment of the text is different from slide one to slide two. Instead of that constant animation, we get this animation where it fades from the first position and fades into the second position. This is a very important point to make because there are going to be certain rules you have to follow with this match and move if you want that constant continuous animation. Otherwise, you're going to get this fade effect where it fades from one location to another. Let's look at some quick examples with this square here, so I could come on this page, and we'll just duplicate the page, and we'll make sure we have that match and move transition in between, so we have that set up. And now, if I go on the second page here and we'll just slide it to a different position, and we can see, okay, that works fine. Maybe now I'll put it over here, and I'll drag holding down my shift key to constrain the proportions or my alt key to constrain the portions. Actually, that would have to be alt and shift to constrain the proportions. And when I do that, it stays and still a continuous transition. So, in other words, we're maintaining the ratio of length to by holding down that shift key when we do any resizing. But then suddenly, if I throw off the ratio, so now it's a different height width ratio than it is from that first one, and now we see we just get that fade. Okay? So you have to pay attention to these things as you go along, and continually check your animation just to make sure you're keeping that smooth continuous animation, if that's what you're going for, and you're not going for the fade effect. So I have that back here because I've again, have the same dimensions. But what if I come to this second one here, and what if I do something like I changed the color? What's going to happen there? Okay? Now, suddenly, if you add a color, if you add a gradient that's different on the second one than the first one, then suddenly it's going to return to that fade effect. Now, let me just go back to this example here, and I'm just going to duplicate this page, and we'll make sure we have that match and move in between. So actually, before I do that, let me just take this text here, put it right on top, and then we'll just duplicate this page. And again, we'll come in between these pages, make sure we have that match and move transition, make it a little longer here. But now let's look at the position of these layers. Match and move the text is on top. What if on this second slide, I take this match and move and I drop it behind, How is it going to handle that? Okay? So let's grab our slider and we see from one to the next, it does this fade where it fades from in front to behind, okay? So that's another situation. Another situation. Maybe I don't want this red square to move or I guess it's a rectangle to move somewhere on the screen, but maybe I do want it to expand sort of outward to take up a larger area of the screen. So let's try that. Let's just duplicate this page here. I will make sure we have the match and move transition in between. We'll make it longer like that. But then on the second page here, we're going to leave it anchored up here, but let's just drag it out this way and we'll drag it out this way. And of course, I'm sure I've changed the dimensions here. So now it's definitely taller than it was compared to the width before. But if I drag in between, we can see it handles that, no problem because it's anchored somewhere. And so it's able to do that transition seamlessly. So just be aware of all these things. If you start to understand these rules, you can start to do some cool things. Let me show you a couple more complex examples just to show you how you can make use of this match and move animation because you can do some pretty cool things with it. So this first example is something I actually saw somebody else create. And so you can often draw inspiration just by looking at the work of others around you and you start to understand these tools in amaba, you can start to understand how they created the effect. Okay, so on this first slide here, and I just have one right now, we have it where this one picture is sort of featured and larger than all of this. So if we look at the layers here, we just have a solid color background, and then we have a cutout of a woman, and then we have a name up top here. But of course, this one currently is larger than all these other three. So, what if on the next slide here, we wanted to cycle through and suddenly make this the featured slide. Well, this is something that we could do with match and move. So first, looking at this, I've set this up. So basically, one, two, three, and then this sort of takes up two columns. So this is sort of a five column layout. So it might be helpful when we were doing this to have guides here. And that's what I originally used to set this up. So let me just come under here and come under file. And if you go under sort of settings, you have this add guides. And if you go under add guides, you can add custom guides here. They give you some options here, but usually just want to use this custom. And so let's make this a five columns. And then you can click in another thing just to make sure it registers on this one. We don't want any gap zero. We don't want any gap here, so everything's zero. So now we can see that that matches up perfectly with the way we have the setups. I'm going to go ahead and click Add Guides. So now we have this visual guide helping us when we go to change these layers and change the size of things. So I'll just come in here now, and I will duplicate this page. Now, remember, on the second page, we want this one to grow now and be the larger one, and we want this one to shrink. So let's just start with the first one here. Here's this blue rectangle. We're just going to pull it in, okay? Maybe we want another guide, which I can drag out another guide to add to our guides just to sort of indicate where the top of the heads roughly are for our subjects. So I'll grab this subject here. We're going to scale her down to roughly that. I'm also going to just reposition her here, so she's more centered. Uh, where that guide is. So right there is good. And then the text itself, I want to scale down as well. Let me just hold down my shift key and drag it over here so it's roughly over centered over this other name here, and then I'll just use the Alt key and drag that down. So it's basically the same size. And I'll use my shift, and I'll drag it back over here. And again, I don't know why it positioned her here because, of course, we're making here smaller. So let's drag her over and let's size her in like that. We could size her up. Well, we can I think that's going to be how we have to do it like that. So something like this. And then this one here, I'm going to click on this rectangle. This one, we're now making bigger. This person, we're going to make bigger as well. So we're just going to drag her up, reposition her on this center line here. And the name I should have kept the larger name as a guide to make it consistent between the different ones, but I'm not going to worry about it too much. I'm just going to do something like that and put it like that. And now, if I scroll between these two slides, now you can see we have this sort of dynamic transition animation. And so this is the sort of thing you can start to do with this match and move animation transition that you have here in Canva. So let me sort to show you a more completed example of this. So I'm going to go into present mode. So just give me a second and we'll jump into present mode here, and I'll show you a more finished version of this project. So here I am using Canvas present mode, and you could imagine maybe a situation where you were giving a presentation where you wanted to use this sort of animation and sort of have one area of a slide featured at first, and then transition to featuring another column and another column. So now we have it set up, so here in Canva. We could do that, where we're going from one slide to the next, and then it's making this dynamic transition. Now, I also set up transitions for it to go backwards here, but it's important to note I'm not currently going backwards through my slides. I just have additional slide set up, and then you could also make it so they're centered out like this, so it's even. But if I go backwards using the back arrow now, it's important to note that this transition does not work when you go and reverse. Canva doesn't expect you to go and reverse like this when you're given a presentation. It would be kind of nice if the animation could play in reverse, but just know that right now that is a limitation. So if you go forward through the slide show, it's making use of that transition that you have between slides. So these are all slides going forward in my project. I just made some of the slides sort of reverse in order. But when I go backwards, then suddenly, it's just this hard transition. You still get a transition effect from one slide to another, but not that continuous seamless transition. So that's just something to make note of. But this is how you can make use of this match and move transition to get creative. Now, let me show you one final example using Match and move. Here is a fun project I gave myself, which was just a piece of educational content where I was recreating the animated Netflix logo. Now, of course, you always want to respect the company's trademarks. Copyright, so you're not going to use this for anything. This was just something where you're just sort of playing around to practice your skills. And so it is good to look at real world examples and see what you can recreate. So Netflix has that animated version of their end that you see them play a lot when you're watching something on Netflix. And so if I scroll through here, what I did was I just use the match and move, and I started to take these basic shapes and then use the match and move transitions to sort of play out the animation. And sort of recreate this animated N. And then at the end, I exported off finally a final MP four video version. So let's just play this from the start and see this video version. So it just plays forward and it plays back backwards. So this is something pretty cool that I was able to do entirely with the match and move here, within Canva and basic rectangle shapes. Now, something of note with this is when you initially create this match and move animation, and if I hover over slide, I don't know if it's going to show, but sometimes let's see if I switch off here. You can see where it's blue highlighted in blue down here. It does not let you have this animated part, the transition extend across the entire slide. So when you first export this as a video, it's going to play the animated part, but then you're going to have a pause where it's not animating. I did not want this pause in this final video version. I wanted to be more consistent to play almost continuously. So what I had to do was I had to export it once as a video, bring it in and then use sort of the trim options to come in here and trim off the parts that I did not want. So I actually exported this twice as a video from Canva to get this final animated version you see here, but I did it all with the match and move, and then bringing it back in to use Canvas video timeline to trim out the pauses and the parts I didn't want, okay? So just another option of where you have to think creatively think outside the box and then understand the tools you have in Canva. So this is the Canva Match and move transition option. So make sure you play around, have some fun and see what you can create. All right, thanks for watching. I'll see you in the next lesson. 34. Using Rotate to Create a Record Animation: Let's just work through a simple example. Part of this is knowing what animation options Canva has, all those presets. Another part of it is just thinking creatively. I've come in here and I've searched for record player under elements. I'll go under photo and under photos and let me grab this photo right here. Let me just scale this up to fit in the center of my thing here, and then I'm just going to grab a circle frame. I'm just going to type in circle frame. Again, if I go to all, I should see this option here. And then I want to position this sort of over my record here. And this is one of those cases where you could use rulers if you want to get this lined, exactly. So maybe I'll hit something like Shift DR to show my rulers. I could zoom in here a fair amount, so when I drag out guides, I can really get these guides right in the center there. Then I'll go ahead and fit this back to screen, and then I'll bring my frame over and just get it so it really snaps. You'll feel it snap to that grid there. So right there, look centered, and then I'll use the alt key on Windows, that'd be option on a Mac and just drag out from the center, and I'll basically get this to fit my record player. Doesn't need to be perfect. But something like this, now we have the circle frame over this record player. And now all I'm going to do is come back under here, clear that out. I'll just grab this photo here. A photos going to do. We'll put that one in here. And then if we come down and we just lower the transparency on this. So we'll grab this and we'll lower the transparency down a fair amount. So it looks like the photo sort of is blending into the record right there. And then, of course, it's a record player. So, what do we want to do? We want to animate this and let's come under and find this rotate option here. And then suddenly, this is really cool. So if I just supply that here, and then we'll go ahead and hit play. And just like that, we have something really cool that we got to very quickly just by knowing the options, knowing we had that rotate option, knowing we could bring a circle frame in here. And so very quickly, we got to something cool. And then, of course, you could play with this idea as much as you want. So here I am in another project where I'm attempting to be a Canva DJ here. So if I just hit play bop, bop. So we added that little scratch at the beginning, just for fun by bringing in some audio tracks fooling around. And this would be a cooler way to do a slide show. So you could have something like this where the pictures change as the music change. So this would be a kind of a clever way to show photos as opposed to just the typical photo flage. I think you can get an audience's attention if you have something like this on social media. They're more like to stop. So it is about being creative and just having fun with these ideas. But this idea just came about because we understood the options that we have inside of Canva. So I encourage you to get to know these element animate options within Canva. Allow yourself to think creatively, and before you know it, you'll be coming up with some of these cool ways where you can make use of these animations. Alright, I'll see you in the next lesson. 35. Record Animation Part 2: Let's look at the record example we were playing around with in the last video. Let's look at that a little further. So we know by now there are multiple ways we can do things. In the last video, we were sort of lowering the transparency of an image and putting it on top of that record player so the record player would show through. But of course, now we know we can create our own custom frames, we can create our own custom textures. So let me show you what else you could do. So I'm going to come in here under my projects, and I have saved off a frame. So I'm going to come in here and I'm going to look for folders. And I'll look for my favorite frames folder. I could search for it up here if I didn't see it, but here it is right here, and here is this record frame project that I created. So let me just bring this out on the screen. Now, let me break apart what we're seeing here, because when you save off a frame like this, you have a file and you save the file that has that frame, and you can also have whatever you want in there. So, in essence, what I just did was I added a page from another project. And if I break down what's in this project, I can see that I have one, two, three different items here, three different things. But these are all actually frames. Let me throw away the top couple, so let me throw away this top one. I'll throw it away this other one. And we can see that there was actually just a frame there. So if I go ahead and I right click and detach image, this is what I started with. This is the frame that I created. And then once I had saved this to my favorite frames folder, this project, I'd actually added some stuff to it by then. But we can see this frame here has a little hole in the center just so it has that feel of a record from our first couple lessons on custom frames. We know how we can work in Photop. We can create any kind of vector shape, Even if we're not starting with a vector, we can bring in any image. We can make selections inside a photo pe, and we can turn that into a path, and then we turn it into a vector shape, which we bring back as a PDF here in the Canva, and then we have our custom frame. So I can come up here and if I go to my background and I change it to yellow, we can see yes, that yellow is showing through. So I do have this knockout in my frame here where we can see through to the background. So that's just, you know, custom frames. Just to review. We can do that. We can create custom frames. Let me change this back to a white because that yellow is going to drive me a little crazy, I think. So actually, I just put the color there in my frame by mistake because the frame is on top, so let me select the background layer and make sure I have that. I can't see the frame, but it's still there. Let's add something to the frame. So this is where I'm going to add any kind of picture. So let me just come under my under my uploads tab here, and I have this fantasy art stuff I was playing around with just using the text to image generator. So let me just drag this one down. We'll make that our image. Doesn't matter so much what the image is right now, but we'll use that. And then I'm going to bring a custom texture and put on top of this. But I want the texture to also sit inside a frame. And so if you remember frames and textures and some of the past lessons, you know by now that you can stack frames. So what I'm going to do is I'm going to come up here and I'll just make a copy of this, so I'll hit Control D to duplicate. I could also use these three dots or right click. Find this duplicate. Now I have another frame. I'm going to drag it, so it's snapped, so I make sure it's positioned right on top. And then I'm going to add something different, because right now, all I have are two frames with the same image in each frame stacked on top of each other. I don't want that. I want my custom texture. So, again, I brought in a custom texture, which I created in Photop just by bringing in a photo of a record, and then using those blending techniques we learned in earlier just come here under my projects tab, go back out here, go back here, and we're going to search here for favorite textures. So, here it is down here. I don't even have to search. I see it right there. Here is this record texture. So this is what I'm going to drag and put into this frame. And so now I have a frame with my photo. And then over top of it, I have this frame that has this texture. But because they created a texture using those techniques we used in earlier lessons, we learned in earlier lessons, about how you can make a semi transparent texture. This is letting my photo show through underneath that's in the frame below. So now I have this cool textured look that gives this sort of the look of a record here. Now, of course, if I wanted to animate this, I could come under here. I could go to the bottom layer here. I could come and I could select rotate if I want to, and I could make this rotate itself. I actually have the texture over top rotating as well. So if I go under here now, you can see how they both rotate. Of course, I could decide I didn't want the texture to rotate, maybe. I just want to see what it looks like with just the underneath layer rotating, so I could come up here under rotate and I could select that, and I could remove the animation. Now if I go and I play this, now we'll see that the texture isn't spinning, just the layer below it, so that might be interesting. But of course, if we wanted this to be the look of our record, we probably would have them both animated. So let me just hit Control Z until we add back that animation on the top layer, and I've gone too far. So Control Shift to bring back something. Let's see what I've done now. Do I have my texture spinning? Yes. Now I have my texture spinning again with that. So this is just to show you that there are different methods. For getting to the results you want. And the last one, we lowered the transparency, and we had to sacrifice some of the photo layer because we couldn't see the whole photo layer. And this one, we actually brought the texture in and the texture itself was semi transparent, allowing us to see through to our subject. Now, let's take this even farther. I'm going to make a duplicate of this here, so I'm going to come here and I'm going to duplicate duplicate that page. And now on this page here, let's take all of this. I'm going to come in my position Men. Just make sure I have it all selected here, and then I'll just grab from the side, holding down the Alt key. I'm going to make all this smaller, okay? Now, let's imagine, I'm going to search for something like musical note, and you can see I pulled this up earlier. Let me just pull that back up. What if I wanted to make this part of my animation? Actually, let me make all of this in the center a little bit smaller, drag it in a little bit. Now this musical note actually control Z because I lost that. I want to make sure these stay aligned here. Let me grab this up here. I'm going to make this slightly smaller. But okay, now, I have this element here. What if I want this to rotate as well? I want these musical notes to rotate. So we know I could come under the animate option, and I could choose rotate. But of course, it's just going to rotate up top here because what happens is when you have an image and you choose rotate, it rotates around the central point of that image. And because we see the blue lines here, the bounding lines around this, it's just going to rotate around where my cursor is right now, right around that center point. If I click on this here, well, this is the absolute center, so it rotates around there and we get the effect we want. So for this to rotate, do you have any idea how we could make these musical notes rotate around the outside of our record? Think about that. We wanted to rotate around the outside of our record. So really, we just wanted to rotate around the center of this document because that is the center point also for this frame that we have underneath, okay? So here's what I could do. I'm just going to take this whole thing. Let me duplicate this page one more time. And then on this duplicate page here, I'm just going to get rid of everything except for these notes up here. Now, I'm going to come under the share menu. And I'm going to download this? I only want to download this page as a PNG. So let me go and make sure I only have page three selected. So current page page three, and then transparent background. And then instead of coming up here, I want to click download. So let's get it right this time. So now it's downloading that. We're going to call this musical notes. And I think I did this once before, but we'll call it musical notes, slightly different spelling. Here it is. So it's downloading up here. Here's what I want. I can drag it right back in. So it doesn't take much time at all to bring that right back in. But so what have we done? What's the advantage of that? And we can see that I did not bring it in with transparency. I don't think. But I did previously. So let me just show you here it is right here. Here's the one with transparency. So let me come back up to this one. We no longer need this note. This notes not going to rotate the way we want. So let's throw that away. Here's the newer version, the one we brought in with transparency. Let's position it in the bottom corner. So here it is. Actually, I put it in my frame, didn't I? Let's try that again. Remember, you can't click inside the frame or it's going to want to snap in the frame. So let me try that again. Let's drag it up, so it's fully space from side to side. So now here's where it is. And so now suddenly the central point of this is changed. So if I come to animate this now, and I go under my rotate option, what happens now? Now, suddenly, we can get this to rotate around our record. We could even have it go in the opposite direction, okay? But let's take this even farther because once you start to do these sorts of things, you really can play endlessly. So here's what we're going to do. We're going to hit Control D to duplicate that layer. We'll make sure the notes are back on top of each other. We'll spin it slightly. Now, let me come up here under the position menu just so we can see our different layers. We're going to take both of these, and we're going to group them together. But then let's duplicate it again. So control D to duplicate. I'll put it right on top of each other. Let's spin it again. Okay? You get the idea. We're going to select them both, group them together again. Again, control D to duplicate, position it right on top of each other, spin again. Okay. You get the idea here. We're just going to keep doing this until we go all the way around the circle. I'm just grouping it. I'm hating control D to duplicate it. I'm dragging to make sure it's in position exactly, and then we're rotating around. Now, at some point here, if I want this to line up perfectly, I'm not going to be able to duplicate the whole thing. So let me just come ahead at this point, select all of these, ungroup everything. And then I think I just need the top few layers to let scrab one. Two, and at this point, I can control click or shift click. So I'm going to grab those three. I'm going to get control D to duplicate. I think I just grab those last four. So there we go, make sure they're right on top of each other. Again, we'll rotate and that should just about fill out the circle. I think I need one more. So let me come up to the top, Control D to duplicate, grab that one, and then rotate it one more time. And now we basically have that full circle. So now I probably would grab them all here. So let's grab them all. We're going to group those together. So here's my group option up here. Again, if you can't see everything, you might have to fit or go 50%. Make sure you can see everything. But just to show you now I have all this in one group. But then what I can do is that entire group, since I have it in a group here, I can animate, I can choose my option, so maybe I want these to rotate at a certain speed. These are going to rotate pretty fast. Let's make them go the opposite direction pretty fast, But then also, maybe I want to add another group. So let me just come back under position here, Control D again, right? We're going to actually make these spaced a little bit in between like that, but then maybe let's size it all in, so I'll use the lt to bring it in a little bit. And then the let's change the rotation, so it's going to be something different. So maybe these will go the other direction, a slightly slower speed. Maybe these will flicker. Maybe I'll go back to the other ones here, and let's go under animation again. Maybe these will this pulse effect, okay? So you get the idea. You can play around here and you can really start to create interesting animations from simple elements just by taking your time and using all these different techniques that we've learned and you have at your disposal, okay? And then when you create something you like, then you can save it off as an asset. So if I created something that was spinning around sort of a central circular frame, And I thought, Okay, that's a cool animation. I might want to use that on my social media to make something pop out occasionally. I could save off this page just like I had the frame saved off, and then I could bring this element into another document whenever I want to very quickly, and I wouldn't have to do the tedious work you saw me doing it now, copy paste, copy and paste. The idea is you're creating reusable assets that can save you time in the future. All right? Thanks for watching and I'll see you in the next lesson. 36. Mastering Custom Animations: Let's talk about a type of animation in Canva, which we have not talked about yet, and that is the ability to create custom animations. Now, I put together a little scene here, and these are all just elements I was able to find in Canva. So I brought in and grouped some of these flower layers here at the bottom. And then using basic shapes, I put together this box here with made it look like you had some dirt in here and some flowers, so this could be a little garden. That's in the center mycin. Then I just put some texts on front and found a cool image to put in the background, and of course, we have this little animated B here. This was just for fun putting this together just so we could demonstrate this custom animation tool. So if you click on any element in Canva, and then you come under the animate options. We've seen all these options down here. We have not yet talked about this create an animation up top, this first option you're going to see when you have something selected, and this gives you the ability to create animation on a custom path that you defined by moving an object around in Canva. Let's click on this now and explore the options. Okay, so it's going to tell you you can select and drag an element around to create your animation. If you hold shift, you're going to draw on a straight line. And you can control the speed by just how fast you're dragging the object around, and then you can stop dragging to complete your animation. And then once we do that, we're going to have some options. Okay, so let's try this out. Let's imagine we just wanted him to fly straight across the screen. So it says, I can hold shift to do that. I'm going to hold down shift, and I'm going to drag him, and I'll drag him across like that. And then it's going to play the animation, and you can see, It has a little pauses where I pause my mouse. I didn't do a smooth drag. But if I come in here and explore these options, then suddenly I can smooth it out using this option here and he sort of eases into the animation and then eases out of it. So that's got a little bit of an ease in and an ease out. If we just do steady, then the whole thing is just going to move in one constant speed across the screen. So constant speed, if it's steady. If it's an original, it's going to keep all the jerkiness you may have had in your hand motion. And if it's smooth, it's just sort going to ease into the animation, and then it's going to ease out of the animation. It's really up to you which of these you like and which is going to work for your animation. The other options that you have after the fact is you can adjust the speed. See, I drag that way down, and suddenly he's moving slow. We still have that ease in and knease out because we have it set to smooth. I could switch it to steady, and we can see he's moving much slower now since we changed this animation option down here. We could speed it up, and then suddenly he's really zipping across the screen. So you have all these options. Other options we can explore. But if you don't like your path, you can delete the path. Let's say we didn't want them to go in a straight line. You have this path that's represented by the dotted blue line here. We can delete that and we can start all over again. So this time, we're going to click and drag him around, but I'm not going to hold shift. So this time, I'm just going to have him fly all around, maybe he's doing some loop de loops, and he's going to end up over here. So when I release, we go ahead and we see that animation, that's really cool that you can create your own animation path like that. Now, of course, we can adjust down the speed if we want him to go a little slower. So now he's moving in the same path, but a little bit slower. If I want it to be more steady, I could try this one, so he's just in a constant speed. Now, when I do steady, for some reason, there we go. It wasn't playing all the way through before, but there it goes playing all the way through now. And of course, with a smooth option here, it's going to have that ease in and that ease out of your animation. It's going to start a little slow, pick up a steady speed, and then it's going to slow down at the end. Um, the other thing we haven't talked about here is this orient to path. Right now, this B is just facing horizontally. He's always looking at this excuse me. He's always looking to the left side of the screen here. But suddenly, if I orient to path, watch what he does now. Now, suddenly, based on how I move my mouse, he's going to flip around. Now it's not going to make a lot of sense for him to do back flips like that because I went in all sorts of direction. But if I kept that in mind and did this again, so let me delete this path. Now I'm going to click and drag, but I'm only going to go in loop de loops like this, forward motion. Then I do this orient to path. Well, then it's a little bit more like maybe that could happen. Never seen a B fly like that. But that's what this orient to path does. That will let your character, your element rotate as it moves along the path. If you don't want it to rotate, you just leave this turned off. Let's go and try to do something here where maybe he flies from flower to flower, and then maybe he stays on each flower for a little while. Move my background, let me hit control to bring that background back. Actually let's just jump out of here and then we can make sure our background is in position. Okay. So we'll click on them again. And anytime you leave the tool and come back into the tool, it maintains the last path that you however you left it, but you can delete the path at any time and start again. So let's start again. So I'm going to have him maybe stop at each flower. Maybe I'll skip this first one. So I'm going to shift and sort of have him hop over here. Then I'll pause, but I'm not releasing shift. I'm going to come over here. I'm pausing, not releasing shift. I'm going to come over here, pausing, not releasing shift. Then finally, it's stopped because you can only do this for so long, and then it's going to stop your animation. So I was just taking a little too long, so it did cut off my animation at the end. Let me just maybe I'll have them only stop at a couple of flowers. So you have some limitations in here, but let me go ahead and delete that path, and let's try this again. So we're going to have them fly here. Maybe he'll do more of a straight line, and then maybe he'll come over here and then that's going to be the end of my animation. Okay? So jumping from flower to flower. You could have them pause longer. You could do this anyway you want. But let me lower down the speed here. I'll take it all the way down to zero. And then let me just play this for you here. So one thing that's helpful is if you click on this start duration tap, right now, if I have this selected, I can see with this slide selected that it's 7.9 seconds is actually the amount of time this slide is going to play. But if I do the duration tab, then suddenly, I can see it right there on there. And I can also actually change the length of my slide just by dragging out the handles, which I'll do in a second. But I also have this play button here and this playhead, which can be helpful because you can just drag this playhead through your animation. So anytime you're working with something that's animated or a video like this, it is helpful to toggle on this video timeline. If you don't see it, it's hidden down there, you can toggle it up here. There are a few types of projects. If you start at, they don't have the duration option here. But if you start at any type of project that's a video or something that expects you might bring an animation, then you can tgle this up. You can always tgle this up, but then you're going to also get the duration option here. Now, I want to explain this 7.9 seconds related to the speed of this B. When his animation speed is all the way at its lowest. And then I come out here and I play this. Watch the playhead and we'll notice that it takes him the entire length of the video clip to complete his animation. That's why when you have the speed set higher, then suddenly, sometimes it's going to time out because it's timing it out, so if you drag this to the slowest speed possible, it's going to take up the entire distance of your playhead. But this is also relative to the length of your video clip. In other words, let's watch how fast he moves now. When this is 7.9 seconds. He's moving along at You know, reasonable rate, and then it gets to the other side. But suddenly, if I don't change the speed, but I come down here and I drag this clip and suddenly, I'm going to make it so it's only let's say 2 seconds. And now, if I hit the play button, suddenly, we'll notice he's moving a lot faster because it's always going to want it to complete the animation path within whatever time you have set here. So I have set at the slowest speed and I made it shorter, and so suddenly he's moving faster because it still wants to complete the animation within that 2 seconds. However, let me hit control Z to undo that. Interestingly enough. If I do the opposite, we might expect them to get even slower if I drag it out to the right. In other words, let's play it here at the 7.9 seconds. Remember, this is the speed he's moving here, so he completes it by the time he gets to the end. But now I can come on here and let me just drag this back. But if I drag this out, let's say I make it like 30 seconds. Now if I hit play, suddenly, let me bring my play head back. Now, if I hit play, suddenly, it's not going to adjust the speed. It's going to keep it at about that 8 seconds. It takes him to get to the end. But then we have all this space here where he's not moving, okay? So it will adjust the speed if you're making the clip shorter because it wants the entire animation to fit within the clip. However, you can make it longer, and then you're going to have some space at the end of your clip where your object isn't moving. So just keep that in mind. It's a little quirk that you just have to become familiar with. Now, you might be wondering if I make this timeline a lot longer, can I record longer animations? Well, I wondered that as well. And when you're dealing with this timeline, if you do this slider, you're zooming your page, but you have this little icon right here. If you click on this, then suddenly you're zooming in and out on this timeline. So I can zoom in so it gets bigger, I can zoom out, so it gets smaller. You notice the 30.8 isn't changing. I'm not actually changing the length of that slide. I would do that by dragging out the sliders on the end. I'm just changing my view here, okay? So I make it a little smaller, zoomed out a little bit more just so I can drag out, and let's make this longer. So if I make it sort of 1 minute and 47 seconds, does that mean I can record a longer animation? Now, let's actually go back here and let's duplicate this B, so I'm going to hit control D to duplicate. And this one has the same animation path when you duplicate something, it moves the path along with it, but we're going to delete that, and we're going to record a new animation just to see, since we made our timeline a lot longer here, And it's 1 minute and 47 seconds. Can we record a much longer animation. So I'm going to go ahead and start dragging this guy around, dragging around, and we'll see whether it lets me record a much longer animation. So just dragging around and you'll see that no, it's still going to limit you. So you can't drag out the timeline and make it way longer and suddenly be able to do an animation that's a lot longer. It's still going to cut you off, okay? But let me show you one other thing. You can still make longer animations. You just got to get tricky with it, and there's actually another feature in here that can be really helpful. So let me show you that. But first, let's throw out that path. Let's take this B. Let's leave here for a second. Let's flip them around this way, and then maybe he's going to be somewhere in the foreground. Let's just move them down here. Now, I think my flowers here are definitely a little out of scale with what they should be, but we're not going to worry about that. We're just having fun here. Okay. So now I'm going to animate this B. And let me just start by recording a basic animation here, create an animation, and we're going to drag him, move him along here. Maybe he's flying like this, and then we'll just have them stop by that flower. We'll let that play. I'm not so concerned with the speed, but here's what I'm thinking. What if I want this B to do all his animation first before this B ever starts moving? Maybe I just want him hovering there. Is there a way to do that? Well, there is if you know some tricks, and I'm going to show you those tricks right now. There's another option that's hidden under here. If I right click, you have this ability. Let me get on my B again, let me right click and choose this show timing option. If you don't see this, you may have to change your project and you could go resize and magic switch if you have a pro Cama and switch to a video or something where it expects animation. Because if you have a project where it expects animation, a project type, then it's going to have this show timing option. And what that does is suddenly now you see an independent timeline. So here's our main timeline down here. But now I'm seeing another timeline for the object that is selected. If I select this B, now it looks like I'm seeing the same timeline, but that's actually a different timeline than what I saw for this B. I could select this here, and suddenly, I'm going to see a timeline for that group. So you can start to see the individual timelines for the things in your project, and that can be super helpful. Let me show you what I mean. Let's bring our playhead all the way back to the beginning. Remember, this clip is 1 minute and 47 seconds. Let me just hit play, and I'm going to wait until this initial B makes it all the way across the screen. And when he's all the way across the screen, I'm going to hit the space bar. What the space bar does is it stops your playhead. So at any point in time, if you're playing something and you hit the space bar, it'll stop the playhead right there. So I'm going to let it play a little bit farther. You can hit the spacebar to stop it, you can hit space bar to start it again. So the space bar will start and stop your playhead. Now that I have the playhead right here. Let's imagine that's where I want this B to start his animation. Well, I can drag and move this whole thing. Now, if I try to move the whole thing right now, I can't because it's already all the way at the end. But if I scrub through the end of this, I would see that it's not even moving past here. If I go all the way through here, you see that B isn't moving, he's only moving in the first part. See, there he is moving, but now he's not moving. Let me get the playhead back to where that be up top stops. What I'm going to do is I'm going to drag back because I don't care about all the trimming off all the end stuff or he's not moving. Then I'm just going to slide it. Now I can slide it because I have some space at the end. Now what happens is, I don't know if I got this precisely lined up with my playhead. But again, this is where zooming in and out can be helpful. Notice I'm zooming in and out on my thumbnails, not on my frame up here. I'm going to zoom in. Then suddenly, I can more precisely line this up with my playhead. Now, there is a problem with this, but I'll show you the workaround. So if we drag this back now, we'll notice that, okay, let me first just switch back and fit this to screen, so we're seeing everything here. Now, if I play it, this B is flying. The problem is we lost that B because he doesn't come into the timeline here, we don't even see him. But then once this stops here, then there he is. Now he comes in, okay? So the problem is I want him to be just hovering until this point here, and then I want him to fly. Well, we could do that. We just need another copy of this B. Let me select him. I'm going to hit Control D to duplicate him. Now I have an alternate version. With this version here, I don't care about the motion path. He's just going to stay still, so we'll delete the motion path. Let me come in here, make sure I believe I deleted the motion path. I think I did, and then we'll bring him down, so he's right over top of this other B. But then for this B, I just want him to be all the way back here. Then when the playhead gets to there, I want it to stop. So let me come here and let me zoom out on this. So this is where zooming in and out is helpful. I want to drag this back until we're pretty close to the playhead there. Now let me make it bigger just so I can see a little bit better and be precise, so you can go as far as 500%. Then I'm going to drag it to right there. That should be where my other B comes into play. So I could even move this guy up for a second, just so it's easy to select both B. Let me just drag this so we can see the beginning of the time line as well. But now I can go back and forth between Bs and see where both of their timeline is lining up here in relation to the playhead. This one looks like it's right on the playhead pretty much. If I come to the one below, it looks like I need to make a slight adjustment. Let's drag it back. Now they both are really lining up with that playhead. And so now I could zoom in or out on that. We don't need to worry about that, but let's actually play this through now. So I'll drag this back a little bit. But now let's just drag our playhead from the very beginning, and now let's hit play and see what happens. So the bees hovering, this bees moving across the screen. We're seeing the one copy of the B. The other copy hasn't come in yet, but now it does right there. And it looks like maybe let me just hit the space part of stop. It looks like maybe there's maybe a second where we see both bees, but I know what the problem is. We never realigned our Bs, okay? So remember, they were sort of in different places. So there, there's one frame where I can see both of them. What I need to do is grab this top B, and we want them right over top. That's what was the problem was. So let's go back now. Let's play this one more time all the way through. So we're seeing that one B, we're seeing the one copy of the B. But then when he disappears, the other copy of the B is going to come in, and it's going to start moving. So suddenly now, we've removed that limitation of only being able to create an animation that lasts so many seconds. Now, we could fill up this whole 1 minute and 40 seconds just by making some duplicate copies of the bees, using that trick I've just shown you. And so now suddenly, this custom animation tool is just a playground where you have lots and lots of options. So make sure you get in and play around with this. I think we pretty much covered all the options. Let me just go under animate for a second back here under this create animation. This is the one that's just hovering, but we'll make them do something real quick just to look at the options one more time. And we talked about all these. I think what we didn't mention were these other effects here, so you can have them flying along, and you could also have them rotate as he's flying along. And then that has some settings where you change the speed of rotation. So now he's just rotating along, and then you can make them flicker, you can make them wiggle. So there are a bunch of different options you can play with in here along with all the options we talked about already. But this is a really cool feature in Canva, the ability to do custom animations where you define the path. You have lots of options. And then if you use that show timing option, you can control where things appear on the timeline, when they come into your scene, when they leave your scene. If you make duplicates of an object, then suddenly you're not limited by the amount of seconds of animation you can record, you really can make an endless animation. Have fun with this. You can do some really cool things, and I will see you in the next lesson. 37. More Play with Custom Animation: Okay. In the last lesson, we learned all about this custom animation option in Canva. We went over all the options, but I always like to give you some creative ways to think about using tools. So let me show you one other way you could use this custom animation tool. So I'm just going to put use this keyboard shortcut C to put a circle on screen. I'll make that a little smaller. And let me just use Alt while I drag out this object. So if I click on it, then hold down the Alt key and drag out, I can make a copy. Of course, you can always right click Duplicate. You can also go up here, choose duplicate. So I'm going to get a couple of different options here. Let's just give these some different colors. So I'll make this one here green. And we'll change this one to blue. Okay. Now, I'm going to animate these using the custom animation tool. So I will leave the size like this, I think, and I'll start with this one. And then I'm going to again come under this animate option. We learned all about this in the last lesson. Come here under create animation, and I'll just drag this sort of across here looping around. Somewhat random, and then I'm going to do this for each object. Now, I think I'm just going to choose steady for my animation style here with all these. I'm not going to worry about the speed so much yet. Let me grab this next one. Same thing. Actually, before I do that, let me leave that. I want to position these first, so maybe I'll put these two over here. I'll put these on this side, just really experimenting around here. Experimentation is a good way to sometimes stumble across new ideas. I'm going to take this one here and I'll do the same thing where we're going to animate this, create an animation, and we'll drag him across, try and do it at about the same rate as the last one. We'll do this for each of these, create an animation, drag him across. He'll loop and come back to this side. I think I forgot to choose steady for that blue one. Let me just back out here for a second. Choose this blue one, switch him to steady. Those are steady. Then we haven't done the green one. Let's do the green one. And something like this. Okay, steady. Now we have all of these that play in this little animation. Now, of course, I might want to take these and position them all behind my text. Of course, we could use a little playhead here, hit the space bar to go through, and so that's cool. Just like this, you can do things that are pretty cool. But one of the tricks you'll see me use at multiple points during this course is grouping things and also sometimes creating duplicates. Now I have another slide here which I don't need. Let me just get rid of that. But what I'm going to do is I'm going to group all these, and that's control G on my keyboard or you could just use this group button right here, group them together. But then what I'm going to do is going to make a copy. Control D to make a copy. This copy here, what I'll do is I'll hold down the t in size it in a little bit. Then you could even now come in here and adjust the animation for all these, since you have them selected as a group now, when you come in here and animate, and we go under this, create an animation. Suddenly now, we can come and do an animation as a group, but they should already be individually set up. If I ungroup them for a second and I go now, you can see that they all have this custom option. If I group them back together, then suddenly it's going to let me reimate. But I really want to just animate them all at once, and I want to use this custom animation. They all have it applied. So I just had to ungroup so I could see this option, and now I could come in here and now I could adjust the speed for these. So I can make those go a lot faster, or I can make these particular ones go slower. Okay. So it's just given me some different ways to come in there and adjust that. So that group, again, I might group those back together because I think they're now on separate layers, but they're still all selected, so I could group them together. So you could play around by varying the groups this way. You could also just hit Control D to create a copy, and then maybe you might change the orientation. So maybe I'll do this like this because now if I hit play, I'll have some that come through the center of the screen like that. And again, these are at that slower speed. Maybe I want some to be at the faster speed, which I believe is this one that's behind everything. So I could go ahead and I could copy that layer, and we could rotate that as well so that we have some moving at a faster speed. Let's get the play it back to the beginning. We'll hit play. And suddenly, we have a whole bunch of circles doing various things. So again, I could take all of these now. Let me take all these groups and move them to the bottom, and then I'll take all of these groups and group them together. So you can continue to put more and more things into groups like this. Now, what I'm going to do is just resize my screen so I can really see what I'm doing here. I'm going to duplicate this whole larger group, hold down the ult key. We're going to push that in. Now, when it's in a group here, it's actually varying the shape. I didn't realize it was going to vary the shape like that, but I think it's because I'm resizing these handles while I have a group selected. Now suddenly, I have a different shape. If I didn't want to vary the shape like that, let me just hit control Z to undo it. Now, with everything like this here, I didn't put everything in one group. Let's put everything in one group. Control G, everything in one group. Now if I re size, I don't know why before it did from the center. I didn't expect it to resize like it did there, but let's hit Control D to redo that. Now I'm going to do lt. I think before what must have happened is I must have accidentally pulled from my side handle. So if you pull from the side handles like this, you can adjust the shape. I'll hit Control Z because I really want to keep them as circles. But if you do want to change the shape, you can use those side handles. I actually just meant to grab the corner handle. Must have accidentally grabbed the side handle. But now with the corner handle, I can suddenly adjust it, right? And so then maybe I also want to hit controlled D to just duplicate it again. Bring it back here, but this time, I'm going to rotate it, right? And then let's just hit Control D to do it again. But then let's pull this back out to bigger again. So all these different things. And then when I hit Play, then suddenly, we have all these circles animating. Now I can grab them all, pull them down. At any point in time, I can group them all together. I can grab the transparency and lower the transparency of all of them. Now if I hit play, let's go let's hit play here, and let's just watch this whole thing. So let me bring you the playhead back. Let me unselect things just so we can see a little bit better. Let's make this a little bit bigger so we can really see what's going on and hit play. So now, suddenly, we're starting to get this interesting animation because we got so many of these different circles. Uh, so I have a couple in here that aren't animated. So I've made a few mistakes in this, which is okay because this is really just to give you the idea to think creatively, okay? It only takes a second to duplicate and duplicate and you get these bigger and bigger groups. And then suddenly you've taken something that was just one single circle and suddenly you could turn it into something totally different. Here's an example. I could zoom out here and I could grab part of this animation, and I could just make it totally bigger. So actually, let me ungroup for a second. And then if I come under my position tab, let me just control click to get this one out of the group. I'm moving this top group out. If I control click, that's going to be deselected. Now I can group all those other ones still together. But now this one is its separate group. So let's bring this one back up here. Actually, this is a solo circle. So other words, I didn't grab them all. But this one circle, I could make this one circle. I could make it huge just like that. Now if I suddenly that circle is going to be doing its own unique thing because it's moving across the screen. Now if I hit play now, now suddenly we get a whole another element where we have this one big circle. So really, the only point of this. I don't think I ended up with a great animation here, but sometimes you might have an idea, and you might get something that you think is really cool. The only point of this is that you really should play around, be aware that you have these tricks, you have the ability to change scale, you have the ability to group, you have the ability to resize. So all these different things can come into play when using this custom animation tool and just using different techniques in concert with each other, you can get some really cool results. All right? Thanks for watching. I'll see you in the next lesson. 38. Custom Animation Challenge: Okay, welcome to the custom animation challenge. Since we just had two lessons all about the custom Animation tool in Canva. In this lesson, I want you to do something where you incorporate custom animation. Now, you can create a full design like this if you want, or it can be much simpler. Anything is fine, but I want you to add some element of custom Animation. Now, by custom animation, I mean, you actually want you to click on a element, and I want you to actually use this created animation. So actually let me get outside of this and back out. I want you to come in here and use this create an animation tool. So this is what I'm calling custom animation. You actually come in here and you click on this, and then you're going to click something. You're going to drag it around, representing the animation you wanted to take. And then you can play around with all these options in here, which we talked about in the last lesson, okay? So any sort of custom animation, I'd like to see what you create. Now, just a few reminders for you. Remember if you click on this duration tab, then suddenly you can see the length of your slides here, so that can be helpful. If you need to zoom in and out on your timeline, you can click over on this, and then that lets you sort of switch back and forth between zooming up here. And if I click again and the timeline is now selected there. Now I'm actually zooming in and out on the timeline. Just lets me have a little bit more precise control. Something else that is very helpful. Remember, if you have this duration option, you can also click on any of the elements in your project and you can right click and choose show timing. And then suddenly, you're going to have a timeline for your subject, whatever is selected, along with the main timeline. So that's very helpful because then you can reposition where in a particular slide, that animation is going to take place. And this is a little trick we can use, as I mentioned, the last video to get beyond that sort of recording limit that Canva has when you use this custom animation tool. Now, for some reason, you're in here and you don't see this show timing option. So let me see here is high timing. But if you don't see high timing or show timing, and you don't have this duration option, then you might be stuck in the older Canva editor that doesn't have those video options. It's possible to launch a project that doesn't have this new video editor. And actually, in an upcoming lesson, if you look forward in the course to one called forcing the new video editor, you'll see there actually is a way to force this editor. Besides just choosing a particular project dimensions, there's a way you can force it. So look ahead to that lesson if you need to. But in this lesson here, we're just going to have this challenge exercise where I want you to create some sort of custom animation. Anything you want, anything at all, just have fun, And then you can come up under the share menu, and you can come down here and if you want, you can grab a public view link. This lets people look at your project. They can't make edits, but they can look at your project, or if you want, you can download appropriate media. And then here in Skillshare, just come under whatever challenge you happen to be currently working on. Then come under here and come down to this discussion tab, and then you can actually use any of these tabs, start conversation, ask question share project. Any of those are going to work. Just come in here and either insert the link if you have that public view link or if you download some media to share, use this ad media and you can upload your media that way. And that way, we can check out your challenge. We can all get inspiration from each other as we share challenges here. And you can offer critiques, just keep your critiques friendly and try to be as helpful as possible. Alright, I'll see you in the next lesson. 39. Thinking Creatively - Creating an Animated Sun Burst: In the last lesson, we were really talking about how if you're willing to just utilize the skills you learn here and play around, then sometimes you can end up with something really cool, even just starting from a few basic elements. So we're going to go through another example of something like that in this lesson right here. And I'm going to create something really cool just from a circle and one little animated asset here, but we're going to turn it into something much more dynamic. So I'm just going to start with this circle here. And then under my elements tab, I'm going to search for this flame. There is right there, but all I did was I typed in flame. I went under my graphic CL, and I found this animated item here, which I think is a pretty cool little animation, but by itself, it's not that exciting. So here's what we're going to do. Let's take this circle. I'm going to get it right in the center here. I want to scale this up a little bit, so maybe something like that. Then I'm going to position my flame right at the top. Let me scale this down ever so slightly, and then my flame. I think I need to scale my flame down ever so slightly as well. But then going back to the circle, let's make sure it's centered exactly in the center. All I'm doing is dragging it, waiting until I feel it snapped to the center. Then this object here, the flame itself, I'm going to pull that just so it's just touching. It's also center aligned and just touching up top there. Maybe right like that and then bump it back just slightly, something like that. Um. Now, I'm going to change the color of my circle so that it sort of matches with my flame a little bit better, and I might even add a gradient here. So let me come in here and we'll go under the circle. We'll click on the color. Let's switch over the gradient. Let's choose this color picker, and I'll click right on the flame to get maybe this orange color at the bottom. And I can see that it's applying a gradient. Let's take this color here and we'll select the same orange or maybe the orange from up top here. But then let's go to a circular gradient. So one of these is going to be a circular gradient. So something like that. We could add another color here. So maybe I want one more color. Let's drag this one back to the beginning. Let's reposition. I'm trying to reposition it here. Let me click out of that. There we go. Now I can grab it and reposition it. So let's just put this circle that color at the beginning. And then I'll start with this tone here, but let's drag it so it's a little lighter. So it's a little bit lighter in the center there. So let's just make it more of a yellow in the center. Something like that. Okay? So just playing around with the gradient there, but then it's going to meet up with this at the top. Okay. Now, if I wanted this to copy this and spin it around the outside of the circle, well, if I try to just adjust this now, I would have to spin it and then move it down here and I have to spin it, and move it. That's going to be a little bit tedious. I think there's a better way to do this. So let me make control Z to get it back to this position up here. I'll make one copy, so let me hit control D to copy it. I'm going to put it right over top of this one exactly. I'm going to spin it exactly 180 degrees. Then I'll hold down the shift as I drag it out to keep it in a straight line, and I'll put it right at the bottom, and then I'm going to move it back one two. I think that's exactly the same distance from the circles to one up top here. Now, if I click on that and then shift click on this one, I can group those together. And this is helpful now because now they have the same center point as the circle itself here, okay? So now if I suddenly take this group and copy this group, so Control D, then I can position that right over top of itself, and then I can rotate it exactly 90 degrees, and now I have it on all four sides. Now, pull up this so I can see my different groups, this group and this group. I'll group them together again. So you've seen me do this type of thing where you continually group just to save yourself some work, hoops, accidentally selected the circle there. I want to select this whole group here, and then here, Control D to duplicate it again. Make sure once again, position it right over top. Now once again, I'm going to rotate it and this time we're going to do 45 degrees because that's going to be right in the center of what we have already. And then once again, shift click, group together. So I'm just continually grouping to save myself some work. Now, I see that my spacing has I've messed up a little bit here. So let me hit Control Z to see where I messed up. I can see right here that these weren't lined up. That's where I messed up. So let me come on here. Let me make sure I get them exactly lined up over top of each other. I obviously didn't do that before. I think I have them exactly lined up now. So now, let me spin again. I made a mistake there. Let's go back and get it now. And so now 45 degrees. There we go. So now they're all exactly spaced at the edge of the circle. I'll shift click and group again. And then you've figured it out by now. That's right. We're going to duplicate again. Once again, start by repositioning, and then I'll take the whole thing and spin and boom, move them like that. Okay. So look at how we've created this really cool graphic just by playing around and duplicating like this. Let's see what it looks like if we do it one more time. So these two groups, we're going to group together, and then I'm going to once again reposition, oops, I got to copy it first, so Control D to copy it. Once again, reposition. This time, I'm going to spin. But this time, let's make these flames longer. So holding down the Alt key on windows. That would be option on that, so I can size center outward. I could size like that, or I think I'm actually going to drag them inward, so it's like that. And then maybe I'll put these behind the sun so that they're just peaking out so we get some different size flames there, okay? So just by doing this duplication, we're getting this really cool graphic, okay? This is really cool. So I like this a lot, but I want to keep playing around. Let me just duplicate this page to make sure I keep what I have here. So I have this one protected now on this first page. But now on the second page, Hey, you know what? Let's group all this again. Now I'm going to put everything into a group. So now we basically have this sun group. Well, you know what? Let's duplicate that. So I'm going to hit Control D to duplicate it. I'm going to go to the one and behind here and I'm going to grab a corner again and then alt drag out again. And then I'll duplicate again. Control D, I'll reposition it. I don't know if I lined up the one the one time, but let's see if we get that centered, and then Alt drag out again. Let's make sure we push it behind. And then suddenly, look at this pattern. So look at what we get by just playing around here. All you have to do is think creatively and be willing to play around, and you can start with a really simple element. We started with this basically this simple flame right here, and we were able to turn it into something like this. Now, you can do even more. Now that we have this, what are the different ways we might want to use it? Well, here's another project where I've scaled it up and we're just looking at a small part of it. So that's kind of interesting. You could put it over your subject. You could do something like this, or you could do something like combine it with the other techniques we've learned. So here's something where I've put it into a frame. So if we break down this here and I just click on this and I do detach video, then suddenly I put that sun and I've put that sun into the frame here, and there are actually a couple of different frames here. So if I click and look at my layers menu, I actually have another one here on the bottom. So if I bring this one to the top, you can see that once again, I can detach video. And so I've just taken that flame. I recorded it as a little video. I exported it from Canva. I created this frame. And so if we want to look at just this frame, Let me just hide everything else for a second. So let me just hide this top layer. Let's hide this bottom layer. And so we see let me just make this white, so the background is a little bit more obvious. And then we have this frame. So I went in and you've watched all those videos on Photop. We know how to create custom frame. So I created a frame right like this, and then I was able to create this cool effect. Let me hit control, to get back to it. Control Z. Then suddenly you have something like this, a frame that you could reuse again and again, if you wanted to do this type of frame effect here that we see in this video. So, again, the theme of the last several lesson has just been continue to think creative, stack these skills together, and you can start to create some really cool stuff. All right? Thanks for watching, and I'll see you in the next video. 40. Spotlight Effect Challenge: Okay, time to put on your detective cap, because in this lesson, I'm going to challenge you. I'm going to show you an effect in Canva, and I want you to see if you can figure out how I created it. See if you can recreate this. Now, I've taught you everything you need to know if you've watched from the beginning to be able to figure this out. And sometimes this is what it's like when you're trying to figure out effect, you may see see somebody posted something and you're like, how did they do that? Well, once you start to learn the tools, if you think about things, a lot of the times you can break it down and figure it out. Okay, so we have this image here, and right now, I'm just in full screen and present mode. So Canva has this present mode where you can go full screen. Then you can go from slide to slide. Okay, I'm on slide one here. Watch what happens when I go to slide two. Suddenly, I bring the spot light into frame, and I can spotlight her face. Now, if I go to Slide three, I can take the spotlight away. So how am I doing this? Can you figure out how I did this effect? That's your assignment. I want you to take some time before you watch the next video where I go over solution, and I want you to see if you can recreate this effect. Now, think about this. Let me just go back real quick to the beginning. First slide, let me show it to you again. So, how am I doing this? Well, if you think back, we have figured out how you can move things from one position to another position from slide to slide from one frame in your project, or it's not so much a frame but one page in your project in your timeline to the next page. So you sort of know how to do that, but you're going to have to combine that knowledge if you know what that effect is with some other things we've learned in the course, because you're not going to be able to do this just using one trick. You're going to have to put multiple techniques we've learned together to be able to create this Okay. Now, if you do figure this out and you want to prove you've really been paying attention in this course, then maybe you can take it the next step and figure out how to create something like this. All right? Put your thinking cap on, think about everything we've learned on this course. Take some time to think about this. I hope you can figure it out. Either way, I will see you in the next lesson when you're ready to see the solution. 41. Spotlight Effect Solution Part 1: So did you figure it out? Well, great if you did, but even if you didn't, we're going to go over it all here. Whenever you're tackling a challenge like this, it's best to break this down into steps. I'll just start by putting a circle on screen. I'm just going to use my C keyboard shortcut to put a circle on screen here. Now, hopefully you at least figure it out or remember from the course. That we can get a circle and get it to change position from one slide to the next, if we use the transition between pages. Let me just duplicate this page. I'm going to duplicate this page now that we have the circle. You may have been tempted to come under here and look under animate and find one of those options. But no, we're not going to use that. Remember, we learned this other technique of using page transitions. One of the page transitions that we have here, if we click on this here is this match and move, and this is one of my favorites, this match and move here. Because when we use this match and move, then when you change the position of an object from one page to the next. So let me take the circle on page two and move it over here. And now because we have this transition option, now if I hit my playhead here, suddenly, when it gets to the second page and it transitions to the second page, we're going to make that circle move, okay? So that's the first part of this. We're going to use the match and move. So maybe you figured out that part. But then how do we turn this into a spotlight? Well, maybe you thought we could make this circle white so we can make this circle white. We could bring it over her face, and then we could lower down the transparency. So it would have like a spot light effect. Well, that doesn't quite look right. So maybe we'd have to come in here and edit our photo. Remember, we can make our photo darker so we could go under here in full with the brightness and lower that down. Well, none of that's looking quite right. So that's actually not what I did. And when you have this circle over top of her, it's just not clear. We were seeing clearly through to her face. So this doesn't work. Now, this has other problems, too, because, well, if I move this off screen to do the match and move because it started off the screen, well, then suddenly we lose it, right? Now, if I look under the position menu, it's gone, right? So if you start with something off the screen like that, totally, it disappears. So uh, we'll come back to that. Let's just come back here to this page. What if we wanted to darken this whole photo? Well, we had a whole section of this course on overlays. I could hit R to create a rectangle. Let's turn this rectangle black. We'll make it a lot bigger, so let me just hold down the alt, drag it out both ways, drag it out both ways, and then suddenly let's lower this down. This is akin to the brightness that we did before except, wait a minute. We had a hole in this rectangle, then suddenly I'd be seeing through to face. Maybe we're getting somewhere now. Let's delete this rectangle for now. Let me go ahead and select it, delete it. Now let me hit C again to add a circle to the screen. Let's just say we wanted our spotlight to be here. Well, I've told you that sometimes you have to stretch Canva with a tool like Photop or photoshop. What if we export this just so we have a placeholder of where we think our spotlight maybe we want it to be. I'll go ahead and I'll save this off as a PNG. This is page two of my document here, but I actually don't need both pages quite yet. So let's just go ahead and delete the first one. That way, I can just export this more easily. So go ahead and share. We're going to download and I'll download this as a PNG. Go ahead and download. And then we're going to open this up in Photop. I'll save it off and then we'll open it up. So here we are with the image open in Photop. Now, we want to start by just selecting this circle. Now, of course, we could do that multiple ways. We have an ellipse icon here, which we could drag out a selection. But if you remember this magic wand tool, since this is a solid area of color, that's going to be the easiest. We're just going to click that with our magic wand, and now we have that circle selected. Now, let me start a new layer. I'm going to come down here and click new layer. And then with that new layer in this selection, if I just hit control back space, I'm going to fill with my background color, which is currently white. Then let me come below this, and I'm just going to create a new layer. Now we want to get rid of this selection. So actually hit control D that'll deselect. You could also go under select and I think there's a deselect up here, deselect, if something is selected. But then with this white circle layer here, we'll actually come back down to this other layer we created. I'm going to need at back space to fill with that color black just so we can see our circle. Because if you remember that spotlight effect, it did not have a hard edge. I do not believe I believe we had a slight feather. I at least want a slight father. So what I'm going to do is come in here, and then I'm just going to go under filter and blur And gaussian blur. We talked about this blur before. But if you didn't figure that spart out, that's okay. This is just little things about Photop or photoshop. If you use photoshop that you're going to start to pick up once you spend a little time in there. Let's just give a little soft edge like that. We'll go ahead and click Okay. Now, what we have now is this circle with this soft edge. If you control, click on a layer, you're going to select it. I can control click to select that circle. Now I have a selection of all these pixels, including those semi transparent pixels at the edge. However, what I really want is this to be the area that we see through. I really want the inverse of this. I'm going to come up and choose Select. I'm going to choose inverse. Then I'm going to come and create a new layer. Then let me just turn off this layer for a second. Now with this layer right here, I'm going to choose alt back space to fill with black. Now I can even turn off this layer here, and we see we have this cutout where it's all black except for where we want our spotlight to be. No, we learned how you can turn selections here into path and then into a vector mass, which we can bring back into Photoshop as a frame. But we don't need a frame. All we really need now is something that has this transparency. We just want to export this as a PNG. We went over that in early lessons in this course. We're just going to come up here under the file menu, and we'll go ahead and do Export as, and we're going to choose PNG. We'll save this off, and then we're going to bring this back into Canva to see what we can do now. I'll go ahead and click Save and I'll see you back in Canva in 1 second. Okay. So we are back in Canva now. I will check under my browser's recent downloads, and I will grab and I will bring that PNG of that knockout spotlight that we just created back in here, and then I can click and add it to my frame. I don't need this circle anymore, so let's get rid of the red circle. And let's bring this to the bottom. And then if we size it up all the way, it should be precisely where we wanted it to be. And then, of course, I can come in here and I can knock down this transparency. So all of a sudden, this is looking a lot like the spotlight effect we saw in the challenge part of the video. That's great. We're making some progress. Okay. We know we can use the match and move now. So I could go ahead now and just create a copy of this page. So let me just duplicate this page. And then on the first page, let's move the spotlight back here. So let's just grab and move the spotlight now. Here's another problem. Now we have this hard edge. So I can go ahead and play this now, and we are going to get that moving spotlight effect. However, every time we do that, we're seeing the edge of our frame. So how do we handle this? Well, if you made it this far, maybe this is the most difficult part of the problem, but it's just about thinking creatively. Well, what about this? I could do something like this where I had this. And then if I add a rectangle, just r for a rectangle, and I made it black, I could bring it up here. I forget what the transparency is here. Let's look at the transparency of this. Got it down to 22, but let's just bring it all the way up for a second. And then let's take this here. Let's make this black, and I could start to expand it out and make it go well beyond the edge here, and then I could group these two together. Mm. I could do that. That's one way you could do this, but then I have these things grouped together. A cleaner thing might just be to go back into Photop and redo our frame, our knockout that we brought in, and just make the circle smaller. Let me show you what I mean. So here we are back in Photop. What I'm going to do is I'm going to take and turn on my circle again here. Then I can bring up my transform controls with the Control Alt T keyboard shortcut. That would be Command Option T on a Mac computer. But that's a lot to remember. So let me just click off that for a second. You can also just go up to this top select tool here, the move tool, this little arrow up top. And then once you do that, you have this transform check box, and you can turn that on and you can also get to transform controls that way. Then what we want to do is just grab a corner and start to pull this in, and we're going to make this substantially smaller. I mean, I'm going to make it really pretty small like that. Then I'll just grab it and move it and put it somewhere up here towards the center. It doesn't have to be exactly in the center. I just want it to be very small. Then I'll click off that. And then once again, I'm just going to control click to make that selection. I can turn off the transform controls if I don't want to see those anymore. So I've made that selection, and then remember what we did before, we did select, we did inverse, select inverse. Then I'm going to create this new layer up top again. Then we'll alt back space to fill everything we just selected. So now we have this much smaller circle, but it's going to suit our purposes. Can you start to figure it out now how we're just going to have this black area extend beyond our Canvas that's viewable in Canva. So what I'm going to do now is I'm just going to go file export as and I'll export this as a PNG, again. Sure spotlight effect, that's fine. We'll just go ahead and click Save. I'll click Save, and then I'll see you back in Canva. Here we are back in Canvas. I will just grab and bring in that latest spotlight effect. I don't need this one anymore. I can throw that out. I can throw out this rectangle, and then I'll just bring this new one on screen. Now, this circle is really small, but that's okay because I'm going to size this up substantially Uh, and I may have made it even bigger than we need to. But the whole idea is now it's going to go well beyond the edge of our frame. So that's getting to about the size I want. But let me just go even a little bit bigger, even a little bit bigger, just dragging at my corners. Now let me fit this back here. So let me just fit back in. And now that's about the size spotlight we're going to need, I think. So now suddenly we have something. Let's go ahead and lower that on the transparency. So let's make this transparency about like this. And then on the second page here, we don't have the frame yet. So let's hit Control C to copy this. Let's go over to the second one. This is the old one. Let's get rid of this one. So delete that one and hit Control V to paste in that one we just created. And remember, this is the version now that goes well beyond the edge. If I click on it, I actually have to zoom way out to even see the edges, so let's see. Here it is. I cannot even see it unless I zoom way out. So I think I created something that's substantially bigger than I actually needed to create. But I could come in now, and I could pull in these handles a little bit. Actually, let me hit Control Z. Let me hold down Alt when I do that. That'd be option on the Mac. Just to size it in a little bit. I want to have plenty of room so I don't get that hard edge, but I think this is going to be plenty big enough. I could even bring it in farther, honestly. So let's bring it in farther. Let's bring it in. So it's more manageable when I zoom in and out, I can see it a little easier because I like to be able to see those bounds. On the first page, remember, we need to move it back here. Let me just move it back and drag it just off the screen now. Now, suddenly, if we hit play, first let's fit the screen, and now we'll hit play, and then suddenly, look at that. We've created this spotlight effect. Okay? So we just had to reach into our bag of tricks and break this down step by step to create this effect. Of course, if we wanted to move the spot light off our face again, we would just have to duplicate or slide here. Then on the next page, we still have to match and move in place here. If I click see, it still has a match and move. Then on this third page here, we would just make sure we select this spotlight layer, move it off the screen. Now we'll go into present mode real quick just so we can see this. So here we are on present mode on the first slide, and if I go to the second slide, we'll see the spot light come in and then to the third slide, and it flies away again. So it was that easy. So that's the first part of this challenge, but what about the second part? Well, I'm going to go over the second part of this if we want to take it to the next level in the next video, so I'll see you there. 42. Spotlight Effect Solution Part 2: The last video, we went over the first part of our solution for creating this photo spotlight effect. What we did was, we were able to create an overlay with a hole in it so we could see through to our subject. Then we also made that overlay much larger than the visible screen itself. If I scroll out, we can see the bounds are way beyond the screen. I can move this around a lot all the way around our subject without having this hard edge here that happens if you move that onto the screen. So that's how we were able to solve that problem. And we created this overlay in Photop, but we actually could have done this whole thing within Canva. If I had come under my elements and search for something like a circular frame like this, you know in this course that we could come under here, use Du atone to turn this black, use that blur effect. We could have added some rectangles on the edges here to make it bigger, joined it all together as a group, and we would have the same thing. A situation like this, it just becomes your workflow, what you're most comfortable with, and what's going to be the most efficient way for you to do it? If you can quickly jump into photope and do something quicker, then you can and here in Canva because it takes less steps, then do it that way. So it's just about what's going to be the most efficient in terms of your workflow. All right. So that's part one of this. But now in this video, how do we create part two? How do we take this now and move to this effect here? We now we're seeing multiple spotlights spinning around the screen with this sort of look here. How do we create this? Well, as you've probably guessed, we're going to be able to take advantage of this circular cutout that we've created already, and a lot of things are like that in though, where when you create an asset, then suddenly you can reuse it and build things up in steps. We've done a lot of that in recent lessons. So that's what we're going to do here. We're going to take advantage of this. But I'm going to first go ahead and just delete this first slide and delete the last slide because we're no longer going to use the match and move, okay? If you remember that match and move effect, that only allows you to move things in straight lines. We need to move this in a circular motion, so we're going to have to approach this differently. Because we talked about it recently, you could be thinking about something like the custom animate feature. We up here. We can use create an animation. Well, you could use something like this, and you could drag this around here. And then, of course, you have options for adjusting the speed, smoothing it out, making it steady. So this could work, but it's really not the best solution. This will also let you only record for so many seconds, and then it's going to stop. We want something that's just going to continue. So I think there is definitely a better choice in this situation. So let's go ahead and delete that. Let's come back out here now. Uh, remember, that animation that we looked at just has these spotlights moving in a circular animation, so I think we have another option we can take advantage of. Because this circle that is the spotlight is just part of a larger cutout. So what if we just come down to the bottom to this rotate option? What if we use that? Well, that looks like it's going to work. Now, to understand how your spotlight is going to rotate around. You have to understand how this rotation works. And I've talked about this a little bit before, but let's go over it again real quick. So let's come down here. I'm going to go and zoom out just so I can see my bounds of my cutout here. And remember, we can change the crop area. So I could crop it in, and we're only going to see half the spotlight. I'm just going to start by cropping into the edge. So on the top and the bottom, just crop it in, crop it in and then we'll zoom back in so we can see. Let me just make my screen bigger again. So now if I rotate now, because this is off center, it's going to spin around this central point. So if I bring up my rulers here, let me just hit Shift R. Let's see. This is 1920 pixels wide. So I would have to do some quick math. This is bad, putting me on the spot. 1,900, that would be nine 50. So basically, nine 60 would be half so something out there, and it's going to snap to it. So I didn't even need to do the math, but it's just going to snap to that center point. There we go. Now, if it spins, it's just going to spin right around this central point. Now if we rotate now, you'll notice that that circle is just rotating around sort of that central point of the image. And we can see that if we change the crop point here. So let me actually grab this layer and I'm going to try to position the spotlight basically right over the center or at least very close to the center, and then I'll come back to my crop points, and we're going to pull it so we have it again to the document bounds. We'll pull it out on this side here. Let me just go find the spottom point and pull that up here there. So now, since my spotlight is in the center, when I do rotate now, it basically shouldn't move much at all. It might move slightly because it's not quite centered. But let me go ahead and do that now. So we'll come under animate, choose this rotate again. And we'll see now the spot light itself isn't really moving because we have it in the center of this and because our our crop area matches up with the visible document. But if I just pull this crop point here and drag it this way. Now, even though the spotlight is in the center, if I rotate now, this little spotlight isn't going to stay exactly in the center because the rotation is not based on the visible area of your document, it's based on the crop area of whatever element the element is. Uh, so let's rotate that and hopefully this will make sense, and now you can see it spinning off of that central area. We could exaggerate that even more. So if I go out and I pull this crop area way out here, and now we go into rotate, now we see that it's getting pulled way off of the center, okay? So hopefully you start to understand how this works. And of course, you can always come on to rotate and get a preview, so that's always helpful as well. Okay. So I'm going to want to use this rotate tool. But I also don't want to make sure I don't see the edges the way we get the edge. We don't want that. We're going to have to keep the black area always covering. So what we're going to have to do is again drag these way out. Let me just move it so it's slightly off center, maybe over there. Then we're going to grab and start with it even there. But then I'll grab both handles, pull it way out. I'll grab both handles this way. Let's just start with them even for a second. And then I'll grab both handles and use the ult button option on Mac and drag it way out. The reason why I'm dragging it way out again is because once again, I'm going to want to make sure that I always see the black area, and I am going to re size some of these where I size the circle down so we have some different sizes. So let's just start by coming back in here. We'll see what the rotate looks for this one. It's going to mostly stay on the document. I don't mind if it goes off the edge as long as they don't get the black on the screen. So we'll start with that there. But then let's create some other ones as well. And this is just going to take some experimentation here. So I'm just going to start by coming up here and I'm going to duplicate this. So control D to duplicate. Now, this is one of the issues we're going to have to deal with. Remember, this is a semi transparent layer. So every time we make a copy, it is going to make it darker. So if I hit Control D to duplicate again, it gets even darker. Control D, now it's even darker. Then what I want to do is select all of these. We're going to come up here for the transparency, and we're going to lower the transparency for all these layers down, so that it becomes reasonable again. So you're going to have to make these adjustments so that each of these layers is just, you know, mostly transparent so we still can get this spotlight effect, right? Now, what we want to do is start to vary these spotlights. For example, let's come to this one here, and let's just go and zoom way out so we can do this. I don't think I need the bounds quite as wide. But maybe I'll drag them in for some of these here just a little bit. But that's okay. Something like that. We're going to rotate this one around so it starts in a different position. This one here, let's just move it totally, so it starts over there. This one here, let's make a different size. So let's take the whole thing. Let's actually pull in from the side this time, then make it smaller. Then we're actually going to make another copy of some of these. So let's hit Control D to duplicate that smaller one. We'll move it around, we'll rotate it a little bit. This one here, let's hit Control D to make a copy of that. And then we'll move it around. We'll change the size of it slightly. And then at some point, it's getting too dark again, so let's zoom in. Again, I'll select all of these again, so you can click one. You can control, click another. But if you ever want to select a whole road that's in consecutive order, you can just click on one and then shift click on the bottom one. It's going to select everything in between. And then then we'll go ahead and do this transparency. And so now each layer itself only is 7% transparent. So they have this cumulative effect because we have one, two, three, four, five, six now. So six times seven, that's 42%. But so we're going to have to continue to do this to adjust the transparency. But now, if I just hit play to see what we have here, suddenly, well, I don't think I've applied the rotation to all of them, right? So let's come in here. Let's select them all. Let's go under animate. Let's go under this rotate. And again, now they're all rotating and we see that for the crop area for at least one of them is impinging on our frame. Now, which one? I'm not sure. This is one of those things where you have to come out here. We can see this one here. So let me see if I can control click. If I'm trying to select that layer, sometimes if you control click, you can get a specific layer. So I control click, I see this layer here. This one is going to cut into the frame. So let's just grab this and let's size it out. So now it's not going to impinge on the frame. I'll come back here, full screen, fit the screen. Let's look at that again. Everything's rotating. Okay. So we've got to make some adjustments. We're going to have to continue to play around with this. So let me bring my position up. One thing I want to do now for sure, is to come in here and some of these, I want to go in under the rotate, and I want to change it up. So rotate, for this one, let's have this one go the opposite direction, so I can just come back to my position, this one here. Let's go under rotate. Let's have that one spin in the opposite direction. So again, this way, and let's change the speed for that one. So you just start to play around and make these adjustments. So again, let's go find another one, this top one. We're going to make that one spin in the opposite direction as well. So again, rotate, we're going to come in here, rotate. We'll make it spin in the opposite direction. I don't want any of them to spin super fast. That's just too fast. I want them all to be moving basically at the slowest speed or maybe at the most at this middle point here. And so then once we have a grouping that's sort of working, we could come under our layers here, and we could grab them all and we could group them together. So I'm going to hit Control G. You can also just hit the group button up here to group them together. And then we've done this before. Let's hit Control D to duplicate this group. Now, again, you might have to grab both of these groups. You might have to come on the transparency and start to lower it down. Again, just to make sure we're not just making our subject too dark, but you can play around like this. And then this new group, we don't want it to move exactly like the other one. So let's come in here and let's take that new group that we just set up, this group here. Let's go way out so we can see the group bounds. Let's rotate that. Let's reposition it up here, and then let's fit back to the screen, and let's see what we have now. So now we're starting to get this effect. Now, some of these, if you notice that they're just spinning way off, and I can also make this longer so we can watch this for longer. And let's go ahead and watch this now. So some of these are working better than others, and it does take some practice just to come in and make sure you're getting enough that really focus on your subject here. And it's interesting because as you have multiple spot lights with the cutout pass over the same area, then suddenly, that's getting brighter, right? Because all those transparency layers add together. So when you have multiple cutouts up here over top of each other, then suddenly you get an even brighter area on screen. Now, I want a few more that are sort of around her face. So one thing I could do is I could come to a group. I'm going to temporarily ungroup this, so I have this ungroup option here. If I want to just get this one out of the group, I can control click on this top one. It's going to be removed from the selection. I can group the other ones back together, but now I'm just dealing with this one layer that's separate. By itself. So let me zoom way out for this one here, I'm actually going to pull these bounds in just so it's a little easier to deal with. And temporarily, I'm going to bring the transparency up just so I can see what I'm dealing with. And I'm basically doing all of this just to make it a little easier. Let's rotate it back just so I can see more where it fits. I'm actually going to bring in my bounds a lot just so I can better judge the center of this cutout and where this is in relation to the center. So if I bring the bounds out, here. Now this is more close to the center of this. If I bring this bound out more, now it's more centrally located. So I'm just trying to get one that's not going to spin quite as much. So let me bring it up here and come back to full screen here. So, I understand that this can get a little confusing, but you just always have to be testing, and you have to stay patient. And you often also have to realize when you create something you like, then suddenly you're going to have a reusable asset. So even though you do spend time up front, it's going to save you a lot of time in the long run, if this is a type of effect you want to use. Now, I know I still have the transparency closed off for this, but I just want to be able to see, so let's come under the rotate and we'll go ahead and we'll rotate this one here, and this one should not rotate that much in terms of around the center. Let's just speed it up so we can see what area it covers. Okay, so it does impinge on the screen here. So if we see that that cutout is coming on the screen, So let's just make it a little bit bigger now. But we can hold down the Alt key as we do this and try to go the equal distance there so that we are spinning at about the same. So that's more centrally located, okay? So that's going to be one that always sort of stays around her face if we want to keep her highlighted more. So now I could come in here and I could dial that way back, and then I could maybe make a copy of that. So let's hit Control D. Let's reposition that slightly. Let's re size that slightly. This one will have spin in the opposite direction. So again, we're going to come under rotate. We're going to come down here. We're going to take the speed down. And I don't think I took the speed down for the other one. This one here, I wanted to take the speed down because we don't want it spinning as fast as I had it. I just did that for sort of a visual while we're getting this set up. And now let's come to all of this here and come back and see what we have. And so now we're getting somewhere. Now, at any point, you can come in here and we can select all of these. So let's just put them all in a group now, and then with all of them in a group, I can play around with the transparency and decide how subtle I want this. And so it does take some experimenting. But so now if we come here and we go fit and we hit play, actually, let me just enter present mode for a second. And here we are taking a look at this full screen. So I think some of my spotlights are going a little too far off screen, but still this gives you an idea of how I created this effect, and this really is pretty cool. Now, I do wish her face is sometimes brighter, and I could have paid closer attention to that. So what I could do now is I could just come in here and I could ungroup and then just go in through these layers. So let me just zoom way out, and then I could just choose a layer at a time. And what I would do is I would just come in here now and I'm going to go in transparency. I remember that it was at five, but I'm just going to do something like this where I start to come in and I start to adjust some of these so that I make sure the spin the rotation is going to pass over her face. And then, of course, I could lower the transparency back down. Where it was before, so that was at five. So I could just come through a couple layers like this just making sure that at some point it's passing over her face so I can see clearly where it is. I can just go in. And so this one here, if I shift it this way a little bit, then we're going to get that rotation through there. So I could just do this with a bunch of the layers. So again, after you do it, you got to make sure you turn the transparency back down. And of course, I could group everything back together once I was finished doing this sort of thing. This is the type of thing I probably should have paid a little bit more attention to from the start, making sure that we got a few more areas that we knew we were going to cross over her face. But I could do something like this, just to make sure that that remains a brighter area in the final thing. Of course, again, remember, you're always going through here and adjusting the transparency of that layer back down, and then you can group everything together. You can come back here to get a feel for it. But that would be something we could do just to brighten up her face a little bit. So going back full screen to look at it after doing that, now I do feel like some of those spotlights are a little bit more central on her face and pass through the area where her eyes are during that rotation. So I do feel like maybe this is a slightly better job than I did before. But I do still feel like maybe I use too many spot lights. It gets a little tricky when you have that many layers of transparency over top of something. So it's just about experimenting, folding around, seeing what works. And of course, once you've done this, you can save something off as a template because the idea is you want something that's reusable in the future. And so then it's a matter of just swapping out this picture for another picture. Now, other pictures that might be lighter or darker may behave slightly different. So you may have to experiment around until you get a template that works. And of course, you can adjust the transparency of all these layers together over top of another photo. So you do have some freedom to change it around. But anyways, just another fun experiment here in Canva. So give this a try, see what you think, have fun, and I'll see you in the next lesson. 43. Bringing a Scene to Life with Animation: Here's another scene I created in Canva. Now I'm showing this to you in present mode. So this is another fun thing you can do in Canva, where you can use different elements that you find in Kanva to put a scene together like this. And I like to try to do something where I have something in the foreground, the midground, in the background, just to give it depth. And if you need a little help with this sort of thing, you can always use a photo as reference, so you can sort of take inspiration from another photo or some other piece of work that you see. To start to figure out what you want where. And of course, you may have to search for elements in Canva. You can find elements, other places, but then it's fun to layer something together like this and Canva. And I'll show you the layers in this document in a minute. But then what I want to show you is what can be really fun to take this to the next level is to then use some of these animation presets to sort of bring your scene alive. So I'll go ahead and here and advance to the next slide, and then we'll watch how I've animated this. A little simple animation presets that we've talked about, and we'll go over what I did for this one here. But just to do some little things, and I see I have one mistake here where this ship actually passed behind that one, it should be in front, so I can fix that on my layers. But this is just a fun way you can build a scene inside of Canva and then bring it together with this animation. Okay? So let's take a look at this document. Okay, so let's go into the position tab so we can look at the different layers in this document. So this first layer here is just sort of a layer of clouds in front, just for another sort of something that I can animate and give it some visual interest. Then I have two rows of trees here. So that's the front row of trees, and then I have another grouping of trees behind that. Now, this ship here, which appears here, that's actually something that's out of position. You have to pay attention to your layer positioning here. Because if I scrub through, I noticed when we were playing this animation, there's a moment where this front sailboat goes behind that ship. Well, that's not what should happen. This guy should actually be back here so we can easily reorder that. So now we see that that front sailboat passes in front. He should pass in front. These two might be out of order as well. So let's just move him there. And now if we scrub through, did we finally get it right? Yeah, now we have it fixed, so that sailboat is passing in front. So you have to pay attention to these things. But so you see, we have the mountain layers here. We have the two sailboats. This is just a blue rectangle we're using for the water, trees in the background, mountains in the background, clouds, and then sky. Okay? So nothing overly fancy here. We've just paid attention to how we're composing the scene, making sure perspective wise and color wise things at least sort of match with the scene. And then we're coming through to add interest to this. We're doing some animation on the various layers. So if I go through the animation here, we can see which ones have animation. So this cloud layer here. If I just click on Custom, we can see that I just added a custom path. So we can see the path. I just did a straight line click and drag, holding down the Shift key, and then I switched it over to steady. So you remember the lessons in this animation section on using that custom animation tool where we can create an animation. I'm just using that to have my clouds move across the screen, and of course, I can adjust the speed of the clouds there. Now if we go back on to the position menu, my trees, I don't have any sort of animation on my trees, but my balloon here, I have again, custom animation. So again, we could take a look at that if we want to by clicking in. And once again, I just have a path here. So let's see if we're seeing the path. Let me zoom in. I'm not seeing the path, but I don't know if that's just because there it is right there. So just a very small path where I just have it going straight up like that. So I just wanted to slowly move up here. And again, I can adjust the speed of the balloon if I wanted to go faster or slower. Other layers here. I don't have my mountains doing any sort of movement. I would maybe go back and if I did this again at another layer of fog sort of farther back. So you can keep tweaking these animations, keep playing with them. Sailboats I have moving at different speeds. So this one I'm just using the drift animation, which is just one of these subtle presets, and I have it moving left across the screen. And again, the drift is a very slow movement, but sense this is farther in the background that works fine for that ship. Then for the other one, I think I use the custom animation. And again, I just did the straight line across the screen, set the speed, so it would be moving a little faster. Same thing for this ship here. It was a little more difficult because I didn't do a straight line. So if I go under custom here and we see the path, let me zoom way in so we can see what sort of path. I did something that was a little zigzaggy because it's hard to sort of do a quick swipe with your mouse, right? And I didn't want it to be too quick, so I tried to move slowly, and of course, it's hard to move your mouse in a straight line. But I just smoothed it out a little bit here, so it works well enough. So again, you can get away with things like this, especially when you have something farther in the background. And then I just have a little bit of movement for my clouds, okay? So this is just an example of how you can build a scene like this, and then just using these animation presets, suddenly, you can make it come to life. And one thing I didn't mention here, I don't know where it is in here. This layer right here. I just have something in here. I think it's a video clip with a small amount of transparency just so we get a little bit of shimmer on our water. So again, different technique, but same idea, just using these ideas we've talked about, these different techniques we have for bringing different things to life in your scene, just to give it some animation. Go full screen one more time just so we can look at this one more time. Here it is one more time. Again, just very simple animation, but it's very easy to add with these presets, and it can make something much more dynamic. So play around with this sort of thing. And in the next video, we're going to look at how we can take something like this, a scene like this and using some of the other skills we've learned in this course, make something totally different. So I'll see you in that lesson coming up. 44. Staying Creative Vintage Landscape Animation: Okay, here is the little animated scene we created in the last lesson. And this is pretty cool, but I always like to train my brain to think. What else can I do with this? How can I get creative with this? So, how can we take this scene and turn it into something different? Well, we've learned lots of stuff throughout this course, including how to make frames. So we know we can take any of these shapes that we have here. I can take it over into Photop, and I can turn it into a frame that I bring back into Camva. I'm not going to show myself doing that because we've been through that in lots of earlier lessons. You should know how to do that by now, so I want to value your time. But so here's an example. With these trees, I could easily have taken them over, turned them into this shape here, this mask, and then brought this mask into Canva. So that's what I did for several of the elements in our design here. So I went through several of these elements, and I pulled them into Photop using that process. We've documented earlier in the course. I created frames. And then those frames, when I brought them back, they were individual files, but I just copied and pasted those frames, and now we have them all in this one file. And I have named this landscape frames. And also, if I go under file menu here, I can see where this is saved off. I saved it off into a folder favorite frames, which is going to be important from an organizational standpoint because now I can get back to this very easily. But just as a reminder, it's very easy because if I want to turn any of these items into a frame, I can just isolate that element, so Control C. Let me put this on a blank page, Control V, size it up, leave it the same size, whatever. Now if I export this off as a transparent PNG, I bring this into photo P, or even if I had it as, you know, all this white space, I could easily select just the subject or just the white space and get the selection and then turn that into a mask. Again, we've documented that in the earlier section of the course on creating custom mask. So you should be familiar with that process. So that's just the process that I used to create all these frames. So I have one for the trees, one for the mountains, one for the balloons, trees in the distance, this sailboat, and then also, well, there's another one of the trees. I may have another one I forgot to bring in here. I'm not sure. I feel like I had another one, but that's okay. You get the idea, you get the process. And the reason why saving it off is important is because now I have it in this folder called landscape frames. So that means easily from any new document in Canva, if I want to access those frames and make use of those frames, I can do so very easily. So here's just a blank document. But then if I went under my projects tab and I go under my folders, I can find that favorite frames folder, and then I have the one called landscape frames. And if I go in here, I can see all of these. And I can apply any of these to a page. So if I click on one, it's going to bring in that frame. If I click on this, it's actually just going to replace the page with this current page. But I can put a new page if I wanted a different frame like this, or you could also apply all of the design pages at once, and so it's bringing them all in here, okay? And so then we have all the frames, and then we could quickly grab them and compile them into a new scene, okay? We can't save of frames like this. So if I grab this frame here and I come under here, I can't save it to a folder by itself, the frame, I have to have it as a design page. That's why we use this method when we want to organize our frames and bring frames into a new document. Okay, so hopefully that makes sense. Now, using this method, once we do this, then of course, the powerful thing is that we can drag anything we want very easily into the frames before we were stuck with whatever the canva elements are, now we're making use of that shape, but I can put anything I want in these frames. So what if I come under my elements tab, and what if I search for something like vintage wallpaper. Then suddenly I can search for just vintage wallpaper. Let me see all the graphics. Let me see all the photos. I can come down here and say, Oh, I like this photo, I can drag that in. And then suddenly, I'm using the same shape, but suddenly I could create something very different. And suddenly I could get artistic. Here's a reminder of that original animation, but then suddenly playing around with frames, I was able very quickly turn it into this. Something totally different. I was still able to use all my normal tricks like animating the different elements, bringing in a duotone effect on this, obviously, changing the brightness on different photos, lowering some down, and then this one here strategically choosing to keep it black. So it's the focal point. So you really can't have fun if you just remember all these techniques and you remember to be playful. You remember to experiment around and have fun. See one little error over here, but I could easily fix that. I don't have that hard edge coming onto the edge of the screen. I think that's just a fog layer that's moved in too far, but that would be easy to fix. Experiment around with this thing. Taking elements, turning them into frames, using this animation. You can come up with some really cool things, give it a try, have fun, and I'll see you in the next lesson. 45. Animated Barbie Poster Review: Okay, let's take a look at another Canva project. So, last year, the Barbie movie came out. One of my daughters was excited to see it, so we went to see it as a family, and we had a fun time. But it was interesting because at the time, everybody was really into everything Barbie related. At the movie theater. I remember, there was a cutout, you could sort of stick your head in and take a picture. And then online, there were even things like this Barbie selfie generator, where you could upload a picture, put it in a frame, But this didn't do a very good job. So, of course, naturally, I thought I think Canva could do a better job, and I thought it would be interesting to play around and create something in Canva and then build in some animation. So I created a couple of different versions of this. And let me just hit play and we'll watch this, and then we'll talk about this. I'm gonna hit play, we'll watch it through, and then we'll talk about it. Okay, I'll just stop it there. And the reason I wanted to show this to you is because even though this is review, I think it does just illustrate how it's easy with Canva to take something that has a simple subject. Each one of these, the simple subject is just the woman here. But then we've added a frame. We've created that pop out effect. And then we've brought in this video, these animations, things we can find within Canva under the elements menu, especially if you're a pro user and you have access to even more elements, more of the pro elements. And then combining that with transitions and some of the other animated presets you can apply. To any element on your page. We really can make this much more dynamic. So this is what we've been talking about throughout this whole section of the course, how to use these little animations just to make your work stand out, especially when you're looking to grab someone's attention quickly. So we're not going to go through all of this, everything in great, great detail, but let's just walk through it all just to see the different effects we're applying to the different pages here. And then also you can see in between here, we have some transitions. So we'll look at those transitions. But on this first one here. So if I just play this first one and we hit play, we see we have the animated background. We have an animation within the frame. And so then let's stop that and go back to that first one there, and we'll take a look at that. So we'll bring up the position menu just so we can see what we have in here. So here's all the texts. I just have the text grouped in this layer here, so I could take that away. So we just have the different text layers grouped. But then we have here, if you remember from the early lessons in the course, when we did the photo pop out effect. So what we did was, we have a layer of her on top because behind that we have a layer of her where she's in the frame. But before I put her in the frame, we removed her from the background, okay? So, this woman was originally on a different photo background. And because I removed her from the background, now I just have her in the frame that has transparency, and underneath that, I have another copy of the frame. And within that frame, I can put a video clip. So this frame here just has a video clip. So if I detach video, you can see that we just found this video of these falling sparkles, which makes for a cool background, and so we were able to add that to everything. Of course, here, I have that again or something similar, slightly different video that's just in the background of another frame that's the bottom layer of our page. So we actually use multiple frames on the page, even though if I just hit Control Z a bunch of times to get back to the beginning, really, we see this one frame in the center, but we also have a frame that's the entire background. And then, of course, this frame is stacked a couple of times just because we want to have the transparency so we can see through to the other animation within the frame. Okay. So all these different things we can do just to help bring this to life. And then, of course, the text on top. Now, let's scrub through to the second layer. And on the second layer here, you probably recognize that in the background now, instead of a video, now, if we look at the position here, I just have a regular element here, just the photograph. But then if we look at the animation now, we're adding this pulse animation, just to make that background pop in and out like that. I didn't mind having it come within the edges so you could see the white. But of course, if I wanted to not see the white, I could have grabbed a corner and dragged out farther. So now when I did the pulse effect, we would still get that effect, but we wouldn't see the white edges, right? So that's just to your taste. And these are all things we've learned how to use these different tools throughout these different sections of the course. So that's the second one there. And then in between the pages, we can see now that we just have a simple fade between pages. So things like fades and things like that can make the transition between pages more interesting. Actually, it's not even a fade. There is a dissolve in here, which is what I was thinking of, but that is actually right here, the match and move. And so since we have different things on the different pages, that's why we're just getting that fade effect. But you can see all these different transitions we could use to get a different effect. And this color wipe here, you're actually recognize that I do use that in between different slide here later in this animation. And so we scrub through. Again, just her again, same background behind where we have a frame over a frame and the original subject we've removed from the background. Then going to the third one here. This time, in the background, we have sort of a sky photo, but then we have another basic animation behind everything. So we also have this animation here, these sparkles that again make a nice effect coming out from behind the photo. Let me just grab this whole thing right here because it's grouped together. So let me ungroup this real quick. And then I can see that I have her. I have a drop shadow or a darker layer, and then if we get rid of that, then she's actually in the frame, and I did not remove the background, okay? So all kinds of different strategies you can take to get a slightly different effect. Onto the next one here, here's one where again, you probably recognize this as being the rotate feature. So again, we just have a background which we looked up. So I probably went and looked up a particular search term to get this type of background. And then it was something where I centered it behind my subject. I knew it was going to rotate around that point. So now when I come in here and we do this rotate, suddenly, we get that rotating effect. And then also for the text itself now, I did that pulse effect. So if we look at this text now, and I think it's because it's grouped here. Let's get back on it, and I go under effects, animate. I haven't applied it to that itself. So it must be applied to a group or something, but we can see that we obviously had that pulse effect going on with the text there. And then another page where this time, I have a couple of different things. So again, we're using a page transition. So we have this circle wipe. So the circle wipe gives us that effect of right here. We get that circle wipe the transition from this background to this background. And this is one where I chose to keep the same picture of the woman just because I thought it was interesting to have that all say the same, but then right here have the background transition. So again, using a different technique just to get a slightly different effect. And then finally, on we get to this slide effect and then the same sort of thing on the background layer here, where this time, again, I went to using an animation in the very back. So if you look here, this very back layer is actually just a little movie clip, and then we have a frame with a movie clip, and then we have our subject and again, the cutout effect, okay? So all of this is just basically review, but I just wanted to show you again that there's a lot of variety you can get by using these many different effects, by just thinking creatively using these frames, using these pop out effects, using a video for your background, using animations for your background, animating text, adding little sparkle elements like this. There are all kinds of little things you can do. So on a given project, it's just about finding what the right path is. And then, of course, you know, think about how much time you're spending, You don't always want to get carried away, but sometimes if it's appropriate for the project, then sure, go ahead and do that. And also sometimes when you can create a reusable asset where you have a template then where you can drop something quickly into a frame because it's something you're going to use again and again, then that might make sense. Thanks for watching, and I'll see you in the next lesson. 46. Animating our Dune Poster: Okay, let's return to this Dune poster we created in an earlier part of the course, and let's animate this from start to finish. Now, we don't see a playhead in the upper right, and if you don't see a playhead, that means you don't have any animated elements in your design. Also, if I click on anything down here, you notice they don't have that duration option. I can click on any element here and right click. And I have that show timing, but we don't have the duration option because we do not have the traditional video options in this format because we just started this as a poster in certain formats when you open in Canva, they're not going to have that traditional timeline option, even if you expand out the timeline down here at the bottom, expand out the interface, I should say at the bottom. You'll see your different slides, but you won't have that timeline option. So that's something to keep in mind. But you can still work with animation here. Even though I don't have that duration option. If I click on this, I can see it says 5 seconds and I can see up here, it says 5 seconds. If I add another slide here, I can see that this one is 5 seconds, but for any of these, I can come in here and change the length. So even though they're showing the same down here, and I don't have that duration option, I can click on one and see that it's 5 seconds. I can click on another. I can see that it's 12.5 seconds. I'm still not seeing anything up on the right because we don't have any animated elements yet, but if I were to click on anything, so if I clicked on this here, and then I came under animate and added any of these options here, then suddenly, we see that we have the total time up here in the upper right, and we have a playhead. And that 17.5 just represents the 5 seconds that this slide is, and then the 12.5 of that one. So added together, we get 17.5, We can hit the playhead. It's going to go through here. So all I did was animate the border here. Of course, I don't like that, and I'm not going to keep that. I was just showing you these options that you have in here and how even though we're not in that traditional Instagram story video, you know, animated option that you can start with in Canva, even though we started with something where it's expecting static content, we can still animate and we still have options up here. But if you want the full timeline where you can click and drag out down here and have the duration, you have to start with one of those other Canva formats. So that's just something to keep in mind. So I'll go ahead and hit Control Z here just to undo adding this extra slide and to get back to where we don't have anything animated here. So you see, I know we don't anymore because it disappeared up here from the upper right. Okay. So let's start. And even though we're not in one of those traditional formats, where you get the full time line and video options down here, we're still going to be able to animate this. So let's walk through just adding some simple animation to this Dune poster just to bring it to life a little bit if it was something maybe we were going to share on social media, and we wanted it to be able to sort of get a little bit more attention. Let's start by just coming up under the position tab so we can see the different layers in our project. Now, a lot of times you can tell by the thumbnail what that layer is or when you hover over it and you get that blue bounding box. But you can't always easily tell. Like, for example, what is this here? So sometimes you have to click on a layer and then bring the transparency up or down. So this is at seven. I'll remember that. That's just this texture we're applying here. So the one thing I'll say about layers here in Canva is I do wish they would allow you to name your layers and then see the name of that layer because that would make it a lot easier. Than it is now. When you group these layers, I also wish there was a way to sort of twirl it open without getting rid of the group completely just to see all those individual layers. So I think they can make improvements here, but this is the current state of Canvas. So we sort of have to work with this as is. So these are our borders. We're not going to animate our borders. The first thing we're going to animate here is the text. And so I'm going to shift click to select all of these text layers. I'm going to temporarily group them together, and I just want to show you that grouping something and then animating it will sometimes lead to a different result than if you animate the individual elements that you put in that group because the animation can get applied to the group as a whole, or to each single element, and that can affect how the animation looks. So that's something you want to keep in mind, and I'll show you an example. So let's just group these doom letters together for a second. And then we're going to come under this animate tab. So now we're applying animate to this whole group, and I'm going to do this wipe animation here, which basically applies a wipe, and you can come here and choose which direction. So we'll just start by going here, which is left to right. And then we see it play out on screen, and I can adjust the speed, and we can see it starts from the left and then it works across letter to letter. So see how it gets applied letter to letter. Here's something else I want to show you sometimes for some of these animations, also is going to be affected by the length of your slide here. This currently has a duration of 5 seconds. But what if we came in and we changed the timing for that all the way up to 30 seconds. And now let's come back under that animate option for that group. So let me just go into position again. Let's make sure we get back under this animation and look at this wipe here. Now we see it's getting applied much slower Because now it's taking advantage of that full 30 seconds that we've told this slide we want it to be. So sometimes coming here and changing the length of the slide here will change the animation just because you obviously can't have something animate for 10 seconds if the clip itself is only 5 seconds. So playing around with that can affect things. And right now for these individual slides that you have or pages, however, you want to think of these. I think right now the max you can push something to is 30 seconds, okay? So 30 seconds and now that's going to give us a slight different animation. The other thing I was mentioning is that the animation can also be affected by whether it's being applied to the group as a whole or to the individual elements of the group. So to look at this, let's just go under the position tab. We'll come to this and now we're going to ngroup it. And now with the individual letters highlighted. So we have them all selected, but they're not in a group anymore. So now we're going to come under animate. We'll come back to the same wipe animation. We'll take the speed all the way down again. And now, if we look at it, we can see that it gets applied to each individual letter. So instead of moving just from left to right across the screen, now we have it here being applied to each individual letter individually, so it is a little different. So let's go ahead and maybe do this top to bottom animation. Let's adjust the speed. Maybe something like that, that looks pretty cool. So you can find a speed that looks good. So I think I'm going to use that as my animation for my letters. Now, let's start to work through these other elements that we have here just to make this come to life even more. So again, we'll go under a position menu here. I believe this layer here, sometimes you have to just click and see what it is. This has just turned off completely. I just don't even need that in my project. Don't know what I was doing in there. So sometimes you'll find these individual fragments. Now, what did I actually just delete there? I deleted one of my letters. We don't want to do that. So let's delete this here. And then here's another one again. I don't know how I ended up with some of these layers. Probably things I was experimenting with that I didn't use. So if you have anything that you don't need, now's a good time to clean up, so you don't have all these extra layers in your project coming down to this one here. This one, I believe, is that splatter that's just turned way down in the background. So that is something we may animate here. Let's turn it down to what we like. I think all these layers here are splatter layers that I'm going through currently. This one's at 22%. That's the little glow I have behind her head. Maybe we won't mess with that, but maybe all of these splatter layers above. One, two, and then I believe three, four, I believe all of these are splatter layers. Let's select all of these. Let's come under animate, and let's try to do this breathe is one I like because it just does this low effect of making things expand out. You can change the scale to make it sort enlarge it a little bit more. You can go down low and it's going to be a little bit more subtle, all depends on what you're going for in the different projects. So I'm going to try something like this just so we start to see that splatter move in the background. And of course, we have more splatter layers in here. So let's come down here and see, I believe these are also ones we just applied it to. We did all of these, but then behind here are some we have some platter behind our worm also. So let's do the same thing. Let's go into these. And again, we're going to go under animate. And again, we're going to choose that breathe. And again, we can play around in here with this scale and see if we want to go all out or whether we want it to be a little bit more subtle. It all really depends. For these, I think I'm going to go ahead and dial them up all the way. And then let's see what else we have in here that we can bring in. Layer here, and I think it's just the sand lower on the ground. Yeah, that's just my sand itself, and then we have some other layers here like the sun in the background. I don't think I want to mess with that. But the sandworm itself, I definitely want to do something with him, and I definitely want to do something with our main subject. So for the sandworm itself, I think maybe I'm going to use there's one in here that I should be able to make a move up the screen. Maybe this rise here, but then let's lower the speeds way down like that. So maybe something like that. So it starts to look a little bit like he's rising out of the sand. And then our main subject itself. Let's go to her, and then again, we'll come under animate, and let's see what we have. So we have these drift ones here. So maybe if we have removing the opposite direction from our sand worm, and then we don't want the intensity on this to be much. So it's very subtle, maybe. So she's moving down slightly. The worms moving up slightly. We have all this splatter animating. It looks like some of our splatter isn't animating. So I may have to go back through our layers here and just click through the individual layers. As I do, I can look at the animate options up here. So that's animated. This is animated. This is animated. This is animated. That's just the glow behind her head. This is animated. This is animated, this, this. So you sometimes have to take your time going through here. That's just the sand layer itself. This layer here is not animated. What is this layer that I'm currently looking at? Let's see. Well, it's one that's turned off. So we don't need to worry about that to something else I was playing with. So I think I do have everything animated in here. But then, of course, you can also think about bringing in additional animations. So I know that I have a folder where I start to put some of my favorite animations, and it's good to organize like this. So if I come now under this project tab, you can see all your different animated options if you go to folders and find a folder where you're storing that stuff. So I'm just going to type in favorite. And if I do that, it's going to bring up any folder that has the name favorite in it. Here's a favorite animated assets. I know I put these two sort of swirl effects in there. And I can come in now, and I can change these so that they are positioned in the background. So I want this to be all the way behind my sand worm right here, and then of course, I can resize it. And I kind of like this swirl thing because the swirl part is sort of hidden behind. And so it sort of just looks like sand spray, and of course, I don't think I want it to be white the way it is. Now I want to lower it down, so it starts to look like it blends with the scene a little bit more. So we'll lower it down a fair bit like that. And then if I come back to that folder again, so again, under projects again under folders, and here's that favorite animated assets. I have this other one here, which is the same idea, but a little bit bigger particles in there. So I'm going to use the same thing because it's going to fit well with the one we just did. Again, I'll bring it and I'll put it back behind all those other layers. Again, you can really adjust the size. So if I wanted to scale this up, really a fair bit like this just to get these bigger particles, and again, I'm going to lower down the transparency a lot so that we start to get that in the layer in front of it that we just added, And so just like this, we have something that we've added some interest to. So now if I want to see everything that I've done, I could use this playhead here. And so now we have this cool animation added. Now, if I see her, my main subject, if I just go back to the beginning, I don't like the way you can see your feet, almost like she's levitating. So I might change her starting position. Because sometimes when you apply an animation, it's going to change the starting position. You see how she's out of the frame. But then if we play this now, her feet are above in the frame, I think I want her feet to always be out of the frame. So to compensate and take account for that animation, I might have to grab her. I might just drag her down a little bit like this. And now, if I come back and hit play, see, she starts and still is just out of the frame, and then she's going to move down slightly. So there you go. We just did some basic animation here. Again, I think I still have some splatter in the background that doesn't look like it's moving. So I might have to go back through and forward this a little bit more because I think I missed something somehow, but we still have started to bring this to life a little bit. Actually, let me go back to the beginning. Maybe it is animated in the beginning, but it just doesn't, yeah. It is in the beginning. So that's the other thing that Canvas still limited in right now. Your animations aren't always going to play the full length. You see this rise one and this shift one. Sometimes some of the animations will last longer than others, and you don't have total total control over all of those different things. So it's just something to keep in mind, and you'll have to pay attention as Canva gets updates, what changes, what additional options you might have, but it is something that you still can use right now to add some pretty cool animation just to bring something to life a little bit, okay? So, have fun, and I'll see you in the next lesson. 47. Forcing the New Video Editor (and Duration Option): In our last video, we were animating this Dune poster, and I mentioned at one point, how you do not get the duration option down here if you launch certain projects formats in Canva, for example, this was a poster that we launched, and then other times when you launch a different project because it's a video project or something like that, you will get the duration option down here. However, there is a way I think you can force it to have the duration option down here. Now, let me just show you what I mean. Let's just go to our home screen for a second. Here's the poster format, which is what I am using in this Dune. This was launched as a poster. So if I come down here and I launch poster again, so we'll create a blank poster. Then even if I come under my elements and I search for video clip, sometimes type in video. But we just need to bring up a video, let's drop one in here. Even though we have a video here, I can see it's 10.1 seconds, and we can fool around with it, but it's tougher when we don't have the traditional video timeline at the bottom where we can drag out from the sides and see our playhead the way we do in that video editor. So how do we get that duration option, and how do we get that video editor? Well, if you're on the home screen and you launch something that's either a video format or something like an Instagram reel. So I'm just going to start to type in Insta Instagram up here. And if I find something like an Instagram reel, let's just type that out. Completely, so it brings up some template. So here's an blank Instagram real. And since it expects you to have animation in this type of project, suddenly, we do get the playhead. We do have this duration option. So we have the traditional newer video editor down here in anva where we did not have that in our Dune project. So there's no way within this Dune project to just force it to show up here. However, we could easily copy this over to another project, and there's usually a way when you're launching a new project to make sure you get it. So if I look at this project here by just going under file and clicking on this here, then we can see that this is 18 " by 24 ". So if I just go back to the home screen here on Canva, we can see that this poster, 18 by 24 ". You know if we launch that, we're not going to get the video editor. However, what if I just come over to this custom size option, and I type in 18 by 24, and I create a new design. Well, look at this. Suddenly, we have the video editor, and we have the duration option. Okay? And then if I wanted to go back to that Dune poster, since it's the exact same dimensions, I could just do a control A and then control C to copy, copy everything, come onto that new design. Not this one, but this one here, hit Control V. Give it a second? It's pasting a lot of elements, so it's going to take a little while to paste it all over, but it will paste it all over. For some reason, I didn't get it, let me just go back again. Again, I could try to right click Control C to copy, but I could also just right click here and choose copy, and then I'm going to go back to that blank design. Here it is right here. Okay, so it did paste it over. Here's the one why I pasted it before. I took a second to paste it over, but now it pasted it over. And so everything came over And the only thing we didn't get was our background, and that's just because you can't copy a background like that, but we would just come here under position and then just find our background and come in here and adjust the color, pick whatever color we want. We can come in here and dial it down. So it matched what we had before. And now we have the exact same project, except now suddenly we have this duration option. And so now we can click that on, and now we can just drag out from the end here to make our clip longer to trim it, and we have our playhead where we can easily scrub through. And so it is just sometimes easier to work with. Now, as we saw in the last video, you can work in that other project format where you don't have the traditional video editor, but it is helpful, and just know you have that trick on the home screen of just choosing a custom size if you want to do something that's traditionally maybe a format where you don't get that duration, but you do want to get it. I think when you use this custom size, it's always going to show up with that video option. Now, I haven't fully tested it, so maybe sometimes you don't, but I'm pretty sure this should work. So remember that trick if you're trying to bring back that duration option, so you have that traditional video editor. All right, thanks for watching. I'll see you in the next lesson. 48. Utilizing Different Methods Animating our Polaroid Frame Project: Another example. You'll remember this polaroid frame we created earlier in the course. I've gone in here and I added this floral print in the background, and then a couple of layers that have butterflies, just graphics that I found in Canva, and then one with this flower over here. Again, just using those animation effects, we have a rotate on the flower, and then we have some drifts on our butterflies here. If I go back through and then let this play through, we can see a very easy way to add animation. Now, remember, if we extend our timeline here using the duration option and just drag this out, we can suddenly slow it down and get a different effect. Of course, you also can come under here, and you have a speed option if you go under the animation here or an intensity option in the case of drift. However, that only accounts for however long your slide is. And so just by dragging it out, suddenly, we can make it play slower. So if I take it back to the beginning now, now suddenly we have a real subtle animation compared to how fast it was before, if we drag this back, we can see that it plays much faster. It's got to learn these controls and fool around so you can get the effect that you think is most effective and that you like the most. Now let's look at another copy of this. Here's one where we don't have any animation added. But then if I go to the next one here and let it play through, now we can see we have some animation going on in the background. Now, in the case of this, we're not using elements and not using those animation effects, we actually just have a video in the background, a couple of different videos in the background. So if we look at the position tab here, let me just go to the videos that are playing in the background. So I believe this is one of them. Let's see transparency. Yes, let's bring that up to the top just so we can see we have that video in the background. And then this, I think is the other one. Let's see what this one is here. Yeah, so that's just sort of a grunge layer. So that's not the video, but there is a second video in the background here. Let's see if it's this one here, bring that to the front. Yeah. So we just have some videos playing in the background. So this one is this different abstract shapes. And if we turn that one down and we go to this other one here and bring that one on top, this is just this boca effect. So let me just hit Control Z to force those back into the background positions that they were in. And then we can see that that is what's providing sort of that motion and stuff we see in the background there. So again, different ways to get some animation into your design. You can use the elements and you can use those animation effects, or you can play with putting video in the background, deciding where you want it in your design. For example, in this design, I have it pushed, so it's behind my main subject here. And so it's behind all these picture frames and just give some motion in the background. Another thing I could do here, all these layers that have the photograph frames and the subject itself. I could group all those together, and then I could come under there and I could animate those. So maybe I would give those a simple drift and maybe make them come up the page, but make it pretty subtle. And then if I play this now and we go to the one that has animation here it is now. So now we have the subject animating, move it up, and then we have some movement and stuff in the background. So it really is just about playing around and seeing what works best for whatever project you're working on and the look you're going for. All right? I'll see you in the next lesson. 49. Limiting your Animation to Part of your Design: Here's another version of that Dune poster that I created from earlier in the course. Now I've animated this as well, so let me just hit play and let's watch this for a second. You probably have a good feel now for the different methods we have for creating this type of animation. But there's something slightly different about this one. Let me pause it again and let me bring it back to the beginning. Grab this and bring it back. I'm going to hit play again and notice how this Boca effect really fades out here and doesn't come to the top half of my image. I'm going to hit play again and watch how this fades as it meets the center of the image. This is something a little different. How am I stopping this animation from sort of covering the top half of my image? So I want you to pause the video and I want you to think about this and when you do, I want you to remember all the techniques we've learned in this course, because again, it's about stacking these techniques together. So pause for a second, think about how I'm limiting this one animation to just the bottom half of my image. Then when you come back after the pause, I'll go ahead and explain how I did that. Pause now, and I'll see you in a minute. Okay. Welcome back. Were you able to reason out how I'm limiting this animation to just the bottom half of the image? Well, let me show you what's going on here. So that Boca effect is just being created by a video. So I have this video down here that's on this layer of my project right here. The problem is in the challenge is behind it, I also have this layer here, which includes the sand dunes, and that's kind of a feature I want to show to just add that element of place to this image here. If I go here, here's the video. So let's just scrub through and see this video. So I'll just hit space bar. So that's the video that's causing the animation. But you see that goes all the way up over the screen. And then here behind it. This is the layer that's behind it that I want to preserve up here the details of some of the sand dunes. And so if I just apply it normally over top of this with the video covering the whole screen. This is the problem. It's going to take away my sand dunes. I'm no longer going to be able to see through to my sand dunes. So let me just pause it for a second. And if I come down to that layer, I can lower it down. So here's the transparency. I can lower it down. But then I really start to lose the animation itself, and I want to keep that a strong element, so I don't want to bring it way down. I want to keep it pumped up. But then you see I lose those sand dunes in the background? Well, if I just drag the video itself down, then we have another problem, then suddenly, I'm going to see the edge of the video. So how did I get around this? How did I get around the fact that I want to have this strong animation in the background that's being played by a video? I don't want to lower down the transparency of that video too much. At the same time, I don't want to lose my background detail from layers behind it. So how did I get around that? Well, here's what I did. I just exported my entire image here. So if we go back to the first thing here, you can export whatever you want. So I could even turn this animation layer off, so I could come in here and lower down the transparency of that. And so what I did was I just exported everything here as a PNG. Actually, I think I just export it as a JPEG because I'm not concerned with transparency. So just download and download just that page as a JPEG. And then I brought that JPEG over into Photop. And now within Photop, we know here is where we can create some transparency and bring something back. So really, what I want to do is I want to be able to preserve the top half of my image. So all I did here was add another layer. I just brought it below this layer here. I don't need that, but we'll just put it on here for reference. So I'll just fill that with white for a moment. We're going to turn off that white. But I'm going to just go up here to my background. We're going to apply a mask to our background. Remember, that's how we start to control what we're seeing and what we're not seeing. And right now, it's just white, so we're seeing everything. But if I come up here to my gradient tool, and it's just got a simple linear gradient, and right now it's set to go from the foreground color, which is white to the background color. So remember, that's going from what we see to what we don't see. So I could say everything from right here I want to see, and then I could drag down a gradient to maybe right here, and suddenly, I get this blend. And then, of course, I want to turn off the white background layer. But this is all I did. I did something like this, and I exported this back to my canva project. And then within that canva project, if we go back to this first layer here, where that animation is obscured. If you look at the top layer in this, here's the top layer once we get behind the borders, and I'll show you that top layer just on its own page here, I just added this as a top layer. So now the animation is playing up behind this. You hit the semi transparent pixels. It starts to disappear, and then we don't see it up top because it's obscured by this top layer that we brought back from Photop. Now, obviously, if I wanted my Dune letters to be animated, then I would not have exported those as part of that. I would have turned those off first, and then I would have kept those separate and above this layer in the final animation, okay? So you just have to think about what effect you want, what are the sort of tools in your tool bag that you can potentially use. And then sometimes you have to think creatively like this just to get the result you want. All right? All right. Thanks for watching. Okay. 50. Final Animation Challenge: Okay, since we've reached the end of the animation section of the course, let's have one more animation challenge. Now, this would be a great time to return to an earlier project in the course, maybe one that didn't include animation. Maybe you want to add in some animation now that you've learned all these techniques. But it can be anything at all. It can be one of your old canva designs, so you can create a new design just with this purpose in mind. But what you're going to do is just add some level of animation to your design. So I want you to play around, I want you to have fun. Anything at all works. And then you can come up under the share menu and you can come down here and if you want, you can grab a public view link. This lets people look at your project. They can't make edits, but they can look at your project, or if you want, you can download appropriate media. And then here in Skillshare just come under whatever challenge you happen to be currently working on. Then come under here and come down to this discussion tab and then you can actually use any of these tabs, start conversation, ask question share project. Any of those are going to work. Just come in here and either insert the link if you have that public view link or if you downloads some media to share, use this ad media and you can upload your media that way. And that way, we can check out your challenge. We can all get inspiration from each other as we share challenges here. And you can offer critiques, just keep your critiques friendly and try to be as helpful as possible. Alright, I'll see you the next lesson.