Shooting and editing mock ups in Affinity Photo

1. Introduction to the Mock-up Course : now again, Welcome to the scores on skill share. Now, this is one of my favorite courses that I've ever put out. So you're in for one significant journey we're gonna show you in affinity photo how to enter the world of mock ups. Now, if you don't know mock ups are those really cool, pre made assets that really showcase your work there, used by brand designers by creatives to kind of highlight their work. So if you've got a poster, let's say that you really spent a lot of time on and you want to put it inside oven image. This is the mock up that does that. So they save you a lot of time. And if you work through, you can create some really cool ones in a really short period of time. So this court is quite extensive. We start you off with the bare bones basics of what a mock up is, how you should go about planning your mock up, and then I go through and I show you in real time how to shoot each one of the mock ups that will be building. Now let's talk for a minute. About what we're gonna be building, We're gonna be building a set of mock ups that you can use to place your own artwork in or take your own photos and place them inside. So we're gonna be working through a series of pre made mock ups. To begin with that I've made for you, we're gonna be practicing the techniques that you're gonna need to master in affinity photo to do these mock ups. Then we're gonna dig into some really deep type of lessons on this where we're actually going to be even going so far as doing some visual effects and maybe even what I'll call some c g I where we take textures and apply them over to solid objects. So this really is a multilayered course with a defined deliverable. And now let's talk to find delivery ble because after all, this is skill share at the end of each one of these projects, What you're expected to submit is your mock up with your brand image in it. Now I've provided images for my brand, but I want you to take your piece of art, put it in your mock up in your way, and then all you've got a load is the J picks. I'm really excited to see how you guys work with this course. I'm really excited to see the projects that you come up with. And at the end of this course, what you're going to be able to do is you're going to be able to use your own photos, your own images to create totally modifiable backups here in affinity photo Plus at the end , I'm gonna give you an introduction to Blender, in which I have a pre textured model and I'm gonna show you how to use blender to create mock ups. So you're gonna get not only affinity photo, but you're going to get affinity photo tied in with blender to create some amazing mock ups to have showcase your art. Let's go ahead and get started. I'm really excited for this one. Let's go ahead and take the journey 2. SHOOTING MOCK-UPS- Introduction : All right, gang, welcome to this section of the mark. Of course. Now, in this section, I'm gonna go through what you could expect from this section of the mock. Of course, this lesson here is just an introduction. So what I'm going to do is I'm gonna go through and I'm gonna show you how I shoot mock ups and all of the mock ups that I'm going to shoot will be used in the affinity section off the course. So whether you're in photo shop, whether you're in affinity, these tried and true methods with the tools that I'm gonna use allow you to create mock ups regardless of whichever software you're trying to use. So there are common things like using white objects so that you can colorize them, making sure your lights aren't too crazy and making sure that you get the appropriate flat lay in the right shapes. So we're gonna cover a lot of that when we shoot, and I'm gonna show you how to shoot a variety of different objects. So that's what we're doing in this lesson. If you want to go ahead and shoot your own, this election will be valuable to you. If you decide to use predawn mock ups, then you may just want to skip to the section that matches your software. All right, let's go ahead and get started. 3. SHOOTING MOCK-UPS-Tools anyone can use to shoot a mock up: All right, folks. Jeremy Hazel here from Seven Seasons Studios, and I'm really excited about this course. I've wanted to do a mock, of course, for a long time. And my biggest value in the mock up course aside from Infinity photo is showing you how to shoot them. Now you're in my office here. I've got 90 square feet, and this is a standard, just wide old card table. So what I'm going to do, I'm gonna show you how to make the mock ups for this class using everyday materials. So I will be using my Panasonic Limits camera. However, I will a lot of times shoot mock ups using my cell phone, right? Very simple. The important thing with cell phone is you can get camera APS that have raw capabilities. I still like raw, even on a cell phone. So even if you don't have a professional camera, you can snap a professional picture with your cell phone. I'm not teaching cell phone photography in this course. So good news is there's a course for that later on down the line somewhere. But what I am going to do, I am going to forego all of my fancy studio lights. I'm not gonna be using my soft boxes. And I'm gonna show you a little bit about what I work with when I do mock ups because what I want to show you is you can work off from bare bones material and achieve some really awesome results. So one of my favorite places to go is the dollar store. So I've got a couple different mugs. We're gonna be doing some mug mock ups here. I've also got a set of flip flops because apparel markups, air huge. And speaking of apparel, the first thing that we're going to show you how to make is this full flat using this basic white T shirt. Now, you might have seen a theme here. Everything that I'm using for mock ups is white, and the reason is we can apply color layers to the mock ups. But if you have, say, a bloom, aka it's very, very difficult to change the color of blue and a black mock up, that's just impossible because there's no real light and dark values. So I liked working white, so all of my mock ups are done in white now because I'm interested in glasses. Well, we're gonna go ahead, and we're gonna be doing a couple different glass things, right? So we're gonna go ahead and shoot this bottle, and we're gonna shoot this candleholder and because on four going all of my fancy studio lights and such, we're gonna be using these $5 target L E D lights. Right? These things are your basic desk lamp. I like the L Edie's because you don't really have a bright light. You have a lot of diffusion there. But again, any desk lamp of work. What I want to show you is you can make do with anything and to help with spotlight. I've even foregone my flash, and we're just going to use a standard old, ever ready type of light. Right? So this is just a dollar store style flashlight. Now, what am I gonna do about soft boxes? Right? Because a lot of times when you go to turn these on, it's gonna be super bright. I've made my own basic diffusion box here. This is a piece of parchment paper from a cut out T shirt box. So all I did is I cut a square and I stretch parchment paper over it so that this thing when weight is applied will sit in front of that light and defuse that life through. So I don't get the harsh light. So everything that I'm gonna be working with you can buy at any sort of department store, any sort of general merchandise store. And what I want to show you is you don't need fancy equipment in order to do what we're doing with mock ups. When it comes to backdrops, I'm gonna use just a plain old black piece of cloth. And when it comes to different reflectors and such, we're just gonna go ahead right now and we're gonna make just simple posterboard. So what I have here is two pieces of foam board, one black, one white. That's all we're really gonna be doing with this. So everything that I'm going to show you is commonly available. And the goal in these mock ups is to show you how to shoot on a budget, using minimal materials in the space that you have now, the one piece that I am going to use, which helps out a lot. I'm gonna go ahead and move the camera here through the magic of editing. You're not going to see me get up. I have a fixed position to do my lay flat. So what happens is the camera is going to be mounted to that fixed position. There, you'll see my audio panels. So that's the one thing that I am going to use. However, you just need to find some way to suspend the camera from the ceiling. I don't care how you do it, get inventive, get creative. So that's an introduction to the type of tools that I'm gonna be using. Everything that you're going to need. You can buy the department store. I'm not going to use any special equipment. Let's go ahead. And it started with the lay flat now because I have to shoot with my camera. I'm gonna explain everything that I'm doing while I'm getting ready. I'm going to snap a photo of my set up, and then I'm gonna narrate why I made the decision that I made. So let's go ahead and get started in this mock up course 4. SHOOTING MOCK-UPS-How to plan your mock up : All right, folks, in this section, we're gonna be talking about shooting mock ups. So this is a quick three minute theoretical lesson. Before you begin planning your mock ups, the first and foremost thing you want to be thinking about is your audience. Now, if you're shooting mock ups for yourself, the audiences, you. But if you're looking at selling your mock up packs, you want to be thinking about what your customer wants to do with it. And the thing that I'm going to talk to you about very in depth is the power of potentiality. When you think about marketing, the potentiality of what your customer could do is a powerful emotional driving factor. So let's say, as an example, that will give you a real life example. We were going through and we were at the furniture store for the Kobe thing, and they had this beautiful multi piece dining room set up. Looked like a set up for a family dinner. And my wife looked me and said, That's kind of cool and I said, Yeah, I said, we could probably get that. Listen, we could have the family over And she said, How many times the last six years we've been together, have we had family over. And secondly, you're an introvert, so you don't much like people in your home. But it was interesting. The way that they had staged it allowed me to feel that I could potentially have people over. And so it was a real consideration as to whether or not to buy a table that we probably would never use. So when you think about mock ups, think about what your customer or your audience is going to want to do with it, because let's say that you put the mock up in there and then you put some sort of a word in there, right, cause you're selling state posters or something. What is it? Where is that poster hanging? That the person who buys that wants to believe is possible? The same thing with business style mock ups. A lot of times you'll see mock ups with people gathered around an iPad and everybody looking like they've just solve world peace and such. And it's because with that technology, whatever the solution is in the iPad in the way that the products presented, it's possible that that team could achieve a high level of performance. So think about potentiality of the product. What is it that the person who is going to use your mock up wants to believe that they can do also think about giving space. This is important in Les Flats because if I see a lay flat and there's 900 little things running around in there, there's no room for my product, which is why I bought the mock up of the first place to breathe. If I'm putting my designs and my illustrations on, say, a coffee mug and the coffee mug is this much of the design and everything else is taken up with plants and weird stuff like that. That's not going to be the mock up for me. So always consider what your audience wants to be able to do. Think about that when you arrange your mock up, which is a totally separate lesson, and make sure that you are harnessing the potentiality for your product because that's going to drive the emotional response. If they can picture themselves with their brand in your mock up looking the way that they wanted to look, you will have a higher conversion. All right, let's go ahead and get into how to actually composite these 5. SHOOTING MOCK-UPS-How to compose your mock up - part 2: bar I folks welcome back to mock up, so this lesson is going to be more technical in nature. This lesson really harnesses Ah, lot of the mock ups that you see, and I drilled it down to a fundamental Siri's off four things. So we're talking about composing here, mock up shots when you compose your mock up shots what you're going to want to be thinking about first and foremost hardest. The rule of threes, right? In photography, we talk about those thirds areas being essential to point of focus. Now. I'm not here to talk about the rule of thirds, but even in the design world, if you've got three objects on the shelf and they have three different levels, you're going to have more visual interest. Odd numbers, for some reason, tend to work better in design compositions than, say, even numbers. So usually when I look at mock ups, there's no more than three or maybe four things I would say Keep it to three. The only time I see four is where they're trying to create a lifestyle mock up in which they've got the hat, the sunglasses, the boots, the shirt, the coat right, and they're selling the entire experience. Now the other thing, Keep focus in mind. Remember that the I will go toward those things that are in sharper focus. So if you want this customer to be seeing your product at this point, make the rest out of focus. You could do lens blurs, even Go, go. Schindler's you can do anything you want with it. Really? Sometimes the way that I shoot, I tend to have a lot of extreme focus in the back part. And I keep the front part generally hazy. So we're gonna be treating our mock up the same way the third thing that you're going to want to keep in mind. And I mentioned this and other videos make space. Now what do I mean by make space? Do not crowd your mock up when you compose your mock up. Think about what somebody wants to be able to do with it. Then think about the space that they need to present their product and put first things first. Now, the other thing that I'm gonna tell you, I call it angles, right angles and accents. The way that you look at this when you start shooting, look at the angle at which it's presented as an example. If I'm doing a technological piece, let's say on an iPad. I don't want to lay that iPad completely flat because then when the person who's using it has to put their image on it, they have to perspective, warped that thing down until all of a sudden, you can't hardly see it. So think about it. Usually this is reserved more for cinematographers, Let's say, but think about the angle that you're shooting and the accent pieces that you're putting with it so you might have three pieces. They might have good focus in your shot. But yet if the angle is wrong and it's not strong, you may have issues going forward. Your mock up won't be as good as it could be. Now, the last thing that I will tell you you're going to want to pay attention to your lighting . Sometimes you want an ambient soft light. Sometimes you want a very hard light. If you're doing a lot of screens, you don't want a hard light because now you have to take multiple shots or you have to go through and heal the image, and when you put your mock up in it, it could very easily get jacked up. So think about your lighting. Think about your angles in your accents. Think about your focus. Give it room to breathe. And I guess I went to five. Consider the rule of threes when you do your mock ups. All right, let's go ahead and shoot of you. 6. SHOOTING MOCK-UPS-3 resources for color pallets: all right, gang, And welcome to this lesson on mock ups. Now we're talking about the theory of Bacchus, right? So what I wanted to do is I just want to give you a couple resource is that are available free online that you can use to develop color palettes for your mock ups. Finding either a set of complementary colors or try out of colors is one of those things that will make your mock ups pop. You don't want too many colors, and you don't want colors that don't work well together. So what? I'm including here in the lesson that we're about to watch is three. Resource is that you can use online free that will help you. Let's go ahead and get started. All right, gang. So when you do mock ups, one of the things that we really pay attention to is the color scheme. And sometimes it's hard to find colors that are either complementary or similar where maybe you're going for a triad IQ type of theme. So these air three resource is that I use quite frequently, and the 1st 1 is coolers, not CEO. So this is an interesting one and I'm just going to kind of show you the basic idea, the bottom line for this product. And by the way, there is an adobe extension, and such is it's a generator for different palates. So if you come into here, let's just do the basics. One. It gives you all of the different codes. So let's go ahead and start here, right? It's going and close out all of this. Now let's say that you like this color. We're gonna talk a locket and now let's hit space. Now it will pull in other colors. So let's say I like this one in this one. You come in and you can keep working until you have up until five colors that Aaron A palette. And once you've got that, you can export it so you can copy the U R L you can download. It is a pdf you can save. It is an image. Whatever you decide to do, we got xvg. So this is a very simple way that you contest what colors work well next to one another, right? And when I say that they worked well, notice if I want to drag this to the side here. I can drag it to the left. I can drag it to the right, drag this one over, and so this the nice way to pick out some different colors. There's a lot to this, right? You come in here and you can view him as a Grady int. They've got tutorials. They've got a lot you can do. You can create a collage, so you create an image. You can go ahead and check it out in your collage to see how things are gonna work. This site is one of those that I really like. So there's a lot of things you could do with this. Um, we come over here, you get a library in, sign in, and then it will give you the hex codes. HSBC's the H SL's. All of these, depending on your actual colors. So a lot of stuff you could do with that this one is very powerful. And so if you're interested in this, you can go through and check for contrast is well or you could even color pick if you want to. The interesting thing is here, if you upload a photo, you can pick a palette from your photo, so we'll talk a little bit about that here. Next. Let's go ahead and take a look at one where you start with a photo. This is design seeds dot com Again, they do have some things that are for sale, but everything here, The cool thing here is that they take a photo and then they create a pallet off from a photo. Now, affinity Photo has this capability, but it's interesting to see what other people are working on. So notice the color shore they took this. There's the palate so you can use design seeds. This is one that I use quite frequently, and they even give you the different hex codes for this particular palette. Some cool stuff over here. If you're looking to creating a mock up, let's say the green you could go this route major tones perfect and then the recommends mothers. The list goes on and on and on, so design seeds, coolers. The last one, which you guys are probably already aware of, is adobe color. This is color dot adobe dot com. You do not need an adobe account to do this and so you can work on analogous models or what it called color cords. Let's say you want to go monochromatic. If you're working with white mock ups, you go monochromatic and it gives you the RGB codes, the hex codes. So everything is pretty well set up. Here you go. Try attic. You can even go complementary. And now let's say here I want to take this and I want to pull this out. I can see kind of how this would change as I go along. So if you wanted to do that, you could easily do it this way. And then you can change the number of colors. You can change a lot of stuff on here, Would you? Shades. Right now you've just got different shades of the same color so we can come around the circle. There's a lot of stuff you can do with this. If you have Adobe clothing editor back up. If you have Adobe Cloud account, you can save the theme and from the created image. All right, so there's some really good stuff here. These air three resource is for color when you're looking at Bach ups, and I personally love working with all three of these. All right, folks don't want to keep this one too long, so let's go ahead and get with the making of the mock ups. 7. SHOOTING MOCK-UPS-Setting up a Lay flat T-shirt image : Alright, folks, let's go ahead and marry. Why made the decisions that I made? So you might see the camera cord or the microphone court come into the shot. But turns out I'm to get down on the floor here, and I'm gonna be working right alongside you. So the reason I made the decision that I made when it came down to the black background is I wanted a good contrast with the white shirt. So what you're going to see me do here is take this black posterboard and I'm gonna overlay the pieces because what I really want to do when it comes time to edit this thing, I want to be able to just one and done right now. Every time you do a shirt like this, you want to make sure that your caller is pressed really well. I've pre iron this thing, and you want to make sure that you've got minimal wrinkles. Now you see, down here along the bottom, we're gonna go ahead. We're gonna tuck this under a little bit because I like this to be solid. If you don't want to go ahead and do that, you can always just go ahead and cut it out in your clipping mask. Plus, what you're gonna want to do now is this is gonna be wider because it's supposed to be on the side of your body. You want to tuck the sides in because nobody wants to buy a shirt that makes them look frumpy. So what you want to do is you want to make the sides taper in. Okay, so we're gonna put a little bit of taper on it. Gonna smooth that out a little bit. There's gonna be no perfect. If you wanted perfectly perfect, you would have done a vector image. Right. So now I want the front of my sleeves. The top portion here. You see where this is? I want to tuck this just a little bit in, okay? I don't want to flare out a lot, so we might do a little bit more tucking, and we can change this in post. So what I'm looking for here is a nice, solid crease. And I want this crease to be on the same on this side. So go ahead and tuck this in as well. I'm gonna make sure that we're good here. Now, some people will put there to show paper inside of this. I personally don't like that look, So I don't I like my fold flats or my life lacks to be actually flat. And if your sides aren't perfect, that's okay. Turns out the magic of editing. We're gonna be just fine. Okay. Now, don't forget the tag. Make the tag stick down. You don't want the tag sticking up. Get that right where you think you should be. And remember, people are gonna be looking at this shirt to determine whether or not it will fit their body. So that's pretty darn good. I'm happy with that. Let's step back and take a look. Now, why did I make the decision that I made regarding the lighting? Because I want a very bright light down here because I want the wrinkles. Now, looking at this here, I know I've got to come in with this side a little bit more. All right? Maybe not that much. Okay? Make sure we didn't undo any of our work. All right? Now, when you shoot it, make sure you shoot it raw. I like Rob because it gives me the opportunity to go in and post and fixing things so pretty happy with that. Let's go ahead and shoot 8. SHOOTING MOCK-UPS-Setting up a simple white space mock up: Alright, folks, let's go ahead and take a look at how did you just your basic average everyday white mock up So a little bit about my set up Each one of these videos is just going to show you the set up. So these videos air about how to set up your shot. So I'm using everything that we talked about, everything that I said I was going to do. Now we've got this white poster board in the back here. I've got a green screen here. What you don't want to do is you don't want to get so close to the green and you don't want to shoot against the green because it casts a shadow against everything. So you have a brightly colored wall of some color. Make sure that you've got something around it. If you put it up against the wall, whatever the tint is on that wall will come back down onto your set up. And as we want this to be kind of a white neutral set up that would absolutely destroy it. Now, the other thing that I've got here, I've got my led desk lamps and I'm gonna reach over here, and I'm gonna get my handy dandy diffusion box. And I'm just gonna set my diffusion box over top of that light. So I've got one light coming into here. Now, the other thing that I'm going to do, I'm gonna put another light here. And this is another trick that I use a lot of times you can take a paper towel, put a rubber band on it, and that will diffuse this light so that you've got it coming from two different sides. And just to make sure that we don't have any under lit areas, I'm going to take a destroyed cardboard box, right? That's right. And I'm gonna go ahead. I'm just gonna place it right about here so that they don't get any under lit section here now, following our rules of composition to be covered earlier in this course, I've got three objects. I wanted to do a coffee cup because I wanted to do a white mock up. It's on my table, and I wanted to keep it very, very minimal in terms of the color. So I went with my cell phone, which was black, and I found this composition book anybody that's gone to any sort of school knows what this is. So it's something that's also relatable. So what I'm gonna do here is I'm going to set these up now. The thing that I want to primarily show is the coffee Cup. But we're gonna do a coffee cup and we're gonna make this side modifiable So I want a lot of surface area here. I don't want the cellphone totally overpowering it. So I'm gonna go ahead. I'm going to set it right about here. Now, the shadows for this thing are going to be coming this way because this light is a little bit more aggressive, so I think that that's pretty good. So what I'm gonna do, I'm gonna go ahead and take a shot like this. And now remember our lesson from composition when we talked about angle with this one, I'm gonna be right down along here and I want to pay attention to that horizon line where that board meets that table because that's going to be the horizon line when I do compositing leader that I need to line all of my images up against. All right, So that's how I would set up your basic white Let's go ahead and take the shot 9. SHOOTING MOCK-UPS-Shooting a curved Mockup: All right, folks. Now, let's go ahead and let's shoot the most complicated one out of all we're gonna dio we're gonna go ahead and we're gonna take this bottle because I want to show you how to do some curvature. Mock ups. So, in affinity photo the curvature function is not as great as it is in Photoshop. And being able to shoot a curved objects, especially glass curved object, is going to be a bit of a challenge. So notice that I haven't changed my set up much from shoot to shoot to shoot. I like a good ambient light once I get my lighting right. It's just then a matter of manipulating these two lights, figuring out where to put my deflector there so that we get a good even lighting. I tend to do a lot of my lighting adjustments in post. So what we're gonna do here is, first of all, because I want something in the bottle, we're gonna go ahead and fill the bottles. We're gonna have the editor go ahead and speed this up there because quite frankly, I'm gonna be super slow with this Now why am I filling the bottle with colored liquid. I'm filling the bottle with colored liquid because I need a color in order to remove and change inside of there. Not saying you can't do it. If not, but it's one of those things that makes it just so much easier. Now I really like the bubbles in this as well. So I chose a carbonated beverage. The bubbles are gonna add a little bit of atmosphere. We could do some frequency separation on it if we so choose. The challenge with composites is not only do you have to shoot the image a lot of times, but you also have to edit the image a lot of times. So now we have our completed bottle. All right, now we're gonna go ahead. We're also gonna be using this flashlight now the flashlight. When it comes to the back of the bottle, we're going to need something to defuse it, similar to the paper that we've got there. So what I tend to do is I take just some average Kraft paper. You can use whatever type of old paper you want, right? Certainly, printer paper will work. And what I'm going to do now is I'm gonna go ahead and I'm going to trim this paper toe fit this bottle and what that's going to do for me when I shine the flashlight through it, that means it's not going to come in all business. Right? So we're going to get a much subtler life. We don't want the paper to interfere with the bottle, so I think that that's pretty good. They're gonna go ahead and trim out the neck. Just a little techniques like this usually come also, after a tremendous amount of headache in several hours of just being extremely frustrated with the fact that you're lighting isn't going correct. All right, throw some masking tape on the sides here. You don't need a lot of it. You don't really want a lot of it because that will also impact the light that's coming through. So don't go crazy with it. Not trying to adhere to the bottle for the rest of its life. Let's see. Let's do this. Rip the neck off it right there. Go. Okay, go ahead and hug that up. That looks pretty good. All right. Make sure that cap stays on. You don't need a mess, right? Now, the good news is we can go ahead and we can edit out a lot of this stuff in post the goal here. We're gonna be taking three shots and what we're going to be doing, we're going to be combining the three with different lighting to make sure that we get the best shot possible. So what I'm gonna do, I'm gonna go ahead and I'm gonna shut off the overhead light here, and I'm gonna drop down my camera settings in terms of the exposure. I'm going to shorten this shutter speed time so that I get the least amount of room light possible to maximize my set light. Now go and clean this off and I'll show you where I'm putting my lamps. The 1st 1 that I'm gonna want. I want a lot of light right about here. Now, there's a really intense, uh, highlight there. That's OK. What I want to do now is I want to turn this guy off because I want to maximize this. So I'm gonna go ahead and turn that down to right about here, all right? And then I'm gonna take some shots that I'm gonna position the other light on the exact same side. And the third time, we'll actually take four. I'm gonna go ahead and take this light, and I'm gonna shine it through that bottle. Now, you guys are seeing at home what that's doing. I'm gonna position the light right about here because I want the label to be right about here. So I don't really care about this area. Don't like that, which it does not matter. All right, so let's go ahead, take the shot, and then we'll see you there on the other side. All right, gang, welcome back to Affinity. Now, I know we're talking about doing the bottle shot, but I wanted to kind of show you as opposed to some of the other shots which were pretty straightforward, how I went through and how I took these shots so that you understand how you would put him together to composite. So this isn't Photoshopped exclusive. This is an affinity exclusive. These are the four shots that I use to create the mock up. And so what I did really is I kept my camera on the tripod and I took a good back lit shot . You see, my coffee cup there, in the background with the flashlight. Turns out we're gonna be able to get all that out. But the reason that I did it that way is I wanted to make this area lighter than the rest. Then I went through and I grabbed some heavy right side light. Right. This is gonna give it a nice kind of reflection there. That's a little bit intense, but I can then pare it down on the other side. I then did the same thing on the left hand side. You see this little area right here? Notice that I turn this light off. This is on that left side. And then along the top area, I wanted to get some top lighting, and that's gonna help me a little bit with my shadows and grabbing some of that. All right, now, how does this work? Let's go ahead and take a look at what we created here. This is the finished rough for the composite there, So I've obviously taken in some materials. I've added some background in some shadows, but you see the areas of the bottle that we've been able to use notice. There's my backlit area. The label is going to go right around here, so I didn't have to worry too much about these bubbles. But I was able to pull some of the carbonation in and do some clean up down here and along the neck. So that's kind of how you would shoot this thing. I just wanted to give you some guidance in terms of what you could expect and showing you that you could take multiple shots created, clipping mask and then edit them out in post. All right, let's go ahead and get into the next one. 10. Explanation on course project structure : All right, folks. And welcome back to skill share. Now we are at the part of the course where we've gotta talk downloads now, skill share asks us to put our downloads into the lessons down here under the project, Files writes, We come down here to say click and see more. Now what we've got is a variety of files down here. And so you see that we've included the zip files. Now, unfortunately, skill share has about an 80 megabyte limit, and mock ups are incredibly large in their file size. So what we've done is we've laid out in the project area here all of the different projects that you're going to do. So you've got 301302 for a 1402 and some of these were small enough that we could fit them into a zip folder. So, like 0302 which is ah, hardcover book project, it's in the zip file. So if you come over here, everything you need is in the ZIP file right here. But there are some projects that were just so large I could not put them in a zip file for that we placed them in a Google drive link. And so if you're looking for the project, it will say, located into the drive. Now, what does that mean? Well, if you come down here, what we've included here is the link to Gould Drive. So you just copy. Come over here and open a browser and paste and hit Enter and what this will do. This will take you to a Google drive that has all of the projects laid out for you. Now, the cool thing about this is that in each one of these projects, not on Lee have we included the files. You need everything, but each one has the finished mock up. Now, because the markets were so large into the skill share file, we could not include the finished in here. So you guys, as people in skill share, actually get all of the mock ups that we're doing into their finished state so that you can use them however you want. However, we could not include him here, So the thing I just needed to connect with, there's a Google file. It has every single file for every single project. So the isometric box. Not only does it have all the textures you're going to use, but it's got the finished isometric box, so that's a little bit different. It's a little bit different than our normal skill share routine. I like to keep all my files in the class. I think it's cleaner. But due to the nature of mock ups, some of these mock ups air 300 megabytes. There is no compression program out there that will take a 300 megabyte file and condense it into something under 80 megs. All right, I just kind of wanted to share with you where to go to get these. All the projects are loaded up here, and I've got the number, the name and the location so that we make sure we've got it figured out. And then I've got this link down here. Now the last thing is, when we get to the projects, notice that each one of these you'll fill out. So the goal I know I covered it in. The first lesson is to follow along and put your own images into the projects. You don't have to use my images, do whatever works for you. Do whatever works for your brand. And if you want to go off book and do something completely different, Awesome. This course is all about flexibility. And I wanted to make sure that you have a lot of fun doing this. All right, let's go ahead and get into the project based stuff. 11. WORKING WITH PREMADE MOCK UPS- Introduction: All right, folks, And welcome to the section on pre made mock ups. Now we're going to show you later in the class how to make your own mock ups from scratch. This lecture is all about getting you comfortable with working with pre made or pre purchased mock ups. So I've included to mock ups for affinity photo. And I'm gonna go through how the market is structured, what you do with it and then how you can make it your own. So not only have we included a mock up that you would encounter if you purchased one, but we're gonna show you how to customise it. And I've included some images to help get you started along the way, we're gonna go through, and we're gonna do this book mock up. So if you're interested in learning how to work with mock ups, this is the first step of the journey. Is figuring out how to use mock ups that you may purchase and what a mock up actually does . All right, let's go ahead and get started 12. WORKING WITH PREMADE MOCK UPS-The Coffee cup: All right, folks. Welcome to the mock. Of course. So what we're going to do now is we're going to show you what the basics of a mock up are. So we're gonna get you going with your first mock up right off the gate, and I want to show you how to use it. Now, this is going to be a very simple mock up, and all mock ups have similar things. There's gonna be some directions in the layers panel. When you goto open it in this one, it's going to say image curve, and it's going to tell you to nest your image here and then because it's modifiable, it looks like you're going to have some steam layers and you see how the steam is coming off there and the shadows coming here so you can just steam. You can have it. You can not have it. About the only thing you don't want to do with these mock ups is mess with the background. So let's go ahead and practice just some really simple ones. This is gonna be less than three minutes, and it's going to show you the power of mock ups now this image curve was made with the pen tool to match the coffee cup. Now, in your downloads for this lesson, let's goto file place. And right now, what I'd like you to do in your section one downloads is this skull image. Okay, we're gonna go ahead and we're gonna drag this out to be about this big, and we're gonna position it over the coffee cup with the majority of the skull right about here. And then what we're gonna do is we're gonna click. We're gonna drag into the mock up, and that's about it. Now, that looks pretty darn bold, right? No problem. Find a spot that you like. Write. Oops. Don't move the curve. And now make sure you come to the image and change the blend mode to multiply. Boom. There we go. Now, notice all of those really nice highlights and everything from the coffee cup are coming into here. So you've got at some of those highlights. You've got a really nice curve on the side here. The highlights and shadows air good. It actually looks a bit round. So in reality, that's what these mock ups are. It's a place for you to put your images that will twist, turn and bend them into different layers so that you can actually display your products in a usable format. From here, all you got to do is go file export, and away you go. We'll go ahead and save. It is J. Peg and it's going an export. We'll call this Skoll Cup. All right, so in this class, we're gonna show you how to make thes. But I wanted to show you the generals theory about what goes into them, why they matter and how you can work with them right off the bat in affinity. Designer. All right, let's go ahead and get to the next lesson. 13. WORKING WITH PREMADE MOCK UPS-The hard cover book: All right, folks, welcome back to this course on mock ups. Now I'm gonna show you how to work with the mock up pack that I've included this part of the score. So I'm gonna be showing you how to work with mock ups in affinity photo. So Lindsay's gonna go ahead and cover the photo shop side. I'm gonna make sure that you understand Affinity photo. Now, in an earlier lesson back in section one, we went through and we just did a really basic coffee cup style adjustment. OK, so that was a very simple nesting oven image into a mock up just to get you familiar with the power of mock ups in section two. I went through when I showed you how to shoot these mock ups. Now, I think it's really interesting that I actually created this mock up from a photo shoot. I'll show you the original photo. It was this book and all I did is I just took the black and white image in the tones, and then I created this mock up. So that's what we have to look forward to in the next section. We're gonna be covering some basic tools you're gonna need in a boot camp. But for this section, we're going to show you how to work with this mock up. So let's go ahead and get started. Now when you open up the mock ups, I have a very consistent way that I do this. I'm gonna show it to you here in later lessons. But the key that I'm going to give you is generally this, and I'll make sure that it's included in a printed document as a download gray. Anything that's gray here refers to a universal adjustment, So the reason I call them Universal is because the lighting layer is up above all right than anything that's red is modifiable. So you see that the book is red. That means that's modifiable. And in this pack I've included a modifiable background cover. So you come into the background color, and this comes to the customization. You can change the background color. You can change the amount of saturation in the color. You can even change the lightness of the color, so don't be afraid to experiment. Anything that's red is an adjustable piece. Okay, now anything that's yellow is an optional adjustment So if I've coated it yellow appear, it's something you can adjust as an example. Let's say this background texture is a little bit crazy for you. You can come down here and you can turn it down a little bit. If you don't like the texture at all, you could turn off the texture. And now you just have a plane wall. So anything that is yellow, you can change. Now let's explore some of these red pieces here. The whole mock up is held together by the idea of this adjustable curve, and there are two modifiable faces. There's what's called the front face and the spying face. Okay, front faces here. Spine is here now. Notice how I shaded the book to be consistent with lighting. The spine is Maurin Shadow. The face is really facing that light. So how did I do that? Well, if you go into the front face, notice there's a little arrow here. There is a shadow adjustment layer, and it is yellow, so that means it's adjustable. So how do you adjust the shadow? Well, let's go ahead and twirl this down and this thing works on a mask. So if you come down here and you double click on the mask. You can now re mask this thing. Right? So if you wanted to undo it, notice here. I no longer have that deep shadow over here. I could hit Enter. And now notice that I no longer have that deep shadow here. I'm gonna edit. Undo so you can see what I'm talking about. Undo, edit, Undo. You see how my shadow that was here created that little ridge in the book? So every one of the shadow adjustments is modifiable. Now you have to know a little bit about masking, and you have to know a little bit about the greedy in tool. The same is true down here in the spine. Notice it's yellow. You can adjust the shadow in the spine as well. There's the mask. You can adjust it any way you want, So if you have the grating tool, you can adjust the shadow to make it match the light and the reason that we want to do this . There are times when you do want to change a mock up, change the lighting and make the lighting different, maybe to display your product better. So you really want to make it is modifiable as possible while keeping it easy to use. Now you might go all Jeremy, This is all cool. But what about gonna do with the blue Book? Right. This is the heart of mock ups in affinity photo. Now, we've got a lesson later on that will show you how to create this. Right now, you're only gonna be working with this anywhere. There is blue. You see it? I have the instruction here. Double click to insert your image. And in the embedded spine we hear we have it's also blue, so we'll double click to insert the image. Let's double click to insert the image. Double click. It brings up what is called an embedded document. Okay, now I've included a mock image in here. It's my duality image, but I want to show you how this works. You remember back here on the book, the face was blue. You can take any old image that you want, and I'm gonna prove this. I'm gonna go ahead. I'm gonna place down just one of my images from just a peck cell style image. Right? Doesn't matter what it ISS. Let's go to pictures will go to raw images. This is where I stick stuff when I'm not quite sure what to do with it. And let's go ahead and grab this Rose. Now watch this. If I dragged the rose inside of the blue, noticed the roses above the bloom in the embedded image. Look at that. It's almost like it updates in real time. Turn it off. Turn it on. Oh, look at that. That's like magic right there. Now let's say I close this well, How do I get it back? Just double click again. And now let's eliminate the rose. And I've included this duality image in your downloads. I've also placed it inside the file. So if you turn off the rectangle, this comes up and there it ISS. Now notice the perspective below this there is a perspective layer, which is adjustable. So if the perspective you don't like you can always adjust to the perspective, I would not recommend that, but you could. As a matter of fact, I'm probably gonna lock that right now. All right, Now what do you do about the spine? Well, you realize that we're getting a lot of things stacking up here. Find your embedded spine. Noticed that the bounding box came under the spine. Double click. And you see, it's the exact same set up. So how maney embedded images do I have in a mock up in this case, too? And if I turn off the blue revealing the spine art, what do you think is gonna happen on the mock up over here? See where I am? Right here. I've got three documents open. Really? Just like that. Noticed that sexy piece right here where it actually looks like an actual hardbound book with that little div it Now this has a perspective. Layers. Well, I'm gonna go ahead and lock that, but it is yellow. So if you're working with my mock ups anywhere there is blue. Those are things that you can adjust anywhere. There's yellow. There's an adjustment to be made. Even the shadow adjustment here. If you wanted to turn up the shadow, let's say notice how this darkens up. It's coming over right over here. See how that works. So you like that? You can certainly do that. I'm gonna keep it at 75 now. This is important because we don't know what color you're gonna want to use. You're gonna want to use a color that matches your brand. I don't know if you want to use texture or not, you can certainly bring in another texture. And if we remove the background, you lose all the shadow information because noticed that this is set to multiply. All right, now, the last thing that I want to show you when it comes to universal adjustment, all of my mock ups come with a lighting layer. So if you don't like the lighting, you feel free to either delete it. I'm just gonna turn it off and then you get this, all right? Or if you wanted to keep the lighting double click. I think this one looks pretty good with this shining toward this side of the cover, and I'm actually gonna create a second light. Copy this. I'm a slight it on over this way. And then what I might do because it matches my brand, I might want to just turn it down a little bit good. So if you like this, certainly go ahead and use it. And if the background isn't working for you again. Don't be afraid of this point over saturate, change the color, Do whatever it is that makes this yours. Okay, so that's a little bit on the power of mock ups. How? Toe work with mock ups. And we, as market creators, do the best we can to think about all the ways that you will want to modify this thing and we try to get out ahead of it. Are we perfect? No. Will you have to have some photo shop or some affinity photo skills in order to bring it home? Probably. But this is a good way to kind of explain what's going to happen in section four, because making, um aka requires a certain set of skills which we will boot camp. And after that, we're going to go in depth, and we're gonna build a lot of these. All right, folks, hope you learned a little bit about mock ups. I'm excited to see what you create there. I'm excited to see what you bring into the embedded layers. Because if you don't like my duality image, you can certainly bring in your own any time you want. Alright, folks, let's go ahead and call this one and we'll see in the next one 14. MOCK UP SKILLS-Introduction: All right, Gegen, welcome to the boot camp section here in our mock, of course. Now what is Boot camp? Boot camp is a series of lectures which will teach you the skills that you're going to need to build the larger projects that will eventually get into. So I'm going to give you mock ups at various levels of doneness, and each mock up is gonna focus on a key attributes, say, or a set of attributes and techniques that you're gonna need to know. We're gonna be covering things like use ingredients. We're gonna cover embedded layers. We're gonna cover things like using perspective life filters in order to distort images. So if we took this all at once, it may be overwhelming. So what you're going to see is a variety of projects in this section at varying levels of doneness, which, if you follow through this section, will have you prepared for the larger projects that are to come. So this is not designed to show you how to make each one of these individual mock ups. But if you go through the course and you learn how they're structured, you'll find that each of these mock ups you'll be able to read by the end of the course. All right, let's go and get started. 15. MOCK UP SKILLS-Setting up and shooting poster mock up: All right, folks, Welcome back. So this part of the course is about getting you the type of boot camp activities and getting familiar with the basics. You need to work in any mock up. I'm gonna show you the beginning of each mock up how to shoot it. Because while you can use pre done assets, I'm gonna show you for most stuff how you can shoot your own. So this interests you watch it. If not, go ahead and skip the lesson where we already have the photo. So the first portion here, we're gonna take these clips. I provided the poster mock up, but I'm gonna show you how to shoot to clip. All I have here on the table is a very simple sheet of white paper. Put said, clip on the table, place the light down into direction, make sure it's evenly lit and it's going to tell the story you want for the clip and then shoot it directly from above. That's really it. On shooting the clip. Now I've included my shot of the clip, and that's what we're going to use in the tutorial. However, the texture we haven't talked about, I'm gonna show you how to make your own texture. So to do this and replicate a nice kind of a vintage type of grungy texture, I've taken a piece of paper and I folded it like this. And then I folded it into quarters. And then I've got this bag of old charcoal because I do a lot of charcoal illustration, and I know that I am doing this in a white hoodie, and what I'm going to do here is I'm just going to take some style is here, and I'm going to just do a little bit of work here, around the edges and around the folds. What I'm trying to do here is just get a little bit of that look now you could do a certain amount with this type of technique. You see how this is now starting to become something that you can text arise. But if you really want to take it to the next levels, here's what I would recommend. Dig down deep in this bag. It's your hands good and charcoal e and rub your hands down around this piece. Now, if you don't have charcoal, you can go outside and you can grab whatever happens to be around. Now, I've got some charcoal here. We're just going to do this and then I'm gonna bring it in. What we're doing is we're just adapting and adjusting this charcoal around so that we can create this vintage style. Look, there's no perfect answer. And once you're here, even with your cell phone camera, you could do one of two things. You can either take a picture and a picture will absolutely work. But what I'm going to do, I'm going to use this mammoth obsolete printer right here to go ahead and scan this in black and white Bill printer. No problem. Go ahead and just take a picture. So I'm gonna go ahead. I'm gonna finish up this texture so that it's something you guys want to use. And when I'm done, we'll go ahead and pop on over to affinity. Photo 16. MOCK UP SKILLS-Layering the poster mock-up : All right, folks, welcome to affinity photos. So we're going to show you the basic tools that you're going to need to know in order to do mock ups. So this tutorial is not about how to make the mock up from start to finish. We're going to show you some of the tools that you're gonna need in order to pull off the later mock ups that we have. So this mock up is specifically designed to get you familiar with one thing. How to layer your images, how to apply shadow and think about light. So let's go ahead and get started. I'm in the file new and I've got the preset tab open right here. See where it's blue. It's 72 d p I. And let's make this 1200 wide by 2000 tall. Now notice it's in inches. We don't want inches. We want pixels. There we go. Make sure you're in Ah, pixels. All right. 1200 by 2000 72 DP I pixels on right and create. Perfect. Now we're gonna do a rock poster. So the first thing that I'm gonna do is I'm gonna goto file place and I'm gonna start from the bare bones minimum, and I'm gonna put the brick wall down as my texture. All right, so this is an actual brick wall that I shot, so we're in pretty good shape there. You go ahead and stretch it out a little bit. It's not gonna hurt it. All right, So there's our background. Let's go ahead and rename this background to rename Double click on the Layer. Now what we're gonna do now is we're gonna add into the clips in your file for this lesson . I've included these clips, and I've already isolated them because I don't want to show you how to select. We assume you know how to select, and we're gonna go ahead. We're gonna place in two of these clips, so go to clip PNG, isolated one to all right and paste another. All right, cool. We got some clips. Now, what we have to do is we have to put in our poster. Now, when it comes to mock ups, I'm going to show you this later. I just want you to click and drag a rectangle. Okay? Okay. Just like so, bring the clips to the top of the rectangle perfect. And now we're going to bring the clips up toe look like they're clipping on to this rectangular unit. All right, Just like that. Now, let's zoom out and make sure we didn't do anything really super crazy. Oh, that looks good. Now we've got to create some string, right, because the clips can't just hang in oblivion. So what I'm gonna do is I'm going to use my pen tool. I'm going to click here. I'm gonna hold shift, and I'm gonna create what's called the line. Okay? And then I'm gonna turn up the stroke. Now, I'm gonna try 15. This is gonna be a little guess in check, because my line is directly under that. So when im good, move back to your move to and let's see how that line looks. All right. Now that's supposed to look like some string. So let's go ahead and make it white. And let's go ahead and move it underneath. Here, just like that. Now it's a little bit aggressive. Let's go ahead and turn it down to 10. All right, That looks better. All right, Now notice the layer. Right click duplicate. Move it in all right, Just like that. Now, if we zoom in zoom tools right here, this looks a little bit funny here because you'll see how the clip doesn't quite work. I'm gonna show you how to do a mask layer, select the curve that corresponds to that line. So, as an example, I'm gonna try to clip into this thing here. That's the other one. Okay, we're gonna call this left curve. All right? I want to call this right curve. Okay. Now, could I have picked an easier one to start you with? Sure should. I know. Because you gotta learn how to do this. Now we're gonna use what's called a mass Claire, the MASS. Claire. When you click on this button right here, attaches to the curve and we're going to use a brush. We're going to choose from our brushes menu. Just a regular hard brush and you're going to choose black as the color. OK, notice I brought out my tabs. Now what I'm going to do is I'm going to try to paint now. Why is that masking the curve? Because you don't want the mask on the curve. We want a mask out the clip. So let's delete the mask. This is by design. I want to teach you how to work with layers and masks, and we're gonna apply a mask to both clips. Now, see what just happened when I paint with black notice what just happened, Bone. Now let's do the same thing to the left side. Okay? I'm moving over to the left side by using this bar. I'm grabbing the mask button again right here. And I've applied a mask to the clip. I've got my brush selected. It's a hard brush and I'm using black, Remember, Black conceals white reveals, and I've just masked out that image. So now it looks like those things are between those two clip ears. All right, so this is going to give us the basis of our mock up. Now it's far from done. Next lesson, we're gonna show you how to add in shadows because we want this layer of the poster toe look like it's sitting up above the layer of the brick. We need to add some shadows to the clips to make it look like it's going to the poster, and we need to adjust some shadows on the string, so let's go ahead and save this one here and then we'll see in the next one. 17. MOCK UP SKILLS-Adding Shadows and masking the poster mock up : All right, folks. Welcome back to affinity photos. So we're gonna go ahead. We're gonna take one more shot here on this thing. We're gonna add shadow now. Layers when it comes to mock ups. Could not be more important. So what I'm going to do here, we're gonna practice some really good layering habits and you'll find for a majority of the tutorial, my layers panel is going to be out and front and center. All right, so what I'm gonna do here now is I'm gonna go ahead. I'm gonna move the right curve up above or right underneath the clip, Let's say and let's go ahead and we're gonna go ahead and group those. Okay? Now, why did I do that? Notice now, this moves as a group. Okay? We're gonna do the same thing here. Left curve underneath the clip. Let's group amount. Okay. Now, both of these groups will call this left clip and we'll call this right clip. Okay, Now, there's a couple different ways you're gonna do it. I'm going to show you in this tutorial how to do a very simple shadow with a drawn in look . You can use an effect for this. I personally don't like it. So I tend a hand to draw my shadows. And we're gonna pretend that the light is going to come largely from this direction over here from the left, and it's going to be pretty close to centered, so we're not gonna have long shadows. We're gonna have some very short shadows, but they're gonna be a quite intense. All right, let's go ahead and do this. The easiest way to do a shadow like this is go to the rectangle tool. Actually, no, Let's just do it this way. Create a pixel air, put it down below the right and left Clip. Now, let's go ahead and do this. I'm gonna go to my brush. And before we were working in black with a very solid brush. Let's go ahead and bring my brush panel out. Slide down to the light brushes. I'm talking these fuzzy ones here, right? And I want you to turn this flow down super low. Okay, now I'm sitting at about 8%. So what we're gonna do now we're going to go, and we're gonna put half of the brush down behind this layer and we're just gonna brush this area down, okay? Just like that. Don't go overly crazy. Make several passes. Keep your opacity down. And if you want to and you want to expand out a little bit, take the flow down to even 4% or less. Okay? Flow is the secret to this, Okay? And you'll see because we're behind those areas now, it doesn't show up on the strings. Now, what about these clips here? Watch this same process flow down low, and now just take that down a notch. Now notice that we've got a little bit of halo there on the white. That's okay, because where the clip contacts the white. Wouldn't you want a little bit of Halo? I know I would. So let's go ahead and put a little bit of shadow where that clip contacts. That's gonna be important when we start looking at the poster. Okay. Now, if you go a little bit crazy, don't worry. You can always come in with your eraser. Keep your eraser flow low as well, and then you can erase out a little bit of your shadow. All right, Now, let's go ahead and to do another pixel air and let's drag it down behind the rectangle. And let's call this rectangle shadow. We'll call this one clip shadow you will find I am very anal retentive about naming my layers. Because when you're doing a mock up and you get 30 layers deep, you're gonna wish you did. Honestly. All right, let's do the same thing. Brush low flow, make sure the color is black. I'm gonna raise my brush up a little bit. And now if the light is coming from this side here, majority off the shadow is going to be on this side here on the top. You have a little bit of dark, and you're gonna have a lot more dark on this side. Now, if that's a little bit too slow for you, you can always come in. I would not recommend you move the flow past 11 and you're going to want then to put Flo ride about there. Okay? I always add a little bit to the bottom. Not a lot. It seems to make sense to me. Okay, now check that out. That looks pretty good. Hoops. Let's zoom out the right direction, huh? All right. That's looking pretty darn good. So the thing that I needed you to connect with here is you put the shadows below the layers that you want to shadow. You think about your light composition in this one because we wanted to be just a straight on light. There's not gonna be a tremendous amount of shadow and then you want to name your layers. Now, the last thing you want to dio you see how the black is fairly opaque on the brick change the blend mode of all your saddle layers right now to multiply. As a general rule, shadows are best on a multiply layer. Now, I know I have some exceptions for every rule. And if there are a little bit too pronounced for you, go ahead and just the opacity until you get them the way you want them. Now I'll show you a trick while I'm here. You'll see how the white strings maybe don't look too terribly round. Watch this. Go to the string. I'm on the left hand clip and I'm looking at that left curve. Let's go ahead and zoom in. And now let's go. Toe effects. Let's add an inner shadow to this string right here. Clip up the radius, Click the offset. Click up the intensity a little bit, right. And then you can change the angle of the shadow to match the way that it's going to go. Look at that. That is pretty cool. And you get it until you just want it just the way you want it. All right, let's do that to this. Over here, we go to the right clip. We grab the right curve, come to the effect we grab in her shadow. Click on the check box, and now let's do the same thing up the radius. Change the offset a little bit. So we've got some solid whites, increased the intensity to taste, and then we're gonna change out the direction. Just the offset. Just a little bit of radius. Change the intensity just slightly. All right, so now let's zoom out. All right. That is looking pretty mock up worthy. All right. In the next lesson, we're gonna go through, and I'm just gonna place an image in this mock up. I'm not going to show you embedded layers in this mock up because that's a little bit more advanced of a technique we'll get there. This one was all about light and shadow. All right, let's go ahead and call this lesson. And then the next one, we're gonna show you how to add an image and put in textures. All right, we'll see the next one. 18. MOCK UP SKILLS-Adding images to the poster mock up : All right, folks. Welcome to affinity. So for this mock up, we're gonna use the rectangle that we've got here. And I'm just gonna show you how to place an image inside of the rectangle. We'll show you embedded documents later in another lesson. But for right now, we're just gonna do it very simply for this mock up. We're gonna go ahead. We're going to the final place. Pop that bad boy in there, Rivet. Now, let's go ahead and stretch it so that it fits and we're gonna go ahead nested inside the rectangle. Okay? Now, if it doesn't quite feel the rectangle, go ahead and push it up a little bit there. All right. And now why don't we fill the rectangle? Let's find out where is our deviation? Because I'm looking right up here. So why do we have a deviation? Let's go ahead and move it up. Perfect. All right, Now I'm gonna go ahead and turn snapping on if you turn snapping on, it will snap to the sides of the rectangle. All right? Perfect. All right, Loki, mock up right here. All right. Now, let's go ahead and zoom out. That looks pretty good. Now I'm gonna show you how toe add a texture. Because in mock ups you can add texture. So we're gonna goto file place and there's a texture here that I've got We're gonna take this and we're gonna drag it down Now with the texture, you can take it, you can drag it, you can adjust it. This is just a texture that I made on a plain white sheet of paper. Looks pretty good like this. Go ahead and rotated. Just discussed here. All right, Now, what do you do with this? Let's go and rename it. Call this texture. All right. Perfect. Now, with the texture, we can go ahead now and change the type of blend mode. So it depends on what you want. Your poster Look like I really like linear burn. I really liked the overlay. Look, when it comes to textures, I do a lot of overlay, and then you can actually improve this by putting in a levels adjustment. Now watch this. Attach it to the texture. Now, as you start messing with the texture properties, it changes substantially. Now, if you don't like that, you can always come in and kill that out. So you're gonna play blend mode hockey a little bit? You're gonna find the texture that really works for you. I actually like the reflect. Let's go ahead and crank that down a little bit. That's actually pretty awesome. I like the effect that that's giving. Now notice here. We've got a little bit of blowout. That's fine. Maybe this isn't for me. Then see what else we got. Yeah, let's go ahead and just go with standard overlay. All right, let's kick it up. I could add a mask to it. I could do a bunch of stuff to it, but then we would lose the simplicity of it. So when you do this part, that's a nice way to do it. And then you can adjust the amount and you can adjust the opacity as you want. Now, you could add Grady and masks to it and do some other stuff. We're not gonna do that in this lesson. So we've got our poster on that. Looks pretty good. What I'd like to do now is I'd like to go through lighting. This is kind of gonna be the last area that I want to do? We're gonna go ahead now and we're going to come over to the layer. We're going to go to a live filter layer, and we're gonna put on a lighting layer. I want to use a point light. I'm gonna increase the size of this. I'm gonna move it over to kind of where I want it. And then I'm gonna go ahead and I'm going to drop the amount of ambient light, my change of the shiny nous. And then I might even change up the Ambien light color. Now you see how it's only affecting the poster. Why is that? Because that's where it is in the layer. If you wanted to change it and you wanted to affect everything, you could come in, move it to the top. And this is what I do a lot of time in mock ups. I go ahead and I change up the light. I always include a lighting layer, every mock up that I make with you in this class. I will have a lighting layer, and this allows me to unify the colors. All right. And then, if I wanted to change the color of the light, I could even do that. So I wanted to change it up a little bit and make it a little bit more dynamic. I could certainly change the color of the light. Okay, this is one of those things that makes it highly customizable. And it's one of those things that will set your mock ups apart. So once you get a kind of where you like it, go ahead. Call it a day, and then you can even play with the blend mode of the lighting layer to to get just that type of look that you're looking for. All right, I'm gonna go ahead and go with lighter color. I think that that's pretty cool. And I'm going to drop the opacity down just ever so slightly, and I think that will just about do it. All right. So notice the modifiable layers. If somebody were to use your mock up, let's go ahead and change this. Let's say place image here, Boom. Just like that. Now the textures in there, the clips air in there, the modifiable layers air in there, the backgrounds in there You're good to go. What I might do. I'm looking at one more thing here, I might add a brightness and contrast adjustment into the background to drop the brightness on the background of just a little bit across the board. Okay, All right, let's go ahead and do that, all right. I hope you learned a little bit about mock ups. This gave you three or four lessons to get comfortable with it. Let's go ahead and take the next step in the boot camp. 19. MOCK UP SKILLS-Shooting and Laying out the window lit mock up : All right, folks will go back to Mark. Of course. So is part of boot camp. We're gonna go through, and we're gonna show you how to now add artificial light. Now, we're not gonna cover how to make the mock up. We're just gonna show you the basics of the techniques you're gonna need. So I'm gonna make the mock up, and then we're gonna add the artificial light. That's the intent. And my neighbor is mowing his lawn. So good times. Now, in order to shoot this, I just took a very standard piece off white poster board. And the reason that I chose the white posterboard is because of the shiny side here. The shiny side is really going to reflect that light. So when we apply artificial light over it, we're gonna have a good type of look to it, as opposed to a matte finish. All right, now, one of the things you'll notice when I set it down, let's go ahead and show you the image that we're gonna be working with is I have the wood of the floor running one way, and I have the poster board running contrary. That's by design. so that we get that mash up. So let's go ahead and get into it and I'll show you how to use artificial light in your Marca. All right, folks, welcome back to the boot camp lessons for this mock up course. Now, these go a little bit faster. We're not using extremely professional techniques in here. So what we're trying to do is we're going to teach you how a mock up is constructed in these boot camp lessons and we're trying to get you the bare bones basic for the software functionality. So in your downloads for this lesson, here's this mock up. And so what we're gonna be doing, we're gonna be creating artificial light that's gonna run through here like it's through a window. And so I've created some layers. This is a very simplified mock up. I want you to see the layers that I've created. First of all, I've created a curve. Now it's going to turn that on. Okay, Now you see, nothing's happening with it, right? I'm clicking it. Click the pixel there. Boom. Now watch what happens with the node tool. All I did is I corner pinned the corners of the curve to match the white. So nothing special. They're nothing crazy going on. And then I just threw in a blue placeholder. That's it. But now I knew that I wanted the light coming across the way here. So I created a Grady int layer inside of it because I want the light to sweep through here . And I created an hs l adjustment so that I could adjust the hue, the saturation and lightness. So this is how I usually construct my mock ups. And the last thing I did because I wanted this slightly off the floor, I created a hand drawn shadow layer, which is just a pixel air, and I really paid attention to where my lighting was gonna go. So let's go ahead, and I'm gonna teach you about the perspective warp. When it comes to affinity Photo. Let's goto file place. Now, Before we do that, I'm gonna make sure I'm just above the pixel air. So go ahead and be here. Let's goto file place. Let's grab his visualized poster and let's draw it out Now notice that is getting clipped. Why? Because I'm inside of this curve. So it's actually coming into existence, but it's inside the curve. If I was to bring it outside, we'd see the whole thing. Okay, Now watch this. When you do perspective, you don't want to rotate it, because common sense would be Let me just rotate this thing and I'm just gonna shove it on in there. Let's not do that, Okay? I'm gonna control Z. Watch this. We're gonna come down to the perspective. I'm gonna grab the perspective tool. Now, watch. You got four corners and it's gonna be single plane. Now, I'm gonna go ahead, and I'm going to just stretch those corners to be the four corners here. Okay? And here's a piece of advice. Always go a little bit past there a little bit, because what's gonna happen? Watch this. Make sure you hit. Apply if you don't hit. Apply this to get jacked up. You see the little blue halo that exists there? You're gonna wanna pull this guy down just ever so slightly to cover that. Okay, Make sure you don't destroy your image, but make sure that you cover it because you don't want that blue show. And that's another reason why I used that Blue cause if I zoom in, I still see a little bit of it. Let's go ahead and come down here and let's try to corner pin that a little bit more effectively. You see how I came and I added another perspective work. All right, let's check their I think I'm pretty good there. All right. I'm a little bit jacked up on that corner. That's fine. We're going to take care of that. All right, There we go. Look at that pro tip. I use an obnoxiously bright color as my base, so that if my images skewed I know, all right. And make sure you apply. I cannot tell you how many times I've gone through and applied or created it and not applied it. All right, so that's the perspective. Warm now, this is going to be relatively destructive later on. In the course, when we do, the major projects will show you how to work with life filter layers for perspective work. But thing that I need you to connect with on this lesson, you do not try to rotate it and then try to apply the perspective warp. Apply it with thing in the upright position. Now, if you want Teoh, we're gonna do this later when we finish. But you can adjust the hue, saturation and lightness for this, even at this point. So let's go ahead and call it on this lesson. And in the next one, we're gonna go ahead. I'm gonna show you how to create a makeshift window. All right, we'll see in the next one. 20. MOCK UP SKILLS-Adding window light and finishing the mock up: All right, folks. Welcome back to affinity. So in this lecture, we're gonna show you how to make a really simple volumetric light, and again we're gonna practice perspective. All right, let's go ahead. Get started. So what I'm gonna do here were to create a window. OK, Now you see how that drew inside of the mask. Pull that thing out, bring it up large and in charge. It doesn't really matter. Just something around this size. All right, so this is a rectangle shape, right? Were to come in now, and I'm gonna create another skinny rectangle, all right? And we're gonna move it right about here. It's going to increase that just a little bit. All right, move it to the center of this thing roughly. Now notice the rectangle and the rectangle. I want you to hold shift, select them both, and let's perform subtraction. Operation Bone just like that. Now, let's go ahead and do that one more time. Now, this time we're gonna create this rectangle. Gonna right click. We're gonna duplicate hopes controls. Ed, make sure you got the rectangle in the move to allay. That helps. Okay. And you're just gonna place these two rectangles Roughly here. Now watch this rectangle above the curve. Select the rectangle. First, hold control. Subtract rectangle First. Hold control. Subtract. All right, Just like that. Now, let's go ahead and go select D Select. I don't know why we got selection in there. All right, So what this is going to do? It's going to create the window now to do this, we're going to right click, and we're going to Rast. Arise it. So it's going to cease to be a curve Notice. It just changed to a pixel air. Now, let's go ahead. Right click. Let's duplicate this. Okay, So the way that we're gonna do the volumetric light, we're gonna select them both. I'm going to hold control. I'm gonna shrink them down there. All right, Now, this lower one, let's add ago, Shin Blur filter. So filter Fuller called Gaussian Blur ago. Schindler don't really care, all right? And we're going to expand that out quite a ways. And the reason that we made this smaller is because if it touches the side of this pixel, it will cut it off. We don't want that. Let's see if we can't click in there and go upto 1 30 All right, that looks pretty good. Now, let's go to this one. Oh, come on. All right, and apply. All right. Make sure you apply. I didn't apply at my bed. Now let's do the same thing. Filter, Blur, Gaussian Blur. But we're gonna turn this one down. You see how that creates that effect there? All right. We wanted to be blurred, but just not as crazy as the other one. Okay, I think we're pretty good at about 25 pixels and apply. All right, now we're gonna dio we're gonna select them both. We're gonna group and watch this. We're gonna go ahead and rest. Arise it. Boom. We now have window light because we're doing mock ups. Let's call it window light. All right. Now with window light, let's go ahead and rotate it. Something like this. Now, it depends is totally up to you where you want to put this. I'm gonna go ahead and I'm going to place it to where it's rotated right around the center of this thing. And remember, we have this pixel air here, so you really want to kind of align it with that Because you want the lightest piece to be over the poster. All right, so I'm gonna go ahead and I'm gonna bring it up a little bit here, and I'm gonna rotate it a little. Now, remember what we're trying to do with this mock up? I'm trying to teach a perspective warp. So what I'm gonna do is I'm going to stretch that out, and now I'm going to add in perspective. Okay? Now notice what I'm doing here. I'm going to shrink that thing down a little bit, and I'm going to blow this a little bit up and you see how I'm using that side to kind of do it. I'm following roughly the perspective off this image. So we're actually going to do a pretty darn close job here on. I kind of like that. Okay, that's actually gonna be pretty cool. So you see how I'm lining up with this pixel air? If I turn that off and turn this on, I'm dark. I'm dark. I'm light. Okay, cool. So that's a start. Let's go ahead and close that out. Now, this looks like hot trash, right? So let's go ahead and make it may be soft light now it's totally up to you. What blend mode you really like, right? You can go ahead and shop it around there. The one that I'm gonna use, the one that I have a lot of success using. I really like doing the soft light. And now, if you really wanted to kick the intensity up a little bit on this, watch this right click and let's go ahead and duplicate. You can always bring it up again. And now watch what we can do here. We can take this one down a little notch there if it's a little bit too bright. So I think that that's actually pretty awesome. So I'm good duplicating that. I really like the look that that gives. All right, So the last thing that I would probably do, I'm going to go ahead. I'm gonna throw in a little vignette. Now, this is not part of mock up, right? But you can come through with the HSE l adjustment and you can go through and adjusted. However, you want to adjust it to make it look the way that you want it to look, I'm gonna go ahead and I'm gonna crank that down a little bit here somewhere, right about in here. I think that that's pretty cool. Let's go ahead and not make it so saturated. That'll work. And let's go ahead and go layer Life filter, layer color Vignette. Now, I'm just gonna go ahead and bring that overall. And now we're just gonna go ahead and drop this. This is not part of the mock up, so to speak. But I really like it for the effect that it gives there. All right, that is pretty cool. So let's go ahead and call this one here. What you learn. In just the two lessons that we were able to do, we actually created a volumetric style reflection that came out of the window. Let's say and we taught you about perspective in two different ways. So I hope you learned a little bit about this. Hope you learned a little bit about how to do a simple mock up. Remember, we are teaching you the techniques that you're going to need when we go full on mock up. All right, let's go ahead. Call it on this one, and let's get into the next one 21. MOCK UP SKILLS-Learning the Mesh warp tool using the Bottle Label : All right, folks, welcome back to affinity photos. So we remember this is a boot camp lesson that will teach you the techniques that you need in order to do the major projects that are coming up. So we're not going to show you how to do the bottle edit and how to make the actual mock up . We're gonna be showing you in this lecture how to work with the curve, how to apply a Grady int and how to warp so that we get around the curvature of an object. All right, so let's go ahead and take a look at this real quick background layer. We don't have to worry about the background. Is this area here followed by a table? This was just an item that I shot and did a crazy amount of perspective warm. We've got the shadow layer noticed that we've got a normal shadow. We could always change it to multiply if we so chose. And now this is the interesting part. We've got a curve. Now. I want you to see what I did with the curve. If you were to click on the no tool notice that this big area right here is one big curve with smaller curves removed. Now, to do this, what you're gonna want to do is use operations up here. So you create one curve, you create the smaller curve and right here, where it says subtract, you'll remove one curve from the other. I know that's a little bit complicated. You'll see it in the big mock ups. But I wanted to make sure that you understood it. Then what we've got, let's go ahead and zoom out here. We've got a little bit of a pixel air around the bottom here. Just turn it off, turn it back on C where we've got that. And then we've got some universal adjustments. So what we're gonna be doing, we're going to take a label, and we're gonna make the label sit on the bottle. So let's goto file place. And now we need to find the mock up that we're doing. We need to make sure that we've got the right downloads. So let's go here. Go to the bottom aka and you're gonna find the old time logo P and G. Okay, boom. Now let's go ahead and move this thing up into position. And now we're going to come in here and we're going to address it. Now notice here. I want the apple to be prominent, so I'm gonna go ahead and scoot this down a little bit, and I want the thing to cover a fair amount of the bottle. So I'm gonna get pretty close like this, and now notice that it's outside the curve right now. Watch this inside the curve, just like that. Now, what just happened? That curve created a clipping mask, and if you double click, you can see where we can push thes sides in a little bit. But you see how it takes the text and distorts it down horribly and it doesn't quite look right. So what I'm gonna do here is I'm going to come over here and I'm gonna move it a little bit . And what we're going to do now is we're going to mesh warping. So I grabbed the mesh warp tool, and I'm just going to come in here and I'm going to warp the corners a little bit now. What am I doing here? I'm trying to make the text stand out. Look better. Pretty darn close. All right, so we're pretty good there. Now, the last thing that I'm going to do remember that this bottle is round. And the higher your perspective, the more curvature it's gonna have. We're actually pretty flush with it. So while I'm going to do is I'm gonna drop it down a little this way and on the bottom. I'm gonna go ahead and drop it down a little. This way. All right, Let's go ahead and zoom out. Let's see what's up. How It would help if I got the magnifying glass, wouldn't it? All right, now you see how this is a little bit skewed. We've got a center line here, and we're slightly off center. That's fine. Come down here and let's get a little closer to center. All right, Now, I think this corner is a little bit higher than this corner. Let's prove that out. And if you ever want to adjust it again, just come back to the mesh warp tool. Make sure that you're on your label, and let's go ahead and a drop that corner ever so slightly again. There. All right. Good deal. Now, if you so chose, I'm gonna show you something. Don't have to do it totally up to you. If you are working with the wort measurable. Let's go ahead and double click this. Grab the warp mesh. You're gonna add some notes. Now watch what happens here. When I get close to this line, You see how that cursor changed? Let's double click. Okay, now you see, it created a line. Now I'm able to adjust what's on that line without adjusting the rest of the label so I can even warp inside. If I decide to double click here, I can create this intersection point. And now I can pull it from one intersection point. So this is a really, really good tool in order to hold certain areas stagnant. Now, you see what I'm doing there? See where the Black square evolved? You can change and warp it as you want, based on holding certain points stagnant. So there's a lot of stuff you can do. I'm gonna go ahead and control Z because I didn't necessarily want to mess with any of that . I think that I'm pretty good here. All right, next lesson. We're gonna go ahead and add a Grady int layer and apply it over. So you see what's up? All right, We'll see the next one 22. MOCK UP SKILLS-Adding a gradient layer and shadow to the bottle : are a gang. And welcome back to infinity photos. So this lecture is all about use ingredients. And so this is one of the things you want to do to make your labels look a little bit more natural. Let's say now, notice that last lesson. We took this label and we kind of morphed it around the curve, right? And we kind of moved up a little bit down a little bit, made it look OK, now what we're going to do, we're gonna come over and we're going to add a pixel air, and we're going to create a greedy int. Okay, there's are pixelated. There's ingredient now. He doesn't look really good there. So what, we're gonna dio, actually, let's do it this way. We're gonna create a rectangle on. We're gonna go ahead and we're going to bring the rectangle over the bottle. There we go. Let's do it that way. And then we're gonna fill the rectangle. That way we don't have to deal with all that mess of masking out the rest of the pixel there. All right, so when you're working in the greedy INTs, think about where the light is hitting the light is sitting on this side of the bottle. It's sitting down in this side of the bottle, and we're going to be kind of around the edge. So we want to get some good room light, come up to this square and we're to start with white. And now watch what happens when I click the gray. We're gonna end with white now in the middle. Plot that down. Just double click there that's gonna be white. Now what we're gonna do here, we're gonna put down a grey, and it doesn't have to be terribly specific. But you see what's already happened into that? We got about that color gray roughly 50%. Let's go ahead and plug that one over here. All right, That looks pretty good. Now, you can adjust these handles to put the gray wherever you want it. I'm gonna go ahead and I'm gonna keep the grade because I've got some light right here. I'm to keep the gray right about there on this side and because I've got a lot more contrast here. I'm gonna go ahead and keep the grey over on this side right about here. So overall, not too unhappy with that. Now that looks like hot trash, Right? Here's what we're gonna dio. We're going to take the rectangle. Ah, there's the pixel, every created before we complete that, and I'm going to nest it inside of the label. That way, if you have an odd shaped label, you don't have to mess with it. And because it's on top of the label, you want to change the blend mode, then to a multiply or a color burn or whatever phrase or should say whatever blend mode you want to use. I really like the linear burn for this application. I think it looks really cool with that, and then you can go ahead and adjust the opacity to taste. All right, so that's a little bit on how toe work with the Grady int layer. This is a pro move because it is non destructive. You nested inside of your label and even here, then, if you want the mask out certain points, you could come in and mask out certain points of this. I'll give an example here. Let's say that I didn't want the Grady int say here in the center at all. Make sure that black is selected. And I could go ahead and paint all of that out if I so chose. Maybe if that came down over the label control Z to get that back. That's just a example of what you can dio if it's still a little bit too much for him. Like I might take that down on my swath it right down the center. That looks pretty good. All right, so the last thing that I want to show you how to do now you've got your label, you've got your bottle. I'm gonna go ahead and ever so slightly put a little bit of shadow between the label and the bottle. Now, this is gonna be an exercise and finesse here, right? You want just your light brush. You want to use just the end of the brush and I'm gonna turn my flow down to probably 50%. Okay. And now I'm gonna come up, and I'm just going to touch the edge of the bottle just a little bit now, if you went a little far and it's not quite what you want, watch this. We're going to now change this blend mode also to multiply, and we're gonna drop the opacity of this layer as well. So if you got a little crazy, you can either erase it or you can address your blend modes and rapacity notice. There's a theme in all of these boot camp lessons. You're going to be working with curves. You're going to be working with Grady Int maps. Or I should say, Grady, it layers. You're going to be working with blend modes and opacity. And so in these lessons, hopefully we've given you everything you need in order to do the major projects that are coming up. All right, let's go ahead and get into our first major project. 23. MOCK P SKILLS-Embedded images lesson 1 : All right, folks. Welcome to affinity phone. Oh, now, this is probably the most important lesson when it comes to mock ups. This is the end of the boot camp, Siri's. Because if you do not understand this, this is the difference between going amateur and going pro in affinity photo, it uses something called embedded documents. Okay, so I'm gonna show you how this works. I'd like you to create a 1000 pixel by 1000 pixel workspace, and I'd like you to go ahead and fill it with any color type of rectangle, right? We're gonna go ahead. I'm gonna use black now. We're gonna go ahead and we're going to now go to file new. Okay. Stay with me. Let's make a 500 wide by 7 50 tall document. Okay. Looks like that. What I'd like you to do now, bring out the stock window. Goto any sort of image, right? So let's go ahead and go to unspool ash, and let's go ahead and look for any sort of picture of a woman. Let's say Okay, now that's gonna be terribly large, right? Let's go ahead and zoom that down. That we made that super big. Let's go ahead and Zoomer down here, and I know it's gonna be pixelated. That's okay. That's not what we're dealing with here. And then I want you to grab one of a cat and one animal, one human, and bring that down there. All right, So you got a human and an animal, That's all I really need you to dio. All right, so we're gonna go ahead and zoom this up. I know that they're a little bit pixelated. That's fine. All right. We're gonna make it the same size here. And then the last thing that I'd like you to do, I want you to make a rectangle the size of the workspace. So three things And I want you to paint this an annoying color of blue. That'll work. Okay, so let's look at the layers panel rectangle, cat woman, go to file, go to save as and this is important. I want you to save it anywhere on your desktop. I want you to call it embedded File four markup. Okay. Just like that. And save. Just remember where you saved it. Okay? Saving. Now we're back on the screen that we did before for 1000 by 1000. Now, watch this. I'm gonna goto file place, and I'm gonna embed the affinity photo file. Go ahead and open. Okay. So what it's doing, it's now going out, and it's looking for that affinity file photo. And now let's click and drag. Now, notice what just happened here? Usually you're probably most likely used to importing images. Now it says embedded file, not watch this. Do you remember how we used to have the embedded file from aka? I'm gonna close that. Go ahead and close everything. Except for this. Now watch what happens here. When I double click on this embedded file notice another window opens right here. And now what happens if I eliminate the rectangle and come back to my original file? The cat is there. Now. Notice here. If I come back to my original file again and I delete the cats, so to speak, I take the check mark off the cat. The woman is there. This is the power of the embedded file. And the cool thing is now the reason this is important. Butts, DoubleClick, the embedded file, click on the woman and at an adjustment layer. Let's re color her read. Okay, So now what do you think is gonna happen in the original file? She's now red. And now, if you go to file save as so we're gonna call this composite mock up, okay? And let's go ahead and close this all out. Let's go and close it totally out. Everything's going away here. Save close. Close. OK, everybody is gone. Right. File open. Recent composite mock up. And now what happens if you click the embedded vile? The three images are back, folks embedded images. I'm gonna close that out. Now you see him back on the composite mock a file are the reason that mock ups work here? Me very clearly on this at a pro level. You want to put an embedded image in every surface that you expect your participants to modify. Okay, So if I had one file here, let's say let's go ahead and do another one. Go to file new. Let's just make a new one. And this time let's put in a dog and a building. Here's my dog. And again, it's gonna be terribly large. I gotta zoom out. I know there's my dog. And where's my building? Okay, but building in beautiful buildings going on. OK, and now let's make an awful, awful rectangle. Let's go ahead and make this one red. And by the way, you know why I choose really annoying colors for this because then I know where my live by edges are. When I go ahead and these into my mock up, let's call this red embedded Notice how it's in a different embedded file. Okay, I'm gonna close it going away. Boehm File place. Let's try doing the read embedded right here. Just like that. Now notice Red embedded Double click. Let's take off the red. We should have the building. What do you think is gonna happen? Got the building? Let's go to the blue double click. Let's make it about the cat bone building cat. This is the trick, folks. Embedded images are the power behind mock ups because you can add adjustment layers. You can put them inside of curves. You can put life filter layers on them. You can do a lot with them. So all of the differences between what we've done in the boot camp and in the next sections where we go into the live mock ups where we build the whole things we're gonna go from simply placing the image, which is what you did here into creating these embedded documents. Because that's the difference between having a modifiable image and really, truly a solid mock up. All right, we're gonna go ahead and we're gonna take it in the next lesson. We're gonna go ahead and we're gonna take one of them that we did where we placed an image . And we're going to create the embedded image so that you get an idea of where we're headed as we get into the big mock ups. All right, we'll see the next one. 24. MOCK UP SKILLS-Utilizing embedded images in the poster from the course : read, folks. Welcome back to Affinity Photo. So we went through embedded and documents in the last lesson. And now I want to show you how you could use the embedded document in a project that you've already done to do it. Pro. OK, so the way this works in the old version, which have already been through for those lessons, we just grabbed this visualized poster and we just inserted it. Right. So what we're going to do now is we're actually going to create a, uh, embedded layer so that we don't have to do this. So let's go and delete that. I'm gonna keep everything else right. So we're gonna go through, we're gonna go to file place, and I want you to find wherever it is you went through and you hit that embedded file for mock up last time. Okay, We're gonna bring that out. And now what we're gonna do here now you remember what happens when you double click? We got the cat we delete. We got the woman we delete leaving on lee the rectangle. Let's goto file place. Let's go ahead and grab the visualized poster and let's go ahead and bring this full circle here. We're gonna go ahead and snap it a little bit, Okay? Just like that. Now, if we have it embedded, layer, what should happen over here now? Why is that cut off? You're gonna want to come up just like that. And now here's the way that you must must do the perspective. Lair. Okay. When you use a life filter layer like perspective, so distort perspective. You want to apply it to the embedded layer, not the curve. The curve already has a distortion. Right now, let's go ahead and just grab that perspective layer. And let's quarter pin it like we did one to three and four. Now, you could leave it just like that if you want. Right. But we don't then get the benefit of the HSE cell of the pixel air. So what I will probably do is I will take this embedded layer, and I will then drop it inside of the curve just like that. So where is my embedded layer? Right there. Let's go and drop it down to here. All right? That looks pretty darn good. Now, the cool thing is, let's try this If I come back to the embedded layer. I grabbed my building again. Let's zoom out. Actually, that'll work right there. What do you think I should see here? My building. And it's in perspective. So we have a now perfectly functioning embedded layer in my image. So let's go ahead. Let's just grab the building here and let's zoom it down so that you guys can see what I'm talking about here. All right, one more bone, just like that. Now let's say the light is a little bit jacked up. You may want to go into the pixel there then, and you see how it's a multiply. You may want to go through and adjust the pixel air a little bit to kind of get it to where you want it to be. So now, if I was to save this file, I now have a fully customizable embedded layer in that finished mock up. That's the application, and the general consensus I'll give you folks is that you need a embedded layer for every surface that you plan on having your person modify during mock up. All right, let's go ahead and get into the next one 25. MOCK UP SKILLS-Utilizing embedded images on a box mock up : All right, gang. Welcome back to mock ups. Infinity Photo. So we're going to take everything you learned about embedded documents in the last lesson, and we're gonna apply it now. And this mock up is in different stages of doneness. I've done the hard work for the lower box face and I've also done the curved work there. And so we've got the right box Top face Now notice These are grouped. Remember what I said about the layering structure for embedded documents? Take a look at this. The lower box face is composed of the curve and within the curve is the embedded layer. And here are the adjustments for the embedded layer. Same thing here noticed. This is a group. It's composed of a curve. And then you have the embedded layer and the hse l adjustment and perspective. Now notice there's a mask on the HSE l adjustment because I wanted it to be darker in a certain area and lighter was it got toward light. So this is all about structure. This is the structure that I stressed in the last embedded lesson. And so we're gonna go ahead and we're gonna do the importation off an image onto these boxes. So to do that and I'm working professional markups now we go to the embedded layer. We click on it and in your downloads for this lesson, I've already included this image of this skull. Now, if we're following along at home and I've removed the rectangle when I click back to this shirt box mock up here, what should be there? Boom. Just like that. And you'll see that I can now adjust hs l or the perspective again. This is about the structure. HS O and perspective are attached to the embedded layer, not the curve that will never work for you. Now let's do the same thing. Embedded layer Here. This is for this top. Let's double click. And for this lesson, I again included the PNG for the same image. Now notice if I do that, what should happen in the search shirt box? Mock up. Boom. There you go. Very, very simple. But this structure is not Remember. The embedded layer is where you put your perspective adjustment and ate and even hs l adjustments not on the curve. Right. And then you group them all together. The reason I want to include this mock up at this stage is because I want you to have something you can come back to that works. This is your Touchstone now, the piece that I did not include. Okay, we're gonna go ahead and we're going to go ahead and create a shadow there. So let's go ahead and zoom in a little bit. Now where this box overshadows this box notice that's on that curve. And it's part of the lower box face. I want another curve. And the reason I chose boxes is because they're very straight. So you don't have to work terribly hard to put a curve around. Okay, Now, here's what I'm gonna dio. And this seems ridiculous, but it works. 1234 Okay, now, why did I put a curve out here in space? If you start messing with your pen tool over by this curve, affinity. Photo goes crazy. So I always draw my curve outside the box, and then I drag it inside. So there's my one point. I really only need three points. I think. Here's my second point. And here's my third point. Okay, that looks pretty darn good. right about there. Alright, so I've got this curve, we're gonna call this shadow, and now we want to put a fill to this. So we're gonna go ahead and grab our Grady into We're gonna come down to this side, and we're gonna Papa fill right about here looks pretty good. And because we want to switch it up a little bit, Let's reverse the curve, put the gray down here, and I want this thing to be almost black. All right? Boom. Just like that. All right, That looks pretty darn good. Now, if you wanted to adjust a little bit, you could I'll probably move that over just a little. You don't want to interfere with that of the box. And now you're saying, Well, Jeremy, what do you doing with that? Watch this multiply. And now, as we get to the end, let's do this. I'm gonna come back to my tool. I'm gonna come back to here. And where goes toe White? I'm gonna start dropping the opacity down. Okay, That looks pretty darn good. All right, let's see what's up that will work. Now, if you don't like that and you want a mask it just slightly through a mask layer on it. Come up with your soft brush. Hey, See how we're using all the tools? This is why I wanted you to have an underlying background in affinity before we got into the mock. Of course, because we're gonna be using all the tools. Okay, that looks pretty darn good. Okay, let's go and check it off. On, off on. I like it. All right, So let's go ahead and call this one here. You put in the shadow layer above that curve, and you have a Touchstone where the curve is part of an embedded layer with the adjustments in the layer. I know. I've said it 100 1 times. You need to understand it because it is the basics of every mock up that we're going to do once we hit the big time. All right, what's going to call this one at this stage of doneness? And in the next one, we're gonna go ahead and we're gonna have you put in your own embedded layers. All right, we'll see the next one 26. MOCK UP SKILLS-Adding gradient layers and adding your own embedded images : All right, folks. Welcome back to affinity photos. So in the last one, you learn how to put those skulls on top of these faces. We also went through an added in a little bit more on the shadow. So you guys know how to do that in the last one? This one. I want to really focus on making sure that you can put your own embedded layer in this area . So what I'm gonna do, I'm gonna goto file new and let's go ahead and do one that maybe is out of the 1000 by 800 . Let's say now, let's go 600. Okay? And go ahead and hit. Create. All right. Perfect. Now we want to go through and we want to add in our annoyingly blue rectangle So let's go fill annoying blue. That's actually a color now. And what we're going to do now is we're gonna go file, save as, and I'm just gonna go ahead and put it somewhere. I'm just gonna go ahead and put it in the section for downloads for this lesson. Here, let's go ahead and go downloads for and I'm just gonna put embedded four box side and remember, all you're doing with the embedded layer is just putting in a placeholder. Now, let's go and close that. Now we go file place, and we're gonna put into the entire thing here, and we're gonna move it over just like that. And now we're gonna go ahead and move it up to the top, scroll it around and shrink it down. Perfect. Just like that. Now, that's not enough. Right now. We want to come in and we want a double click and what I've given you. Let's go ahead and place in the box, mock up here. I've given you a small logo for the side. So we're gonna go ahead and we're gonna take this logo. We're gonna click off the rectangle, leaving you only the logo. And if we've done our jobs, right? Guess what should happen when we go into the larger document. Boom. There it is. All right, Now you come in and you can position it how you want and the thing that I would highly recommend, especially for something like this, I would come in here. I would then change the blend mode over to something that's a little less threatening and legs, I should say, a little less intense. Let's go a little less intense. And I might even turn down the opacity just ever so slightly. All right. And ladies and gentlemen, that will do it. You have now engaged in your first embedded layer. Now, one thing that I'm gonna show you. When we started doing the mock ups here in the next section, I always go through and I color code. So anything that is embedded ble I make blue. Okay, It's a little thing. We'll talk about it by the end of this course to be sick of here. He said, Alright, folks, let's go ahead and call it and we'll see in the next one. 27. T SHIRT FLAT LAY-Editing the raw image: All right, folks. Welcome back to affinity photo. So we're gonna show you how to do a lay flat apparel mock up. Now, this is one of the most requested things because for those of us that do apparel, this is something that you're going to use all the time. So as I run T shirts, I wanted to do a T shirt one. So I'm gonna show you how to do a T shirt mock up here in affinity photo. So let's go ahead and get started. Now, the first thing that I've done in your downloads for this lesson, we've gotta pull into the raw file. Now, the raw file isn't your downloads for this lesson, and it's called T shirt, Rob. Base image, right Click and open it with affinity photo. All right, this is gonna bring it up in what is called the develop persona. Developed persona is right here. Now I tend to shoot my T shirts with a little less light, but consistent light. Consistent light is the most important thing. I also like to shoot them on a black background. So that's kind of how I shot this and what we're gonna do now is I'm going to over expose this a little bit. Now, why am I gonna overexpose it? Because in order to grab the folds later, we're gonna win the applying multiple multiply layers. And so if it starts out dark, is going to get really dark. So I'm gonna go ahead and crank of the exposure. And that's one reason why I like working in raw is because I have all this data still to play with. I might change the black point to just a little. I'm gonna kick the brightness up. Just a hair. You don't want to lose all of that. And now I'm gonna go ahead and up the contrast a little bit and what I'm doing. I've got a really good isolated image there. All right now, clarity. Let's zoom in here for a second. This is a decision. Now, if you zoom in to the end degree, you can almost see the texture here. Watch what happens when I zoom in the clarity. It gets obnoxiously large, right? Let's zoom out and see what that looks like. Now, if you like that, go with it. We can always added post. I add a little bit of clarity, but I don't want to go all the way through and blow it out like that. So I'm gonna go ahead and crank the clarity up a little bit, and I think the word pretty good shape about there. So I really didn't move past the basic. Okay, All right, So once you're happy with this, let's go ahead and read, Doc this And now let's go ahead and take a look. If there's anything else, we don't want to add any lens distortion because this is supposed to be a fold flat, so we don't have to do anything with that. When it comes down to tones right, you can take a look at tones. Let's go and pull that out. Sometimes I will adjust my curve a little bit right here to get a little bit more dark in the dark. But you see how over in here now that's actually negatively impacting my my T shirt, so I'm not going to do anything with those curves. I'm just gonna go ahead and call it a day on this. So when we talk about anything, the last thing that I'll probably do here, let's crop now to crop it. We're not gonna be super scientific here. Notice how the T shirt said it? A little bit of an angle. Let's go ahead and click. Rotate. Now, when you come to rotate when you go outside of the crop, you see this little double sided arrow. Now you can twist your image up. So what you're gonna want to do is get that T shirt looking up. Right? Come down here. Extend your crop a little bit. I don't need any of this other garbage here. I think that I'm in pretty darn good shape with that. All right, let's go ahead and hit. Enter. All right, That is close enough for horseshoes and hand grenades on the raw. Let's go ahead and develop it. Now what I'm gonna do here we go to file, save as time to call this t shirt flat edited and developed. That way, if you don't want to go through the raw developing process, you can start right from here. All right? Cool. Now, the last thing that I want to do, I'm gonna show you how to do this. We're gonna want to make some duplicates of this Now, when you do mock ups, you want to think about each modifiable piece. And I started here with the T shirt because there aren't many modifiable pieces. There is going to be the T shirt itself. Then we're gonna right click, and we're going to duplicate. I want to call this tag because I may want to make the T shirt of color, but I want to make the tag a separate color. So in reality, here's what you're doing. Once you have edited this image and you like the way that the image is based, you then want to duplicate it for each modifiable piece. So if there are four pieces in a composite in a mock up, how Maney duplicates should you have four, we're going to have three. So we're gonna come down here and I'm gonna do this one more time and I'm gonna call this shadow. Okay, so this is where I want to stop this lesson. We went through and did the raw development. We then rotated it into position and we've got our background. We've got our tag and we've got our shadow. Let's go ahead and stop it here on this one. And in the next lesson, I'm gonna show you how to create the clipping mask, which will be instrumental in shaping our shirt. All right, we'll see the next. 28. T SHIRT FLAT LAY-Isolating the modifiable pieces: All right, folks. Welcome back to affinity photo. So in this one, we're gonna take this and get rid of all of this other stuff. So let's go and get started. Now. First thing we're gonna do you find the pen tool right here. Now, you guys doing mock ups are gonna get very familiar the pen tool. Very quickly. You're gonna want to take this pen tool. And remember, if you click and hold, you get the curved node. And if you click and release you get the sharp note. Now you're gonna need both, right, cause sometimes you want to make a curve. But sometimes, like here, at this point, you want to make a sharp point. So if you ever get a sharp point here and you wanted to curve node, when you're done, you can always come up here and switch it. Okay, I'm going to go ahead and work primarily and curves and you see how I'm just hugging the line. Now I've done entire videos and all of my courses on how to use the pen tool. This is what is called a clipping mask. What you're doing is you're creating a curve and then you're gonna nest. The image inside this is different than when you try to select each and every pixel. I have zero interest in doing that, right? I don't want to try to pixel hell this thing. I'm going to use the pen tool and you'll see that I'm using very few notes. There are people out there that want to use different tools. Like in designer. You can use the brush tool. You can use the pencil tool. In my experience, those always create too many nodes. So usually all do these by hand. It's just the way I like to work. There's no right way. Whatever works for you works for you. Okay, Now you'll notice I'm not being terribly careful there when I'm going along the line. The trick here is just to get the form down. Okay? I'll tell you why. Here in a second now, when you come to the end of it, make sure your cursor goes yellow. You see how that yellow dot showed up? Boehm? That means I have a complete curve. This is going to be my master curve. This is where I'm gonna put all my T shirt information in. Okay, this is very important. This one has to go. Well, now, once you've got this, you see there where not head and pulled on the side of it. You're now going to switch tools for the pen tool to the no tool you're gonna zoom in. Now, when you lost the no tool we go back to here and now, notice how I just added a note. If you click anywhere on the line, you can add a note. I now want to hug this T shirt, so I might have to add some notes. And then I'm gonna play with what are called the handles. Those little blue things air called handles. And it is does take some time. I'm not going to say that. It's something that comes very easy, but it is doable. And you'll get super good at it after you do about five or six of these. So I'm adjusting the handles I'm adding certain knows where I need to. I'm pulling the handles out, and my goal is for it to roughly hug the sleeve. Now it doesn't have to do it exactly. And you see how I grabbed the middle there That's just me clicking and dragging and pushing this in again. I'm going to assume that you know how to use the pen tool. Because this is a relatively advanced course. This one, if you don't might be in Fort. What I'm gonna do here is I'm gonna go ahead and I'm gonna have my editor speed this up because you guys don't want to watch me do note adjustment for five minutes and then I'll come back to you when I actually have something to share. All right, we'll see it a second. All right, folks. Welcome back. So what I did here is I hugged the perimeter of the shirt using my master curve. And now this is why we call it the Master Curve. I want you to take the shadow layer, and I want you to put it inside there. I want you to take the background, and I want you to put it inside there. I want you to turn off the tag lair. Now. What did I just do? I moved the shadow and the background there into the master curve. And now let's move the left of the tag out of the equation. right now for a reason. We're gonna come back to this. Now, you see, I've got some black that showing up. If I was to zoom out, you see where I've got that black? Still, that's not a problem. Because we made this totally adjustable. We just come back in, click on our master curve and then just hugged the sides of this just a little bit more. Okay? That's one of the reasons why you want to use curves. It's not a pixel adjustment, right? Because now look at how nice that edges there. I'm gonna go back through, and I'm now gonna hug the edge now that I've got my T shirts in there and then I'll come back to you here when I'm done, are. So we've got this thing pretty well laid out. Now, the cool thing is, let's look at the group's because when it comes to mock ups, folks, layers, is everything okay? I got one layer that I'm calling the master curve Now. I'm gonna go ahead and reinstitute this tag layer. You see how this all comes back now? Now that I've got my shirt where I want it and I've got my master curve layer. Done. Now I've got isolate the tag. We're gonna do the exact same process. We're gonna come down to the pen tool. But this time we're gonna zoom in on Lee on the tag. Click, Click. Now hold all to swing it back that way. Click and drag. Click and drag, click and drag. Now, what are we gonna do with this? Were to take the tag, were to call this tag curve and we're gonna nest it inside. You see where I just put that blue Boehm just like that? Now, we're gonna have to adjust the tag when we start coloring the shirt, so no worries. So let's recap this here real quick. Master curve should have shadow and background right inside. Make sure it's inside. Then the tag curve should have the tag lair. All right, so this is a pretty good place to start this. Now I'm gonna show you how this works, Okay? We're gonna zoom out, and what I'm going to do now is we're gonna go ahead and we're gonna create the background . We're just gonna put a placeholder in. I'm gonna come up to the rectangle and I'm going to swing this thing out. Now, let's move this to the back. Let's call this background. And now it's totally up to you what you want to do with the background. I'm just gonna come over to the greedy and tool. I'm gonna go ahead. I'm gonna pick an elliptical Grady in, and I'm going to put down something that is white in the center and great toward the outer . Now, I'm gonna go ahead and drop this just ever so slightly. I'm gonna go ahead and just drop that a little bit more because I want to be able to see the shirt. Okay, I know people that use very bold backgrounds. If that's what you want to do, feel free to do it. I know people that do some very subtle backgrounds and go white on white. That will kind of bleach out the shirt. So for this one right here, I'm pretty good. So let's go ahead and call this at this stage. We've got background, a tag curve and a master curve. So now you remember I said we had to figure out which modifiable parts we were going to have, so we should be saying We're gonna modify the shirt. Then we're gonna modify the tag, and then we're gonna modify the background. Those are three modifiable moving parts. All right, let's go ahead and call it on this one. And let's go ahead now and we're gonna get into the texture ing into the next lesson. All right? See the next one? 29. T SHIRT FLAT LAY- Texture adJustment : All right, folks. Welcome back to affinity photo. So we're going to show you now how to texturizing this thing now, hopefully, you've eliminated the fold. You didn't want during your in your photography of this thing. But if you didn't, I'm going to show you a way. You can do this now. We're gonna go ahead and we're gonna work on this shadow there. So here's what I want you to do. You're inside the master curve. I want you to come up, but I want you to with filters. And we're going to apply a frequency separation. Now what this is going to do, we're going to pull out details on this shirt, so we're gonna go ahead and turn this up. Now watch. What happens to the left side of the screen is I go up now. There's a weird halo here. Right that occurs. You need both the high frequency and the low. You don't want to make this terribly awkward, but you see how on pulling out some more of these creases I like to be about nine pixels. I do not put feature protection tolerance on and I hit. OK, now when I apply this. Watch what happens. This shadow there is going to separate. This is gonna be a destructive operation. Okay, Now you see that the shadow there went into high frequency and low. Now let's turn these off. So you understand what just happened to you? I'm gonna go ahead and turn off the background for right now. Now, if I turn off the low frequency Look what we got. If I go ahead and turn on the background, notice that Halo is right here, right? What it did it took the high frequency layer. It's like all the super details. Like if you dug down deeply into this boy, you can see cotton fibers. This is so detailed. So this is like a huge boost in a texture. The reason it works with the low frequency is because the low frequency if we turn off the high, is super vague, right? It's almost looks like it's gotta go Schindler on it. So you need both. But what we're going to do, we're gonna take the areas of high frequency where we have some of these ripples, and I'm gonna show you how to eliminate the wrinkles. Okay. Stay with me. here. We're gonna be on the high frequency layer. We're going to choose our healing brush tool. And to use the healing brush, we're gonna hold Ault and select an area where we think that texture is good. And by texture I mean, no wrinkles. Now watch what happens when we come over here. Boom. Automatic wrinkle remover. Right. That's how that works. So again, over here, we'll go ahead and reduce some wrinkles. Now, this will become really apparent over here. Let's go ahead and choose an area where we've got this. Let's go ahead and crank this down a little bit. And now you see what just happened. All of those deep wrinkles just like butter. Now, you don't want to do too many, right? This isn't designed to be a vector shirt. So you want some character in it? You just may not want this much character in it. So the trick here in the high frequency layer find an area with a texture that you like, and then paint it onto the layer. Okay. I like to use this in some of the areas where I don't want creases like this one here, we can knock those down a little bit. That'll work out. You still have the underlying layer, so don't fool yourself right now. I'm gonna come up here around the neck. I like to make the neck a little bit smooth. You might hear me clicking away in the background. Why? Because right here. If I was to click and drag, it would pull this cross hair up and then a g textures from all over the shirt. This is a nice way to do your post process digital ironing. Okay, So once you have this down and once you like the shirt, the way that it looks now what you're going to do now stay with me. You don't know why yet, Right? Click on the high frequency, duplicated. Now you see, that just added that halo back in. It added a whole mess, right? I want you to rename this. We're gonna call this texture boost, and then for purposes of right now, we're gonna turn it off and we're gonna lock it. You don't know why I just asked you to do that. But I didn't. And now we have to now move this high frequency in this low frequency back together. So I'm gonna hold shift. I'm gonna select in both. I'm in a group home and then I'm gonna rast arise him. Okay, Now, what did I do? I just made a pixel image. Right? So now almost, I don't even need this. All right, all right. So we're in pretty good shape here. Now, what we're gonna do now, we're gonna come over going to duplicate it. I want you to bring it back up here. Let's go ahead and bring that up. I'm going to call this shadow layer. Okay? Now, in reality, what did we do? Because I want you to understand why I asked you to do that. We took the high frequency. We separated it from the low frequency. We made this shirt what we wanted it to be. And then we brought it back together. So the two halfs matched. Now what? We're gonna do this shadow there. When we change the mode to multiply later on, it will match the underlying T shirt. That's the power of this thing. If we didn't do that, the shirt above would not match the shirt below. And the shirt below wouldn't be a smooth as it ISS. So that's why I had to do it. The simple flow is frequency separation. Iron out your shirt, duplicate the texture, layer the high frequency and then bring the shirt back together. Make the two things one again. Now, the last thing that I want to do, because this was a lot for complicated. I don't want to keep going past here. I want to get you a quick win here. We're gonna go ahead and we're gonna add in a pixel air. So let's go ahead and add a pixel air. And now what I want you to do is I want you to make sure that it's inside the master curve . Come over to the flood, Phil. And I like to use red. That's just my preference. Okay, Now, why can't we see it? Well, because the shadow layers on. Hey, look at that. So we're now reek. Name this. We're gonna call this color base layer, okay? And just to show you where we're going, watch this. Turn the shadow there on, but change it over to multiply and drop it underneath the texture boost. Okay, now, that was a lot. I'm gonna go ahead and call this one here. Here's where you need to be. Texture, boost, layer shadow there. Color, base layer, pixel air background. Their tag curve background. Okay, I'm gonna go ahead and leave this up on the screen for just a minute. Let's go ahead and call this one here because I don't want to push it too far. And then in the next one, we're going to start adding adjustments. But right here, this is the base of your T shirt mock. Um All right, we'll see in the next one. 30. T SHIRT FLAT LAY- Adding adjustment points to the mock up : Alright, folks, let's go and get back after it. So the last lesson we added in this color base layer Now I'm gonna say color base layer. I'm gonna say color base. Do not modify because one of the things you're gonna have to do and one of the reasons I've been pushing so hard is you want to make sure when somebody uses your mock ups, you want them to know what they should adjust and what they shouldn't because it's not inherently obvious by the layer structure. Now we're going to adjust the color. This is something I do. In all my mock ups. I add an HS cell adjustment layer right above the color layer. Now, watch what happens with this any color of the rainbow. You want any level of saturation or d saturation that you want any level of luminosity or darkness that you want? There is not a color of T shirt that this cannot replicate. I do have people that like to shoot each and every individual T shirt that they do. I'm not that guy. Right. So we're gonna rename this hs l there, we're gonna call this modify layer four color Okay, let's do this. Remember, if you're going to sell your mock ups, you won't be there to explain what you should do with your mock up. And if you're gonna use your mock up, you want to remember what you did six months ago? I can't tell how many times I have to go back and re watch my tutorials to remember what I did when I was really paying attention. Okay, Now watch what we did with this shadow there. This is important. If I turn this off, turn on. Turn off. Turn on now. Notice what makes this work the multiply mode. Okay, now, what about this texture boost? Right? Because you said Oh, it's important. But I didn't show you. Why? Watch this. This is a modifiable option. If you turn on this texture boost and we kill the lock, watch what happens now As I adjust this I can get his little of it. Is I want I can get is much of it as I want. So if you really want the grainy look and it kind of matches your aesthetic, use it if you don't, don't. So this is done with linear light Now you can adjust it through the multiply or come up to texture boost. And now you can adjust the amount of texture on this layer to. So I'm gonna call this texture boost. In reality, you and I both know that it's just the high frequency layer texture boost. I'm gonna call this a just using opacity. Okay, Shadow there a just using opacity. All right, That tells them don't switch its position. Don't change the blend mode. Adjust it, using the opacity. So if you have an image that you want to really make that a grainy, gritty type of T shirt because that's what it is in real life, crank it up a notch. If you want to bring it down to make it subtle, take it down a notch. Make it a little more fluffy. So these are the adjustments that make a mock up important. So we got a texture boost layer. We now have the shadow there. We have the modify layer for the color. This thing is becoming 100% modifiable. Now, watch this. I don't need the pixel there anymore. Right here, right. We're gonna go ahead and kill that rent now, I don't need the background there anymore, so I'm gonna move it down below the background. I always keep my original image. Well, what do I do with the tag lair? It's hanging out there. All weird. Watch this boom tag lair up. And you remember when I said that we had to adjust it? If you ever wanted to come in, you grab the curve, you grab your no tool, and now you can adjust it Now that you got a really good solid look at what that T shirt is doing. Okay, awesome. So the tag now sticks out. That's actually looking really good. So let's take a look here. Tag curve. There's your T shirt curve. Now, the next thing that I want to show you here is how to add adjustment points to this. Okay. Now, above the shadow there, I want you to put in two curves. Adjustments. Let's do the 1st 1 The first curves adjustment I want you to do. I want you to take this thing down to an insane level. Okay? We're gonna call this bone. I'm gonna show you my technique for a nondestructive dodge and burn. Okay, so That's my burn. Now, remember, this white thing is a mask. I'm not gonna cover masking because I assume you've got basic affinity knowledge. Remember, White reveals the black conceals. I'm gonna come over to my field bucket and I'm gonna black it out. Boom. Just like that. Now I'm gonna add another curves layer just like this, and I'm gonna make it super large. Okay? Super bright, I should say. All right, let's go ahead and close that. Let's call this Dodge, and I'm gonna add instruction. Paints with white to reveal. Okay, I'm a big fan of when I do these. I put the instruction in the layers paint with white to reveal. Okay, Now with the Dodge, we've got to make that black again to hide it. Look just like that. Now you're saying Well, Jeremy, why did you do that? And then black him out? Watch this. Come over with your brush. You grabbed your soft brush and we're gonna do this here. We put things together. I turned my flow down to about 30%. Sometimes less. I'll go about 10 and now watch this in the areas where I want to highlight the shirt I can come over to dodge. Come over the color, make sure I'm painting white, and now I can lighten pieces. Now I'm doing a horrible job, right? Painting on it. So I'm gonna go controls ed controls, Ed. But when we get into dodging and burning, this will reveal those adjustment layers. So your person who's using this mock up can be precise in their application. Now, I'm gonna show you when I do that. That's a thing for the next lesson, right? What I want to end this lesson with is just an awareness that we've added the modification points that make this thing not just a template, let's say but an actual mock up that is capable of uniqueness. Now, I'm gonna add an adjustment here to the background. I haven't touched the background. Really? We're gonna come over the layer, we're gonna come down, and we're gonna use a life filter layer, and I'm gonna add a little bit of noise. What's add some noise and just a little bit. I mean, not a crazy amount. Just enough to let you know that they got there. All right, Cool. Let's go ahead and close that all right. That's looking pretty good. Alright, folks, let's go ahead. These air, all of our adjustment points in the next lesson, we're gonna show you how to use embedded layers to put your images inside so that we can put the images in there and make it an actual mock up. All right, we'll see the next one. 31. T SHIRT FLAT LAY- Adding embedded images: ski shirt mock up. So we're doing a lay flat T shirt mark up. And the last lesson we did all of the adjustments. So this makes it adjustable. Now, in this lesson, I'm gonna show you how to work with embedded documents. This is what makes smart objects, so to speak, from photo shop transfer over into affinity speak. Okay, so let's do this. Here's what I want to dio I want to go to file new. Actually, we'll do this. Let's create a rectangle and say that we want somebody to put their design right here. Now notice the width and the height. Roughly 1500 by 1000 pixels. Right. You see where it is? There on the lower right hand side of that rectangle. Okay, let's go ahead and get rid of that. Okay? Now we're gonna go to file new and I want to create a 1500 wide by 1000 pixel tall rectangle, and let's go ahead and create. Now, here's what I'm gonna do. I am gonna put the most annoying color of blue, right, because we have a red, uh, red base. So we're gonna go rectangle tool Boehm, we're gonna flood fill this thing. It is going to be atrociously ugly, right? We're going for ugly. So let's go ahead. Make it that color of blue. Okay, Now, here's what I want you to do. Goto file, save as. And now, wherever you want to put it, we're gonna destroy it. Here. Image four. Front of T shirt. Okay. Now, you don't understand why you're doing what you're doing yet. I'm gonna show you. It's all gonna come together. It's safe. Okay. You see, that's right there. Okay, Now we're gonna come up here. We're gonna goto file place now. Usually, I would tell you to place an image. Now, I'm going to tell you to place an affinity file. Okay, so we're gonna go ahead and we're gonna place it right about there. And the reason why we wanted to kind of get an idea of size is so that we knew kind of what we'd be working with. Now, you see that this blue? That's why I chose Blue is below the red. Bring it up between the modification layer and the shadow. There. Okay, Now I'm gonna go ahead and expand my layers tab here. This is probably video. You're gonna want to watch a couple different times. This is what is called an embedded document. Now watch this. Remember how we had this was close it. Now the T shirt mod is the only thing in our world. Right? Watch this. When you double click Boehm, it brings it up is an embedded document. Now, why is this important? I'll show you here. I'm just going to do one. And then I've included a download for an image that we're gonna use. So hold tight. I come over here and I place and let's say for me I put down one of these designs safe from my sight. Right. I've got this image. Okay, so I put this down here and I kill the blue rectangle. Right? Okay. Now watch this. What do you think's gonna happen when I come back to my T shirt image bone? There it is. This is what's called an embedded document. And the reason you want to use an embedded document say on a template is because let's say now that I make an adjustment to this, I want to re color this guy to be read, right? That's an annoying color of red. But you get it. What do you think is gonna happen now on my T shirt bone red. So I can work in the embedded document and the changes will be reflected on my T shirt. That's pretty darn cool. This is what's called an embedded document. And the cool thing is, now, if I went to file Save and I saved this, it would save the embedded document with this file. So whatever artwork I decided to use cool 100% on board. So now let's bring back to blue rectangle. There it is. So, in mock ups, when I do mock ups in each of the modifiable areas, I'll put a knitted on Justin abnormal, ugly type of icon here saying, this is where my embedded document iss. So I'm going to say double click to add in your artwork. This is where I want you to put your artwork right? Because now, if you're reading my mock up and you're saying Okay, cool. So I double click here. Yeah. Ah, put my artwork in there. Okay, Cool. And now it shows up here, make sure you kill the blue out of the rectangle in your original document. Right? So this, my friends, is the most important piece for them. This is where they're going to put in their image. Okay, that's what an embedded document does. That's the power of an embedded documents. Now it makes this file little bit big. So let's try this again. Here. Now, I have a download that you've got here for the roadway. Roadway records, space shuriken talk today. File place. Now, I'm just gonna go ahead and find yours here. We've got section four downloads and there is the T shirt boom. Just like that. Now, make sure you kill the rectangle. All right? Don't need the rectangle anymore. You could delete it if you want. All right. And there's my roadway records T shirt. Okay, let's go ahead and put that large and in charge. Okay? Now you see how it's wrapping around some of this area. This is one of the reasons why the location is important. As I'm here in the multiply layer. Watch what happens if I start kind of bringing this in a little bit. You'll see how in some areas I'll turn this off its lending. It's shadow to this layer. So its location here below the shadow is key. Now we're gonna dodge and burn it, and we're also now going toe liquefy this. Okay, this is something that you cannot necessarily put in your template. This is something your user's gonna have to do. So I'm going to make sure that I've got this here, and then what I'm going to do is I'm gonna come in and I'm going to liquefy. Now it's going to tell you you need to double click here to add in your artwork, which means going to do this duplicate. I'm physically going to turn this off, and then I'm gonna rast arise my design because I know which design I want. And now I come in and I liquefy. Now when I go ahead and tuck that in a little bit, took that in a little bit. It's like that in a little bit. All right. Looks pretty good. Now, one of the tricks here in the areas where you're going to want to put your shadows. You see how this shadow swings across here? You're going to want to kind of push some of this up and down in so that it looks like it should be there to see how I'm gonna pull in this up into here. Bring let's go ahead and drop that down a little bit. I didn't drop that down into here. All right? So don't go too crazy, cause then it'll make your peace look like it's half finished, but a little bit of difference there is going to make all of the difference in terms of believability. And let's apply. All right, so we've got our image on there. Cool. We've got a purple shirt with a orange image that is atrociously bad. Let's modify it. All right. I want to kind of make it. Let's go with little gray here. Um, now, let's go. A little bit of orange green. Yeah, kind of like that. Yeah. Yeah, it's kind of cool. Now, let's lighten that thing up a little bit. There may be dark in Italy. Yeah, that looks pretty cool. That looks like it should belong there. Thus the power again of the modification. There. You see how I modified it? All right. So while I'm here, I'm gonna add the noise into the background layer only. So you see I moved the noise inside the background Where? All right, So the good news is you now know how to take an embedded document in. And as you change this document, your template will change. And when I go to liquefy, that's when I rast arise it. And then this is my new norm. All right, so I think that we're good on this one. In the next one, I'm gonna modify with the burn and Dodge. I'm going to then show you how to color code and finish. OK, so let's go ahead and move into the next one and were very close to the end here. I've got two more lessons for you, and then you'll have a completed mock up. All right, we'll see the next one. 32. T SHIRT FLAT LAY-Adding shadows light and final adjustment: All right, folks. Welcome back. So what we're gonna do in this lesson, I'm gonna show you how to do the dodging and burning using these layers. Because regardless of where you place this image and what this image is from the embedded layer, you're still gonna have shadows in the right spot. But the person who's using your mock up may want to change those shadows because maybe it interferes with their design. So I made him 100% modifiable, but we just want to make sure that you know how to use them. So let's make sure you have the white color. Make sure on the burn layer, which is going to make it dark. And I'm gonna crank my flow down to about 11%. So this is a very, very low flow. Okay, Now, what I'm gonna do is I'm just gonna take this, go into the design there a little bit. All right, So and again, I got my flow pretty low there. What I'm trying to do is blend where the design is with my shirt. So there somewhere where this thing should see a crease. I wanted to see a crease. Okay, now, if you want to. You could, and I say could let's go ahead and move this down to 5%. You could do something with the creases here, too. That aren't so. You wanted to make that a little more pronounced. Feel free to make that a little more pronounced him. Now, one thing that I might do here. This is just one of the things you finish up your mock up. I might go ahead and reduce the saturation off my image. So because I vector I rast arised it. I'm gonna have to do with low tech way in the high tech world. I would definitely just change my embedded. So let's go ahead and drop the saturation just on their change Lightness A little bit. All right, good enough. Now what I'm gonna do here, just toe, keep it clean. I'm gonna rast arise that I know that that's destructive. All right, now let's go ahead and go to the Dodge layer. Come back with our brush, come back to her color of white And this is why I keep my layers panel out through the whole thing because it gets terribly confusing. I'm gonna keep the flow down. And now I'm gonna think about where the light is gonna hit my design. The light's gonna hit my design on that side. Okay? And then if there's little spots in my design that I want to just add a little more light to, I certainly can. Okay, a little goes a long way, right? Do a little bit and then see how that works. Always be changing levels. Two. To see how that looks overall, quite happy with that. Now, what about this wacky texture boost here. Notice that as I get a little bit crazier here, I can bring up that texture boost, and it actually adds to this image. So texture boost. About 68% shadow layered, 100% burned. Dodge Done. This thing is looking pretty sweet. All right, so now I think it's time to go through an ad. The shadow. So there's two ways you can do this. Let me show you the non scientific lazy man's way. If you go and collapse the master curve layer and we call this the shirt all right. Cool. Look at that. I just change it, So make sure you if you're changing it involved in long at home. You do that, you can come up to effects. You can add an outer shadow. And now, when you shot this thing originally, that's one of the reasons why I wanted consistent light. You have to decide kind of where this shadows coming from. So go radius offset. Now here's a pro tip. The greater the offset, the higher up the light is right in terms of striding down on the side. So if the light was right above, you'd have minimal shadow. If the light is down almost level with the thing, that's gonna be a longer shadow. I don't like this option because I can't shade it. I do see some people use it, but I think that it's amateur hour. I'm not a fan of the outer shadow. When it comes to mock ups, I'd prefer toe hand, draw them. So that's what I'm going to do for you. We're gonna come in with the pixel air and between the background and the shirt. I'm gonna call this shadow now we're gonna grab the black, we're gonna grab the brush, we're gonna come up here and I'm switching over to my Wacom tablet. You can draw shadows without it. I don't want to. All right, so make sure black is selected. Now, notice how I'm just grabbing the side of this brush. And I wanted to look like this thing is pretty darn close to the table that it's on, so I'm just gonna put a little shadow on there. Hopes that last one went a little far. Just like that. Trying to just make it look like it's slightly off. I'm gonna grab right around this hoops right around this area here. Okay. Okay. And now we need to turn it down even further. Let's drop it down to, like, 5% air. We go now. We getting somewhere. Now you can make some mistakes and not feel terribly bad about it. All right? Cool. That looks pretty good. So we added the shadow. We added this. The last thing that I want to do now is I want to create a lighting layer. Now I do this in my mock ups. If you don't want to do this, you don't have to do this layer life filter, layer lighting and it's lighting over everything. Lighting is going to be universal. And for this because I wanted to be an all over light. I'm gonna go ahead and do a point light. I'm gonna shifted just a little bit there and I'm going to begin to turn it down. So I'm going to defuse it, turn down the speculator a little bit, and so I like to put mine right here. This is totally up to, by the way, your interest in your brand. So if your brand colors are pink and purple and you want to do a pink and purple light Awesome, I'm gonna go ahead. I'm gonna try to kind of get away with maybe some of this because I want a little bit of interesting light. But I don't want to misrepresent the color of the shirt, so I always add it. If you hate it, you can just turn it off. If you don't want to put it in yours, you don't have Teoh. I like it because it tends to make a little bit more sense when it comes to the peace. It's just a matter of getting to a point where you're happy with it. Okay, so it's in there as a modifiable there. My mock ups are all about 100%. The ability to be modifiable for your individual needs. All right. I think I'm good with this. In the last lesson, I'm going to show you how to label this color coded, exported, and we'll wrap this thing up. All right, we'll see in the next one. 33. T SHIRT FLAT LAY- Finishing the labeling: All right, folks. Went back to the last lesson on this thing. So we're pretty close to done. The one thing that I might do here, just for giggles, is I might go ahead and I might group the tag curve. And this shirt, Let's go in group, um, and then to the entire group. I'm gonna go ahead and apply NHS l adjustment. And I want to maybe drop the saturation ever so slightly on it, Change up the luminosity a little bit. I think that we're pretty good there. All right, that looks pretty good. That's a subtle thing. I just kind of felt that I wanted to do that there, and we can call this the shirt I can't spell today and tag group. Okay, so we are officially done with that. Now, the last thing we're gonna do to make the mock ups usable. This is just my color coding. You can do whatever you want to do. I adjust these areas here, the description of layer and I color code them. So for me, the lighting I'm gonna say adjust overall seen light. Okay? Because that's what you're gonna do with it. And it tells it. It's a lighting layer. And then I'm gonna come down here. You double click on it. Oops. Sorry. You right Click. And I like to use gray for anything that is a scene adjustment. So I'm gonna call this one here, adjust the saturation of the shirt. Yeah, of the scene. Sorry. Okay, go. Now. When I come into here, the gray again is foreseen. Adjustment. Now what I have here, anything that's a modifiable piece is red. So I'm gonna come in. I'm gonna right click, and we're gonna go read on the tag. We're going to go read on this shirt. So what? I'm communicating here to these people. Whoever may be using it is these are the pieces that you've got. And in my written instructions, I actually include this color code. No. So the red is done. Awesome. Now let's go yellow. This one is going to be on optional. Right? So when we have things that are yellow, let's say, let's go into the shirt and I'll show you how this works. This should be yellow because it's optional hoops. Let's not be selected, okay? So you can dodge and burn, right? So actually Let's do this. Let's makes the texture layer the only optional. Let's go ahead and make this purple because the purple I used for anything that is mask. So if you ever get one of my templates, you can tell that if it's purple, you're drawn a mask on it, right There we go. And the texture boost is optional. Okay, now shadow there. That's a modifiable piece, right? The double click that's going to be right here. You remember that? Enable document There anything that I have there, I make blue. My blue is for any sort of embedded layer. Now I'm gonna turn it off because I wanted to be that rougher because I did put the pixel aren. But when you get a template for me or if you make your own, I highly recommend in affinity photo that you make one color for anything that is an embedded layer. This right here is a modification. So we're gonna go ahead and make this a yellow, because again, that's a modification. That's a modification. All right, Now the shadow there, I'm gonna go ahead and I'm gonna put a green on it. Green is anything that is hand drawn. And, of course, the background has this modifiable on it. Okay, now, notice I didn't put anything in the background. This is Don't touch it. Don't mess with it. Don't even look at it. Pretend it doesn't exist. But I do keep the end level here in each one of my mock ups just because you never know. So if I'm looking at this year, the shirt and tag group needs to be opened out and the tag curve we've got this. Let's go ahead. And yep, that's a modifiable piece. The shirt area. I know which ones are optional. Which ones are modifiable? Which one's your mask? All right. And the blue one is the most important. Okay, so when you get that template, if you use this one, if you make one, make sure that your reader knows what it is and knows how they interact with it. OK, that's the last time. I'm really to say that. I hope you got it by now. Let's go ahead and call it on this one, and then we'll get into another mock up 34. BUSINESS CARD FLAT LAY- Shooting the business card flat lay : All right, folks. Welcome back to the course on mock ups. So in this mock up, we're gonna be building Ah, lay flat mock up for a business card. Now, I realize that some of you may not have business cards, but if you do, you can use any business card. So I'm gonna take these from any company of USA, right? They've got some text on the front of him. But you know what? Turns out we're going to use in the back. So if you don't have business cards, cut yourself a 3.5 roughly by two inch business card. Different if you're in other countries. I understand every country has their own unique style for business cards and their sizes. And now this is one of the areas where I want you to think about the mock up. So if you are, say, putting together a business card as an example for a museum, take a look at the colors that you're going to be using. Take a look at the font you're going to be using and think about what the user of your mock up wants to be able to communicate about themselves so a lot of times with business cards, if I'm gonna make one for an artistic business, let's say I've got my composition notebook. You may have seen that in other areas of this course. I've got some smaller items here. Just some very simple clips. I've got a coffee cup, I've got a computer. I've got it set of glasses and I've got a bunch of colored pencils. Not why color pencils you ask because if you know the colors that you're thinking about using inter mock up, you can create colors that will be complementary to the colors that you're using. Now, if you're not sure you want to use a muted colors, right. So as an example, I would never take this bright orange and put it in a mock up. Because if somebody is using like a dark purple, it probably wouldn't match their brand. Or if they were using a very soft yellow, they wouldn't want something very bold. So the way I would think about it. Think about your tones. Think about the colors that you're gonna use the Hughes and then think about what the user wants to communicate with their brand. We're gonna be doing a relatively creative one. I wanted to be generally black and white with just a splash of color. Now remember, the important thing in the mock up is the amount of surface area that you're showing and business cards have in front in the back. So position the cards in the front or back the way that you think it looks good and you'll see that my composition notebook keeps opening up, so you might have to go ahead and take that down. Or just like I did with the glasses, it might be advantageous than to just put something waited on it as an example. Something like that Coffee cup might work out really well in the mock up. Now remember, less is more. I have a lot of different things here. You'll see in the image that we use in this class that I may not choose to use the computer . I may not choose to use the glasses. I'm going to kind of test out different areas of composition to balance the areas that I'm looking for in my mock up. So when you do this, remember your odd rule, right? Traditionally three objects is best, and you want to really work with objects of varying size. I also need to be ideally immediately identifiable as what the objects are. And they need to tell a story when combined with your business cards. So I'm gonna go ahead and I tend to be working in say, teal, I really like teal. I really like purple, and I'm gonna go ahead and just kind of stick with these two, and I'm gonna kind of position them so that we see a majority of the mock up, but they're going to clearly be in the shot. So I'm gonna go ahead and middle ranges on the table, we're gonna go through and I'm gonna take the shot. And then in the next lesson, I'm gonna show you how to edit the shot. All right, We'll see the next one 35. BUSINESS CARD FLAT LAY- Adjusting the raw and creating the curves: bar again and welcome back to affinity photos. So we're gonna be doing a business card mock up. So I made an executive decision after I went through and shot this, that I removed the clips over here. So it's got everything else. We just went ahead and removed the clips. Now, the first thing that I'm gonna do, because it's wrong, we've got some light coming from this area that may be cast in kind of a hard shadow. So I'm gonna go over to my basic paddle. I'm gonna go ahead and crank up the exposure a little bit. I'm not going to do a lot because I want to be able to fix it into the photo persona. I want to turn the black point up just a little, and I want to kick the contrast up just slightly on here. All right? Now, I also want to go in, and this is going to require you to kind of dig in a little bit. Let's go to the magnifying glass. You see some of the noise that's picked up that's going to be loom in its noise. I'm going to go ahead and I'm going to crank this up to around 24%. And you really want to be careful? Because the more you kick up that annoys ing, the more sharpness you're gonna lose. So I'm gonna say, right about 35% is good right now. That will do. Now what I'm gonna do here, I'm going to go ahead and I'm going to shrink this down. Now, remember the intent. The intent is to capture the business card as the front and center element. So I'm just gonna go ahead and I'm going to capture the business card in here. And I'm going to probably shrink this down even a little bit past there. That looks pretty darn good. Now what do I have here? I have enough of the composition book, Let's say to make it identifiable. I have enough of the sunglasses to make it identifiable. And I have enough of the laptop leaving me some open space here. Now I have the teal and purple pencil here that's by design. Let's go ahead and click on develop. Actually, let's apply it. There we go. That looks pretty good, right? And let's go ahead and develop. All right, here we are gonna go ahead and file, save as I'm just gonna call it the base image. You don't have to do this, but I don't want to lose this and then have to reshoot what I'm doing now. The reason I wanted to cover this a lot of times with mock ups, especially with business card mock ups, for one reason or another, they're almost stark white. We've got a little bit of yellow tinge. So this is really shot in a way that it was going to require us to use a white balance adjustment. Now, we're gonna come down to the picker, come over the picker, and I'm gonna pick something that should theoretically be white, which is these business cards, right? So let's just tap on that and you'll see the cast that then comes off it. You see how this little thing over here went toward the blue side? Looks pretty darn good. Now I want to crank this up a notch even further. So what I'm gonna do here? I'm gonna come over here and we're gonna add a curve. I'm gonna add a contrast curve here, so I'm gonna kind of turn down the black a little. And I'm especially going to turn up the white almost to a comical sense. You see how that got a lot brighter. Now, this is taking care of our white whites. Let's go ahead and turn up the mid tones just a little bit. You see how we can adjust the mid tones? I think that this is going to give us the contrast that we want. I'm quite happy with that. Let's go ahead and close that. Now, the next thing that I'm going to do, I'm gonna add a levels adjustment. So my goal here is to work the white and black areas to the point where I've got something that I like. Now I'm paying attention over here. I don't want to blow out the whites. I want the shine. But I don't want it to be crazy. All right. See how I started blowing that out? All right. I think that I'm pretty good right here. All right, let's go ahead and group these together, all right? And then we're gonna do one more thing. We're gonna go ahead and we're gonna rast rise. Boom! That gives us our background. Pretty much background. done. Now, the last thing that I want to dio we're gonna set up the pins. So we're gonna grab our pen tool, and we're gonna corner pin one to 34 and make sure you get towards yellow. Five. Perfect. Now hit escape. Start the next 11 to three, four and five. All right, and perfect escape. Now, let's call this bottom face, and we're gonna call this top face. Now For those following along at home, the top has to go on top. See how I just switched it. And why is that certain? Well, because now watch this. You remember how I said that even your curves had to have a Phil, Let's do a really annoying green color, okay? And then for the bottom face, let's do a really annoying red color. Okay? You want the green above the red so that you don't have to mess with it later. Now, once you've got your quarter pins cause I set up, you can always come back. Come back to the toolbar, grab the no tool and you can find tune your nodes. Let's go ahead and drop that back down there. That looks good. All right. That looks pretty good. Let's go ahead and do this. We're gonna be adjusting. I'm quite frequently here. All right. Make that thing it correct. Curve here, Bring one. No, down. Bring the other. No down. Bring the other node down. And I think that we are pretty darn good there. All right, so let's go ahead and call this one. In this lesson, we processed the raw. We then created our curves in the next lecture. We're gonna go through and add the embedded images. So let's go ahead. I just want to check the document real quick. See? We got okay. 1500 by 1100. All right, let's go ahead, file save and we will see you in the next one. 36. BUSINESS CARD FLAT LAY- Adding in Modifiable surfaces : All right, gang, welcome back to affinity photos. So we're working on the business card. Mock up in the last lesson. We did the top face in the bottom face. We got our curve layers figured out. So it's that time again. Do the magical embedded layers. Let's go to file new. And now this is my personal preference. When I do this, I know a business card is about 3.5 by two inches. You want to make sure that there's 300 d p I I would rather have too much resolution versus not enough, because if you shrink that thing down in the DP eyes 72 it's gonna be a little more pixelated than it should be. So let's go ahead and create, All right? Now, if you've been following along with me in any of my other tutorials here, you know what I'm about to do. I used the embedded layer. I do a bright, annoying blue mask here, so let's go ahead and do a blue rectangle boom just like that, right? Really annoying color blue and go file Save as and let's call this embedded layer four business card mock all right. We only need to do it once. All right, Cool. So let's now turn this down. We got a file place, find wherever it is, you put that business card mock up and bring it into existence. Now, here's what I'm gonna dio zoom in, and I want to position this over my curve. Okay? I want to make sure that we're in good shape here. I'm pretty darn close for horseshoes and hand grenades there. I think I'm close enough. So now what I want to do, I want to drag it inside. Now we've clipped it to the curve. All right, let's do the same thing here. File place, embedded layer. Let's go ahead and drag that out. Rotate this around. Bring that down. Bring this over. We're close enough here. We can make subtle adjustments, right? And drag it inside of the bottom face. All right, so bottom line, I know we have some of the red showing with the blue. That's fine. That's why we do those contrast and colors. Let's go to the top face and let's practice this click on the embedded layer. And now in your downloads for this lesson, I've gone ahead and I've put in a front and a back of a business card. So we're gonna work on the backside. So let's go ahead and grab the back of card. And let's swing this over just like that, Okay? We got sketchy prints. Yeah, we do. All right. So when we do this, what should probably happen now? We can Then move this around. Remember, we may have to move this around, go ahead and strength that up a little bit, rotated around just ever so slightly. I have to expand it out just ever. So Okay. All right. Let's see how that works out. That looks pretty good. All right, let's do the bottom face. Bring it. What's toilet down? Double click file place. Bring in the front. All right. Just like that. All right. And what should we get now? This one's gonna be a little jacked up. That's fine. All right, let's go ahead and adjust this one out a little bit, so we can probably make it a little more, right? You see how I'm looking at this black line right here? And I can probably extend that out a little bit. All right, let's go ahead and see how that looks. Those look pretty darn good. Now we're always gonna add an adjustment layer. Let's go ahead and grab on hs l adjustment and make sure it's drug inside of the bottom face because each one of these needs to be adjustable and you want to be able to address the brightness or the lightness in it so that it matches the rest of the scene, right? You don't want something. It's extremely over or under saturation or lightness and the same thing there. Let's go ahead and put NHS l in here. Now, where does that end? Above the stack Inside the top face. But on the bottom side of the HSE. L all right, let's go ahead and de saturate just a little. Bring that up. All right. I think that that is pretty cool. All right, let's see, we got here. Now. If you wanted to take a look at this right now, usually when I do something like this, I will go ahead and I will export it. And I just want to see how the entire thing is going to shape up. So let's go ahead and call this trial one. Because sometimes I'll tell you, at least on my monitors and with my experiences, sometimes it looks a little bit different when you go through and do this. So let's go ahead and take a look at the download here and there's our trial. Let's see how that looks. That looks really solid. I'll probably kick up the saturation a little bit on this guy. But you see how this kind of matches that and this pencil kind of matches that that was by design. Now we need to add a little bit of realism. You see, between the purple and the teal, there should be a little bit of shadow because one is on top of the other. So now let's go ahead and do that between the top facing the bottom face. We're gonna go ahead and we're gonna add a pixel air. And on that pixel, they're using a soft brush. So where's my brush tab? Right here. Pick a soft one and notice my flow is down around 10%. It's up here in the context toolbar. You're just gonna want to brush this side now see what I was doing here with side of this brush. I'm not getting crazy. There we go. All right, Now, if you go a little bit crazy, which you might you can always come in and erase. So I'm gonna erase any type of overlap that's there, and we're gonna go one more time. Here. There we go. All right, That looks pretty darn good. All right, that that looks good. I do want to adjust the front of this card here. I think I turned down the saturation a bit much on it. Okay, there we go. All right. Just a little bit. A little bit to make it blend. All right, so that's looking pretty darn good. I think I'm fairly happy with that. Now, the last thing that I want to do here before I got to take this one home, we're gonna go ahead and rename this. I'm gonna call this hand drawn shadow. Okay, I got top face. I got the shadow again. The bottom. Now, what I'm gonna do here with this is I'm gonna add in a new adjustment layer, so stay with me. We're gonna do to curve adjustments. We're gonna do a nondestructive burn and a nondestructive dodge in the next lesson. So let's go ahead and drop this thing a comical amount. Make it look like that. Close it out now let's call this bird. Okay, now, when we do this, let's come over to our flood fill and let's fill it black. Now we just hit it. Let's go ahead. Now do one mawr curve. Let's come over here. Blow this thing out. Close it out. Come over to our fill bucket, which we have, Make sure black it selected is the color and then turn that off. Now, why am I going to do this in the next lesson? And I'll show you this a little bit early. We're going to paint with white now, okay, to reveal one of these layers or another. So if there's an area that you want to darken, right, let's go ahead and turn this flow up to say 20%. And let's say that I want a dark in over some of the shadow areas what I can do, and I'm gonna undo this. So I'm just going to show you this in the preview. I can come over and I can darken. You see where I can highlight some of these shadows now to make him a little crazier than I won't needed him. So that's what we're going to be doing. And the reason that I did it this way is because if I ever want to undo it, I just switch back to my black and now I can paint out that adjustment. This is nondestructive Dodge and burn, folks. So let's go ahead. Call it on this one, and then in the next lesson will finish up this mock up here. We'll name it out and we'll be good to go. All right, we'll see the next one. 37. BUSINESS CARD FLAT LAY- Finishing the mock up : All right, folks. Welcome back to affinity photo. So in this one, we're gonna go through to take advantage of these dodge and burn areas that we created to add a little bit more interest. And you see how I've got some lights over here in the cover. I want to kind of take those down a notch. So that's kind of what we're gonna be do. We're gonna be doing some spot healing. We'll be doing some adjustment for dodging and burning to make it look a little more dynamic. And so this will allow us the ability then to create the universal adjustments as a final step. So let's go ahead and get started. First thing that I'm gonna dio I'm gonna work with my paintbrush. I'm gonna come over to my burn and you see this little white spot here it appears that I have some peace. I forgot to fill in. So there we go. Let's just scorch some earth there. All right, there we go. Disappeared. All right. So now let's go ahead and bring out the white and I want to think about some of these shapes here. Let's start with the burn and The first thing that I said I wanted to do is I wanted to get read of some of those highlights, so I'm just gonna go ahead and touch over on the highlights of the cover here to just kind of get rid of some of those. Now, if you want to turn up your flow, you certainly can. All right. And if it's still not working for you now, do this with a certain amount of caution Here. You can always come over and do a little bit of adjustment with your curve, so I still want a little bit of it. But I don't want to make it terribly pronounce. So I think that's about as far as I'm willing to go on that that looks pretty good. Now turn the flow down about 15 for the rest of this, and I want to create a little bit of a shadow right here. So let's go ahead and just throw a little bit of his shadow right there. Let's dark in the shadow under the sun glasses a bit, and then over here, where the computer is, I know we don't have anything that makes it quite identifiable. is a computer, So I'm gonna go ahead and I'm gonna create a little bit of a shadow under here. So now let's go ahead and do the curves adjustment. Now, be gentle with this, right? Because this will go a long way. So I'm gonna come over here to the glasses, grab my white. I'm gonna grab some area here in the glasses to lighten up a little bit. And I think that on top of this curve around this area here, I might put a little bit of ah, highlight on these pencils. See how that just makes the pencils pop ever so slightly. Now, a little goes a long way with this. Let's zoom in. Okay, Let's bring up our brush again. What zoomed down. Okay. And again, if you wanted to go a little bit crazier, you could always bring that up a little bit. I might actually bring that up a notch and see how that actually looks. All right, folks, the last thing that I want to do here, I think that I'm actually quite happy with this. Let's go ahead and clean this up a little bit with a lighting layer. So we're gonna go ahead and we're going to add in a universal adjustment for lighting. I'm gonna go ahead and do a point light, because that's traditionally what I always do. And I want to bring this thing out quite a ways. All right, We're gonna go ahead and bring this over that way. All right? Now, I don't want to bring it out so far that I impact that. So let's go ahead and turn down the speculator light. We're gonna go ahead and we're going to increase the ambient light in the room. And then what I'm gonna do, because I want to just color this a little bit different. I'm gonna go ahead. I'm gonna create a little bit of a warmer light here. Let's have it matched the scene. Let's go ahead and do it like this. Now, this is totally adjustable. So you don't like it totally on you to change it, right? All right, All right. So I think that overall, I'm pretty happy with this last thing I want to do. I want to be consistent in my labeling. So universal adjustments are gray. Red is going to denote a modifiable piece, so these are gonna be read. A hand drawn shadow is a green peace. Right? That tells the user that is hand drawn. These are masks, so they're going to be purple. All right, this base pixel there, I'm going to lock, and I'm gonna leave blank. So that means don't touch it. Right? And inside of the modifiable pieces, this is gonna be an adjustment. So I'm gonna go ahead and make that yellow. And here, because this is an embedded layer. I'm gonna go ahead, make that blue same thing here. H s l gonna get a yellow. This one's going to get a blue. All right, Now, let's go ahead and rename Universal Lighting Lair. OK? Do whatever you want with it. Top face. Good. Here. Adjust for H s. L perfect. And we're gonna put double click here. Four to insert image. Perfect. The hand drawn shadow. That's good. Adjust for H s L here. Double click for embedded image. Okay, Curves adjustment paint in black and white paint in black and white. And this is just going to be background. All right, folks, I think that's a good one. I think that that's a pretty easy one. that one's one of the simpler ones we've done. I figured you needed a break after that whole tube one. All right, folks, we're gonna go ahead. We're going to see in the next one. 38. TUBE AND LIGHT POSTER -Preparing the raw image and developing it to a usable background: All right, folks, welcome back to affinity photos. So this is gonna be the most complicated, technically arduous one that we have done in this mock, of course. So let's go ahead and get started. Unfortunately, this is gonna be a little bit longer to, but I'm gonna be showing you how to use textures. How do you grating and layers where to be putting everything together that you learned so far to create this mock up. So I'm starting in raw, and I've got this image here and now what? I've noticed an affinity photo is sometimes it does create the raw image a little bit darker than what you would expect. So I would probably want you to go ahead and crank up the exposure a little. We can always adjust it in post, so don't make it terribly complicated. I'm gonna increase the black point because one of the highlights in the selling points of this mock up is gonna be this black line right here where the hand is and this black area right here and then I'm gonna go ahead. I'm just gonna crank the brights up just a little bit now. I think that I'm pretty good there. I'm not gonna make a lot of adjustments in rod of this one. I'm just gonna go ahead. I'm going straight up developing, all right. And here we are now in the normal photo persona. And now the first thing that I probably want to dio is I want to get my brightness right now that we're where we want to be. So let's go ahead and go to brightness and contrast. Let's go ahead and kick up the brightness a little bit. And remember, the focal point for this is going to be this poster right here. Here's why I did what I did when I shot these roles. These roles are just going to be used to identify where the curve should go and where some of the shadows should fall. So they really provide no information me other than the shadows. So let's go ahead and kick up the contrast a little bit, all right? And I think that I'm pretty good here. Let's go ahead and call that and then what I'm gonna do, Let's go ahead and zoom down here. Let's take a look at the noise. Is the noise of thing. Is it an essential part of this? We could probably Denoix is just a little bit. Let's go to layer. Live filter, layer noise D noise. All right, let's go ahead and kick it up by about 37%. Take it down about 7% in the detail. Remember that? Lowered the detail, the MAWR. It removes noise. And let's going to clip that into the background. All right, It's a little thing, but you'll notice it a little bit of the time here. All right, let's go ahead. And now clip this thing. I'm gonna go ahead. I'm gonna make this in 1920 by 10. 80 piece. And because most mock ups are used in digital now, you will have a mock up in print If you decide to do this. Here's what you wanna dio I like to go to a custom ratio. I'm gonna go 1920 by 10. 80 and now I'm going to put my DT a d p. I. Now I'm gonna put it up to 72. If you were gonna print this thing, you'd want to keep the 300. All right. So, uh, clicked before applying it. My bad custom ratio. 1920 10 80. If you do dumb stuff, you got to do it twice, right? 72 and enter and apply a look at that. All right, so that looks pretty darn good. Overall, I'm happy with that. So the first thing that I'm probably going to do right now is I'm going to treat some of this background now to treat the background. You want to make sure you're on the background where? Right here. And let's go ahead and use some of our tools. Now, I'm gonna go ahead. I'm gonna use my healing brush. So I'm gonna go ahead and hold all I'm gonna click a spot right about here, and I'm just going to go right on up the center. Now, I'm gonna go ahead, read you all, and I'm gonna click right on up the center. All right? That looks pretty good. Now, what about this area? Right here. This one would probably be better served by holding right about here. Let's go ahead and zoom this out a little. Okay. Pretty good. There. Now, let's go ahead and grab another area. Okay. Looks pretty good. Let's go in. Zoom on. in here. Take care of this last little bit. I'm gonna show you how. You really don't have to be terribly picky about this too. There's a trick that I'm going to show you here. It's coming up here in a couple lessons right now. We're just removing the backgrounds. All right, Speaking of removing background, let's go ahead and get all of this out of here right now. To do this, we're gonna go ahead and we're gonna create our first shape. Let's go to the pen tool. And now what I want you to do with the pen tool. I want you to trace out everywhere that this is not so When it comes to the tubes. Don't be terribly concerned about making sure those tubes air good. We're gonna be able to fix those. And then you come on up when you come on over and just like that, now you're gonna want to zoom in. And this is the same thing we've done in every other portion of the class. Let's call this background, okay? And what do you do normally, after we've zoomed in, you come in with no tool, right? And now you're going to go ahead and adjust the nodes until you get him pretty close to what you wanted to be. See, I'm getting close to the roles, but I'm not really going right up to the edge of the roles. That's because, inevitably, we will get to the point in which we're just creating these tubes later. So don't worry about making them perfect right now because you'll be able to put the rolls right on top of them later. Okay, go ahead and move that guy down right about there. Just like that. And we're gonna move this guy just like that. That looks pretty darn good. All right, let's zoom out. And now with this area, select the background curve. Let's go ahead and throw in a greedy int, Phil. Now we want this to run the other way. So let's go ahead and reverse the Grady int. And let's go ahead and make it a little darker. Okay, Close enough for horseshoes and hand grenades right now. That is a good adjustment. All right, We're gonna go ahead and we're gonna kind of work that out a little bit here as we go through. But right now we're in pretty darn good shape. Last thing I would like to do here, we're gonna show you how to kind of fix this, but you see, kind of some of the line that's left here. I'm gonna go ahead, and I'm gonna kind of just brush in and smear some of this area into some of that area. Now to do that were coming over to the background, make sure you're on the background. There you go. Just like that. I come from a more artistic background. So a lot of what I do in RU photo manipulation I'll tend to paint things a lot. More than usually, I would say Do something else where I might do another selection. All hand painted right? All right, let's go ahead, call this one, and then we'll get into the next step. All right? See the next one 39. TUBE AND LIGHT POSTER-Creating the cardboard tube : All right, folks. Book back to affinity photo. So in the last lesson we went through and we did this background to the foreground, we got the image ready to go in this lesson. What I'm gonna do, I'm gonna show you how to use these tubes. Okay, so we're gonna go ahead and we're gonna zoom out in here. And the first thing that I'm gonna do is I'm gonna pull out my layers panel here. When I do mock ups, I keep the layers panel really front and center most the time. So I practiced good layering here, right? And so what I'm gonna do, I'm gonna go ahead and create both of those. I'm in a group home, and I'm gonna call this background, okay? Are in the background layer, of course. Contains the back background and the original image. All right, so now we get into something new. Let's go ahead and grab our pen to when you do mock ups. The pen tool and you guys were friends, right? And you see how it's grabbing this area hit escape, and this will allow you to make sure that you start a brand new, uh, shape all right. And I'm just gonna go and hit piece four just like that. All right? Now, here's where you do want to be precise. We're gonna come down to the node tool, and we're gonna drag this thing out until we get this tube pretty much covered by your you're curve there. So let's go ahead and swing that out like that, okay? And you can always adjust this back, so don't think it's a forever thing, right? All right, Now you see where I'm putting this in the shadow. I'm gonna go ahead and grab right here. You see how this black shadow I want to keep that? Because I want this tube toe look just like that. All right, so we got a pretty good example here. Let's go ahead and grab that Now, where did it go? Let's grab the curve and let's drag it up. Let's practice good naming habits. We're gonna call this full tube. All right. Perfect. So we got this tube here right now. I'm gonna show you something new. Let's goto file open and in your downloads for this lesson. I've included this cardboard image, so the first thing we're gonna do is we're gonna crop out the undesirable. I want this thing to be a texture. Sample someone, go ahead and expose it up just a little bit again. I do a lot of my exposure in the photo persona. I'm gonna kick up the contrast a little bit because I wanted to have a little bit more contrast to see how all that stuff starts coming out. And I want to kick the clarity up quite a bit because I wanted to have a lot more clarity right now. I can always reduce it later, but I want to have it right now. All right. Once you're good hit, enter, that looks pretty good. Let's go ahead and develop it, all right. And it's thinking and it's thinking, all right, pretty good. Let's go file save as actually, let's go ahead and export file export. And we're just gonna make it a high quality J peg right? So let's go ahead and let's go ahead to call this cardboard texture file. All right, save perfect. And now let's go ahead and file place Bone. Now bring this thing up large and in charge, and you see how it's got some grain running this way of it. I'm gonna go ahead of tilted up a little bit and I'm gonna pull it down inside of the tube . So what I have effectively done is I've created a texture that I can use and I can apply now. You could, of course, do things like change the different blend modes and such to this. But you see how we're getting the rubber band there. My best piece of advice to you Keep the blend mode of the original just set to normal. Because what we're about to do is we're gonna go through here and then we're going to add in a certain amount of Grady int. So I'm gonna go ahead. I'm gonna duplicate this, and I'm just going to drag it down below. The reason is we're gonna be using this cardboard a lot. Now, you see the little pieces over here, you see where my cursor is. We're gonna have to come over to this area, and you want to just clear it out so that none of your tube is present. That's part of what pulls off this illusion. That looks pretty darn good. If we had to. We can move that up a little bit. All right, so the full tube with the cardboard inside, let's go ahead and add in a radiant layer. So we're gonna go, and we're gonna add a pixel air. I want to call this shadow, huh? All right. And once you learn how to do this once it really becomes second nature. And what we're gonna do now is we're gonna go ahead and we're gonna drag this just like this. So you've got dark, you've got light. And now you come up here and here is we're gonna dio we're gonna go ahead and we're gonna create a custom Grady in. So we come up to the white, we a white and I want that to go all the way to the dark like that. But then I want to come up here with a little bit of dark there and in the middle. I wanted to be light, so let's go ahead and move in some white. All right? Perfect. And now let's go ahead and move that there and let's go ahead and move in some white over here. Okay? Alright. Let's try that. I think that that's gonna look pretty good. Go ahead and try. Now, there's a whole lot of different blend modes, all right? I happen to be a fan of the overlay blend mode initially, and now you can manipulate this as long as you haven't done anything really crazy yet, right? You can manipulate it anyway, that you want there. And once you've got it kind of where you want it, you really want to drop it down just lightly. That looks really good. All right, let's go ahead. Zoom out. So you see what's been done Now? We don't have the end on this thing yet. There's no cap on it yet. The illusions not full yet. Now the shadow there is one part of the illusion. The other part of the illusion is an H S L layer inside. Because you see how this is more heavily saturated than this. It's gonna look funny, so you can always come in and you can adjust the lightness or the darkness if you so choose of this tube until you get it to be somewhat believable. So the h I sell adjustment is an adjustment. The shadow is an adjustment. Now we're gonna add in one more I'm gonna add in a pixel air down below the hse l Because I want the hse l to be dominant Gonna come in with the greedy in tool And this time we're gonna bang it out this way. Flip it. And now let's go ahead and make this a little bit darker. Okay, that looks pretty good. Then you'll have to adjust it a little bit, how you want it. And let's change this blend mode over to multiply, shall we? And then we drop that down a little bit and if it's a little bit crazy, can always bring it out here. All right, let's see how that looks overall pretty happy with that right now. Let's go ahead. This one's getting a little long in the tooth. Here we moved the cardboard. We added a shadow layer to get that roundness effect, we added a pixel air to get it shaded from the dark all the way to the light because you remember the lightest coming from this side and we put in an age of cell adjustment so that we have constant adjustment there for whatever seems to work out well for our particular unit. All right. I think that one's good. In the next one, we're gonna go ahead and put a cap in this, and then we're gonna do the same thing for this end and for this end. So if you get this in down, it's gonna go a lot easier in the next one. All right, We'll see the next one. 40. TUBE AND LIGHT POSTER-Adding the end cap and starting the other roll : All right, folks, welcome back to infinity photos. So we're working on this composite here. We went through and we use the full tube. Now, what I'm gonna do now is I'm gonna go ahead and I'm gonna come over to the blend moon and I'm gonna go ahead and drop this down so that we can see this area of the original tube because this is where perspective is going to come in. So the first thing that I would probably do let's go ahead and grab a circle. Let's drag a circle out. Now, you see how it's got kind of a greedy int feel to it. We're gonna want ingredient, but we don't want that greedy it, right? That doesn't make a whole lot of sense. And this tube isn't perfectly symmetrical. So what we're gonna want to dio is we're gonna want to zoom into the Ellipse, were then going to with our move to a selected right click, and you're gonna convert this to curves. So now we have a curve. Right now, I'm gonna go ahead and I'm gonna drag out my handy dandy tool here. And I'm not gonna be terribly conscientious about this. And I'll tell you why I'm eventually gonna nest this inside of the tube, so it doesn't have to really be that great. I could actually run it out here if I wanted to. The only thing I'm really concerned about is getting that greedy int. Right. So what, I'm gonna dio I'm gonna come over here. Let's go ahead and delete out that, all right? And let's go ahead now and flip this thing on its ear. All right? That looks pretty good. Now, let's go ahead and move it down inside, huh? Just like that. Now I see what this is doing here. It's multiplying out. That's not quite the desired behaviour that we want, right, cause that looks like hot trash. Well, we're gonna want to dio. Unfortunately, we're gonna want to take this cardboard we're gonna duplicate, and we're gonna put the cardboard down inside of that. So, in effect, what we've done is we've created this particular thing. And now what we're going to do is we're going to add in another layer to get that right. So let's go ahead now. No, no. Let's put that layer down inside the curve on how about that. That's that's always good. All right, there we go. And again, flip it around and change the blend mode. Okay, That looks pretty good. Now, we can always go ahead and reduce that down a little bit. All right? You don't want it to be terribly sticking out like a sore thumb there. And if it's a little bit too much, you can always come in. And if you wanted it more, you could always come into the gray and kick it up a notch right about here. I think that that's going to be pretty good. Now, when you get into that, notice how I've got this curve will call this the end. Okay? We're gonna go ahead and we're gonna nest because much like this tube here. All right, the end. We're gonna drop down here because we want to be able to see where we should probably end it. And what I'm gonna do is I'm gonna look for some sort of a cap. Now, watch this. This isn't gonna make a lot of sense. Realize what we've got here. We got the tube, We got the end. We're gonna do one more. This one's going to kind of go like this. This one's going to be like an end cap, right? This is gonna be the bottom of the tube sticking out, so it doesn't look really weird, and we're going to place it right about here. Notice how I cut that thing into. Now I'm gonna come in, and I'm going to come in and right click, and I'm going to convert it to a curve. All right, Now, this is going to be the end cap. Everybody with me and cap. Now let's grab the cardboard texture again. We're gonna be using this a lot. Duplicate it. What do you think going to do? We're gonna move it inside the end, cap. Right? What have we done every other time? Now, let's go ahead and adjust the nodes on this in cap. We can go through and we can adjust the nodes like this. Or let me show you a super easy trick If we nest the end cap into the end. Now you see what just happened? All right. We nested the end cap into the end. Now we can go through and we can dodge. Weaken, burn. Let's go ahead go to the end. Let's go ahead and move the end cap where we want it. I think it's probably good right about there. All right, now, that was complicated. I ain't gonna lie. And was our original circle end cap nested inside of the end. And now when we bring the tube back up to all its glory, look at what we've got to work with now, this is a perfect candidate now for Dodge and Burn. See how he did that. Okay, so that means that when I take this end and I move it now into the full to watch this No. Now I have the full tube. Everything is nested inside of it. From the end. The end cap is nested inside of the end, and we've created a perfectly functional tube. Now, notice right here. If the curve gets a little bit on control, you see the little halo? No problem. Just like that problem solved problems staying solved doesn't have to get crazy. Don't have to get emotional. Just move it. Just just like that, just ever so slightly. Here we go. All right. Ladies and gentlemen, you have your first perfect C g I style too. That last move that was quite complicated. We're gonna do it again over here, because practice makes perfect. What I'd like to do the right now is I'd like to start the curve for over here. So we got the full tube. Let's go ahead, grab a pen tool. And one of these one of these You've seen this show before and one of these. All right, now, let's go ahead. Grab our magical, mystical no tool. Push this down a little, Push this down a little. One thing about making mock ups, folks, you are going to get good with the pen tool. There is no alternative. Okay? And if you can't get it with the nodes that I've got, you may have to add another node. It happens. I prefer to work in very, very few nodes. But I'll tell you, sometimes you just gotta. Adam. All right. I think that we're pretty good there. Let's go ahead and zoom in, see what's up. All right. Um, shift that just a little bit. Yep. And you don't have to be terribly crazy. Where? It's paper. Here. We're actually gonna cover that. So I'm not too worried about that. All right, that What do you think we're gonna do here? If we did that a bunch of times already, What do you think we're gonna dio? We're gonna duplicate the cardboard texture, and then we're gonna move it inside of that thing right now. Where did it go? Well, let's find it's probably hanging out somewhere over here. Yep. Now, why isn't that showman? Because we're down below the background. So let's go ahead. Move that up. Here it is. All right. The lettering on these gets a little bit intense. I'm not gonna lie. Let's go. End of roll. Now that's the curve. It's got the cardboard texture inside. And if you don't like the way the cardboard texture is working out, watch this. You can always shifted around until you get it to run. Similar to where you think it should be. I kind of like that. Now, one more layer. Let's go ahead and add a pixel. Er it's inside of the end of roll. Grab your Grady and tool. Flip it and that we want a deep shadow on this one. Right? So we're gonna go to the gray. Bring that up That looks really good. And we're gonna push it quite a bit here. I think that we're gonna be pretty close to here. And then let's go ahead and turn it to multiply and crank it down a little bit. Right? See how that looks. Maybe we can get away with overlay. I don't know. Overlay looks a little childish, I think for this one, I'm much better off with Multiply and I probably will even drop it passed there. One trick that you might use. Let me just show you this. You can use it if you want. Everywhere you have this card board texture, you can add a lair, which is a live filter layer, and you can use a clarity filter on your cardboard. Watch what happens on a crank. This something. Now see how this adds a completely different dimension. I prefer not to do that, but you could do it if you want. I know some people to do. I personally like that non look there. All right, so the next lesson we're gonna go through, we're gonna finish this up. We're also going to create a modifiable here for this shadow because when we put the cap on this much like we did over here. We're gonna end up meeting a shadow. This shadow's gonna disappear. Alright, folks, let's go and call it on. This one will see the next one where we finish up this cardboard. 41. TUBE AND LIGHT POSTER-Finishing the rolls and adding shadow: All right, folks, welcome back to infinity photos. So we're gonna go and we're gonna do the same thing we did on this side and this side to this side. So let's go ahead and get started now. You should already by you know, by now the sequence of events. 1st 1 is always gonna be the pen tool. Right. So we're coming down here, coming down to the pen tool. I'm gonna start in the area right here, and then we're just going to pull a pen tool shape. They're just something like that and that will do it. And then I always come through and I use the note a tool to make it a little bit cleaner. This is why. Didn't worry too much about removing the noise earlier in this image because I knew everything that wanted to be sharp. I was gonna drawing anyway. Cleaning up the noise was kind of going to see irrelevant or I should say necessary. And creating this sort of vagueness was irrelevant because I knew I was going to be sharpening everything up. Anyway, you don't have to be terribly crazy about getting next to this paper's edge because we're gonna be working with the ah, with the curve there and the poster. So we're gonna cover that were always keep in mind. You're layers, right? It's going to call this front of tube. That's gonna be our curve. Now, here's what we're gonna dio you've seen the show. This is why we kept the cardboard texture duplicate the cardboard texture. Let's zoom out so we can figure out where it is, right? Cause we hit it all the way over here somewhere for some reason, and we're going to go ahead. We're gonna move it over here now, notice we can't see it because behind the background, move it up and move it in. And because I wanted to kind of flow the way that it should, I'm gonna go ahead and twist it this way. That gets us good continuity through the tube to make it look like a good tube. All right, so that's our front of tube. Now, let's go ahead and minimize this in terms off the capacity because we want this. And what do you think the next thing really do is we're gonna go ahead and we're gonna create a circle and the circle we're going to create. I want to go ahead and turn it this way. I want to bring it right over top here and now. I'm gonna go ahead and stretch it a little bit, just like so. All right. Now let's try to get away with this. Let's try moving it in above the front of tube and let's go ahead. Move this front of to make it full opacity here, right now. Right now that looks like hot trash. And let's go ahead and try to multiply it. God, Now how is that going to work for me? It might not. All right, let's go ahead and try this. All right? Now let's go ahead and change this up. Let's go ahead and make that very light, alright? What I'm trying to do, I'm trying to cut down on one of the areas where we're gonna have to make this happen. And I actually like that. I think I'm actually quite happy with that. Let's see why we're getting this flat side here. Let's come over play with this. Let's see what happens when we do something like this. Okay, Overall, I don't hate that all right. Let's try something else. Here. Let's go ahead and create another circle. Now, we're gonna have to create a circle on this when there's no way around this. And now, remember how we had this one kind of nested inside as well? Let's go ahead and go to cardboard, Go to duplicate. Let's go ahead, nest this one up inside this ellipse not wise. And it's showing because remember, the cardboard is hiding out over here. We have to bring it over here and then because we wanted to match, we're gonna go ahead and we're gonna run it just like that. All right, so now we have this cap will call this in, Cap. All right, so let's go ahead and bring this in cap up. And now you remember how the end cap was looking a little bit weird. We want to take the in camp, and we want to nest it inside the front of the tube. Now, what does this do for us? Okay, stay with me here. Let's go ahead and bring that just like so. All right. That actually looks pretty darn good. I'm gonna go ahead and I'm going to come up with this. I'm probably going to dodge that a little bit, and I'm gonna lighten it a little. So let's go ahead. Come over the cardboard texture. Let's go ahead and add a brightness and contrast. Let's go ahead and brighten that just a little bit there. All right. I think that we're pretty good there. And in some contrast, all right. Looks pretty good. Now, what are we gonna do about that? It lips there. I'm going to go ahead. I'm gonna crank down the multiplication just a little, All right? Yeah. That's looking pretty darn good. Now, the thing that's bugging me, it's that curve. It's this area right here. Let's fix that. We're gonna zoom in super close. I gotta figure out what's eating my lunch here, and it looks as if it is this. So let's go ahead and bring that out. Um, let's go ahead and zoom. That all right. Might need another note playing with nodes. You might repositioning a little bit. You might have put him in some different spots. That looks pretty darn good there. That clears that up for me, and I think I'm gonna bring this out just a little bit and up along its way. Yeah. All right. We are pretty good there. All right, That is solid. All right, now let's do this. We need to create a little bit of a shadow there. Right? Because there was a shadow. You guys remember. Let's go ahead and take this. Drop that down a little bit. You remember this shadow right here? So what we're gonna do is I'm gonna come in. I'm gonna create one more layer. Now come appear Pin tool, click, click. Hold, Ault Swinging around. Click, Click. Now, notice how this I'm gonna put in the front of the tubas. Well, and now I'm gonna fill this bad boy so we're gonna fill it. Gonna fill with black. I'm gonna come down with my no tool, and I'm gonna pull it just like that, and that's gonna be pretty darn good. All right, let's go ahead and bring this back up to full strength here to see we're working with. Alright, right now. That's why we always pull it to see we're working with right now. We're working with hot trash. Okay, so let's go ahead and fix this a little. And this is why we nested inside. You see, How is it Approaches the end of this. It's not gonna go past to this, so this is actually gonna help us out? A tremendous amount. All right, now on this one, let's go ahead and multiply it and we'll drop it down. I think that that's going to be pretty good. Now, if you wanted to hear is an option, right click Rast, arise the layer. Now it's a pixel. A right. Your your curve is gone, right? Your curve is irrelevant. Come up to filter and go shin blur that thing Air we g o Perfect. Now this match. Is that all right? That was a lot. All right, So bottom line is right now, we have two solid spheres. Or I should say to solid tubes that we can take the next step on. In the next lesson we're gonna go through, we're gonna add in the modifiable curve that will allow us to take the poster in. Alright, folks, let's call it on. This one. We'll see in the next one 42. TUBE AND LIGHT POSTER-Adding in the poster curve : All right, folks. Welcome back to affinity photos. So, in the last lesson, we finished up these tubes, we got everything squared away. Let's just check your layer structures. So you all know what's up front of the tube and the tube? We're gonna go ahead. I'm gonna go ahead and shift, and I'm gonna group thes. All right, call this left tube. All right, full tube. That one's already been group to get a background, and we've been really utilizing that cardboard texture. All right, I know these aren't quite going to look realistic right now. We're gonna do some things as an example with both of these. The reason I group him is now we can come in with NHS l adjustment, and we can then adjust things like saturation in, such as we get closer to finishing and figuring out what our color scheme really truly needs to be. Okay, so that's part of making these mock ups modifiable. You want some modify ability in him because you don't quite know everything that's going to go on. So this one already had the h s. L were good. All right, Let's go ahead now and take a look at how to fix this thing. Now we're gonna want this thing eventually. So the first thing that I'm going to do here is I'm going to start with the curve. Remember, everything comes down to curves, and this is gonna be a modifiable piece, one to three. And when I shot this, I didn't care about the ragged edge there. That doesn't matter to me. Why? Because I knew we were just gonna run right over top of it. Okay, Four. Right about there. All right, Now we come over. And what do you think I'm gonna do now? What have I done every other time I've come over And now I have figured out where my corner pins need to be, and I can't seem to get a handle on that. So we're just gonna go ahead and go to the source now, where to go? Well, now I gotta figure out where the curve went. There it is. All right. So let's go ahead. Switch over to the node tool. Get that thing back to good. Here. Make sure we got the blue. Okay, there we go. We finally got it. Persistence pays, folks. All right, Let's go ahead and sweep that just like that. And now, if you go a little bit over the paper again, not a big deal, right? Because your poster is going to consume it. The trick here, What I really liked about this project in particular is that we're gonna morph this thing kind of going down the side. So that's the important part. All right. I think that we're pretty good there. Go ahead. Swing that. Just like that. All right. All right. Looking good along that ragged edge there. Pretty darn good around there. Pretty good around here. Horseshoes and hand grenades. Good enough. All right, go ahead and let's put a node right there and rocket right there. Alright, what I'm gonna do, we gonna move this note a little bit down there, so we get that nice swooping motion. You don't want to use too many nodes or I use them sparingly. Now, the part that I want to pay attention to, you see the square note up here. Let's zoom that in and take a look at that. That does not sit well with me. All right, All right. We want a little bit of a square note here, But you see how it's cutting off some of the paper? Go ahead and swing that guy. This is where I'm saying you can kind of step outside the bounds of the paper if you want to. Yeah, I think we're pretty good there. If I wanted to, I could bring a No. Down there we go. Depends on how many nodes I want. All right, we got to take care of this corner, all right? And let's rupe it down. All right? Perfect. Perfect. Perfect. All right, here's we're gonna dio There is a magic thing when you do mock ups with affinity photo. I don't understand why it works. I'm just telling you that it does work once you have the curve. Let's call this the poster curve. The poster curve is going to set the stage for the limitations of your image. You want to make sure you come over to the move tool and you want to fill this. Now, I personally I'm gonna fill it bright, annoying red and the reason I want to fill it Bright, annoying red. You see the halo that's created with the bright, annoying red I want to make sure that when I get done with this thing, and I'm really looking at this that I've covered all my halo with the bright, annoying red. I know it seems like a little thing, but it does help you out a tremendous amount when you're making sure that you've got adequate coverage. All right, let's see. We got that now. Looks good. Okay, so when I call that the poster curve, we're in pretty good shape. All right, In the next lesson, we're gonna show you how to add the embedded layer. So we're not gonna cover that this time. What? I am gonna finish up because we do have a couple minutes. I wanted to show you a little bit about this space here. Do you remember how I said we were gonna fix up a little bit of this space? One of the easiest ways to do this. Make sure you're on your background. There. Grab your selection. Brush tool. Make sure you're in ad and paint in your selection. Now you see what it just grabbed there. Let's go ahead and subtract out any of that. Honestly, this doesn't matter, because this tube is above all anyway. And here's what I'm gonna do. I'm gonna blur this. I'm gonna Goshen Blair this And I think we might have frozen up affinity photo there. Yep. And I'm gonna blurt, maybe by sudden pixels. All right, Now, the problem with that select D select is you see how now it took it into a pixel? We kind of lost the ability to manipulate the background image, but that's fine. We had all of our adjustments made. Now, you see, we still have that really nice shadow, but a lot of the spotting this has been gone. All right, let's see what else we might need to do here. I think we're in pretty good shape. Let's go ahead and call this one here. In the next lesson, we're gonna go through, and we're going to create the modifiable embedded layer that will make this work. All right. We'll see the next 43. TUBE AND LIGHT POSTER-Adding the embedded layer and creating light and shadow : spokes. Welcome back to the mock up. Now we're gonna go ahead in this lesson, and we're gonna add the embedded layer. Now, there's something in affinity photo, which is possible in photo shop, which we cannot to do an affinity photo. And that is take this embedded layer and warp it down along. So it follows the flow of this non destructively. So what I'm going to do, we're gonna put the embedded layer in this time, but we're not gonna warp it until the very end. Okay? There's going to be a reason for that. So stay with me. This is gonna be the embedded layer. But what's gonna happen at the end of this, it's gonna lay across this thing. All right, let's go and get started. First of all, we're gonna come up to file open and now in your downloads for this lesson, we've included the same visualized poster that we've been using. Now what I want to do is I want to make this an embedded document, right? So I'm gonna do two things to practice the embedded document. You remember how we did read? I'm now going to do blue. I like to use blue for my open surfaces There. Annable contrasts nicely with the red. Now we're gonna go file, save as and let's call this embedded document four mock up. Okay, remember, we only have to save this once in section four. There was a tremendous amount of lessons on boot camp. Stuff you want to save. It is an infinity file. Okay, we go and close this now Goto file place, and now find the affinity file. Right. Alright. Bring that up. Bring this up just like that. And now let's bring it to the top. Okay? Now, you see that this is an embedded document. DoubleClick and it brings it up. And the reason I like the blue is because if you remove the blue now you get the poster. Now there is a magical system here. You want to make sure that you follow this to the tea because this is what works. The first thing is, this curve must must must have a Phil. That's why we filled it. I don't know why. Affinity photo requires you to fill it, but they do. I'm gonna take the embedded document down into the curve now that created a clipping mask, right. That's okay. Now we're gonna use a live filter layer, live filter, layer, distort perspective. And we moved the live filter layer for perspective inside of the embedded document. Now, what we're gonna do is we're gonna take this and I'm going to use the term corner pinning. We're gonna corner pin it to this image, and you see how it's replacing the red. Okay, that looks pretty darn good there. Now you'll see here that we don't have this dip in it. That's OK. That's all right. We don't need the dip right now. What I want to do is this is where I would necessarily leave the ah, the composite or the mock up because the very next step, I would take this layer. And I'm going to do this in the later lessons. I'm going to use the mesh warp, and we're going to conform it. But there's a couple things we have to do first. Okay, So in terms of an embedded layer, this thing is done right now it's corner pinned. I know that we're cutting sides off here. That's OK. We're gonna fix that with the warp and the reason I like this now is that I can use. It is a place holder and let's lock it in. And now I can almost start doing my burn and dodge as part of this. So let's go ahead and do that. Notice where we've got the dark right here. Notice where we've got the dark right here. What we're gonna do, we're gonna create a curves layer. So let's go ahead and create a curve and we're gonna drop it down to be super dark. Okay, cool. By the way, folks, this is how you non destructively burgeon burn and dodge. We bring it inside of the poster curve layer and we rename it burn. Okay, now what? We want to dio we don't want it to be that dark, so to speak, right? Because you see how dark it made that thing. Okay, so what we're gonna do, we want to come in and we want to go black. And now watch the White Square. It just blacked out. What I did is with my paint bucket tool. I filled it to conceal the whole thing. Now we're gonna do the same thing with the curve. All right, Now, this time we're going to bring this back up. We're gonna bring it bold and light, and we're to call this Dodge. Okay, Cool. Done. So now what do we want to do with this? We want to black this out to okay, so we make sure we're on the White Square. Bring it over under here. Black that out. All right, Now. Perfect. Now, here's where I want you to stop. You're not going to do anything else because I'm about to undo everything that I just did. Here, watch this. I want to show you why we're doing what we're doing. We're coming over here. We're bringing this back right now. Watch what happens if I go to Dodge. I grab my paintbrush tool, and I use white to reveal you see what happens on this poster? Think about where we want the lightest part of this poster. We want the lightest part. I'm gonna turn my flow down quite a bit. I'm gonna move it now to about 34%. And I'm going to lighten this part of the poster. Okay, Now you see what just happened there. Now I'm gonna go to burn. And now, if This was the burn and it was blacked out. What should happen when I use white to paint over you? See how we're going to get a little darker, Okay? And I'm gonna use that darkness right here. Okay? Now, if I come through right, it doesn't look like anything. But as soon as I start applying images over it, you can see where certain areas are lighter and certain or darker. What I'm doing is I'm creating the light and darks so that when we go through and apply the poster and distorted, we're gonna get that good lighting effect. Let me kind of help here. Now, coming to embedded document. I'm gonna show you this on the blue Notice how I changed it to blue. Dark, light, dark light. And the reason that we kept the underlying image is because when I do this dark, dark, light, light you see how this works. So this gives us a chance to trial where we want to darken our image where we want to brighten our image and we're using it as a mask. Okay, this is an advanced technique. What? I'd like you to dio in order to practice this. Come over to the embedded document. Double click it. Select the rectangle. Make sure that shown because then this will show up and go ahead and paint in white so that this area matches the lightest spots in this area matches the lightest spots. It's not gonna make a lot of sense right now, but once we get to the end of the road and I show you how to displace it, everything will come clear. I realize right now this is very confusing. You may have to watch this lesson a couple different times, but at the end of the day, the goal is to get the Dodge and the burn lairs masked out with black and then reveal the points in which they're brighter or darker. All right, let's go ahead. Call it on this one. Then in the next lesson, we're gonna go ahead and put in shadow layers all over the rest of this stuff so that we can identify what touches what we're getting close to the end. Like I said, this is the most complicated mock up that we've done to date. And so this is testing every skill you have in affinity. Photo 44. TUBE AND LIGHT POSTER-Adding shadows and rasterizing the tubes: Alright, folks, let's go ahead and get back after it. So what we're gonna do here, we're just gonna go and close these down. And the goal of this lesson is to create enough shadow to make your composite look relatively believable. So what, I'm going to show you, I'm going to show you one piece of the technique, right? It's the whole technique, pretty much. But I'm gonna do it in very small increments. And then I'm going to replicate that everywhere. There's a little bit off a difference, So I'm gonna show you the technique once. But you guys don't want to watch me for 20 minutes, go through and do this in every part. So what I'm looking for is anywhere in my composite that two things overlap like this cap with this tube, let's go ahead and zoom into this. Okay? So the technique is this. You come over to the piece that you created, you come over to the cap and so you want to now place a pixel image in between this cap and the in cap, so to speak. So anywhere there's two layers. You want to create a space you want to come over with black, and then you want to shrink your brush down. Now, the trick here. All right, let's go. And drop this down is figuring out where this black is going to show. You see how this black Now, right here, we'll call this shadow. This is a good place. So anywhere that there's an intersection you want to create the shadow. And now what you want to do is you want to come over with your pen tool. Or I should say, your paintbrush. Let's go that route. And then what we're going to do is we're going to paint on this layer right here. Okay? So let's go ahead and do that. Come down just like that. All right, So now if you wanted to go a little further All right, let's say that you didn't quite get it the way you wanted it. You can always come in and do a little more. Now that's gonna get a little crazy. Let's drop the flow down. I like to work in about 10% on my flow when I do this because I don't want it to be too much. A little goes a long way and see how you're kind of crafting it and sculpting it. This is the art side. And then every shadow there that I do, I change it to multiply. And I adjust the opacity till I get what I want. Okay? Now think about light, right? Think about where your lights coming from because you don't want to over blow it with the light, John. So I think that right about there is going to be good. Now, let's go ahead and crank that down just a little bit there. I think that that's gonna be good. Now, if this is in front of this, what do I have to do now? Do I have to go find where that end is? All right, you remember that? And now we have to place a pixel layer in between the end, and you see now where that shadow is. Okay, let's go ahead and do it. Okay. Now you see how that's looking like hot trash. We bring it inside and now notice where the end cap is. We want to be bringing that. Let's go ahead and bring that. Oh, let's see if we're eliminate the end cap, we gotta figure out what we got here. Where would that shadow need to show up Right there? All right. You see the power of selection Kind of what I did to kind of figure out what needs to go where. That's pretty much what you have to do. This is where in blaming structures really help out a ton. So let's go ahead and grab the eraser tool and let's go ahead and erase that away. Here we go. And let's go ahead and come back and do it for real this time. Came on and just see how are kind of working through this. That'll work. All right, Now, let's go ahead here at a little bit too right here. And depending on how you're layering structure goes, you may have to guess and check a little right. It's never going to be perfect right off the bat. One thing I might do while I'm here This is gonna be destructive. By the way, I might come up to the end cap and I'm going to come over to the Dodge. Oh, that's a little bit too extreme there. Let's go and turn. That flowed out. I didn't realize it was a 100%. It's turning down about 15. Okay? And let's go ahead and dodge this thing out just a little bit on that edge. All right? That looks pretty good. Let's do the same thing to the end Here. See our bringing this down to the edge here. All right. Good deal. Okay, Now, that's a little bit too dark again. We're bringing it back down here, change it over to multiply, drop it down just a little bit, because you wouldn't really have that strong a shadow. And so everywhere that you have a shadow, you pretty much then have to go through and do the exact same process. So you're gonna be creating a lot of shadow layers in between the different layers. In order to pull this off and my best piece of advice, go through and dodge on the ends there where you need it. So the method is this figure out where you need to put your shadow there, paint your shadows in to match the curvature, then go through, change it to multiply and drop the lair opacity until you get it to look the way that you wanted to look all right, folks. What I'm gonna do is I'm gonna go ahead and do this live. My editor is going to go ahead and speed this up, though, so that we can get on with this because you guys don't need to see me do this for five more times. All right, so I'm gonna go back to you when I'm done. - All right, folks, Welcome back. So what I did, and this was a destructive move on my part. You could have done the hold the way that we did the poster up here where we did the Dodge and burn layers I went through in. The first thing I did is I got my shadows right on the inside and the outside, and then I dodged some of these areas here. Now, you see what will happen if you do that. Make sure you're consistent, because now it's gonna picks allies it. These air no longer modifiable, right? You see, all of the pieces that were inside of that are now gone right there. Now just pixel airs, which is still fine, because I have an overarching hs l adjustment that I can still use. So that's completely fine and I can still modify the layer as an aggregate. But a lot of the detail at that point, I'm not going to be able to use. So left tube is good. The full tube now is a pixel air. What I will probably do, I will still at NHS l adjustment because I want the person using the mock up to be able to adjust some of it right over all the images. Good. Now I just want them to be able to mess with the different, uh, Hughes, the saturation and the ability to change some of the lightness to match the image. This is one of the ways and the reason that I do it this way Just so you know, is because I want to cut down the file size. The file size on these mock ups gets wicked crazy. So if you have the opportunity and you're happy with how that is looking, go ahead and Rast arise it because what's gonna happen? It'll cut down your file size drastically. Also, you'll notice and pixel layers notice right here underneath the tubes. I went through and I added in some pixel layers underneath those tubes to help with some of that. Now, the last thing that I did here you see this pixel air? Let's call this shadow. You'll see how this started off up here and then went down here when we warped this blue image the poster curve, that won't seem to be an issue. So really, what I'm looking at was just the area the shadow under here. And I do like to leave that modifiable for my people. So changes shadow here, change that to the shadow here and now. What I'm gonna do is I'm gonna grab the full tube and the shadow and group call this tube back, okay? And then we grab the left tube in the shadow group, call this tube front, and then we're gonna go ahead and we're gonna group this shadow on the poster curve. But that's gonna be later. So I think that that looks pretty good. I'm to go ahead and kill this cardboard texture, because again, it's something that I don't necessarily need anymore. We're rounding home on this thing. The next thing that I'm going to do in the next lesson, we're gonna set up the modifiable piece for this too. Because remember that this poster is supposed to go in this tube. So the next lesson I'll show you how to do that, and then we'll go through, and we will then destroy the image so that you see how to work with those mock ups. All right, we're rounding home. Stay with me. This one is technically difficult. All right, we'll see the next one. 45. TUBE AND LIGHT POSTER-Adding the preview image to the tube : All right, folks. Welcome back to Infinity Photo. So we're gonna go through and we're gonna add a little preview right here on this tube four . This poster. So the good news is you're going to be able to use the same sort of method. The bad news is you're going to create a new curve, right? So good news is the embedded layer that we can use. We can then multiply, so we'll be able to reuse that. But we are gonna have to create a new curve. So let's go ahead and create that. Now I'm gonna go ahead and zoom into my poster tube here, and I'm gonna find the spot in which I want to place this and I'm gonna come up with a pen tool and I'm going to go ahead. Let's star right here. Let's say one to, um, three for five. OK, close enough for horseshoes and and grenades. Now, remember, this is totally modifiable, so you can always come in and fix it. Now you see, snapping is trying to do what it does. It's not doing a really great job at it's trying, so let's go ahead and we're gonna turn that off, we're gonna zoom in so that we can get really super focused on this. All right? Now, where did it bury that curve inside? Bring it up. All right. And let's call this tube curve. Remember, when you're making mock ups, especially for sale, that the way you label things is going to be important because not only are you gonna have to tell your participants how to utilize your product, but you'll probably have to make a video, so all right, we're gonna go ahead. We can always adjust this later. That's one of the reasons why we do the bigger batter. Ah, red areas. Okay, so that should probably work. Now, I'm gonna go ahead and make sure that that looks pretty darn good there. I think that's probably good. All right, so let's go ahead and let's fill this bad boy. And remember, I like to use red that way. The contrast in blue works against it. All right, so now we have to create an embedded layer. So let's go ahead and go to file new and let's go ahead and create something that's a little bit smaller, right? We're gonna go ahead this is gonna be super small. Some of them are probably go page with 600 by Oh, I don't know. Let's go. 800. We don't need a full preview, right? The full preview, the poster is not usually on the outside of the poster. And let's go ahead and place an image it. So we're gonna grab that visualize, we're gonna bring it up. And because I'm not too worried, it's just a preview. I'm gonna go ahead and distort it. You may not want to do that totally up to you. And because I want to trial this, I'm going to grab a rectangle. Remember that when I do mock ups, all of my areas are blue, right? Read to do the curve blue to test the embedded layer. All right, so let's go ahead and call this file save as, and we'll call this embedded four poster tube. And remember, you only need this once, right? You're never gonna need it again after this. Close it out. All right, let's zoom out now and let's go file place. Make sure you put the entire file in there, not the J peg, and let's go ahead and pull it out. And now what you're gonna want to do, You're gonna want to rotate it, okay? And then what you want to do? You want to bring it inside of the curve? All right? Now you can't really tell with the blue, right? What? It's gonna dio. So you really have to then come in. And this how you test it? Double click the embed. Click that off, See what you get here. All right, All right. Now we can always come appear. We can check our edges. Okay, Now, that doesn't look really great, right? What we have to do is we have to bring the same pixel air that we kind of did in this to back, right? You remember when we did the for the full tube, that pixel air. Now we've pixelated the tube, so that ship has sailed. So let's go ahead and above this area. We're going to come down, and we're going to create a ingredient layer. Make sure you grab the pixel, grab the Grady into, and let's go ahead and create a Grady Int. Now it's gonna be very similar, right? You're gonna want to come up to this box you start with white on this side, you go to a dark on this side in the middle, you just click and let's make a white on that side. We're gonna make a dark one on this side. You see how we're kind of matching what we're looking at here, and I'm going to go ahead and pull that a little ways toward this area here. I think that that's pretty darn good now to check it. Let's go ahead. And could you multiply? See what looks good with this? My go ahead and do it overlay. All right, Now you see how this looks A little bit stagnant. It looks a little bit weird. Here's what we're gonna dio. We're gonna come down, we're gonna grab the curve that's created. Make sure you're on the curve and we're gonna put a little bit of curvature on the tube. Now, let's go ahead and see what's up. Who might I do it the other way? Let's try that. Yep. Yep. Okay. And remember, is just a preview. Now, if your embedded image doesn't quite fit, you got two options. You can either move the embedded image up or you can go through and make it bigger. All right, now, Right under the embedded image. What do we get A need for this tube curve. We're gonna need a shadow there. So pixel, right under the to curve. Come up with your paintbrush. Make sure it's a soft brush. And now, underneath that to curve layer, go ahead and dupes. Not inside the tube curve Jeremy spent has been a long day here. I even saw it going sideways to and I did it. Okay, cool. Now, the thing that I don't like necessarily about this edges, it's a little rough. Let's go ahead and mask that out just a little bit. So I'm adding a mask layer to the entire tube curve. I'm gonna grab my brush. Okay. Now, I went a little bit far. That's on purpose. I tend to go a little bit further when doing masks. Then I need to. There we go. That's a lot better. So you here before? After four. After, I might just touch on that mask just a little bit more. And because we made it nondestructive. If you wanted to go ahead and race some of your shadow, you certainly could you see how I kind of blew that shadow out on the corner? Okay, now, the last thing that I'm gonna dio this is very consistent with everything else that we've done. We're gonna add an hs l adjustment because it's not white balance hs. So bring it on Lee to apply to that curve. And let's go ahead and crank down. All right, so now what we've got to do is we've got to take a little bit more off that shadow. I don't really like it after all. So let's come down to the shadow there. Let's go ahead and drop our flow down a little bit and I'm on the eraser tool. There we go. That's a lot better. All right, so let's go ahead and take a look at what we got here. We've got a mask, right? I took a little bit of that sheen off it. We've got an h s l adjustment. You want to make sure you put NHs l adjustment in here because then you can adjust the intensity of it, and it makes it look a little bit more unified with the piece, huh? All right, let's go. Exume out here. I think that that is pretty good. So what I'm gonna do now is we're going to change the pixelated a shadow, and I'm gonna go ahead and I'm gonna group thes together, and I'm gonna call this the tube image. Perfect. I've already done the poster curve, so let's go ahead and group those together. Poster image. All right, we got the two front to back in the background. Notice how I'm going through and making sure all of my naming nomenclature is good in each step. Because when you're participant, use this. It's gonna be complicated. All right, let's go and get into the next one. 46. TUBE AND LIGHT POSTER-Adding universal adjustment layers and naming : All right, folks. Welcome back to affinity. Now, in between the last video on this one, I made an executive decision. So I wanna fill you in on the little executive decision that I made there. I went back into here because it wasn't sitting quite right with me. I went into the tube image and I changed the pixel air over to multiply. And I drop the opacity down to 40%. I thought that maybe over late, when I got a look at it, it looked a little bit unnatural. So I did that. And then I adjusted the hse l down a little bit. I d saturated it a little bit. So feel free to play with these sliders here until you get something that looks quasi natural. I also went through in removed a little bit off the curve. Ah, bend. So I went to the tube curve. I went to here. And you see, it's not as extreme as it was what I realized when I went back and looked at it, it looked like somebody had taken a letter. You It was far more pronounced than I needed it to be, so I like kind of how it looked, but it needed a little less curve. And then I still have my shadow there. So it's all the same stuff you did. But sometimes you go back after look at for a couple hours and you like, you know what? I just I really don't feel it. So as I look at this, that's absolutely a lot better than it. Waas. So I feel very comfortable and very confident with this before. Not so much. All right, let's talk global adjustments. So we've been doing a really good job naming things the last part of my process. When I do mock ups once, I've got everything kind of the way I want it. I now want to do the global adjustments, and when I say global, you're gonna put him over everything right? This is your chance to add in some lens filters to change the overall HS. L feel if you want to make it a little bit pink in the vibe, make it pink, right? So the ones that I traditionally do I like to work with the HSE l adjustment. Surprise, surprise. And once I have everything individually figured out, I like to go with Universal H s L adjustment. Okay, so what does this mean, Right? Take a look at what this does to the entire image. Here, you can de saturate drop it down. This really allows you to find tune your image to what you wanted to be. Now there are mock ups that are significantly color graded. I choose not to do that in the mock ups that I'm going to sell because I don't think the people want to really commit to the purple. However, with one thing that I will do a lot of times is I will add in a lens filter. Now, what is a lens filter? A lens filter is just a subtle adjustment in my making a little bit warmer, a little bit cooler so you can work with your lens filter to give it any sort of vibe that you want in my world, this is a way that you can color grade without committing to really going all in and color grading the entire image. And you could make it as bold as you want. I tend to put just a little bit on it to make it either a little cooler or a little lighter . And this allows people to really be able to find to that image to match their brand. Okay, so I'm gonna go ahead. I'm gonna put this down a just four color of lens filter. And here's a pro tip. Most the time you're gonna want to name your layers in the action that you want them to take. Right. When we get into finishing here in the next lecture, I'm gonna show you how I label. But a lot of times I will put it, especially my universal. I'll put in the action that I wanted to take, because now we go. Okay, Now I can change the color here. Okay? That kind of works. I get you now. All right. So the last one that I'm gonna put in here before we kind of wrap this thing up and we show you how toe actually distort this big blue thing is we're gonna go ahead and add in a lighting layer. Life filter, layer lighting. Now, Traditionally, I use for my mock ups point light. I think point like gives you the most flexibility. If somebody wants to buy your market but they want to put a big old spotlight in there. They can. And because I don't want somebody to open up my mock up and find that it's way overpowering and way crazy, I turned this lighting layer down and I kind of move it out, okay? And because you're not gonna be there to explain it to me, go adjust this layer to light your image. Okay? Now, here's my labeling nomenclature. Right. I tend to make everything that's universal Gray. So right, click gray, right click gray, right click Gray. And for those that want to know when I do a mock up pack, I do include videos on how to use each mock up. So it's about a three minute video on how to use each mock up, which I'm going to show you in our last lecture, which is coming up now. There's some weird ones here, right? What I usually do here for the background, the tube, and the front because you're good there. I'm gonna go ahead and I'm gonna group those. I'm gonna say background, do not adjust. Okay. So I usually keep this and I lock it for them. However, if they decide to open it up. I want you to see my naming nomenclature. My shadow right click is a green. It's a hand done shadow. The shadow is green. Anything in my world wanted to mock ups That's green is hand drawn so you can adjust it. Now there's no adjustments really possible in the tubes. So I'm not gonna worry about adjustment layers. Let's say I guess there is here. We can go ahead and we can make this adjustable when I do this. Yellow is a no adjustment layer. Let's check here. Anything in here on adjustment layer again. I told him not to get in here. So you decide to get in here. That's on you. In the tube image were to drop that down. The HSE l adjustment isn't adjustable. I'm gonna call this one a hand done one. This one here is certainly an adjustable thing. So I'm gonna go ahead and put that in in yellow. And now here's the trick. If it's a modifiable piece, I'm gonna go ahead and I'm going to call it red. Okay. In my world, modifiable pieces of red and where I put the embed IDs are blue embedded blue, adjustable red and the way that affinity works. If there is no color, watch this. If I make this group red because this group is an adjustable group, see how would have times this automatically so everyone needs a color. So I use green for anything that is hand drawn blue for where you're supposed to put it. So let's call this place your poster, your your image here, okay, and the tube image shows red. Let's do the poster. Poster curve is a red. That is true. This is a hand drawn element so you can adjust the Dodge. You can adjust the burn. This, I'll say, Place your image here, and the Shadow is a hand selected. But now the poster image needs a red right because its adjustable element. So when they open this thing up, they know they have to adjustable elements. This and this. They know they have three universal adjustments, and if they want to go into this area, here are some of the adjustments that they can make. All right, let's go ahead. File save. It's called this Step eight. All right, and let's call it on this one, your market is just about done. In the last lesson, I'm gonna show you how to use the mock up. That's really all we've got left. All right, we'll see in the last one. 47. TUBE AND LIGHT POSTER-Using the mock up : folks. Welcome back to affinity Photo. We are finally at the end of this 10 lesson mock up. You have used a ton of tools in your cue, and we're gonna stretch you for one more. Now in my mock a pack. This is part of how to use the mock up. I always included video because when somebody opens the some, they're not sure what they're looking at, right? All they see in reality is just a couple blue squares, right? And they're going. What did I just by? Especially because I won't include the visualized poster. So what they really see is this. All right, so let's go ahead and start. You know how to bring this up, right? That's not too difficult. It's this one right here. So there is no way to do a mesh warp in affinity photo that doesn't destroy the thing. So what we're gonna have to do when I explain this to you guys participants you're gonna have to go through and you're going to have to show them how to use this. So what you're gonna want to do, come over to the poster image. Now, let's follow our instructions and see if we can place your image here. Okay. DoubleClick? All right. There's are visualized poster. Okay, So they went in. They placed their image. Okay, fair enough. What should happen back in the mock up? Hey, look, it worked, all right? Now, here's the trick. When we do this part right, we're gonna go ahead and unlock it. We're gonna come over to this image, and now we're going to do what is called a mesh warp. So we're gonna come over here. You're gonna grab this tool. Okay? Now what did that just do this. Now? Rast arised this layer. This is why I say it's destructive. Okay, once you rast, arise the layer, you can't get it back. Noticed that all of that embedded area has now disappeared. So now when you do a mesh warp, it's a little bit too different than a normal perspective Warped. It's already been perspective warp. What you want to do now is you want to create some notes, so I'm gonna create a node right here, and I'm going to double click and create a node right here. So let's go and create two of them. Okay, Now what? You're doing here? You're now creating a handle that you can pull the image down onto. Okay, So the reason that I created to is so that I could get this nice flat lay here. I probably will create even 1/3 so that I can pull this thing down the way that I want it to. And this is another reason why you want to be using a very bright background color. Now, if I click here, what's gonna happen here? Right. I'm now able to pull that image toward this side, and you see how on just kind of filling the frame with the image. So this is now going to be an exercise, An adjustment, And we're going to get that nice, that nice curve right there. That's awesome. And we're going to get that curve right there. That's awesome. Okay, so this is destructive. This is why you had to wait to do this. There was no real substitute for being able to do this because now you've rast arised the image. Now the good news is, don't ruin your mock up. Go to file, save as and then call it something else. Finished poster mock up with example. Because if you save that now, you've got to create a new embedded document. It's all jacked up. Now let's take a look at why we did these Dodge and burn. Let's go ahead and apply this. All right? Cool. Watch this. The reason we did the Dodge and burn if you took this out. You see how we don't have that nice shadow anymore? Same thing with the Dodge where we got the lights if you wanted to. Because these are adjustable. Remember the green. You could create your own, uh, hot spots by continuing to adjust that. So we come over here, we grab our tool, we grab our brush, grab this, come up. And now we can draw on that layer. You see where we're at Dodge Layer, and if you wanted to make it a little brighter, you absolutely could. So let's say we wanted to make that a little bit brighter. You absolutely could. And because it's completely customizable, watch this. Not that you could, but not that you should be, I guess, But you could You can then adjust your curve to make it as bright as you want to make it until it looks the way that you want it to look. All right. Now, I'm gonna go ahead and kind of crank that down a little bit more. That's a little bit extreme for me. This is how you work with this mock up. And I know it took a lot to get here. I know that. It was complicated. I'm going to go ahead to double click on this embedded layer. I'm gonna take this out. And, folks, that gives you a completed mock up, complete with adjustable layers to light your seen to do whatever you want to dio a completely customizable overall hs l adjustment. Totally up to whatever you want to dio. All right, I hope you'll learn a little bit about mock ups. I hope you appreciate all the work that goes into some of these mock ups. And I'm excited to see what you do with the techniques that you got when I said this was an advanced class and you had to have some chops. When it comes to affinity photo, I meant it. We did almost a fully composited C g I style scene off of a piece of cardboard and some white images. All right, folks. Great job. This was a hard one. Go ahead, take a break and we'll see you in the next one. 48. COFFEE CUP ISOLATE-Shooting the coffee mug and developing the raw: all right, folks. So I thought maybe I do one more here. I know that I am very poorly lit because the camera is actually focusing on the higher light. But I wanted to do one. That's kind of more a little bit coffee ish. And I wanted to add in this little thing that I found at the dollar store, so I thought that this would kind of be a fun mock up to do. And I really wanted to get a perspective. So I decided to actually go out. Let's go ahead and drop from coffee on the table here and how we're going to sculpt with it . Right? So go ahead, and we're gonna put some of this on the table. Let's put a little bit more on. All right? Perfect. Now, let's go ahead and sculpt with this. I know you're saying, what am I doing? All right. So we're to take this little folded a piece of paper here, and we're going to bring all of these grounds in along with wife. Okay, heading bunch these up. Now, if you have straight grounds, don't worry. You can always fix it in post, right. We can go through and we can erase him out. That's fine. So the goal here, we're going to get these into a pretty solid line here. And now we're going to sculpt out sort of an s shape with this. Okay? Now I'm bringing them closer to the edge here as I go. Can't curve that a little bit, okay? And I'm not too terribly worried about my table, because one I can edit this out in post. Secondly, it's washable. Okay? And you see how I've just got this little tail here. We're gonna be able to warp this even further when we go into post with it. So what I'm gonna do now is I'm going to position the cup next to it. And now I want to play a game with the sizing, right? I want this to be large, and I want this to be in the background small, but I don't want it to obscure. So let's go ahead and move that close to the background. Okay? Mm. Actually, let's put it right about here. That way we get that layered effect. All right? Perfect. We're gonna have to take care of some of the white That's completely fine. Let's go ahead and take for this just a little bit before we take our shot. Now, if you need a little bit more angle, no problem. Twist that in there you go. Make it hug the cup. All right, let's go a little further. Even twisted. Even a little further. All right? That looks pretty good. Let's go ahead and take our shot. All right, gang. And welcome back to Affinity Photo. So we're gonna go ahead. I'm gonna show you how we took the photo that I took there with the coffee and the cup. And I've intentionally made my life more difficult. I've put into this gold looking thing right here. We're gonna go ahead and show you how to remove it, because sometimes your backgrounds aren't exactly perfect. All right, so let's start by straightening this thing. The first thing I'm going to do, we're going to come in and we're going to straighten it. Still to just a little bit. Perfect. Then we're gonna come in, and I want to position the coffee grounds right inside of this, like you're coming right up on it here. And I'm gonna go ahead and leave a little bit of this in here because I want to show you how to get rid of it. So I think that this is pretty good. Let's see, we got that's a good looking mock up. You see how crisp that edges up against the background. Now, we've got some undesirable stuff over here. Now, the first thing that we're gonna do is I'm gonna show you how to kind of replicate and duplicate this side so that we get rid of this side. Okay, so the first thing I'm gonna do I'm gonna go ahead and make some adjustments here. Let's go to the basic tab. Let's bring that up front and center, right. Make sure you got adequate lighting. Let's kick our black point up just a little bit and let's kick the contrast upon this. Just a hair, right. I think that that's good enough on this one. I don't want to do a bunch of crazy stuff on this. Let's go ahead and develop it. All right, Let's go ahead and start first and foremost with this area here. Now, I'm gonna go ahead and grab my rectangular marquee tool and I'm gonna go ahead and you see where this little gray area is right here. I'm gonna go ahead, and I'm just gonna grab it. Now, notice that this area of grounds is different than this area of grounds, so I really don't want to mess too much with that. So, really, what I'm gonna be working with is just this area here. Let's go. Copy paste. And that creates a new layer of this area. Let's go ahead and select D Select. Now grab this. Come over to arrange, flip it horizontal. And now with your move tool. Let's just go ahead and take that out of the picture, right? Just like that. Okay, Now we're gonna go ahead and start here, and then what I'm gonna show you how to do next is we're gonna soften to this in. So let's go ahead and call that there. That looks pretty good there. Now what I'm gonna do, I'm gonna come up, I'm gonna grab my eraser tool, and I've got a very soft brush. I'm probably going to drop this down to be about 15% or so, and the first thing that I'm gonna do here is I'm gonna come in, and I'm going to get rid of these pesky hard edges. Make sure you're on the background layer just like that. All right? You want kind of a soft edge on this? Okay, All right, Now we're gonna come in, We're gonna grab the clone brush right here and what we're gonna do with this. Now, we're gonna make sure we're on the background layer, and we're just gonna clone that guy out just like that. All right? Let's go ahead and join these group. Rast. Arise. Now, What are we going to do with this year? Simple. Let's just faded out there, smudge it out. Yo, all right, now you might be saying. Well, why did you leave this? Let me show you what we're about to do here. I'm going to go to the pen tool now the pen tool. What? I'm gonna dio I'm gonna go ahead and I'm just going to cut out this coffee cup. Now pay attention to your outline because this is gonna matter. There's a lot of stuff in life. I say doesn't really matter. This is gonna matter. So cut around your cup, it's worth it to take your time Okay. Now, I'm gonna have the editor go ahead and speed this up. But what I'm going to do next, I'm gonna hit escape. This will create a new curve for me, and I'm going to come into here and I'm going to trace out the handle. Okay? Just like that. Now, notice what you have a handle. Curve. That's the top one and a cup curve. Now watch this hold shift. Come up to operations. And you're going to do a Boolean operation for subtraction. Ted, uh, now what just happened? Noticed? There were two curves. Now there's one. Now what we're gonna do, I'm gonna come down here. I'm gonna duplicate this layer, and I'm going to turn it off, pulling this guy into the curve. You've seen that before, but what I showed you is now, this is how you can subtract one curve from another. So I'm gonna go ahead and have the editor speed this up. All I'm going to do is finish my curve up around the coffee cup. All right, folks. So I've gone ahead and traced out my coffee cup. Now what I'm gonna do, I'm gonna grab the piece that matters. So let's go ahead and do this. Go ahead and grab that pixel air turning back out now that we're good and let's go ahead and grab this curve and let's go ahead with the curve and let's make it a selection. Okay, So now how do we do that? Come over here with the pen tool. Click on selection. Make sure the pen tool is selected. Boom. Just like that. Now, we're not done yet. Come over to the rectangular marquee tool and I'm gonna grab right about here in the gray, and I'm gonna swing over and grab the rest of this. Now, this is why I didn't care too much about the gold animal. Because what I'm going to do now, with this selected I'm gonna refine it. This is going to be a modifiable foreground for me. Okay, so I'm gonna come on and I'm gonna hit new layer and apply. All right, now, I'm pretty much done with that pretty much done with this leaving on Lee this area now I can come up and I have a clean working backdrop. All right? That looks pretty darn good. Let's go ahead and call that there in the next lecture oven to show you how to turn this backdrop into whatever it is you think you want it to be. All right, we'll see the next one. 49. COFFEE CUP ISOLATE-Adding in the modifiable layers: gay and welcome back to mock ups. So in the last lesson, we showed you how to create a pixel air toe. Isolate this particular image. Now, in this lesson, we're gonna show you how to add a background so you can put this thing this table overlooking any type of scene. Now I've chosen with the brown to kind of go with something a little bit greeny, a little bit earthy. So I grab some images here that I took outside of Chicago at Navy Pier. Let's go ahead and place, and you can do anything you want with them, right? You don't have to use mine. You can use yours. And so let's go ahead and grab this scene right here. Do. How come we lost that? All right, let's make sure we grab the thing all the way through, huh? All right, Now let's go ahead and bring it down in front of that rectangle. Now, this looks a little bit awkward, right? Remember are three areas of atmospheric perspective, right? Things in the background tend to be darker. They tend to be less saturated, and they tend to be not quite a sharp. So this is the background. Let's go ahead and call this background. The first thing we're gonna want to do is let's Rast arise it and let's grab HS l adjustment. Let's go ahead and de saturate this bad boy just a little bit down and now you can go up or you can go down. I'm gonna choose to go down a little bit because I want the cup to be a little bit more forefront for me. So that takes care of the HSE L adjustment. Let's drag it inside the background. Now let's go ahead and add in some blur Laguna Layer Blur Go Schindler and let's put a little bit of blur on it. I'm thinking somewhere, maybe around three pixels, three pixels, maybe a little bit more than it takes there. Let's try one time. Happy with that. All right, 0.83 wasn't overshot. Alright, bring that down inside, so it's a little less focused. It's a little less saturated and it's a little less Ah, I like Sorry, I couldn't think Right there. Let's add NHS l adjustment this piece as well. Come in here. I tend to use hs l adjustments in all my mock ups for each individual piece because sometimes you want to over saturate. Sometimes you want to understand rate. So I'm gonna go ahead and move that enlighten us just a little bit, all right? I think that I'm pretty happy with that. That actually looks really good. So let's go ahead and make this coffee cup. Let's go ahead and make this the background. So I think that we're pretty good there now. What I'd like to do is I'd like to add in a little bit of lighting early. Let's go to layer. Let's go live filter layer and let's go ahead and add alighting player and what I want to do. I want to make it a point light and let's drag it up above the coffee cup a little bit. It's way too much, you know. We got to bring down speculator light. Gotta move up the ambient light a little bit. So you put this kind of anywhere you want. I'm going to use it to kind of set the tone of where my shadows are gonna be. I think I'm actually quite happy with it over in this corner, just like that. Now, if you wanted to. You could make an argument to go ahead and place it inside the background. If you wanted the background to be a little lighter in this area to make it look like this was under the shade of a tree or something, I can fully see that. Let's go ahead and do that. And on the coffee cup, I'm gonna go ahead. I'm gonna put a brightness in contrast. Adjustment in it. I'm to turn down the brightness a little bit. Turned up the contrast. And what I'm going to do now isn't gonna bring it inside of the coffee cup just like that. And I'm going to then Grady int mask it. So let's go ahead and throw ingredient, um, down toward the bottom here. All right, that work. Now, let's check in here. Let's reverse that. Grady in Here we go. All right. Good enough. We can also look and see. Maybe if we benefit from a little bit more brightness. No, I kind of like it just like that. The last thing that I want to do, I de saturated the back a little bit and I made a little fuzzy. I want to increase the Della the detail here early. So let's go ahead and sharpen. Let's put a clarity now. All right, let's go ahead and double click on this. Bring that up. Now, watch what happens with this clarity adjustment right here in the cup. This is important home. Look at that night and day. Now, I really like a lot of these colors that are occurring here. I think that these air pretty awesome. The last thing that I want to do here is I want to put into some curves. So let's go ahead. Much like we do everything else. Let's go ahead and put a curving was drop it down low. And then what do we do? Usually will come over to the fill tool, grab the black and fill it and we're gonna call this burn. All right, Now, let's do the same thing. I'm just gonna go ahead on the duplicated. I'm gonna call this Dodge, and then I'm gonna double click, and I'm gonna bring it up. But you're not gonna see any change because it's already masked. All right, now we got the Dodge layer. We got the burn layer. We got the clarity adjustment we got the brightness. We've got hs l I think that overall, I'm pretty happy with that. All right, so now let's go ahead and build that embedded layer that we really like. We're gonna come over here. We're going to come over to new and let's go ahead and build in on 800 by 1200 pixel embedded layer. Something like that. All right, now, let's go ahead and grab the rectangle Tool dried out our infamous blue rectangle. Right, cause that's we do, and let's go ahead and fill it. Perfect. Now what do we do with this file? Save as embedded layer four cup, mock up perfect save, and we're done with it. All right, now, let's go ahead. File place. Bring in the whole file. Right and bone. Now, let's add a perspective, right? The perspective goes in the embedded layer and we do that again through the live filter distort perspective. Okay, lets taper this just a little bit here. Oops. I broke my own rule, folks. Tag it to the embedded layer. We g o problem solved problems stand solved. Okay. Now, usually, if you're following along with me, I usually would have a curve that I would attach to here. I'm not going to do that because we have so much room on the side that I think it's going to be redundant. I'm not gonna curve this thing out. I'm just gonna leave the layer where the lair is. So the embedded layer is the only thing. Usually, I would have a curve not going to do it. This time. I have a pixel air, and that's kind of serving as my curve. All right, let's go ahead and call it a day on this one. In the next one, we're gonna go ahead, place an image into here, and we're gonna get that nice multiply layer. Do some dodge and burn to make this thing come together. All right, we'll see the next one. 50. COFFEE CUP ISOLATE-Adding the background and finishing the mock up : All right, folks. And welcome back to affinity photo. Now, in the last lesson, this one's gonna be a little complicated because I'm going to show you how to flip the script on everything that you did so far. So stay with me. The last lesson we have the coffee cup, it's got the embedded layer. It's got the Dodge. It's got the burn. It's got the clarity. All of these adjustments. Let's grab the embedded layer and drag it down below the h s L adjustment. OK, think of this as one modifiable piece. Oh, you see how I got the blue in line with the coffee cup? I want to press it so that it's embedded in the coffee cup. There we go. Now we got our square back. Make sure that stays inside the coffee cup. Now I'm gonna show you something. Here. I want you to turn off the lighting layer. I want you to turn off the coffee cup player leaving on Lee. This image. Okay, Now, here's what I want you to Dio, I want you to goto file save Save it where you haven't make sure you do this. Okay, Now watch this I now want you to come to the coffee cup, and I want you to delete it. I want you to come to the lighting layer, and I want you to delete it. I want you to now come to the rectangle and I want you to turn it blue. Okay, Now, why am I asking you to do this? What you've just done is if we now go file, save ass embedded layer for background, save it and call it this. Now, what have we just done? Have we created a background that we can now embed? And it has with it all of these adjustments? Yep. Now watch this close out file. I'm gonna open recent I named mine step too. Right? That comes back. Okay, here's what I'm gonna ask you to dio take the background. Delete it. Take the rectangle. Delete it. Now go file place invented layer for background. And now bring back your file and let's call this background. Now, Why did I just do that with you? Because now you can come in here, you turn off the rectangle and this is now modifiable. So if you want to change it to a c background Sago file place and bring in the waterfront. Yes. What? You can do that. Now you see how that works. So everything you've done up to this point, we can make happen in a mock up. All right, on a double click on that, I'm gonna take away to see, and I'm going to keep working with the one that we've got. All right, Now, make sure you go file an update. Your save. Now, I'm gonna call this step three just so I make sure. All right, So we now have to modifiable layers. Right? So this was a mock abused purchase. You not only have the coffee cup, but now the background is modifiable. See how that works. All right, so let's move this above the lighting layer just like that. That looks good. Let's go back and turn our attention back to the coffee cup. Now, let's double click on the embedded layer, and I gave you a logo in your downloads for this lesson called Garden grounds. So we're gonna come up here, we're gonna put garden grounds in the mock up, and we're gonna reduce the rectangle right? Make it non visible. There goes All right, Cool. Let's go ahead and crank this up Now. The cool thing is because you kept it in the coffee cup, you remember the last lesson I said I was not going to do a curve. It's because if you move this outside the realm of the curve for the cup, there's no more layer. So you really don't even have to do that, All right, So I'm gonna go ahead and position this kind of where I think it should probably fit now. There's not a lot of distortion to be done on this. I think that it's pretty good. There's a little bit of curvature, but not an extreme amount. But what I want to do now I want to turn my attention to the Dodge and Burn, and I want these areas here shadow in these areas of light to go through the logo to make it look like the logo is part of the cup. That's one of the reasons why I embedded it underneath the Dodge and burn. So let's do the Dodge and burn. Now. I'm gonna come up with my pen tool right here, my brush tool. Make sure that I've got White selected because if Black conceals, white reveals and let's start with burn. Now I'm switching to the walk home. You don't have to. We can easily do this with the mouse and notice how low I've got my flow up here at 5%. Okay? And all I'm going to do now is I'm just going to bring some of these highlights and some of these shadows through my cup. And the reason that I'm doing this this way is because of the one of the quickest ways to unify this. To make it look like it belongs is to have it share the same highlights and the same shadows. I'll even do a little bit more inside of the cup that I won't do necessarily or I should say, on the logo that I won't do on the inside of the cup. So stop when it looks right to you. I kind of like that. I think that if I do much more, I'm gonna end up with a problem. No, there's a certain blend mode that is used a lot when it comes to lightning. You can do lightened. You could do screen. You notice how screen really kicked those up a notch. So it's gonna be a combination of the blend mode and the opacity when it comes to burn. Traditionally, you would use multiply. Now that's gonna dark in the shadows quite a bit. And then you're gonna turn down the opacity until you kind of get him where you want him. The last thing that you could probably do with the embedded layer. You can try this in this situation. I don't know that it would help you much. You could change the blend mode off this layer. So you see how changing it to different areas, maybe to multiply, would change it if you like it. And if you think it's valuable, go ahead and do it. But don't do it just because you think you have to. I might go ahead and go with overlay. I don't really like it that subtle. Let's say I'd rather have it a little more prominent so I may not choose to do a different blend mode on this one. Let's try average. I'm gonna try something. Stay with me here. Nah, I'm gonna go with the good old normal and then once it's normal because it's so pronounced . I'm just gonna go ahead and drop the opacity down a little bit. I think that that's going to be a good look for it. It doesn't look over the top. It doesn't look too washed out, But it doesn't look so over pronounced that it really shouldn't be there. All right, so we did a lot in this lesson. I showed you how to create an embedded layer from a layer that you were already working with. We went through an added logo in and did a little bit of adjustment. We went through and did the dodging in the burning. This is where we start getting down into the details around the mock up to determine whether or not when we're done, so to speak. The last thing that I want to do here before I kind of call it on this one is I want to add in a vignette. Now this is me, right? You may not like the vignette. I'm gonna go to colors. I'm gonna go to vignette I'm gonna move it up. Above all, I want to drop the exposure to reduce the hardness down Almost nothing and I'm gonna scale it up, all right? I think that that is pretty darn good. I think I'm happy with that. So I think this is where I'm going to leave this one. All right, So let's finish this one up here. Very simple. What do we do with universal adjustments? We make them gray, right? Sullivan yet is universal. The lighting is universal. How many modifiable pieces do we have to the cup? Right. So let's make that read. Now, what do we do with mask layers? We make those purple, right? So we make those purple, these air mass Claire's. And the reason I do that and be consistent is because I want them to know that these air mass Claire's and this is how you adjust it. Because then you know, to paint in white and black clarity adjustment. These are optional adjustments. So I'm gonna go ahead and I'm gonna make them yellow hs l adjustment Embedded layer blue. Remember, I reserve blue for embedded layers background. We're gonna make this blue. All right. All right. Now the last thing vignette. Let's go ahead and name it and we want to communicate to our person. What they need to do with the mock up. Double click to adjust. Okay, Coffee cup for good Dodge paint in black and white mind paint in black and white clarity. Click to adjust clarity. Quick to adjust brightness. Quick to adjust. H s l Okay, double click to add coffee cup logo. Click to adjust lighting and background. Double click to add background image. Okay, lets go. File save as let's call this finished mock up. This one was fun. This one was fun. That one turned out really good. I'm actually quite happy with that. All right, let's go ahead and call it on this one. If you wanted to, you could use the perspective tool to kind of warp it around because it's such a small logo . I personally wouldn't worry about it, but you could. All right, folks will see in the next one 51. TECH LAY FLAT-Creating the ipad - part 1: All right, folks, welcome back to affinity photos. So in this lecture, we're gonna show you how to do a brand stationary style flat lay mock up, and we're going to be using a lot of the assets that we've made in other areas of this course. So those are all in your section downloads. But the thing that makes this unique I'm gonna show you how to make the iPad using vector. And we're gonna begin from the bottom up. Usually in the mock ups that we've done, we've started with the top image, and we composited from the top down. Now we're gonna go from the bottom up, so we're literally starting from the bottom. Let's go ahead and start with the most basic What's gonna file new? And I want to start with the iPad. So I'm gonna go to presets. I'm going to go to the 12.9 inch iPad, and I'm going to keep the DP. I had 144. Notice how this is in points. I want to make sure we're in pixels. So 27 by 20. Let's go ahead and drop this down to maybe now that work and let's go ahead and make sure the orientation is not landscape but portrait. All right, cool. Now we're gonna start with the embedded layer. Come over to your rectangle notice my snapping is on and we're gonna pull a rectangle Now let's make it blue. Why? Because all of my embedded images Air Blue. All right, that's good. Let's go file. Save as and call this embedded layer for iPad screen just like that. All right, that's the end of the screen. Notice we started at the bare bare bottom. Okay, Now, let's go ahead. Go to file new. Let's stick with the iPad. We're gonna go ahead. We're gonna change it into two pixels and we're going to create. All right now, I forgot to change to Portrait. I did that on purpose. Come over to document Rotated 90. Now you're ready to rock. All right, let's drag in our rectangle just like this. And now an iPad has round corners. So come up to your context. Two of our click on rounded now Not quite that round, right? Make it realistic. Make it believable. Just a little bit around this. There. All right, now, once you've got that with your move tool. Let's go ahead and hold shift and let's shrink this down just slightly. The reason I want to shrink it down just slightly. I want to hold the aspect ratio. But I want a little bit of border here. This is going to be the IPAD. Okay, Now we're going to fill this with a certain color, but we're going to do it a certain way. We're to treat this rectangle like a shape, so I'm not gonna have the filling the rectangle. I'm going to create a pixel air. When you dragged the pixel layer inside of the rectangle, I recall this base color. Okay, now I'm going to go with a black iPad. So let's go ahead and go to color. Grab black. Now I'm going to go slightly off black notice where I am right here in the color wheel. And the reason for that is I want to make sure that I have some room for the shadows, OK? And once you do that boom, there's your base color. Now, if you paid attention to the iPad, the iPad has a subtle halo on it. Right. So what we're gonna do now is I'm gonna show you how to create this halo. Go to the rounded rectangle, go to the effects and on the effects, click and inner glow. Now you see what's happening here. You see the interval? Oh, crank up the intensity and crate down the opacity. Okay. Now you see the subtle shift that's occurring. Crank up the intensity a little bit more if you want. Go ahead. Now introduce the radius. All right, so there's my settings screen. 23% 17 pixels, 94% and clothes. All right, so now we want to make this base color adjustable. So let's go hue saturation lightness. And let's attach it to the base color. All right. Perfect. So now we can change the base color up and it won't matter. So you can adjust the lightness. You could adjust the saturation if you so wanted pretty much ipads coming Very, very few colors. So the good news is you really only have to adjust the lightness now notice when you went to white, if you wanted that little halo, you may have to adjust it even more. All right, so we've got our base image. We've got our base color. Now we're gonna go ahead and pull in the screen. Let's place remember the embedded layer for the iPad screen. Bring that in. Center that up now. It's not quite center, right? You guys know that the iPad has a little bit more room down at the bottom. Let's make that button. Okay, So we're gonna come down here or a slide down, we're gonna go ahead and we're gonna make that button come down to the Ellipse tool. We're gonna hold shift just like that. And now we're gonna center that up just like that. And now we're gonna do the same thing we did before, Right? Where's my lips? Goto effects. Go to the inner glow. Go to radius. Now, why didn't that show up? Well, because we didn't have a fill on it. Hey, look, Now it shows up. Let's go ahead and drop that radius back down. Trump the intensity back down. All right? Now what? I will probably do also ill throw an outer shadow in in which I move the radius out. Increased the intensity. All right, Perfect. Now with this, we're also going to put NHS l adjustment on it. because, as you now adjust the overall intensity of the image, you're gonna go ahead and you're going to have to adjust the intensity of this button. So we now have the button. Let's go ahead and name it as such. And then also up here, we're going to have a very small hole. Hold shift. Now, I'm gonna have to zoom in for this one, and we're just gonna leave this one as solid black do. All right, so we're pretty good here. Now, the thing that I want to do to check this let's check it. Embedded layer DoubleClick. Bring in any old image. Now what I've included because I know where we're going. With this mock up, I'm gonna go ahead and I'm going to file place. I've put in a website image. I call it the iPad image. Here. This is in your downloads. This is what will be using in the mock up. So I brought this in. Let's go ahead and see what happens to the iPad. Boone. Just like that. Awesome. In the next lecture, we're gonna go ahead and we're gonna add some reflections into both the iPad and the iPad screen so that we get a believable look. All right. Folks will see in the next one 52. TECH LAY FLAT-Creating he ipad part 2- Adding reflections: All right, folks, welcome back to affinity. So in the last lesson, we added in this embedded layer and let's go ahead and practice some good naming habits, it's called a double click to add screen image. Remember whoever's buying your mock up, they may not know. Now what I'm gonna do, I think I think I'm going to drag the base color here. I'm going to drag the button and the Ellipse here. Okay? Now, why did I just do that? Well, if I wanted to change the hue saturation in lightness notice now that all of the items now change, it's a layering thing. So I'm pretty happy with that. Let's go ahead and call this group because it is a group. Let's go ahead and rename it and call it the body. Okay, so within the body, you've got the button, the little ellipse in the base color, and you've got the h S l. That is overall. And the button is composed of that. Let's go ahead and get rid of that HS l adjustment. And now we're cleaner. Okay, Now, this is gonna be the screen, of course, and we know how to double click to change the image. So that's working. And this is all wrapped up nicely inside of the iPad. All right, so let's add some reflection. So there's gonna be two reflections here. The 1st 1 that we're going to do is the reflection on the body. Now, this is gonna be a subtler reflection. We're gonna grab the Grady into I'm gonna grab the pixel layer. I'm gonna drag it inside of the group, but above here, I'm gonna call this glare. Okay, Now it's different than screen glare, right? We're gonna have our own glare for this screen here. But what I want to do now is I want to put a little bit of a glare or some sort of a reflection on the body to give it some texture. So I'm gonna come over to the front and I'm going to drag it to the side and I'm gonna make this thing linear. So there's my glare layer. Let's go ahead and click inside of the Grady Int. And now I go white toe white and then in the middle. I'm also going to go white. Okay, To do that, I double clicked. Now I grab another circle and I make it black. I grab another circle and I make it black. And let's go ahead and make this overall just a little bit darker. Air we go. All right. So I think that I'm pretty solid here. I'm pretty happy with that. So those white, black, white and you see how far I've got these handles pushed toward the white that's going to make sure that that little inner glow that I've got is maintained. All right, so I think I'm pretty good there. Let's go and try it. With this glare, we're gonna go ahead and change the blend mode. So something, maybe in a screen, something in an overlay blend mode. I kind of like the overlay. I think that that's gonna give me what I want. And because I'm still on the grating tool, I can always adjust this. So there's a certain way you want this thing to look, feel free to adjust it while it's here, pushes out a little ways. I'm looking at that button there. Okay. All right. Once you're happy with this, once you click off the ingredient, that's the end of it, right? Boom. So now, with this glare. Let's go ahead. We can adjust the opacity. And if you wanted to change the blend mode to a screen, you could always then adjust the opacity down and you could get a different type of glare. I'm going to keep it on overlay for the body. I probably will screen the screen no pun intended. So let's go ahead and go overlay. When it comes to hard surfaces. I tend to like overlay more so than I like screen. But if I'm doing glass, I am extremely interested at that point at making sure that we've got a very bright type of ah glare. All right, so this is inside the body above the HSE l adjustment, and that looks pretty darn good. So now let's turn our attention to this screen. Remember this layer here? I'm gonna add a little bit of an effect. I'm gonna add a little bit of an inner glow some of the crank of the radius just slightly, but I'm gonna crank down the opacity just a little here, crank up the intensity as well, but the opacity is going to go down, all right. I think that that is pretty good. That's gonna differentiate, right? Especially the black screen on top of a black, A body. All right, so we're pretty good there. Now, let's add one to this layer. So I'm gonna create a new pixel there. I'm gonna drag this down inside of the pixel air, I should say, inside of the embedded. I'm gonna call this screen glare. All right? Perfect. Now the screen glare. What do you think? We're gonna dio? Same sort of thing. Now there's two schools of thought here. You can do whatever you think works best for you. I have people that will duplicate this layer and move it into this layer. The problem I have with that, then is that where the glare is on the body, it will also be on the screen and intends to look mechanical. Let me show you what I'm talking about. Let's duplicate that. Let's move it up inside of here. Okay, so now we're in that layer, and let's change the blend mode over to screen. You make it match inside of the screen. Ah, make sure snapping is on to do. This is what you're gonna do with the other layer. Anyway. All right now if I do this and I have decided to turn it down, right, cause that is way too much. You see how where this light is? This light is where this light was supposed to be. Now I've got some screen edge. I personally don't like to do this. I will go through and I will place my own image inside of here. But if you want to do it the easy way, that's easy. Way click and readjust the size. All right, I'm gonna go ahead and do my own. Now, I'm gonna go ahead and come from the side to the side, okay? And I'm going to start with my graze. I'm gonna move this center to the center. Yeah, okay. And I know it's similar, but it's going to be a little bit different. I'm gonna move this. I've got snapping on, right. That's what makes the magic work. Notice I didn't go to the hard blacks or the hard whites on the edges because I already have the screen glare. All right, let's go ahead and change it over. Drop it down. There we go. Now, if I wanted to, I could have come from the diagonal side. All right, I could have made a diagonal, but that would have looked weird because of the light Really is hitting on this side. You want the screen to be similar, but I wanted to be subtly different. I don't want it to be drastically different, but I do want to be subtly when we get the scene lighting down in the mock up, we will put some hot spots down here. But for the purposes of the iPad right now, I did not want a hot spot. All right, so I think that we're pretty good here. Let's go ahead and go to file. Save as let's call this iPad Lock up. Now, here's the cool part about what we just did. Let's go ahead real quick and label this. This is a blue layer, right? So let's go ahead and drop down and call this blue, because why every one of my modifiable there's is blue. The body is a modifiable piece, so we'll go ahead and make that a red layer inside of the body. You've got a hue saturation adjustment. That's gonna be, um, arbitrary adjustment right there. This part right here I'm going to say I'm gonna leave blank. I can't leave it blank because it's embedded inside of a red layer. This is a do not touch the glare. That part is going to be an adjustment layer. All right, so let's go ahead and make that a yellow because you could always address the glare. Now, with the glare, I'm gonna put down adjust opacity and mode so they want to. They can double click to adjust. H s l perfect. All right, Those air Do not touch this one here. Adjust capacity and mode to change, Claire. And that's an adjustment. All right. And that's your overall iPad. Let's go ahead and change this. All right? Perfect. Let's go ahead and go file. Save as call this completed. IPad mock up that we created a mock up inside of a mock up. All right, in the next lectures, we're gonna create the business card mock up. We're gonna create the stationary mock up, and I'm gonna show you how to apply some paper textures before we put this entire thing together. All right, we'll see in the next one 53. TECH LAY FLAT -Creating he business card embedded images and the paper : All right, folks. Welcome back to affinity photos. So we're gonna go ahead now. We're gonna put in our business card and are stationary into our mock ups. Were to create the files for those. So what we're gonna do is we're gonna start with a preset, so I'm gonna come over here. I'm gonna go new. I'm gonna go preset. I'm gonna go print and stay with me. Now, The reason I went print is because most of my stationery then is gonna be 8.5 by 11 in this country at least, so I start here. I know I don't want it in inches because I'm not going to have 8.5 by 11 inches when I do the finish mock up. And I did the iPad in about 144 dots per square inch. So I'm gonna go dp i and then what I'm going to do, I'm gonna change it over the pixels because we're doing a digital image. Now. Think about ratio 8.5 by 11. If I know the appropriate with, say, I'm gonna make in 1920 pixel mock up. I know that. I don't want this to consume it all. I've probably only got about 700 pixels toe work with, so I'm gonna go ahead and put down 700. Now, if we know that the width is 700 the height is roughly 1.3 of that, you're probably looking What is 700 times? 1.3? Let's do some math. 910 pixels. So we go 9 10 by 700 with a d. P. I of 1 44 We should get something that is close. Let's go ahead and go file Place in your downloads for this lecture. I've included sketchy prince paper. All right, look at that. Like butter. We got a little bit hanging out on the edge, but that's not terribly. Gonna distort. Cool. So now let's make this an official mock up. I'm grabbing a rectangle. And what do you think I'm gonna do with this rectangle? I'm gonna make it bright, Annoying blue. Okay, now, why did I put sketchy prints in here? One to check my size ratio. So when you create something an affinity designer, you create a stationary brand you want to make sure your mock ups gonna fit? Secondly, I needed something. So when we test this, we have something other than the blue rectangle of death. All right, let's go ahead and go file. Save as now we're gonna call this embedded. Let's call this stationary mock up. Okay? Save it. Now, here's the trick. You can do this one way or the other. I'm gonna show you guys how to do this now, because I think it's important. Where do you go to file Open and in your downloads for this lesson? I've included this paper. Smooth texture. Now, what is this? This is actually a scan off a piece of paper that I put on this scanner, right, That big, antiquated monster and I converted it into a black and white image. So this paper texture is what we're going to apply over to this. And I'm doing it in the embedded layer so that you could adjust it in real time. So let's pull out the layers. Let's go ahead. Goto file place and let's place this paper smooth texture inside. All right, now, let's go ahead and old shift. Get it right now. You see this corner is a little bit dark. We can adjust that, or you could just stretch the texture until it's a non issue anymore. You can stretch textures to a little bit. You can't stretch him really far, but you can't stretch him. All right, let's go ahead and change this texture. Let's go ahead and go with an overlay. Maybe we go with a multiply. Yeah, kind of like the multiply And let's go ahead now and turn this ever so slightly down. Look at that leg butter. Now, if you want to do, you could even come down a little further, totally up to you, whatever you want to do. But let's check it. Turn it off, Turn it on, Turn it off. Turn it on. That gives your your digital image a little bit more believability than it would normally have. So let's go ahead and do this. We're gonna come into here and we're gonna say paper smooth, adjust mode and texture and opacity. Sorry. And we're gonna say texture layer. All right. I got the rectangle down there, the lead when new images placed and this is just our image, so we're not gonna put anything next to this. So we're gonna go in here. We're gonna make this yellow, because that's an adjustment layer, and we're gonna go ahead and file save as. And this is the stationary mock up. Yep. All right, cool. Let's do one more real quick. You've seen this show. Now we're gonna do the business card. Okay, so we're gonna come in, close out the paper, close out this start new. Let's go to file new. Now we're 244 d p I. And the ratio for a U. S based business card is three by 2.5. So if I know that maybe in terms of height, I want let's do Ah, 400 pixels, let's say in height. And if I do some simple math, 3.5 divided by two is 1.75 What is 1.75 of 400? That is going to be 700. Hey, look, it works. Create. All right, there's our business card. Now we're going to do the same blue annoying rectangle, and we're gonna make that bright blue just like that. Perfect. Now what we're gonna do is file place in your downloads. I've included a business card front and we'll go like that. That looks pretty good. And now we're gonna go ahead. We're gonna drop that paper texture, place, paper, smooth texture. Right there. Okay, stretch it a little bit to get rid of some of that dark. All right? Now what do we do? Before we did kind of a multiply and then we dropped it down quite a bit. Now you can change the blend modes up. You can see what works best with your design. There are times where I'll use an overlay instead. Totally upto whatever it is you want to dio, I'm gonna go back to a multiply. Okay, let's make this a yellow. A texture. I just capacity and mode. Perfect rectangle. Let's move that up in between Delete when the image is placed. Okay, Perfect. Now let's go to file. Save as and we call this business card embedded layer. Okay, well, let's call it business card. Mock up and save. All right. Perfect. Let's go ahead and close that out there. So, in this lesson, I showed you how to use a paper texture for your stationery and your business card. I show you how to use the ratios in addition to thinking a little bit ahead about what the big size of your mock up is going to be in the next lesson to kind of get the right ratio at the right dp I so that we don't either pixel eight or make it awful right or spend a lot of time shrinking and re sizing. So I think that we're pretty good on this one. Let's go ahead and call this one. And in the next lesson, we're gonna put together this mock up. All right, we'll see the next one. 54. TECH LAY FLAT -Composing the mock up and adding background : All right, folks, welcome back to affinity photos. So in this lesson, we're gonna go, and we're gonna put this mock up into practice. So let's go ahead and do one more thing real quick. We're just gonna come in and we're going to create a new file, and I'm gonna keep it in 144 d p I. And it's going to be 1500. Let's say by 1000 and go ahead and hit. Create. All right, this is going to be our mock up. Now, what I'm gonna do, come over here and we're gonna put in one more thing here. We're gonna go ahead and we're gonna take this. We're gonna fill it blue and a knowing Blue. And now what do you think is gonna happen next? We're gonna go ahead. I'm gonna place an image in, and I've included this image in your downloads. This is a place that I shot there in downtown Chicago, so I kind of liked the wall there. So I went ahead and put in the wall, and now we're gonna go file, save as, and we're gonna go ahead and call this vac ground all right. Perfect save. Now, Why did we do that? Well, now, when we come over here, we go file new, keep the 1500 by 1000 create. And now we're just gonna composite in all of the different elements. This is what we've been working on. So we're Goto file place, and the first thing that I'm going to do, I'm going to start with the background image layer. And because we made it exactly the right size boom. There it is. I'm gonna go ahead and I'm gonna call this background image. It's already labeled. Why? Because we did good naming habits. Now let's place in our iPad mock up. All right? Completed, iPad. Mock up. Boom. Just like that. Now, let's go ahead. File place. Let's find that wacky business card. Mock up right here. Boom place. And let's find that wacky stationary mock up. All right, where did our stationary mock up? Go right here. Boom. Let's do this. Let's practice some layering come down here. And we made these all pretty similar in size so that we didn't have anything that was really weird. All right. And now let's do a front back Copy paste front and back. Now, think about this being 8.5. Think about this being 3.5. So should this probably be Oh, I don't know. Roughly a little under half of that in order to be an effective size. Sure. Let's go ahead and make this one the same. I'm holding control to scale from the middle, by the way. All right. Now, if you don't like the background, come to the background image. Double click. Hey, look, changed. Whatever you want. File place putting something else, right? Maybe you like this. This is where you want to find a background that matches your brand. And once you do that, there you go. So find something that really speaks to you now. The iPad should technically be a little bit bigger then this 8.5 by 11. Right? It should be roughly the same size. Because what was the dimensions on that finished? IPad. There's about 11.4, right? So the name of the game here now is display these images in a way that's pleasing to your client and matches your brand. Now you see where this has a front to back Let's double click this and let's go ahead and delete that image and go file place, and I'm gonna do the back of the card. Cool. Now, if I did that What? You change here? Oh, that's interesting. Now, why did that just happen? Well, cause we duplicated it. Let's go ahead and remove this. Let's go. File place now. Business card, mock up. And now grab the front. This was an important one. You see what? I duplicated it when I changed. One had changed in both. You want to make sure that you are not duplicating it, and you're running it back through and pulling a new instance. So let's call this business card front, because now all those mock up layers are done. Right? Call this business card back. Okay? Stationary and oops. Don't double click it. IPad. All right, now these are all going to be blue, right? We have four different embedded layers in here that we built from the ground up, so that looks pretty darn good. We now have a pretty good view of what we're doing. And the nice thing is, now watch this. When I said we were doing layers on layers on layers. DoubleClick, the iPad. You can change any of the iPad and double click here. Look at that. Now, let's change this. I'm not gonna keep this change, but I want to show you. Now watch. It's going blue. Close it out in the iPad. Closed the iPad out in here and boom. There it goes, folks. We now have multiple layers of nested documents. This thing is huge now attached to each one of these. This is important. You're going to want to now create a pixel lair, and it doesn't go inside. It goes underneath, so we're gonna call this shadow. Okay? Now there's two ways you can do this. We dealt with this before. I like to draw hand drawn shadows. But if you don't want to, you can come in, grab a square that is roughly the same size. Fill it black. All right, So now why is that on top here? I'm just bringing it on top so I can show you. I'm gonna move it underneath the sketchy here in a second. And on the filters you're gonna want to blur. And you're gonna go Schindler Gaussian Blur. Rig, Ocean Blue. Whatever you wanna call it? Okay. And then what? You're gonna dio you're gonna drag it down and position it the way that you see fit. Okay, Now, this is one approach. Don't forget to change the blend. Modes multiply. All right. Now, the reason that some people do it this way let's go ahead and delete that. Just call this shadow. Watch what happens. Because now you have a consistent shadow duplicate. Bring it down below. Here, bring it there. Duplicate. What do you think we're gonna do with this one? Bring it down here. And then we just have to stretch it a little bit. Let's come back here. Copy. Mile duplicate and the dragon down below the iPad. Now, when it comes down to the iPad, I'm gonna go ahead. I'm gonna crank that up just a little bit. All right? Now, the last thing that I would probably do Are these shadows necessarily hand drawn now cause they're pixel? Yep. Can you adjust them? Yep. So how do we denote a hand drawn item? I make it green and you see the one in the iPad I'm not too happy with. I'm gonna come in. I'm gonna change my color up to black When you come to this shadow there now I'm gonna turn my hardness downright my flows down to five And I'm gonna go ahead And I'm going to just go ahead and place a little bit more shadow underneath it now to show you this So we don't take all day I'm gonna move my flow up It's intentionally going to be a little more than it should be. Same thing here. Okay, let's go ahead and treat that down a little. Multiply. There we go. Same thing with the under shadow here. Okay, that looks pretty good. And I probably will do the same thing with this shadow. I just can't leave well enough alone. I like to draw my shadows out now. Notice there. Not long shadows. I don't have a lot of background light there. All right. Good deal. Let's go ahead and stop this one here. We're just gonna do a brief one to finish up with some universal lighting and practice a little bit better layer naming in the lex one, and we'll call this a day 55. TECH LAY FLAT-Lighting and finishing : All right, folks, welcome back to affinity photos. So this one's gonna be a pretty short one here. This one right here. We're just gonna go through and we're gonna add some universal adjustments. I like to add a live filter layer to mine, and I always like to add a lighting layer. And my traditional go to when it comes to mock ups is point light. So I think the point light does a really nice job, and you see how it creates some hot spots. If you wanted it to look super realistic, you could easily create some hot spots and see how it's playing off that iPad image that's actually super cool. All right, let's go ahead. Let's read doctors. I don't know how it came on, Dr. All right, let's go ahead and turn down the speculator a little bit. Let's go ahead and crank up the amount of ambient light, Let's say and let's go ahead and kind of turned down the distance. I'm gonna move it off there because I don't want it to impact that, and I'm gonna move it over here to the side, and the reason is notice where our shadows are here, here and here. So you're going to do that? You can't really have a light on that side. You're lighting is gonna matter. Somebody go ahead and turn the speculum down on it. Just a little bit totally up to you. But it's there. And because it is an adjustment, let's go ahead and come back over here. We're going to make this a grey. We call this universal lighting. No. If you so choose, you could put in a church s l adjustment on each one of these and adjust the saturation as an example. Let me show you what you could do Totally up to you. If you decide you want to make this near mock up, go to the stationary, go to the HSE l attached the hse l to the stationary layer. And now watch what happens if you wanted to turn down the brightness on it. Totally up to you. If that's something that actually moves you, I'm gonna go ahead and I'm going to do that. I'm gonna say double click to adjust the h s. L. And because it is an adjustment, I'm gonna double click, right, click and make yellow Now watch this. A copy now because I want to do it everywhere. Paste. Bring it into here. Now notice now it's on the business card back paste. Now it's on to the business card front. It was already on the stationary layer and the iPad paste. So do it once. Copy, pasted. Now, every part of this is modifiable. You decide. You want to change that up? Go ahead. Right. You see how this sketchy prints card is now moving? Okay, Now the thing we got to do, though, we do have to turn over the adjustment color because I do want it to show that it is adjustable. But I don't want it to be blue. All right. Perfect. So, looking through here, there's nothing that we're masking in terms of that. I think that we're in pretty good shape. I think that we're actually in really good shape on a lot of this stuff. Let's go ahead and take a look at that. I think that overall, I'm pretty happy with that. Let's go ahead and double click on the lighting layer. Okay? All right, folks, I think we have a completed mock up. Everything is good everything is labeled. I'm happy with everything that we've got here. Let's go ahead and call this one. We're gonna go ahead and say file, save as let's call this the finished mock up. All right. Save that there. All right, now, I'm gonna go ahead. I'm gonna snag my picture here for the course Export J Peg Export, call this finished image. All right, save. And now here's one of the things we need to do. Now. I'm gonna come into this one. I'm gonna double click. I'm gonna remove my image. Turn that back on. Okay. Close. Come over here. I'm gonna remove my image. That's gonna close that I'm gonna find my business card front. I'm gonna remove my image. Turn back that I'm gonna come over to my sketchy prints, Gonna come over here going to remove my image, turn on that blue. And now here's one of the things where I may break my own rule when I have now go to the background image and I kill this out Notice how That's blue on blue on blue on blue If you so wanted you could change this to a green I'm gonna leave it blue. But I do see on my business card, I see a little bit that I need to fix here onto that shadow there. Air Riggio. All right, Just a little thing. Let's go file. Save as saves the finish mock up. That, ladies and gentleman is the finish. Mock up for the stationary lay flat. You now have a fully customizable mock up in affinity photo. All right, we'll see in the next one. 56. ISOMETRIC BOX-Creating the grid and setting up the box: All right, folks. Welcome back to affinity photos. So we're gonna show you how to make an isometric box from nothing in this section of the block, Of course, And let me start with a disclaimer. Affinity Photo is not a strong as Photoshopped at doing perspective and isometric. It can be done. I'm going to show you how and also affinity designer, even as better tools like affinity designer has a slap to plane, so to speak function which will allow you to take an image and apply to an isometric plane without having to do all this. But this is an affinity photo course, Something to show you how to make this happen. It's going to seem a little low tech, but you'll understand why here in a little bit. Let's start with new. I'm gonna make it 1500 by 1500 dp i of 300 square image. Now you see all the red. This is what is called a grid. Now, to get two grids, you go to view and you show grid or you don't. Now, the grid that I've got right now is a common square. I want an advanced grid, so I come down to the grid and access manager, and I'm gonna go to advanced gonna come down here and I'm gonna grab isometric Now, the spacing I'm good with it. Divisions of one. You can change this here if you want. For this low tech one. I don't need to do any of that of the crazy stuff. And if you hate the red, I use it so you can see what's going on. But if you hate the red, you can always change the color here. All right, let's close. So now this is what is called an isometric grid, and the first thing you want to do is you want to create some rectangles. Now, notice that as I move around this grid, I get these little yellow lines. I get these little red lines, I get these little green dots. That's because my snapping is on and with snapping, come down to the drop down and make sure snap to grid is selected. That's gonna make life so much easier now. And the first thing that I'm gonna do is I'm gonna come down. I'm holding my left mouse button and I'm making sure that I'm now creating a rectangle. But I'm also aligning it up on the grid, so I think that that's going to be pretty darn good. Now, let's go ahead and move that kind of up a little bit right about here. All right, close enough. All right, Now, let's make it a Phil. Let's go ahead and fill it blue. We're not gonna be doing embedded layers this time because you want this thing to wrap. So that's a change from other lessons. Now, let's come over here. And now you see where I've got this thing corner pinned right here. I want to create a spine. So I'm gonna come down here, and I'm gonna make sure that I'm in the corners of the isometric grid. I'm gonna make you green. That's how thick this box is gonna be. If you want a thicker box, just make sure that when you do this, you hit the corners of your isometric grid. Doesn't matter how thick you want to make it. All right. Your corners should be aligned to isil corners. And the last one here, we're gonna come down here and we're going to make this All right. Now let's go ahead and make this one bright red. Okay, these air really annoying colors by design. All right, The last thing that I want to do here, this is gonna be a pretty short one. I've got an image that I've put in here. Let's go ahead and place. And the reason I chose this image, you want an image that is big enough to wrap around your entire box? I'm gonna drop the opacity on this so you can see it. And the first thing I want to do is I want to put it front and center on the front face. So whatever it is you want the viewer to see, make sure it's on the front face. Now, the reason I chose this image has got some really cool geometry. And it's got this flame, so it's really going to show up nice when wrapped around. Now, you want to make sure that this image is a little bit bigger than your box and you might have to distort it a little bit, right? I'm gonna go ahead and just kind of put it right about here. I think that that's gonna be pretty cool. Yep. All right, and once you're good. You can tuck that in if you wanted to. Well, I didn't tuck that in just a little bit. Let's go ahead and bring that up. All right, Now, let's go ahead and duplicate this three times. One to three. All right, take this one dragon below everything. Turn it off and lock it. That is your literal insurance policy. Now we're gonna take this rectangle. We're gonna come upto layer, and you're gonna convert to curves. Take the green one. Come upto layer, convert to a curve, go to rectangle lair, convert to a curve. And why did we do this? Because you cannot apply alive filters to say a shape. You can apply a life filter to a layer. So when we do a perspective work, you're going to want to make sure that you have curves, not shapes. All right, now, with these three, nest them into each one of the curves. Now, this next part is important. Once this is set, you don't want to move those images because now let's say you take this image and you move it over here. The entire perspective is going to be thrown off. So this first part, you should know that you have three curves that began a shapes. You should know that you need to corner, pin them to areas of the isometric grid, and you need to have this sort of nesting in the next lesson. We're gonna apply the perspective, live adjustments to each one of these to create the isometric effect. Alright, folks, let's go ahead and call it here and we'll see the next one. 57. ISOMETRIC BOX-Adding perspective and shadow: All right, folks, welcome back to Infinity. So in the last lesson, we set this thing up for success. Now we're going to apply our first curve adjustment to this image. So I'm gonna come over to the spine curve here. You see how the bounding boxes on the curve we're gonna go ahead, We're gonna add layer Life, filter, layer distort, and we're gonna make it a perspective distortion. Now, if I apply this to everything, it's going to shift it all. So what I have to do, right? Click and group. Okay. Now, when I click on the perspective, it's on Lee going to affect that spine. Now, here's the trick. We're gonna go up one diamond up, one diamond, and if I did it on the top, what do I have to do to the base? Up One diamond. This is where affinity photo struggles a little bit. While you can snap to the grid with shapes and curves. When you apply the perspective distortion, it doesn't recognize it. Right? So it's a little bit awkward, so you have to get as close as you can. It won't really show up in terms of you won't really notice if you do a good job, but you'll notice when I get ready to kind of join this curve with this curve, I'm gonna go ahead and I'm going to make sure that I've got a really zoomed in view. All right, let's call this the spine curves. That way we know which one is which. All right, And on this curve, we're gonna go layer live, filter, layer, distort perspective. And now we're going to group these two together, and we're gonna group. And let's call it top curve. All right, so we got the top curve. Let's go ahead and grab that perspective. And now we want to go over one diamond. Okay? Now, if we went over one diamond here, what do we have to do on this side? Go over one diamond. Okay, Let's see how that looks. That looks pretty darn good there. Let's go ahead and check it out. Who? That worked out pretty well. Okay, Now, this one here, if we did this right, You see how the geometry should come together here should come together here, and this fire should kind of turn the corner with a little bit of distortion. I'm actually quite pleased with that. I think that we've got a good box here. Started Now, the next step, we're gonna go ahead, we're gonna add some shadow to it. So let's start with the top curve. We're gonna add a pixel air inside of the top curve. We can bring it up above the perspective. That's fine. And we call this shadow. All right? Now you can hand draw this shadow in. I'm personally not going, Teoh, I'm gonna come in with my Grady into Oh, and now there's a method to this madness. Watch this. Don't start yet. I can bring the Grady int this way. But you see how it's not tied into the curve. I can Then bring this into the curve this way. Okay, so the white Now, why is the white over here? But yet it's showing up over here because everything is being affected by the perspective. Tool. Okay, you see, the perspective warp is not Onley influencing the picture. It's influencing my greedy int. It's influencing everything. So if I wanted to make that right, the way that I need to do it is I just need to go top to bottom. Now that seems like it's not following the direction. But once that perspective layer has its way with it, it is. Now, let's flip it over. So flip the Grady in, and you see, Now I get that really nice dark. Let's go ahead and drop that down a little bit. There. That looks pretty good. Now, how do you change it into boom? Just like that? So And if you wanted to, you could adjust it down until you feel that you've got it where you want it. The important thing is you're not trying to compensate for the perspective when you do this , and you want to make sure the shadow there is inside of the curve, because then the perspective layer will take it over. Okay, That looks pretty darn good. Now, let's do this side. So I come down to my spine curves I'm gonna add in a shadow there. What just happened there? Oh, it nested the pixel air inside. All right, we're gonna go down into the spying curve there. There we go. Let's stay out of the top curve. Why don't we lock that bad boy down? All right, so I mean, the spying curve. Now I have my pixel air inside the spine curve. I call that shadow. Okay, Now, what should I probably do with the shadow? If I wanted to come from left to right, I grabbed my tool there. And am I trying to then follow this? No. You see how it gets all wonky? But if I just go straight across, it will take care of itself. I flip it, I'm gonna go ahead and I'm gonna tweak this up a little bit. So I come over here. That looks pretty good there. And then what I'm going to do is on going to change the blend mode. Okay, That gives us a pretty good shot on the isometric box. Now, the last thing that I want to dio let's go ahead and just wrap this up in a nice little bow . Greep going to call this isil box. Okay, now, what makes this a mock up? Well, if you went and you changed it to any image, would the perspective still be inside the curve? Yep. And then we would change just this photo because the shadow would still be the same. So when we do this. I'm gonna show you how to make this work when we get into the next lesson. But right now, I just want to kind of frame out some sort of a background. Now, this is gonna be a rough background right now. Okay? I bring this down below everything. Yep, that looks pretty good. And let's go ahead, and we've got some forward light. So let's go ahead and do just a riel. Easy. Oops. Make sure on the layer that helps. Okay, Something may be in the in the gray area, and now let's move the box a little bit around. All right? That looks pretty good. All right. And then let's go ahead and create a background rectangle. Okay? The background rectangle. I'm gonna make a lot lighter, and I'm gonna move it down below the dark gray rectangle just like that. All right, So I think we got enough on this one. What we did in this one we went through and added in the shadows, we added in the perspective layer, we isolated the box, so we call that I so boxes a group and we put into the basis for our shadows into the next lesson. So let's go ahead, get into the next one, and then we'll show you how to make this side modifiable and prep it. All right, we'll see the next one. 58. ISOMETRIC BOX-Adding atmospheric adjustment: All right, folks. Welcome back to affinity photo. Now, you remember when I said the perspective doesn't always map 100% to the grid. Doesn't lock exactly like it should. This is one of those examples. There you see it a little green line. If we zoom in, we've got a little bit of a mismatch. Now, this is easily fixed. And I'll tell you the easiest way to do it. Because quite frankly, when you print, nobody's ever going to see it go to the spine curve because that was the green one. Go to the curve in the color and you see how it was green. Just go ahead and make it black. Very simple. There we go, because that actual hard edge is supposed to be there. It actually looks good, but I didn't want a bright green. But the reason I use those really obscure and I should say, really bold colors is because I want to be able to see that. So I know where I'm gapped. All right, let's go view. Let's go ahead and go Studio. Actually, let's just turn off the grid. And so this is what we've got toe work with. Now, there's a couple different things you can do here. I'm going to choose toe, hand, draw into the shadows. All right, so let's now I'm gonna show you a trick. We're gonna come up to rectangle, and we're gonna create a rectangle. Okay, Put up anti sort of rectangle. Now, I want you to come to the transform panel. If you don't have it, view studio transform. And I want you to skew this to 60 degrees. Why is 60 the magic number? Because in a nice oh, metric, it's based on 120 degree. So you're going to be left with a 60 degree skew. Let's go ahead now and click this in. And now here's the trick. Bring it to the back. And now you can adjust it however you want, right? And remember that crazier. The amount of light, the deeper the shadow right as we get longer and longer light. So I'm gonna go ahead. I'm just gonna place this right about where I want it. That actually looks pretty darn good. Now let's say that you're going to do a really bright overhead light. You can skew this thing all the way to here if you want to. I'm gonna leave that up to you. Now what I'm gonna choose to do, I'm gonna come up and I'm going to put on a Grady int onto this rectangle. And now I'm gonna go ahead and follow my perspective. I'm gonna go ahead and I'm going to flip it across just like that. And now I'm gonna come in with Filter, and I'm gonna blur it just ever so slightly. Okay? Okay. Now, before we do that right, let's go ahead. Now come up to here. That looks pretty good. Let's go ahead and add to this. Let's add a blur. Gulshan Live filter layer. All right. Now, why is that affecting everything? Bring it onto the pixel. Something may be right about there. Okay, that looks pretty good. Now, if you wanted to, this isn't if you want to thing, you could take the idea that we're going to kind of move this down in front of the rectangle. This could bleed up into something more and you could go through. And now let's go ahead and turn this down. Change the blend mode over to multiply and let's throw filter on it blur? Yeah, Yeah. Here we dio All right, let's throw that down. I'm gonna go ahead and I'm gonna turn this pixel air. I'm gonna go and destroy it. I'm gonna go ahead and blur it. I know we put a livelier on it. I'm just gonna go ahead and kill that. There we go. Groups. Let's go and apply that. Uh, all right, there we go. So now we've got a good pixelated. Let's go ahead and do this. Up, up. Let's go and combine these Brassed arise. Now what do we just create here? Oh, right. Click group. There we go. Rast arise now We just created a shadow there. Okay, Now let's throw in a little bit of texture on the wall here. So let's go ahead and file place and let's see, I gave you a texture in section night. I gave you that texture, so let's go ahead right above the rectangle there. Let's go ahead and change that over to multiply here. We g o that's looking pretty good now thing that I don't like here, I'm gonna come up to here. I'm gonna grab my brush and I'm gonna use a pretty solid brush. All right, let's go ahead and get in a little closer. Perfect. Bring that guy and just a little bit more perfect. All right, so let's add now, layer lighting. Now, this is where I might actually use that bright spotlight. All right? Now we got a pretty long shadow on this thing. So what I'm going to do, I'm gonna zoom out. I want to put my lighting in a consistent area. Okay, that's pretty darn good. Let's go ahead and zoom back in. All right? That looks actually really good. So I think for this one, the last thing we're gonna do in the next lesson is I'm gonna show you how to take this thing into the fully modifiable stage. Alright, folks, let's go ahead and call it on. This one will see in the next one 59. ISOMETRIC BOX-Making it a mock up : All right, folks. Welcome back to affinity photos. So we've now completed pretty much of this mock up. Now I'm gonna show you how to actually make it mock up. I had to go through this process on the isil box to show you guys what's up So that you knew how the thing was constructed Because it was a very specific section in terms of how you do the perspective, how you create it. Now I'm gonna show you how to make it a mock up. All right, so let's start first and foremost, we know this is a 1500 by 1500 space, so let's go ahead and let's just do this. I'm gonna grab a rectangle, and I'm going to drag a rectangle down just to where we meet. Now, notice this is 15 by 1000. Give or take. Right. So what I'm gonna do, I'm gonna go up and I'm going to go to file new 1500 wide by 1000 large and create. Now, I'm going to come up here, and I'm gonna make that annoying blue rectangle that I always do, and I'm gonna go ahead And just for an example, I'm gonna place in that same texture that we always use course under construction. And I gave that to you as part of the section downloads for I think section nine. Yep. Okay, So you news Any image. Think about this being the background you want. I'm gonna bring it down here. So this should be an annoying blue. Let's go to file, save as and call this embedded image. Four background. Okay, so we're good there. Save. Perfect. Now let's go back to our mock up and let's choose this time this floor. So this should probably be about 1500 by 500. Right? So let's go ahead and bring in file. Let's go ahead and create a new 1500 by 500. Okay, Now you see what I'm doing. I'm creating the modifiable for the floor. So if you ever wanted to change the floor, you absolutely could, and I'm going to go in. I'm gonna put that right on out here. I'll actually show you how to do it. Vile save as Let's go embedded. Four floor. All right, let me show you something that you may not know. Okay, let's scroll out. We did this before. I'm gonna go to file place and what I'm gonna do, I'm going to include a picture of my floor. So we're just gonna grab this image and we're gonna go ahead and place this image here, stretch it rotated so that the boards run similar. And now the reason that I zoomed out with this image selected, I'm going to now do a perspective warp. So I'm gonna bring this way out here, okay? This is gonna be crazy. Okay, That is so totally nuts. Okay, Looks pretty good there. Now, let's go ahead and add in a little bit of brightness. I'm going to drop down the brightness a little bit, and then I'm gonna mask it. Watch this. I want a dark. So I wanted fully revealed there. And as it approaches me here, I don't want that brightness to be there any longer. So now I've got a good type of look to this. Now, let's go file save as what's called this embedded for floor. Hey, look, we already did that, all right? Yep. We'll replace All right now. Let's come back in warm. Aka what do you think I'm going to do now file place. Let's start with the background embedded Image four. Background boom on. I drag it until we're just about right about here. Give or take. All right, that looks pretty good. Was drag it up above the rectangle. Get rid of the rectangle. Now let's also get rid of the image. Why not? Now instead of this rectangle, let's go file place embedded. Image for floor. Look at that. Almost like it was supposed to be there. Now we do it this way. I may have to adjust. All right, Make sure. Then we're a multiply cool Look, my shadows still hold. All right. Now, let's go into the embedded image for the background. Just click that off. What should happen? That's pretty awesome. All right, that's good. That's good. That's good. Now let's drive this home. This is where the magic happens. All right, I'm gonna get a test square. I'm going to want this image to consume the box. And I'm pretty much 1500 by 1000 pixels. You see down in this Lower right, it's 14 63. Let's go. 15 by 1000. Okay, file new 15 by Let's go 1100. We'll go Easy. Create. Now, what do you think we're doing? We're creating one image that we will duplicate around the three faces so that it wraps once I'm gonna show you this. It sounds like magic. It will work now to prove it. I'm gonna go file place, and in your downloads, we're going to use the same image, and then eventually, I'm gonna get to the point where we're using a different image. Okay? Now we do the same thing we did before, right? I'm just gonna go ahead and stretch this guy until I think he's pretty much where I want him. So something similar to what we did here right now. Let's go here. I'm gonna do the magic reveal file save as embedded image for box design. All right, Save close. That close that close that close that. All right, now, here's where the magic happens, and this is important in the curves where it says curve below the shadow. I want you to file place embedded image for box design. And I want you to start up here and I want you to place it right about here. Okay? Now, once that's done, take this image and delete it. Okay, now realize what I did. Curve, shadow embedded image. Come down to the spine. Drop into the curve. You see your photo? Here's what I want you to do, right. Click on the embedded image that you use. This is magic now duplicate. Bring it in and then delete the photo. You must must Must duplicate. You cannot place again. Curve right. Click duplicate. Bring it down into this curve and delete this photo. You are left with a magic cube. Now, if this cube is magic, let's take a look at the embedded design. Now, without the reveal. If I did my job right, if I go back to the mock up should this thing have morphed just like that, just like magic. Now, you don't have to put in a separate image every single time one to rule them all. And I can prove it because you duplicated it. Watch this. Let's go Embedded image for the top curve, right? So totally different curve. I'm just gonna grab any image. I didn't include another image for you because, quite frankly, you can use your own pictures. Let's grab just raw images. Let's grab one that would not be anywhere. Let's grab something animal. E. There we go. Lion Lion! All right, We're to grab a lion. Gonna plug the lion into here. We're gonna make some subtle adjustments on the line to make sure that he's kind of the king of the jungle. There. Let's go ahead and a range and flip this bad boy too. All right, There we go. Here we go. King of the Jungle right there. Now, without doing the reveal, what do you think should probably happen to the box? Boom. Just like that. Notice that which ever curve we use it doesn't matter because they are duplicated. It duplicates the embedded nature of the image. All right, folks, this was Ah lot. Let's go ahead now and just prove this out with this last embedded image. I'm gonna take out the lion. I'm gonna leave this guy in and there we go. We are back in business. That was a lot. So I took a very simple thing. I showed you how to make the box. I showed you how to make a modifiable shadow. There. I showed you how to embed the image. Last thing I want to do. We're going to come down here and we're going to blue for that image. Let's go blue for this image because that's an embedded delete. The rectangle don't need that anymore. Then we're going to come down here. This shadow there is a hand drawn asset. And so, for my hand drawn assets, I use green. This is a box is a modifiable piece, so let's go ahead and make this red. And within the isil box, the top curve is adjustable. The perspective that's going to be a yellow the shadow layer is going to be a mask or a hand drawn. So let's go ahead and go with green. And this one needs to be blue. Same thing with the spine yellow, green, blue and one more here. This one is Balu. All right, let's go ahead and call it on this one. In the next lessons, we're gonna show you how to do some more with this. This was one of most advanced ones yet. All right, we'll see in the next one 60. RECORD JACKET-Setting up the record and compositing: All right, gang, welcome to this lesson. Now, this is one of my favorite lessons. This lesson we're gonna go through and I'm going to show you how to do this. Really cool record mock up and it's got some really incredible light. And while it is a mock up, I'm gonna go through the last couple lessons and I'm gonna bang out a composite, So we're gonna put some sparks to its enlightening. This thing is gonna be really cool. So if you're headed for the mock up, you could stop after the third lesson. If you want to go all the way to the composite, we're gonna continue on for a few more. So this one I'm excited about. As you can tell, let's go ahead and get started. We got a file new. I'm gonna make a 1500 wide by 1000 pixel tall workspace. Okay, now, the first thing that we're going to do here, we're gonna composite to the record. You're gonna goto file place, and the first thing that you're gonna do is you're gonna bring in this isolated record. Okay, Now, I chose this record for the gold, so I'm gonna swoop it over to the side, bringing about 90 degrees. And the thing that I want to do is I want to highlight some of the grooves right here. Right? So the first thing I want to do now I want a place. And I've got this record highlight thing that's isolated. Okay, now this is Composition 101 Right. Let's grab this record. Highlight. Let's go ahead and make it kind of match. How the record grooves would go bring it out until it looks kind of cool. And now we're just gonna go ahead and change the blend mode up there we go. Just like that. Change it to lighten. And now you get those nice light tones in there now to help the record along its way, we're gonna come over to the Dodge brush, and we're gonna lighten just a little bit. I've got my flow at about 25% and I'm going to increase the highlight on the already existing swirls. So we're gonna do these on both. That's kind of cool. All right, that's looking good. If you don't like it and it's not looking good, you can always bring those down a little bit to your liking. All right, let's go in. Combine these. I'm gonna right click or I should say left Click on the record Highlight. Right click. And now let's group it and rest. Arise it, Boom! Just like that. We got a record. All right. Now, let's make a record of jacket. We're gonna grab a rectangle we're going to then create a rectangle. We're gonna hold shift so that it's roughly the size of the record. And the reason we hold shift is because then it as a perfect square. And if you wonder about the size of the record, come down and turned down the opacity, that's pretty darn close. I'm happy with that. All right? Now let's go ahead and move it over a little, All right? Just about right there. Looks pretty good. I'm actually gonna move it a little further. I don't want the whole showing, but I do want that gold. That gold is gonna play a role later. All right? This is a rectangle. It's a shape. We need to convert it to a curve. So we come order layer, we then come over and we're going to convert it to a curve. Now it's a curve. Now, inside the curve, Here's what I want you to do. We're going to put in a pixel air We're gonna nested inside the curve and we're gonna turn it a god awful red. Right. So let's grab our food. Flood fill. Come over to the color. Make it red. Boom! Red jacket. Now that's ugly, right? What we're gonna do now, we're gonna make it modifiable click on it. And now let's do an HS l adjustment. And what I want you to do is I want you to tie it to the pixel air. Now, you can change that thing to any color of the rainbow. Any level of saturation, any level of brightness or darkness. Right? So this is what makes it modifiable. In reality, we're setting the base color for the pixel. Now we need some jacket art. So what, we're going to dio we're going to come over. I'm gonna click on the little curve here. We're gonna go to the transform panel, and I see that it's about 451 pixels. So what? I'm gonna do it really well to file new and I'm gonna create one that's probably let's go 500 by 500 just a little bigger than the 4 50 but not so large that you get picks elation, and this is gonna be an embedded layer. So let's drag out a rectangle. Let's make it an awful color of blue. And because it's roadway records, let's go ahead and go file place and I've included the logo in here. All right, so I'm gonna put the roadway Records logo in. We're gonna bring it over just like that. And now here's what's gonna happen. We're gonna go file, save as call it the embedded record jacket. Yes, we want to replace that. I had one in there from earlier. You could tell this is not the first time I've done this. And now we want to go to file place, and we want to put the roadway records embedded layer on top of this. And then I want to go inside, OK, but I want to go above the pixel air. Now let's turn this off for a second. I'm coming back to this. You see, this image is pretty flat. What I want to do is I want to create another pixel air. I want to put it just above the base color. I want you to come over with the Grady in tool, and I want you to flip it. So now you've got the darker part. Come over to the grey, clicking the gray and darken it up just a little bit. Just like that. All right, Now let's change the blend mode. Multiply air. We go. All right, Now that's gonna look better. Let's come back now to our embedded layer. Bring it up. And you see this blue. You're not being able to see the jacket belief and the pixel layer that you did. Check this out. Double click, turn off the rectangle and let's see what we now get. Now you have a jacket that has a little bit of a shadow. It has a little bit of that. Roadway records feel to it. However, it's not a great color for this. So let's go ahead and see if we can't make this color a little bit better. Okay? I'm gonna go ahead and dark in this down a little bit. I really like the gold against that color. So I think that this is a good start. Have you wanted to move this around? You certainly could. And if you wanted to put something else in there, you certainly could. I'm gonna go ahead. I'm gonna stop this. Here. We have a curve. We have our embedded layer. We have a pixel layer of shadow and we've got a modifiable base for this purple. In reality, I think we're pretty good. Let's go ahead and save this. I would highly recommend you say this as Step one and then in the next one will take the next step. All right. See the next one? 61. RECORD JACKET-Adding background : All right, folks, welcome back to the record. Now, in the last lesson, we kind of put this thing together. I'm gonna make an executive decision here. I don't think the album jacket down below the shadow, because whatever it is there that I want, um, Abed still is gonna have the shadow, and that's going to go through and change me over to multiply. And I'm just going to adjust the shadow down a little bit and then with the base area one thing that I want to do here with the curves. So make sure the curve is selected. I want to add, in effect, I want to add an inner glow. And I want to crank this up. You see how this kind of gives me a little bit of, ah, puffiness? A little bit of three dimension. So I'm gonna go ahead and crank the intensity down a little bit as well as the opacity, and this is just gonna give that sleeve a little bit more believability. All right, so I think that for right now on pretty good with that, that was something that I wanted to get done. Now, the next thing that I wanted you. I want to go ahead and I want to put in a modifiable peace. Now with the modifiable piece. I want to be able to work with the background. So I'm gonna come down here, and this is a What size is this? I know I could probably go to document properties, but I'm just gonna do it this way is a 15 by 1100. So what I'm gonna do, I'm going to come over here. I'm gonna go to file new 1500 wide by, let's say 1200 tall, created out. And what color you think I'm going to use now? We should know by now, after spending like 10 hours together, we're gonna go ahead and do the blue. This is a modifiable piece for the mock up, because you can now put in which ever type of background You want file, save as let's go ahead and call this embedded background there and again. We're just laying out what we're doing, right? All right. Better background layer. Close that. That embedded layer closed that goto file place. Come over to the downloads. Where'd I put it? Right there. You've got your own and bring that bad boy front and center. All right. Looks pretty good there. Let's go ahead and bring that under all. And let's go ahead and call this background embedded. We'll change. It. Here is we kind of flesh it out, But right now I'm pretty good. Now, I'm gonna come into this and the image that I want to use. I want to come over here and I'm gonna want to goto file place. I've included this one in your downloads. I really liked this image. I shot this in a bridge underneath the Chicago area on the way to Navy Pier. And I've always liked this one, so I kind of wanted to use it. I think that it matches roadway. If you hate it, you can use any image you want. Now the reason that I wanted to do this. Now let's go ahead and throw the perspective in the record is one group. The background is another group's on going to apply to different perspective adjustments. Let's go layer right. We're gonna then go into distortion and we're going to go to perspective. All right, now I'm gonna make this thing kind of cool. Kind of flying off. Whoa! What just happened there? Let's go ahead and attach it to the record, huh? All right. So what I'm gonna do now is I'm gonna come into here, gonna throw this toe where the record is coming out. All right, let's go ahead. And now make this thing a little bit bigger. That thing is cool. All right, Now I want to offset this with the background. So we're gonna apply another distortion. We're gonna come over the perspective. And now I want this guy to kind of be twirling in an opposite style direction, right? That's see. All right, that thing is pretty awesome. And you see how we just kind of shifted it up a little bit? I really like what we did with roadway records. The perspective that we have on this record versus the contrast in the background. Now, this is gonna be invented image. So if you don't like this one, you can certainly change it. Do whatever you want to do with it. I'm gonna go ahead and I'm gonna keep it. And what I'm gonna do now, I'm gonna put in some adjustments because with mock ups, there are some universal adjustments that regardless of what you're gonna dio, really, you need to figure out. So the first thing that I'm going to do, we're gonna come into layer, I'm going to come into life filter layer, and I'm gonna add a little bit of blur. Remember our atmospheric perspective. Things in the background tend to be a little less solid. So I'm gonna put about six pixels or 60.6. Where the Blur. I might even go to one. I might go a full pixel. Who? Yeah, let's do that. All right. Full pixel. It is on the background image. And then there's the saturation and the lightness brightness levels. So let's throw NHS l on it now when it comes to hs l. Let's go ahead and de saturate that just a little bit. Let's go ahead and make that a little bit darker. Uh, let's go ahead and de saturate just lightly, Okay? All right. Cool. All right. That's looking really good. Now if these things air in the background, let's go ahead and select all of those and go group and call it background. All right, now I want to add a lighting layer. Let's go layer life filter layer lighting. And I'm gonna start off with it in the background and I might pull it to the foreground. Let's go ahead and throw a point layer. And the thing that I want to do with this I want to highlight some of the background. I want to give it a little bit of a tinge. So this is gonna be the color. Let's go ahead and do something. If Roadway is kind of with that purple, let's go ahead and throw in something with kind of an orangish yellowish. I really like that. I think that we're in pretty good shape there. All right to All right, let's stick with that for right now. Now, when it comes to the foreground, let's go ahead and bring that inside of the background. Oh, went to the wrong spot on that one. Here we go. All right, Now we've got a modifiable my fighting layer. So now let's go ahead and throw a lighting layer inside up above lighting. And this one because I want it above all, let's go ahead and see where it put it. It buried it inside. I'm gonna want to come here. And I really want to make this a orangish color. And I want to push that quite a ways. No, it's at a second light. Make it a point light. And let's turn that down a little bit there. All right, that looks pretty good. Now, let's come back to that first light. Let's see, weaken due toa make it not so crazy. Let's do this on. And just getting that just the way that I wanted on that first light there. That thing is cool. All right, so we've got let's call this scene lighting, okay. And then with the record, we've got the perspective. That's kind of cool what I'm gonna do with this one, I'm gonna just go ahead and this is gonna seem really cheesy, but I really want to do it. So I'm just gonna do it. Let's drop the opacity on this glow a little, Bring up the intensity a little and let's crank up the radius a little bit and see what we get here. Yeah, there we go. 62. RECORD JACKET- Artistic lighting and finishing : And then what I'm gonna do here? We're gonna come back into here and I'm gonna go ahead and put a brightness and adjustment layer, right? It's a contrast. Drop that down across the board. Yep. I think that that backgrounds turning out just the way I want it, I think we really hit on what makes this thing tick. Something that's good. Now, this is gonna be one of these things that you can do or not do. Totally up to you. All right, So now what we're gonna do, we've got the scene lining. We got this. The last thing I'm gonna do in this video, I'm just gonna come in with my pen tool. I'm gonna go click, click, click, click, click. And then I'm gonna come in them and fill it with some kind of an orange. Now, when you do this part, you want to come in right click Rast arise. And once this layer has been rast arised come to filter Go to blur. Gotta go, Schindler, Go to 100 hit. Enter it, Apply. All right. Perfect. Now we're gonna do one more thing. Grabbing hs l adjustment layer, slide it onto the pixel. And now you're able to change the saturation in the light. You're able to change the intensity of the light, the darkness of the light. You're even able to change the color of the light. This is a nice way to add some customization and some value four year participants who are going to be using your mock up. So I'm gonna go ahead. I'm gonna make this just a little bit less orange there. No, I didn't kick this up a little. And then the last thing you want to do on this pixel air change the blend modes. I'm a big fan of screen. When it comes to this, I think that that's good. And the nice thing is, because this is pixel, you can move this anywhere you want. So this works for you. You want to move it and bring it a little bigger. You certainly can. This is the scene light, so I'm gonna go ahead and we'll do this later. But I'm gonna go ahead and make this great right now because again, any of my universal lights this is a totally modifiable one. So this is a hand drawn, so I'm gonna go ahead and make this green hand drawn element. And now we got the record, right? The perspective. Now it's crazy. That was the record without perspective. There's the record with perspective. And when we get into the curve adjustment, we've got pixels. We got album jackets, we've got this particular pixel. Now, this is it's going to turn that off. That's going to be the base color. So let's go ahead and call that base color. And the reason I want to go through that with you right now, this is the base color adjustment, okay? And now the thing that I want to show you here, this is the record. So let's go and call this record. All right? Now, this is kind of cool. In the spirit of making it modifiable, we're gonna put a hs l adjustment on the record. And now watch what happens. You remember this was gold. That's why we went with the gold light. Look at what happens now. As I shift this, I can adjust the saturation and such on this record, it's a kind of be whatever I wanted to be. So if I wanted to make it purple and make it moody. I could definitely do that. I'm gonna go ahead and controls said that back to normal. But I want to change this to B adjustment four record color because I want them to be able to adjust it now that let's go ahead and do that while we're here. That makes this piece a read because it's modifiable, right? The record collectively is a red and the one that they need to place in as the embedded base color is right here. Album jacket. That's the embedded one. So let's make this you'll Oh, what is this? Let's turn that off. Turn it back on shadow shadow there. All right, shadow there. That's an adjustment layer. All right, so all of these have been coded all of those. We know what those are. Let's go ahead and code these before we get too far. Lighting yellow brightness, yellow perspective. Yellow cause you could adjust it. Goshen, Blur. Yellow Age SL yellow Backer, unembedded blue. And the background is going to be read because it is modifiable. All right, so we got the record, the background, this we're gonna call this the spotlight. We've already made that modifiable. All right, so the last thing that I kind of want to do, I want to throw some texture onto the roadway records, so I think that it's good, but I think it's a little bit flat, so I'm coming down to the jacket, all right? And I'm gonna put it underneath the shadow layers, so I'm gonna go file place, and I'm gonna just grab this paper texture that we used in section nine, and I'm going to apply it over here. Okay, Now that looks like hot trash, right? There we go. All right. So let's take a look at what else we've got here. We've got the scene lighting this universal the record, which now is modifiable the background. That's modifiable. I think that overall, we're pretty much ready to go. Let's go ahead and check it. Go ahead and turn that off. That takes care of that. That means that that should go away. I'm going to come in with the jacket on, and that should go away. Okay. Leaving the base color available. Okay, That doesn't folks, I think that overall we're pretty good at this point. I'm gonna go ahead and call it on this one. We could keep going. But I think we've Davey ated enough from being a real true mock up to the point where I'm almost about to do a composite throw in some sparks and a whole bunch of other crazy stuff . All right, folks. Hope you learned a little bit about this in this bonus project again. Not quite a mock up. It uses the same stuff, But we took some artistic liberties. All right, folks will see in the next one. 63. Composing the record jacket part 1: Nara gang. Welcome back to affinity Photo. If you've gone this far with me, you're interested in turning this record composite or I should say this record mock up into a composite. So let's go file. And I've included this in your downloads. I've included in that. I have called it composite base image prior to composition, so it's the finished image. But what you've got here is all the layers that you created and what she did. So the first thing that I'm gonna do is I'm gonna load the brush is so pull out your brush menu and because you're a finisher here in our affinity course, I've included a special VFX pack that has the six brushes I'm going to use. It's got to particle brushes. It's got a fairy dust brush. It's got some lightning, it's got a flair, and it's got some street spray, so I think we'll probably use all of them. All right, so let's go and get started. The first thing that I'm gonna do is I'm going to create a pixel air underneath the record layer, so drag it underneath. All right, Now what I'm gonna do, I'm gonna throw some sparks off from this. I really love the light that's created with this. So I want a layer this. So I'm gonna call this spark one. Just so we practice good naming. And again, we're out of the mock up stage. So nobody is really gonna do this other than the person is compositing. Grab your brush and let's choose particle one. Okay, now, this is a pretty big brush. I want to go ahead, and I want to turn this thing down to be about maybe, I don't know, 120. Now, it's going to take a minute for to catch up there. This is a lot of processing power. This thing is pushing. Now notice. I'm somewhere in the reddish orange right around in here. Now, this brush has controls for pressure. So if you press harder, I'm gonna use my walk home, and I'm just gonna pull this thing down underneath, and I'm gonna create kind of a swooping motion. Okay, Now, notice what's happening. There were given a time to mature here. You see, we've got now two layers of these sparks. I'm gonna come up, and I'm gonna make the brush bigger. Okay? Let's go ahead. One more layer of that swooping motion boom. All right, it's gonna take a 2nd 4 to catch up here. This thing is running on E here. All right, so I think we're pretty good there, and all of that kind of occurs underneath the record. Now, what I'm gonna do is with that same brush, I'm gonna grab some yellow. I'm going to drop this down a little bit, and I'm going to just draw a yellow swish. Okay? That's pretty awesome. Now, above the record, we're gonna create another pixel there. Let's call this spark to now. I want to differentiate the background from the foreground. I want sparked to to be lighter. And I wanted to be a different style. So I'm gonna come down to my brush. And now I'm gonna choose my particle brush to, and this gives it a little bit different particle. And I want the particles to be a little bit bigger, and I also want them to be a little bit brighter. Okay, let's go ahead and bring this in. Now. I'm gonna shrink this down pretty low. I'm gonna start up here in the yellow and I'm gonna swoosh that down along this area. Now, I'm gonna come in. I'm going to raise that up a little there. We g o That looks really good. The last thing I'm going to dio I'm gonna come in with just kind of off white and I'm just going to tap now I'm gonna use my mouse for this. Drop this down a little and I'm gonna tap. There we go. I just want a few. That's pretty awesome. Now, that's a good particle distribution. But what's going to kick it up a notch is when we add effects. So what we're gonna do, I'm gonna show you how to make a style. So we're gonna come down. Let's start. Let's turn off, spark one and let's start with spark to bring up your VFX or your FX window, which is right here. Now it really comes down to three different effects, right? You want an outer glow? Do you want an inner glow? And you're also going to want a little bit of inner shadow. Okay, I'm gonna move it over here so we can see what's happening over here. Let's start with the outer glow. Let's go ahead and kick up the radius. Okay, that is way too much out or glow. And now let's go ahead and bring that into kind of a yellow. Because remember, a lot of those sparks or brighter, and we're going to go ahead and just make them a little bit off white. That's pretty cool. Now we've got the blend mode set to screen. Let's go ahead and kick the radius up just a little bit further and let's drop the intensity just ever so slightly. I don't want too much. And then what I'm gonna do, I'm gonna go ahead. I'm gonna drop the opacity, Alright? Right about here. So that handles that. Now when you have a spark, right, I want the inner glow to be a little bit darker, and I want to crank the radius up a little bit on it. Okay, let's crank up the intensity as well. And now we can change the blend mode. I'm gonna go ahead and I'm going to try. Oh, let's go ahead and try the Let's try a big one linear light. That's pretty awesome. Strike! Oh, Okay. Pin lights The winner. Winner The strike hard mix. Now we're going Pin light? Yep. We're going Pin light. Yep. No, I think linear lights gonna win out, folks. Yep. The new year light winds. All right, but we want to crank down the opacity on that just ever so slightly. All right, let's go ahead and kick that up a notch. All right? That looks pretty darn good. I'm gonna kick that up just a little bit more, and I'm gonna kick the radius down a little bit. Now, you could go ahead and toggle your center, and you see how this changes. I like the glow to be around the edge. I think that it adds a little something to it. And the last thing that I'm gonna do, I'm gonna add a little bit of an inner shadow. So just a little bit on radius kind of kick that down ever so slightly, and I'm going to make it so that it's not quite as pronounced. I think that that's going to be pretty cool there. Let's go ahead and shoot for that in a yellow. All right. Cool. Let's try this, Okay? We're gonna go ahead and we're gonna do this. Let's go ahead. Grab the vfx all right, off on. That's pretty awesome. Now let's do one more, and then we'll in this lesson on some of this. Look here, we're gonna come down where to turn on the spark. Now, that's going to give you that background. And now I want to blow this out from the background. This one's gonna be big. Let's go ahead and outer glow this thing and let's come on up here and crank that radius sky high. Okay, Now, what are we gonna do with this? I think that that's pretty cool. Let's try the blend mode. Game on. This gonna come down to Ah, hard mix. All right. Actually, I really like that. Let's try that. What Now, watch this. Go ahead and drop the intensity down a little bit. And the opacity of the effect. All right? Yeah, a little more. Somewhere in the middle, that hard mixes pretty aggressive. All right, let's see how that works. Okay. All right. That looks pretty cool. All right, let's go ahead and call it on this one. In the next one, we're gonna go ahead and we're gonna add some light. All right? We'll see in the next one. 64. Lightning Addition: All right, folks. Welcome back to affinity photo. Now, we're gonna go ahead and make an editorial decision here. This mock up was massive to begin with in terms of file size. Now, as I look through what we've got here, right, we've got the spark. We've got all this other stuff. I'm gonna go ahead and I'm gonna move. Spark one out of the group and now I'm gonna go ahead. I'm gonna take this record. Where's my spark? Here we go. I'm gonna go ahead and take this record, and I'm going to compress it. I know this is going to ruin the mock up, but turns out we're in the composite, so I'm now gonna rast arise this. I'm gonna preserve the layer effect, and I'm gonna rast rise. Okay, now, what did that just do that made it into a pixel air? We're in good shape. What I'm trying to do, I'm trying to cut down some of the size. Now, I'm gonna go ahead. I'm gonna leave the background the way it is, though, because right now I like it and I want to be able to adjust the lighting. I may rast arise that later. But let's go ahead and get started. Now, the first thing that I'm going to do, we're gonna go ahead and we're gonna add in some fairy dust. So I'm gonna come up with the pixel air and we'll call this dust. And in your brushes, there is a magic brush called fairy dust. This kind of like one of those Tinkerbell brushes, right? So Tinkerbell always had the things trailing out behind her. So this thing right here has a lot of really cool, subtle stars in it. So this thing also has pressure sensitivity. So I'm going to use to applications of this. I'm gonna start off up here around this area, the record, and I'm going to go ahead. I'm gonna swing this down, okay? Just like that. Now, he got a little crazy on me. I'm gonna come over with my eraser, and I'm going to go ahead. I'm gonna trim out some of this side. That's what I'm looking for. That looks really good. Now I'm going to do a second stroke with this. I'm gonna now make my brush pretty small. And I'm just going to come around and I'm just going to make it a little bit nicer on that side. I think that that's where I want it. And the trail kind of moves the eye this way. Now, when we do this, let me show you how this works. Let's go ahead and duplicate this layer and let's go ahead and change the mode to screen. Okay, Boom. Screen that screen that. Okay, that makes that a lot brighter. Now with this background layer of dust, let's go ahead and go to FX. Go to go, Schindler, Gods and Baylor, Whatever you wanna call it and cranked up Bad boy up a notch. All right, Now, that's pretty cool. Now, what I want to do is I want to come in with an outer glow and I'm going to go ahead and crank that radius of just a little turned down the intensity definitely turned down the opacity. All right, that looks pretty awesome. I'm quite happy with that. Now, let's go ahead and start adding some lightning right now. What I'm gonna do about a group, those call it dust. All right, So now let's go ahead and add another layer, and I want to move this down below the record. This is gonna be lightning one. Okay, now, lightning. Let's go to brushes. Let's go toe lightning brushes when it comes to lightning, I've got white here. White is not going to cut it. I'm gonna come down to like, a pinkish purple, and I'm gonna go just slightly off white. You see where I am with that? Okay. And then I'm gonna crank this down a little bit. Okay? Let's go ahead and just tap that once. Now, I'm gonna ask you to do this again. Grab the pixel. Tap it a second time. You might ask Jeremy, Why didn't you have me just create two bolts? Because this other one, I want to come down here and I want to come. Teoh, arrange. And I want to flip it horizontally so that I don't have the same lightning strikes in two different areas. Loops. Let's not move the background there. All right, so let's go ahead and position lightning out where we want it. All right Now, when it comes to the lightning strikes, I like these two together. Let's go ahead and group. Um and right click Rast arise. Beautiful. Now let's do the same thing we did with the dust right click duplicate come down to the low one. This time, I'm going to use a simple Goshen Blur filter. Yeah, crank that up a little bit there. I think that that's pretty darn good right there. And apply now that white is a little bit too intense, right? So let's go ahead and group him right click Rast arise. And now let's go ahead and change the blend mode. Let's take a look at changing it over to screen and let's go ahead and drop the opacity just ever so slightly on that. All right, I think that's pretty cool. Now. The last thing that I would probably do on that there is, I would add an effect. So let's go ahead and add a little bit of an inner glow. The inner glow. Let's turn the radius up a little. It's got and crank the intensity up a little on it. Let's go ahead and cranky opacity down a little bit. That's awesome. Let's go and put a little bit of inter shadow on it. That's gonna knock it down a little bit for me there, Ugo offset it just slightly that looks good. Now, let's change the color up. I think that that's pretty awesome. Okay, good deal. Now, let's go ahead. Right. Click. Copy that layer and it paste that layer. Okay, Now, let's do this. Come over to your layers panel, move it up above the record right under the scene lighting. And let's go ahead and strike the record with it. Okay? Two ways this is gonna work. Gonna shrink that down a little ways. That's actually pretty awesome. Start there. And now, before we do much more watch this were to come over, we're gonna liquefy. We're using all the tools. This time I'm going to come in and we're going to strike right there. The cool thing about lightning is you can liquefy it. And nobody can tell you that you're wrong. All right, cause it's arbitrary. You don't have to worry about masking it, doing all this really cool. Other stuff. All right, apply. That. Looks good. All right, folks, let's go ahead and let's call this one. In the 3rd 1 we're gonna go ahead and we're going to put in this strikes for the flares, so you got to see how this works. All right, We'll see in the next one 65. Finishing the composition: All right, folks, Welcome back to our composite. Now this pixel air, we're gonna go ahead. We're going right. Click. We're gonna rast! Arise it! Now, what that's going to do is gonna take the vfx we got and we're gonna go ahead and to destroy. Those were to say, preserve layer affects new Rast arise. And then we're gonna come in with our own lair effects were gonna come in, then we're gonna do outer glow and we're gonna crank of the radius again. Yeah, that's gonna be frickin awesome. And let's do something in a teal. Yep. All right, that's fierce. I really like that. I think that that's going to go a long way. Let's go ahead and add in a little bit of an inner glow as well. All right? And let's go ahead and make that kind of a darker teal. All right, Cool. So that's a simple way to change the lightening effect. All right, so now we've got these lightning strikes. We're now going to add another layer. We're gonna drag it up above. We're gonna call this flare. This is where we're gonna put down the two flares. So let's grab the brush. We're gonna use every brushing your vfx back here, right? Grab this flare brush right here. And when the lightning strikes the teal, we're going to come up Teoh here. Okay, let's go ahead and grab a little bit of that There. There we go. All right, now, a little bit goes a long way, right? A little bit of blue. All right, I'm gonna go ahead. We're gonna strike right up about here. And now there's a trick here, one to, and now I'm going to go ahead. I'm gonna come over here and I'm gonna put one right about here. And now that's a little bit too much. There we go right about there. Three. Okay, Now, what am I saying? There's a trick to now we go stark white, and we bring that right about Indy here. One shrink it down to the's brushes air set up so that this is additive. All right, folks. So now what we're gonna do at this point is we're going to throw in some sparks. I'm gonna show that he's a motion blur. So we're gonna come down to this spark layer. We're gonna go ahead and we're gonna duplicate that. So now we've got that. That's a little bit too intense. Right? But watch this. Come down to the lowest one. Go to layer Life Filter, layer Blur. Go to motion. Blur right here. Okay, Now, the way this works, notice down here. Dragged to set the radius and the direction boom. Just like that. Okay, now, that's only going to apply to the spark layer. Okay, let's turn that off. Turn it back on. Plus on now, I probably want some or it's live so you could do some more. Let's go ahead and come back to here. Click and drag. Okay. So I think that we're pretty good there. All right, Now, the last thing that I want to do let's go ahead and finish this bad boy up. We've used almost everything in our arsenal here to make this happen, right? The last thing that I want to do is I want to cast some light on the roadway record, so we're gonna come down to the record. We're going to create a curve layer. Now you've seen this show. We're gonna create a curve layer here and what we're going to do, we're gonna drop it. I should say, Raise it to an insane level. We're gonna come down to our fill tool. I want to make sure we got black selected, and we're gonna make that happen. Now, let's grab our brush. This time, we're just going to use a basic old soft brush. Okay, so now what you're going to see this is a mask layer, right? We've done this 100 times in the course. If black conceals white reveals Okay, that should reveal. Let's go ahead. Move that to about 100. We're gonna crank that up. We dio Now, there's a little bit of trick here. I'm gonna do one more thing to help this along. Let's come down right above the record and let's go ahead and let's flood fill it with kind of a soft teal ish white. Oh, near some like that. Okay, now, let's go ahead. And with this selected, let's go ahead and mask it. We're going to come down, we're gonna mask it, and we're gonna flood fill that with black. Okay, Now, why did I just do that? Now I'm gonna come in with white, and I'm kind of going to begin painting out, but I don't want my opacity up high at all. Yep. Just tap. Just tap. Now, let's do a little bit of a flare. 12 up, one to Okay, that actually looks pretty darn good. I'm actually quite happy with that. All right, folks. Hope you learned a little bit of our compositing. Let's go ahead and wrap this one up. 66. BLENDER SODA CAN- Basics of Blender part 1 : all right, Gay. And welcome to this lesson on blender. Now, this is a bonus lesson. We're talking about mock ups here. So in this mock, of course, we wanted to include for you just an overview of some of the software that you could use. And so what I thought I do, I'd give you a mock up off a tin can that you can use in blender. Now, the challenge with this and full disclosure, I'm not the best of blender. There are people who could model right around me any day of the week. I know enough to be dangerous. And blender. I know enough to get where I need to get to. But I'll tell you, I use this program primarily for doing things like logo extrusion and stuff like this. So we're not gonna be making complicated scenes. And if you're not familiar with Blender, think of this as just an introduction to a free software. Blender is completely free, and it is used to make animated features. It is used an industry, and so it is a extremely powerful software. So what I'm gonna be showing you today is just the bare bones basics of blender. Just enough to get by with this project. So full disclosure setting expectation. All right. When you open a blender for the first time, you come over here and it will come to the default cube. Okay? This window here has a couple things in it. Now, I'm gonna go ahead. I'm gonna left click on these things, and I'm gonna name them. If you click on the Cube over here, it shows the cube. If you click right here on this little thing in your window, that shows your camera, and that right there shows your light. Okay. Now, as you figured out, the left mouse button is for select. Now, there are different modes and blender. You need to know about the moats. The modes are up. Here we are in what is called object mode. Then there's edit mode. Blender has a lot of sculpting tools. We're going to be using object and edit mode Onley in this course. Okay? And again, this is a very simple tactical lesson. I wouldn't be showing you what you need to tie this blender into affinity photo so that you could do a wraparound of a can now Let's go ahead and I'm gonna show you something. Here, select the cube. Just take the middle mouse wheel and scroll it forward. Okay? That's how you zoom. There are other ways and anybody right now that knows blender and says that I'm not using the hot keys and all of this stuff. I don't teach with hot keys. Okay, I do just enough to get you by because I want you to understand the menus. Now, let's do this. This is a three D scene up here in the corner. You see a little widget. These are the three axes of three D. You've got your ex axes, which is red. It's running this way. You've got your Y axes, which is green. It's running this way. And you've got your Z or your Zet axes, which is running up and down. Now, watch this. If I come in, click and hold the middle mouse button. So I'm holding it down and I start moving to the right. I can start manipulating around my scene. Now. I'm just applying downward pressure to my middle mouse button. And for those that are more advanced than this, realize that I will be going very slow in this because there's a lot of people who have never even seen blender. So you know how to zoom. You know how to scroll back. And now, by pushing the middle mouse button, you're able to apply pressure to move around your scene. And this is part of your scene. There's a camera, there's a light and there's a cube. If you so wanted to add to the scene, you come up to add, Let's add mash and let's just make a little UV sphere. Now where to go? You see the little orange circle here? It's in there and you see there's a sphere here. Well, we have to do is we have to move it out. So I'm gonna show you how to move an object. Just bare bones. Here, go to your transform widget and you remember the red axes is the X axes. The green is the why, and the blue is the said. That's the same is up here. Grab the arrow and let's slide it out. Now click back to select, and now you are back in the scene and you have to objects. Now what do you do if you don't want an object. Well, let's say we don't want this cube selected and hit. Delete. But what if you did want the Cube? This button is going to be your best friend. Let's go control Zed. And now controls e brings back the Cuban UN does the last step just like an affinity. If you don't like the UV sphere, you can delete it. Okay, So basic controls. Zoom is front mouse. Well, back out back. Mouse wheel to rotate around your scene. You're going to hold the middle mouse button Now what happens if you want to move? Hold shift. And now you're moving around the entire scenes. If I wanted to see something over here, I could Okay, that's how you hold and shift to move. Okay, Now you saw I just went under the floor. There's the floor floors, lava. Now that's what's called the floor plane. Okay, this is important, because where's our three d cursor? This little thing with the cross hair? It's a 000 in our scene. That's what's called the origin point. Right? So right now that is straight up zero in our seen. So our location is going to be relative to that zero point right now and for the purposes of this tutorial. Okay. I want to stretch toe one more conceptual thing before we get into basic manipulation. Let's go ahead and hold shift. I'm gonna zoom. Got a pan back over there. Yeah. All right. So there's my cube. Now, if I'm in edit mode, I'm switching modes now. Notice. I can't select it. I have to. Now click on the object. Let's go to edit. Okay. All modeling works on a very simple premise. Okay, so there are points notice these little orange points right here. That's what's called a point, right? If you have two points, it forms aligning. So between here and here, there's a line. And once you have three points, you have what is called a face. Now I've been using the term points. They're gonna use them or official term Vertex. Right? So, in edit mode, I can go into Vertex select. I can go into edge, select, or I can go into face select. The good news is, you're only gonna have to touch his button a couple times now along this side here, there's some other stuff. There's the move function so you can move your object up, down, left, right, there's a rotate option so you can rotate your object around. The good news is we're not going to be using a lot of these functions because I've already taken the model to appoint a doneness where you won't have to mess with this. But I wanted to give you at least an overview of what's possible. You can scale now. If you want to scale along the said, what do you think's gonna happen? It's gonna turn, you know, more of a T shirt box, right at school. You could scale this out. These are the basic tools of modeling. And if you go to transform now, we combine the movement with the arrow. With the scaling in the square and the rotation of the circle, this little gizmo is super powerful. All right, The last thing that I want to show you that makes this work Let's come over here to the different views. Now what I'm going to be doing, I'm gonna be spending a lot of time in what is called kind of wire frame mode. Okay, Right here. Display the object as wire edges. Now, this is everything I told you. Here. Let's go ahead and just select you. See the vergis ease. Now, look at that. I threw in a new word, Vergis ese instead of Vertex. Right? You had vergis ease. More than one. You got edges. I can't select an edge. Why not? Right here. Make sure you're on edge. Select. Now I'm in edge, select. And if I want to select the face, I have to be in face. Select. Now I can select different faces on my cube. All right, let's go ahead and call this one here. I don't want to make thes too long and again. This is not designed to be a how to blender. In order to get real good a blender, you're gonna have to spend hours and hours and hours. I will tell you that it's probably 2 to 3 times what it took you to get comfortable with two D art. All right, let's go ahead and stop this one here. And the next lesson we're gonna bring in our soda can, and we're going to explore it now that we kind of know what's going on. All right, We'll see the next one 67. BLENDER SODA CAN- Basics of Blender part 2 : All right, folks. Woke back to Blender. So we're gonna go ahead and using our select box right here. We're still in edit mode. It's going change object mode. We're still in wire frame. Let's just go ahead and elite that out. All right, so we have a blank scene, right? Well, what do we do with this? I've included in your downloads for this course, a blender model. And I've already taken this model toe a point of doneness. I've already applied what's called the material to it. So let's go ahead. I'm gonna show you how to bring this model in. Let's go to file open. We're not going to go ahead and save this weaken. Discard those changes. And now this blender interface is not as nice as some other software interfaces. When you get to hear what this is going to say is we're gonna look in whatever drive you've got, we're gonna look for this file, and here are the files that you can choose from, So you're gonna pull open base can with 10 texture, OK? And it's a dot blender file. All right, So your view port should open, and this should be what you see. Now, let's not freak out here. Let's go and take this step by step. What you have over here is the scene. You've got a camera, which I've hid. You've got what is called a circle. This is synonymous with a can. So this is your can and notice when I hit it, you've got move the selected items and then you've got some seen lighting down here. Now, these little eyeballs say that it's either on or off. Present or not, you don't have to mess with any of this. The only thing that should be on right now is your circle and not even your camera yet. All right. Now let's do a basics of blender Here and again, there are people who can absolutely model circles around me. So I'm sure that right now that rolling over going, what is he talking about? Because I'm not going to use a lot of the more technical nomenclature here. And we're gonna make this very easy over here along the right side. You see how my cursor changed? We're gonna go ahead and pull this out. There are some tools down here along the right side some different views. And so if we go along, notice how we've got the can selected, we come into here, you can choose your render mode. You choose your context. Choose all of this. I'm going to come down here and I'm gonna show you context materials. Okay, Now, what is a material? You see? It's the little red tab right there. And you see how all of these talk about context. So in context of this can I want to know what the materials are Now, here's the thing with materials in blender, materials are applied to objects. Okay, Now what I'm gonna do, I'm gonna go ahead and I'm gonna turn this particular material off. So this 10 I'm gonna go ahead and to switch this off. All right, that disappeared. Now notice the model that was left behind. This model is just a collection of vergis is faces and edges. That's it. The reason that it was a circle is originally it was a two dimensional circle that then we extruded and we shaped and molded and model. Now I'm gonna go ahead and turn on wire frame here and folks, there is the wire frame for this camp, all right, so it's simply a collection of different edges. Vergis ease and faces. Now here's the trick. Though you'll hear this term, we're not gonna worry too much about it. You see how these things are created from different points and intersections. This is what's referred to as an objects topology. So these little things these little squares down here that are created could be, I'll say, for lack of a better technical term. They're all polygons, which polygons means many sides, right? So most of these have four sides on them. So really, this can is created off polygons. And now you see, I just switched the view up here. Notice this. That's the solid mode, and then that is how it's going to render out. So what is rendering? Well, rendering is where we take that model was created. Add the materials that are going to be created, and then we snap a picture. So in reality, here is going to be the workflow. You model the can, which I've already done. You apply materials to the can, which I have already done. Then you set up your seen lighting, which I've already done, and then you will render it out. What we're going to do in this class is we're going to just apply this texture to it. Okay, So now, in order to do that, I need to show you something here about what's called UV unwrapping. All right, so that's the basic workflow in Blender. Let's go ahead. I'm gonna close this so that I don't miss this up, and we're gonna go ahead and we're gonna open this now from scratch. So go ahead and open up base can with tin texture. Blenders gonna open up and there we go. And we're ready now to UV unwrap. All right, we'll see the next one. 68. BLENDER SODA CAN- UV unwrap in blender : All right, folks. And welcome back to Blender. Now, we're gonna go ahead and we're going to start off right with this file as it would open up like we weren't even messing with them for the last two lessons. Right? So let's do our checklist. We do object mode, so we're not in edit. And when it comes to the view, we're over here in the look development area right now. If you're not getting the area there, when we do the wire frame, you can always hit show overlays. That's a magic button right here. And watch what happens when we go into edit mode, some coming over to edit and we're gonna jump over to ed Emote. You see, How would we jump over to edit mode if I turn this off now? Nothing really changes, right? So if you're not getting the lines you're looking for, make sure that you're in edit mode. All right, Now, the next thing we're gonna do, we're gonna do what's called the UV unwrap. Right? So right now, here's the hierarchy. The model contains the material, the material periods, the texture, or, I should say, contains the texture and what we have to do. We have to take all of this material. Let's say we gotta find a way to wrap it around the can. That's what's going to make our label stick. So let's go ahead and get started. This lesson all about how to do you ve unwrap, make sure you're in edit mode. And now we're gonna go up here and I'm going to show you some of the different screens. They've got a screen workspace here called You ve editing. Let's go ahead and click that. All right. Now, what just happened, right? Looks a little bit intimidating, but it's not. All that happened is they opened up a UV editor window and you've got your regular window. Now I want to show you two different views here. I want you to come up to this little thing right here. Right. This switches between what is called perspective of you and what switches between an Ortho graphic projection. Now, what is Ortho graphic? Let's go ahead. I'm gonna zoom out by using the mouse wheel, and now you see, when I kind of move around my scene, I get kind of a vanishing point. The background Once I click this and the graph goes flat Now all that perspective distortion goes away. So the reason that I do that now I want you to grab this little red X and click it. Now Where did my can go? Let's hold shift. Grab the middle mouse button and bring it front and center. So it's still there. Now let's come over to the left hand side of the screen. This is your UV window. Hold shift. Hit the middle mouse button. Move this over and then use your mouse wheel to scroll up. It's shift. I like to get mine front and center. So I got my can and I got this. All right, So here's where the magic happens. We're going to come over to this half of the window and we're gonna hit a now. Once I hit a you'll see how this now created what is called a map. Now, this is an old map. We don't want this map. What I want to do, I want to come in. This is already selected. You're going to go to U V. And we're gonna hit on rap. So you have to be in edit mode, you have to have selected all. And let's unwrap. All right, now, what just happened? What blender did is it took this three dimensional round cylinder, and it unwrapped it much like the candy. You get it? Easter there, where you peel the foil back and the bunny's face comes off. So there's the top of the camp. There's the bottom of the can. And this area right around in here, is this area that can split apart. Okay, now there's gonna be some mechanical stuff. What we're gonna do, you're gonna come over here, make sure you're on this half. You're gonna hit a to select all and everything lights up. Now, make sure this is not checked, so it should not be blue. And I want you to come over here, and I want you to go to UV selection mode, and I want you to come over here Island selection mode. Now, what is a UV island? A UV island. Is this piece this piece and this piece now with them all selected. Hit our okay. See how my cursor now just changed to two black arrows. And now I'm just going to drop my mouth's a little bit, and all I'm doing is I'm changing this up to about 90 degrees. When you're done, click. Now what I'm gonna do, I'm gonna left click on each one of these islands, and I must separate him a little bit. Now, this one here is important. You see how on hugging the sides of my UV unwrap this is important. This, folks is the map that tells blender how to apply the texture over to this can. So what we're gonna do now, we're gonna come over to you ve and what we're going to do now is we're gonna export the U V layout. All right, now back to this archaic area here, right? Find an area where you want to save this. Wanna call this UV layout for can? All right. And then once you're good, come over here and export the UV layout. It will export as a PNG are now. This is where we pop over to affinity photo. Let's come over to affinity photo. Let's go file open. Find that UV layout for can, which is right here. And let's open it. And this matches this all right in your downloads for this lesson. We've included label for soda can. And I want you to click and drag this out. Now what I want to do, I want you to go ahead and stretch this thing until it consumes that skirt area right there . Okay, that's pretty darn good. Now, this step is important. If you want it to display, right, come over to this area and come over to your arrange panel and flip it horizontally so it looks backward. And then to finish this off, turn off the check and erase the U. V s. What you're telling blender when you import this back in is I don't want this sparkling soda texture to show up anywhere on my aluminum. I just wanted around this area. So now let's go file export. J peg is fine. And let's call this label four finished can. All right, that's gonna be the label for the finish. Can. Okay, And save now. We're gonna keep this up. All right, Now it's magic time here. We're gonna go ahead. We're gonna come back into the modeling window. Okay? So we're back to our can. And now remember the hierarchy that I talked about the model contains the material. The material contains the texture. So the material in this case is the 10. We're not gonna change that. What we want to do is we want to put in a new texture. So into the context bar down here, make sure you're onto the materials tab, and you should see the 10. And I want you to come down and we're not gonna go into nodes and all of this crazy stuff gonna make this easy. Where to use base color. Let's go ahead and click this little circle right here. Okay? And you see, a new map comes up. It says texture, new menu. Go to image texture. Okay, Now that one dark, right? Why? Well, because there's nothing in there. What we're gonna dio let me go ahead and bring this out a little bit. We're gonna use this little file folder. We're gonna go ahead and we're going to put down thesis. Oda can label the label for the finished Can I got somebody files here and let's open the image just like that. Now, that doesn't look real good right now, right? That's okay. Let's go back to object mode and boom. Just like that. There, my friends, is your sparkling lime soda. Now we're gonna move this up above the plane. So one more thing we're gonna dio in object mode. I want you to grab your move tool. I want you to select your can, and I want you to use the little Blue Arrow to bring it up above. Now, Remember the Motorin. Let's go ahead and click on this little red X here, and that will help you put it right down at 000 All right, that was a lot. Now we can push this window up so that this is now front and center. And now when we roll around the can, there it is. And I was even modeling a bubbly can there, So I made sure that the texture actually works with little pull tab. So this thing is actually pretty cool. That's the can. That's the way it's gonna look. All right, One more thing. I want to show you here. I know this is the one A little long. Let's go ahead and add a mesh and make it a plane. Now, you see this little square that just created hit s this is for scale. And bring the plane out. Okay. Make it pretty big there. Right, cause you want enough for this. And now let's go ahead and run the Ortho graphic view to the X again. And make sure that we are down below are can in case you got to get closer. Don't be afraid to get closer. All right, let's go ahead. Back out. Come on up. All right. That gives us our stage in order to do this can. All right, let's call it here. I know that was a lot. You'll probably have to watch this at least 10 times, and then we're gonna show you how to assign a camera to this. So you get just that right angle and how to render it out so that we can finish it up in affinity photo. All right, we'll see the next one 69. BLENDER SODA CAN- Rendering the image : All right, folks. Welcome back to blender. So now where you are at the point where we need to render this thing out. Now, you might be asking yourself as we got four lessons in Jeremy, what does this have to do with mock ups? And in reality, this is like a perpetual mock up. If you ever wanted to come back and change this now, I'm in object mode. You could click on the can and then you could come back in through your context and you could change out the materials, right? Very easy. What we're gonna be doing is we're going to be moving this camera now. Where is the camera? And it might be that the I is off. If you don't see the camera, click on the I. You see, I'm clicking it. Now what the camera's gonna do, it's going to view the scene right here. And what it's going to do is it's going to render out whatever it sees. So what is rendering? We see where the camera is right now. Let's go render render image. This is what the camera sees right now in its current state. So this is good actually. But if you don't like where it is, you come over the camera and on the side here there's a little toggle. It's called Transform. No click on your camera. Grab the move tool. And now you can adjust the X, the Y and the Z direction of the camera, the position you can adjust the rotation. Now let's say you can't see what's going on right now. Check this out. There's a little camera icon here. This now becomes camera view so you can manipulate the X manipulate the Why manipulate the Z until you get it kind of where you want it. I'm gonna go ahead and back that out just a little. Now, if you like the shot you're gonna come to render render your image go to image save ass. Let's call this front view. Okay, Now are there are 100 more things to learn on camera controls. Absolutely, There are. When you're ready, go back to previous. But let's say you want to do the top down, right? Here's how you do this with the top down you go way high in the Z, then you come down with the X and your swing down just like that. And the higher you go, the crazier the perspective gets. So in reality you could shoot 900 different poses. I'm gonna move that back to 90 with my number pad simply by just changing the X y and Z right here in the transform panel. This is what makes it a mock up. If you do this once, you'll have a perpetual ah, mock up that you can use because now, if you want to go from the bottom down, you could definitely do that. Let's go ahead and turn that plane off. So if I wanted to come shoot this thing from the bottom down now, I just come in and I had just my ex in a different direction and I keep dropping that look at that boom just like that, just like butter. So this gives you infinite possibilities in terms of what you decide to do with your can. All right, so that's pretty much all there is to it. I know this wasn't everything. I know this isn't going to get you from zero to blender hero, but hopefully it shows you how to do a basic mock up you've identified some of the modes and blender, you've identified some of the tabs across the top. You understand how to work with materials, and hopefully this gives you an appreciation for what goes into some of these mock ups. All right, let's go ahead and end this one here. Lets go ahead and take that front view that I did. And let's composited into affinity photo and wrap this thing up. 70. BLENDER SODA CAN- Compositing in Affinity Photo : All right, folks will go back to affinity photos. So now what are we gonna do with this can, right? Let's go and go to file new. And now you know enough now about affinity photo where you could figure out whatever your background is gonna be. I'm gonna put it into just a basic old mock up with a little bit ingredient light at a lighting layer. That kind of things. So were to make this pretty simple. Let's go ahead and make a 1500 by 1500. Let's make it 300 dp I assuming we're gonna print it and let's go ahead and create. Now, let's go file place, find the front view. Okay, Now, all we really got to do to start this thing out here, I'm just gonna replicate what we know to be true. Anyway, So we're just gonna come in and we're going Teoh Rast, arise. We're then going to grab the brush. We're gonna add to the selection, and we're gonna grab everything that's included in this can. Just like that. We missed some of it. OK, we'll come back to that. All right. Make sure you get that side of that spark there. Okay. All right. Get that good. All right, Now we got a little bit of a hiccup right here. There's a little bit where it went off the rails, subtract. And all I'm doing is I'm just replicating what the camera could have done. Plus, I didn't set up any shadows or anything, because that's a whole other discussion lighting when it comes to blender. Alright, once we got that, let's go ahead and refine. Now we're gonna go selection new layer and apply boom instant can. Now, let's go ahead and put this up where it needs to be when I hold the shift key. Sorry, the control key. And then we're gonna come down here, and I'm just gonna place and let's go ahead and throw in a Grady int fill on that flip flop it. Okay, Come down to here. Down here. All right. Perfect. It's going to bring this can up above that just like that. And then let's go ahead and create another one. Let's go ahead and copy. Then we're just gonna flip that. Who controls E? How about we paste? Huh? Helps. Cool. Okay, hold shift. Bring it up. It's lining up. All right, now, let's go. Floor versus wall. We're gonna put down floor versus wall. All right, Perfect. So get a pretty good one there. Let's go ahead and move this just a little bit more. We're gonna go ahead and expand that now. We need a shadow, right? It is very important. We have a shadow. Let's go ahead and add in a pixel air. Bring it down below the can, but above the floor. Let's go ahead and grab a brush. Turn it down. Now, I'm just using my mouth. So this isn't gonna be the best shadow known demand, right? And remember where the light is coming from. The light is largely coming from the front, so there shouldn't be a lot of shadow. It's not going to be a very heavy shadow because you've got a lot of light here, But I am going to do, and this is gonna be destructive. I am gonna add a little bit more to the sides. I'm gonna dodge it. Some coming over here. I'm gonna come down to here and on the sides. I'm gonna go ahead. I'm gonna dodge this ever so slightly. There All right. That looks pretty darn good. File place. Let's go ahead and find the can. Now we've included the downloads. All right? Of course. Label for the soda can. Boom. Now, what I'm gonna do, because I have the text layers on here, I'm just gonna go ahead and cut those off a little bit. And let's bring those down right above the wall. And now let's go and change the blend mode to the wall. Okay? Looking for just that, right? One blend mode. Shopping is what I call it. Find the one that gives the answer that you want air. We go. All right. And then let's go ahead and bring that down. All right? Now, I'm gonna try this. I don't know if it's gonna pan out now. All right. Let's go ahead and leave it just like that. I think that we're pretty good there. All right, folks, at that point, let's go ahead and call this one. We're going to go file, save ads, can it? It all right. And let's go ahead and put it in there. All right. Last thing we come into layer. Let's go ahead and add in a life filter layer. Let's go ahead and add in a lighting there. I always like to do the lighting layers with my mock ups because it adds a certain amount of character to them. All right, trump the speculator down a little bit. All right, drop the shining is down a little bit here. Alright, folks, let's go ahead and call it on This one. Hope you learned a little bit about something between affinity and blender, and we'll see the next one. 71. Thank you and goodbye : there are again Good on you for finishing, right. You got to the end of this thing, this thing with massive this thing with several hours. This thing was seven projects and you took on a lot of really good content and you got to the end. So that is awesome. On behalf of seven season studios and myself, thank you so much for going through. This was one of my favorite classes to do. I think mock ups or one of those things that really drives innovation because of it's easy for you to present your art. You're going to have a much better chance of being able to monetize it or do whatever it is that you feel you want to do in the future. So I appreciate everything you do for me. I appreciate taking the journey with you. And I love the fact you got to the end of this thing. So if you like this and you want more, don't forget to check out our other courses right here on scale Share where we teach you all about affinity, photo and affinity designer. All right, Thanks a lot. We'll see the next one