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Lesson 5 from: Graphic Design Essentials

Jack Davis

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Lesson 5 from: Graphic Design Essentials

Jack Davis

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Lesson Info

5. More Creative Tools

Lesson Info

More Creative Tools

now for that picture with the girl when you did that canvas, Look on it. But if they print that on campus, how it very, very, very good question. Those are great questions. Um, so when you're doing this is the paint class, and I'm working on, um, And again, there's a truncated paint class that's available, I think a one day from a photo shop week that's available. Um, but this gets back to the fooling the eye, especially when you get to the point. If you're actually trying to make something look like a final actual painting, you know, as opposed to something where you're doing a small postcard reproduction of it and nobody nobody thinks. Excuse me that that Princess Di was painted, you know, five inches square. So, um, how do you to fool the mind, especially when you're doing something like a gallery rap? You'd like to Matt, you'd want to match those resolutions. And the way the easy way to do that is have the person who makes the texture for you do it at the appropriate resolution for...

the print, and then you apply that to you're painting or your image at that resolution, which only phrase in another way. The reproduction of things of printed pieces is done based upon the PP I of the appropriate pixels per inch for a particular printing method and a particular substrate. The paper that you're going to So the printer paper and ink those three things make up. What determines how you're going toe set up the resolution and the color for a piece of printed piece in the terms of a painting. If you're going out to canvass because of the texture built into canvas, you don't need, say, a 300 peopIe I image. You don't need 300 pixels crammed per linear ends together in order to hide the pixels. That's what basically the PP I setting of a document does. How many pixels will be squished together per linear inch in order to hide that, if you were printing out a photograph onto a glossy stock or the new metallic papers where the ink rides on top of it, and there's no refraction diffusion of the light across the service like there's with canvas, every single pixel is visible, and you'd better have the 300 peopie I file because you will see it because it's such a razor sharp medium. There's no dot game. There's no spreading of the ink on it that you'd get also like with a watercolor paper basically flat. But if you have an uncoated stock, you can get away with much less PP. I because, um, the pixels themselves and the ink that represents them will actually disperse into the paper. It will actually what's known as dot gain. So watercolor paper, the bottom line, watercolor paper and canvas you could get away with between 50 say to 25 PP I. If you're doing a coded stock or metallic stock, you probably want the 300 the full 300 BP I. The thing to remember is that a 1 50 p p I file is half the size of 2 25 which will be good for most situations and to 25 is half the final size of A 300. So what most people are doing with their canvas wraps in the amount of resolution they think they need for a galley wrap is probably four times bigger than they actually need Andi to get away with it because of how forgiving canvases the textures to get back to original question that I've created are all created. A 225 p. P. I. A Great Middle Point works with both print uncoated coated stock works Great. It's small, much smaller than most people need, then with much. Um, most people don't need the p p. I situation that most people go to. And so if you go into your document when you set it up and go into image size and put in 2 25 which this one is already set to, this file will print out at this is a hang tag for clothing company at the three by four basic size. If I were to take this up, just so you, um, see it here and say, You know what? This needs to be 300. It's now only two by three inches. I'm telling it, I want you to cram more pixels together per linear inch. The only way I can do it is by shrinking the document. Put him closer together. It removed the pixels. It becomes a smaller document. So that's the PP I If I say you know what this is going to be printed on a little canvas thing. I only need 1 50 I can now go upto a four by six print. No problem. We'll look gorgeous, okay? And I turned off re sample. That means all it's doing is sending this little piece of information the pixels per inch. As part of the file. The file is the exact same file size, the exact same pixel dimensions. Every single thing about that file is exactly the same. It's just changing the PP I number. A lot of people don't realize that they said Well, what? You know, what dp I should I set my But it became a raw too. That sense at that point doesn't really matter because that's the PP eyes only dealing with the print, and that will depend upon what you're gonna print to canvass watercolor paper clothes, classy stock. It's just a number. Most of the time when you go to the web, it strips out the PP I it's always gonna display at the screen resolution. So p p. I is almost irrelevant in the area of graphics for video or the web since I have divined, said all my things when you go at 2 25 this pattern right here or going back to the one you specifically asked about in terms of canvas. So we'll go to the well canvas. This will print out the exact size of riel canvas. I'm pretty on campus. I can make this maybe light. I don't need that much, you know, texture to it, cause it really is going on canvas. But that's up to you. If you want to help sell the effect, um, you certainly can. And the nice thing is, is that this will match up exactly with the warp and woof of a real canvas. And that goes for even subtleties. If I if I come over here and do watercolor paper, which I've got here is well, so if we do, I think we put water color. So this water color texture right here will match even if you're printed on it on a not a heavily textured, uncoated stock. But it would give you the feeling of of a textured paper. Okay, good. That's a great question. That was one of the things related to that. A lot of people in graphic design Don't understand. You know p p I dp I is related to a device. A printer has a dots per inch that a princess monitor has a dots prints that it has. So a d p I is related to a device, PP eyes. How many pixels air squished together when you hit print. Okay. Good question. So what I wanted to do here, in terms of going back to a kind of a practical design element, let me see if I've got my no window open is related to Andi. I can. This will teach me to not create a new user and not test out that beforehand. There you go. My mind is what? Well, I'm here. So what? I've got here again. Going back to Aaron Chang, one of photographer. This is a hang tag for clothing company called. No. Coy is the best. Is the Hawaiian translation for that? Let's get rid of some of thes elements here, which will be using actually will definitely will be using our layer styles. I typically set up my, um, work area in photo shop. Just for those of you interested, um, like this layers that long palette I've got a nice, big long palette here, so I've got a ton of layers. History also fits into that. I'm gonna have a long list of my undoes actions is always gonna be a long list that fits in the same one layer. Comps is something that I use on a regular basis, so that also fits in there. Layer styles is obviously also a long list. So all of those things I put into one long palette at the top. Shorter pallets I stacked together, and you may have noticed that you just simply drag out a pallet to separate it and drag it back into a location until you get that little gray box you can see if I put it here that would put this palette between the other two because that's a blue line. If I go here, it's the blue line around the entire palate. It's gonna move that inside that other set of palettes. So again, for you beginners that's customizing your workspace. Once you customize your workspace to exactly what you want, you then will come over here to work space and then make sure and save that is a new workspace. new custom work space because if Photoshopped crashes, it will also, um, destroy that you don't have to get back. So I'm saving a work space. You can see these are your workspace options up here. They are really good to know. Adobe has gone to great lengths now to set up workspaces. Since I now have my J. D. Is workspace, this one as an example, Motion is automatically going to bring elements up related to motion graphics. If I go to photography, it's gonna add other things. That's my metadata right here. Info. Okay, and topography. It's automatically going to open up my character and paragraph styles. So just so you know, those things are there and are actually nice, very useful. The other thing that you can do is under workspace. There's a great feature that Adobe has been putting in for a while of what's new. Great thing about what's new is it highlights every single new feature in blue that's in the current program. So they have changed updated crop. They've ad and filtered the camera raw filter and Photoshopped CC, which is awesome that you can go right into all the capabilities of camera without leading leaving photo shop. And as I mentioned before, you will never, ever, ever use photo shopped for levels or curves or black and white conversion or anything. This one little interface of camera raw means that now, whatever is in photo shop, no matter how it got there, including your graphic design. Okay, grab. Remember, cameras got clarity. There's no clear there's never been a clarity filter in photo shop. You can now have access to every single component in camera raw in photo shop, which also now includes cheer graphic design work, which includes your radio Phil, which is now in Adobe Camera Raw, which I don't have time to get into. But if you haven't seen the beta information on the new adobe camera raw, it's got you know, the adjustment. Brush the graduated filter in the new radio filter. So in terms of doing customized vignettes or customized spotlights on things, blurring backgrounds, all sorts of things, all of this right here as cool and groovy is the layer style palette. You kind of see how much I love that this new camera filter is mind bogglingly cool and will simplify your life. You can save presets in there. You can save snapshots in there that stay with the document. Don't get me started. Actually, get me started. Just bring me back So we'll come back into another class. But anyway, that was the workspace. It's known as What's new. I'm gonna go back to my workspace. So the reason why I wanted to do this little document here is when it comes to graphic design, this idea of I'm combining multiple images in the idea of masking. So it's couple Kriel. Quick tips are taking some of these elements Typography, texture, um, masking. I want to show you a couple things related to masking that I think is great. And, um, we're able to touch on even that things of PP I because that's where I was going to bring it in. Related to printing out this little hang tag. So it's perfect. Um, these are not, um, in the smart object format. You can see the little icons here. They're just regular dumb, pixel filled layers. Their full resolution. They came in, um, back to the bridge here. I mentioned that Dr Brown Services had that place somatic but built in the photo shop right here is load files into Photoshopped layers these things right here, which I do want to bring up. And you guys should all make notes about thes because tools, photo shop and everything in this list is mind bogglingly useful, and you all have it, and it's been in photo shopped for a 1,000,000 years. They're incredibly useful. So load files into Photoshopped layers in this case is perfect for this project because I've got a bunch of things I'm gonna clash together. There's no reason for you to open up individual files and do it one at a time if you want them. A smart objects you now know about Dr Brown Services. If you don't need that, then built into photo shop is load files in the photo shop. Players thes have already been loaded in as layers. I like that flexibility of them being smart objects. So if I scale something down today and the client says, you know, that should be the background image, not the foreground image. I can literally blow back up to its full size. Back is the background, and I haven't lost anything, so when you're doing collage work, I highly recommend you get used to working with smart objects. So I'm gonna convert those after the fact, which is what I meant to do. The other thing here is that I'll just mention is image processor. If you are ever, you're always going to be getting your files prepped for output. Right? If you're tweaking something with layers and Photoshopped, unless you're going into another adobe product like in designer or illustrator, you're gonna flatten it and save it for the Web. You're gonna flatten it to send it to a printer. You're gonna do something else. You should never do that One at a time. In Photoshopped, you should take finish your entire project. Look in that folder of all your finished graphics, come over here to either image processor or another thing that ships with Dr Brown Services image processor pro for cool people. Since everybody here is a cool person, I'm gonna go right to the pro because it's actually is worth the price of admission. And what Russell has done is come up here and with this I've got seven files selected. I can come up here and save in the same location. Save it in a sub folder. Keep the folder structure. I can choose a different location against save it in three different file formats or three of the same file format of different sizes for each one. I can't change the color space to whatever I like in these multiple options in here. I can rename the file because now I'm able to go in here and say, This is client whatever. I can change and resize to fit. But don't enlarge it, you know? In other words, I'm automating this entire process of output. You should never be doing this one at a time and you can tell it how to do it. I want to do you know, by cubic sharper for going down, renaming it. And I can even embed my copyright information all in one interface. So finish your work, leave it in layers. It'll go back into the bridge when you're all done, do not do one at a time. Come in here and do what you need to do here. Okay, this is image process of pro. The one that's built into Photoshopped, just called good old image processor is also excellent. It's just a kind of truncated version of that. The other thing that is good. That's image processor. The load files for some players merged HDR Pro Dicks in dynamic range. That's combining bracketed exposures. We won't go into that now, but very cool photo margins for stitching together Panorama is, which is very, very cool. It can even be used not for doing a real panorama. You may have noticed a sample in, um over here of a panel. I love panels. You're probably seeing this image right behind me of Molokai is a stitched panel. But things like this you can do this sort of thing in photo merge by taking series of images that will never line up just right. But you don't have to. It's what I call a tossed on the table collage. Okay, imitating a Polaroid. And these, of course, are layer styles because you can stroke with a layer style and add drop shadow. And you now know about image warps You go. Oh, that's that little arc. I got it. You already know exactly how this was done from what we've already done here today. Okay. Each one of these separate image layer style. There's a stroke a drop shadow the image warp little arc there and you're done. And all these were individual files. You can use foot emerge and there's a collage option in photo merges. There's a collage and it won't actually try and stitch him. It just puts him in. So they're in alignment. Okay, Okay. Back to where we were here. We've selected those multiple items. I think that was what we needed to do in terms of the tools photo shop put emerge and process collection and forced up, which we won't get into. A swell that was has some very cool features and foot emerges that Okay, Back to photo shop. We have our images here. If you have a set of images and they're already in here, you have not opened them up. A smart objects You didn't take advantage of Dr Brown services. You can always just simply right click and say, convert to smart object, right click Convert to smart object, right click convert to smart object. All those photographs will now maintain their full resolution Throughout the design process. All you need to do is right. Click. You can't get back to the raw information that's the benefit of opening them up if we were back in the bridge. This is typically how I would do it if we had a photograph. Um, here if we had a photograph and these, of course, are all heavily processed will come up here. It will click on our little iris to go right into adobe camera. Raw adobe camera, raw as a default, opens images up as a regular, pixel filled image layer, just like most people have been doing for a 1,000,000 years. But if you hold down the shift key, it switches to open object. The great thing about it opening up something from Adobe Camera Raw, smart object is not only does it take everything into photo shop, so you can change its scale and warped and distorted and never lose resolute. Excuse me resolution, but it means that you can always get back to the raw data, the original data. When you shot a double click on the thumbnail, it goes back into a CR fine tune. The settings so smart objects are very cool, especially if you could do it when you bring something into photo shop. I just converted it into a smart object after the fact by right clicking and say convert to smart object. So this one as an example, I could come up here and say, Make that a black and white bring in, you know, shadow and clarity and come up here mid tone value. Okay, so there is my black and white. The nice thing when I say open object and that you can do it through the shift key, I'll actually give you one other tip here, since you guys are now all advanced users. Um, this right here it looks like a little piece of hypertext at the bottom. Okay of adobe camera raw, these air known as your workflow options. This is where you can come up here and click on it and say, What? Color space you're going to use What bit? Depth, whether you want it scaled up or down. And I don't recommend doing either at this point, unless you really want go right back out to the web. You can You go right to it. Your peopie I resolution and output sharpening and you could turn on is a default. Like me, I typically bring in everything as a smart object. So there's no reason for me to have to use a modifier key mind defaults toe open object. Okay. And that's how you get to. It is you open up the workflow options at the bottom. Here, you say open object. You now have the file. It's a photo shop. You can come here in a photo shop. Go. What was I drinking? It was a beautiful color photograph. What an idiot. I've now ruined it. Especially if you've come over here and you've done something, you know, like an action. I've done an action that is something like one of the ones I've given you so soft Focus. We'll use an extreme one. All the actions that I'm giving you is part of today. All have a little love notes to him. This this action creates a little soften detail effect when the Gaussian blur filter dollar comes up except our defaults or changed a taste when finishing go back and further experiment with blending modes and opacity of self focus later. So that's just told you about that comes up here, does that nice, beautiful little focus I actually did a very elaborate little jiggery pokery to do our little effect without plugging up shattered detail. So it gives us our nice algo, But go again. What was I thinking? It was a beautiful color photograph. Double click on the thumbnail of my original. It takes it back into adobe camera raw. It should be sending it back into the document. So pretend that right now it went back into the original. It's gotta be because of the beta, but it would take it back and a c r I could unclip gray scale. It would turn it back into full color. I'd close it. It comes back in here full color, and it would actually be fine. Even this because this one is using a blend mode. It's just doing Dodge and burn. It would actually be doing the effect on top of the color image, which would be really cool if you could just see it right now anyway. So that's the idea of smart objects back to here. I've converted these two smart objects after the fact by right clicking on them, and now they're good to go. I'm gonna now come up and before we take our last break and go to our yes. So why would you ever bring something in as a layer and still have a smart object? It's a very good question. One if you're not familiar with how smart objects work there. Disconcerting because let's say you wanted to paint or retouch onto one. You take a brush or, ah, healing brush and click on it, and it would bark at you, like right now if I come over here and try and do that and take my one of my healing brushes and click on an image says this smart object must be rast. Arise before proceeding before proceeding. Edit contents will no longer be available. Restaurants. A smart object. Well, what it should say is because this self contained images actually still remembering its camera raw thing. I can't do what you want, but you know, if you just create an empty layer, it's a sample. All layers you can retouch to your heart's content on top of a smart object. So the fact that something one you get a little X symbol that says, you know, don't even think about it, idiot. You know it's not nice to you and the fact that you don't realize that things that you can't do to it like paint on top of it. You can just simply create another layer on top of it. Paint on it that way. So that's the thing is, if you knew that you couldn't what you wanted to do with that layer you couldn't do to a smart object, which there are certain things, then you may just want to just open it up as a dumb, pixel filled layer. But that's rare. There's really very few things, especially since now Adobe has made it so that even things like liquefying can be done to smart objects. Okay, that's a brand new. So they're everything is moving toward procedural. The fact of us pushing around millions of pixels one at a time is going to seem in a few years like the silliest thing in the world, right? It's just silly that we're working with millions and billions of pixels when really all we need to do is remember a slider location. That's what procedure when I do liquefy here, it's not moving around the millions of pixels that saying Okay, you moved here to hear and it did this and you did that. And I remember six pieces of information, not six billion, because I have to move every single bloody pixel. That's how light room works. That's how adobe camera raw works there. Procedural processors. What we have in pixel pushing is not an elegant way of working. It's destructive. It's slow. You can easily share the results. So, yeah, so smart objects and procedural is a is a is a good way of working. So it's an excellent question. So that's why mine, I said to a default to answer it. So I'm gonna take thes graphics, and I'm just going to take all of these, including the piece of type, and I'm just gonna drag and drop them from one document to another. I want him to come in in the center so they're not off to the sides floating somewhere. If you hold down the shift key, it automatically centers it. So if you drag and drop between one document and another, you can do it there. You can also drag and drop from the bridge. The nice thing is, and we'll see if I'll do it in the last break, because the bridge is the hub for the entire suite. Creative cloud set of applications or older, you can literally drag and drop from the bridge right into whatever application you're working on. So Dragon Drop works fine, including multiple images. So that's another thing to keep in mind. Okay, So what we're gonna do now is just a couple really quick now because of our time frame, Um, tips on collage. So here. We've got this graphic, okay? And I want her in a circle. So how, if you're not familiar, senses the beginners week. Great. Way out. Oh, excuse me. Combine images is by using layer masks, a couple tips related a layer mask. A lot of people don't know. I'm gonna come over here, take a marquee, will do a circular marquis. I'm gonna give it a little feather. Will do like a 20 pixel feather. So with soft edge on the selection, and I mentioned that you can drag out a circle. Obviously, that shift key I mentioned is going to constrain it to a perfect circle. Get rid of that one. And the if you hold down the option or all key, it will drag out from the center option and shift or all shift means that it's a perfect circle coming from the center. So I'm gonna come up here and move that selection into place. I've got that layer active. I don't have to worry about scaling it or anything else like that. And I click on the add a mask icon down here, and any time you have marching ants and you click on this, it says, Oh, I bet you want me to use those marching ants is the start of your nice, soft edge layer mask. So I've got my first graphic ready, and it's doing a beautiful blend into my background. Okay, Nice feathered edge. Okay, which I can continue to customize later on if I want. But right now, I can now do a free transform not worrying about resolution or anything else because I know I've got plenty and I'll just move it into position. This is a classic tip for those of you who have been with me over the years and the audience you're going, I remember that from when I was a kid. Yeah, this is one of those classic ones that I still like teaching with. Okay? Another graphic over here. We'll do this one because this is a smart object. Aiken already go ahead and scale it without worrying about if the client wants to change it next week. And, of course, for zooming in and out one. You'll notice that I like how there's no screen in the background. You don't see the desktop or anything else. I'm in what's known as a full screen mode. Okay, the full screen or Commander control F options. Um, if you tap the F key on the Macal will finish this transformation. But in this full screen mode, I can zoom anywhere on the screen and I can zoom in anywhere on the screen. If I wasn't in full screen mode, that corner would be underneath this layers palette over there, and I could never see it. So by tapping the F key, it's not command. After control F you just tap F key. You can go from the individual panels to full screen to black background and then back it cycles through. So I love full screen mode. It allows me to go through and move the image wherever I want. Um, the space bar is obviously giving me my grab her hand space bar in command key or control Key on the PC is my zoom in space bar an option? All zoom out. I keep forgetting sometimes mentioned that because some people who are new just don't know the shortcuts hit the enter key now have scaled the file. I'm gonna add another little layer mass to it. In this time, I'm not starting with marching ants, so it's just a empty layer mask. Everything is in there, and what I'm gonna do is add a Grady Int. So with my colors to black and white, that's going to go from black to white blacks gonna hide. White's gonna show. I'm just going to click. The mask is active looking over here. I'm not gonna try and paint on the image. The mask has the border around it. So we're now I paint it's painting on the mask, not on the photograph. I've come over here and clicked on the Grady int tool, which by definition makes Grady INTs. Hence the name. It's all its options are up here in its options bar, just like the type tool and other tools that we've used so far. right, So that all the options in this case, it's a linear Grady int going from black to white. I can choose different. Grady. It's up here, by the way. Yes, I'm also giving you Grady and presets. I'm gonna click right on the top of this image. And since black is gonna hide and white is going to reveal when I click and drag down I get a perfectly smooth Grady int that is doing a perfectly smooth transition from one photograph into another, fading into oblivion. And since I started right within the photograph, there's no chance of seeing an edge. It's perfect. Okay, so right now we have got, um, two different types of masking. One was done by starting off with a oval that had a ah feather set to it and that selected it and then made the mask. And then on this one, I made the mask. And then I painted something on in this case I painted with ingredient. I could have just as easily on this one here. If I go back to this one, let me go ahead and fill that one with white and just take a big old honkin paintbrush. It's exactly the same if I come up here and Ah, okay. Paint with a good old fashioned brush on. So whether I use a Grady Int or a hand painted area, it's the same thing. Okay, It's the black is hiding that portion of the image. Which, by the way, what shortcut am I using Toe? See the mask that's holding down the option key on the mackerel key on the PC. If you want, you can temporarily turn off a mask to see what it looked like. You see this Red X here that is holding down the shift key and clicking on it. Okay, The last but not least, I'm gonna come over here on our last photograph, come over here and scale it down and do exactly what I did. Just a second goes. I'm gonna hand mass this off, okay? We're gonna end it return key at a mask. I've got a nice, big soft paintbrush filled with black, and I'm just gonna come up here and organically bring in one photograph into another. If I wanted faded kind of halfway, I can change that Opacity of the brush tapping in the number keys when you have a brush, active changes the opacity of the brush. Now that's 50%. So now I'm gonna paint 50% gray on this mask, which means it's a 50% you know, fade a little tip that I'll give you here. I'm painting down here. The black is hiding in the white is revealing. A great keyboard shortcut is the X key because it exchanges your foreground and background color. Now I could bring back the woman's face that I accidentally did too much of. So by knowing X key, you can paint, reveal, hide, reveal hide go really quickly with your masking. Okay, X. So now I've got that. I've got my three images. Three different ways of masking. They're all smart objects of the resolution Independent. I've got my piece of type here. Now you guys know about type and why am I not seeing my type woman seeing my type? The fund that's saying that it can't find the fund, which I'm gonna change, but it should still preview the fun. It's probably Oh, you know why? You know why? I remember when I brought it in the size of all my master files so it's off somewhere outside. So it would be really good to know how to, um, get back to that right? If you go image, reveal all it's going to reveal your type or whatever is off to the side. If you ever lose something off the side and you can't get to it, reveal all is going to bring everything into the visible range. And then you actually can go image trim and say, Would you please trim everything based upon the top layer bottom top left bottom right or transparency? So reveal all in trim, which I did that real quick are awesome. The trim is how you get your graphic a smallest possible for web graphics because sometimes if you get a soft edge drop shadow, you don't know where to crop it, right? Trim goes up to a 1% pixel and stops so trim is awesome. It's been Photoshopped for 100 years. Okay, so last but not least, we have got our graphic here. We've got our typography. We've got our fonts, you know, now know about that ridiculous way of seeing really large, um, font sizes. I didn't at lunch load in my own library. But we don't come up here We like. Since we'll say that it's this is associate it with our other one. So we'll use are, um, copper plate. I got that here. We can use our little transform well at our layer style. So this is all Consider this a review or what we've already done. We like our thing here. It's not doing any favors to our model. So the last thing that we're gonna do here, in terms of this and we actually let's do this because I want to make this this is actually more of a logo. So I'm gonna come over here, remember our little I ran out of room icon. I need more options. So here's my characters. So here is my tracking. Okay. So we can let her space it out if we want it cool and groovy, or we can come over here and we are going to tighten it up. And actually, I like, as I mentioned before, if you select all and that left and right, arrow keys lets you do your current ing or tracking. Since I select multiple letters, I can come up here and use my up and down arrow keys to do more than just a single letter. So I want to make it kind of a almost a logo kind of thing where I'm doing the no cut away. Then I'll go with that and we'll do one more here. So options will Kern that in little tight? Okay, so we'll say That's our new logo. I just got paid $100,000 here. So awesome. I've got that. I'm not liking what it's doing in the model. I'm gonna come over here. Can I had a layer master life type? Yes, I can. Can you come over here to my paintbrush and take a nice black paintbrush at 100% and come up here, Get rid of that green one and can I paint on here? I can wait a minute. It's What is it? It's chewing away at the metal because layer styles are applied to the transition between what's an opaque and transparent which shows you really cool. I can actually carved into the fund. That's not the look I'm going for. So the one thing I the reason why I mentioned that is we go back to our layer styles. Remember, this is where all the Bev ALS and textures and pattern overlays come in these right here or your fill. Opacity ease. Have you ever wondered why there's to a fill? Opacity is, that's why, because you can affect portions of a layer style independent of other portions, but specifically this one right here, layer mask hides the effect. The alternative, since it's not collect, is that the layer mask shapes the effect. So by turning this on right here, it now does a regular hiding of it. It no longer shapes that effect. So now we can have the type you know, fade into our model. Okay, so the thing to remember about this one I want I want to share in terms of your graphic design options is layer mask. So your friend, they're easy. They're quick whether you start with marching ants like we did with this woman here, or whether you start with a blank canvas like here, and either paint on it or do ingredient, or whether you do what we did here, which was do the world's ugliest hand painting and able to fade a photograph in or another one just very easily combine that with the other ones here we've even got. Now, if we've hidden, you know anything in the background because of our base background. But we use that little trick of a texture in the overlay or soft light blend mode is giving us our nice little watercolor background. Okay, which of course, we could mask out if that was not complimentary to the to the woman. And then the last thing with the type the layer styles which we think are cool and groovy. Remember that if you want to mask them, they do have this. One characteristic is that they want to be shaped by the transparency. So you simply click that little check box here that the layer mask hides the effects and you're good to go.

Class Materials

bonus material with purchase

3D Transform-Before.psd
Caffein3 fin flat logo.ai
Davis One-Click Wow Preset Sampler 2013.zip
Davis-034Wow-Styles Tutorial 3.psd
Davis-040Color Embossing-After.psd
Davis-Design as Storytelling.pdf
Design Essentials Outline.rtf

Ratings and Reviews

Student Work

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