Design Fundamentals in Adobe® Photoshop®
Now I kind of have this down tio two different parts right because I could jump in and, uh you know, show you what everything does but I want to show you like, you know, not only how to do things but what she would do like as a designer, what fonts would you choose and then how would you manage assets? I'm pretty much convincing in art school in fifteen minutes and then applying those in photo shop like the most effective way possible and showing you really the latest greatest like pro tips to take advantage of what you've just learned in your your condensed art school and really that's what it is the design fundamentals will do designing and photo shop and then pro tips okay, sort of the design fundamentalist just kind of click through some of this I mean the sort of a design I'm not going to get all do she on you if you don't use that word but you know what I'm saying like you thinking colors? No, I just want to really give you this like a really straightforward how to create a compe...
lling layout and how to use fonts and color as well and the effective way of doing that so it's going to be live imagery type in color because we could get in to layout design little design guys huge the big thing that you're doing is you're just leading the eye right? Have you ever looked at something and you might like it? I might be compelling it's compelling, probably because you're leading your I and you're probably your eyes kind of flowing through that image or that design you're leading the eye, right? So that's that's the big thing you're going to do, whether it's ah poster design or a website design that's exactly what you're doing. But have you ever looked at designer like that's? Not very good. Maybe have to images or to things that are competing for your attention. That's typically what's going on, you need to break it down into reads. Ok, and we'll do this little still this final exercise, right? Which letter has the first read? Guys yelling out see let's kind of go through this. Which one? Huh? See what? My teaching spanish here. See that's funny one cia's. Well, right and well that's a that's a tough one. You don't hardly even need to answer that. And then hopefully see there with that line and then see there that's the last one. But I just click through some various images. All of a sudden you guys know spanish just great. But in general, where you're leading your I threw that image based on design principles, all right that's what you're doing so we have all these design prince like all these different tools to control your eye and have it lead different ways and these this is really what it is guys it kind of comes down to give it a second you have order right amongst that order we want variety will use contrast symmetry attention this is all stuff you learn our school scale of things texture, space shape and light and you can get in the shade and then you get into color but all of these little bullet points that's what you have at your disposal right? So how typically all start out as like, ok, I'm going to create some order here's maybe all of the content very orderly and then it's like it leans so far orderly that it's like boring so what do you do with that orderly? You add some variety you have that pop of something right? So you break it up it's like okay, easy my brain feels nice and comfortable it's going to fall asleep you know let's make it interesting variety contrast, symmetry, tension I often like I don't know. I like to think I had this original thought of like you're basically using your whole brain when you're looking at a layouts andre is your left brain in your right brain so you are left brain being very orderly in systematic kind of you know, sort of using symmetry and uh you know, order and then you have your right brain this is where the contrast the tension, the tension variety comes into play so it's like a whole brain design okay, but all these things were going to use at our disposal, right? I think as you mature as a designer you realize like less is more and I truly believe that and I'm glad we're in this day and age where like again flat design clean design is is really winning out right? All this clutter it's like clean design has really kind of risen to the top okay hard so I threw out all those principles that you will use those right? I'll mention them throughout but even when I opened up photo shop file new super fun optimistic yes file new but what do I do? I gotta drop things in there how do you start to divide up the screen? You can do it different ways. Honestly, this is the probably the big art school thing that you may or may not be aware of if you guys sort of the golden ratio or golden mean you're probably aware of it so yeah it's just a way of dividing up the screen if you will or any painting so they'll take this um not alice sort of spiral and they'll often take these and lamb over like classic painting so they'll take the mona lisa and they noticed the mona lisa's face lines up with this sort of ratio and you start to go mad because you see that one by one point six one eight everywhere right? But all this says it's not just slap something in the middle and make it look boring that's what this says you know, have something off to the side make it interesting by offsetting things right? So again, you don't really want to have a very straightforward approach you can do that, but typically you kind of break it up and you easily see this with a website design sort of having your main content and then you're you're ancillary content or your menu off site in fact, guys, honestly, if I took this I could take this one by one one by one point six one eight and put it on top of state twitter dot com that page and it will divide up that that exact way, right? And I've done this with various examples seeing it split up like that okay, so that's what they want to keep in mind let's, let's have things off set a little bit let's have somehow did entertain what surprised the brain right? But as we're adding content, what about typography, right and these are the only two things I'm really going to say about fonts uh, choose a font that fits the subject right? So we're not going to use gowdy old style if we're apple right or comic sands yeah, if you're you know ari, I or whoever right man a comic sans got eleven, huh? Yeah, those up so you guys get it fonts are like, you know, they just they convey a personality but I don't want to get all do she hot you want to talk about that stuff? Yes, I said that word twice now don't use more than three I usually stick to like to write because you could go with helvetica knew and then you're going you have like fifty different versions of helvetica knew I'm sorry call me boring let's face it you guys as designers who kind of doesn't design in the room here just by show of hands she was kind of do some design. So now in the last, like any designer, right, drew might even know has like a thousand points on their machine and what you use like maybe ten but you have them all and it's kind of funny that that's how you do things you like as you develop as a designer, you realize you just need lester, you find the ten that you really like so it really boils down to two we have sarah, which is going to be these little sort of low hanging a little things that are on the little it's very cute look at it and a little personality, right? So sarah is not that popular right now, by the way, but you can read a whole word of a sara font much easier than you can a sand saref because the idea of all these sarah ifs is toe have it flow into the next letter so it flows from one letter to the next so it's supposed to be easier to read? Ah, word as a whole, right? Um as for recognizing the individual characters, sands is really where it's at sands is really popular these days. I think I read something like sixty percent of fonts out there on the web are our sand sarah, which that makes sense for screens and then it's, like thirty years are our sara, but this I can read their individual shapes and that's how you'd see a children's book if you're teaching them the letters, they're typically sand saref, ok, but really those are your two choices we can get into all the specifics, the different you know, neoclassical all the different types of fonts, but I'm going to make it even easier on you when I get into that super excited, yeah sorry about that little the widow down there shame on me as a designer to have a widow on this slide which is that writing word but typography has one plane duty before that's to convey information in writing so that's when I said, you know, I don't want to act like a tool to get all high and mighty with fonts because really just needs to if if you honestly I think if you notice the font that's if you're if you're not a designer and you notice the font that's almost an issue because it's not about the haunt it's about the information right and making sure it matches with your message type get is what I'm gonna use for that color again this is our last thing will dive in a photo shop right that this color wheel yeah so what do we pick here? Right? And as you may or may not know, all colors pretty much convey a certain meaning as well just like fonts to so do colors right? So you have your you have your warm colors, your reds, your oranges like typically you'll never see a restaurant that's not in the warm family why is that? Because honestly, at least this is the theory behind it sure it's warm it's, you know, stimulates appetite, but honestly you won't see that many uh what's the word I'm looking for uh, food you won't see much food that's not in this family. Like how many purple items do you know? There's like a purple squash? Maybe and there might be, like, maybe grapes or something like that, but typically it's like it's, your it's, your reds, your oranges, like even have a color named after a fruit and that's, why you see that? So if I'm designing for a restaurant, I'm gonna pick from the warm family, right? And kind of go that direction. Uh, most popular color. It was on the slide. Do you guys see that? Blue, like forty percent of the population. That's their favorite color. That's my favorite color, right? You see it everywhere, you might think it's kind of boring, but it's very peaceful, you know, and is wonderful. I'm gonna get into, uh, adobe color when I talk about taking specific colors because chances are you're really given a color based on potentially the logo of the company. Here's the logo color. You go from there and you know exactly what to other colors to go with and how what? How much of that color should you use? Right? The intensity, all that stuff is really fun to think about, but that's going toe do the same thing, so again, huge it's. All about minimalism, I guess, but use color to emphasize importance, not decorated. Page, I think, and you had some red. Well, why what's the purpose of that red being there, right. So what feeling you're trying to convey is that even needed there to begin with, right? So, anyway, designing and photo shop that's, what I'm going to tackle, enable you to decide and quickly and design with flexibility rights, going to jump in there, show you sort of what to use, how to use it, and how to create a very flexible design so we can use it many different ways. This is the long bullet list. I don't mean to scare you, because we're gonna be doing a lot of this right now.