*Transcription Disclaimer: the following transcription was automatically generated, and may have errors, or lack context.*
Good morning, everybody. How are you guys doing today? Welcome to getting started in poster design, in photoshop. We are going to have some fun today, so I'm really, really excited for you guys to hang out with me.
If you guys are on YouTube, come on over to Behance. Hang out with us over there, behance Net Live. We're going to have some fun.
So I'm really, really excited to share this moment with you a little bit about me. My name is Alex Lazaris, and I am a creative director out here in Portland, Oregon. I run my own design firm called Lazaris.
I like to name things after myself, apparently, so that's what I did. If you want, though, you can always come on over, check out my work on Behance. Or if you really want to, you can go to our website for the design firm www.weareLazaris.com.
You can see on my old Behance that we've done a lot of really cool things together on Adobe Live. We've done these ghost peppers, the sorbo tequila bottles. What else? We did the goats and boats design challenge with the Voodoo Val, who you'll see again later today.
So definitely make sure you stick around, not just for my stream, but for theirs as well. Sean, how are you doing? Good morning, everybody. How is everybody today? We are going to be really collaborative throughout the whole process.
Today I want to make posters with you guys for you guys together. So if you guys have any questions throughout the process, please definitely ask. You can ask about pretty much anything.
I'm pretty transparent. I like to talk to you guys about business and process and careers and how do I do what I do, all those great questions. We can absolutely do it together.
We are going to actually do pretty much any posters we can think of together as a group. We're trying to go for quality and quantity, both of those two things together. So there's really no kind of off limits aspects.
But in the meantime, while you're in Chat, tell me where you're from. Tell me what time it is there, because it's 730 here. I'm excited to hang out with you guys.
I'm also a little pumped up right now. I'm listening to throwback tunes. I don't play music.
So I want you guys to play your own music in the background, whatever you vibe with, that's what I want you to listen to. We're going to go on this journey together for the next hour and a half together, and it's going to be awesome. So how is everybody? Let's get going.
All right, so what we're going to do is, since we're doing posters, we're going to start with 24 x 36. Oh, sorry. I didn't mean to pick up the rumble.
Let me turn down my mic just a little bit. I think we might be peeking anyways. Tim's like, Alex, you're too excited this morning.
Too excited. But I think the mic turned on just a little bit should probably be good. So if not, then we can change it.
All right, so what we're going to do is we're going to create a new artboard together, 24 x 36. But we're going to go in here. If you're not familiar with artboards in Photoshop, there's an artboards button.
I'm going to click that. So dimensions 24 x 36, resolution 72. Just so in case you do want to print your posters, you have something that works.
If you want to if you want to have a really print ready piece, make it a 300 resolution. But because I'm doing so many posters and we're working pretty quickly, I'm going to keep it at 72 just so it doesn't load up my computer and it doesn't go too slow. So, boom.
One artboard. What I'm going to do is actually just duplicate this artboard right here by just selecting the title of it. And then I press command.
J boop. And I'll duplicate it and I command J again. Boop.
Got it. And now I'm going to grab all three of them. Oops all three of them command J, and I'm just going to drag them down.
So I have, like, just six really quick posters that we can look at together as like a group once we're done mass roar. I don't know if I'm saying that correctly, but how do you do brainstorming process for getting an idea? Well, it really starts with, I think, gathering constraints. If you don't have constraints and you don't have an idea of what you're looking to do, then I think you're going to just kind of wallow in the world of like, what am I going to make? How do I do these things? And so defining what you're going to be working on is very, very helpful.
So I have one initial idea for you guys, because I'm wearing my cat shirt, my handy dandy cat shirt. Today, I'm going to start with a meme poster. But I want you guys'ideas we can do event posters, we can do business posters, we can do some, like, Swiss style posters.
We can do abstract posters. Whatever you guys want to work on today, we can just chart through it and have a big collection of things at the end of the day. And Tim says, Best thing about artboards is you can add multiple artboards, select them all, and change the BG in all artboards at once.
That's true. Sean asks, do you normally work in CMYK? And I would say, it really depends on what I'm working on. I typically prefer RGB because I typically work with digital.
And then I can convert everything to CMYK later on if I'm working in a print document, obviously I'm going to be using CMYK. So it really just depends on the art space that I'm working on or what the client stuff is. Mallory says, movie posters are documentary.
OOH. Let's do that, we can incorporate all these great things together today. So I'm excited.
All right, so the meme posters starting off, it's always important to have good reference material. I've just got all my little assets. Let me hear.
I've got this guy the hang in there, baby meme cat. All right, so since I got the cat t shirt on, we're gonna do a hang in there meme cat poster. All right, so I went to Adobe stock earlier, which is great if you guys haven't used Adobe stock.
Great tool for you to find stock assets that you can leverage for all of your projects. They have everything from three d to templates to photos and videos. It's insane.
So definitely leverage that. You can also pull stuff from unsplash. So I've done unsplash pooling of assets.
As you can see here, I've already got probably, like, 23 items of stock assets that we can pull for this project. So we've got a lot of tools in our tool chest for this morning. I don't know why I say tools in the tool chest so much, but it's okay.
All right, so we've got four of these beautiful little cats that I got off of Adobe stock earlier. Trying to think. I think this guy on the bottom right seems to be more of the cat from our reference material.
All right, so what we're actually going to do is I'm going to put the inspiration side by side. I'm just going to bring this up. Boom.
POW. All right, this is our inspiration on the sign. And then on artboard one, we've got our beautiful little cat kitten.
I guess it's not a full cat yet. Wow, look how easy this is already. So what I can do here is actually just do object selection as well.
Actually, I don't want to do that yet because I don't want to rasterize this image until it's done. And pretty much if I just drag this into the corner, it'll be fine. I'm just making it a little bit bigger by transforming it command t to do it.
Yeah, it's pretty much done, right, Tim? We're good. We can ship it. I don't like that he's not looking at the camera, but whatever, it'll work.
This is just to get the creative juices flowing. Sometimes you just need to get going and sit down and start making things so you can get over the little creative slump. Look at that.
Perfect. All right, so now what we're going to do is we're actually going to go to our filter and we're going to do render different clouds. Think it's clouds? It might be difference clouds.
Look at that. We're so close. We're so close.
Who photographs these kittens? And rope. Nailed it. Yeah, exactly.
So we've got the difference clouds. Oh, no, I accidentally put it on that layer, so I overwrote it. I'm going to go back to it.
Filter render clouds. So nice. All right, what we're going to do is also pull down the background.
What we're going to do, which is such a great tool, such a great feature, is the object select tool. So if you don't know where that is, it's in between the panel with your magic wand and your quick selection tool. Grab that.
What we're going to do is actually just grab it and drag it over our cat and a rope, and then it will detect the cat as best that it can so that we can just click the masking button down at the bottom right there. Got to turn around. There you go.
At the bottom right of your screen, add layer mask. Boom. Look at that.
It's also got, like, all the great masking from the other one. Hey, RV. Welcome.
All right, so now we've got our cat. Now we got to just adjust the we're going to do a little solid color pass on it. It'll be like this.
And then I'm going to change the layer, the layer adjustment layer. I don't know the words anymore. It's fine.
Look at that. Overlay. Boom.
Overlay on that's. Looking great. Now we're just going to go in there, and we're going to just do a little quick touch up.
We're not going to go too crazy because I don't know about you guys, I want to get started on the other posters, but we're just doing this to really quickly just start together, get our creative juices flowing. All right, there we go. And now I should be able to just brush that out.
Boom. POW. Use the magic wand there, selected all the white, and then I just brush that off.
He's so happy. Okay, he's not really that happy. That mask looks interesting.
It is interesting, but for the memes, it's fine. Now we need to put in. Hang in there, baby.
I'm not going to put baby. It's not a baby. It's a kitten.
I'm going to do something like Cooper Black to kind of because it's closer, but it's a better typeface. We're just going to make our own version of it. All right, so I'm going to actually drag it command t and then alt shift.
Oops, not alt shift. I always do that every time in Photoshop. I'm so used to the old ways.
Hang in there. Boom. All right, I'm going to center that copy, and then I'm going to grab it, and then I'm going to go up to the top left at the transform tools.
I'm just going to point everywhere the wrong way, the aligned horizontal center, and then I'll pop it straight in the center there. Boom. Hanging.
I got to use impact. All right, we can do Impact. That's fine.
Impact regular. Just for the memes. Chef's kiss.
Looking real good. Beautiful. Boom.
POW. Incredible. Now you've made your first meme motivational poster.
Welcome to 2010, baby. Exactly. Yeah.
Welcome. I'm going to rename this artboard to hang in there. All right, chat.
What's the next poster we're going to do? We're going to do looks prime for a T shirt. It's ready, man. It is absolutely ready.
Just warp the rope so it goes nicely around the collar. And that way you have like kind of a cap. Bling.
You're set. You guys are set. You guys are clever.
I love it. All right, Tim, you should do a stream about hidden gems in Photoshop. There's so many.
And the banana tool. I forgot about the banana tool. It's been so long.
I learned that on Adobe Live, like a long time ago, almost a year ago. And now I've forgotten how to do it. But there's a banana widget you can put in your toolbar.
Does nothing, but it's cool. All right, so we've got a lot of different things we can do for posters. I'm going to start with an abstract and then whatever you guys think we should do.
If you guys think a DJ, let's see what inspiration we have. Not inspiration, but stock images. Actually, I'm going to do something swiss.
I'm going to start with this car and I'm going to actually do the same thing that I did originally with the object selection tool because I think it's just such a wonderful tool and that all will just quickly mask out stuff for us. And it's so simple. Something fantasy styled.
Okay, we could do some fantasy styled as well. Absolutely. We'll do that next.
I think there might be a little bit of combination between some fun and abstract pieces, plus some literal objects in there that we can do and that will maybe accomplish the fantasy. Let's see. All right, so we got the car nicely masked.
Let's just grab the object. Boom. We can always go in later on.
And just so pressing B will bring up your brush tool. You can kind of go in and mask things out on the object mask. So black and white is what you work on.
If you change your color to a gray, then it's going to be slightly masked, but not completely hard. So just think about that when you're masking things, you want it to be a hard black and white sometimes. Perhaps.
I already did a three part stream. Perhaps. Perhaps.
All right, so I don't want to get too too crazy with all this masking on underneath it yet. So I might also I'm just going to duplicate this layer. So command J or control J if you're on a PC.
And I'm going to actually take this and just remove maybe this bottom section. I'm going to take my paint bucket by pressing G and then bringing it up. I'm going to change it and then that will get me away from all the terrible masking problems that we'll have at the bottom slightly.
May actually just go in there, crisp everything up. It's a little bit of like a pixel off sometimes. Let's see.
So we can also adjust the car color if we want to. What color? So by going in and putting just the hue saturation, we can change the color of the car pretty quickly and easily as you see it's like, oh, that green is kind of nice. That actually looks really cool.
All right. The one thing that we'll have to notice is, like, those windows right there are looking a little bit purple. So if we wanted to, we could just grab the magic wand tool, go back down to our car layer, and then select the windows by I'm just clicking it, but I'm pressing shift and clicking multiple times.
So it's just grabbing each little section. And then I'm going to go back up to the mask on the hue saturation, and I'm going to just press G on it and paint the black in there. And as you can see, really tidies it up, brings it back to the kind of normal color.
The mustard yellow is good. We can also do the mustard yellow. I mean, as I said, Chat, we're doing this together.
Mustard yellow, something like that. What I'm going to do is also maybe add in. So I'm going to grab the ellipse tool here.
I'm going to make another layer, and we're going to do a shape ellipse tool shape. And then I'm going to change the fill color to, like, red. Maybe.
Maybe, I don't know. The car has become a rainbow now. That truly is fantastical.
Yeah, I've always wanted to kind of mess with that as, like, an option for just, like, making a GIF out of something like that or just kind of, like, changing the color on it, get kind of wild and crazy. So what we can do if we wanted to go, like, super Swiss, I can do these little elements that kind of are masked on top of it. Let's see here.
I don't know what this Porsche is. So if anybody's a car nerd and that actually knows what this car is, let's put it in there. Let's do, I guess, some type we're going to use.
Helvetica do a deep purple, almost eggplant on the Ellipse. Could do that. Let's see here.
Deep purple it but if we do this deep purple, then we need to bring up the brightness on that. E. I'm forcing it now.
All right, hold on. Let's get the type in there first. Also, for some reason, just feel like Swiss type posters always use reds.
I'm like, I don't know. Maybe we should use red somehow. We'll see.
All right, let's see here. GT 3000. Just make up cars and words.
Is it just a 911? Hellvetica, let's do something like this. Make it feel maybe like by using italics. Maybe it feels like it goes on like it's the back bumper.
So we're doing is just pulling this in. I can also match that. Let's see here.
Maybe not italics. Maybe just regular or maybe bold all right, so we got this going there. Does this go behind the car, I wonder? Okay, so because as you're seeing here, the Hue saturation is going on all the layers right now.
So what I'm going to do is actually take my Alt and go in between. So I'm going to take my Alt or option key, and then I'm going to click in between the two layers. You can see there's a small little arrow down, and it's going to just go for that one layer.
So there we go. Maybe this needs to now be yellow. Maybe not.
Let me see if increasing the size of it. No, I kind of like it off to the side. So we can also do Google 911 Facts real quick.
I'm going to say, okay, I'm going to just grab this. I'm going to make a type layer. Boom.
POW. Then here, change the type size to, like, 72. I'm going to turn off all caps.
I'll move this over here. That's perfect. Lay out your type like this.
It's readable and everybody enjoys it. I'm going to actually just decrease that and then increase the kerning or tracking, letting all the things words. I'm going to actually lower the typeface down a lot lower, maybe 36.
Try to get it to be a little bit more contained, maybe. That's fine. I'm going to just lower that down to maybe 24.
I thought it was a very James Bond as well. You had a gun and it's a double seven movie. That's true.
We get the barrel. What we can do is also we can just lay out this type and just flip it. Do I have anything bigger? Do I have Helvetica? I do.
Let's see here. Hmm. Get rid of this ellipse first.
And what is the I'm actually just gonna UN what did I do to my car? I must have moved the one layer. Strange. All right, let's see here.
Move over this type real quick and then maybe are we still liking the mustard yellow? What do you think, Chat? On the Hubcap lens flare? We need to add a drop shadow on the circle. We could we could always drop all the shadows on all the things. Let's hear I'm trying to think Swiss posters.
Maybe there's a trying to see if I have any do I want to combine? Is that is that the answer? It's actually a really good name for it. Let me keep looking real quick. Sorry, Chat.
Trying to see if I have any other assets that we might be able to leverage. Not really. So we could do something where we, like, mask out this back bottom piece.
And then I could do maybe this is, like, starting to get a little bit more said. Bring back the circle and put the text in. Put the text inside of the circle.
Swiss with palm trees. I mean, we're making up our own things, guys. We're making up our own posters.
It's fine. Actually. Let me see.
Do. If I took this, I could even like that one. All right.
So if I took the ellipse tool oops, I need to maybe this is the move. Something like that, where the mask starts to become a little bit more important. It kind of works.
Let me actually just fix these delete layer mask and make another layer mask. And then I'm going to grab these area text in a custom shape. Another hidden gem.
There's lots of hidden gems that actually starts to work pretty nicely because the windows are pretty much the same color. So what I can do is try to get it just a little closer. Let me fix the I don't want to spend too much time on these on the brushing out of assets.
But if you're following along at home and you're trying to work on this stuff, you can just grab your brush, go to the mask. I'm going to do something a little bit harder and you just want to tidy up some of these pieces. Click.
If I click from one point to the other by holding shift it'll go straight. It'll be a straight hard line. I'll get us closer.
It's not perfect, but we're not trying to get super perfect with the masking right now. I think that's fine. See here? If I also just soften this brush a little bit, maybe I can I'll leave it.
I think it's fine. Oh, no. Where did all my artboards go? I pressed something alt, I think.
View. Tim. What did I do? I hid all my artboards.
View. All right. Yeah.
Tim, save me. How did I hide all my artboards? Anyways, we'll move on to the next one while Tim saves me. Oh, they're just hidden.
Wow. Okay, the eyeballs. Just turn on the eyeballs.
All right, chat. There we go. Everything is back to normal.
Everything got hidden. That was sad. All right, so we got our hang in there.
We got a quick little 3000. Unhide them. Yeah, thanks.
I swear I've been doing this for more than a day, guys, I promise. All right, I'm going to save this just so we don't run into any issues down the line. Posters.
PSD. All right, let's go a little bit more abstract this time. I know somebody was saying fantasy.
We'll get there. We'll get there. We'll get a little bit like a little bit more similar stuff with this real quick.
And then if we want to, we can get pretty crazy. Let me show you. What do we want to do? I've got some think you guys are going to find that I really like circles, like, a lot, too much.
I'm going to actually grab the object selection tool again. You're going to find how useful this tool is. Object selection tool.
Boom. POW. Grab the hands.
Again. Not completely perfect, but that's okay. I'm going to just help it out a little bit by using the quick selection tool.
And I'm going to do shift, and it'll change the icon from a minus to a plus. And that should help a little bit in there. I'm just going to kind of guide it back into the on the hands itself.
You can do this a bunch of different ways. This is just what I'm doing right now. I'm just going to kind of, like, brush it around the hands, and that should help it's pretty close.
All right. And now I'm going to mask it. And now I'm going to throw in on the background.
Solid color. Solid color. Brown.
Let's not do brown because this image is black and white already. I kind of want to keep it in that vein, but maybe that's not good with how masked this is. All right, we might have to just cheat this one chat.
We're going to cheat it by putting white again or yeah, let's just keep it white. We're going to grab that same kind of concept we did with earlier. Hasham says hi from Behance's time.
Can you please show us how to make a poster using the same style as Frank Moth on Instagram? I believe it's called vintage collage. I'm not familiar with Frank Moth's work, but we can add in some collage aspects. I think everything you're seeing me do right now, especially with the 3000, is a great way to build a collage type of thing.
Looks like a job for the select and mask, where you can smooth out a mask. Yeah, that's true. I just don't want to deal with it right now.
So what I'm going to do is actually just do this and then maybe we leverage the red again. Do mask, multiply. Maybe there's something else we need to do with it.
Maybe we just pit the directions completely. Not like it. I don't know we can do so if you want to get let's see here.
Let's do some more Porsche facts. Helvetica bold. I'm going to grab this.
Actually, no, I won't. We're going to grab the type. We're going to bump it up all the way up, and we're going to turn it off bold.
Do regular? No, we're going to keep it bold. Then bump this down lower. That actually we can do maybe we do all bold.
I'm actually going to change this typeface. I've got floro believe. Yeah, that looks a little bit nicer.
What I can do is actually let's see if I bring in the tracking a little bit, how it's going to make it feel. All right. Center it, then transform centered.
What we can do is we can do a couple of different things with patterns and masks. So what we can actually do that will help you in your process of making posters for your events and stuff is we can pull in some assets like this. Starting with a cool image is always really helpful, but what you can do with these images or assets is that you can take them and leverage PNGs.
Essentially, like anything with dithering or brushes. You can actually use the why am I blinking? You can use the image above it to kind of create these fun little background patterns. So if I move this, like, this black and white image or black PNG, it's actually just coloring it.
The image above it by doing the alt click down is kind of creating like a layer mask of sorts. And what you can do is combine that with a bunch of different images. So if I wanted to, I could just get another Porsche image.
And I was hoping for a vintage one, but I can post this in here. I'm going to just move this up and then pull it down here. So if I wanted to, I could keep that.
So that almost creates like a light leak because of the layer above it and light leaks. You will probably see a lot of in video transitions and things like that. Let me see.
What I can also do is add in another adjustment on top of this to kind of make a mask so you're not seeing this bottom thing. So I'm really what I'm actually just going to do here is make a black boom boom. Brush it in a little bit.
That's an option. We can also just pull in any images I have. So I've got some stock images I pulled from unstock or Unsplash, and they could get pretty crazy if we wanted to.
I don't know what this is going to do for us yet. We'll see. I could pull in another little bit of some more masking elements and then move this up and then alt click down or command or option click down.
And because this is so black, it's actually not really masking very much. Ah. Oh, no.
I need more white on there. I'm in a negative space. Roller says do something in Kulichek design style.
Don't know what that is, kulichek or who that is, I guess is better way to say it. Unfortunately, there's just so many talented people in the world, and I don't know all of them yet. Maybe one day.
So we got that post. All right, so what we can also do is add in some type. I'm actually going to pull these layers up.
Let's see here, actually. So while you can do that as masking, what I might want to do actually, it kind of needs that for this guy. I'm going to change the background color to be black, and I'm going to scale this down, and I'm going to I don't know what I'm going to do with that.
So I'm just going to keep pivoting directions until we make something cool together. Chat. I'm going to just actually just hide this layer.
I'm going to add in a solid color again, make another layer. I've got an architecture poster. Or an image, not a poster.
Let's see here. Let me do this. Oops.
So we can do that or it's like the designer works a lot with shapes and Kaika Tipper style, I guess. That's cool. So what we can do here is just do some nice type treatments.
You can see how, like, if you were to frame your own image, I made up an architecture firm, bullsh and Co, or like something like this. So we'll just leverage that again, do something like this, and then maybe this needs to go down below it. I'm going to give it let's do 100.
And then I'm going to actually just make this probably black, and I'm going to actually current it up or track it up more. 105. I'm going to unbold it.
There we go. It's getting closer. And then I'm just going to move that there.
Cool. So now we've got kind of like a title. And then what we can do is talk like, oh, no, I changed my GT 3000.
I'm going to do is actually just copy this layer and then just do undo everything I just did. And then I'll paste it in just so it's a little bit easier. All right, now it's back.
I'm going to grab this layer. I'm going to paste it into this layer, and then I'm going to write align this type so that it frames or follows the framing device. And just because this is all Laura Mipsum and we don't want to spend too much time writing copy for this creative exercise, we can leave it like that.
We can also pull in some color aspects of it. We can do black, or we could pull in a little bit of the blue that's kind of in this poster. And I'm going to actually keep it from being bold just so it writes a little bit better.
The text above the palm trees, is that text for ants? Exactly, it's text for ants. Now, I believe, especially with some posters, it's important that you have different layers of hierarchy. And so you want people to be like, okay, you get the big, bold statement, but then as you soon come in closer, you can get more understanding of what's happening.
So while this could be bigger, if you see this in an actual studio or an apartment or whatever, you kind of want moments where people have to come in closer to the project to get a better understanding of it. So there's kind of like an old saying, if you're always yelling at somebody, they typically just step back because they think it's too loud, right? So if you whisper, people have to lean in to hear what you're saying. So you kind of want people to just kind of have to come in closer, have a little bit more of an intimate experience with you.
So that's kind of how I was looking at it. Doesn't mean it's correct. And everybody's free to do their own thing.
But that's kind of how I look at it. Cool. So we got, like, that little poster.
We can always change the backgrounds on it. I'm going to actually just lower everything because it's not perfectly framed correctly. I think it needs to actually go up just a little bit.
Do those little Swiss there. Okay. It's got, like a good all right, so now we can start adding on a little bit more craziness.
Let's do like what do we want to do? What are we going to do? Chat? Let's start doing darker posters. But if you guys have ideas around what you want I know we talked about doing a fantasy thing. Let's do a little bit more abstract real quick.
I'm going to just do a solid color. I think a dark gray might be fine. And then I do text in there.
Can you zoom in on one of the posters a bit more? Which poster would you like? Zoom in the posters a bit more. Got it. All the posters, not just one.
Ha. Yes. Here's the 3000.
Here's your hanging cat. I know, that's very exciting. Hanging cat.
This is your 3000. And then here's kind of like the Swiss like architecture style one. Getting there.
All right, so now we're going to do more abstract. Let me just zoom in much, much more. I'm going to do helvetica again with white.
We'll do Lazaris and then I'm going to move that up. And then we'll do a little bit more turn, do something like that. And then I'm doing alt and right click, right arrow.
And I'll nudge it over or duplicate and nudge over. We'll do this. It's called posters.
Those balconies look cool. Yeah, they're really cool. You can get those on Unsplash, that poster or those balconies are really rad.
If you just look at, like, on Unsplash, I believe they have patterns and textures. That's what I was leveraging, like, that section to find some of those pieces. Let's see what all Caps does.
I don't like it. And then I'll duplicate this. Both of them command J duplicate.
I'm just going to shove them in the opposite corners now. I don't know why it went bold again or all caps, but I'm going to change that. Change this.
I'm going to flip this command t, change it around. Boop 180. And then I'm going to just align to the top of the Lazaris piece.
We can now move this up. Maybe that's not good. It's okay.
We're just going to leave it for right now. 80s retro posters. Okay, we can do an 80s retros poster.
Are you thinking 80s? Like 80s synth? Wavy. Here we go. I'll show you guys kind of a quick one.
A really fun way of doing things. Okay, so if you open up Illustrator I know this is a Photoshop stream. If you open up Illustrator, what you can do is I'm actually going to press command shift H.
So we have all complete artboard to work with. I'm going to grab this ellipse tool. I'm actually going to change this to be solid black.
Actually, I'll change it to white. White. What you're going to do is you're going to grab your gradient mesh tool.
I'm going to add in like four points. I think that might actually be fine. Let me just move this around.
Now we're going to melt some stuff, have some fun with it. There's some fun little things we're going to do with this. We're going to make a fun little gradient shape.
And maybe this needs to actually just be simplified. I'm going to remove this point. If my subtract tool will come up, please use a delete anchor point on anchor tool on the path.
Whatever, I'll leave it. All right, so what we're going to do is you're actually going to grab whatever colors, spots you want, and you're going to change the colors to be kind of something exciting and new for you. I'm going to change this out.
Boom. POW. Boom.
POW. Boom. POW.
I'm going to change it to like, yellow. And then I'm going to grab these to be red. Maybe this needs to be purple, actually.
Oh, that's looking cool. All right, we can actually grab another R1 quick. Just add the mesh tool, click another spot.
And I'm going to put in a little bit more of a hot spot on the yellow. I think maybe this needs a little bit more. See if there's a little put a little red in there.
Cool. So now we've got a little shape more like magenta or blue, but that also works. Sorry, Tim.
There's a sorry? I'm sorry. All right, let me grab this shape command C, paste it into photoshop. We'll bring it in as a smart object so I can mess with things a little bit easier.
And what we can do is we can start to mess with the shapes. I'm not really sure if I like the white glow on the side, so let me just change that up. I'll make that like a darker green, maybe.
No, I'm going to just keep it kind of more of the magenta. Not magenta, the blue. And what we can also do with this is we can adjust how the shape and the gradients flow throughout this object.
We can move them around so we can make this shape a little bit more prevalent. Think that's fine. I think it's working.
Let's see here. What else can I do with it? Yeah, so I'm going to grab this and I'm going to throw it in here. Smart object.
Boom. What we can do is start to play with, like, gradients and glows and things like that. That gradient looks like those used in the Samsung phone background.
It's true. Yeah. A lot of these things, you can get really kind of crazy with it.
If we wanted to, we could even just do liquefy. And we can mess with how the shape actually works, which I think I'm going to do right here in the corner because I have kind of a sharp angle. If we wanted to, we could get really crazy with how we change things.
But I'm not going to really do that. I just want to fix this kind of bottom corner just to make it a little bit smoother. Okay.
It's fine. All right. So what we're going to do is we're going to take our brush tool.
So we're going to grab B or go into the corner, press brush. We're going to make sure that the hardness is down on these items. And if your brush tool is kind of small, you can either go into the corner or you can use brackets.
The brackets on your keyboard are godsend. You can just kind of make it bigger. So what I'm actually going to do is I'm going to take the colors from this gradient, Blob, and just grab it really quickly.
Kind of make a little kind of an outline for it. Since the softness is pretty soft with these items, we can do like a little bit of this. What we're trying to do is just trying to outline some of the shape, give it a little bit of a glow, and bring in a little bit more of some of the organic aspects of these shapes.
All right. Now what we can do is we're going to plop it down below and we can add a bunch of noise. So we're going to take that select and then add noise.
If you feel like that's a pretty good shape for you, then you can make it a smart object so it's not destructive. So just right click and then do convert to a smart object and then do noise. Add noise.
And then you kind of have some little glowy aspects to it. And I'm going to just shrink down the size because it's a little too much and I think it's not soft enough and it's too clunky. So I'm not the biggest fan of how it looks currently.
So I'm just going to redo it real quick again. B brush, eye for eyedropper to grab your colors. Do opinions matter on poster? Because they're all look super cool.
Well, those opinions matter. That's great. I love compliments.
Appreciate it because we're all such critics of our own work. So it's always great when people like them and posters no, that's kind of the reason why we're trying to go for quality and quantity really quick, as fast as we can, make as many cool posters as we can doing different art styles, because you never know what you're going to be able to use for an event. Haters will say it's photoshopped.
Thanks, Tim. Let's see here. Let's get this brush to be better.
Hardness down, size down. Let me bring size down a lot. You can kind of play with this stuff.
It can all be whatever you want it to be. There's happy little accidents everywhere. What else do I want to do? I feel like I also need to put in some textures.
I'm going to grab those kind of textures in the background. I'm going to grab this and that should help also fix the background a little bit. Now I can pull this behind all the type.
So now we're just treating you can barely see it, but it's a nice subtle amount of noise in the background. What I'm going to do is also I'm going to take this, the smart object words, the smart object that we already made with the gradients and stuff. What we're going to do with that is go up and click filter and then noise, add noise.
And now we've got some really nice noise effects happening with that. If we think that this is like kind of being too fussy, what we can also do is just expand the shape, maybe let me see if I can grab this. And then I think I need actually just one more point in there.
This is kind of the trap that you can fall into. You can always just keep pushing things around. But I think what I might do is just maybe make this a little bit more of I could just move this around.
Oops, I'm gonna actually unclip the mask just so I can move things around. What I just do there we go. I'm trying to see here what can I make? So what I might do is keep that there and then I'm going to just unmask part of the circle here.
Maybe that feels a little bit better. So you can play with all these layer masks and really start making some shapes that are kind of cool. And then what I'm going to do is add just a little bit of glow now to it.
What if you made a duplicate of the shape, made it an outline instead of a filled an offset slightly from the original, kind of like a drop shadow, but not are you talking about like this? So if I wanted to, I could just take this shape and then just make this a shift x. No. What I could do with this is what's the easiest way to do that? Ah, do gradient mesh tool.
Does not like me doing that, but we can do starting to look like a keyboard on BlackBerry. What up, Eric? How you doing, bud? Welcome. Copy the shape, put it below the layer, give it some motion blur like it's a raise effect.
Okay, we can do that. All right. Duplicate command J.
Throw it underneath. All right. And then I'm going to actually delete the layer mask because then motion blur is not going to show us very well.
And what we're going to do is actually just delete layer mask and then filter blur. Let's do some gaussian blur, maybe upgrade that, and then noise is up. Already on it.
But I'm going to turn up noise. Oh, wrong layer. No, that's the correct layer.
I'm going to add more noise. Let me change the lighting on it as well. It's kind of working.
All right, so what we can do is we start laying out type around it, and then maybe we'll throw in, like, some white for contrast. So maybe I need to just do a layer. More noise, more cowbell.
Well, today's my first day full time freelancing. Giving a try since I got laid off. Congrats, Eric.
It's a fun, wild journey. Keep your head up, make sure you keep everything in balance, and also super helpful if you take time to go for a run or get outside, clear your head. I'll help you get through a lot of creative blocks.
It's just good advice for anybody, but especially when you're dealing with the stress of running your own business. Just keep that in mind. Take care of yourself.
Find balance. You'll thank yourself later. I don't know.
Maybe that needs to go above. Maybe that goes below. Who knows? There's no real wrong or right answers.
I'm just messing around, throwing things around. Maybe this needs to go like that. And I'm going to do command J, flip it, and then maybe that goes below, and then maybe there's, like maybe I bring in some of this.
Maybe this needs to be dissolved as well. No, we get a little weird with it, and that's okay. Trying to think maybe that's okay.
What I can do is also pull in. I'm sorry if my screen's flashing. Photoshop doesn't like when I'm like alt tab drawing out for some reason.
Maybe this comes back in all the way on the bottom. And maybe I just take out, like, copy, and maybe the copy I'll do, like, a hue saturation thing. Since we have no rules, we can do whatever we want, and then I'll just rotate.
I don't know. Good morning from Miami Beach. Welcome, welcome.
Tom. It's almost, what, noon for you guys? I really like the noise around the shape. Gives it a chalky printer color vibe.
Yeah, totally. Kind of does have that feeling. I'm not sure how I feel about I feel like I'm probably fussing with it too much now by having this secondary layer on it.
Maybe I need to just leave it. I think I might take I'm going to try to take these to the edges. These go off.
I think maybe one is fine, two is too many. I don't know. I think we'll probably just leave that one by itself.
We got, like, 20 more minutes before we're done with this segment for today, which is totally fine. We have tomorrow to pick things up as well. So let's try another thing.
Let's see what we can do. I think tomorrow we'll also start with more memes. More memes and dreams.
So that's exciting. Let's see here. I'm going to keep with the dark mode that we're doing currently.
How's my coffee doing? Coffee is complete. All right, keep the dark theme going. We're going to actually just grab people's names in Chat, if that's okay.
I think that would be kind of cool. Let's see what we can do with it. If you want your name in Chat, if you want your name on the poster, let me know.
If not, I'm sorry. I'm just looking at who's typing right now, so we can just do something like that. Everybody's seen those like helvetica T shirts.
That is just, like, lettuce, tomatoes, olives, salad, whatever. We're not going to do that. This also kind of feels like what's it called? Kind of feels like cards against humanity because they just use Helvetica as well.
Maybe vaporwave style. Get those retro dark purples and some oranges in there. That's a great idea.
We should absolutely do that. And Tom asks, do you prefer working on Photoshop or Illustrator? I actually love both of them. Really depends on what it is for, so I'm comfortable in both.
We use a typeface called Mtnox. Yeah, it's a super nice condensed typeface. I'm going to bring it up into all caps, and I'm going to bring the tracking out a little bit, bring it to zero, and then stack them a little bit more.
Grab my name. Got it. I got you.
FAM sham. Anybody else? Tom says Sky Laruk. Yep, gonna do that.
All right, sky, you're in here now. All right, so what we've got is a bunch of different kind of names. What I want to do is actually break them apart a little bit, kind of like how they are right now.
It's looking good, but I think there's an opportunity to lay out this type in a little bit more of A. So this will just be our baseline type file. I'm going to just grab I'm going to make a new layer, actually command J.
And then I've got Eric. Tom. All right.
Michelle, delete that. I'm going to grab Tom, and I'm going to put him next to Eric. We're just going to play with, like, laying out some type here and then oh, no.
Whoa. What is going on with my computer right now? It's, like, all going backwards. Getting a lassovos vibe from the font.
That's true. I really like this. Alex.
The font is empty. Knox. I like how condensed it is.
It's K-N-O-X-M-T-K-N-O-X. Yeah, it's great. I think you can buy it from whoever made it.
I think it's only one variety or variant, and I think you can buy it for, like, five or $10 from his site. It's good for, like, presentations. All right, so what we can do with this, because it's condensed, it's kind of cool.
I'm going to just keep moving. Get everybody's names in there. Yeah, it's Mt.
Knox. I'll type in Chat, actually, and then I'll do Sean, but he prefers Sharon. There you go, Sean.
And then sky. I'll get you in there again, sky. All right.
So now we've got some names in here. Kind of fun. Let's see here, Sean.
So what I'm trying to do is see, like, okay, I've got Eric. I'll put Eric and Tom. So I'm going to move Tom down below.
I'm going to move Sean up into that space just so that there's kind of like kind of a balance on the screen. Just move it over slightly. So this will kind of be our frame of sorts.
And we can do Tom in that space. Maybe Tom's in the middle, shell's on over here. And then Hasham will go up.
I know that we're just move that down. I'm going to move Michelle over. I can't do those characters.
It's only English characters. I'm sorry, guys. There is not any localized versions of this typeface, unfortunately.
All right, so we got these so far. I think that's kind of cool. What we can do now is take that and hello, Shauna.
Welcome to the stream. We've got 15 minutes left. I'm going to hurry, hurry, hurry.
But I got to get Shauna in here now, man. J got Shauna, and I'm going to just throw that to the left. I said there's not really any correct ways of doing this, but now we've got this.
I'm going to take that and I'm going to make a gradient real quick for this. I'm going to try to keep it in the kind of, like, abstracty gradient world. So I'm going to go into my gradient tool.
I'm going to open up this panel. I'm going to do some pinks. It's kind of a nice starter, but not good enough yet.
So I'm going to pull in some yellows and then some pinks and some reds. Just got to try to hurry up, speed through this stuff. And then actually, I should probably put that there.
That red is not as good as I wanted it to be. And then I'm going to put in some, like, a purple. And I think that'll probably be good enough for right now.
Let's see what the gradient looks like to start. Yikes. So what I'm going to do is just see, what we're going to do is we're going to actually just keep leveraging this gradient and we're going to make it that and I can actually just increase the vibrancy and stuff later.
I'm going to bring that in. I'm going to do a little bit of just, like, overlaying because we're just doing our posters however we want. We can just have fun.
Article always typing in YouTube. Crickets. All good? Yeah.
Welcome Art to behance. This is where we read all the chat and everything. If you guys don't mind keeping the languages and chat just to English right now, just so we can have a conversation, I am barely capable of speaking English, so I want to be able to converse with you guys.
That'd be awesome. I'm just going to keep duplicating this and just moving it around. We can do whatever we want.
Yeah, so we're just moving things around and let's move this gradient now. We've got a little bit more happening with it. We can kind of have some fun with it.
Command J and just start messing with scale a little bit. You can start seeing how the posters are starting to we're having some cool little shapes happen. Maybe there's like some lighting effects we want to do.
We can play with that and how they mask on the letters themselves. You should feel so special being part of the poster. Welcome.
You're part of what's making this poster work. It's incredible. Let's see here.
Now let me move this over just a little bit so maybe that's just a little bit more purple. And then this guy needs to be changed over. It's kind of weird the scale of it right now.
So I'm just trying to like it feels like it's just so linear. I want to bounce these around more, but maybe that's because I've got everything right aligned there. It could probably help as well.
And then yet command J boom. POW. We've got a couple of different sizes.
We're like running out of time. So I'm just going to speed through it real quick. Then I'm just going to move this over.
Give a little bit. And sometimes I feel like I want to keep everything going in the same direction. Like typically whenever I think about lighting and stuff, is it called? I typically want to keep the gradients going in the same direction, but I think for this it works okay.
Not keeping them in the same direction. I think it kind of lends itself to like a sticker or a foil sticker kind of feeling. So I think it's fine.
I don't know. It's all personal preference. We're trying things out, seeing what it looks like, how it makes us feel.
There's really no right or wrong answers when it comes to designing for yourself. I'm almost tempted to keep that red out of that as much as possible, but maybe it needs a little bit more purple in there. I don't know.
I'm going to move that red back over. There's so many trees in Portland. Yeah, there is a lot of trees in Portland.
It is pretty great. I love how foresty and green and lush the city is. But yeah, we've got some really cool stuff going on with this.
Thank you guys for letting me use your names within this poster so far. Tomorrow we're going to pick everything back up. I will start with the memes el memes el memes again tomorrow as a little creative exercise so we can work together through it again.
We got our hang in there poster to match the hit cat shirt we got a little GT 3000 poster as well. We've got our kind of like architecture poster. We've got a really abstract textured thingy.
And then we've got people's names, leveraging type and some color orbs. We're going to kick back up tomorrow with a bunch of new posters keeping on the same thing. And Sean says, I think it might look better if Eric and Sean were above the circle.
I think you're right. Yeah, we can throw this over even like something. Yeah, you're right.
Look at you chat. You guys are always saving me, helping me out, making everything a lot better as well. And then maybe Sean goes behind it.
Sorry, Sean. But, yeah, there's kind of like an opportunity to always try things, explore things, see what it looks like. There's a little bit more dynamicism now with that, which is awesome.
So thank you. Yes, we'll do a super minimalist poster. Yes, the all white.
It's a picture of cows that ate all the grass and then they moved on. So there's nothing left. Porsche is a meme.
Yes, that's true. I was going to do like speedball 3000 or whatever it's called, but I know my time is coming to an end. I just want to show you guys really quickly what the schedule is looking like for today.
You started off with me at 730. Now Voodoo Val is coming up next for the daily creative challenge. Voodoo Val is incredible.
She's going to speed through this stuff. I don't even know how she gets through all these creative challenges with you guys so fast. It's incredible.
You want to just tag along today? You've got photocompositing. You've got Andrew Hawkrattle as well. Later on, branding identity design with Joyce and Peter Dotondo with the XD creative challenge.
T he XD, it's the best. And draw along with Kyle Webster and design off with voodoo Val. So you get two voodoo vows in one day.
Oh, my goodness. You guys are so lucky. I know you guys are very excited.
Design off is so much fun. Definitely stick around, come back tomorrow. We're going to add more posters.
We're going to do some really cool things and yeah, it's been me, Alex, Ozris, thank you guys for hanging out. I appreciate it. You guys will have new content, new goodies, all starting up in the next five minutes.
So thank you for hanging out. We'll see you soon.
