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Keynote Stylescape

#
52
Chris Do
Published
April 10, 2017

Chris Do leads a presentation on using keynote to build style scapes.

Read Transcript
This is episode 52 in case you're counting, and this week, we're going to talk about style escape workflow using keynote, and this is an unusual way to do style escapes. And I find that when I do it in keynote, I can move super, super fast, and I regret not showing you more keyboard shortcuts from last time. So this time I'm going to do a better job of showing you on my keyboard shortcuts. So here's kind of the agenda. A little bit, sort of. Building shapes, and I'm starting to figure out how to build complicated shapes within keynote. And if you can build the shapes inside keynote, it opens up a world of possibilities because you can put images in those shapes. And that's really cool. But the problem with drawing shapes inside of keynote is it's not a very precise way of drawing, so you kind of have to think in a little bit different way. And once you set that up, naturally, we can have lots of shapes as placeholders for images, and it's so easy to swap out images. It's the easiest, fastest way to swap out images of any program I've ever used. I'm going to show you how to do that and how to build grids out of that. And we talked a little bit about assets and if have some time and if something comes up, I want to show you more assets that I've prepared to give you more ideas as to how you can hyper Jack your workflow. Of course, shortcuts animation is still is something that's in there. We'll see if we have time for that. And then just exporting so that was in there. So first thing I do is I'm going to jump into the Photoshop King demo and those of you guys had cut out a lot of images and are very good at Photoshop. Just play along and just bear with me for a little bit. And if you're a super pro, go get a beverage or something. OK, some stop sharing that. I'm going to jump into Photoshop, but I got to share my Photoshop now. Where are you, photoshop? OK, so I have an asset I'm going to. Open up here. Where's my assets? People, people, people, where are you? Let me find the right one. Now, obviously, the higher the resolution of the image, the easier it is to cut them out. I hope I haven't cut these things out already. Here we go. I like this guy. Let me open this boy up. Gross yes, it's Emma. I am a Christian, if you can take a step back for you. What do you use to create starships? Usually? do you use kino to create star shapes or do you use photoshop? OK good question. I personally use Keynote. I don't build this house capes. My team builds them. Right so I don't personally build much. OK, I'll try to do as little as possible. That's a general rule in life. Now, they don't use Photoshop to build styles. They use Adobe Illustrator. Some of them are really smart. We'll use InDesign. But Photoshop is a beast to try and do this because it will slow your workflow down. That's just my opinion. So what I do is I'll use Photoshop to prep assets and then once the assets are ready to go, I will then just jump into it. And the only asset that you really need to prepare ahead of time because it's a process is to find your user and to cut that person out. So I'm going to pretend. That is our user. I'm going to cut them out. Now he's got some hair, it's not wispy, he doesn't have any transparency like lace or translucent materials. We lose a little bit of information on his left cheek here, so it'll have a little bit of problem. And naturally, this is already kind of on a simple background. But it doesn't matter. The principles apply, it doesn't matter if it's a crowded background, I'm going to show it to you, so I'm going to try to do this one really fast and then I'll show you one where it's a lower Res image on a complicated background to cut it out for you. Now, Photoshop has gotten very sophisticated with their tools because in days of old, I used to use this plug-in. I forget what it's called now, I stop using it. So long ago that it didn't matter anymore, but they used to have specialty plug-ins just to help you cut out difficult situations. OK, so this is relatively new in the last couple of iterations of Photoshop prior to this. It wasn't that smooth. It wasn't that useful. So what all you're going to do is you're going to hit W for wand? OK, I'm already on the wand tool, it's right here. And I'm going to go and make my wand much bigger by holding down Control option for Mac. I don't know the equivalent on the pc, so I'm going to do is I'm just drag over his face. Now, I think because this is a fairly large file. And that screen sharing, recording this with you guys, my computer is not going to move as fast, it normally does. So all I'm doing is just dragging across areas I want to keep. And I do a little bit at a time because it's intelligent, it looks at the pixels before and after, so I'm going to hit you for quick mask just to quickly check. It is so slow. Come on. Hello OK. It's locking up on me here. Q, four quick last quick maps will show you what it's grabbed. It's important to check this because sometimes it's hard to see what you've got and what you don't have. Notice here, the button here. I didn't get that. I've lost a whole ear. And see this area right here. I mentioned that this is going to be difficult for it to separate. That's OK because we can fix that really fast. Now I'm driving with a mouse. Normally I'm working with a Walkman, but I don't want to move my setup around. If it gets really gnarly, I will switch and use a lactam tablet. All right, so this is what you do. You hit to quickly switch between the mass mode and the regular mode. So cue for quick mask. So I'm going, I'm just going to click on that little guy right there. It should grab the button. Now I'm going to change my brush size by holding down Control option again, dragging. Oops, undo. Come on. My computer is chugging along here. There we go. All right. So I'm going just grab those parts and go pretty slow here. I'm going to Zoom in. I'm going to make the brush even smaller. And just nudge at this area. And notice now it's like confused, like you see the values between the lobe of the ear and the background are very close. Now I'm going to hold down Option and it's going to change my brush to get rid of. I'm just gently click around here. It's not doing a great job. You know what to do? I'm going to resize this image because it's a pretty big photo. Look at that. Can you guys see that it's confused right now? Does that icon appear? Yeah, it's loading. Yeah, it's doing something, something which I don't want it to do. OK, while we do that. I'm just curious if those are the guys that were relatively new to Keno or maybe use Keno, but didn't really use it in the way that I shared with you, you guys have any questions while we're waiting for this single vote, I may have to force quit this. That we're back, OK, so I'm going to go and go into my oh, so you mean that big? Change it 2000. Usually, I like a really big image because you have more options that lose my selection. Great OK, that's cool, we can do this again. Oh, it's flying now. Anybody have any questions about the keynote stuff that I've shared with you guys as far? No, I mean, thus far being last week. Have you thought about what you're going to do if Apple deprecate keynote like they do with some other stuff, they're not going to do that. I mean, think about it because they have a viable product that is used by a lot of people and we keep saying like your Keynote presentation now. I mean, I know some people still say, give me your PowerPoint. Well, I don't talk like that. So when your software? Is used by a lot of people. I don't know, I don't know if they're going to mess it up and they keep releasing updates, and you can tell by how often they release updates on it that they're committed to seeing it through. I think they made a mistake with Final Cut. And also, I think, do they own sheik as well? Yeah, they bought sheik and destroyed it. Right I think they probably buy these companies for their team enough for the product itself. So here we got a little issue here. So I'm going to just switch over to a brush and I'm going to switch my brush here to just something like this kind of brush here, and I'm going to paint this OK, paint in here. Now, you can do this all within the software without doing it via paint brush like this, but I find that I have a little bit more control here. I'm just going to go for it. So these parts are going to be a little bit of a manual labor. I believe because I'm painting here that it's not actually learning anything. But when you're clicking in and selecting certain areas, it gets really intelligent and it starts to figure things out for you. This part is going to be tricky here, and that's OK. I think I'm losing some color in here, so I want to make sure. Oops Chris, are you masking right here? I'm in the mask mode, I'm in quick mass mode. Oh, OK, OK, OK, I'm just going in and touching up a few things here and there. Like I can see, there's some problems here. I'm just clean this part up. Of course, if you do it with your brush, it's a lot sharper and a lot nicer than using their tool, but I'll show you how powerful it is, so it's kind of crappy and that's OK. So I've got most of his hair in this part. If you don't know how to use this tool would be a total terror for you. You're going to lose all this detail and your hair is going to be super chunky. I'm going to exit out of this quick mess mode. Go back to the Magic Wand tool here. I got to move this toolbar. Over here. I'm going to hit Select and mask up in the upper left here, select and mask, ok? It used to be called refined mass, and they just switched over to select mass, so I'm going to teach you a couple of things really quickly. So in this mode, it's set to the color red. By default, or maybe that's just how I have it set up, and you guys can change it any color that you want. You just click on and change of color. I like red and it said at 80% capacity, if I want 100 percent, I would click on that, just to make sure I'm cutting everything out. This is how you can tell if your image is really clean. However, sometimes the mask will hide things in the background that you actually want to keep. Sometimes it's not that clear. Like maybe there's a picture frame right behind his head. That's interfering with this part of his head, right? So then you would just dial the opacity down. Now the way Adobe works and the way they design their interface, like many software manufacturers, not just Adobe, is you work from the top down. I find young designers are bouncing around and you just are changing variables all over the place. They have no freaking clue. And it just it makes my I want to jump out of my skin. So work from the top down. OK, so something else you need to know in the view mode, if you click on this, there's lots of options you can do the onion skin. The marching ants, which isn't that helpful. The overlay and then you can just look at the map itself. How clean is your mat? So I'm going go back to overlay. I'm going to bump up my opacity again, and now I'm going to work on this part, the hair part, which is the easiest part to do with this tool. It does freak out from time to time. So you see this tool right here, the second from the top. The first one is I miss some parts I still want to keep selecting, but this one is the refined edge brush tool. This is for hair. So what I'm going to do is I'm going to skilled brush down. Like so and it's going to quickly go in small areas over the hair, so it knows this part. Get rid of the red, this part, keep the White and the parts in between. Let's work on the transition together. You see how it's picking up all that fine detail there. It's pretty awesome. Now, it's not perfect, but nothing in life is. I messed up that part. I'm going to make it a little bit smaller because it's a little bit more detail there, and I want to do a little bit at a time because you might get a perfect spot and then release and then by the time you release, it changes down here. I'm going through clean this part up. And it's important that we then check. How it's doing. OK it did a great job down here. Now I'm going to check how we're doing by going in here and doing Black and white. Do you guys remember the before and after? That's pretty significantly different, right, and you can still continue to work in this mode if you want. So now I want to use my the next tool down. So usually the tools work exactly the way they're supposed to. You work from top to bottom. If you miss something, use a top one. Now we're going to refine the edge, and once the edge is done, it's not quite perfect. So I'm going to clean it up using the brush tool and the brush tool is just like a normal brush tool you can just paint. So I believe it's oops, I'm sorry, I'm going to paint this part out because I don't want it to go that deep into his hair. India has had. Cut that part out a little bit there. Just going to go in and just hit this a little bit. And for what we're doing for style escapes, this is more than adequate, more than adequate, ok? And if you're doing photo compositing for a big Hollywood film, this is pretty good and you would just spend more time refining this stuff, so it gets a little confused around here. That's OK because we can easily fix this stuff. Using that tool. We guys think so far it's pretty good, right? So I want to keep those transition points, because that's where his hair is somewhat trans, transparent, translucent. I don't think I messed up anything else. Now I'm going to move down the list. Edge detection. I personally don't know what this is, but if you move the radius up, things get a lot nicer. Did you see it change? I'm going to move it even more. So it's trying to figure out now this image, so I just do a couple of pixels there usually, and then you got some problems, so you'll notice that it cleaned up the collar of his shoulder here. But then it also has some issues here and now. With that, we can go in and cleaned up even more. We'll go back in and paint this a little bit. So then you can work back and forth, and I'm just going to work one step at a time. I went a little aggressive there because I can't pilot my mouse. I might have to switch their. You guys get the idea. How many of you guys use the wand tool for this? In his way. Yeah, I use this technique. You do. OK not quite as robust as you are doing it right now, though, so this is helpful. Good and while I'm doing this, I'm going to go a little silent here, you guys can ask me anything, what are. I really should just whip out my welcome right now. You know, when I found that whatever I think it's called the feather tool under this refined mask or select and mask setting that really changed the cutout game. The second one? Yeah, yeah, that's a transition. You just think about that. That's a transition because you taught it what to keep like clicking on the brush, right? And you taught it what to get rid of. But there's a lot of stuff in between that can't figure out, and it's really, really intelligent. The tool just gets better and better as they refine. The algorithm is kind of predictive, like what you want to keep and what you want to get rid of. And I'm pretty sure in the very near future it's going to know it's a person and the person has eyes and a face and a body. And then it's going to start to figure out the background. It's either that or cameras in the future will have a depth camera built into it, and it will just know. And that's how Apple is able to cut you out using iPhone 10. Because it has a depth camera built in or depth sensor. It just knows how far you are away, and it can generate a mass from that. And believe it or not, if you're doing visual effects, there's such a thing as a depth camera that records the image in various levels of gray. Then you can use that later on to cut out perfect mattes. Of anything like you can just select a box in the background, and because the depth map, as long as there is some distance between that and the next object, you're good to go. All right, I'm going to save some of this because there's another way to refine this and I'm going to show you. Well, let me fix this part, because this part is nasty. All right. So it's not perfect round here, I'm going to fix it using a different tool, and that's my radius. You can click on Smart radius. You clean it up. I don't see any difference, really. And I'm going to keep going down, so if you want a smoother thing, you can just smooth it out a little bit. But I find that then it kind of almost blurs the mask a little bit. You say I see the mask. My hair is hair, you could really see it in the hair, I don't want that, so typically I leave the smooth off because I want a Unsharp Mask. I don't also want to feather and I'll feather it to show you. So it's eroding the mask and feathering it. I don't want that. Sometimes I do adjust the contrast. Let's adjust the contrast and see what happens. Of note is this area here, so let me adjust the contrast. So I'm just working my way from top to bottom. So you see how it's making it crispier kind of crunchy. That's my son's favorite term. It's crispy. And then the Shift Edge is a good tool to use, but use it very sparingly. I'm going to choke the mat in a little bit by like a couple of percentage points. If I do it a lot, let's choke it a lot and you guys can see the difference. You can see it in oops! You can see it in the hair. When I choke, it erodes the mask. That's like a 50 percent, 60% choke. I'm going to open it up and you can see it how it's affecting the mat. OK, so I'm going to put it back to zero. I'm OK with this. I think I'm pretty good. So naturally, the next bit is when before you hit, ok? What do you want to output it to do? You want to do it? Two layer mask? I think so. A new layer, a new layer with the layer mask, a new document, how do you want to do this? I'm just going to do it the layer mask. And if you want, so you can remember these settings, but I don't want to. I'm going to go, OK. And there's our boy. Pretty good, super clean. We have some problems that most people would not even see, so I'm going to check my mask. I'm going to what I do is I pick a really bright color like this crazy future blue. OK, I'm going to swing this palette up a little bit. I'm going to drop this blue underneath. So you can check it now. He's got full transparency, nice sharp edge, long hair, nice feathered edge at the top. We got some problems in here. You see this area here that I couldn't see before. This is problematic here. That's not good. His ear a little bit gone here, so what I'm going to do is I'm going to go into the mask now. This is a trick that not a lot of people know, and it's very useful if you hold down Option and you click on the mask, you're just going to see the mask. So you can really check it out. OK this era, we wanted to. Get rid of so I'm going to use a brush. I it be for brush, you guys, and it's a fairly it's, you know, it's got a little bit of soft edge to it. That part is not that important, but here's the trick. You go to normal and go to overlay mode. OK, let me do this before I just to show you the difference, so if I paint right now with white, it's going to look like that. That's my brush. But if I paint using overlay overlay says what so if I paint white on Black does nothing but watch what happens here if I paint in this area right here? Watch what happens? It just it's like a contrast brush. It's all it is, so levels of gray that are close to white is going to make go to white. Now I don't love the hardness of this thing, so I'm going to go to my brush settings here and I'm going to where are you hardness? I'm going to soften it a little bit. Let's see. A little bit more than that. That would be gentle here. Just clean it up and feather it out. Took a contrast brush, that's all it is. I work on this a little bit here. I notice if I were to go over the edge. See, it doesn't spill over. So that's how I'm going to clean this area up right here. It's going to get a little crispy here, that's OK. I don't mind. Up, isn't that the same way? Clean up this area. And we're done. That should be good enough for our purposes. OK going back to layers. OK if the reason why this is a really good thing to do is when you sit and when you option, click into this layer, it's because you can actually paste textures into hair and achieve all kinds of effects. Now I don't want to get distracted. I want to say this is not a mission to teach you Photoshop, but that's what I would do there. OK so it looks pretty good. Looks pretty good. There are a couple of other tricks that you can do to make him really blend, but you need to know if it's going to be on a light background or a dark background. So you guys get to pick. You want them to be on a light background or dark background. I'll show you one more trick. But you guys want. Dark, dark. OK first person to speak windows and Mac since I can't see anybody, make sure if somebody gets bounced from a call, they get back in. So what I'm going to do is I'm going to simulate the dark background by filling it with Black. Now notice here. For the most part, he looks really good on the edge here. Nice edge lighting. It's beautiful Black jacket. But up here, I imagine that hue is photographed on a lighter background that background that we saw him on. And so it doesn't really match. So here's a compositing trick. Select a layer, go and use your Dodge and burn tool, which is over here. This is the Burn tool. Which should I think somebody wants in, right? Anyways, this is a burn tool, so I'm going to make it a little bit smaller and exposure is 50 percent, it's going to adjust to shadows. I want to adjust the mid tones, not the shadows, and I'm going to go in and darken his hair just a little bit. So if I go and hit this area little bit right, it'll take a little to crispiness that highlight off of him so that he blends in with the back Black background a little bit better because these highlight areas were too bright. It's not perfect. But neither is life. So I can just darken a little bit. And that's it, just because I don't want to spend a ton of time working on that part. Oh OK. Is that all right, guys? So if it were a light background, you would do the opposite. You would use the Dodge tool and lighten it so that it would transition into the dark background. Never going to be perfect, and there's a couple of other tricks that you can do. For example, I'll show you right now I've hit quick mess, which is qg for gradient, and I'm going to fill it with some, like a radial gradient like this. Look, if I want to darken up his hair. Come on, maybe you could do this. I don't want his skin. When a mask out this area here, ok? And then I want to get rid of this. The rest of this, which is here, I fill it with blue, so we should have a pretty soft transition here. I'm going to keep doing this part. I'm not going to go to quick math, so basically I've selected this top part, everybody with me a minute command L4 levels. And I can just bring down the White point a little bit and darken his whole hair if I wanted to. I'm going really exaggerating here. You can make it a little darker if you want, whatever you want to do. Ok? that's how I would adjust it further. Just a little compositing tricks here and there, there's other ways also to add a rim light on him, but maybe on a different call will do compositing tricks. OK, I'll delete this background and because of the way I'm I am, I'm going to also apply this layer mask. I don't even care to save it anymore. You can see there that I darkened it quite a bit up here. Maybe I went too far on that. But because Max had dark. Maybe I shouldn't do that. Whatever, OK, lasting, I'm going to do just for good file hygiene. I'm going to hit trim, which takes away all the pixels, the transparent parts. It just trims it right to the guy. And we're good to go. OK I like to do that, I just want to keep it nice and clean because I want to import it. It's going to remember the frame size and I don't want that. I just want it tight on him. So I'm going to save a little dude Command Shift s. I'm going to call him little punk kid. And the naming nomenclature that I like to use is use dashes instead of underscores. We used to use underscores all the time. I'll tell you why and second little punk kid and I'm going to save him as a P&G. Let's save it. These are some new options here, they used to only have two options smallest file size, slow saving, which is what I would click. Except for, I'm on this call with you guys and we just grind on that file. One hit OK, assuming that we're done, hit F2 times to get out of this, it's 90% done. Any questions so far? Are you guys? This is a nice photo. It's high Res. It's easy to work with. If you have a crappy image off the internet, which is the one that you're going to get a little bit more problematic. But still use the same workflow. Somebody had a question or comment. Boy, VASH bus is an underscore. Oh yeah, thank you, thank you. OK first of all, when we used to do naming stuff for large VFX projects, you're forbidden to use spaces because space is messed it up. Because when you're typing in commands and the computer and searching for a file, a space separates commands so people would yell at you for like putting in the space. So we'd use an underscore, and that's how we would do it. But here's the thing about using dashes versus underscore. First of all, what I've learned from Ben in terms of SEO is when you're naming your file, if you put dashes, the computer can recognize each word when you use underscores, it thinks it's all one word. So that's a bad seal business practice. And so I started naming the files with dashes thinking, I wonder if this is good. But here's the other thing when you have a long file name, let's say the name of the files. The future is here. If you put a dash in between each word versus underscore if you double click when renaming the file on each word, it will highlight just that word and you can change the word if you use an underscore and you double click on it to rename it. It selects the whole word. The future is here versus just the future or here. That's why I do that now, now that's why I insist everybody put dashes between their words instead underscore. OK, so we're done with the cut out demo. Does anybody feel like they want me to take on a more challenging cut out or do it differently? Otherwise, I want to move on. Speak now. Forever hold your peace, ok? Amen any other questions about this? No OK, I'm going to close that file. I don't save it. OK, now I'm going to go back into keynote. OK, so we did. We did the oops, I'm sorry, my bad. I need to share my screen with you guys. OK, guys, in case, the machine crashes, Zoom will still stay up. I will rejoin you. I'm just saying that ahead of time, I will come back. OK, so now I want to get into the workflow and I just want to remind you guys just kind of what our style escapes look like. These were done in Illustrator. I shared these with you guys before pasting it in here. And typically, the style shapes that we do are 2 and 1/2 times wider than our keynote and Aquino's set at 1920 by AD white screen mode. So 2 and 1/2 times. So we're going to need to remember that we could do it 3 times. We could do A times whatever it is that you want to do. So I'm going to just click through these and you can see that there is a method to our madness. We're very deliberate and these look denser than most of your style escapes. Look denser, and there's a reason why it's through a very brutal process that this happens. And what we're trying to do is jam as much of what we think fits within this direction as possible. And we have a formula. There's a list environmental graphics, excuse me. Wayfinding packaging, identity, design patterns, iconography, the person, the environment in which they're in. We try to include as much as possible because I want the client to look at this and say, go make that happen for me, please. So you see it kind of the stamp bits here to 46. This is actually the building at 450 Alaska. It's a parking structure. They're tearing down. So we included that in there on the left hand side here and it's in Seattle. So we want to put in some trees. So we just add all this stuff in and there's some overlay effects that we're doing here. There's a lot of stuff that we're doing. The color palettes integrated, so I will have my designers go into Photoshop and change the colors so that their matching suit. You see this mint green color, the four. It comes from a color palette right below it, where the guy's foot is right. So that mint green color is then integrated with the typography and also altering some of the colors within the design itself. Easy to do in Photoshop. Select color range and then just change and shift the hue. Very easy. And my challenge to the designers is this is like if you include an image, tell me how you plan to use that image in the execution, the final design. Otherwise get rid of it. So a lot of times when you grab a product mockup like the one in the right hand side here underneath that little label, the guitar pick looking thing, you can see it wine bottles, all this other kind of stuff. And the iconography underneath it. For example, if we don't like those icons, I would tell them crop that part out. Zoom in. Push in. Do whatever you need to do. Going to Photoshop, open this up and delete the entire background. Just keep what it is you want them to see. We have to be that careful. And if there were a really saturated image in here that didn't belong, it didn't have this kind of vibe, I would say, get rid of it. And the designers at the very beginning, when they work with me, the style escapes can take days just for one. And over time, they could do three in a day. Chris, I had a question I may ask, where are your list of attributes and how do they play in with this style? The list of attributes comes from running facilitation discovery and this one, I believe the three words are rustic, authentic and industrial. But we've adopted a slightly different method instead of allowing the designers to pick their own words. What we try to say is for you, here are the words you're going to use, let's say it's rustic, authentic, industrial. Let's just say that those are the three words. Then we would say, I want you to use that 3 r method from Douglas Davis in his book, Creative strategies the business of design. He talks about this a little bit differently to use these three words as props. He would say a rainbow rhinoceros or rhombus, the three R's rainbow rhinoceros and rhombus rainbow. So what? What does the colors look like? Interpreted through the rainbow filter rustic, authentic and industrial, I want you to use colors that are evocative of rustic, authentic and industrial. So earthy tones, rust metals, natural materials, a slate, those kinds of colors. So this person can be inspired just by that. So they're not just pulling those words in interpreting because we find people run away and do very similar things or things that are in outer space. Rhinoceros based on strength. What would you do? What's what's the strength of this property? Oh, it's by the waterfront. It's in Pioneer Square. So let's do something about water, shipping containers, navigation systems, charts, things that sailors would use. That's the strength of that particular property. If it were a product, you would say, wow, it's really silky smooth, so things that are silky smooth or the razor blades are very sharp. Whatever the strength of the product is, that's rhinoceros and then rhombus is based on the shape. Well, the building has a particular shape. And if you embrace the shape, you can come up with something great. Stephane maester came up with an identity design for the museum somewhere. I forget it's a REM Koolhaas building. It has a very unique, just weird shape. And so he designed the identity basically by remodeling the entire building and using it from four or five different perspectives from the front side, left, right and back and using that as part of the logo. So he's building it off the unique shape. That's what rhombus means. Does that answer your question base? Yeah OK. I believe. Yeah, go ahead. Who's that, kyle? Yeah, Yeah. Go ahead. You ok? So as I said in the past, mild, medium was spicy, and you said on previous calls before you use rainbow rhinoceros drums. Mm-hmm So do you tell your designers choose like, do you brief the designers the same way, how they would? Or would you say you're free to choose if you want to go with colors, the strength the product is strength or the brumbies? If I were the first of all, I can't admit that I know exactly how able briefs the team because he did the video and we don't really document the style escape making process, right? He just says my mild, spicy or mild, medium and spicy, and I always get a chuckle from the clients. I might present it like that, even though I created it very differently. I don't tell them this is based on the colors. I try to. There's the art of making it and then this art of selling it and presenting it to your clients, which you guys have seen a couple of videos called pitch this. So that's a whole different art altogether. But if I was to brief the team, I would pick the three words and I would say, here are the three main words that I picked. And here are the ancillary words. So you get a broader feel and context for where this is coming from. And I need you to read the discovery document. I need to know you to know who the users are. I need you to know everything there is to know about this place. So you have to do independent research and I'll give you a time limit to do that. I want you to spend four hours doing research. If you never been to Seattle before, I need you to look it up. What what's the tree, the state tree or the bird? A quick Wikipedia search should reveal all that stuff. I want you to know that I want you to look at the map, look, where is it? I want you to do a Google walkthrough of the town of where it's at. That's the best part about Google, right? Google Earth. You just walk and you can look around. You can explore it. You can see the signage, the character of the buildings that the adjacent neighborhood you can explore without ever having to leave your desk. That's what I want them to do. Now, I don't lead the teams very often, so I leave it up to Ben burns, Matthew or Greg to lead the teams, and they have different approaches and make it adhere to whatever works for them. So how to answer your question, I would use the words that I choose because designers just pick words they like and they do whatever they want anyways. So what you're seeing here is the end product of a process, not the process itself, because these things get hammered by me. I actually worked on this one. So I'm like, what? Why are you? Why did you include this? Matthew and I tag team on this one. And this is the last one, this is the one that the identity was built on. And this one would be really based on the strength, the rhinoceros part, which is it's by the ocean. It's kind of a working industrial area, so it's not like yachts and sailboats. Shipping containers, welding dockworkers, that kind of stuff has a very different vibe. So this is pulling from the ocean side part, I'm being very nautical and just pushing it. I love container architecture, so I really push them to do something with this. And you can see here that the colors are not accidental, it's very curated. This red is brilliant, red, blue and the gray. And in the blue is, I guess, an indigo blue. Excuse me. OK indigo blue. That's what we got here. All right, that's our style. Now we're actually go make one. Any other questions about this? Melinda, here's a good time for you to jump in. Mace anybody. I'm good so far. What the heck were you going to ask me then? What's your answering my questions? God, I'm good. Stop the questions. I'll come in. OK, so I'm going to share the screen again. And this time I'm open to my style scape template. And where are you? You are here? Well, actually, I do have a question. Oh, I know that about now. Would it be possible to get Matthew or Ben also to hear them talk about their process of style escapes and directing and delegating and how they do it? Sure just to feel like the more perspective I get from different people and how they approach it, then that gives me a lot of information. Yeah, and I might even be able to do one better. I don't know if it's better for you or worse is depending how deep we want to go in these telescopes if they really, really matter to you. We can do a third part to this where actually you guys make one and I will hit you the way I quit my team. OK, so I'll give you the word, I'll tell you what to do and you do it and you'll see. And I'm a maniac and I don't know if you can tell on TV or not, but I am a maniac. Sometimes I really am, and sometimes I just do it for camera. But when the designer showed me work, I'm like, oh, what are you doing? Why would you do this? Like, why is this even here? Did you even look into this? Go back, start again. Why is this even? This has nothing to do with these four things. And it's a game of duck, duck goose. I don't want to see no geese in this thing. If it's all ducks. OK, go to one more question. Yes when you had the words rustic, authentic and industrial, did those come from the brand attributes of the look and feel? Maybe, yes, he did. And we do core differently and the kit that's launching today, I think there's an email coming out. I think that you guys can get the messaging kit. It's basically a streamlined version of core, mostly for branding and messaging. And believe it or not, at some point I will also make a style escape module so that we really go into this. It's all documented, so you guys don't have to even take notes or anything. I answer your question, or was I just talking? All right. Beautiful OK. We have to make one giant decision right now. You guys. It's the momentous epic decision. I've got my calculator in front of me. Boom, there it is, a cheapo calculator. And what you need to just decide our aspect ratio here. Do you want to do three times as wide, 2 and 1/2 times as wide? do you want to do? Why do you want to make this? 2 and 1/2 times. OK how do 19, 20 times 2.5 equals 4 to 800. That's a good number. 4,800 So that's all I'm doing, just going to cost them and it's going to make this thing. Gigantic boom. And there you are. It's beautiful. So now I'm going to say, OK, so I'm going to go back into the. Yes are you just doing what are you doing? Are you doing height too? Well, the height is 10 80, right? So we know that we present our documents in 19 by 19, 20 by 10, 80. So I know this is 100% And you don't want to make it any bigger than you need to because the reason why is most of your source images are from the internet and they're not high Res. So if you were to make this gigantic read like for printing up posters, you would find that your images are crappy, they're going to tear apart. So I only want to make it as big as needed. And here we go. This is the size, so I'm only going to make the canvas three times as wide because what I'll do is I'll crop into this in increments of 10 or 19 20. OK, now if you really wanted to, you could do three times, so it cuts nicely. But I like this kind of offsetting thing, so we lose a little bit in the middle. So I get some latitude by sliding it around, and that's what I typically do. Now, this is the cool part, guys, if you guys had missed the previous session, we had designed this template and we have this mouse type at the top of the bottom. And the cool thing about it is as we expand the canvas, it still looks good. Those little bits. Anchored the design, it gives it that little. It's like when you have a very plain, simply prepared piece of fish that you grill and you sprinkle a Little Rock salt right on top. The little mouse type is that rock salt. It gives you that crunch the mouthfeel and it's like, wow, that's not just a piece of fish blindly prepared. Sure OK, we don't need any of that junk. So I'm going to edit my master. I'm not going to edit my master. Let me do it. I'm just going to change it to the blank one. Well we don't even need this. I'm deleting that. OK, we're almost ready to rock and roll here. What I'm do is I'm just create a couple of shapes. I'm going to add a grid for you really, really fast. OK, so here we go. Look at the shape. Here's my shape. What I'm going to do with this shape is, I'll put it right here, and I'm going to create grids of two, 3 and four. So let's rock and roll. I'm going to scale this out and we'll hold down Shift and it's going to snap. It's the best part about it just snaps everything. I'm just like that and I'm going to do no shadow. No border. OK, are we good? Yeah, it looks like there's a shadow. Let me make this white. Usually these things default with interestingly with that, huh? OK so do now is an option. Drag this down while holding down Shift. And now I've got a grade of two. I'm going to make this one a different color. I'm going to make it that gray color. Pretty cool, I'm an option, drag this over. OK and here's a trick group it hitting Command Option g, then turning into one object, and now I'm a scale this guy down. Well, they don't shift. And that gets me a greater for. Cool let me get rid of three option drag over, and for some of you guys, it's going to make it really happy because it's all about the grid. And drag that over, this is now going to be my greatest. I'm a group it. Scale it up. The grid 3. Who is it? Somebody else had a question. I heard a blah blah blah, and then I want to make sure I'm able to answer your question. OK, so as I'm working here, you guys, because you guys can see this grid of three. Grade four. OK and I'm going to group this, which is Command Option Shift G. Know your keyboard shortcuts, guys. This is it. This is how I began my design. And I can use this to put images into it. I can just start to drag in here organically. Now we need to establish some color, so I have some colors ready to go. You guys cannot see my desktop. And that's all right because I'm. I'm going to start dragging things into here, I got to clean up, do a little desktop maintenance here. Come on. OK, I'm going to ring my boy in. And bring them in, and here it comes. That's not my boy. A little punk kid, where are you? There he is. Look at him. The cool thing about him now is he can live over things, so I don't want my grid to be so boxy. I like some organic things and I like some rigid things, and this really breaks it up. Ok? we have to do a little layer management from time to time, but you guys can see that now. Why would do that? I can drop on a logo in here, a quick logo treatment and the way we do the logo treatment is my designers would probably go on a website like what? The font? Type in the word of the like, whatever brand it is. And just look at a bunch of typefaces. And then they would get it to be as big as possible, you guys know this trick. You guys know what I'm talking about. OK, good. I'm going to stop sharing this. Let let me say this document, stop sharing this. And I'm going to go on to the internet to show you exactly what we're talking about. So we're going deep today. Very hands on today. This is one of my favorite tricks. What the font. There we go. Government, share my screen now. Thanks, Tracey. Where are you? The heritage Safari. What a font. OK, so let's just look for any old font. Let's go with hot new fonts. Whatever, because we're going to do something super trendy. They're going to pick works there if we click on this thing. OK, now let's type in. Let's build a soundscape for a brand. What brand do you guys want to use? Just give me a short word somewhere between three to seven letters. Cheese cheese. I don't love those letters, but here we go, cheese. So you just type like, oh, there we go. Crispy with a K crispy. There we go. Beautiful, right? So now you can look at this and you can see the different weights. What I'm going to do is increase the size to enormous. Something like that. And I'm going to look for something that's cool like this one. OK this is work staff block. So what I'm going to do is let me just drag this out. See how it's like it's all nice. I don't know if you guys can see that. Let me let me create another fold here called Logo. OK computers working super slow. I'm going to drag it over here. And it works, OK, now I'm going to go back into keynote stop the chair, this is like multitasking like bananas right now. Go to keynote, share that screen. Hey, we're back. I'm going take that crispy logo. I'm going to drop it right in here. It's already cut out for us, guys. They do all the work for you. And then what I would do is probably go and modify a little bit. Maybe, maybe draw a little bit underneath here. Can you repeat, how did you get it to cut out automatically? I just dragged it out. I use Mac and I use safari, and it allows you to do that. Ok? but you know what? I don't. Hold on. I'm going to show you guys all our little dirty tricks right now. Let me stop this share. And I'm going to share again the Photoshop file. So what I want to do is I want to modify this a little bit. I just pull out an air and drop on, OK, I'll take this. The shape here. Select it. Look, just say I want to do an extended line underneath it or something. This is not good design, guys, so don't go and criticize me after this. OK let's say I just want to do a bar like that. And it stretches it out whenever it doesn't really matter. I'm going to grab this part of it and option drag over so it's nice and clean. Maybe I'll just connect it. Let's just say that's what I want to do. I'm going to go to the Canvas size. I want to make a little bit bigger, which is Command options see changes to pixels. And I want to make a little bit taller, let's say 400 pixels. I'm going to do it to the top part. So I get a little extra. And I'm going to take this exact same bar. Copy this. This is just like logo sketching so that the clients get a sense like, oh, he just didn't put in a typeface. Look, he didn't just go on to what the font and just type something in. OK, let's pretend that's good, it's not. I'm going to take this now, I'm going to whoop sorry, take this and option drag it over to here. And I probably want to complete this part here, so I would take this and just copy that. Oops copy and paste it. Or my layers? Based oh, this index color, it's acting a little bit funny, so image mode. I want to do job. And somehow wrapped up this thing. Immediately, this. So what we'll do is we'll go and find a typeface that we like and it'll be tailored just for what we're trying to do. Copy that paste. There we go. We bring it down. I think that's the right spot. I think, no, that is the right spot. OK and I make it a little bit more transparent. So I can see what I'm doing. And I'm just going to lob off a little bit of it right here. Again, I'm not telling you this is good design, I'm going to try and follow that angle. As best as I can. And if you spend just a moment to customize it a little bit, ok? It'll it'll look like something not like something great, but here we go. Come on. Hey, Chris. Yes, sir. Sorry to interrupt. I got to bounce out of here real quick. Can you make someone else co-host so we can keep letting people in? Yeah, absolutely. OK, man, I'll make some go co-hosts. Thank you. Thanks I'm going to say this as crispy. Modified save as a PNG. Hey, who else is familiar with how to let people in? Me, OK. Shabana, you're the new co-host, OK, I'm going to stop sharing here. Let me close this file. Don't save it. OK, we're good. Let me go back here and find shabani, where are you? There you are. My co-host. And for whatever reason, if you get bounced and you can't get back in text message, somebody in this group and they'll. They'll let me know, or they'll let you in. OK, so I'm going to go back to sharing screen. I'm going to go back to the keynote thing. OK, now that I've modified the logo, it's not great, but here we go, it comes back in. So now there's a flavor to it. We're doing something, so it's just not straight up. Oops let me do. I'm going to scale it down. OK, so now we have a mark, we can do something now I'm going to start to populate this thing. Before I do that, I want to show you some tricks. I'm going to start creating some irregular shaped images or placeholders. OK so again, I'm going to take this shape here. I don't know if you guys know this, but I'm going to show you a trick. I'm going to make this a lot bigger. Let's say I want to make it a big diagonal image that's got a corner cut out of it. You could try to draw it with the pen tool, which is horrible. OK the other way you're going to do it is just use Boolean process. So if you hover over this triangle and you hit command, it just changes to a rotation tool and I'm going to rotate it like 45 degrees. I'm going to take this shape. going to change the colors so you guys can see a little bit better. I'm going to move it over here, let's say you want to cut that part out. OK see that right there. And you're going to go up to Format. Uh, shapes and lines, and you're going to do subtract shapes. And now you have that shape. Now Which would be kind of hard to draw precisely this angle would not be 45 degrees. I'll show you some other things that you can do in terms of interesting shapes. Take this one. Hold on option. Take it again. I'm going to rotate it on the corner. I'm going to take this. An option, drag it, darn it off and drag out here. I'm going to change this full color to the blues, so you guys can see a little better like, look, I want to create a shape like that and put an image in there or texture or pattern. I'm going to do the same thing. So depending on how big you want that, you slide it over. OK, let's say it's like that much, and I do the same thing. I'm going to arrange. So there's a couple of things that I'm sorry. Format shapes and lines and then subtract shapes. You can also do exclude shapes, which would keep the shape in the middle. Or intersect, I'm sorry. So now I'm just left with this is a clean shape. And if you don't like the tops in the bottoms, again, take this shape. And then you can trim it off like that, and that could be your image shape. Like that is the converse logo, I believe. So again, I select these things, go to Format shapes and lines, subtract shapes, and I'll get that. The really cool thing you guys is going to look magical to you in one second, one second. So the people that design keynote templates for a living. Make some pretty complicated keynote shapes and things. Cut out circles and things that you can put images into. I'm going to do one more shape here. I'm going to use circle. And I'm going to make it the same size as the four unit grid. And so it's so intelligent the way this program works, I love it. OK move my crispy type, whatever. Take these three, sorry. You know, come on, work with me. Because everything just snaps, things snaps into place, each one of these things are automatically placeholders automatically, you don't have to do anything with them. I, it's safe. Now I'm going to go to my desktop here and I'm going to grab some images to show you guys. So graphics and design, let's see what we got. No, you know what, we have textures. Where are you? Textures? texture. Here you go. We have wood. Let me look for a good one. Oh, here we go. This one's nice. I'm going to grab this and I'm just dropping in here. And see, it fills it. Pretty cool. So the image, the base image is too small. So you keep double clicking on it until you can grab the base image and you can just make it bigger. So pretty cool. I'll grab this and just drop the wood into this thing. And again, he doesn't know where to put it. So I need to double click on it. Move it up. And I'm going to do that. Chris, question for you, when it comes to designing those kinds of icons, can you just drag and drop from the Noun Project or illustrator? You have to design it in Keynote for it to become a mouse, click that. You have to build it inside, as far as I know. OK I've tried. I tried copying and pasting a vector shape from Illustrator in here. It just puts it in as an object and you can't swipe up on it. Thinks it's an art, not a shape. And so I was frustrated, so I just kept my template pretty straightforward, right? And that's how I would do it. And then I started thinking, like god, I could build shapes just using Shape Builder if I just think it through. This is a relatively new discovery for me, guys, so I'm kind of sharing stuff with you as I learn it. I promise you, it's not been like a secret I've been sitting on, I think I figured this thing out just a couple of weeks ago because I was like, let me see what else shapes I can build using just simple exclusion, subtract and intersect. For example, these two shapes could become something else to. Whatever overlaps, right, so now you're going to open up your style escape to become kind of interesting because you can do weird things like this. And you can change these things, too, you can change. Look, one to be much bigger, so you can see like it can add a lot of variety and flavor to your design instantly. And this is not just for style escapes, this is just general keynote stuff. If you have a template and you're tired of the Swiss grid and you want to break it up and start to integrate other kinds of things. For example, if I want to subtract the circle from this box, I could easily do that or the intersection. Very powerful stuff. So I take this, I'm going to make this bigger and OK, everybody can do a circle. It's not a big deal. But if I were to take this. And make it a little bit bigger. And I can then subtract these two things. It just subtracts it from the top right, so format again, shapes and lines subtract shape. Now we've got this little doodad. And I could repeat this guy, so those are you guys that like these kind of retro shape things that we see just using like blocks of color. And our boy here, our little punk kid. And bring him to the front. He can cast a little shadow on this background, too, which can do some pretty cool things as well. So I'll make this one like this color this one. Like you have instant airdrop on pretty soon here. Not without color. It wasn't like this. You can do even more interesting shapes. Check this out, take this and take a smaller circle like this and then subtracted from that. And then, you know, you have a little sunny shape. Well, my computer is just dying. Struggling with this? OK did we go over call management last time? Maybe I forgot and I should go. I did. I did not go over color management, but I'm going to go over right now because it's a little bit annoying. It's the only thing I don't like about the program. It's called, I think, because I think it's because I don't know how to control it. OK, OK. I haven't even designed yet, right? I'm just building some stuff, and you can see now how turbocharge your design can get. So if I suck my boy here and I, the drop shadow functions are actually really cool here, so I'm going to do a drop shadow contact shadow curve shadow. There's lots of things you do. I do a drop shadow. It's going to add a little drop shadow and an offset it to the right there. I'm going to blur it a lot more than this and offset a little bit more. OK, and then I'm going to bring the opacity down tremendously because I just my rule is I want to feel it, not see it. If you can actually see the drop shot, it's kind of cheesy. So if I see it like that cheese ball, right? So you just kind of want to. It's like barely perceptible. So it just creates some separation, because the harder the edge of the shadow, the more it looks like a two cutout. The software, the shadow implies there's distance between the two of them, it makes things feel more dimensional, so generally speaking, never use a drop shadow except for something like this. There are some other options in here in terms of the image that lives inside of this. I think you can replace it right here. So if you select this and you want to go, places hit that, you can all also edit the alpha or edit the mask. Some options in here, so we're going to edit the mask. I don't think I can do anything here. Can I know that just stretching it? I do. Let me try edit the alpha, see what it does. No, it's inside alpha, never mind, ok? That's what we got. So we blocked it out. And now we can put it in any kind of thing, and now we can start to design this thing. Now, I don't need to start with shapes, I just wanted to just show you some shapes. I could have easily brought in an image, but the image I'm going to bring in is colors. I have some colors here already. Now I'm going to drop something in here. So you can see it, so. If this is kind of funny, so this is under authentic and my designer went into Adobe Color and I think she typed in the word authentic. And this is like somebody's color palette of authentic. It's charming, man. Next, something that's what they called it. They have funny, funny names. I don't love these colors. But there are other colors, so you would use Adobe Color and just grab something, so let's use this one. I like this one. This one's kind of cool. And so now we can get into this and this is the part that Adam hates until he doesn't hate it anymore. What we need to do is customize our color palette because otherwise it's a constant going back and forth color, picking all this kind of stuff. We want to set up our color palette right now. So I'm going to go into the background color. Right I'm going to click on this little color wheel and then use this eyedropper, I'm going to pick this red color. It changes the background color and once you do that, you can go and drag this color down. So I'm going to replace this red color. Done again, I'm going to pick this eyedropper and pick this orange color over here. Drag this thing down and replace that color. And I won't keep doing this as long as you have this set up like this and you don't click off anything, you can do this really, really fast. I'm just going to bang this out, you guys. Are I don't know when to release, come on. It's my colors, Adam, is this what you're talking about? Yes I didn't know about the dogging, so yeah, me neither until I was like, I looked it up on the internet, and there it is. So now we're done those all our colors. So I'm going to change the background color back to the bright blue. I have this now. This is ready to go and we do include this usually in our styles gape. But I don't usually include the whole thing, like a square like this. I just crop it down. And now I can scale that up. So it's just a sliver. I'll even make it a lot smaller than this. So now it's just a process of dropping and dragging images in. So let's do it. Let's get some images. So there's this image here. I'm going to do a lifestyle image. Where are you, lifestyle? There we go. I see here, Pacific Northwest. Ooh, this one's nice. Just dragging in here. OK, now not all of your images need to be. I'm going to start delete deleting this, it's getting my screen is getting too cluttered, right? I don't think we're going to use these shapes. If you haven't used those kind of shapes before you guys, now you can. That's how you do it. So I'm going double click on this. I'm going to scale all the way down and put it right back in here and then hit the crop thing. And then by dragging this down, I'm going to crop the image right. But I'm only going to crop the top. And then I have to do the bottom. So if you hold down Option. While you do this, it'll do the top and the bottom at the same time. Apparently, I didn't put it in the center, so it's not centered now it's there. Cool part. Let's get this out to Half the Comp, so I'm always usually working with the proportions of the original height, so half a third or a quarter or even a fifth. I'm not going to do some weird size because it's just going to be very difficult for me to work with. I can delete this guy. I'm going to drag it down here. So now we have two images. Now, here's the trick if you hit Command Option control eye, it puts out little picture thumbnail thing in there that makes it a placeholder image and you can multiple select placeholder image. You don't have to do it one at a time like I did like a fool. OK, so now I'm going to drag this guy in. And I'm going to drag that original image back into itself because I was that keyboard command again to make it a placeholder image, absolutely Command Option control. I will tell you a couple of keyboard shortcuts. So Tracy, and anybody else that wants to on my keyboard shortcuts because I'm working kind of fast here. You get Command Option I. It hides the palette to the right. Can you guys see it come in and out? Yeah what was that one command? I Command Option ii? OK all right. I'm going to take these things and I'm going to option drag it over like I did before. I'm going to do this one more time Command Option G to group scale this thing down a little bit. I'm just going eyeball it. And then Command Option shivji group it. Drag this guy down that it's almost on Command Option G again and then on a scale it up and down until it hits. This is why I love frickin' keynote. It just knows. Illustrator, sometimes it's confused. Snapped a pixel. No, I don't want to snap to pixel. So I'm going to move this over. And so now you guys can start populating your thing, so I'm going to get some designs now. I have some designs here, right? Graphic design. Let's say this is good. I'm going to throw random things in here, ok? We'll deal with that in a second. So the first part is just loading it up and you guys can't see my desktop right now, but I have my designers go in and collect like a create image buckets. Of things that they like relative to the keywords, like I didn't like that one, that's stupid. That didn't feel like it fit. So now you have some problems because this one's a very vertical image, so if I hold down Option and drag up there, I overshot it. And now I have a poster that's this size. And all I do is that I'm going to snap that grid and I can't remember who said it before. About grids and me using grids like I just I go in the flow and I know that these things need to line up. And here's the keyboard shortcut Command Shift greater than allows me to Zoom in. And Command Shift less than allows me to Zoom out. Only problem is there is no hand tool in Photoshop, where you can pan across the screen like this. OK this is why I have a touchpad. Can you guys see my screen? I mean, can you see my face? No OK, well, I'm going to pull it up like this thing, this little wedge thing, because my son's like, why do you need all these touches, touch interfaces and like what? Because how dad works. So I have this that way, I can pan really quickly with my left hand while my right hand is doing the work and it can pinch zoom, of course. Do you use your way, come with the touch turned on? No, I never do. I found it annoying. OK, good. I hated it. I turn off every function off. I do too. I do, too. I can. Well, here's a cool poster. Let me do this. Let me just drag this over. What is your file management for the gathering process and the organization of all those sample assets? I usually try to create one giant bucket. I'm sorry. I not organized when I'm working on soundscapes, but I demand more organization for my team than I apply to myself. And you do it per project? Or are there? Ok? very specific, right? Yeah, there are image boxes. That's why I can find these, because these are the images that were used for this specific project. Oh, this is interesting here. I want to show you guys this. We get rid of this. You see this right here. So full, vibrant. That is ultimately what the designer did or Drew inspiration from to create this, I'm going to show you. Well, crop this down. So the whole idea of building a style scape is a preliminary sketch design of what you're ultimately going to do. You see that right there. So it's a long dash underscore. So we draw inspiration from that, and this is how she interprets and it looks good. I'm pretty sure anybody is building this in any other program, I can build you faster by using keynote almost certain because even in design, it's funny, like the way sometimes you double click on it and it wants to scale the image, but not and it skills the box. I'm like, God. it never occurred to me to do this in Keynote. Yeah, as far as I know, I'm the only person I know that uses keynote to do almost everything, but it is so much faster and slicker because you're right, InDesign has its quirks and Illustrator doesn't snap well and it has its quirks. Photoshop would be a nightmare. Photoshop would be a beast to move stuff around. Yeah I mean, have you ever tried using Adobe XD for doing this? I think I've used both Illustrator and xd, and I've done some stuff in Keynote. I feel like the workflow with zd and keynote are very, very similar. OK, I've not because zd was beta for a long time and my team uses a sketch, and so I'm pretty sure it's similar, right? It works like this. It's like almost like a page layout program. So I got a texture in here. I mean, it's not great, but whatever. So you guys can see how I'm going to build it. And this is very gridded. So I like to have a couple of things in here. So the next bit is to try and break up the grid. And let's just say I'm going to put some type in here and type is great for this guy. So let's just use for, oh, this is a trick here. So my type is right here. You guys can barely see it. So I'm going to hit Command T to bring up my type palette because it's a lot easier to work that way. And I'm going to make it ginormous. I'll make a 500. That's not big enough. 1,500 Here we go, and I'm going to give it. I didn't care what typeface it is, but it happens to be Helvetica Neue right now, right? So let's work with this. So I'm going to drop something like that, and I'm going to give it a different color and I'm going to pick one of my color palette colors like that. Ok? and then if you click on this magic wheel thing again and you can control the opacity. Look, that guy's. Non-destructive super clean file size, and it's ready to go. So if I put something like that in there and I'll drag over it over here, this is a trick I like to use quite a bit. Well, even that's cool, it's four, 450 a lasting idiot. For 50. Zero OK. Is to use unusual letter spacing, so normally that would go somewhere around here, right? If you take this and you pull it out, say over here. The I the mine will connect these bits as long as the baseline stays consistent and it stays consistent because you just hold on shift. In this way, I get an organic shape. I get the color palette in there, and it's just a little bit of design element and you can have fun with this because. I could slide is 4 4.5 here over here and bring this to the front. I like these kinds of. It's not behaving. I like these kinds of things where things feel like they're on top and then they're behind. That whole figure, ground ambiguity. Where you're not sure what's on top. And what's on bottom. If I had a couple more things which I happen to have a couple of more things. Let's see illustrations here. It's nice like I want to mix it up. I don't want just. Graphics or photography like, say, I like this. And you can see when you vary up the kinds of graphics that you include. It makes the design really rich. Come on. Recognize that shape. So the annoying thing right now is that. The thing in the foreground becomes hard to manage, like this sucker, so you can hit Command. I think it's come on now. It'll lock it. And command options will unlock it, but you have to first select it and then it can unlock. Come on. There you go. So this is where it's not designed to do this, and so it's freaking out over all the layers, right? So put that in there. And so you guys can see now I've gotten so I'm missing it. Environmental, some kind of object. So let's see if I have a building somewhere. Type collateral. Let me look. Have so many images in here. What was your list of elements again that you like to put in? Yeah, I'll give it to you right now. I caught some of have a poster of you guys, but I have a poster that tells you all the things you need to put in there. You need to put in a piece of identity design like stationery, printed materials, business cards, envelope letterhead. Put some labels in there. You know that tape that roll of tape with a repeating thing? Put that in there. You want to include patterns. You want to include iconography. So simple concept will do. You would include definitely the person in some part of their world, their environment, the natural world. You would include wayfinding. That's signage packaging. You can include textures. It really starts an illustration, pardon me, in photography. So you do this before you create the logo, right? Yeah, absolutely. But while you're doing this, the idea for the logo should come to you. Of course. But in order to show this to a customer to talk about it, do you use some sort of a logo sketch even in the mock up of the cards? Absolutely And I'll tell you why in a second. OK so you see, like I have this image of the building Pioneer Square already cut out and adding something like this. You see how it starts to almost look like, like a Dada design. Right? I mean, I can start to create some pretty cool compositions just by designing in. You know, it's why I love keynote guys love, love, love keynote. So I'm just like these two things. I'm going to bring it to the front because I want it to be in the front. I can't believe you've done this in 40 minutes. It's crazy. It'd be a lot faster if I wasn't talking about it, right? Yeah, no. Let me tell you why it's important to put in a logo, your logo for this brand in early. Is because all new things, no matter how good they are, it's hard to process for the human mind. I can come in tomorrow and tell you, like, this is the coolest band. Adam, you need to buy this. You need to go to their concert tomorrow and you can listen to your buddy later that day. Somebody in the cafe hums that song and then you're in the elevator and you hear it again and you get out and a car drives by and you hear it one more time. By the time you come home, you're like, I love that song. It's a little earworm and burrows inside your brain. So the complicated or the more technical term is called scaffolding is getting from point A to point B instead of going up a steep slope. You just built a little steps on how to get there. So if I inception, if I start to plant the seeds even its rough form, they start to get excited about what this is going to be. Now I'm going to tell you, you see this for 50 Alaskan logo. I'm going to get rid of the krispie logo, ok? The extra crispy. If you look at the 450 Alaskan logo, it's kind of a bizarre mark. It's hard to read. For 50 alaskan, look, why would the client pick this? It's because we put it in front of them and we told them why they needed to pick it, because there were these images of sailboats and how the letters are broken across the sail and you guys are by the ocean. It makes total sense. And they're like, we love it. And then it just starts to grow in them, and they can keep resenting it over and over as we go through its stages and refinement, it happens right here. If you waited for the very end to do this big, thorough presentation, you risk having a great idea and design killed. It dies right on the vine. And that's why we would do that, because I want to make this a little bit smaller. And sometimes it's actually nice guys just to have a block of color. And I'll show you that. Bringing back my palette command option, I would change the color to this. Oh, I'm sorry, I didn't use. I'm not going to put that there, and I'll just put it somewhere else on the page as I'm building this sucker out. Bring that to the front. And then as you keep feeling this in now, if I change my background color to something darker, this will look less annoying. And you can continue to design. Now I'm going to grab something else that I have. Man, here, while grabbing this asset, you guys feel free to ask anything now. Melinda came in fully charged, I'm going to ask her with these questions. I'm going to knock them down. That's what I do. Melinda asked me a question. As you gosh, she always put me on the spot. Well, you put me on the spot, I got more questions about those tapes. Hey, there were other people that had questions too. They didn't say anything. You did. I love how Mays volunteered. It's like, well, Melinda has some questions. She's like, there you go. Now this is good. I mean, well, our because some of us were having a conversation that is difficult for us to translate from what we get out of strategy into a style escape. So we had some issues. I think this is really helpful, like seeing how it's built, but it's we're also struggling with actually translating those things into the style, like the brand attributes. And so you want me to teach you how to do that then? Won't that'd be helpful? Yes, I agree. Then you guys would have to do some homework. Because I'm making a lot of decisions. I don't have time to explain to you right now. So look, this is my book, right? I have a book Comp. You see this book cop right here. It's ready to go. It's perfectly cut out. I'm going to group it together. So I put it in a book. And it looks like more legit. Look at that. Let me see what else, I have so many things in here, my files are ridiculous. Let me see. I'd like you to talk about some of those assets, like last time you talked about the screen that u hat vector of that. And then the book, what other things do you use that you have in your arsenal? I have a gazillion images, Tracey. You do. Yeah, I do. What do you use the most often? Look, I mean, I just have boxes. I have everything. There's nothing that I don't have. I mean, every time I make a new style escape or an asset this one, I'm not going to use a dropped shot of look. See this one I'm going to select. I'm going to do a contact shadow. We get fancy. So if I offset this underneath it and I have to change perspective here, let me try and change it to 50 or something. See how that kind of grab the little cheek. Yeah, right. Come on, man, that's not paying close attention to this. It'll fool most people. Maybe I'll change it to 70. Let's see if it works for 70. That's a good cheap. Oh, 35 is the maximum. Yeah, see. Not bad, right? I mean, I have. Well, I don't know. Why would I? Why? why do you even do this? Because I'm a fool. I have things I'm like, I'm just going to cut things out. That's why I get so good at cutting things out. Can you say the mall's p&g's? Yeah, I see him all his Pags. Let me ask you a hypothetical client or are we just like putting cool design stuff there to sean? Sean, welcome back to you. I haven't seen you a long time. Yeah, and I thought today's was rescheduled for 9:00. And so I thought I was an hour late, so I missed a lot. That's all right. It's all right. But the good news is there's a replay, right? Yeah, I mean, look, I mean, I don't know why I cut this thing out. I mean, I cut everything out because I just like to cut things out. I mean, you can get into some compositions here, you guys. I mean, I can put it behind the boy. I mean, you could do anything. And then all of a sudden, it looks like Photoshop. So let's say the client chooses this and then but you have to be very thoughtful about what you put in here because you've got to somehow. Not necessarily a direct relation to the final designs, but but reference some of these things. They saw that they liked 100% And right now, I'm just being a monkey, see somebody really screwing some stuff up, you're like, oh, how the hell am I going to get that into this? Well, that's why I say to them, I want you to be very mindful of what you put in here because I go out and I sell that stuff. Right, right. It's not even about justify, just making sure that you're very intentional about what it is that you do. Why the heck did you put that in there? OK, now I have this little camera. What is that called a Super 8 camera? It's kind of cool. I like that. I'm just designed here, and I can't pretend to tell you in the time that we have left. Like how I know what to put in, what looks good. Next to some things. But I will tell you a couple of things. If you want your keynote to look really rich or any design, it needs a little bit of a lot of different things. It needs an illustration, it needs a photograph, it needs graphic pieces, and it becomes really rich in design. It needs a piece of topography. If I were to put a little bit of mouse type in here, you guys are like, oh, that was it. That's what we needed. So doing a simple thing like the quick Brown Fox jumps over the lazy dog. And putting it in the primary and secondary typeface just on here and designing that will look really good. I don't like doing any more like ABCD efg because it just looks so abstract. Chris, who's talking? Oh, oh, you can hear me, I found my Mike was bugged. It's the man. I want to ask you something. Hi I built some style escapes and sometimes it looks really good, I think. But sometimes it looks kind of generic, kind of like blend. And I would like to know if translating the words to the style scapes, if there is like a process you can follow, like the hierarchy of the words or favoring certain type of words, something like that to help translating to the style scape. OK, so it seems like there's a lot of interest in how to do this stuff, right? How to translate stuff. So I will have to figure out how to do this for you guys. It was my intent at some point in my life to be able to do this for you guys, to be able to teach you how to do the style shapes and interpret words because there's a gap there. I'm seeing I'm hearing very clearly a knowledge gap, something that I grind with my team and train each and every one of them to a certain point. It's another all very good at doing this right. So we will need to do that at some point in the future. Because I feel it's somewhat intuitive, like everyone has their own process, so we're kind of interested to see how if there is a certain formula of translating certain words and brand attributes, especially if we want to delegate cityscapes to another person to do kind of guide them to follow a certain process. Mm-hmm Do you guys just see what I did here? Mm-hmm Pretty cool, huh? Do you guys miss that? Now, OK, we're good, so I'm trying to break up the design, the composition a little bit and that's what I'm doing, and I have so many images, guys. Just this one was for Kerry green or somebody else. I can't remember it. I use carrying a lot of my talks. And of course, I don't have a picture of Kerry because Kerry hides. Sounds like there's my girl. She does hide. She hides. She's good at hiding. It's good to have certain skills. They curse with the stationery that you have. Do you ever go in and alter it or? Absolutely OK all the time we go in and modify them. And designers love to do that anyway, so I don't even really have to encourage them to do that. Right this is my life, and I might have a challenge then for maybe you guys or people in the future to do a decomposition. These kind of surreal compositions just based on assets that'll make you cut out some things that don't make use Keynote in ways that you never use Keynote before. Right? I mean, I have so many assets from shutterstock, and I download them, and then I just keep using them. So there's like I don't know why I have the snail. I just like them, right? Just like, look, I mean, the more you're able to kind of break up the rigidity of the grid, the better. And if here's a composition trick, let me Zoom out. That's too much. Let me try this. Come on. There we go. OK, you guys can see the whole thing, right? If you have a grid line over here, just like with the topography and the baseline, it's important that you repeat it somewhere else. So you see this image right here. I want this box to line up with that grid line, so bring it over here. I don't have to keep the same proportions, but I do need to keep it lined up like that if I start to put an element over here like this. The eye will see this run across and connect it and not even know why it's good, but it does know that it's good, it's pleasing, there's order to it. And that's what I'm doing in terms of design itself. I think I'm hearing from you guys right now very clearly. You're like, OK, enough with the keynote. Tell us how the image isn't. Why you find certain things right. That's what I'm hearing. So what I'm hearing. Yep Yeah. Yes, Yeah. OK next week's episode? I don't know. So take this drop this in there. Scale that down a little bit. And then voila, you see that guy. So the line when it comes across there and you're good. And we're not done. There's a lot of other things that we can do. We can create. Lines like this. And is there you guys can't see it, so I'm going to change it to a color that you can actually see. Hold on one second. Let's do the mint color. I like the mint color and I want to use a dashed line like this dashed and I want to make it thicker so you guys can see it. That's probably too thick. But having linear elements like this also are nice. Let me make that a little bit thinner. So this also reinforces the grid line. You guys can see that right? That's a horrible color, I mean, pick of color, you can actually see this color. So breaking it up, doing things like this, and then it's about curation, so now my team, let's say it's a nautical theme. The first thing they're going to come up with is super cheesy. It's too on the nose. And this happens to do a lot with your experience, your life experience, to be able to say, look at sailboats, I want you to look at the mass of sailboats. Look at all the topography and look at the parquet flooring. Look at some yachts and look at color palettes and the visual language surrounding maybe restaurants that have a seafood theme. Open it up because the first thing to come back is going to be stupid. I should say, unless judging tone, but it's not going to be what you want because it's just surface, you haven't dug deep enough. And that's why I keep encouraging them to go deeper. Now I'm going to get freaky, surreal with you guys. We take our boy. I'm going to drop him. Does feel like dropping his head, just put the snail on top. OK all right, just having fun here. So is it all? Are we good guys? Yeah, actually cottons. I have one question about all this and I'm going to give you this. OK, I'm going to give you The file so you don't really need to rebuild this thing. Yes, go ahead. So do you have just a folder of random cutout images? Or do you do? OK OK. We're going to. I'm going to go into File management. Let me just double check and stop the share here. I'm going to double check the agenda here. I have a call in 12 minutes here, so let me go fast. Where's the other keynote? Where are you coming up? There we are. OK, so we're going to try to power through this last part. OK, let me let's double check here. So building shapes, we did placeholder yes, assets, we're going to get into some shortcuts, no animation, no exporting or you guys, OK, I'm going to show you file management now, OK, I'm going stop the share. Hey, Chris. Yes, ma'am. Are any of these images purchased images or are you just kind of using things as placeholder with the idea that, you know, are you with legal or are you illegal? Not at all. Just something I've run into before, you know, like just where the line is, where you can kind of use inspiration and then the line super blurry for me. I own an account to Shutterstock. I think we pay $150 a month or 200. I don't know what we pay. We're allowed to download 300 images. It's for a single user license and you can use it for anything except for it to resell the image as part of a catalog or something. But it's a single user license. OK theoretically, I need to buy three or four of these for my team, but most times we're just using these not for finished artwork, but mostly for YouTube thumbnails, right? Or landscapes that nobody will ever see. And I'm hoping that's OK. Now I'm going to show you my thing. OK, so I have a couple of folders. I'm going to show you this one here. Ok? the stationery isn't purchased, though, right? No, no. That's downloaded. Yeah Thanks for pointing that out on a recorded call. I appreciate it. OK, so this folder called Shutterstock and even though none of these, I'm sorry, most of these images are from Shutterstock. And now I'm finding I want to keep all my images in one area, so I've reduced it down to two main buckets. So here we are. Can you guys see the screen as it loads? This is my Shutterstock image thing, it's massive, you guys. And if you notice here, you're going to see images that I've recently used because it's organized by if you go to right click and you go arranged by date added or date modified, then I know all the new stuff is on the top versus alphabetical or any other random order. And these are all images I've downloaded from Shutterstock. They're not all of them, but they're quite a few in here. OK, now I'll call a crack team and duplicate or whatever, so I'm going to go back to this view, and so I have my vector stuff in here. So here are all my head's line icons, icons, diagrams, everything that you can think of. So if I go to command one, I don't know if it'll preview this. Yes, it will. This is where all my vector stuff is living. So here I don't know if you can see this. Can you see that the image of the man and woman big? Yeah, Yeah. OK, so this is where all my heads because I use heads a lot. I draw some. I modify some and I just I keep doing that. And I like to take assets and then cut them apart and do something else with them to make it not so straight up like everybody else has the same image. I think I mentioned this last call that it's really cool because I download an infographic from Shutterstock. I modified it to say the word info as a thumbnail for YouTube. And the guy who actually made that asset commented on YouTube, saying, hey, that's really cool. You use my image. So what a coincidence that the guy who makes assets that I use on shutterstock? Recognizes his own image and thinks it's cool that I'm modifying it. That's pretty cool, so I was line icons, guys, I have diagrams, I have monga lines because we did stuff with Japanese anime speech bubbles. These are just assets and things that I've built up over time. So I have a folder just called backgrounds, and I'll show it to you. It's one it takes a minute for it to populate. And so Melinda is going to recognize these assets and assets yet to be used. Here's one right here that was used from Rebecca. This pattern.

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