Video 05 Personal Business Card and the Design Process – CIS20 Adobe Photoshop

Video 05 Personal Business Card and the Design Process  – CIS20 Adobe Photoshop

Greetings and welcome back. For our next project, we’re going to be doing
a, I don’t want to say simple business card, but we’re going to do a personal business
card for yourself. This is a real important project, not just
for your own marketing but to get your name out there and to give have something that
represents you out in the field. So, this is actually a two-part video kind
of all rolled into one here. We’re going to be going over the Graphic Design
process, something I haven’t done yet in my videos, but I waited until this point because
this was a focus on Photoshop so I wanted to get you started with that first. But in all the classes that I teach, no matter
it be Adobe InDesign or let’s say a Web Design class even for WordPress, but more importantly
the design courses, I like to go through the original Graphic Design process where it talks
a little bit about the print world and how we got to where we are. It’s only a few pages and I’ve included the
PDF for you to download. But what this does is it goes through and
gives you a little bit of history behind why we do things the way we do them and then really
a way of thinking when you start doing your design work. This is how I think. I can skip ahead. I can kind of cheat here and there. I don’t like to cheat the process completely,
but if I’m short on time, I understand the process. It’s something that I do. This is what I approach all of my projects
with. So, we’re not only going to do that but our
business card as well in Photoshop and so, we’ll use the same principles here to actually
build out the card design. It won’t be super fancy because we do have
a very limited space for our business, but we’ll keep it simple. I use some gradients. We’ll do some type. We’ll get it ready for print and you’ll be
turning it in. So, it’s not a very long project in terms
of time, but we’re going to spend about half the time, that’s why I said it’s a two-parter
here, on the design process. So, we’re going to start with that and the
project we are doing is the business card so I’ll be referencing that. But I’ll pull up some other things online
here. I want to show you a little bit of history. But number one, step one in the Graphic Design
process is Research. Most of the projects we’ve done together have
been things that I’ve told you what to do. You sat down with the files that I gave you. You may have followed along with me and that’s
all well and good as practice. But in the real world, you’re going to have
to take those skill sets and apply them to something that the client wants or that you’re
going to have to build and figure out for that client. So, some of the things we need to talk about
here and probably the most important is time and budget, even though I put those a little
bit farther down the road right here. But time and budget, audience, format and
the goal is examined, all these things are examined. Budget and time though, those are the two
big ones and you can tell I kind of sighed there. Everyone thinks what we do is easy. We make it look easy. For designers who’ve been doing this for a
long time, it is not easy for it to look right. I can throw something together in 5 or 10
minutes and it’s going to look all that great even with my design background, but it may
be functional and that’s fine. But if we really want to solve the design
problem, we have to spend some time on it. So, budget and time are the first things I
usually talk about. So, if I had a client that came to me and
said, “I want to do a big catalog.” First thing I would say is, “What’s your budget?”
because we have to look at printing, we have to look at production, getting it out and
then, “What’s your time around time on this?” And everyone wants it yesterday, “Oh, here
is a project. Here’s a flier we need. Can you have it done right away? I need it by tomorrow.” And I have other clients. I have other jobs I’m working on. If I’m working for a company, there may be
other jobs in line before that one. There is this misconception that, first of
all, we’re miracle workers, which we are, but not always in the speed and the time everyone
wants us to do. And second of all too is, from a budgetary
standpoint, if I’m dropping everything that I’m doing and especially for a client, they’re
going to have to pay me for it. I’m going to have to push off other clients. I’m going to have to work overtime on it. It does get more expensive. And if you don’t learn to say no to those
types of jobs, all you’ll ever be doing is putting out fires. So, we need to look at a budget, we need to
look at time. And for this, I’m actually going to say, from
a business card standpoint, the budget on this would be pretty low. One of the sites that I wanted to show you
is We’re going to be using this in reference
today. They are a printer. They’re what they call a trade printer. So you need to have a resale license to work
with them. I do have an account with them as well and
you can order pretty much anything from them. If you’re working with a smaller printer in
your local area, chances are they’re probably using them. They have some very good rates and one of
the lowest rates they have is on business cards. So it can range from anywhere from $16 for
a 1,000 all the way up to like $40 or $50 for a 1,000 depending on what papers and what
card stock you’re working with and all kinds of other things here and I’m going to show
you business cards. You can see there’s a lot of different types
here and then you notice there’s no pricing. I’m not going to get into pricing here very
deep, but they have specs. These are the different types of sizes as
well as how large you can go in terms of the run, what type of paper stocks and I wish
I had more time with this for the paper stocks. I can go on and on and on about this, especially
with your coatings as well mixed in. But this is where, as a designer, you start
to understand what type of stock you have and go from Linen, which is made out of cotton,
all the way up to 100lb Gloss and everything in between like even 18 PT, that’s very very
thick. My cards are 16. I like them thick with a Silk Laminated. So it has a very unique texture, unique feel
to it. So, lots and lots of different companies out
there to do this with. The file we’re going to be working with is
actually a file at 4Over you could download from their templates once you’re signed up
with them. And when you’re going design work, always
use the printer’s templates. Makes life much much easier down the road. In this case, it’s all set up and ready for
us to go. In the past, I’ve been giving you templates. This time, I’m going to be giving you a template
from this company. So, key thing here is, I can come in if I
had my account on, find out how it’s going to cost me, my cost on 1,000 cards and then
I can mark that up to my client. So, if it costs me $20 to run 1,000 cards,
I’m probably not going to charge for my design time, so I would charge something like $80
for the cards because most business cards I pump out very quickly, especially if they
give me all their files. It’s really just about setting it up. Now, to get more fancy with cards themselves
in terms of design, and I don’t want to call it fancy, more detailed, then, that’s going
to take more time and I’m going to have to charge them for that as well. I had someone ask me the other day. They created a logo for someone. They paid them for it. Now, they were asking for the files to another
designer work on it. They were no longer going to use my friend
anymore. And technically, she owned the rights to it,
but it really came down to money. Is it really worth fighting over a $200 logo
that, quite frankly, it probably will never become the next Nike anyway? Just keep them happy, move them along and
hope for the best and stay on top of them. Or does she fight it and go in and want a
new contract and all kinds of things like that? What I said was, “It’s just not enough money.” Now, if this was a multi $20,000, $30,000,
$40,000 job or 100 grand or multi-million dollar job, that’s a much different battle. But this will help you out as a designer. There’s so much from them here. They have File Prep. Actually, sorry, they do have the files here
and this is the one we’ll be using here in a minute. I’ve already downloaded it. So, that works out real nice for you. You can come in here and grab templates at So, we’ve answered our budget and time. So, let’s say the client has $100 to spend
on that, that’s what they have. I know it’s going to cost me $20 to print
and ship these. So I can only make about $80 on this. So I want to keep this project under half
an hour. It’s really the only way I can make this profitable
for myself. You know it sounds like, “$80 an hour.” No, not really. Once everything’s taken out with self-employment
tax and other things. We’re only getting about $40 if we’re lucky. And we want to make this as easy as possible
so we’re not spending hour upon hours on this as well. So, time, budget. I can turn this around probably in a day or
2. Printing is another day. So, by the end, if this is a Monday, I can
say, “By the end of the week we’ll have everything ordered. You’ll probably have it, if not Friday, on
Monday or Tuesday of the week after.” We can always rush the order. But in this case, don’t really see the need
unless they really need these cards for a Convention or they have to go somewhere or
they just ran out too. So, the audience and format. Well, we know the format. In this case, it is a business card. So, standard size. And audience, well, that can be anyone. So, when we’re doing a business card, there’s
few things that we want to keep in mind. The goal is to get our information out to
people so they contact us back and purchase something. It’s my front line of offense for working
with my clients. I get the information in front of them. They take it. They hopefully take a picture of it and scan
it or they use it and get back to me. But business cards are super, super, super
important. We’re never going to get away from that print. As much as we love all the digital stuff,
it’s still nice just to get a card when I’m at a Convention and I stuff my holder where
it holds my badge full of the cards and then that way I know which show all my cards came
from. So little things like that, the paper still
works really well. I’m not a huge fan of wood or metal. I had an incident with a metal business card
and went through security at the airport. It was in my wallet and it came up on the
X-ray machine and they were all freaking out about it. And looking back, yeah, I probably could have
used it as a weapon. It was that sharp. So, when you get weird with things, that’s
fine, especially if it’s an industry. If you’re a woodworker, maybe you have wooden
business cards or if you’re a metalworker, you have metal cards or you’re a bookbinder,
you have vellum cards. And I’m not saying not to be creative, but
keep in mind that the simplest cards are the cards that probably will be used the most. So, our audience, we know that now. The goal is when we get these cards done and
when we’re going to finish them up. So, the big thing is, make sure you know your
audience. For a business card, that’s one thing, but
if we were doing advertising to a very specific group of people, you need to learn about that
audience and you need to build out and figure out exactly what they need or at least a good
guesstimate of what they need and then evolve as well. Don’t just sit on one design. If you find that one is selling better, then
you try out another and it doesn’t, you start building up that data and figuring it out. All of that also goes back to some of the
things with the design process in terms of following the logo guides, following all of
the things that the, let’s say the company wants you to do or a maybe a small company
and you just know that. You don’t want to go too far off base. You want to make sure everything fits their
overall design look and feel. So, talk with your client, find out what they
want, define the visual problem and develop a game plan to attack it. So, talking with the client is important. Letting them show you samples. If they go, “We like this, this and this,”
that will make your life much, much, much, much easier and chances are you’re going to
end up with three comps, comprehensives and having good, open communication with your
client is critical to get the job done as well. So, even just emails or a phone call once
a week or finding out if this is a business card and it’s very quick turnaround, then,
“Okay, I’m going to text you,” even to make sure it works. So, solid research reduces the design time
and serves to focus on the essence of the visual problem. Bottomline on this is, do your homework. Learn about your client. If they come to you, I may spend 5 or 10 minutes
looking through their website, even on a really short turnaround on this, just so I get a
feel for their look, their colors. Most of my clients are smaller ones, but I
do have some large-scale ones, always working with their Art departments or their Marketing
department to make sure that all your colors match and things like that. So, if you notice, there’s a lot of work in
this research side. This step one is a big one here. And it may be a short paragraph, but you really
do need to spend the time here. Do your homework. This will make everything else faster. So, Thumbnails. I love thumbnails. It is a little more difficult for you to do
them in this class because we’re not doing a lot of design work. But if I sat down and I was going to create
a new business card for myself, I would actually get a piece of paper and pencil or pen, maybe
go in my sketchbook and continually hammer through as many ideas I can. I might spend 20 minutes, 15 minutes just
sketching out as many ideas as I possibly can. As you can see here, this is for a logo. We have Navigator Yachts. Here’s another one for Navigator Yachts. Sorry about the low resolution here. Another one with the boat and then one with
the compass. So, these are refined thumbnails. I like to be really sketchy. You do not need to be artists on this. You can just sketch quickly. You could be stick figures for all I care. But it’s about getting the ideas down on paper. That’s what thumbnails are all about. It takes all the good and all the bad and
gets them out of my head. So, they’re small in size. They are proportional to the final project. These are sketches, brainstorming, and doodles. If the final piece is 8.5 x 11, then a good
thumbnail size is probably about 2 x 2 or 1.5 x 2. This where, as I said, the thinking, the experimentation,
the growth, every idea you can think of. One or two ideas you like. Every variation you can think of happens here. This is where you get to be creative. These are your thumbnails. These are your ideas. The client may never even see these thumbnails. This is your time to work. I cannot emphasize the fact that you have
to do this, even if it’s just digital. Maybe you have a Wacom tablet and you sit
down and work on it. In the end though, we have to make sure that
this process doesn’t get skipped. This is the idea process. Sometimes, and I’m going to admit it, I do
skip this and just go straight into Photoshop or Illustrator or InDesign and start working,
but I still come back to this. I have a piece of paper, I have the pen, I
have the pencil to work through it. So, as I said, this is very critical and this
is where you express your ideas at this stage and I quality thumbnail should only take a
few minutes of not just a minute to do. So these are quick sketches. They’re quick thumbnails and computers make
the process easier, as I said earlier too. Do not cut out the thumbnail stage, even if
it’s just a book that sits on your desk, a three-ring binder or line paper or something
that you can write on and you can sketch out and make notes on as well. So, thumbnails, very, very, very important. The Roughs. These are the refined thumbnails. This would really be roughs up here. You take your thumbnails and rough them out. Roughs are used to examine promising thumbnails
by testing them out. So, instead of just having some lines, I’ll
actually write out the text or I am working on an outline for a logo or something. I might do 5, I wouldn’t say 500, maybe 50,
60, 75 really quick thumbnails. I would take my best ones and rough them out. With computers and desktop publishing, your
roughs, I may just jump into Photoshop and start working. They are finished products at that point. So, this step used to be very critical, but
it has kind of faded away because of the tools that we’re using. It’s not to say it’s a bad idea, we just do
it differently now. We would take our thumbnail, sit down in Photoshop
or Illustrator and start working on it. Like a little earlier I said, you know, “Like
a shape around a logo for designing it.” Maybe I sit in Illustrator and rough out 5
or 10 different shapes around the text of the logo, like the boat up here is what I
mean by, like this outline. Maybe I’ll try different silhouettes, different
outlines. I can do that on the computer and get a very
finished looking product that the client can look at too and say, “Yeah, I like that,”
or I look at it. So, this step gets a little mushed into part
2 here, but I like to break it out just to talk about it. And then, Comps or Comprehensives. This is the last time I’ll call it comprehensive. I like to call them comps. But a comp is a presentation piece to the
client. Make sure this is carefully done with all
the pieces in place and these look just like the finished product to a point. They may still have rough artwork and illustrations,
but the client needs to feel that it is a near final product. The client makes a “yes” or “no” decision
based on these comps in the old days. And I shouldn’t say old days, but it has been
many years. Let me show you some comps. We’ll call them marker comps. So here we go. This is an example of a comp. You can see, this was done by hand. So, this is before we had all the computers
to pace things up very quickly. We would have to sit down and with markers
or cutting out type, you would put together a comp. So, you can see here, the text isn’t real. It really isn’t. It’s just scribbled. This is comp text. Here’s another one. So, “The first Big Wheel that your kids can
adjust to their size.” But you can see, it’s just scribble, comped
out text. It was drawn. We can show this to a client and say, “Hey. Do you like this? Here’s a comp for,” looks like in Illustrator,
he’s doing some comps here, different illustrations. I like this. If we don’t have a photo, you would have to
sketch it out and show what we were going to end up doing. Here’s some color comps, working on color
to see if they work. There’s another one. So, the World of Disney Store. This is a very quick comp for it. So, you can see here, this is a comped out
page as well. So using markers and doing the rendering. Here’s another real cool thing. That one’s actually more like a finished illustration. Here’s another one. So you can see, some really great ways to
visualize before the computer. That’s a comp. And what does that do for you? Not much. Now you’re probably going to take and go from
your thumbnail straight into Photoshop and start laying out your comps. There are some different types of comps. So if you’ve ever seen Television and Film
Storyboards. I’ll put film storyboard here. Here we go. So this looks like Spiderman. I think this was Spiderman 2. Here’s Harry Potter. So you can see, it allows the Director to
comp out and work out everything visually first. Then we also have Package Design. So, if I was making a package for crackers,
I would just do all my design work, but I would still have to comp this out and fold
it out to a 3-dimensional, print it, glue it. That way, the client can look at the finished
product. If I was doing wine bottles, I would put the
labels on bottles and bring those bottles so the client can see them. We want to make it easy for the client to
make a decision. We don’t want to make it hard because that’s
just more work on us. So, Printed Pieces, folded and presented to
final form. If it’s a little flier, fold it up and then
we bring that in or maybe a magazine. I’m sorry, I’m jumping ahead there. Maybe it’s a little booklet, that type of
thing. But printed pieces are folded or presented
to final form as close as we can. Catalogs, magazines, etcetera, it’s cover
plus key pages. So, if I was doing a magazine, we’d have the
cover, the index and a few key pages throughout just to help set up the layout. So, let’s talk about Presentations. Step four, this might be the first time the
client sees the work that we’re doing. So, be enthusiastic, sell your idea, be ready
to listen and prepare to compromise, note requests carefully and go back over them with
the client. Always be ready to defend your work, don’t
answer every question with “I don’t know” or “I don’t know why I did that.” That’s probably the worst one that you can
do. Be smart. If there is a question asked that you can’t
answer, tell your client you will find the answer for them. Be honest with the client, they will appreciate
it. I’m a little blunt when it comes to this stuff
just because I’ve been around so long. And so, if a client wants to go at it with
me, I’m more than happy to shoot down whatever design theory they have in their head. If you can have someone else take notes for
you, that is awesome. I’ve been very lucky in my life to have some
assistance. We’re very good at that so I never had to
worry about it, it just happened. But that may not be the case, so recording
is another way, not everyone likes to be recorded. But when I worked at McMullen Argus, I had
an assistant and he basically wrote everything down that was said in the room and that way
we can go back and weed the through the chatter and find out exactly what was going on, kind
of read between the lines is the best way because everyone has their own agenda. And so, having someone do that, especially
when there was input from a client saying, “We want this and that to the logo,” or to
the flier or whatever it may be. Having those notes and going back over them
and then actually sending another email with it in writing saying, “These are the things
that we got out of your meeting. This is why we want to do them. Do you approve them? Do we need to talk more?” So, being smart and being honest with the
client is super important. Things do happen. Products get pushed off on both sides. So having that open communication, even if
it’s just text messaging, can make all the difference in the world. Also, if you can’t find an answer or if you
cannot answer a question, tell them you will find out. That happens to me all the time. I don’t know what they’re talking about, but
I’ll take good notes and tell them I will find out. They go, “We want the new super duper printing
whatever on our business cards.” “That’s great. But let’s look at the cost and see if we can
find something that’s cheaper equivalent or is what we need in the end.” So that moves us into Artwork & Paste Up. So, Camera Ready Art is what goes to the printer. And if we go and look at some Camera Ready
Artwork, let’s see what they give us. So, naw, they’re not really giving us much
in here, but right here is a good example. See how this is kind of fuzzy? That’s not Camera Ready Art, the solid black
is and it really comes down to having clear artwork, having things set up correctly. It used to be paste up. So if we put in Graphic Design Paste Up, some
real old school way of working here, but this was Camera Ready Artwork is sitting down and
putting this all together. If you notice, there’s all the different types
of tape up here for lines, that’s how we would draw a black line. This was all done by hand. There’s some Linotype machines. You would type and what would happen is a
little metal is inserted in here and then hot lead would be injected. So these are little copper or sorry brass
letters that get put together on a line, they get put in there, they’re injected and you
get the line of text. I got to see one these work once a few times. But there’s some others here. There’s a comp. Actually, sorry, really a thumbnail, not comp,
production art and you can see all the different tools that were used here. So, when I talk about Camera Ready Art, this
is really what I’m talking about. Now, we just work in the computer. We go straight from comps and really have
finished products. There are times when I’ve not made many changes
to a comp and it just becomes finished artwork. All pieces are converted black and white,
headline and text set and pasted precisely into position and illustrations, the boards
for each color, 4-Color process requires film separations into CMYK, Cyan, Magenta, Yellow,
K is Black or it sometimes it actually originally started as Key. I’m going to use it as black though, for the
K. So, CMYK. If we’re working digitally, that’s Black. If it was traditional like this, K is Key
or Black because it is the key that everything is lined up with. With computers, we’re not pasting on the boards. The concept is the same, but the screen is
our board and we’re able to produce film from disc and even print directly from the disc
to the paper. So, this is a process that has kind of gone
away. Here’s lots of type. Here’s all kinds of different comps. Here’s all the tools that we used to use and
I say “we” because I did learn this first and then I moved over to the computer as quick
as I could. Here’s more cut and paste. And you’ll notice the black and the blue,
the blue is non-photo. So when we go to shoot this on to film, all
these blue lines disappear. It is the black that gets picked up and becomes
Camera Ready Art. And as you can see here, there’s cold type,
all kinds of things that go way, way back. Oh, there’s Formaline. There it is. Different charting and graphic art’s tape. That’s how we used to do lines and where I
worked had a giant box. Oh, here’s the wax machine. Sorry. These used to catch on fire all the time,
but it was hot wax, that is how we pasted things up was with wax, not with glue. That way you can peel off anything that you
put in here. So, hopefully, that gives you a little bit
of an idea on the Camera Ready Art & Paste Up. Now, it’s just digital. The final thing is the Printed Piece. This is the goal. It’s what your client will use to persuade
and sell and you should collect samples for your portfolio. Now, we’ve gone mostly digital at this point,
especially what we’ve been doing. And in a couple future Modules, we’re going
to be doing our portfolio and putting it together. And so, right now though, we’re not really
printing anything. But this is the final goal, is to print or
maybe save digitally and send out digitally as well or both or maybe going on the Web
or maybe going into video or maybe going into VR. So, the final printed piece isn’t always about
printed, but the final delivered piece is the key here. So, that’s a very quick rundown of the Graphic
Design process. I have taught entire classes, 16 weeks long
just about this stuff here, but it gives you an idea of how to approach a project. First thing we do is research. We get our ideas on paper with thumbnails. We refine those thumbnails into now digital
comps. Those digital comps become the final artwork. They are sent to a printer or delivered another
way and we get our finished, final printed pieces. So this file will be there for you to download. 4Over is the company. As I said, we’re going to be using their business
card, their business cards here and we’re going to be using their file and there’s lots
of different sizes here. The one we are using is 3.5 x 2. So 3.5 inches x 2 is what we are shooting
for here. You can see, it’s a very common size through
all of these. So, this is my file that you’ve downloaded. It’s a very small download compared to previous
weeks. And I’m going to open up in Photoshop and
I’m going to go over to full-size screen here, just so we get all of the, there we go. So drag and drop or do File, Open to your
document that we downloaded, Business Card Template, 3.5 x 2. So now, let’s talk about this file. It looks very similar to some of the files
that we have worked with in the past in previous modules. And we have our guidelines. We have our red line, which is the cut line. So anything outside this red line here is
the bleed. The blue line is the safe line, so anything
inside that will not get cut off even if the trimming’s off a little. And our finished size is 3.5 x 2 with a bleed
of 3.625 x 2.125. So we have about an eighth of an inch. So that gives us our nice bleed, our margin
and our, what we call, safe area. So this file is already set up for us. The background has that artwork on it, so
we’ll leave it. It’s a nice reminder for what we’re during. And I’m going to do a business card for someone
named Johnny Storm. So if any of you are Fantastic Four fans,
then you know where the name comes from. But that will allow me to work in some reds. I’m going to keep the font fairly simple. I’m going to try to find some fire artwork
or create some stuff, just as a texture. So, instead of just having a solid color,
we want to work in some texture to this and a little bit of depth, just like I’ve done
in our other projects. Now, I really want to emphasize this. This should be about your business card and
it can be very simple. It can be white with just text on it. You need to design something that will work
for you. It can be a script font. It can be all kinds of things. Anything that you want, be creative with it
or follow along with me. The only thing we’re going to have to find
is possibly some fire and I may have to jump on and show you a few places to find those
things if we can’t generate it from Photoshop or a texture that I like. So, I always like working bottom to top. So, right now, we have this background. I want to drop in a color. So what I’m going to do is grab my Rectangle
tool. So before we do anything else, Window, Workspace,
Graphic Web and I’m going to reset it. That should give you the exact same layout
that I have here. So I’m going to grab my Rectangle tool and
I’m going to draw a rectangle. If you notice, I started way outside the canvas
edges. I don’t like that blue, do you? Naw, it’s Johnny Storm. We’ve got to have some cool stuff going on
here. So you know what I’m going to do? Over under my Layers, I double-click on the
icon, sorry, or thumbnail. I want to find a red. There we go. It’s kind of a brick red, isn’t it? Put a little bit of orange in there. All right. That looks good to me. So we have our background. So I’m going to call this Red Background and
I’m going to create another layer and I’m going to call this Texture. I want to have some texture in here. I’m going to come up and I am going to grab
my Brush tool. So a little bit before halfway down, we have
a pencil. If you click and hold on it, you can go to
the Brush tool. And up at the top here, we have the size of
the brush, so I’m going to bring this up to about 60. You’ll notice there’s a lot of brushes in
here. You may have different ones than me. I’m going to open this up just to show you. They’re all kinds of brushes you can pull
from, but there’s not a lot loaded right now. There’s a thing called Get More Brushes and
Import Brushes under the little gear. I’m going to Import Brushes and it should
take us into our brushes. I don’t have any. Don’t have any presets in there. So let me go back in here. That’s not what I wanted to do, even though
it’s kind of a cool effect. So let me undo that. So I’m going to open up my Brush Setting Palette. There’s lots of different brushes we can choose
from here. There’s an airbrush. You can see lots of different types. What I’m looking for is a pattern and I think
it’s going to be one of my harder edge brushes. I’m going to try the fan brush. So there’s some dynamics here. We can get into textures. We can really build this out if we want to. And if you click on Brushes, there are some
different ones here. So I just want you to pick a brush. Any of them will work. And we’ve got to make sure the size is a little
bit bigger. That’s too much. Right in the 70s. And now, if I started painting, it’s going
to be white or it’s actually going to be this kind of blue, but I want to change the color
first. So, if I come down and I’m going to pick kind
of a dark blackish color here, so anything dark. And I am going to draw some lines. Yeah, I like this. So hopefully, you can kind of see where I’m
going with it. That works. That last one, I’m going to undo because I
painted this on a different layer, with the red and the texture. So grab anything. I want you to play with this. Yeah, you can follow along exactly with me,
but there’s all kinds of different things here you can work with. There’s oil brush. There’s oil paint brushes. There’s tons and tons of stuff here. So the brushes are right up here. These are the settings, that’s the brush. Now, with my texture layer, once again, I
have three things here. Background, my red and that texture. And in our previous ones, we went into Blending
mode. Dissolve, Darken, Color Burn, Darker Color. You can Lighten it up, that’s interesting. We can Screen it. We’ll add Color Dodge. Yeah, there we go. Color Dodge is what I’m going to do. I like that. And I can set the Opacity down low and I like
that. So what I’m trying to show you here is we
can try some different things, Exclusion, Difference, Divide, Divide’s interesting. I like that Color Dodge. What do you think? Color Dodge or Divide? We’ll go Divide. But I’m going to bring the Opacity down a
little bit more. There we go. But this is really about playing. I want you to try different things. So now, I’m going to come in here and do a
layer style on the texture. And for this one, I’m going to do a Pattern
Overlay. You can kind of see it made a mess. And we haven’t played with the Pattern Overlay
yet, but you can come in and grab all these different patterns or you can load other patterns
here, so like Color Paper. I’m going to Append, not Replace. That’ll just add them at the end. Yeah, that’s what I was looking for and I’m
going to go with the Color Paper. See that? Texture. So what I did was I did an FX, I did Pattern
Overlay, I went in under my Patterns and I loaded my Color Paper. You can see there’s lots of different Color
Papers in here, but that one I really liked, that one right there. You can see it added a little bit of just
torn paper, anything bigger or smaller. You’ll notice I’m just playing with the scale,
but I’m just going to leave it at 100 or very close to it. You can even bring the Opacity down just on
the overlay. So if you didn’t want it to be 100 percent. But I’m going to leave it that way. There’s also a Blend Mode for this. You can go in and do Dissolves and all kinds
of stuff on top of it. It could be, I don’t know, Exclusion. Naw. I’m going to go back and keep this the way
it was, so Normal. Now, I’m just curious what a Drop Shadow will
do here. So I applied the Drop Shadow. The Distance is a little high for me. So I’ll bring in the Distance and the Spread. Now, look what happens with the Spread as
I go farther out. Oh yeah, I got some depth. I like that. So it makes it look a little 3-dimensional
here. So that works. I’m happy with it. My only other thing is the background. I am going to adjust this to be a little darker. No, about right there and hit OK. Once again, I’m going to say this, I’m going
to close my brushes because that’s the only brush I’m going to use. I only have three layers here and I have a
ton of depth. I can maybe add a little bit of texture to
this background now, the red background and I’m going to do a Pattern Overlay as well
on it. And I think that was a little too much. Let’s try one of the papers. A little too much. So, the reason I’m getting this all the way
through, I really don’t want it coming all the way through. So I’m going to hit Cancel. I’m going to leave this alone. I like what I have here
and that looks good. Now, I want you to play with this. Like I said, this isn’t a very long project,
but try some different things. Just from a design standpoint here, in my
head, I see a few things I can do with this. Now, I could just put type on it right across,
you know, with my name, my name is what, Johnny Storm we’re doing and phone number and email. But I’ve got some lines here happening and
this is just kind of what Bob Ross would have called “a happy accident” and I may have even
done this intentionally in my head what I wanted to do. So we have that Divide on. Not much going on in the Darken and this really
has to do with the Opacity here. If I bring the Opacity up, you can see, I
like that. A little bit clearer. What was it around? 45 or 50. But I really want you to experiment. And you’ll notice, I’m not using a lot to
make this happen. Now, the happy accident I was talking about. We have some lines here. We have some areas I could put phone numbers
and text. So I’m going to put the name Johnny Storm
right across here. So let’s type it out. Well, let’s make it formal, John E. Storm. Now, I’m going to fill this with white and
I’m going to take and rotate this. So when you select your Move tool, if it is
not showing your bounding box, right up here under our options, Auto Select and Show Transform
Controls should be turned on. Did not want to do that. So I’m to turn this on its side. And now, holding down the Shift key, I can
grab one edge and it needs to go a little bit smaller. There we go. Double-click. Now, I’m going a little different than maybe
you would, maybe it’s just standard text across. I’m just trying to do something a little different. So once again, this is not something you have
to follow to the tee, but I’m just walking through all of my thought process here on
the design side. One thing I didn’t show you was I did sketch
this out beforehand, just thinking about the brush strokes. Like I said though, happy accident working
with this. My font, I do not like. It’s not a bad font. It is not, but over here under character,
we do have some choices. I have a bunch. You do not have as many as me. Let’s find something that works here that
you’ll have as well. That’s too bad. I would like the BadaBoom, but I don’t know
if you have Baka. This is script font. I actually like this. It’s a little hard to read, don’t you think? So I’m just playing with this. Let’s try a different font. That’s a little hard to read and you may not
have it. Let’s see if I can pull something off this
shelf like Century Gothic. We’re going to do that. You should have Century Gothic both on the
Mac and PC. If you don’t, any font will do here. Pick something though that you like over what
I’m doing. So I’m going to turn this just a little more
and there’s our John E. Storm. So let’s change some colors on this. I’m going to select it and I’m going to come
up under my options and I am going to grab a yellow. It might be a little too much. Put a little bit of grain in there and let’s
add some depth. So I’m going to come down and do a Drop Shadow
on this. Whoa. That’s way too much, isn’t it? Let’s bring the Size way down and bring the
Opacity down. Let’s close the Distance. I’m going to zoom in a little here. So that’s what it looks like and I’m going
to do something with the color. I’m going to grab my background color. Now, that Drop Shadow makes it stand out. If I turn that Drop Shadow off, it looks like
it’s been tapped out and I like that better. So using the same background color, still
fairly easy to read. One thing we can do is we can add a little
bit of a Bevel to this on the inside. So I have my layer effects on for this already
with this Drop Shadow. So I am going to do a Bevel & Emboss on this. So I’m going to turn the Drop Shadow off,
Bevel, Emboss. So we can have an Outer Bevel. Let’s see. Naw, it didn’t do much. I’m going to leave this alone. There we go. The mistake I made, did anyone see that? I didn’t turn on the Effects. So let me come back in here. There’s an Up and that looks interesting. So it makes it look like the text is coming
out. There’s what I was looking for. So I’m going to do Down and make the Size
about 1. The Depth doesn’t need to be that deep so
just maybe 11 percent. Then we can do Pillow Emboss, Emboss, Stroke. Emboss doesn’t do anything. There’s Outer Bevel, Inner Bevel. I like just the Emboss. So I did a Bevel & Emboss, set it to Emboss,
the Depth, Down, Size, Soften. Let’s back up and see how this looks and I’m
just using my key command. Look at that. Looks like it always belonged there, didn’t
it? So let’s get a phone number and maybe his
title. So now, I want to use the same font and I
want to use all these same Effects. In previous ones, we’ve gone in and created
our layer effects and duplicated them. Another quick way to do this is just grab
your layer, drag it down to the new layers. That creates another Johnny Storm and now
I can rotate it. Don’t ever do this without the Shift key. Right now, I’m not holding down the Shift,
but whenever you scale, not rotate, make sure you do not do this. Don’t do that. Don’t be that person. All right. So, he is a superhero. Now, we don’t want it as big. So I’m going to hold down the shift key and
scale this down. There we go. And I am going to duplicate this again. So see it’s much faster just to duplicate,
pick up all of your layer effects and this one, let’s put 555-555-5555, lots of 5s. Let’s scale this down a little bit. What do you think? It looks good? Maybe I can try something here. I am going to select this type and I am going
to change the color to yellow. I don’t want it too bright, just enough so
it standouts out. So there’s the phone number. You can see I’m kind of staggering. I’m going to put it right here. Actually, let’s put it right here. That works. It’s easier to read and I went with a little
yellow in there just because I wanted it to stand out and just doesn’t get lost and we
can put an email address here too. So I’m going to duplicate the superhero again
and I don’t if any of you noticed, but I ended up with another layer because I clicked somewhere
with the Type tool. Be careful about that. I can drag and drop it to delete or select
it, hit Delete. You can also right-click it and Delete. So you have a lot of options there. All right. Last thing we want to do is an email. We’ll give a Fantastic Four email. How is that? Doesn’t need to be as large and I am going
to move it over here. Let’s see how that looks. What do you think? I just want to leave this open. There we go. My only other thing is, color’s good. I think this is a little too bright. Even though this might be the phone number
we want to use all the time, I think going darker might actually work better here. Yeah. What do you think? There we go. One thing I haven’t done, I haven’t saved
this. So I’m going to save it right now. For right now, I’m just calling it business
card. That way you have a version of it. Now, the only other thing I can think of here
is in the background, I want to add something in and I’m going to create a new layer on
top of the background and I’m going to grab my Paint Brush tool again and I have the darker
color. I’m just going to, there we go. So I laid down some more brush strokes and
we can render on here as well. You know one thing I didn’t do? And I’m glad I caught it. I’m still in mode CMYK. I’m going to go to RGB on this and I’m not
going to Flatten. Do not Flatten. And I’m going to fix the file so you don’t
run into this. And you see me changing it here. So by the time you use it, it will be RGB. We won’t have to worry about that. That’s why we don’t have as many options is
because when you’re in RGB mode, sorry, CMYK mode, you don’t have as many options as RGB. Now I do here. And so, there is a Render. There’s things like Flame and Clouds and Difference. I’m going to do. I didn’t mean to do Fibers, but you can kind
of see there what it does. I’m going to do Clouds. I know it sounds funny, but there we go. Did you see what just happened? When I rendered the Clouds, it took what my
Strokes and made the into Clouds. It’s a nice quick thing, but it has to have
something to render. You can’t just have an empty layer. And then, I’m going to change my fill on this. Naw. That isn’t working the way I wanted it to. So I’m going to move my fill back up and I’m
going to try some differences here real quick just to see what happens. There we good. That’s interesting. Did Luminosity. I think it’s a little too much, but I’ll bring
the Opacity back up. So what I did is on the texture, I had that
down in the 50s, so it was showing everything through. I’m going to bring that back up to 100. What do we think? This is a decision. So I have the Clouds or do I go back down
into the 60th percentile on the Opacity or actually, around 70? I like this one better. So I’m going to save it. Now, because I’ve saved it already, I can
just do save and here’s my business card for my superhero. Like I said, we didn’t spend too much time
on it and I’m going to delete out my Clouds. But it’s simple, it works, got what I wanted
out of it. Probably my only other thing would be maybe
to change the color of this type to something a little more, there we go, kind of burgundyish. I can always come in and select to match the
color. I could also make a color swatch of it. And let’s see how that looks. There we go. Now, if you notice, I’m not at 100 percent. I’m at the Fit Screen. I can also do you 100 percent. That’s what it would look like typed, not
typed but printed out. So we need to save this as a couple different
files. So first one is, we’re going to Export As
a JPG. This is what you’ll turn in so I’m going to
select JPG. 100 percent is fine for the quality and I’m going to Export All and we want to
name it last name, first name, and module and this would be number 5, not 54 and we’ll
save it. So that exports it as a JPG. That is what you’ll turn in for your final. Whatever it looks like, however you decided,
these things don’t change. So, next one is I want to walk through how
to save this file to go to print. First thing we’re going to do, make sure we
save it as the Photoshop file. We don’t want to lose the work we did. So now, we’re going to save this as a separate
file. First thing we’re going to do is Mode, CMYK. This case, we’ll Flatten it. So this flattens all the layers down into
one layer. I can no longer edit the layers. Then, we’re going to do a File, Save As and
this is going to become a TIFF file, Tagged Image File Format and I’ll use the same name. You’re not going to turn this file in. So we’re saving it as a TIFF. In last Image Compression, you can do None
or LZW is what I do. What it does is that it makes the file size
smaller but it still retains the data that we need to open up the file. So then we have our Pixel Order. All of this, we’ll leave it alone. We’ll hit OK. That saves it as a TIFF. Now, you’ll notice, I’m still in the non-layered
version, the flatten. So let’s close it and we now have our business
card. It is up to you what you want to do with the
business card. As I said, be creative. You can put pictures of yourself on it, whatever
it may be. I tried to do this so you didn’t have to go
get any different types of files. So if you want to follow along, try out different
stuff. Use those Opacities. Nothing real new here in terms of what we’ve
covered. But there is a lot of things that we just
did that we’ve done in the last few projects too. So little by little, we’re getting there. You need your business card though. So hopefully, in the end, you’ll get a card
that you can use. If not, and we’ll still provide feedback and
get it cleaned up and help you out as much as we can. So, if you have any more questions, please
email me at any time and I look forward to seeing you in the next Module.

Comment here