merch design MASTERCLASS with kel lauren

Every once in a while, there might be a piece of information that we share with you on this here graphic design podcast that might actually help you a little bit. And I think this episode is one of those. Once in a blue moon, there is some good stuff coming out of here. And I think you're really going to like it. You're going to find it helpful. And if you do find it helpful, let us know and tag us. And our new hashtag, Kelly, it said so. @SpeedSolter. Yeah, I think it'll be good in the end. I think it'll be worth a year, wait, I definitely think it'll be. I think it'll be worth a year. That's fun. It's a good video. Guys, I've seen clips. Buckle up. It's true. And stuff. Clips that have changed a lot since I showed them, but it's cool. It's good. Clips where I've gone. How did you do that? There's a lot of magic in it, everyone. A lot of rhythm. The whole thing you can play in to a metronome, yeah, it's going to be cool. Yeah, yeah, yeah. Can I just mention before you go any further? Thank you, Kelly, a nation for the recent support. We have many new friends around here. Momentum. It's been wild. Our new baseline has gone up significantly. It turns out all you had to do was make it a video podcast mainly. Spotify numbers have dropped significantly, and YouTube has gone up significantly, which makes, honestly, so much sense. No, we started talking about graphic design. Yeah. We started showing graphic design and our graphic design podcast into our absolute shock and surprise. It used to be mainly Spotify listeners. People used to listen to it primarily, and now they watch it, which makes sense, so that's good. That's good. It does actually make a lot of sense, that transition, guys, we're so happy you're here. It's been really cool to see all of the new people who have found us on Instagram, the new people around Patreon, the people who have joined in, droves on YouTube. So if you are also watching us on YouTube, I see you in your house right now watching this on your phone, as you're getting ready for bed, you have not subscribed. You have not subscribed to our YouTube channel, even though you're watching us on YouTube, but I see you. We see the stats. Go ahead and. Yeah, we do, unfortunately, have that information available to our eyes. So please change that so we can feel better about ourselves. Can you imagine the Kelley at Plot? The 100K Kelley at Plot. Who even get to. Actually, we could order too. Yeah. I do. It's a matter of time. One year. It took mine like 10 months after I requested it for it to actually come. That sucks. And then Matt had to follow up a bunch of times and was like, "Hello?" And I still don't have a YouTube rep. That's why. That is really bad. That's unfortunate. That's bad. Yeah. Yeah. Because I don't know if anyone's had an issue with the YouTube channel. There's no live chat. There's no support. You usually have to tweet at them if you want to get their attention. It's kind of messed up. My own followers have like had to step in and go, "Hello at Team YouTube." Yeah. Help. Help. Help. Help. Help. Help. And then they just go, "I don't know. It's just processing." And then they leave forever. Did that video issue ever resolve? No. No. It's still. There's just three minutes of pausing. Yep. That's wild. Even though it is. If I watch it back in the YouTube studio, it doesn't happen. It happens exclusively like when you watch it through my channel. Oh, God. It's not the need to follow. And it's like, "How do you like stuff that from happening again?" I would be so nervous every single time I passed because you can't check until it's uploaded. Oh, God. Yeah. That's wild. And they said like, "Oh, it was just like a processing thing. It'll remedy itself in 48 hours." And then like three days went by, a week went by, two weeks went by. And I'm like, "YouTube, figure it out." There was like some good cheese mayo, some good gossip, and that one segment that got caught. Yeah. It's tragic. It interrupts the viewing experience. It does. It does. And it really quite frankly pisses me off because they're like, "Oh, you uploaded it in too high of resolution." And I'm like, "What? You're YouTube." Also, I don't shoot in 4K. Yeah, that's wild. Even though I can, but I don't. Because it doesn't. It's not necessary. No. So tell me why I'm doing it. Just making a file size too big. Yeah. Honestly, it really am. My video is very long. And I'm like, "It's only 45 minutes. That's nothing on my screen." Yeah. Oh, legit. I've seen three hour HD 4K compilation for TV being completely fine. And I love those videos. Exactly. Do you put on like ambient background, like, I've been doing a lot of chill, like, jazz DJ sets and someone's like really artsy apartment. Ooh, yeah. I've been listening to those in the morning. Really? It gets me go. It's the music you play in the morning affects the rest of the day. Yes. So they say. Yes. And it's so true. I have done a similar thing. I love starting my work day with some kind of long, hour-long mix, whether it be a Derek J. Patreon mix or, like, a boiler room set or something that will give me energy. But since I've been editing the music of the YouTube video, I just can't do that. And it makes me so sad. Yeah. I can't have the NBA on. I can't watch my dearest Washington Wizards, these young men, younger than me, playing there. I'm going out of the water by the Portland Trailblazer. It was close. It was a close game. It was close. It was. It was. Losing is a good thing. For the Wizards, losing right now, we want. That's all you want. You would think that the Blazers were also trying to lose right now. But for some reason, they've decided they want to be a playing team. Really? For those months. Yeah. Nobody knows. And one of the strongest draft classes in a long time, they want to be a playing team. Wizards moment. Hashtag so Wizards. That's what they used to do. But now we're going for the wooden spoon, and I couldn't be happier. They still make me proud. Love my boys. That's cool. That's cool. That's cool. That's cool. That's cool. French represent. I love it when the French players play, and the commentators say the same joke, they go, "We, we, cool about the," the French connection. Yeah. Yeah. The French connections. Oh. Oh, yeah. You turn on any game. So any French players now. With, like, Wembe, and, like, you can't go a game without, well, now that he's out, Wembe's out for the season. But this is, like, every single time. Deep fame thrombosis as well is why he's out for the rest of the season. That's so funny because I have a clotting disorder. Yeah. So half of my family has had deep fame thrombosis because we all have a clotting disorder called factor five lighten. It's not an uncommon clotting disorder and a lot of people don't know they have it until they have a major blood clot. It compounds your risk of getting a major blood clot if you are on any sort of hormonal birth control where you smoke. You do both of those things. You have factor five lighten. You're going to have a major blood clot in your life. Like, a lot of people don't know they have it until they have a blood clot. And I don't know if he has factor five lighten. I think he's just talking. But, yeah, they have different health conditions when you're huge. Seven foot five, you're like, expectancy halves, I'm pretty tragic. It's pretty tragic. It's like, you kind of cooked a repetition injury. Yeah. Like, it's, I don't know, you could only get it on planes and that's why I stand up every so often because I remember once I did it. It's surprising for an athlete to get it. Yeah, yeah. Because I remember I used to just not, I was so afraid of motion sickness that I would, on no matter how long the flight was, 14 hours plus, I would not get up, I would sit down the entire time. And then I was told, what the hell are you doing? Like, you're really, this is foolish. Long half lights, yeah. And then I stood up for the first time and went, oh, this is actually fine. The plane is smooth and I'm moving with the kinetic movements of the force of the plane. And everything is quite still. But every time I go to take a leak, the turbulence kicks in and it's hell in there. Let me tell you that guy. I hate that. It is so embarrassing. Like, the number of times I've been like, okay, I'll get up and I'll go to the bathroom. Because usually I'm like, it's so embarrassing to get up and go to the bathroom on a plane. It is humiliating. It's a lie. It's a lie. And then like, I get, I get to the bathroom and like, there's suddenly turbulence. Like, I had one time like, been thrown against the door. And then like, the thought of like, so being on like the like nearby, just hearing this but after like, after like them also feeling like the turbulence and then hearing someone's body. Oh my god. Like, in the bathroom, like, did they think I was like, I had like, my pants down. Yeah, I was thankfully dressed, but like the thought of like, if I heard that happened to someone else, I'd be like, that's so fucking embarrassing. I'd just be waiting for them to come out and they just would stare right down the aisle and walk down just like, return to their set. Pants soaked. You're just like, oh my god. Oh my god. Yeah. Flying is wrong. We should stop doing it. Yes, I'm a big fan of Amtrak. I take the Amtrak a lot. Oh my god, the toilet and the bullet train in Japan, the shinkansen. What's that like? Fast, that's when that shakes. When another one comes flying past, it rocks the whole thing. And you really like, especially if you're standing up and you're like, holy crap. Is it all a single story? Yes, it's hectic, but God, they get you way you need to go. Oh, they really, I love, I'm obsessed with the shinkansen. I love trains so much as we know. I'm like a 12-minute walk away from my local transition here. I've cried about it a few times. I can't drive. Trends are really cool. They're really, random tangenting in. So this building has a dormant, right? And I've kind of got into, I've gotten to know this guy because he helped me with the move and everything and he gave me a B.O.1 nice legend. Anyway, I've said, I'm like four times yesterday and the last time I saw him, he was in the garage, the big parking lot and he had, he was holding an electric scooter and I said, what the hell is that? And he goes, oh, it's my, it's my scooter. I don't know. That's such a dormant thing. Yeah, right. I can't, I've had dormant with electric scooters, I'm not even joking. And I was just like, that's yours and he goes, yeah. And he gets on it and without me queuing it or saying anything, he does a lap of the parking lot. It takes like 20 seconds and he comes back and he goes, say, I was like, that's really, that's really awesome. I didn't, I didn't know. Believe you. I believed you immediately. He knows some of you, but he goes, you're a YouTuber, so you should get this. And I was like, yeah. I love when people say love like that. It's a lovely thing. It's beautiful. It's a lovely thing. Like, what do you think we do? Yeah. You guys have thought of it in the, I'm like, I don't like that house man. I don't need a scooter. I don't have a job. Stay here. And I record videos. I've, I've, it, and in my hot apartment. Exactly. Exactly. I used to commute to, when I worked at Live Nation, when I still worked at the Hollywood office and I lived in Los Feliz. I would walk to like from my apartment to Hollywood Boulevard down my really long walk. I would find a lime or a bird. And then I would lime or bird. Do you know what those are? I love that they're brand names. Electric scooters. Electric scooters. Electric scooters. Electric scooters. Yes. It's like a scooter. It's like a real lime and a real bird. And that's a fun, that's a story. That's a fair. Fair. We got lots of people. Electric scooter. Yeah. And then I would, because I had a transit card. For a while, and eventually I think they figured it out that people were using it for scooters. Okay. Because I had like an allotted like $250 to transportation to and from work every month. And I never used it all because like the unlimited metro was like 80 bucks a month. And so I would use it on scooters. So then I would scooter the mile from the edge of my street to the nearest train station. And I would go so absurdly fast. I would be going faster than cars. And I would do it with a tote bag on my shoulder. Oh my God. With my Macbook. And I would be going like 30 miles an hour on a scooter, Naria helmet and sight. And I am so lucky. It's like a Tesla. Yeah. Yeah. It's like a Tesla, I never see a Tesla going under the speed limit. Yeah. They're always going over the speed limit. I'm going fast in this thing. It's like you're going to, you're going to hit someone. You're going to kill someone, you're going to kill someone going 35 on this. I can see that happening, yeah, I can see some look going no to a scooter coming my way because I phrase it and do anything, but it'd be quite easy to do it. I've always thought if a car was going to hit me, I'd jump. Yeah. I could see why you would think that. And I reckon I can get over it. I reckon I could. We can test that. Subscribe to our Patreon. I record it, drive full speed at Elliott. What a complete change of energy that would be. My God. We just became like a masterpiece. Public stuff, yeah, legit. Yeah. I spent $1 million on a five-a-design to make three logos and to drive a car at 247. We'll pay anyone who wants to do that for Kelly. Give us. I think that's a good piece. I'm sure. Hey, should we? This is feeling so old Kelly at old school. I know we need to do what we actually set out to do today, guys. They'll be chapters everyone. You can skip four or more. Would you believe we already spoke for two hours before this. So much has happened. Two months have been delivered to my apartment and the head conditioning unit. All this stuff has happened in the last two hours. It's been bizarre. We have amazing response. We have a sponsor call. A sponsor three hours ago. What? Guys, we might have a sponsor. A good one. A partner. A good one. Every little ideal one. Yeah. Someone who better help now. You guys will like it. I think it would be more of just like a general like good partnership for us and it's a brand that you're already very familiar with if you know us and it's not a do me. It makes a lot of sense. Yeah. It's not a do me. It's not a do me. It never will be. Don't worry. Yeah. So anyway, we are continuing this little mini series that we've been doing for the past couple weeks. It was an accidental series. We stumbled upon because we are geniuses. So today, I am going to teach you guys in addition to my dear co-host here. How to do some of the things that I do and I'm really excited about it because I love sharing my techniques because I try to streamline things as much as possible without taking ridiculous shortcuts. And I think it's also important for people to know how and why things work the way that they do and how to construct something. So like, you know, some plugins are really great. I use some plugins, but I don't use them for everything because it's really important for me to know how something is done. So I can edit it in the future when the client inevitably asks for me to edit it. And sometimes plugins are really difficult to edit. Oh, yeah. So we're going to go through three things that Mr. Elliott has requested that we go over. And the first thing on our list is the t-shirt from last week's episode. So I mean, if you watched or you didn't watch that one and you're watching this one, what are you doing? It's part of the trilogy. Do you have to watch this in chronological order? Exactly. It will make the in jokes that we bring up, you know, the trilogy theory, there's so much stuff. The theory, the theory in joke is a breakthrough. The short theory. I started that in the Patreon thing too. I want to make a show everyone. Actually, I'm not going to start saying what will be an in joke or not because then it will never become something. But you guys get it, I think it's really funny and I'm going to keep saying it. It's the Patreon theory. It makes me happy. The Patreon theory. But yeah, I'm just excited to see all this stuff because I don't know anything. I'm quite stuck in my ways, I would say, with how I've been designing. And I haven't watched a tutorial on so long when it comes to actual graphic design. I've done it with video editing stuff, but like actual graphic design, I feel like I've plateaued and then making that show was a really fun challenge. But then saying what held it, I was like, that's what I wanted to do. But I just didn't know how to make it. And then watching it back, I was also like, I still want to know more. I still want to know more. So hopefully you guys thought the same because it's, this is a master class. I think that's what I'm going to title this. Thanks. Patreon. Patreon. I'm wearing, the t-shirt I'm wearing today is Matt's shirt from middle school. Oh! It's a pearl. Po-jam. Oh, just pearl. It's just the drum. No, the drum brand pearl and it says just kick it on it. This is one of my favorite, favorite t-shirts because it has distressed so beautifully. Yeah, that's right. Like, and it's one of those things. No, this is, this is, this is putting in the work, okay? To get a shirt to look like this, it's so hard to replicate this. As a professional t-shirt designer, it is so hard to replicate this and have it look authentic. You can't get a silk screen to just continuously catch on your fingers and then have it crumble into your hand. You can't do that with modern technology. You can, we technically do have some, we do have like a dye process where essentially we chemically treat a print so we can then distress the hell out of it. It is very expensive and produces a lot of waste. So we don't really do it that much. But this is one of my favorite vintage T-shirts. I wore it because I really vintage its mats. (laughs) But I love the way that the plastic haul has broken down and like in the Pearl logo in particular, that-- - That's amazing. - Like follow out, right in the middle is stunning. I love this shirt, it has like some little holes and like notches on like a collar. - I love the color of this dress so much when that ends up happening. It makes me so happy, yeah. - It feels great. I love this shirt so I don't wear it very much because I don't like washing it because then I feel bad and I'm like, no, we're just pulling the car. And also it's mats so it's very sentimental to him. It's from when he was in middle school. So the shirt's like 15 years old at this point. - All right. - So, and I have-- - Older than me. - Been the owner of it for the past like decade. - So, and this is what you believe in a large and it's just one of those things where it makes you realize I need sizing to continue to get better. But like wow, t-shirt sizing was so bad. - Yeah. - For so long. - Oh yeah. - But this is a large-- - Shipping at a vintage stood, the sizing helps nothing at all. You have to try on everything. I swear, I've always, and I'm not a try on guy. And I've been disappointed so many times. I just get in, I've been like, oh, it's tighter than I thought for a large t-shirt, and then I'm gonna-- All right. - It makes hard-- - It's really hard for plus size people, tall people to buy vintage in general. And that's why another reason why vintage clothing is really just inaccessible. Because like I can fit in a lot of these things, but if Matt and I go vintage shopping, it's gonna be a lot harder for him to find anything that fits him. So it's frustrating. It's really frustrating. And I hope clothing brands continue to be more inclusive in their sizing. So, all right. Am I recording this through OBS, or are you-- - I'm just me sharing with you. - I'm just sharing with you. - Okay, I'm sorry. Guys, they're with us. - We got a new technique, now we're back in our old technique of recording. Don't worry guys, it's back end stuff. Note to the editor. - It's maybe. (laughs) - I'm evil at it all. - Oh, oh, now, okay. So now Chrome is asking me to restart. - Kelly, it's browser needs screen sharing permission. We'll be right back everyone. - Kelly, it-- - Anyway, so we're gonna start with the shirt from last week. Phenomenal shirt, if I do say so, you killed it, you killed it. - I'm gonna go ahead and start sharing my screen. - It was funny again, like seeing the comparison of like when we did our things. And I think you had almost the entire design done by the time I just had the word Kelly on the screen, which baffled me, but it's amazing, the speed, the Kelly learn efficiency. - It only comes through experience, like it is, it is years and years and years and years of practice. And in a sense, it does separate me quite a bit from my work at times where I do feel like I am just a machine. And like, a machine can be good. A machine can also be bad, but I feel like I've been able to like distinguish between when I need to walk in and be a machine and when I can just have he he ha ha time. Which he he ha ha time is what fuels machine. And when machine is running low on fuel, it's because I haven't had he he ha ha time. Like today I had he he ha ha time and that involved me putting my meds in a new glass bottle and then putting stickers on them. So it's important to have that element of whimsy in your life. So, we're gonna okay. - Don't mind me, I'm just writing a notes of an idea I had for Kelly at later, don't mind, don't mind me, don't mind. I can see it, I can see this grant. - You're good. - Okay. All right, folks, here we are. Here we are. This is what this file looks like from last week's design. So we're gonna go through and break down a couple of the things that I did here. I kind of flew really quickly and I didn't want to explain too much of what I was doing last week because you're watching both of us at the same time. That's a lot to process. So think of this more as like a more one on one approach. And this style, this technique is really versatile, if you will, you can do a lot. Like you can really pull a design together very quickly with these types of effects. And that's why knowing how to do these effects consistently is the key to actually getting the result that you're looking for with this style in particular. Because otherwise you sit right on the edge of it looking like what you want it to look like and then where it can feel kind of amateur. And that's like when I'm lingering in that little purgatory area, I'm miserable. I'm having the worst time. So, oh my sidebar, one of my art directors, Michael Carney, who was on an episode a couple months ago, gave me a really good piece of advice when I was talking to him last week because I was having an absolute mentee B about a project that is still going on, but I can't move fast it yet. But I was working on this logo, and I, you know, I don't do logos. And I was like, it's just not feeling, and I like, I sent everything to him, and I'm like, it's just not feeling good. It's not looking what I want it to look like. And I sent him my mood board, my references, and he was like, which ones are you mostly honing in on? And I'm like this, and these are the ones that the client liked the most. This is where I'm kind of making my smoothie from these couple images. And he was like, what you're doing is I'm looking at my design, and I'm looking at the mood board, and I'm looking at those specific references. And my brain is recognizing the difference between my design and this one piece on the mood board in particular that I was trying to emulate the most, but without blatantly ripping. But it was still being put through my own lens. It still looked like my style. And he was like, you're looking at those two things, and because it's not looking like that, you think it looks bad. And that completely blew my mind. - Yeah. - And he was like, the things that you're not liking about this are the things that are unique to your style because it's not that. You think because it's not looking like that, you think it's bad. - That's great. That's great. - And I was like, oh my god. Oh my god. - It was so true. 'Cause when you look at something on the mood board, you go like, this just feels right. That's why it's there. That's why you're using it as an inspiration. But yeah, it feels right because the person who made it, it has their elements in it. - It just feels right because you saw it on Pinterest. - Yeah. - Yeah. - It's very simple. And so I've been sitting with that a lot in the past couple of days as I've been working and trying to think about, am I just, am I unhappy with this because it doesn't look exactly like the reference that I'm using. Even though I'm always trying to put it through my own lens, making, I describe everything as a smoothie. I'm putting a bunch of ingredients into a smoothie and then the thing that comes out is my style. And I can have all these references that I really like, but I will keep coming back to that reference and I'll make it because it doesn't look exactly like that. I think it sucks. And I really will trap myself in that sometimes. So back to a technique and the approach here of knowing how to hit a couple of those check boxes to be able to effectively do that. We'll streamline your process and we'll hopefully iron out some of the hurdles that you might have in this because you might have a great idea in your head. But sometimes the technical executions can make unnecessary hurdles for us and makes a whole process miserable and can really suck the wind out of your sales and you just tap out for the day, which is fine. I do it all the time. So with this, we're gonna start with the image. This is the image. - Take me back. - Canva, me. Without bangs. I hate cutting things out of images so much. I do. This is where AI is useful to me. Cut things out of an image for me. Cleanly do it quickly so I can move on with my life because I don't want to. Hello? I don't want to waste my time here. So I'm selecting my subject. Oh, I got to turn up my tolerance. Here we go. There we go. There we go. With this, I usually don't look for a super clean, particular cut because the goal of it is kind of a little bootleg. Like we're not. Like I'm not gonna go and carefully clean up your. I'm gonna get rid of stuff like that. this. That's fine. Um, and then this select subjects softens the hair anyway to make it look pretty good to. In fact, it kind of annoys me how soft it makes the hair. Whereas it gives you like a, if you try to add a stroke directly to it, it'll give it like this weird like, there's a lot of particles that kind of float around that really affect the stroke. Um, so I usually go in and edit it manually with the polygonal acetylter for thumbnails, funnily enough. Exactly. But it saves 90% of the time. It does. Oh my God. So yeah, we've got like a decent, decent cut, nothing fancy. Um, and then I'll just convert that to a smart object. And what I did with this image is I, I just, uh, I thought you did that. Yeah. Yeah. Nice. So there's that. So this is like the final technique down here. Um, but we're going to go into the actual me to the matter. So the things that Elliot had questions on for me, me, you guys naming your layers. Me when I don't name my layers, um, I do sometimes it's really not that big of a deal. It's not that funny. Um, it's very normal. I don't, I don't even know where, who's what? Okay, where, where are we? Oh, maybe the thing labeled image? There we go. The one thing that's, and that's the other thing. You can name your layers. Doesn't mean you read them. Oh, yeah. So, um, take that into the workshop. Uh, so I'm going to go ahead and turn all of this off. So let me dease. Okay, here we are. So, um, we're going to start with, with this base level thing here. Um, I usually, with stuff like this, and it really depends on the image. Sometimes you can increase your contrast. It really just depends on the lighting. So I usually do a little bit through my level. Some people use curves. In my mind, levels is easier to move quickly than curves. I don't know if that makes any sense. But I mean, as real gentle as we get a really gentle with the curves, they go crazy real fast. I like levels as well. Yeah. And I, I just want to work like, I mean, you can do it in curves too, but like I'm just working in my overall tone. I'm not working in individual RGBs. Um, so then we're going to shortcut to set your colors to, um, black in your foreground, white in your background is D on Mac instead of having to go, you know, do that. Um, it's something I didn't learn until maybe like 2019. Yeah. I just use the little bottom above it, the little black and white little squares above the, that little thing. Yeah. So you can just hit D, um, and then swap them back and forth with X. Um, so it's important to do that before you do this next function. Black has to be in the foreground, white has to be in the background, or you're going to get an inverted effect. Um, then we're going to open our filter gallery. Now there's a lot of different ways that you can do this in the filter gallery. My goal with this is to get an overall base layer where I'm trying to get the most amount of, uh, detail in the image without, uh, like if I start playing with this, I usually do a grain. Sometimes I'll do a half tone and then I do torn edges, but sometimes I don't like the way half tone looks. So this is like the threshold effect that people refer to a lot, but you need more detail in that threshold because if I just did this with a threshold, it's going to be really hard for me to, uh, grade details in here. So I could in theory do a layer mask or, uh, yeah, no, a layer, uh, where I can go and do levels here. And then I can dial in details here and then put a, uh, a mask and then take a brush ear and then knock out other stuff. So that's like one way I could get like the details in my clothes right here. That's one way to do it. I personally don't like doing it that much. Um, I would prefer to go through my filter gallery because I have more control and I can stack the effects. Stacking the effects is something I never did. And it's like, I remember looking using plugins whenever they use the filter gallery and then you realize how many like effects are stacked on top of each other and I was like, I got to learn this. This is good stuff. Yeah. And this is something that I didn't learn until very recently, where if you click over here, and this is going to sound like people who know about this are going to be like, how did you not know about that? I'm a professional. I just learned about this. This is a welcoming space for people to learn. So you click on this little slider thing down here and then you can set your thing. Yeah. Yeah. Just change the order of them for you rather than dragging it. I thought that's what I thought too. I thought it was like, because it looks like little arrows to where you can move the effects around, which you can do. People don't know that you can move your, your effects around on your smart filters. Um, so yeah, just fun fact about that. So this is like overall acceptable baseline starting. So then what I would do is duplicate it and then I start working on the next level. So my goal with this was to start pulling in detail in my clothes in particular. So with that same thing, I'll go into the filter gallery and I'm just looking at my outfit here. So I have my green, my torn edges and I usually just play with my image balance. And I keep my, my smoothness at max. And then what I do is I will make like an active selection. So I'm just command clicking on the thumbnail in my layer panel. And I will delete that. So I have an active selection. I'm going to add a mask and then I'm going to hit or actually I'll leave it. I'll take a brush sometimes depending on the thing that you're doing, you can do a harder brush or you can do like a textured brush like this. And I'll just paint out the thing that I don't want affected by that. So and then it kind of blends nicely like that. And then I'll duplicate that again and I'm like looking at this and I'm like, okay, well, Elliot's legs are just gone to the void. So I'll duplicate it. Same thing, open my filter gallery and mess with my torn edges until I get an effect that I like. Same thing with the mask. So with all of this, I'm doing non-permanent editing and I'm not making a file that is absolutely gargantuan. Now, depending on the size of the initial image, your file can get really big. But I try to like, I'll open this into another thing and here I have it as a smart object. I'll just rasterize it. So I'm condensing that. So with this, that's all I do to get that effect instead of just doing your standard threshold. There are a lot of plugins that can do this, but this is something that you can do right now for free. We don't have to download anything. You can just do this. And then after that, I will do like, I'll make a solid color of like, I'll take like a silhouette like this and then I'll start playing with like stuff like this. So I'll set it to whatever blending mode I like and I'll just have that set as like the close. I had my glasses colored in right here. And then I thought it was feeling really millennial. So I backed out. And that's how I do it. That's how I do that effect in particular. I didn't realize those so many different like mosques and layers to it. I thought you would just do an on the same thing. This makes a lot of sense now separating the, because yeah, when I, if I were doing this with like the threshold, for example, I wasn't happy with how much detail my legs were getting or something. I'd just go back, I'd have to go back and forth to the original one and try and balance it out as the one whole image rather than doing it separately like this. This is good stuff. This is very easy. It's way easier. And like if, because like, if I've learned anything, you have to anticipate a people are going to change this thing in the future. So if you're working and permanent changes, either you can save multiple versions of a file and then just stack up a file collection, or you can just build in those editable pieces as you're working. So that's how we do that. And then the other thing, or did you have any other questions about this? No, no, no, that's not part of this. That answers a lot. That makes a lot of sense. Accords. All right, so. So this is an effect that is commonly sought after. This God forbid they just added a function like this in Photoshop. Please, please, I'm begging just one simple effect. >> Let's do it. >> They had a 3D thing and they took it out and they put it in Illustrator. >> Yeah. >> Yeah, you can do this in Illustrator. You can do this where you just move two things. You set it to blend. >> Specific. >> Set it to like 250 expand, flatten it through your pathfinder or join it through your pathfinder and then you can drop it into Photoshop. I don't like opening more than want Adobe program at the same time. So what I do is I just, I have my thing that I want. I duplicate it and I set it, send it backward. Then what I do is I can either, let me just change it so you guys can see. I can either, I'll usually go like a hold shift in C. I'll just go down with my arrow case and see how much that moves it because it really depends on your dimension or your resolution there. You can do it like this and then you command J, send it backwards and then move it over and then once you have more, then one you can command J both of those, send those both to the back and start scooting down and then command J, send them to the back and you can start doing it that way. So you can do it to the side like that. It's really common in this style or what you can do is like what I did in this design where I just shrunk it a hair and I command J, send it back and then I shrink it a hair again. So you get it kind of going into the distance. I usually try to look at the corners of things because that's where you can see how smooth is this transition going and I'll show you how I can fix that afterwards. So you can get, you know, an effect like that where it seems like it's going into the distance and then you don't have to, you know, just get that. And this is the way. And this is how you do it at all, I thought there was a hidden feature I didn't know about. This is a, this is manual, wow. So what I also like to do, where did it go? There we go. So when I have, this isn't like two separate groups. So I'll command J, those command E so I can flatten my selection and then what I'll do is I'll make an active selection of that and then an active selection of whatever my top layer is, go and make a solid color of that same thing. And then go in here into my select and mask and then smooth out some of those bumps. Yes. So if I said all of this here and then I smooth it, increase my contrast and it just helps it a little bit. So that's how I do that. Wow, there must be like a script that we can make or something that I'll do that like with one button that duplicates it eight times, shifts it or scales it down a little bit of something. Probably. You could probably make an action pack. Yeah, an action pack. That's a little bit behind that. I did download a, it wasn't a plug-in, but it was a file that you could drop something into and then I like, I would use it sometimes, but every single time I used it, it made the file a gig and I was like, this is just, it's not having fun anymore. It looked great, but it was just, it became really impractical and you couldn't really edit it that much because it was like the same thing where it was a million duplications, but each duplication had a ton of effects on it and it was just like, it was really annoying so I stopped using it. So that's what we do with that. And then the last thing I want to show you with this is my final finishing touches that I think really pull designs like this together. So I will duplicate my entire group without the background and I will flatten it. So I will select the whole thing, command E and flatten the entire selection, but make sure you duplicate it because you're going to have to edit it in the future because someone is going to make you. And then what I do is I have that selected of all my art, I go up to select color range and then I select the color and then you can do this through a solid color thing like this or you can just command J and make a duplication of that actual selection itself. I like doing it this way because then I can recolor really easily. You know what I've been doing? I make a new layer and then use the fill bucket and this feels so much easier. And also fill bucket never really works the way I wanted to. If it's like a loose color and you've got to fill bucket like a million times, I'm like way too invested in fill bucket. Yeah, I'm stuck in my old ways, it's not good because this is just this color fill stuff. I see this in all the plugins I've got, but I've never for some reason I've never looked into how to even add one. That's super easy. Yeah, this is so good. This is a color fill in a mask, of course. Of course. So you do all of this. You make all of these like essentially you're separating out these things. So if I do like my blue here and then I'm going to go back to that select color range, grab my red. And make sure when you do this, you're limiting your color range. So I'm grabbing the yellow here, if I lower or if I know I increase it, I don't know. One of the ways you can start to select other color, so make sure you have this not set to image, but have it set to selection, so you can actually see what you're grabbing. And then same thing. And yeah, you just do it for all of those colors. And I think what I did here is I just added a white color overlay to this. And then what you can do is you take the white because whenever you print on black, there is a white ground printed underneath and sometimes you can see that. And with vintage shirts, you see it more obviously because alignment has gotten better over time when we do screen printing. But in vintage shirts, you can see a little bit of that white peeking out. And I think that's fun. And sometimes what I like to do is I'll just command T, go to warp. And I'll pull just like a bit of it out where it's like you don't want it to be too obvious, but like just like a little bit of like a misaligned screen. And then you could do this next thing with a displacement map, but some people charge a lot of money for displacement maps. I have paid like $50 for displacement maps, so I'm not proud of it. But for free 99, you can select your mask over here, which is another good reason why you should use masks. I can have this here and I can still control through a select a mask. I can grab this, go up to my filter, distort, ripple. And there's a couple different things. Go to wherever you can see like a flat edge in your selection. You can do a large, medium or small ripple. And then you can scale it down. So I like to do small and really stay like, I would say, do not take it to 100. I would say like around there is good. And then what you've just done is soften this edge a little bit so we can maybe even go a little bit more, run it again. And sometimes what I like to do, like I'll do it right here on the red. So we'll go to distort ripple. And sometimes I'll go and do large. And if you just do that, it's going to look really unnatural, and like you just, I don't know, send it through a wind tunnel. So then I'll go to select and mask. And I'll smooth it a bunch. There we go. And I'll increase my contrast so it softens it. And sometimes it doesn't, have you ever had that where you will edit something through a mask window and it won't actually apply the effect? I've never added anything to a mask window in my life. Chat, let me know. But it's a good way that you can do another technique if you really want to deep fry something. And then the final thing I will show you in this, I have a heavy distress file. This is a scan of an old plastic wall texture of something that I duplicated a million times and that's why it looks like that. But what I like to do is I like to grab a piece of it, I drop it in here. You can see it right there. So then what I'll do is I'll make an active selection of that, I'll group something and apply it as a mask. And sometimes when you do this, it is too much. I don't like to apply distress to an entire art piece because then it looks like you artificially added a distress to the entire art piece and it doesn't look authentic. So what I like to do is apply it to each thing individually. So yeah, it's a little extra work, but what you can do is you can move that mask around so it doesn't align. And then when you move, you can then scooch your whole, like, group of that around. Same thing, I'll move my blue around. And then if you want to get really fancy with it, you can duplicate that, bring it above your distress, set your fill to zero, copy whatever color that is, go to your inner glow, paste that color. And this is, we got to be really careful in here because it can start to look really dumb. But I like to do just a little bit. I don't usually do a full opacity. You make sure you do a lot of noise so it blends easier. So now with that, you can see because the color tends to stick closer to the edge versus in the center as we learned with my pearl shirt, it tends to fall out. So that is just like a little tiny. That's so cool. Yeah. I did this in a video years ago. And it is a technique that I always come back to. So it's just like these little details make a really big difference when you're trying to do a vintage recreation of something. And it's my bread and butter. I can do this. And as you guys saw last week in an hour, I like to do two to three hours, but I can take my time. I don't sweat the whole time, but this is how I do it. Any questions? Incredible. No, I think that was the exactly what I think is just funny because I just don't work with photos. So I've just never had the opportunity to really experiment too fast. I've just been thresholding and add noise whenever I had the chance because it just gives somewhat of the desired effect. Like stripping it back, seeing it as though it's a screen print and understanding each layer and each color is a different thing because I remember you said either to me or any YouTube video I just ago about using like different Texas with different layers and trading each layer differently. And I was always like trying to do that, but it could just never. It would just be like a different percentage of noise on two fucking different layers. But like this, I get more like and having the control of a H1, I'm like, I desire this. This is very. Yeah. Like Carl, thank you for this. Thank you. It's a very, it's a very, once you get the hang of it, it can just be a little overwhelming sometimes because usually I'm moving really quickly and I'm like just kind of rolling through the motions of how I do each technique. So that's why my files are kind of jumbled, but I, in my mind, I know where things are. Yeah. But before I send things to print, obviously I clean them up. But this is something I do all day, every day. I did it all day yesterday for another one of my clients who is a classic rock group, if you will. So that's that, guys. That's it. I didn't do anything that interesting on the back. You guys saw that happen. It's just a stroke. Mm-hmm. Yippie, I love doing, and that's another thing that's like a vintage detail. It's a very, very thin white stroke around something because it looks like just a misprint. It just makes it easy to read as well when you're doing the red and blue too. Yes. Definitely. Yeah, one of the things I've been doing before. So that's that. If we want to move on to the other thing that you were asking me about, let me close my distress. Yes. This is something Elliot has asked me about multiple times. How has like blown away when I first saw this? I was like, just fucking, this is like everything I've always wanted to make, and then I try and start making it. I've got like a few old files sitting around of like these, just packs with information kind of stuff, and it all kind of draws your eye at the same time that I've never published. But I think I've tried on like a Twitch stream before. Like it's just, it just feels like there's a lot of love behind designs like this, which is what I always like because there's just so much tension in detail. Yeah, it's very cool. Even looking at that fucking, no for sure. Just looking at that half-tone layer in the background there, like that's not, it's not even a pure, why are some of the dots missing and misaligned, you know, like how do you even do that? Like glossy finish over the text, it's all the techniques in one. I can now spot the, like the softer around the edges thing going on to, with the, um, potentially, you know, yeah, yeah, yeah, yeah, my, my, my, my, my, my, my, my, like it, yeah. Getting this like, I was looking at, like this particular style took me a while to figure out because I was looking at, like, vintage baseball cards and just like sports magazines. And I would like rock my brain, I'm like, how did, like how can I actually do this? Because I know how they used to print it. It's just like, it's low grade printing. That's how it was done. So for this, jump scare, I'm going to do, as I'm going to turn off, I had a light paper texture on that. So, this is one of my favorite basketball players, plays for the Portland Trail Lasers, the same as me. Still putting them on. Still doing well. My man, my man. So, um, just on his file in here, I have a drop shadow of white, same thing that misaligned print. So you have to think, like, sometimes these things are going through a printer multiple times, sometimes they're going through once. So I'm trying to just, in a way, like, exaggerate those errors that come with it. It's like Rizzo. I take a lot of, um, or Rizzo. I take a lot of techniques from how Rizzo graphs work. So, I'm going to go ahead and open Ants, little PSB. So I have, uh, techniques so good even the cats want to see it. It's really, truly, he gets up from a nap and he's like, "I have to pee." And he goes and he immediately comes back. So, so I've got just him selected here, so I got to go ahead and, oh, what did I have here? The world may never know. I'll just activate it again. Okay. So, let's see. I haven't opened this file in so long. Yeah, why did you make this? This is a couple of years, eh? Yeah, it was just a couple of years ago. I'm going to have to, I'm going to have to, I'm going to have to go ahead and open it again. Okay. You know what you have so many smart objects with and smart objects? Oh my god. I'm just trying to get to the raw photo. There we go. Surely. Come on. Let's go. Let's go. All right. We made it. So, just so we can compare detail here. If this isn't a high res image, and you do not need a high res image, sometimes lower is better because it helps you with the deep frying. So, just like looking between these, the detail I was able to pull into this remarkable. So, let's see what I have in here. I do a little, a little levels, a little inclusion of a level really goes far, especially when you're doing vintage stuff, higher contrast. So I just, I'm pulling, whoop, whoop, whoop, just like that. And then I did my classic technique, see how many, how much noise did I add? Not much, monochromatic. I think it works. It translates better in the long run, and I duplicated that set it to overlay. This is a classic technique. I do all the time. It really helps just like boost your colors, and make something look retro. So, that's the same thing duplicated set to overlay, helps push up those oranges and reds, then we're here. So, let's see how did I, yeah, that's how I thought I did it. Okay, so same technique that we saw on the shirt, where I am going through and I am selecting colors. So I'm just going to delete this, and then I had that, yeah, that's how I did it. Okay. So I probably did the same thing, selecting colors. range. And then sometimes lower is better. You're like, you're not trying to do anything crazy. So let's see, I've got yeah, the same same selection here. So I've got the same thing and I have this distress added to just this one part like that. And I'll do the same thing up here. That's that little glow around the edges that we saw in the shirt. If you can see the inner glow. And then going into the reds. Let's see, how did I do this? Actually, let me reopen this. That's what I do all the time. Because I'm like, how did I? Okay. Okay. So yeah, it's literally the exact same thing. So here, I have black, white, and skin tone. And then up here, I have red. So I just did an active selection of the red. And then did, yep, the same same technique where I have the distress right here, duplicated it, and then added an inner glow of red. And the real technique here is if you look, when you make that selection, this file is a gig. When you make that selection that you are going to get like, this is just ever so slightly misaligned. That's just like one pixel moving. And that's where you really get that detail. So between the noise, the layering of the distress with the inner glow. And then the slight misalignment of, I usually try to do it with one color. And I feel like it looks best with orange and red tones. And that's how you do that. And then I just do a little bit of shadow. Because it gets that like weathered card look, eh? Like it's like a physical, like, especially around the face there, that's so cool. And you really, like that's why you can't apply that just flat distress or a flat paper texture to something because it doesn't continue that illusion that this is something that is old. And different inks wear at different times. They, you know, that one ink might be affected by a water if a card gets wet or something. One ink could run more than the other. So I try to treat all of those colors as little separate things. Um, did you want to know about this? Yeah. A little beveling emboss. Okay. Oh, yeah. The same thing with, uh, this is in your gloss contour. These are your friends. But I do that one a lot. Yeah. That's, yeah, the shit out of me every time I use them. Oh, and I, I didn't even know you can make them like you could save them as new styles. That was something Matt taught me. Oh, I had never once thought about saving them as a style. Yeah, I didn't streamline anything like that, uh, in design is good. Streamlining for like character styles and stuff. Yeah. I like doing it many other things. Very nice. Yeah, this, I did fully. That's always fun. This and for any type I did fully custom. Wow. And then I deep fried it. What did I do for this? Yeah. The background, I'm the, the halftime thing going on there. I'm obsessed with. So it is just, yeah, it's just a picture with a halftime. Oh, no, that's not true, Kelly. Actually Alan, that's not the truth. Let's see. Ah. Ah, yes. A classic. Oh, I set it to light or color. Oh, nice. Just to get like a little, I like a little bit of a blown out glow situation. Yeah. And then I, I guess I, I patched in more sky. And then I added color halftone. And then what I duplicated it and set it to pin light. But yeah, why is the halftone look like it's not a, it's not on a grid or a, like it's quite, like there's gaps and it's not even, you know, I mean, like how? Have you done that? Or is that just overlaying it with a pin light? I think it's just overlaying it. I don't go high in my halftone. Um, I usually keep it at four. Now there are, you can change these channels. I've always been too afraid to, like, let's just do this. Did anything change? I don't think so. Oh, cool. Um, yeah. And so that's how I did that. Very cool. Very, very cool. I don't know if that was helpful. That was absolutely helpful. I've absorbed so much. Because I think it's like, I think the, I'll need to rewatch again for a lot of, like, the specific techniques. But it's more the, I think the theory behind it of, like, separating everything. And then, because I've always been trying to figure out what you've been by, like, training each layer as different things. And I always just imagined that was, like, foreground and background, but like the color separation and what that can do. You just think that is my biggest takeaway. Yeah, yeah, yeah. Like, I love that. Do you think, like, a printer that's bad at its job? And then you can start to get really intelligent? Yeah, I would never even, like, I've used color range before, um, on, like, if I've made, like, some kind of freaky gradient orb thing and then tried to color range an area. But like, just one, one pixel misalignment, I would never have even considered, like, I just, I just don't think about that. Even though it's like, like, but it adds so much. I'm like, I can't. Especially if it kind of lived digitally. Like, yeah. Oh, and you're translating to print. There are other things that you have to accommodate for. But like, when I get to do stuff like this, if it's going to be like a digital print, like, like on a regular printer, that is a digital print, um, that's when you can still get away with a lot of those details and they'll still be preserved. And it is just, it's something I, I love doing so much. I miss doing those blazer cards because I did a really cool one for Shin Sharp too, using the same technique. And it's, I would love to do sports design. Um, I am so, so terrified of that industry. Um, that's sensible based on, based on how the music industry works. I don't imagine professional sports are any better. So, uh, there's a, have you seen if, like, there's a few teams, I think, the Mavs and the Cavs. I think maybe the lake is a, no, I think it's mainly the Cavs at least. I, when I did a video, uh, doing a tier list of the social media performance of these teams and how their graphics look when they post online, I found a few of them who have got, like, designers who will make exclusive posters for each of the games. And like that is probably one of my dream jobs, for sure. Like, just being able to make something custom tying in, and like, I think there's, there's so much of like, I think the, the, the Cavs used to do the, one of them, I know does the after, if they win, they would make a poster. And they do the classic thing of, like, I don't know, the Cavaliers beating the Wizards or something. You see a Cavalier fighting a Wizard in the Wizards. Yeah, legit. I always guaranteed win. But like, having so much fun with that and seeing the fan love behind it. Like, it's a fan art, but for, it's awesome. I think it's so cool. Yeah. Um, how do we get involved? Who knows her? Wizards, pick up your game, hire me, please. I would honestly, oh, I would love to do that. And also the Blazer's front office, I know you're watching. Um, I'd love to do some stuff for you guys. I've tried to crack your internal team. You guys keep on a lucky key. Um, but I'm here. Uh, and I think it will be very fun. Go Blazers. Go Blazers. But that was very helpful. Thank you, KELF for revealing, uh, secrets that you have revealed in post, you should reveal it in post videos before, but putting them all neatly in this, uh, in this format and for me. I know it's, I just thought of one, can I sneak in one more tip? Yeah, absolutely. Something I mentioned in, in last week's video, let me just open another. Okay. Let me show my screen. Okay. Okay. Okay. I love looking at this. All right. We're hopping over to Photoshop. So this is a technique I drew all the time I mentioned it in actually it wasn't last week's video. It was two weeks ago when I was looking through my t-shirt book when I was like, this is a technique I do all the time. And it's how you can get that fancy little stippily effect without buying a brush. So, um, you can do this on any color. I like working on black. it makes my eyes happy. So with a brush on a new layer you're going to have a soft brush. You could do one of these. It doesn't really matter. It's not that serious. I'm going to go up here in your blending mode of your brush. I'm going to go ahead set that puppy to dissolve. And now make sure your brush is white. So if I had something that I want to kind of like this vintage glow around it. So I'm going to be like, Oh, well that's not going to translate to screen printing at all. But what we can do is we click on that. We add a stroke to that dissolve. And then you're like, whoa, whoa, whoa Kelly. That's too much because even if you lower your opacity, that technique doesn't doesn't give a rat's ass that you're lowering the opacity. So how do you make it way less intense? Because you're like, oh, I can make it smaller like this, but it's still a really heavy. Like even if I touch really lightly with my wake up, I can maybe get a lighter effect, but it's like it's still too much. So what I'm going to do is now I don't think it'll work if I just add a mask to this. I don't, I will never mind. I used to do it as a, you can also do it as a group if you want multiple effects. So you add a mask like this, swap your thing to have black, black erases, white ads. And then you can paint over using that same thing. I'm still on dissolve. This doesn't matter. It doesn't do anything. So what I can go through, I can go through and like kind of paint out. So it's annoying because you kind of have to work with it. And then you, you subtract it later, but because then I can get like a bit of a, a less harsh effect like that. And then I can just shrink my brush and make it a little softer. And then, you know, and clean it up more. But then it's all still in your mask over here. So you can go back and start over if you want. But there are a million brushes out there that people are going to charge you 30 bucks for that do exactly this. And I have. And the truth is, is that it's not that serious. You can just do it yourself. And this was the technique a coworker taught me when I was working out live nation. And like when you go up, I would say like if you're screen printing go at least like two to three, ideally three, three, three ideally for stroke size. But that's how I do it. And I do this all the time for vintage teas like it is my go to. And for the record, when you're doing screen printing, my canvas, let's read Kelly is 11 inches by 14 inches if you're screen printing in the US. And my resolution is 300 DPI. Some people like 200. I've had screen printers say they like 200 DPI for some reason. But some people are also taught 600 DPI. So that's why it's also important to talk to your screen printer or ask your client what your printer likes. I was doing too much. It depends like what kind of inks they're using. Like we're doing too much. But. And then if you were like, Oh, I did too much. Just switch with X, swapping your foreground to background. You're like, Oh, I did too much. And then you can add it back. And yet it's really strong. But then you can go back and just lighten it a little bit. So that's that technique that I do all. There we go. I do that all the time. And you don't need a fancy brush to do it. So that's sick. Thanks for my post is about to be changed forever. I'm I'm quite excited by all this actually, especially that little stipple on because I love that effect. And I've got an action that only works in Photoshop 2023 because I haven't got the updated version. And I I would have fun with it. But it was very I couldn't I couldn't edit it like you know, I like it was all very. It just happened. And you went, okay, cool. I'm going to settle with this. So yeah, I just that's exactly how I wanted it. I desire control over the canvas. And now I feel like I have more in advantage. That's exciting. Thank you. And you have that. Everyone say thank you. You know, that was helpful. That's like the that's like the most like that my most go to stuff. It all just comes down to those techniques that the fake little bevel that I made the or the extrusion or whatever we want to call it. The color separation. And then playing with those colors, how we could separate them out. Can we add a distress to one of those colors going very easy on the distress. And then duplicating that adding that inner glow with that same color, raising your noise. Good stuff. Very good. Incredible. Incredible. And just like play around, I found all these things with the exception of that brush technique. I found all these things just by just playing around. Yeah. So guys have he had time. It's so important to do that to just be like, how do they make that and then try to make it and then you end up on your own journey. Color range is especially color range is so much fun. If you start playing around with like taking one color out and accent color, fucking with the blending modes, fucking with blur, warping it, doing all kinds of stuff with it. Oh, do that with a photo. Take a photo. Grab one color and then make like a solid color selection of that with a mask and then tweak that one color a little tiny bit. So if you have like white selected, make it an off white. Make it like a very light like a blue bird egg. Is that what it's actually? Egg shell. It's like a like a that very light blue bird egg. Oh, you know, I'm losing my mind. But you guys don't have to talk about I promise I promise. But that's like it's a really good way to just like make a photo book more vintage. But just you select just like one or two colors and because it's going to grab things in that range. But what you're doing is flattening colors in that range. And I think that looks fun. We love it posted using hashtag Kelly. It's said so I want to give a quick shout out to fix a lot all who posted. I just such it out because I can believe I keep forgetting that I I'm like posted using hashtag Kelly said so I then completely forget that I've ever said it. Wait, that's so sweet. But I might pull this one up on the screen actually. I'm when I take over and I add it in post. But this is very sick. I love that people do this. Lovely text at the top can I just say and all this stuff in this graphic. This is very, very cool. Floating, it's loading, it's loading. Guys, if you do any of these techniques, oh, wait, there's two. Yeah. Once some a few weeks ago and then added a little hashtag at the other day that I didn't kill it said so which I which we love. Hashtag Kelly. It said so guys crazy guys. That's a that's some. That's what I think we have says with that hashtag hashtag is so back. But picks a lot on guys you can do these things implement some of these techniques in your work play around with it. If you want to feel brave, post it on Instagram, tag us and also using the hashtag Kelly. It's that's also other people can see it. Because I think that's really fun. And I want to see I want to see people doing these techniques because it it's so so simple. It might be a little complicated to get the hang of at first. But like once you get the hang of it, you're smooth sailing. And it will really help just like streamline your process and you don't need any plugins to do it. We might do some proper challenges in the coming weeks and stuff to get you guys some ideas going because I know design chef was very helpful when I do that weekly for people to get like something every week, something kind of going for them. So yeah, we can do so we could add it to like the song of the week, front of the week and then the challenge of the week or something and then showcase like our favorite something. This things we can do. Right. Community like. Look at us. Look at us. How many episodes in one billion. That's fun. We're talking about graphic design. We love it. We love it. We love it. What about. Well, shall we do our song of the week speaking of it? Okay. I already know mine. I don't know for a please I got really excited. It's the most exciting part of the podcast. Okay. So my song of the week is lizard by Samia. I thought the first single for Samia's new album bovine excision was the greatest song ever made. Unfortunately she has not done herself. and really lizard, well, a lot of like Japanese house influences in it. Like in the production. I was like, oh, oh, oh, oh, what a fun little song. Big fan. That's my song in the wake. Where does yours? We love it. We love it. Mine is going to be a new song that I had the other day called "How Many Lifetimes" by Alan Vega. It has like, I don't know, 16,000 streams in total or something from my fucking day list and it falls into one of my favorite genres, which is like some kind of nice music beat song in the background while someone lightly sings or talks over the top of it for a long time, for five minutes and 47, so. Claro. Yeah. Kind of. I haven't listened to charm more than I thought. I'm like a whole playlist of songs that I like. It's my favorite thing. I love hearing people just talk about stuff while there's music in the background. I think it's so funny because it's like, what are they saying? Where do they find this chat? But this is more singing. It's a good stuff. It's what's on. But that is my song the way. I have a thought of when we could discuss this offline too. I have currently going on my arm. So people have mentioned the idea of there being a background playlist. Do listen to. Yes. For our people who need multiple forms of stimulation like ourselves. So I think it would be fun if there could be a, and it doesn't have to necessarily be a playlist we curate. But if there are playlists that people might recommend as a good background playlist that would fit well underneath spoken word and it's harder than you think as. I know you understand it's harder to find music to fit under a voice than one might think because sound is weird. So I like, you know, like smooth jazz. Like my, my morning mixes that I watch on YouTube, Lily Kray, Lily Kay. I don't know her name. Big fan. But if anyone has like a playlist recommendation that you think would be good for that. Send it on over to us. And I think it would be a good recommendation for people who design along with us. And they might just want some music in the background. So it doesn't feel like we're on maybe a Zoom call. Because I sometimes I fear that's what. I don't want it to be like work. What you get back a bit ago. This is quiet. This is quiet. But especially when we're both designing or like, oh yeah, we're locked in. We are locked the fuck in. It's rare in general to find a YouTube video without like background music as well. So it always feels a bit jarring when you switch on. But like as a as a former Twitch streamer. It was hard finding the right soundtrack for stuff. But I would go to like a collaborative thing where like everyone gets to add a song or two. If that they think could work. We should have a collaborative Kelly, Kelly playlists actually that could be fun. I do like one of those things happen. It's doable. They used to work in my old community in the type house back in the day. Shout out to any type house people still here. Thank me back. Just kidding. It was a, I was young. It was a lot of work. A lot of work for a discord community. No discord. No, Kelly at discord everyone. It's not happening. Get over yourselves. It's not happening. I like the option of people adding the music if they want because we are still a podcast has our primary format. And I know for some people, some people do not like background music. They would prefer just the spoken audio part. So I like the, you know, you can mix it on your own. You can control the volume on your own of which one. That's what I would want if I was watching it as well. I like that. I like having that control. I love watching the basketball with social control. We love control. It's very important. I love control places. Add some rain sounds in the background. Add some nature sounds. Add some music at the same time. Like these are things you can do. Enjoy your experience. Please enjoy the Kelly experience everyone in your own. Put on a fireplace on another screen. Yes. Big fan of that. Sidecar, the iPad with a fireplace on. That's good stuff. We got a head over to the bonus episode over on Patreon.com/KellyIt. Pardon. I was like, I know this. I know this. But I think I just made it Kelly it pod for some reason. I was a good boy and I figured that out well. But yes, we'll be doing a little bonus over there. So come join us. We're going to watch Elliott. Try out some of these techniques. I mean, unless you want to do something else. But you can design along with us over there and join the wonderful members of unmeta Kelly it. The comparison point. Yeah, you stay. Good stuff. Good stuff. All right, guys. I hope this was helpful. Please, if I missed anything or if I blew through it too quickly, which is a very possible thing, please DM me on Instagram. And I will help clarify. And if it's something that I really missed, I'll post it on the on the Kelly it story. So people know because I want I want this to be helpful truly genuinely. So if you think you did that, let me know. I'll help. Thank you, kill. We'll see you next week. See you guys. See you guys. See you guys. See you guys. See you guys.