 Good morning everyone. Thank you so much for joining us today for our webinar, Communications Made Beautiful with Adobe. Before we get started I just want to go over a few housekeeping items so all callers will be muted. If you have questions you should see a chat box on the left hand side where you can ask your questions throughout the presentation. And if you lose your Internet connection just reconnect using the link that was emailed to you or try refreshing your browser. Sometimes ReadyTalk can kick you off for a second but it's pretty easy to log back in. If you have to leave the webinar early we host our webinars on our website at techsoup.org slash community slash events dash webinars. If you want to re-watch it you can also watch it on that URL. Also after the webinar is over you'll receive an email with the presentation, the recording, and any relevant links. And if you're on social media feel free to tweet at us at TechSoup using hashtag TSwebinars. But like I said earlier we'll be monitoring the Q&A box that you see on the left hand side. So just a little bit about TechSoup. We are located in 236 countries and territories. We partner with several technology organizations like Adobe, Intuit, Microsoft, Symantec to service over 1 million nonprofits globally. So now that you guys know a little bit about TechSoup and I just want to make sure you guys can hear me okay. If you want to tell me where you're calling in from in the chat box and I will read a few of them out. So we have Washington, D.C., New Hampshire, Boston, Tulsa, Clearwater. Do we have any international folks on the call? I don't see any yet. We've got Mississippi, Chicago. Okay so you guys can hear me okay. Awesome. Alright so again if you have not heard of TechSoup before or you haven't had the chance to explore our marketplace, we have several products that are available to nonprofits either donated, discounted. So if you get a chance feel free to browse the URL that you see here to see what technology is available to your organization. And this webinar specifically is focused on Adobe tools so we also partner with Adobe. And you can see here on the right hand side some of the software that we offer our nonprofits. So if you're curious about what Adobe products are available please visit techsoup.org slash Adobe. Alright so just a little bit about who's on the call today. So my name is Seema Tucker. I'm the online learning producer here at TechSoup. You probably saw a message from my colleague Lashika Phillips. She is helping out on the back end today with any technical issues that you might have. And then we have Mark Ketchner who is going to be presenting today. And he is an award-winning creative director and was the co-founder of the Shotwell Company, a digital agency that was based in San Francisco. And he is now the creative director at TechSoup. And he's been with us since 2015. So I'm going to go ahead and hand it off to Mark. Thank you so much Seema. That was a very kind introduction. And thank you everyone for joining. This is my first webinar that I'm doing for TechSoup, but like Seema said, I've been with the organization for almost four years at this point. So we'll have to see how it goes. You guys can leave some feedback later and tell me if this is useful, if we should do more webinars on the subject of design, specifically Adobe, those are the tools we use every single day. So to be clear, this is an entry level. It's really a beginner class. I'm just going to show some sort of basic things you can do with what I consider to be the key applications in the Adobe Creative Suite. So specifically Photoshop and Illustrator. And I'll say a few more words about that later. I think we have a quick little poll just to see everyone's, just get a sense for how well everyone on the call is familiar with these applications or if at all. And then again to be clear, if you're pretty advanced, then this could potentially be boring, but I'll try to keep it interesting nonetheless. So this is great how quickly this works. So it looks like the, well not quite the majority, but there's quite a few people here who know some basics, but still need some help. So hopefully I can provide that. And also a good amount of people who don't know anything about it. And that's why you're here today. So you are in the right place for that. And then I see we have 0.9% of you. Step aside Mark, I'll teach, which I'm really grateful for because if a bus hits me or something, I'm glad that you're here. So I'm going to move to the next slide. Here we go. This is our agenda. So first I'll just say a few words about the power of design just in general. We're going to look at some common design challenges for nonprofits specifically. Then we have a short section about just basic principles of good design. We're going to look at a list of assets for any kind of campaign that you might want to run. And then really the meat of this, I'm going to jump into Illustrator and Photoshop and see if right here on the fly with everyone watching I can produce an actual designed asset that could be used in a campaign. So let's just jump right in. The power of great design. So this is something that I'm going to risk losing my job by saying this here right off the bat. I'm sure data can be found that any specific action that your nonprofit, any specific campaign that your nonprofit may run, might not need great design. So if you're doing a fundraising campaign, if you're writing letters, if you're sending emails, are there numbers to show that something that looks better will perform better on the spot? And the answer is, I don't know. The reason though that design is important is maybe the bigger picture. So that's the brand of your organization which speaks to your credibility. And brand, that's a heavily overused word. I like to think of it just as the identity. Who are you? What's the personality of your organization? At TechSoup, for the longest time, there was no design team here. And TechSoup has been around for 32 years now I think. And it's a nonprofit. TechNonprofit provides tech support, tech help for other nonprofits around the world. Kind of an unbeatable value proposition, cheapest software really that you can get if you're a nonprofit. So who needs good design? But of course, that's a little bit like the half price ticket booth. If you're trying to get tickets for a play, terrible user experience, it's no fun, it doesn't look good. If the half price ticket booth wanted to sell you coffee or coffee machines or anything else, you might not want to trust them to do that. So therefore, we think that organizations with a strong brand and good design, they just have more credibility. And I'm going to move to the next slide now. Nonprofit Common Design Challenges, this I'm sure we're all familiar with, lack of money, lack of time, results in poor design, poor design can be visually confusing, and then poor conversions. And the conversions, whether that is a fundraising campaign, in the case of TechSoup, that's often getting nonprofits to join and to request hardware and software from us, specifically on the website. If it's confusing, you don't get from point A to point B. If the communications materials aren't well designed, you might feel less compelled to click. So enough said about the importance of design. Basic principles of great design. So this is something I have to thank SEMA for. She did a little bit of research ahead of this and found actually on the Adobe Spark website, and we can send a link to that later. What they describe is the eight basic principles of great design. And those are alignment, hierarchy, contrast, repetition, proximity, balance, color, and space. And I'll say a few words about each of those. But just to preface this, design is of course an inherently subjective discipline. And for each of these principles, I can easily find counter examples that violate them. It's a little bit like music. You need to learn to play your instrument, but then once you're good, you can break the rules and make it more interesting. But for people like myself who are terrible musicians but like to play, you want to start with following the rules, right? And this is as good a list of any. To me, it really boils down to what I wrote here in the center of the slide, less is more. And I'll say something else about that later as well. So I'll start with the first one, alignment. I personally think this is the most important thing. The difference between something looking sort of slapdash and poorly designed versus designed is alignment. I have a couple of examples here on screen. The one top right, that's actually something that we produced. And then the other two, just something I found online. Always look for the invisible lines. And I'm going to see if I can put a little arrow on the screen. See how this image and this text and this logo, all a beautiful straight line. Then they wrote something right over it which becomes the focal point because it breaks that. Likewise, here I think this is someone's resume. Again, everything is aligned really nicely. We try to do the same. And then of course where you break the line here, we have emphasis. It jumps out at you. But you don't want too many things to jump out. You want it to look clean. And really if you take nothing else away from this webinar today, take away this one thing, align everything. Draw yourself a grid and align things on the grid. And now I'm going to the next slide. Hierarchy, another important principle in design. I found this example. This is a text block here that's not even particularly good design. But what it shows is on the left we have some text. It's really hard to make heads or tails of that. On the right though, that's formatted nicely. Probably just done by someone who knows how to use Microsoft Word or a tool like that. And all of a sudden you can see the main point, thoughts on design. There's something important to be said about symbols, and then the individual facts are nicely enumerated. And hierarchy, different ways to achieve it. Typically we speak of levels of headings. That's really important to observe. Make them all consistent. Your level one is a certain size. Your level two is another size, maybe has a color. And then level three is the information. Top of left, that's kind of an extreme example. We're going to focus your attention by writing something really big. But size isn't the only thing to achieve hierarchy. It can be where you place things on the page, which color jumps out. The rule to live by here is first you want to attract, then you want to create a little interest at the second glance. And then the last thing you see is the actual message you want to deliver in more detail. And just give each of those three things its appropriate amount of emphasis in your layout. Contrast, it's another way to achieve a visual hierarchy. So we see this thing here on the right where there's a button read more. Clearly that's what they want you to do. It stands out. I would say that's actually the first thing you see. There's a big headline. Other uses of contrast are just to make things pop. We've all seen these iPod ads. Top of left is an example of putting text over a photo. It's really important to have high contrast there because text becomes very hard to read when you just place it on a photo without high contrast. So important principle of design, space. Did I say that alignment is the most important one? I did say that in line. So in close competition with which is the most important is space. In fact when I look at work that we produce here internally, that's usually my first comment. Can we have more space between the elements? Can we leave parts of the page blank? That really to me is what makes a design beautiful. Sometimes that means having to keep it real brief. The text you're putting into a piece. But if you sort of think to great designs you've seen almost certainly they have lots of white space on the page. Or I should say negative space here in the case with this pencil it's yellow space. Oh, here this is a quote. A designer knows he has achieved perfection not when there's nothing left to add but when there's nothing left to take away. That is a principle to live by. Just design everything the way you think it should look, and then start deleting stuff. And then after you think you've deleted everything you can delete a little more and I promise it'll look better than before. Repetition. So I interpreted this to mean, and I want to talk about that a little more in a second, just sort of adherence to a brand. You want your materials, every touch point that users, visitors, constituents have with your organization should look consistent. So at TechSoup our brand guidelines specifically describe these circles that we use everywhere. And you can see from these examples that's one thing we repeat quite a lot in different materials but then the other thing is our colors. We stick to those quite slavishly so we don't use colors that are not specifically defined in our palette. And again if you think of brands of design that's associated with organizations that you know or companies, that's probably rule number one. Just use the same fonts. Use the same colors. Don't try to be too different with different campaigns. Proximity, this was on the list. I interpret that mainly as meaning be mindful of what things you put together in a layout. Like here this one is a Nike ad. Choose the right path for you. They put that right on the path. They could have put that anywhere on the page but I think that makes the whole scene just that much more evocative. It puts you right there on that path. So things don't necessarily have to be evenly distributed. Things that belong together can go together, put your text onto the visual in a way that creates proximity between the two. Balance, that's probably a basic from design school art class. Balance, compositions. I found a website I'm going to see if I can share my screen which I actually thought was quite useful and we can share the link to this. It's also in the presentation. Anyone who's edited a photo on their iPhone has probably seen this or on Instagram. You get this grid, the rule of thirds. So we got thirds horizontally, thirds vertically. And if you align the items you're putting in the page onto a grid like this, it doesn't have to be that everything is centered on the grid. Here we have the text centered in the two thirds on the left. We have this picture then to the right that makes a nice balanced composition. This clearly looks balanced, but again if you put the grid over it, you've got something in the top third, middle third, bottom third. Even something that's centered can see it's roughly equal what extends into the top and bottom thirds. So that is one of those rules that of course you'll be able to find lots of examples where this is violated and it's a good one to start with. So I'm going to go back to my presentation. Color, that's the final of the eight principles. So this is probably what defines your design more than anything else. This is what defines your visual identity. My general talking point on this is that yes, there's color theory, different colors mean different things. Red and green we know, stop and go. Yellow is happy, green implies environmental, and also money. So you can certainly use those kinds of rules. But I think most people have a sense for what moods different colors put them in. These ones here on the screen are TechSoup brand colors, actually rendered sort of in the order of importance in our materials. And I'll just do a really quick jump over to our brand guideline document which I have here. So the real criterion for whether you're choosing the right colors, whether you're choosing the right fonts, whether you're choosing the right photos is not necessarily, do I like this? Does it express the personality of your organization properly? And the reason I'm showing this screen is that this is what TechSoup's visual personality is defined to be. And we also have values, trust, relevance, resourcefulness. And basically these values and personality descriptors are what we judge the design that we produce by. So again it's not necessarily, do I love it? Does it express the personality as defined? So I think we have another poll question, is that right? We do, yeah. So if we could just break really quickly, we have a couple questions that came in. So William wants to know, what are good fonts to use for website, brochure, flyers, and programs? Do you have a recommendation in terms of specific fonts? It used to be that you had a very limited palette for choosing fonts for a website because it depended on that very small set of fonts, website fonts, that you could assume every single person had installed on their computer. But those days thankfully are over, meaning you can mix and match any font combination you want. I'm not answering your question because honestly there are so many fonts that I'm reluctant to pick any specific one. Google Fonts, if you Google Google Fonts has a terrific tool where they show you samples of little page snippets with a heading, a subheading, and body text. And you can mix and match right there and it's kind of preview it. I would judge the choice again not by whether you like it, but by whether the fonts you choose express the personality of your organization. So are you edgy and irreverent? Are you very formal? Are you modern? And then the way you evaluate the font is generally serif fonts that have little feet are more formal. Think the New York Times, Sun Serif fonts which don't have the little feet are more modern, and then of course legibility is important. So I wouldn't get too fancy with what are called display fonts where it's lots of curlies. Those literally are for splashing maybe a giant headline onto a billboard, but if you want your materials to be legible I would keep it traditional. Don't go crazy. And in the end it's really the aesthetic that best defines the personality. So for TechSoup we use Sun Serif fonts because we're TechSoup or modern. We have this bright color palette, but if we were a law firm that would look quite different. We'd probably have serif fonts. And the only real rule to observe and then we'll go to another question is don't choose too many fonts. Have one for your headings, one for your body, and try to keep it at that. That's what makes your design clean. Great. So I think you actually just answered the next question. So somebody was asking how many fonts are too many to use on a digital flyer or announcement, and it sounds like three-ish. It sounds like a good number. Yeah, less is more. I do like the look of having a different font for headings and then for the body it can be nice to have a serif font for the headings and a Sun Serif font for the body or vice versa, but that's not a hard and fast rule. For body the important thing is legibility. And to keep your design clean really less is more. I would say stick to two. I wouldn't do a ton of different font sizes. One really big one for the main heading and then try to keep everything else at another consistent size. We're going to do a little design exercise. I think that's the next thing we're going to do. And we can play around with that a little bit, but generally don't overdo it. So if we don't have any other questions, I think I'm going to just jump right in. I'm going to open up Illustrator and design something. Oh wait, first we're going to look at our campaign assets. So this is a list that I get quite often. I'm sorry, I'm just showing the results of the question that was asked. So logos, social media graphics, perfect, because that's what we're making, a social media graphic. Photo editing, I'll do a little bit of photo editing. Video editing, not this webinar, but maybe we'll do another one. And documents and pamphlets, that's a big one. I think the little social media assets that I'm going to jump in and make will at least show some of, it's just really the same techniques, as you would just have to set up a different document. But yeah, that's interesting to see. All right, I can move on, right? So here, this was the list I just referred to, campaign assets. So this is a typical to-do list that my department gets, email banners, so we send out designed emails. And along with the text, we want to have some kind of illustration or visual, social media graphics, Facebook, Twitter, LinkedIn. We're active in all those. A website banner, so this could be for advertising around the web, or something you put up on your own site. Landing pages, we create a lot of those. So that's where an ad, or a promotion in an email, or even through any other means, gives you a very specific URL that's just specific to whatever the campaign is. And then we have a page that isn't everything with all our navigation that you would find on TechSoup.org, but just more information about the specific campaign. And then of course, print pieces, brochures, wires, posters, all the rest of it. And when we have an actual campaign, then obviously assets will need to be created for all of these. And the challenge is to strike the balance between sticking to your brand guidelines. You don't want every communication that people receive from your organization to look different than the last. But at the same time, you want a specific campaign to be coherent. So you might choose one color from your brand palette more prominently in one campaign, and then another one more prominently in another one. You might want to have photos that resemble one another. But in the end, that's the balance that you have to strike. And Sima, signaling me, we have some more questions, so I'll turn it back over to you. Sima- Alright, so we have some good questions coming in for you, Mark. So in terms of the brand guideline document, are there, like, I know a lot of people on this call probably have never created one before, are there specific things that should be included in a brand guideline document, such as color, font, what are kind of the essential elements of a good brand guideline document? Mark- That is an excellent question, and I apologize for just glossing over that, like, use your brand guideline. And for sure, that's, I mean, we have, I'm going to share my screen again, so give me a second here. We have a very formal document that was actually created in conjunction with an agency. I'll show you the table of contents. I thought it had a table of contents, so maybe it doesn't. Oh, here it is, yeah. So logo, color, type, photography, graphics, voice, and tone. So this is a pretty comprehensive brand guideline, right? I actually can think of a few other things that you might want to include there. I think the key three of these are really logo, color, and type. And by type, we mean the fonts. And I'll show you how that looks. You want to make sure that your logo always looks the same. So sometimes we see organizations where the logo is stretched, or someone changed the colors. So this is just marketing 101. Don't make fancy designs using elements of your logo pulled apart. This is a picture that should never change. And the reason I say picture is because, you know, our logo happens to be the word TechSoup, but you wouldn't want to insert this logo into a sentence. This is a picture that stands on its own. And then we've defined that there should be a little bit of space around it. So that's probably the number one most important thing. And then there's rules about how to use it. And other than that, it's the colors. I'll show that really quickly. I don't want us to run out of time. This is the TechSoup color palette, defined in all the different color spaces. But the main thing to know here is we use only these colors in our design. And that right there makes, even if we produce something that violates other aspects of our brand guidelines, if we just stick to these colors it will always look like it's something that TechSoup produced. And then type, we have fonts. These are the ones we use. And we had a question earlier, are these better or worse than others? And in the end that is a subjective decision. The important thing is to define them and use just those fonts. All right, since I'm already sharing my screen, why don't I get to the heart of the presentation here, and we'll produce something in Illustrator. I did have a slide and I don't need to go back to it, but just to quickly talk about Photoshop and Illustrator. If you know anything about Adobe Creative Suite, I'm sure you'll know. I think I can pull it up here. They have a ton of different applications. Photoshop, Illustrator, InDesign, on and on and on. So there's video editing, there's web editing, web designing, web coding, animating for big screen, small screen. Whatever design you need to produce there's an application that Adobe has. The great thing about the Creative Suite is that you have access to all of them. You can see on my screen here that there are several I haven't installed. I use just some of these. It really depends on the type of asset you're producing. We have a great infographic that we're going to share with this group, which is like a little sort of a flow chart. What type of a project are you working on? Does it have this or that attribute? And then it kind of walks you through to a recommendation which Adobe application is the right one to use for your particular use case. The reason I'm focusing on Photoshop and Illustrator is because I really think those are kind of a mommy and daddy of them all. It's everything else that's based on these two. And the reason they're two and not one is because they're similar. You can produce complete designs in either, but they have slightly different purposes. So Photoshop is for editing photos or speaking more technically, pixels. So any image has X number of pixels on the screen from left to right and from top to bottom. And those in Photoshop can be manipulated any way you want, really at this point. Illustrator, you're working with objects, scalable vectors. If you've ever interacted with a graphic designer or with a printer, you wanted them to print an ad or a logo. Inevitably you'll get the question, would you have the vector version of this? And what that means is vectors rather than breaking images into pixels which are finite. So we've all seen images on the computer that have been blown up too much and then you start seeing all the little dots and squares because there just aren't enough pixels at that resolution. Vectors are basically mathematically defined objects that can be infinitely scaled and because they're all individual objects they can easily be moved around when you're designing. And that's what Illustrator is for. I think this will become a little more clear when I jump in and use both these tools. So that's what I want to do. We are going to design an image that we want to run on Instagram. And one really useful link that we can also share later and there's a number of these, this is just one that we found is this one right here which shows you the social media image sizes per network. So we want to do an Instagram post and then it shows you the dimensions for profile picture, thumbnails, isn't that? We're going to create an actual photo that runs on Instagram. And the recommended pixel dimensions are 1080 x 1080. It's a square. You can see I already set this up here. I also on the left made little color swatches of our brand colors because again I'm trying to stick to our guidelines. I'm only going to use these colors. How I got here I can show that really quickly is I'm an Illustrator. I'm going to make a new document. They have a bunch of presets but custom I typed in a width of 1080, height of 1080, and then the other thing that's important is the color mode. For print generally use CMYK because color and print unless you're using custom Pantone inks is made up of black. I never learned why black is indicated with the letter C. If someone knows that please text it. Magenta, yellow, and K is for black. But we're creating something for the screen. On screen all colors are components of red, green, and blue RGB that makes more sense. Then you click this button and that creates your document. I'm going to close this because I already set it up for myself. This is Illustrator so all the objects are infinitely scalable. Here's our TextSoup logo. You can see I can zoom in really close, make it really big, perfect crystal clear edges because this is a vector, mathematically defined shape on the screen. But that's not what we're going to do. Typically when we get the text from our writers this is something I wrote up in advance of this webinar so I don't want to get our writers in trouble if this is poor grammar. It's an ad for a TextSoup help desk. That's something we offer in addition to hardware and software. We offer tech support. Then the value proposition is rapid response, extended hours, and then we have a call to action, get tech help. So we're going to make a little Instagram image with this text. So I'm going to copy my text. Now in Illustrator there are lots of things you can do. You can create shapes. You can move objects around. So by default I don't just have a text box. So I'm going to go to my little type tool here and I'm going to make a box. I'm going to put my text right here. You'll see that Illustrator automatically creates Lorem Ipsum text. That's no good. I'm going to replace it with our actual text. And now we need to make that much, much bigger. What's going on? Select that, make it big. This is not our font. So here in the font, and by the way what I'm looking at is the little type palette. Those are all the different things you can do in Illustrator. Again this is a basic one. Window is the, I believe they call it the character palette. Then there's paragraph. Anyway, we're going to use our replica pro. Oh and of course I have to have this selected in order for that to work. Try that again. This should be an alphabetical order. The replica pro, that's our font. We want it bold. And because this is going to be in a photo on Instagram, I'm going to try to go into the type menu here and change the case to all uppercase. Because that's really going to pop on a photo. Now this is not much of an asset yet. So let's put some colors in. I have a little tool here, rectangle tool. I can drag like this or I can just click. And I want it to be half of my screen. So I know that my image is ten hundred and eighty pixels wide. And I want it to be half the height. So if my math is correct that's 540. Got a big old square here. There's this great little eyedropper tool. So while this is selected, I'll just eyedrop one of our blues here. And now you can see this is in front of my text. So I'm going to grab my text and I'm going to say Object, Arrange, Bring to Front. And then I'm going to align my square nicely. We want more contrast. This is not very legible. So let's make that text white. That's great. And then we have Rapid Response Extended Hours. I'm going to go back to my text object. So I've got this one here. I'm just going to reduce that in size a little bit. And create another one and type this. What you can also do is you can select text and do the eyedropper. You can select colors. If you select other text it just takes up the same attributes, font size, all the rest of it. But we want some visual hierarchy right. So we're going to make this just the regular replica. And we're going to make it a little bit smaller. And note that when I move things around, when they're aligned, Illustrator automatically gives me this little line here. And that really makes all the difference. This looks a little messy. There we go. We've aligned it. It looks much better. Last thing is Get Tech Help. That's our call to action. That's the thing we want to click. So I'm going to draw another rectangle. This has a fill color that's white. And it has no outline. I'm going to give it a black outline. I don't really see very much here. I'll flip that around and give it just the white outline. And then I can go to my stroke palette. That's the weight of the stroke. And then making that four points. I'm going to align this here also. And I can't remember if I copied the text. I'm copying this. Going back over to Illustrator, Get Tech Help. I'm going to select this text. And this is on the principle let's not have too many different fonts. I'm just going to eyedropper this. And then we have the exact same font here. Let's see what that looks like. Enter them together. Let's actually see if we make that a little bit smaller and change the case to upper. I want this to be centered text. And I want to center it with, so I'll show you another really important tool, which is the Align tool. And I'm going to select this and that. And then I'm going to say Align them like this. And center them that way. And then I have these two perfectly centered. I'm going to group them. And now it's just one object, one group that I can – All right. So it's starting to look pretty good. It's a little bit boring. So it takes soup. We like circles. So I'm going to take the Ellipse tool. This is where I have the rectangle but the ellipse. If I hold down the Shift key while I draw an ellipse, it makes a perfect circle. If I don't hold down the Shift key, it's just all over the place. I can make all kinds of – But we don't want that. We want a circle. And we want it to be one of our brand colors. Again, I need to select it and make it orange. That looks pretty good. Put that here. Have it run off the page a little bit. Create some motion. And put another circle in. And it seems like it's passing me a note. How did I get the color palette on my screen ahead of time? I created these objects. So what I did is I just – so this was the little prep work I did so that I wouldn't have to separately choose all the colors. I just drew a little square. And then there's actually a color palette, window color. Oh, here it is. It's already open. And I know the values of each TechSoup brand color, but I could type in anything else. These are hex values. There. No, I've made another one. Of course, you can just go in here and pick colors. If you double click this color thing here, you get an even more advanced color picker. So there, I made a nice pukey green. And so that's what I did. And these logos, same thing, we have them in other files. And I just put them – so I'm going to delete the screen because this is not part of our color palette. But I'm glad I looked over here because we do want to brand everything. You can see I've dragged this over here. Why don't I see it? Well, that's because it's behind the blue square. So I'm going to go to the Object, Arrange, Bring to Front. And I'll share another design secret. People always make the logo too big. If you think of Apple, Nike, think of any of these companies that do a lot of great design, they don't do this. Totally unnecessary. We're going to make the logo nice and small. It's a much classier approach. If I had a dollar for every time I was asked to make the logo bigger, I would not be working here anymore. But as a designer, I always insist, let's not make this too big. Okay, so this is taking shape. It's not done yet. We want to add a photo to it. Since we are getting close to time, I'm not going to spend a lot of time talking about sources for photos. We use Adobe Stock, so I was going to demo that a little bit. But I'm going to skip over this and go straight to these photos that I picked. This is a nice friendly guy. And then here's this lady. Let's use her. So I'm going to open this in Photoshop. Now we're in Photoshop. This is where we manipulate photos. I'm sorry, I've got some pallets floating around. I'm going to zoom out a little bit so that we can see her. Alright, so I want this photo to have the right dimensions to fit into my square that I've produced over here in Illustrator. And the way I like to do this, in Photoshop you have this selection tool so you can select areas and then work in those. We're just going to use this today to crop this to the right size. So I'm going to say Fixed Ratio. And the ratio of the dimensions here are 2 to 1, right? 1080 to 540 is half of my screen. And so I'm going to find like a nice part of this photo here. And I kind of like this crop. And then I'm going to go to Image, Crop. Alright, so now this has the right aspect ratio. I'm going to do a little bit of adjusting. Let's just make this bigger so that we can see adjustments. We can play with the brightness and the contrast. I'm going to make this picture brighter. I'm not going to do that though. This is a nice tool, Levels. This shows you the color distribution from dark to light. If I move the center around a little bit, like I'll make the center of the image darker versus lighter, again I don't think that's necessary. A really nice one is Auto Tone which will just automatically brighten it up a little bit and also do auto contrast. So unfortunately I picked a pretty good image so not much is happening adjustment-wise. But you can make it brighter. We can also change the colors a little bit. Again, Image, Adjustments, the Hue and Saturation so I can really oversaturate this a little much. But it's nice to give it a little extra saturation. You can change the colors. We're not going to do that here but just give it a little more color. I'm just going to declare myself happy with this. Again, we're only touching the surface of Photoshop so we could put another person into this image. I could put something in the background here. I was just looking here at these different adjustments, vibrance, the Hue, lots of interesting stuff. But I think if you just sort of keep to the Hue, Color Balance, that will get you pretty far. So now we want the image to have the correct size. I went to Image, Image Size, got this palette. So this is too many pixels. Don't need that much data. Don't need such a heavy file. It only needs to be 1080 pixels wide. And because I had already cropped it to the right aspect ratio, it's automatically the height is what we need, 540. I'm going to say OK. And I'm going to Select All. Select All. See the little ants running around the entire image. I'm going to say Copy. And now we're going to go over to Illustrator and Paste. Why is that so small? I forgot to do the proper pixels per inch. So let's go back into Image Size. So I want an image that's 1080 pixels wide and 540 pixels tall. On screens, the resolution is always 72 pixels per inch. And Illustrator thinks of things in terms of inches. So now if I have 1080 times 540 at a resolution of 72, say OK to that. Copy this and Paste. And there we go. It's perfect. Alright, I think we are at time almost. So I'm just going to quickly show you how we save that out for the web file. Export for screens. I want to use my entire artboard. I can save it out as a PDF, as a JPEG. We're going to do JPEG. Export the artboard. And there it is, our finished Instagram post. Alright, so I think I ran us right up against the clock. Hopefully that was helpful. I'm going to turn it back over to Sima to finish the webinar. Thank you so much, Mark. It looks like we are at time. I know some of you had some questions for Mark, and we will try to get back to you individually in case you didn't get your questions answered. If you guys don't mind sharing one thing that you guys learned today in the chat box, it's always helpful for us to see that. And we also have a post-event survey. So any feedback that you can give us is always really helpful and helps us dictate future content. If you're on social media, feel free to give us a follow on Facebook, Instagram, Twitter. I believe we're also on LinkedIn. And feel free to visit our blog, blog.techsoup.org. We post a lot of tips and tricks related to design and other things as well. And if you are interested in some of our upcoming webinars, we have a full list here that you can see. If you go to techsoup.org slash community-events, you can see what webinars we have coming up and register for them there. And lastly, I would like to thank Mark for his excellent presentation. And I'd like to thank LaShika for helping out on the back end. And thank you to the attendees for attending today's webinar. And we look forward to seeing you on the next one. Thank you.