7 Secrets to Designing in Black and White | Melanie Greenwood | Skillshare

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7 Secrets to Designing in Black and White

teacher avatar Melanie Greenwood, Designer & Founder of Vision City Studio

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (1h 30m)
    • 1. Designing in Black + White Trailer

    • 2. 1. HIERARCHY


    • 4. 3. GESTALT UNITY

    • 5. 4. SILHOUETTE

    • 6. 5. TEXTURE

    • 7. 6. LINE


    • 9. 8. Logo Challenge: MILLIE AND MOE'S Coffee House

    • 10. 9. My Mille and Moe's Logo Process: Part 1

    • 11. 10. My Mille and Moe's Logo Process: Part 2

    • 12. 11. Final Thoughts and Encouragement

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About This Class


This course is for: Graphic Designers, Illustrators, Hand Letterers and anyone else who is curious...

This course teaches you how to work in ONLY black and white, no grey!

Learning to make your designs work in black and white ensures they will be effective, no matter how they are printed. This comes in super handy, especially when your clients have a low production budget or want to have a minimalistic look. Black and white is truly a classic palate and stands out brilliantly wherever it is placed.

Black and white is here to stay, so why not learn how to master this minimalistic color palate...and have some fun while you learn!

My design studio, Vision City, has become known for black and white design. It has been something my clients have been coming to me for over the last decade. My entire recycled art print and greeting card brand is comprised of a black and white color palate. Learning this timeless and essential skill is a must for any designer or illustrator.

Ready to master black and white? 

Lets get started! 


My Website: http://www.visioncity.biz

Meet Your Teacher

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Melanie Greenwood

Designer & Founder of Vision City Studio


Welcome to the Print On Demand Course for Beginners!

In this course I am going to teach you how to create your own Print On Demand Products using Printify.

"Print On Demand" is when you add your own art or words to a product (shirts, hats, aprons, mugs etc...) and add that product to your online shop. When a customer buys the product, your print provider prints it, packages it and ships it directly to the customer for you. This eliminates the need to carry large amounts of stock and spend the money up front. Hence the name "Print On Demand". It's a wonderful thing!

In this course, you will learn:

1. Why I Chose Printify As My Print On Demand Provider.

2. How It Works! (5 Steps)

3. Pa... See full profile

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1. Designing in Black + White Trailer: Hi, guys. My name is Melanie, and I'm the founder and designer here in Mission City Studios. In this course, I'm really excited to share with you something I'm really passionate about. And that is designing with Onley, black and white, No greys and no colors, just black and white. This is something that I have become known for envisioned City design studio and my clients have been coming to me for the last decade. And I've worked with record labels, music artists, corporate clients, mom and pop shops, startups, you name it one of the common threads of experiences. When I'm designing for new clients, I usually begin every project with black and white. Another reason why is because if your design will work in black and white, it will definitely work in color. And the other thing is working in black and white. Make sure that it's going to look right no matter when or how it's printed. This is great for clients who are working on a tight budget or who may be just really want to go with more of minimalist look, which is actually really trendy right now. In this course, I'm gonna share with you guys. My seven top tips for working and black and white No brave are learning how to master these seven areas in Onley black and white. You're going to improve your skills tremendously and being able to offer your clients the best designs in the most minimal way. Some design plans just flat out don't have ah high budget when it comes to production. This is a great weight to get a big power punch of design with a really small budget. This is where black and White comes in really handy that they ended this course I'm going to give you a really special design challenge where I'm going to create a fictional company that is going to come to us as designers and ask us to create a design for them using Onley black and white. At the end of the project, you're gonna have the opportunity to share your design on the project section with all of us. So it's gonna be really interesting to see one company that's been treated in a ton of different ways because we all think of things in different ways that designers this is gonna be a really great project maybe some of you who are already designers and illustrators. This would be a great way to sharpen your skills. And maybe some of you were just trying to dip your toe into design and figure things out. There's also a great way to get started, so I encourage you to click and roll now, and I will see you on the inside. 2. 1. HIERARCHY: Hi, guys. I'm so glad you decided. Join me in the course, and I am really excited to jump right into the first off. Seven secrets that I want to share with you. The first area I want to focus on is the area of hierarchy. Now. Hierarchy is so, so, so important because what it really means if, for those of you who have never heard that term before, hierarchy is the order of importance. So in the area of visuals and a design, it's the order of importance or the order of focal points that we want people to walk through visually as they're looking at our design. So, for example, you see this a lot in magazine editorials or in poster design, where there are a series of words titling imagery, that we want people to walk through visually so that they can understand what we're trying to communicate. Hierarchy is all about communication in design, so it's about ah, scale. It's about shape. It's about the size of things, the way that we placed things. It's about the way that we even read like in North America. We obviously read, left to right, top to bottom So depending on even where in the world, um, this is going to be perceived. That will change, obviously. So it really is all about readability and how we are communicating messages based on what is the most important thing in that design to get their attention first. And then what's the second thing and the third thing in the fourth? So it's literally about creating structure. I'm gonna share with you some examples as to what I'm talking about now, as I'm looking at one example, um of a T shirt designs I did for a band. Now this is all about the titling, and then it goes down into the illustration afterwards. So, as you can see when you look at it, the first thing you see is the title manifest. Manifest is going across the top of the shirt. Obviously, having at the top is very important, and the white against black is what's making it pop. Then after that, you then begin to go around the design and look at the other titling and letters that are also included in this design. And then you begin to read it afterwards. As you can see hierarchies working really well in this design because the first thing you see is the band name. Then you can read all the other details that are on this T shirt design as well as the graphic elements. One of the challenges of creating visual hierarchy with no color is that black and white can feel like it all blends together. So with visual hierarchy using only black and white, what we need to do is to really make certain areas of the design pop. Now the way you do that is with the following areas things like size, For example, in a headline, Sizing is extremely important. The most important things could be bold. ID could be large. They're the most attractive and most visually drawing elements on the page. They must be read first, so we need to really gather people's attention by using size. The other thing we can do is with shape. Now say, for example, you want something that is Onley in black and white to stand out, using shape and having a shape that actually contrasts with the rest of the shapes on the on. The design will actually make the first thing popped first, but when it comes to hierarchy, we want people to be able to differentiate things. It's not about blending it all together as much as it is making elements pop in an order that we want them to pass these air all really, really important things to think about when designing a poster or a T shirt design, or any kind of like a mural or any kind of, ah, large scale element that that will be perceived by many. And we want people to read it and read it. Fast hierarchy is all about influencing the way and the order in which people find importance of elements within our designs. So we are the ones who are telling people what to look at first and how they should also feel while the looking at it, for example, the size of an element, um, the boldness or the quietness of an element, whether it's small and, um, quiet. That actually makes it feel like it should be read last. Whether it's bold ID and larger, that means it should be read first. Now, this is just all psychology of the way that people actually view things without even knowing that they're doing so. So we want to play on those elements of size, scale Ah, space and really the way that we create things and put them together to create a hierarchy of importance of all the elements in our designs. 3. 2. POSITIVE NEGATIVE : Hi, guys. Welcome back. I'm really excited to share with you the next and very exciting section that I love. This actually play with my favorite types of elements to work within and that is working in positive and negative space. Now, positive and negative space is a design term that we all learn in design school. So those of you who have not gone to design school, no worries. A lot of my favorite designers are have never touched a school. So in this in this term, what we've really mean is working with the positive areas of the design, meaning in most cases, say the black inks. So you have a white piece of paper, the black areas would be considered positive and the white areas or the empty spaces would be considered the negative space. Now it's not positive and negative as it has in good and bad. It's just the idea of positive and negative when you're referring to, say, a negative, like in film. So it's more like in that kind of way, where there's light and where there's not light, so positive and negative is an amazing way to work. And to be aware of as you're working as a designer because you're not only creating shapes with the black, you're actually creating shapes inside the black areas or inside the positive area. So, for example, the inside of a now the inside of a capital A is considered negative space because it's empty, it's it's been cut out of the A and it's empty. But how can we use that, for example, to, ah, creative, really interesting design element within that? A. Now, for example, maybe if we're working on a client design project where it's like an animal protection project or something, maybe the inside of the A becomes the shape of the animal, and then the tail kind of hangs down and comes out of that. A. It's the idea of using the elements within the shapes to create negative space. That also is as a cool as importance as the positive space. And I'm gonna show you some examples at the end of this video of different projects that I have worked on and created projects. Illustrations for that have used not only positive space but negative space to come together to create one messaging and one brand positive and negative space is all about the interaction. It's not just about creating a shape inside that doesn't relate to anything else. It's about the interaction of how the positive and negative space is come together, cause often that is where the really creative friction happens and where things because become kind like magical, mastering positive and negative space is really a thing of the pros. So if you master this skill, let me tell you, it's going to elevate your design levels to a totally different level and a different whole playing field of design. And it'll really I guarantee you draw in a whole nother level of clientele as well. You see this a lot in logo design in, um, branding in sign ege. Um, a lot of times you see this in graphic elements, icons, things like that. If you go through instagram feed, for example, right now, I guarantee you'll see different branding or company logos that are in a circular form that use some kind of positive negative space to convey their messaging. Ah, this is really common in minimalist designs. So in using just simple shapes to communicate messages now, if you're looking at this design here that I designed for a band called Anthem for Today. The anthem for today theme is really about being kind of like it's a slightly kind of patriotic vibe, but they're really fun guys. They've got lots of energy, so I really want to play up the idea of a nay but really put a spin on it by using these flag elements. So what I did was I actually used the negative space inside the A to create a passage in which these flagpoles can be run through. I also use negative space to create the sense that these flags were also in front of each other, so one is crossing over the other. I also designed a logo for a very, very successful record company in Nashville called Full Circle Music. Now they are really recognized Grammy Award winning company, and they are brilliant at what they do. So we really wanted to do something for them that waas minimal that was timeless that had a slight retro feel, but that could be used for many, many years to come. And so we went with black and white, of course, and, um, I use positive and negative space in this case to make it feel as though a record was kind of being pulled out off, kind of like a box or a drawer. And the night of space is what creates the edges of this kind of drawer or this kind of box set that this record is being kind of pulled out of. And that is one simple way that you can use. Negative space doesn't have to be large space. It could be really simple lines that are created to create negative space that actually makes it feel like things are coming out of things. Are there hiding behind other elements? And it actually does help the design to become more three dimensional, even though all your using is black and white and no grays or any colors. This is a really great tips and tricks to use when you are designing with Onley black and white, so creating a little bit of white space within your design or negative space will actually create meaning often times and create a sense of relevance when it comes to the elements of your design. So that's something to think about as well. I also recently designed a logo for a music artist by the name of Matt Hammett, who's a former singer and ah, lead singer of ST Israel, banned. And in his new branding, he wanted something that was simple and modern, but that could be used on a variety of different elements on a variety of different textures. Fabrics, you name it. So it was all about the sense of using the M and the H. But how to create that in a way that was interesting and that would look right and really small form on social media but also really work well on large scale form. So, for example, on T shirts on Sign Ege on behind him on stage and things, so it was really important to find something that was simple. So I really relied on positive and negative space while working and Onley black and white to create an eminent H, but also on the inside of the M. In the age, there is negative space that also creates another M, so it's kind like echoing the M on the outside and then on the inside of all of that design , I used the negative space again to make it look as though the M was actually tucking inside of the H. Now this just creates and a little bit of, ah, twist on the M and the H. I think just putting an eminent H beside each other may have just been like a little bit on the boring side. You know, you want to create something for your clients that will make people look again and go. That's really unique. There's something really sought out there, and we wanted it to feel like one element. But when you really broke it down, you could see that there's not only one AM on the outside, but a nem in the negative space as well. And then the M is actually being tucked inside of the H, which is kind of feels like a sense of having it all together. It's one element. It's when you look at it all together. It's it's really a a united element, and that's something I will discuss further on in the course. But in this in this logo, it's not only using unity, but it's definitely using the elements of positive and negative space. Another place that I've used positive, negative spaces in my art prints. So, for example, in this print here, this is my love song art print. I've used the positive and negative space toe literally create the shape of a guitar. Much of this design is actually empty space, but because the positive and negative space work so well together, nobody can really tell that sections of this entire design are actually just empty. And that's the beauty of using positive and negative space together. Because even your empty space feels full, it feels as though you're using it as an element in itself. I've also used this element idea in one of my art print design ideas I've done for City Girl Collection, which is a collection of art prints, all of representing fashion illustrations for different cities all over the world. And for my Rome girl, I actually had her dress was all positive and negative space. So again it creates a sense of shape and the continuation of shape, even if there's nothing there. And that's the beauty of positive and negative. And that's why I love working in positive negative because there is so much you can dio in such a minimal form so without using color without using gray just using black and white, you can create a sense of movement. You can create a sense of shape, of volume off continuity of a sense that it's going on forever. And that's kind of the way this dress feels to me. Like I felt like I could continue this zone forever, even as though it was going off the page. If I wanted in this case, I didn't do that. But I could have if I wanted to, because the eye is trained to think that there's something there when there's not so that again is the power of using positive and negative space. So I would encourage you guys to also implement this as one of your design skills in your tool belt, as you are working in Onley Black and on Lee White. 4. 3. GESTALT UNITY: thing in this video. I want to talk about a term that we talk about in design. And I learned this in design school way back in the day. And that is the term guests. Salt unity. Now some of you might be thinking, What on earth is this girl saying? And what does that even mean? For those of you who have studied design in more of a school setting, you'll know what I'm talking about. Guess Stall unity is a term that it was established in Germany, I believe, in the 19 twenties, and it referred to the idea of looking at something and seeing it as its whole before seeing the small elements that make make it up. So get salt. Unity is really about many different shapes. So you could use, you know, say, um, a variety of different say squares or circles or triangles or stars, or whatever might be to come together to create one larger element that will be represented and identified easily. An example of gestalt. Unity would be my art print. Siri's where I actually dio hand serious. I have, ah, piece hand and says, be still on it, and I also have another one that says, I love you want it So it's actually got the I love you hand these air some of my top selling items. I have a not only a design service, a studio, but I also have an art print collection. So within that, I like to play with gestalt unity to create elements that a recognizable but that use up smaller elements to come together to make that one form. So in the hand, there are a variety of shapes you're gonna notice, kind of like long wrecked, rounded rectangles really rounded, so they've got a really wide radius. But these are the kind of elements that you could bring together to create one overall larger shape that looks like a hand or it looks like another element. But it's all about bringing elements together to be perceived as one thing. So get salt is the German term, which is really all about seeing one thing. It's not about seeing many things, that seeing one. So this is an example of working within gestalt unity. Another example of gestalt. Unity would be this logo design that I offered to a client. We end up not going with this designs. This is actually a rejected design illustration. But I want to show to anyway because it really still does exemplify gestalt unity because it is all about the headdress, Kind of like a native headdress for the technical chur logo design. Now, this logo we really wanted to communicate the sense of, you know, natural meeting, fashion meeting like history and the whole idea of, like, the native culture kind of coming together and really bringing that as a representation of the earth and things like that. So we really wanted to bring the elements of that. This this company was very much working with woods and different things. And so they really wanted to bring in that element First Nations into the design. And so what I want to do is to create a sense of this headdress as though as though it was sitting on top of a head, but the head is actually a t. So the tea is sort of like representing ahead and then the headdresses on top of that. So when you look at this design, I had a glance. You don't really think of it as a T as much or as, um, really, anything other than, oh, it's a headdress of a first nations or ah, a native headdress of some sort. So again, it's bringing in many different shapes. Like if you look at the actual shapes within the headdress, there's variety of different lines and shapes. But all those things are really coming together to create one element. Another design that I did recently was for the smart music business branding where when you look at this design, the first thing you really begin to see is an actual circle. We wanted it to be a circular element that incorporated the sense of hand lettered, in hand created smart music. Business is a online community where you can actually, if you are like a music artist, you can actually join this community and learn from, you know, industry professionals all about how to become successful in the music industry. So if you're on artists, we want to check it out. But it's basically like we wanted to be a recognizable circle, but with a spin to it. We wanted it to be our own and our own kind of take on the circle. So if you look at it, the illustration I did originally has. I mean, it's pretty rough illustration on there, but it really showcases the fact that we're using a variety of elements within a circle. But when you bring it all together in the end, it looks like one circle and an emblem, almost like something that could be, say, stamped. Or that could be kind of like in Boston to something. And we wanted to feel like not overly produced by a computer. We wanted to still feel a little bit handmade, Um, by, even though we're using black and white, it could still feel tactile and handmade. And that's kind of what we wanted to do with that design. So that's a really great example of gestalt. Unity, by using a lettering inside of shapes is a great way to do it start unity because you're bringing so many things into a compact shape. For example, um, and then people are perceiving a shape, and then they read in, and they see all the different elements that are associated with in that shape or that are making up that shape. So again, another great way of using gestalt unity another one of my really popular art prints. That offer from my Etsy shop is my dream print. Now this definitely uses gestalt unity, because at first glance it looks like a city floating on a cloud. And then when you really look at it, there's a whole bunch of different squares, rectangles and triangles as well as the shape of the clouds. That makes up this whole idea of dream, which I consider kind like this, um, imaginative illustration. That's great for, like, kids rooms and things like that. And it's become really popular among my customers. So when you look at it, you see Oh, it's that's cute. It's like a city floating on a cloud. When you look a little closer, you'll see all the other elements inside of the city. But it's interesting because our minds perceive the whole thing, the gestalt unity before it actually perceives all the smaller elements. Another example of gestalt unity would be a T shirt design I did for a band called the Color. Now what I did for this band was I actually referred to the cover design I did for them, which was actually made up of actual pieces of leaves that were found from literally my garden that I put together in the shape of a heart on and painted it white. Um, and then I made that the cover. So that actually became the cover which actually got some awards and things, which is really cool. So we want to kind of continue on that concept and make it into a T shirt. So I didn't want to keep it as much of a, um, photographic look. I wanted to transport that concept into more of a graphic element. By making a simplified version in black and white, it actually makes it easier to apply it to so many different other things. So, for example, in this case, it would be a T shirt. So I actually transformed the concept of the photo into the graphic elements and illustrator, and that became a great way of transferring it to a T shirt. So by combining all these leaves into the heart shape, it's like you. You get it right away. You don't really have to look too far to understand. It's a heart shaped. Everybody gets that, um, but then having it be comprised of all of these elements of nature and of leaves. It just has a different spin on things. And it was a great way to launch the album for the color, which was there. Ah, self named first ever album released, so that was a really fun project to work on. So as you can see, gestalt, unity is a really powerful tool, guys. It's when you bring many elements together to create one shape. So I want you guys to think of how you can incorporate that into your own design elements in your own design projects. How can you make one element become prized of many elements? It just puts a totally different spin on things and also helps this surprise the viewer, like by using a start unity in your designs. 5. 4. SILHOUETTE: guys in this section, I want to talk to you about silhouette. Now silhouette is literally the first overall shape that we perceive and see when we look at something. This is really, obviously big in fashion, Um, or in fashion illustration, things like that. But I definitely see this is also a really, really big key and element to be talked about. When it comes to designing and only black and white, I find black and white to create the best form of silhouette, whether it is a black background and the white shapes are the silhouette, or whether it's a pure white background and the black shapes or a silhouette. Now silhouette can be created with a variety of shapes together to create one overall feel , or it could be all one solid form. So, for example, simple shapes work really great for creating silhouette, or even just the idea of a human form, obviously works beautifully. This is wonderful if you are doing any kind of design for the fashion industry. So, for example, if you are ah, fashion illustrator, um, or you work within the idea of shapes of, say, like to create the shape of a face or the reference of a hand or the reference of the human form. This is a really, really great way to go for it to create really powerful design elements because especially if it's a recognizable item, like a hand or ah, the shape of an eye or the shape of a woman's form, or it could be the shape of address or the shape of just recognizable shapes. So, for example, the shape of a diamond or things like that. These are the kinds of things that are easily recognizable in silhouette form, that we don't have to think about them too hard, like the shape of a car or the shape of, um, any kind of like a tree or a recognizable item of nature. These air, all great things to use the power of silhouette in your design. Silhouette is not on Lee about shape. It's also about emotion, so the way that we make people feel with the shapes that we're presenting to them. So, for example, if you have a silhouetted shape that is going straight up and down, it feels very solid and it's very are symmetrical. It could just feel very much like a graphic elements that is to be recognised. However, if we have something that is a silhouette that is creating the sense of motion, that is something that's done really beautifully with silhouette. You can actually have a logo that looks like it's in motion. Maybe it's a person in motion, a car in motion. Ah ah, flower that leaves are falling off the flower You know, things like that that can all be recognizable item in items that are making you feel emotion. So diagonals, anything that's on a diagonal Ah, 45 degrees always creates the most a dynamic sense of emotion. So if you want something to feel fast or you want it to feel exciting or, um, you wanted to have a sense of motion and edge to it than creating angles is actually really , really a n'importe key when working with silhouette and so silhouette is not just about, um, you know, a black shape on a white piece of paper. It's very much about how to create emotion with that silhouette and recognizability. A good example of silhouette would be the book cover design that I did recently for the Manifest Fighter book. So this is a really great place to play with the idea of silhouette and really use that silhouette to create a lot of edge on the inside of it. So in this case, I actually had the artist right out a whole bunch of different lyrics and just different things with his own hand lettering. And I used those things inside of a silhouette photograph that I found of him. And I created it all in black and white by really removing all the gray so that it became a really powerful silhouette. You see, by using Onley, black and white as the main elements on this cover, it became a really, really popping color. Now, in this case, I actually I pulled his fans. So I created three different covers and this was the one that stood out among the crowd because of the fact that it was such a strong silhouette. Now the thing that made this cover work is because this silhouette is recognizable. The people who follow this music artist, they know him, they know his look, they know his silhouette. So the silhouette played a big part in the success of this cover now, if I had a silhouette of another shape, it wouldn't have had the same impact. Or if I had the silhouette of a skateboard or something else that is interested in. It would have had seem impact because the silhouette needs to be recognizable to the end user to the people who are going to get the message. So that would be an example of silhouette on this cover. Another example of silhouette are my City Girl designed Siri's that I've done where I've done. I think it's about 22 different cities around the world where I showcase different cities and the different kind of fashion illustrations related to that city based on my own take on it. So this has been a really fun project that I have been doing, and I sell them on, etc. As principles and as well as Prince. And so it's been a really fun project to work on as on an ongoing basis just coming out of my studio, and it's a great way to play with silhouette because it's all black on white paper, so all I can do is create shapes that are minimally designed. It's not overly illustrated details. It's very much about shapes coming together to create one silhouette that is recognisable. So I find people come up to me when they purchase these prints, whether I'm at an art show or something, and I find people say to me, Oh my gosh, that print looks like me And again, it's about recognizability. For some reason, people are drawn to certain ones over others, so some of them just sell better than others. And it's really interesting, because again, silhouette connects to people. It really does have some sort of an intimate or interesting connection to people based on recognizability. So if people are really into, you know, animals or the really into a certain style of fashion or a certain style of, um, you know, look or design are whatever it may be, you really want to play up on that. So in your case, say, if you're working for design client and they ah, they really want connect to a certain audience, you want to kind of research, what is the silhouette or the shape that's gonna? That audience is just gonna get it. They're just gonna understand it. They're not gonna need to have it be explained to them? Because the truth is design doesn't need to be explained. It has to be just caught right away. And we want that to be the main element by using silhouette within our only black and white art, our illustration or logo design. And again, it's all about using Onley, black and only white. So there's not even 99% black. It's 100% black or 0%. So it's all about the extremes, working on those two extremes coming together to create a silhouette. 6. 5. TEXTURE: One of my favorite ways of using black and white together is to create texture. Now, as a design studio and as a paper brand myself, texture has become one of my staples because I believe texture transforms a feeling of everything. Texture not only creates a sense of grit and tactile nous and a sense of different materials, but it also creates the sense of light source. It can make something look three dimensional. It can make things feel a bit more riel because when using black and white, sometimes those two things could be so harsh together that you can really soften them and bring a lot more earthy nous to them and a lot more age to something by adding texture. So in this video, I want to talk to all about texture and how to use it with Onley, black and only white. In my Siris for my first ever art print collection, I did a set called Born for This Now Born for This is the name of the art Siris of our Prince, I launched in screen print form. And so these were all really bold messages that I used and I used texture within these messages to create a sense of grit and a sense of age on the paper. And it worked really well because otherwise, without those textures, it would have been really simple and slightly boring. Let's be honest. So I want at a sense of texture and edge on and something that could be placed in the wall or in a frame. Um, and it would just look right in any room. Now, black and white can actually be added to any space. So that's play why I've always been drawn to it as a designer and not only a customer and a client designer, but also somebody who creates art prints and greeting cards because they are things that people live within their home. And so I wanted it to be elements that could be really transcended in a variety of different ways. By creating tactile textures and creating fabric textures, for example, you can really transform your whole design. I've been logo designs, for example, that looked one way without any texture and looks completely different when I added textures to them. So say you have a logo design or something that you need to work on and you want it to feel as though it's been around for a while or is maybe survived some scratching or some edge. You really want to add texture to it, to create a sense of maybe being vintage or having it feeling like it's been drawn with chalk, for example, which is a really big trend right now. So these kind of things that you want to implement into your designs. So maybe if you're usedto Onley, working in solid forms, start adding some textures in there by using half tones in photo shop are really great. You can actually take a photograph of something and make it into 1/2 tones. It's on Lee black and white dots and then throw that inside of a shape. So say, Throw that inside of a shape of a circle, or throw that inside the shape of a square or off a silhouette that you created or ah, an item that has gestalt unity. Throw all that texture inside of those elements and see how it really transforms things. This is really one, my favorite ways to work, and I find it really elevated my designs to the next level by adding texture to my designs . Another design that I did that I found where texture played a major role was in an illustration I did called Born among Thorns. This was one of my illustrations that I incorporated within my art prints, Siri's that I launched over etc. And that sold very well online. Um, not only in Canada in America, but also in Europe. And what I did in this design was I actually used different textures to create a sense of different surfaces of flour in this case arose, so I literally used simple shapes that made the shape of a rose. And then within each of the shapes, I think I created rims of different textures so that the entire thing felt as though it had different edges, and it had a sense of different surface materials. So when you're looking at a rose, for example, we all know maybe this one red rose or this. Whatever color rose is, it's all the same texture. But when you look at anything when you're looking at it in three dimension, it's going to have different tones within it. It's going to have different edges, maybe a light source is making it look as though one part of it is darker than the other. Although we know in our mind it isn't but within design, we to play that up. And we need to actually use textures in this case to create a sense that there are different surfaces of this design. So in this case, that became a very, very integral part of the illustration. And so I wanted to present that to you guys to give you an example of texture. Locals are one of my favorite areas to really explore with texture because I find it really transforms the feeling of the brand. For example, I did a local recently for seven day demos for a company in Nashville, Tennessee, and they really wanted this to become a brand within a larger brand. And so I started working on the illustrations or different typography related to this titling in without texture, and the minute I added texture. It just felt much more appropriate for this brand because they always have a sense of the process. And so I was explaining to them as I was showcasing these designs to them, that I wanted it to feel as though even though it's simple, like the titling is seven day demos. I wanted it to feel as though there was a process element involved in this logo, and so by having the elements of the local look aged or like, they have been through something and they've got a bit of a story, because when you see something with texture, it's got a bit of a story to it. It just the natural way of perception that when we look at something, if something shiny and new, it feels shiny new. But if it's got edge and texture to it, we go, Oh, it survived something, and I like that because in this case there's a process to song writing. And so I really worked well for this brand. Another logo that I have to show you guys is the E IE logo, which is actually one of the emblem designs within my my husband in my own company, which is represents three words that we really live by within our brands that we develop in our companies, and that is to entertain, inspire and educate. And so we wanted an emblem that would really represent that that would go on the back of all of my husband's music releases. He's actually a music artist that goes on manifestly travels, all of the world doing rock music. And so we wanted that element to be on the back of all of Hiss, say his book or his, um, his different music releases and things. And we found that that became a really good mantra for us overall. And so that logo became kind of like our mantra logo or our kind of like our slogan. Another great way to create texture in black and white is to actually use shape now. Little shapes all coming together with the idea of gestalt. Unity creates texture. So, for example, in my Tokyo art print, I have a variety of different shapes and patterns that are coming together and in the overall perception and in the silhouettes. Although I'm using variety of the difference Ah, secrets within this one print, you really see that texture has a huge play in this because you see the texture using the 22 is actually when you really zoom in, it is a variety of lines that come together to create netting the shapes on the um, kind of like sweater jacket that this illustrated check is wearing is actually just a bunch of rectangles that are crossed over to look like little excess. So again, you're using a variety of different shapes and things to create texture, and when you put them all together, you create texture over the entire illustration or logo, or whatever it might be. So, for example, maybe you're textures that you're creating are going to be really rough and edgy and have a sense of like fibre to them, whereas sometimes you're textures might be a bit more smooth and kind of more graphic, but they when they all come together. So you have a very edgy texture. Reppas cited very, you know, lying texture when when the whole thing has brought together. Sometimes that is the texture. It all comes together as one form. So in this case with my Tokyo art print, this really does feel like a very textured print. Aziz, well as using the sense of grit that you can create by literally getting say, for example, a photograph of In my case it might be chalk or it might be a photograph of grains on the ground or chipping paint. And I would I do is I take them to photo shop and I make them Onley black and on Lee White . Then I bring them into Illustrator, which is where I do a lot of my illustration and design, and I will then make them into a shape by creating outlines around them or by tracing them . And I will walk through that process at the end of the course by giving you an example of how would create one project from beginning to end, and I'll be sure to include texture in there as well. The guys. Again, This is a great way to create a sense of age, a sense of tactile nous, a sense of fabric or a sense of vintage by adding texture to your elements of design. This will transform any black and white logo or illustration or design element into something that feels a bit more worn in or a bit more aged. And this is a great way to add some spice to your design. So let me think about adding texture to black and white to really create more personality and etch 7. 6. LINE: Hi, guys. Welcome back in this video I want to talk to all about using line now, using line with in black and white design is so, so, so powerful because lines can actually tell stories. They can really bring your eye around a design element. Ah, you can use things like thick and thin lines to really create a sense of three dimension. And I mean the list goes on. Lions could become the foundation of an entire logo or of an entire typographic treatment. There are so many things you can do just with lions, and I want to talk all about that. In this video. One of my favorite things to do with lion is to create a sense of thick and thin. Now, thick and thin lions creates movement. It also creates the sense of three dimension. So, for example, when a lioness thicker, it feels closer to us. And when it's thinner, it feels like it's been pulled back away from us. So we can really play that up by placing things in front of the line that has been pulled back so it can actually make it look like things are going around the thin lions and then coming back forward again to be thick again. So this is a trick of the eye that we can do to really play up line. Now line is something that is really, also easy to be done on paper. So sometimes line illustrations, um, are easiest to be gone to be begun on paper with a pencil or with a pen or a marker. So by using your own natural hand motions, you can create really great elements of typography, obviously, or even of shape and illustration by just using lines. Lines are also a really unusual and interesting element because they can create a sense of the last or the sense that they are being seen through. So, for example, in a logo design that I recently did or I shouldn't say logo, it's more like a T shirt design did for a band for their album release. I actually drew a car in in quite detail form, and then I stripped it down to become just the lines, and that became a T shirt design. And it was all about the idea of the T shirt was all about the idea that this is not the end of the story. So it was really about a sinking car, but I didn't want to draw the actual element of the water. It was kind of more like a subliminal message that we want to create. So by using just the lines, it was so simple and minimalists that the band was really happy with it because they wanted it to be something that could be viewed in just black on white or just white on black. And then the bubbles were the only things that were not a line in the elements. Eso It actually really worked well to kind of tell a story because you could almost kind of see through the car. It almost felt like a glass car, or in this case, it was like he could really see through the elements. So by using lines in the form of shapes, it's almost like you're It's like a deconstruction way of showing the insides of shapes. So you could really play that up. If you do like architectural kind of design, or maybe you're designed a poster and there's gonna be buildings in it, you can actually use a line to make it look like as if you can see through the buildings or as if you can see what's inside or behind the buildings. So again, it really plays up the idea of three dimension as well as what is the surface. So by using different forms of line, you can actually create different surfaces as well. Now, when you use lines, you can actually create a sense of whether there's a elements that are flat or whether they're waved. So, for example, this is a great opportunity to use, um, the sense of motion. So say, if your logo design needs to have motion to, you can actually create the sense of line of diagonal. Diagonal lines are really, really powerful in this to create a sense that there's something almost running through the viewers site so you can have lines that create a sense of streaking or that creates a sense of motion or blur. That's another really important thing to do in my inhale exhale print. I actually use lines to create the sense of light so you can actually use lines to create the sense of three dimension and light. So in my case, I really wanted this are printed, feel it. This also could be used as a poster, but it's basically like the idea of, ah sphere kind of coming forward. So what I did was I had the lines all, um, the uniform in the back. And as they came, as the sphere kind of moved out forward, they became thicker. And it actually create the sense off a sphere using just lines. And so lines can create the sense that there is things coming out towards you, or that there are things moving further away. So this is really great for post a ring offer logos for really any kind of design. Using line is a great way to also play with the horizon. So say, if you're illustration or your design or your logo needs a horizon, this is a great way to create the sense of where we are in the scene. So say you're doing a car dealerships out of no logo design for a car company. You might want the car, you know, riding along the horizon. Or maybe you want the car riding down from the horizon. Or maybe it's writing up towards the presence you can actually create the sense of where we are as a viewer, as related to where the elements are. That makes sense. Lines can create energy, they can create a sense of movement, and they can create a sense of texture and surface. So you want to use lines as much as you can. I love the idea of using simplicity with lines. So ah, lot of times nowadays, within the minimalist kind of movement that's unhappy in the last few years. Again, I find that there's a lot of just simple lines that are being used, Um, and not filling them in. So just shapes, even in typography, having one singular line becoming the entire, um, name of a company. So it's almost like one joined together line that's used very commonly. Now I find in typography, which is really beautiful, and it could be really great way of a solution for a company name or a local branding, where the company wants to be minimal in their approach. This is a great way of solving that as a design challenge by using just lines 8. 7. JUXTAPOSITION: juxtaposition is one of my favorite ways to use black and white design together. Juxtaposition refers to the idea of putting two opposites together to create a sense of dynamic tension and creativity and make it feel like something that you just cannot look away from. For example, when you put two elements together that are obviously two different sizes, it can create humor can create fun. It can make you just want to look at it again because it's just so odd and unusual. Like for example, I've created a whole Siri's of our prints, where I actually have a little tiny character holding items that are usually very small items. But it's as though they've become outrageously too large for the person to carry. And I have his little girl figure and she's carrying, for example, a massive cupcake. And the art print says, Cheer up cupcake. And it's like this little tiny girl and she's carrying this giant cupcake, and it's it really works well for like, say, a child's room or that could even become a local for somebody. And it's literally like the idea of this little person carrying this giant item that's usually a small item, so that in itself is like a concept. So what we're talking about in this case is really concept and about the idea of bringing things together with size that don't usually go together or that are just odd. And the oddness of it makes us go. That's really fun. I love that, and it makes you just kind of are more drawn to it. Another example, as I did, one that's called Lighten Up, where I have the same idea of a little tiny girl being carried away by a giant amount of balloons that are just being carried up out of the art print. And it just says the words lighten up in it and I find that's literally one of my number one selling art prints because it's a juxtaposition of size of these giant balloons carrying off this tiny little girl, and it makes you feel like a sense of large and small and the dynamic energy or the the juxtaposition of those two things coming together. So again, juxtaposition can be of size. It could be of texture. It could be of just the actual elements that themselves like, for example, two opposites that don't usually go together so you could have, like two food elements. I don't usually go together, could become a local for a restaurant or, um, you know, two different forms of even typography. So maybe a really clean type mixed with a very edgy hand letter. It's type that's going all around it. That's really just kind of blending these two things together. And it makes you think, Well, that's really unusual. I like that. There's something about it that is, it's unusual enough that it makes you look. And that's the rial ki of juxtaposition is that you want people to be so intrigued by it that they look at it again and it becomes its own thing. So the beauty is when you mix two things together that don't usually go together, But they stay together and they become together because you've created a new thing. I mean, it's kind of like peanut butter and jelly. I mean, obviously peanut butter and jelly don't really. They're not, actually, technically, things that go together when you really think about it that they're two different two things when you mix them together to become PB and J and we all know that it's kind of like doing that in design or, you know, something random. Like like my daughter loves to eat. Um, she looks have celery with almond butter. Now, technically, those air to random, different things. They don't actually go together, but when you put them together, they're a fun snack. Their unusual and the fact that they're totally different makes them taste good. And so that's kind of what I'm talking about. But when it comes to design, we have to think about it visually. What are too random, different things that don't really go together? How can we mix them together and make them appear as though they were always together? So that's really what juxtaposition is about. It's about creating friction. It's about creating two elements that don't usually go together that come together. Or maybe they do go together. But bringing them together in an unusual way. So it's not expected. It's the unexpected that makes it exciting, and that makes it new and fresh. So this is a great way to take black and white design and make it interesting, because again, we're not depending on color. Guys were depending on Onley, black and only white. No gray, no color. So it's really about shape. It's about the purity of the elements in the design and how they work together. So juxtaposition could be a great way to really communicate messages for your clients or for yourself, says say, working on your own Siris of art prints are art collection. This is a great way to create, um, really fun communications. Humor is great. In this case, with juxtapositions. I encourage you to also incorporate this into your black and white designs. 9. 8. Logo Challenge: MILLIE AND MOE'S Coffee House : Hi, guys. I'm really excited to be at this point in the course, because at this part, I'm gonna share with your really special design challenge project that I have for you. I've created a fictitious name for a client who has come to us as designers, you and I and they have asked us to design them a logo. Now, let me tell you a little bit about this company that have come to us. This is called Millie and Mo's coffeehouse now 1,000,000 Most Coffee House is comprised of two girls with a really big dream. They don't have a lot of money. They're about in their late twenties but 28 29 years old. They've saved all the money that they had and they've bought in this tiny little coffee house that is to be renovated and to be made into a very cool and minimalist coffeehouse on a college campus. Their dream is to make this place the coffeehouse where people stop in in between classes or to do some studying on. So they wanted to be somewhere. That's fun. That's hip. That's fresh, but has real personality because Milly and Mo are a bit fun. They're not the average girl. They have lots of personality. They're not so, like, um, fashion forward that they have to stick to trends. They definitely are experimental with fashion, and they have kind of the kind of walked to the beat of their own drummer. So they want something that's gonna be fun and creative. And, ah, coffee House. It's really going to stand on its own as the Milly and Mo coffeehouse. So it's really about them and their personality, their both former art students on, and they also create art on the sides. They're very creative. They both do painting one of them. That's photography as well. So this is the kind of elements that they are cool to bring into their coffee house. So here's the only challenge, though. Guys, they don't have a lot of money to spend on menus on napkins or anything like that. So the local has to be on Lee Black and on Lee White. So it's perfect for this course because we need to really showcase who they are as 1,000,000 Mose and how fun and creative they are, Um, and how they have such a dream for a really cool and comfortable coffeehouse for people to come into. That's casual and fun. Yet they don't have a lot of money to spend on menus or Teoh create, sign it or things like that. It's all gonna be really, really, really simple. The inside of the coffee house Just, you know, it's all old school like would. So they're basically reclaiming it. Are there painting some of it white, but it's basically going to be kind of like Birchwood Ah, light colored would, um, And then it's going to be the elements of whatever you and I create. So the sign it is going to black and white the, um, logo's gonna black and whites that there's gonna be a chalkboard behind them in black and white that's going to have the menu on for the sign Ege backdrop. But they really need a logo, Guys, they need a logo from you and me. So my challenge to you is to create a awesome, fun creative logo for 1,000,000 mo's coffee house. Um, and I encourage you to go ahead into the project section and download Ah, brief that I've created for you guys as though it is a brief from the client and what exactly they're looking for just to kind of you can print it out and get exactly more of a clear direction as to what they're looking for. This is gonna be really fun, guys, because I'm gonna do one. I want everyone to do one. We're all gonna be able to share them with each other, and it's going to be like a ton of different versions of the 1,000,000 milk coffee house logo. So I want to encourage you guys to have fun with it and to try the variety of different design elements I talked about in this course. So try silhouette tried assault unity. Try line, try texture. You know, try shape and silhouette. Try all these different things that we talked about, and I want to see what you guys have got to show. So go ahead and create something really fun for a 1,000,000 most coffee house. And honestly, take your time with it. Make this a real challenge. This is a great way to practice. So, for example, maybe you're already a graphic designer illustrator and you do this all the time, then great. Make this something to sharpen your skills. And if this is something you've never done before, you've never designed a logo before. This is a great way, Teoh. Incorporate the new skills that you are learning. So number one thing to I want you to know is I want you to know not only have the logo be on Lee typography, so not just Milly and most coffee house. I wanted to be 1,000,000 most coffeehouse, but she could do that anyway you want. But I also want you to have a graphic element in there. So, Smaby an illustration or a design on icon? Um, maybe it's a shape, you know has set off some kind of graphic elements as well as type or as well as tiling. So maybe your hand letter, you're gonna do this with hand lettering. That's great. If you're going to do this with topography and fonts and that's great to you can use a 1,000,000 different ways to create this logos. I'm really curious to see what you guys are going to create in the project section. I'm looking forward to seeing all your submissions So guys, go ahead and download the brief and I look forward to senior projects 10. 9. My Mille and Moe's Logo Process: Part 1: I think, guys. And welcome to the 1,000,000 Most Coffee has logo design Challenge where in this video I want to show you some of my own process as if I was going to be designed this logo myself. Whenever I'm working on a logo design, I always work using a sketchbook, a pencil. I always have a sharpener nearby and, of course, a cup of coffee. I like to sketch out a variety of ideas because this way gets the ball rolling on what direction I want to go in. In this case, I thought I would really try my hand at a bit of a hand lettered approach. So I sketched out a variety of ideas that looked like hand lettering because I wanted it to feel as though 1,000,000 Mo's almost made the logo themselves. In this case, I decided to focus on line as one of my elements to work with, because I love how lying can go from thick to thin, and you can also make line look about three dimensional by adding negative and positive space. So, as you can see, I began with a really simple line drawing to create these words and Then I went in and I made the lines look a bit more thick, thin by adding a more kind of calligraphy. Look to them because I'm using a pencil. I kind of have to cheat the lines to really draw in where the thickness would show up. But you can easily do this with an actual brush pin or an actual brush itself. Once I'm really comfortable with the overall sketch, I then go in. I began to color it in just using my pencil. I like to work in pencil just for obvious reasons, because then if I make a mistake, I congest erase it. Once. I've colored in the full design in pencil and I've left some areas white to just give the illusion of three dimension and negative positive space. Then I'm pretty much ready to go ahead and bring this onto my computer. So here it is. This is my final sketch before I go into my computer. After taking a photo of my sketch with my iPhone, I then email it to myself and open it up in Photoshop. Okay, now that I'm in photo shop, I'm going to go ahead and begin to take this logo to the final stages. The first thing I want to do is actually make this into a grayscale format. So I'm gonna go up to image mode, great skill. We discard all color. Now that just gets me right onto the right track overall, because I want this to be a black and white logo, and I want this become kind of like the template for what I'm gonna do next, which in my case, is I'm going to add texture. So, as I said before, I've used the sense of line, which is one of the keys I've talked about in this course. I've also used the idea of positive and negative space, which I'll zoom in here so you can see so positive and negative space really comes into play as I'm making it look as though the lions air going in and out and around each other again. It just creates a sense of three dimension. The next thing I want to do is actually make this into a high contrast image. Right now you can see all different shades of gray and little bits of black, but I want this to be just black and just white. Now, the way to do that is to go into image adjustments levels. And this is where I'm gonna play with, really eliminating all the greys. There's lots of ways of doing this. But this is the way that I choose to do it because I find I get the most control. So as I go all the way down here, you're gonna see all the greys is appearing and basically just the blacks remaining. And then I can up the white so that any white spots I have really become prominent. So now this is starting to look a little more like an actual logo, Right? Says I eliminate all that gray, this looking very little bits here and there. But that's okay. I'm gonna say OK, and now we've got something that looks a lot closer to a logo I think I want to do is begin to clean this logo up so that it becomes a true logo. If I left it like this, I would actually get really rough edges. And although I want this to, in the end to be a texture logo, I don't want it to be pixelated and This is the look that you would have say if this was blown up to be like a really large sign, or if this is going to be printed on the wall or onto some kind of large vinyl banner or something like that. I wanted to still have clean edges, even though the inside of this logo is going to be texturizing. So what I want to do is just too slight touch ups. Meaning, for example, if I want this negative space to be more of a clean white line to just differentiate where the lions air intertwining, I would have to actually go in, then in photo shop and really clean those lines up a bit. So this is really a skill that you just developed by practice. So what I would do in this case is actually take a paintbrush. I would make sure that it's got 100% hardness, meaning the it's not gonna be a soft kind of billowy, um, brush. It's going to be hard, and then I just play the size. So in my case, I'm probably going to be a small size like a seven a pixels. In this case, and then I can actually just go in and begin to draw and just kind of clean things up a bit . Now the nature of this logo is that of kind of more handmade feel, so does not be perfect, but I definitely want to be a little bit cleaner. Bit of a clean freak, I think. But it's all part of. It is really more of a preference based on your own personality type. Maybe you really like more of a clean logo, and I usually do as well. But I'm trying to just try something new this time. I do like to do a bit of texture in a lot of my designs, but this one I want to feel a little bit whimsical, a little bit fun. Um, not so serious. I want to be kind of like a fun play on the 1,000,000 meow meow brand. As I mentioned before, the 1,000,000 Mo girls are really fun girls. They really like to have a good time. They're really into art and creativity. So I don't think that they would want, um per se, you know, um, or corporate logo. So maybe let's keep that in mind guys as we're working on this. Maybe they want something about different but out of the box and not too structured. Um, it's really up to you. How you wanna handle it. This is just some of the ways I'm handling it. Um, that's the beauty of design is that we all have our own kind of way of approaching things and the way that you and I might approach things might be completely different, but it doesn't mean one's right and one's wrong. It just means that we have two different perspectives. So I kind of love that about design and working with other designers and seeing what other designers will do. As you can see, I'm just going around and I'm just touching things up a bit. I want this to be more of a clean break here, So I'm just going in and making sure my whites or white and my blacks or black, basically and that could probably be touched up. So this is kind of where you kind of make up for any mistakes that you may have done by hand. Now, this is only if you're doing a local by hand. So obviously, if you're starting on the computer, then that's totally great. You wouldn't even have to do this step. So this is more for people who have decided to go my route And, um, actually designed this by hand, which, by the way, by hand illustration, um, you know, lettering and things has made a huge comeback, as you all probably already know. And I just think it's kind of fun because it's kind of like re bringing back the original ah designed format because everything, as we know, was always designed by hand. Um, and then the computers came in so much later. So a lot of like my favorite designs were actually more from like the sixties and and even the fifties when obviously there was no Mac, you know, option. So it just kind of cool to see how things have really progressed. Um, but yet how we end up always going back to the beginning. So this is what I will do, guys. And I will clean this logo up. All these little bits are gonna be cleaned up, and I will see you in the next little spot there. So now that I've cleaned up the logo to a place that I'm happy with. I'm now ready to take this into illustrator and continue the process. Okay, so now here we are in Illustrator and I've brought in Ah, the actual illustration slash logo that I designed. And now what I need to do is I actually need to make this into an outline shape. So right now, hard to zoom into this. It's obviously going to be very pixelated and not look as clean as I want to look. But I want to clean it up so that no matter how large 1,000,000 modes saw had to make my logo that it's going to still look great. So maybe if they want to make this sign for their shop than they can do so if they want. Or they can send this local off to any kind of manufacturer or print maker or T shirt maker or anybody to print it in any way. I want to make sure that my edges were not going to get all fuzzy as it becomes enlarged. So what I need to do is I need to actually select this image, and I'm gonna go up to image trace now there's a variety of different ways I could do this . Um, there's high fidelity foto lo fidelity photo three color, six color, and so on shades of gray. But obviously I'm working. I wanted to be a black and white logo, so I'm gonna click on that one. And what it does is it actually traces what I already have here. Now, the reason why I had to make sure in photo shop that it was black and white is because then it has a really simple image to grab ahold of to make into a black and white logo in here. Now, I'm not completely done yet. I also need to make sure that this is, um has outlines around the edge. And if you're not familiar with illustrator, illustrator depends on points which are little kind of dots that are going to be around the edges of the shape. And those dots make it impossible for its to, um basically become ah deteriorated or to become pixelated because it's not based on pixels , but on shapes. So if you're not firmly with, uh, illustrator, you may want to just spend some time in here and get used to that That's what the differences between illustrator and photo shop photo shop is. Pixels, Illustrators points. Okay, so now that this is created in a trace illustration now I need to create points around. It's what I do is I go a click it and then I go up to expand. Now, as I click expand, you're going to see something really cool happen. And that is these little, um, lines are on the edges with dots that are in blue that are going to give us the shape that we've created. If I were to zoom in and select it, what you're gonna see now are a variety of dots. Now the really tiny so might be hard to see in the video. So now that I've created this expanded um logo with all the doctor on the edge is what I want to do is I want to get rid of the background. So I simply click on click and drag on the top corner, and I just still eat. So now I've just got these shapes and I can select each of them individually, or I can grab a hold of it all together. In fact, I think I might do that right away just so I don't lose the shape of my logo. Minute selected, all and go command G or controlled G on a pc. Okay, Now, if I really wanted to, I could go in and I could go ahead and grab these little points with the whites. Um, they're white Arrow, and I could begin to change it. Not that I wanted to this, but if I wanted to change that shape, I could do that. And now I have full control. I mean, in my case, I don't want to do that with the M, but some to go controls that controls that control said Now, if I really wanted to now I could go in and tweak the edges. So as you can see, there are some edges that still could be cleaned up a bit. But in my case, I kind of like a little bit of the hand drawn feel if I delete all of those, I kind of make everything so perfect to me. It doesn't feel like it's gonna look handmade. And I want to look a little bit handmade because in my brief a 1,000,000 MODY like tactile textures, a like things to feel a little bit touched, you know, by human touch. So I wanted to feel a little bit on the hand made or hand done side. If I wanted to, I could literally go in and select something and just kind of smooth it out if I wanted to . You know, there's something really bugging me. I could go ahead and smooth that out, so this time I would go in and I would make those kind of adjustments. So right here, for example, there's quite a lot of wobbly lines. Um, so maybe I want to go ahead and do that. So this is the time when I would do that. Just slight adjustment sometimes can make a big difference, especially in a logo that the company is going to use over and over and over again. So that time or this time, I would go ahead and I would make those kind of adjustments here. Now that I've cleaned up this logo in, Illustrator and I have just gone around adjusting any of the points that I wanted to. Just now I need to add the rest of the logo, which is the words Coffeehouse. So 1,000,000 Moses going to be represented in this kind of three handmade looking illustrated font like a handmade font. But I want coffee house to stand out as a bit more of a clean look. So what I'm gonna do is I'm gonna go ahead and find a font for coffee house. I kind of like the look of a really clean font against something that's very non clean, and that's actually really edgy and hand done. So I'm gonna play with something along these lines. I'm just kind of having fun with this. I'm kind of spacing it out a bit. Coffee house. Now, I could make it either really straight and kind of have it, like just sitting underneath here, which is kind of fun, or I could actually tilt it. Let's see, I feel like in a way, it needs to be straight just because everything else is kind of tilting. So now I'm gonna kind of play with this cause I want to really nail this and get this exactly how I want it. So I'm gonna just kind of play with some ideas along these lines. Maybe I could make this actually lights, um, or minimal looking or I mean, there's 1000 and one different kinds of fonts I could use, So maybe I'll try something a bit different. Maybe it's this. This is the Gotham Ultra font, which actually looks kind of fun, considering it will make it a little bit smaller. And see, now that I've got all this going on, I could actually take this entire thing, which is all grouped. And I could just tilt it to say if I wanted to adjust the entire tilt. I could do that. Now it just feels a little bit like it's tilting out rather than a full full on tilt. I'm kind of liking the look of this, so I'm gonna call this my 1,000,000 Most coffeehouse logo. So I'm gonna save this and bring it back into photo shop where I'm going to add a texture to it. 11. 10. My Mille and Moe's Logo Process: Part 2: So now I'm back in photo shop, and I'm ready to add texture to this logo design. So as you can see, it does work quite well, just as is. So if we want to stop here, we could. But if I want add another version or sometimes I'll actually do more than one version for a client were all do a clean version. And they will also do a textured version because sometimes I feel like textures just really work great. Um whereas in other places, it's best to stay in really clean lines. So in this case, I want to add texture. And I found this really great texture that I want to play with all kind of zoom ins. You could see it. It kind of looks like roller rolled on paint almost like when somebody is using a paint roller, some to try that one and see if that one will work. So, first of all, what I'm gonna do is I'm gonna select this entire shape something Go command a. Now, this has already been made into very black and very white. So command a command, see to copy it, and then what? I'm gonna do is go into this local file and select only the black areas. So the way I do that is I go over here to my select tool. Okay, so I select one area and then what I do a really quick tip is I go up to select and then I say, select. Similar because sometimes it wants, like, the entire thing. You have to kind of give photo shops and help so slight, similar. And what it does it select all the black in this entire local design, even the coffeehouse wording. And now that it's selected, I'm going to paste the texture inside of this shape. So I'll go edit paste special paste into now something kind of interesting begins to happen . Here I go to my layers. You'll see something really cool. Now I've got this shape inside of a mask of the shape of my logo. That makes sense. Now, for those of you who are new to photo shop, don't freak out. This is just one of the many ways that you can really operate inside a photo shop. So don't don't be worried. This is something that you can catch up on really easily. All I would say is, just make sure to give it a try. Um, and then, um, you'll be surprised, actually, How? How easy it is. So as you can see, right now, my texture is actually not filling in the entire shape. Let me just show you this for a sec. Your so it's not filling it all in. I want to feel it all in. So I'm gonna do is I'm gonna go ahead and select this shape or this texture, and I could just go command t to transform it. I could make it bigger, make it smaller. And as you can see, it's actually changing the way that the texture looks. The texture lines are getting either larger or they're getting more fine. In my quick case, I want to make it kind of more of a larger, gritty texture. I really want this texture to fill my design. If I really want to, I can go ahead and select layer for this texture, and I can duplicate it. Okay, so I have two of them, and now I can take this one the 2nd 1 and I could just move it over. So it's actually covering the other other area. And then what I do is I go. Instead of having it as a normal layer, I select the layer transparencies, and I actually go down to multiply in that way. As you can see, if I'm moving around this texture, it's still making it feel like I've got a texture on the entire thing. Now, if you want to have me go over that again, I would just encourage you to pause that part of the video and go over it again. But let me just really briefly try and explain that to you in the layer section. Here. As you can tell, I've got two layers of my texture. They're both set up inside of the shape of my logo, so they're kind of like my logo has become a mask and the textures air inside of that so I can then move around the textures and play with them and, in my case, the top layer. I've made it into a multiply transparency layers than that way. I'm not getting any weird empty spaces. If I took this off, it would literally cut out part of the area that I wanted to be filling in. So right now I'm going to go ahead and say Select. Multiply. Now, That way, if I kind of move is over the side, you can really see that this is now becoming a real logo. So there's a little bit of texture in the word coffee house. It was a bit of text oring on the letters and on my mug. Um and but this is kind of more of where I was going with it. I wanted this to be a black and white logo, but with a little bit of texture and little bit of character. So there you have it. This isn't my Millie and most logo, um, and I could go ahead and play with this a bit more. I could move around the textures. I could kind of have more fun with it. I could add more texture to it. I could move the textures around. It really is up to me as a designer and up to you as you're designing your own version. So as you can see, it's like I'm moving the texture inside of this, um, hand lettering. So it's so fun. You can have so much fun with this and really make it something special for 1,000,000 most . So now that I've added texture to my 1,000,000 miles coffeehouse logo inside of Photoshopped, what I need to remember is this still needs to be a vector logo. All logo's need to be vector in some way, shape or form so that they can then be, um, ready to be printed on a variety of materials on a variety of formats and a variety of sizes. So what I want to do now is actually get this texture and bring it all back to being 100% black, 100% white and based on, ah, points, not pixels. We do not want a pixelated logo swimming to do is I'm gonna go back into Photoshopped and I'm going to go ahead and take this file. I'm gonna flatten it so that it's one flattened file right now, I still have a couple different layers. So first of all, let me save this one. So now that I've saved that, what I'm going to do is I'm going to flatten it flat in the file, and now I'm going Teoh, make sure that this entire thing is set to gray scale. So I'm gonna go ahead. Let me get rid of this. You could see this better. Okay, now I'm gonna go ahead and go to image mode grayscale. Because even though we had it originally as a grayscale, once we brought it back into photo shop, sometimes it automatically sets its RGB. So now it's a great scale, and the next step is to make it a bit map a bit map is a series of dots, and the dots could be large or small, or they can really be different shapes that could be square. They could be diamond or circular, but we can make this so that this texture is not lost. And we can still make sure this logo is comprised of only black and only white. So if we leave it as is there is a slight chance that in different ways of printing or in different ways, that file formatting that there could be some slight tiny bits of grays or most importantly , that this would be pixelated. We don't want a pixelated logo. So what we're gonna do now is go up to image mode bit math. Now bit map is where you create dots to keep all this texture. So I'm gonna keep it as output 300 pixels per inch diffused dither, or I'm gonna do half tone screen. Okay, so say Okay, now it's asking me the frequency that I want to go on. So I'm gonna keep it as a 45 degree angle in the frequency. Let's say about 60 and I'm gonna create mine as not not round but our diamond. But in the shape of round dots, I'll say. Okay, let's see how that turns out. Okay, So as you can see, it did slightly change things a tiny bit. But if I zoom right in now, what you're seeing is a bit map. Okay, It looks a little squares. So this kind of creates a little bit map squares. So that that way you are ready to print, no matter what. Now, that's how you create a bit map so that you keep all the textures included in your logo. Okay, guys. So for the last step, I've actually brought this logo back into illustrator. As you can see, Illustrator and Photoshopped work really well the like, hand in hand programs. So sometimes in creating certain versions of the local, you might just on Leo's illustrator or you might use both. Or you might use, you know, one or two for one version and then another. You know, whole another set of a process for the second version. So in this case, making the texture logo into a vector is the stage that I'm at right now. Because no matter what guys, you want your local to be a vector file vector again, meaning an illustrator file or one that's comprised of points, not pixels. Pixels distort things when they're enlarged. Endpoints do not. So what I'm gonna do now is I mean, it's like this image, which is now a bit map image, and I'm gonna go ahead and go to Ah, it's See it is coat image trace. Now I want to set my preview to be on, and I wanted to be a custom, so that's fine. You just see if I can zoom into this. You could see this better. I can't. I wanted to be in black and white mode, which it is now. This is where I can really play with things and see things change. One of things that really makes a big difference is this one item called noise. There's lots of things you can play with on this page. But when you change the noise level, as you can see, it literally just removes all of my texture, which I don't want. So I'm gonna take the noise level all the way down cause I want to maintain that texture. Okay, now, everything else pretty much looks how we wanted Teoh. Um, you can go ahead and read through this on your own. It's super, super simple, and it's basically a great way to outline something or to trace it quickly. So now I'm gonna trace this using the image trace tool, and then I will see what the next step. Now what I'm going to do is I'm going to expand this. In other words, create the points that go around all these texture lines. This is always gonna be a very detailed outline, but we need to do so in order to maintain or logo. So click on the button, expand. And as you can see, it goes ahead and it creates all these teeny tiny little dots now right now, they're marked in red, so it's clearly for us to see them. And so that is how you create outlines around a textured logo. No, I'm gonna do is again. I'm gonna select the corner. So that it the outlined shape around our logo. Aiken, the leads. I don't need that. Okay. And then what I can do is if I zoom in just to show you guys. Now, if I clicked on any of these there now, dots like a bunch of little dots in this way, I can now change, Say, the color of this by wanted. If I wanted to make this, you know, different color, I could do so obviously. Don't. Because I'm keeping in black and white. So that's how you know it's been outlined properly is when you click on it, you can see the dots. So now I'm gonna go ahead and save this version of the logo as an illustrator file. I also like to save things as a pdf a swell as I like to save them in J peg formas Well, for online usage. What I like to provide any clients, for example, with a variety of file formats. I usually always provide an ai file. A pdf file was your foot with printing. And then I also provide JPEG for online use. I usually crop everything in square format just for their convenience. Because of, you know, instagram and online social media and I always provide a PNG. The PNG is a file that could basically have a, um, erased background. So it's completely a transparent background. So I always provide those formats for my clients. So there you have it, guys, this is now, um my 1,000,000 most local design for the challenge. So there you go. That's my kind of entry. And I would love to see guys what you have in store. So go ahead and design something that really represents your own style and share it with us in the project section. And I look forward to seeing all of your entries 12. 11. Final Thoughts and Encouragement: Hi, guys. I want to thank you again for taking my course. And I hope that you've learned a lot when it comes to creating a great design using only black and white. I think it's a great challenge, and it also kind of frees you up in a way to kind of get out of the world of color and only think about just black and just white and the power of those two things coming together in design. I really hope that you've enjoyed the course and you've learned a lot, and I've really enjoyed teaching it. I love to hear your feedback, guys, so any comments or questions I would always love to see any great feedback would always be great. Um, if you have any questions, I'd be happy to answer that for you guys. And I look forward to senior projects submitted in the Project section for 1,000,000 Most Coffee House. This is a really fun project, so I encourage you to join in and tell some friends. Maybe you have some design friends that are also interested in this kind of thing and maybe make it a fun project that you guys do together and you kind of compare notes and see what each of you worked on. This is why do design guys? Because it's fun. It's creative. It's about exploring and really finding new solutions to challenges that we experience. And in this case, in Onley, black and white. I hope you've enjoyed the chorus guys and I'll talk to you soon.