Adobe Illustrator MASTERCLASS: Learn from an Expert Designer | Lindsay Marsh | Skillshare

Adobe Illustrator MASTERCLASS: Learn from an Expert Designer

Lindsay Marsh, Teacher & Freelance Designer 14+ Years ✅

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29 Lessons (4h 30m)
    • 1. Class Preview

    • 2. FacebookGroup PromoVideo

    • 3. Section 1: The Basics! - SettingUp

    • 4. Section 1: Intro To The Pen Tool - part 1

    • 5. Section 1: Intro To The Pen Tool - part 2

    • 6. Section 1: Intro To The Pen Tool - part 3

    • 7. Section 2: Logo Design Project Geometric Shape sand Gradients

    • 8. Section 2: LogoDesignProject Geometric Shapes and Gradients - Part 2

    • 9. BONUS Section 2: Polygon Shapes

    • 10. BONUS Section 2: 3d Cube Pattern

    • 11. Section 3: Learning The Type Tool

    • 12. Section 3: Poster Design - Let's Start!

    • 13. Section 3: Poster Design - Photos and Layout

    • 14. Section 3: Poster Design Finishing Touches

    • 15. Section 4: Coffee Logo Project - Coffee Logo Project - Type on Path Tool

    • 16. Section 4: Coffee Logo Project - Coffee Logo Project Part 2

    • 17. Section 4: Coffee Logo Project - Coffee Logo Project Part 3

    • 18. Section 4: Coffee Logo Project - part 4 Finalizing and Exporting

    • 19. Section 4: Coffee Logo Project part 5 - Pathfinder Tool

    • 20. Section 5 - T-shirt Design - Creating Our Text

    • 21. Section 5 - T-shirt Design - Creating Our Icons

    • 22. Section 5 - T-shirt Design - Adding Dimension to our icons

    • 23. Section 5 - T-shirt Design - Exporting Our Files - Applying Grunge Texture

    • 24. Section 6: Social Media Project - Artboards and cropping

    • 25. Section 6: Social Media Project - Layout and Headline

    • 26. Section 6: Social Media Project - Shadow and Finishing Touches

    • 27. Section 6: Social Media Project - Blending Modes and Gradients

    • 28. Section 6: Social Media Project - Layering WIth Type

    • 29. BONUS - Create A Poster - Working With Bleed

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About This Class

Skip past the first section if you are wanting to hop right into learning by building projects! If you need to start from the beginning, learning the pen tool, etc. then I suggest going through the first section. 


Do you want to learn Adobe Illustrator from an expert designer with over 13 years of practical real world experience? Do you like to learn by creating "real world" projects instead of just learning endless tools without knowing how to use them? Than this class will be for you. 

I designed this masterclass to include 5 common project types. We will learn a wide variety of tools as we go in detail creating these projects. 

The first section is for those with little to no experience in Adobe Illustrator. I wanted to make sure there was a section for those who feel they need to start at the very beginning, reviewing basic tools and mastering the Pen tool. 

The next section we hop right into our first Project. We will learn how to create various geometric shapes, including Diamonds, Polygons and cool 3-D cube patterns. This will help us learn the grid tool and the snap to point feature. 

Next, we will create a large Poster for a music festival. We will learn layout and how to work and master typography in Illustrator. 

Illustrator is my main tool for creating logos, so we will create our very own coffee themed logo and learn how to create several different versions for different situations including for cups, t-shirts and digital images. 

T-shirt design can be incredibly fun, so of course I included a section where we create our own t-shirt with custom drawn icons using the pen tool and we even discover how to apply that cool textured effect.

Adobe Illustrator is an excellent program to create social media graphics, we will learn the artboard system, and how we can create different sized graphics for a variety of social platforms. Will will conquer more than just one type of social media graphic and will master blending modes, cropping photos, typography and layering. 

This class is dynamic, with content and projects that will be added frequently. 

So if you want to learn by creating real world projects, master design and illustrator at the same time, then let’s learn together! 



1. Class Preview: do you want to learn? Adobe Illustrator from expert designer With over 13 years of practical, real world experience, do you like to learn by creating real world projects instead of just learning endless tools without knowing how to use them from this glasses for you? I designed this master class to include five common project types. We will learn a wide variety of tools as we go in detail, creating these projects. The first section is for those with little or no experience in Adobe Illustrator. I wanted to make sure there was a section for those who feel like they need to start at the very beginning, reviewing basic tools of mastering the pin tool. The next section, help right into our first project, will learn how to create various geometric shapes, including diamonds, polygons and even a cool three D Q pattern. Next, we'll create a large poster for a music festival, will learn layout techniques and how to work in the master typography and illustrator illustrators. My main tool for creating logo. So we'll create our very own coffee thing logo and learned how to create several different versions for different situations. T shirt design can be incredibly fun. So of course, I included a section will creator own T shirt design with custom drawn icons and will even discover how to apply that cool textured effect. Adobe Illustrator is an excellent program to create social media Graphics will learn the art board system and how we can create different size graphics for a variety of social platforms will conquer more than just one type of social media graphic well master blending modes, cropping photos, typography and layering. This class is dynamic with content and projects that will be added frequently to the glass . So if you want to learn by creating real world projects master design and illustrator at the same time the Let's Learn Together the adobe illustrator masterclass learned from an expert designer. 2. FacebookGroup PromoVideo: So now that you're learning more and starting to practise projects of your own police, check out the exclusive Facebook group for my students in my courses. This Facebook group is an open and friendly place to post your projects. Thoughts, questions and ideas. Anything relating to design. We even talk about topics relating to going freelance with your design skills, so police join us for some great discussion. I try to respond to each Facebook post. Sometimes Facebook is just a little bit easier to have that back and forth conversation, and it's a great place to meet other aspiring designers. Just search for the term learned design. Go freelance in the Facebook search to find a group, I look forward to seeing you there. 3. Section 1: The Basics! - SettingUp: Welcome to Adobe Illustrator, the most powerful program and the Adobe creative group of applications. I spend around 80% of my time as a designer using illustrator because of its unique vector program attributes, as we learned earlier illustrators, a vector program. So anything created inside Illustrator can be scaled larger and smaller without losing any resolution of quality. This makes illustrated of the ideal program for logo design, branding and layout design, and I can see why spend 80% of my time here. So let's get comfortable with the basic layout and tools of Adobe Illustrator. Welcome to Illustrator, just like you would do with in Design and put a shop. We need to make sure we're looking at the same workspace together, we're gonna go upto window, good goto work space, and we're gonna make sure it's set on the layout option. That's the one I probably use the most, and I feel has the most tools that we're gonna be using. So it looks different. All I got to do is go down and do reset layout that's gonna reset it, and it should look a lot like Florence and let's go ahead and pop this all in so perfect. So I'm gonna go over some of the basic layout tools available to you to the left, just like a photo shop. There's a toolbar which you can either have all the way down or two rows. Not for some reason, for illustrator. I like to have them said his two rows, because I like toe to move between tools a lot more in illustrator than I do in photo shop . So I like to keep him tight instead of all the way down a column raft and move my mouse a lot. So just helps with productivity to kind of have them side by side is with illustrators switching between tools a lot more, and I kind of show you some basic things here, just like with photo shopper and design. You have some options up here which also give you the ability to add effects like distort, and you could distort certain vector objects warp, stylized, sharpen blur. Also, there's options with object we can do a lot of things with Vector will go over all of this , So just like photo shop, you have your toolbar to the left. You have lots of options appear on the right and on the left is gonna be your option panels , which you could customise toe however you'd like. But I haven't kind of here right now. Eso a couple of them that I use a lot is I use watches. That's essential. And a lot of the ones that come with the layout option when you go to arrange workspace. Ah, lot of these air very essential. Ah, stroke. You're going to be adding stroke and thickness to stroke to a lot of objects. Graphic styles. I actually don't really use that a whole lot, so I'm just gonna drag that out and just eliminate that. I can always recall it by going to a window and getting it back. But since I don't use it, I don't want to clutter up my workspace. Color is essential. If you go up to this option this tab to the right and click. We could actually go down to show options, and, uh, I always have it on show options because I always like to be able Teoh edit my colors a little better. Transparency, as we know, is they're blending modes and rapacity. That's very essential ingredients. We I use a lot of radiant to add effects to my vector objects, so that's also important. Character. Paragraph are essential. Ah, lot of times like to drag these out if I'm working with typography so I can be ableto access those a little bit better drag the character and paragraph tabs I like to keep together, Since those relate to each other open type. I don't really use this, So let's go ahead and believe that transform. Let's not worry about that. So as you could see, we're cleaning up our options here. There's less options. It's less overwhelming for you. So there's kind of the basic setups. We're gonna go over a few more of these down the left side of this option panel, and we're gonna be able to go through a lot of these tools that full detail later in the class. But a couple of them that are pretty important disappearance. And this is where you gonna be able to add kind of basically you're layer styles paying on the photo shop. But here in Adobe Illustrator's called Appearance and this is we can add drop shadow. We'd go to appearances FX you click on here and you have a wide variety of effects. You could apply occluded drop shadow. So this is how you add it the drop shadow and layer styles in Illustrator color Guide. I don't really use that frequently, so I'm just gonna go ahead, believe that. Let's keep going. A line is very fabulous when you want to align all your objects perfectly to the top left, right bottom, and Pathfinder, we're going to go over this to a little bit later. This is very essential for taking two objects and cutting out and adding objects together. That's a very helpful brush is also very wonderful along with your stroke, which is right over here on this panel. Um, symbols. I do not use symbols very often. So I'm just trying to clean up my, um, workspace here. Here. Styles and paragraph styles will not be going over that in this class. Let's go ahead. Delete that and don't use the symbols very much. Take that out and let's see the last one. We don't need that. This will. You could see how we just cleaned up. Doesn't have to be exactly like mine, but just any way to clean it up and have less options. Anything that you use most frequently you wanna have on your right side. 4. Section 1: Intro To The Pen Tool - part 1: So I'm going to start with money, one of the most important tools in Adobe Illustrator and that's the pin tool. But it's also one of the hardest tools to bastar. If you could master the pen tool, you were really uh, no the lion share of this program because it's incredibly essential to creating custom shapes and doing some editing. So here we go, the pit tools right up here. You'll actually see a couple of pit tool related options. But we're gonna go with this less left icon, which is called the Pen Tool. You hold down my mouse and have a wide variety options. We're just gonna continue to highlight that standard default pen tool option. So this is a pen tool that's going to a couple of basic shapes to kind of guide you through this, and this is very difficult. This is gonna take hours and hours of practice to master, especially when it when it comes to making round shapes and curves. So let's just create a simple line. Something click once, and I just clicked once, and now I'm kind of dragging my mouse. I'm not clicking and holding. I'm just clicked once and you'll notice I'll be able to ah, find the line, right. Let's just make a straight left to right lines. We're gonna click another time. So it is going to give me the option to create 1/3 little point, but I don't want to do that. I just want to make a line. So I'm actually gonna press escape and that ends my pen tool creation. So I just created a simple two point line. So now I'm gonna go over what? Anchors air cold. So I created two anchors. Each click of the mouse creates an anchor, so let's create a triangle. This is the anchor right here in this area. So I'm gonna click. Once I'm creating my first anchor, I'm making the top of the triangle. I'm clicking another time and creating the second anchor. Then I'm creating the third anchor and you'll know just the shape is not complete until I go back to my original anchor and you'll notice a little circle close icon. I can complete my shape. So I'm gonna click. So I made a complete shape and illustrator and actually have my stroke on. You'll see a black stroke So I'm just going down here to my stroke panel and just making that zero. So I don't really want a stroke, or it can go down. This is your fill. This is the color that's gonna be inside your shape, and this is your stroke will go over this a little bit later. This is what's on the outside of your shape so I can actually go down to this and click none to eliminate my stroke. Go back to fill. So that's that's the basic shape. Let's go ahead and delete both of those. And how do you add curves when you click back on the pin? Tool? I'm gonna click once I'm gonna make just occurred Just a very simple clubs I'm clicking once and instead of clicking once and letting go, I'm gonna click and hold the mouse And I'm just gonna move the mouse around. You'll notice it can kind of make a little bit of a curve and you'll see your a little preview line of what kind of shape you're gonna be creating solicits, create, create like little semicircle shape. I'm just dragging it really far and not clicking anymore. Don't actually take away that Phil here, So I'm just going to click on the none button. You could just see the stroke the line. And so I want to complete my shape. I don't want to continue to go around, so I'm gonna press, escape or delete. So it ends Pressing escape ends Thea creation process So now I've created a simple semicircle. Let's do a semicircle That's complete Click once, Click another time I'm gonna go and drag until I like the shape And then I'm gonna click so you'll notice This is where the the pen tool does get a little bit tricky. So right now, I want to complete my shape. But it's doing this like, really odd bend this rule curve. I don't want that. I want to do a straight line across to finish it, so I'm actually going to click. You'll see that little hat Icahn Right there, The little a bracket. Go ahead and click back on this anchor and it's gonna go from a curve now to a straight. This could take some time to master. So now I can go over to here to my original anchor and close the shape. So there's my closed in semi circle so you could actually create circles manually using the pencil, which is really challenging. So that's why they have a shape tool for you to use. So let's create a circle. So I'm gonna go and click on the top. I'm actually to do four points of the circles or click ones here with a click here and drag . So I like kind of the shape and you'll notice it's already doing Ah, that curve again so I can continue to work with these curves. So there's my circle, so you can see how 12 years of experience with the pin tool and I still can't make a perfect circle with mental. So this is why they developed the shape tool where you can actually this the shape tool right here. So I'm gonna go ahead and get the circle or the Ellipse tool, and I'm gonna hold down, shift and drag, and look how easy I can create the same path the same shape without having to use the pen tool. Let's go ahead and delete all these elements. Let's create some different kind of shapes using the pen tool, so let's do a lightning bolt. So I'm gonna go ahead and click once, going down with an angle to create my little lightning bolt. Perfect. So what I'm gonna do is right now is set to stroke and there's nothing on the inside. It's all white on the inside. We're gonna flop. Flip this around. If I go over here to my fill and stroke area, I can actually toggle these using this little arrow right here. I'm see how I'm toggle ing it. And it's switching this color to fill back down the stroke, so I'm gonna actually switch that. So now it's filled in. So now I have a filled in shape. I must say, I'm not very happy with the shape of my lightning bolt. I want to tweak it. It's very easy to do that. If you go over here to the direct selection tool when you go over to the direct selection tool, all your anchor points are going to be visible. So now I can actually hand select each anchor point and shifted over to so I get the desired lightning bolt effect. We're gonna take this anchor down here and was clicking and dragging groups clicking and dragging till I get kind of the right shape. Great something with a pencil and go back and edit the little anchor points to get more of perfect shape that you're looking for. I'm just clicking, dragging with that to be the same angle. Perfect. This is the direct selection tool after we created our object. Perfect. So there's our lightning bolt shaped. I'm gonna hold down shift, and I'm just dragging to make it smaller. It's keeping that over there. One of the best ways to master the pin tool, as I said, was practiced. But a practical way to apply this practice is tracing logos. Ah, lot of times you'll have clients who have a raster images of their logos. Let's say they're just J pegs and they're not gonna be able to scale that logo on the large banner without losing its resolution. So everybody needs their logo and vector format. So a lot of times will send you a photo of their logo, and you have to retrace and recreate their logo and vector format. This is a great way to practice, so I have these kind of little sample symbols I found online and I'm actually going to zoom in on these and we're gonna trace each one of these to practice the pin tool. And no, you're just learning. But you can kind of see what I'm doing. I'm just holding down shift and they can This object bigger. I kind of see how you can recreate these yourself. Let's go ahead and take the pen tool and these air simple triangles. So I'm just making a series of six triangles when you start with the blue one and I'm clicking here on the corner and I'm just tracing it clicking around and I completed my shape. I went back to my original anchor point, so let's continue to do that. Click once. Click twice these air Easy. I don't have to worry about curves. Think curves is probably the most difficult thing to master in with. The pen tool is continuing to click. Yeah, click. And when you're done and when you complete your shape, you just keep going down to the next shape. This one's easy and I see easy one to start with so you could see how quick I was able to trace this. Let's say this was a Raster image. It was not in Vector. I would already be done creating a symbol. And I would just take the eyedropper to him. A select an object. I'm gonna grab my eyedropper tool. I'm just clicking on the object and grabbing the colors just really easily like that. They could see how we re created the shape really quickly. With been tool. I could see how quickly can design logos once you master it as well. So look, you can't even tell the difference between what we did and what they did. That's perfect. Now let's conquer some of these other a little bit more difficult shapes because they have a little bit of round ness and curves to them. So let's start off with this one. Looks like a bunch of us in my circles, but together I should get a group that and looks like there's, like, a little bit of, ah, a stroke. Just gonna removal that. Oops. Well, we'll just race it just how it is. Schooling, robber pin tool. I'm gonna make a bunch of semicircle shapes, so I'm clicking like I would with the triangle. But to create this curve, I'm actually to click back onto the original anchor to close the shape, but I'm gonna click and hold, and I'll be able to create a curve just like that. Actually, let's make this black so I can kind of see the shape that we're creating. Do the same thing, click once, click twice and then I'm going to go back and click on my original anchor and hold, and I'm able to make this in my circle shape. Let's keep trying that and hold And let's say I do a bad job and I do the wrong I don't trace it Very good. So I could go and take my direct selection tool. We're gonna zoom in. I'm gonna take my direct selection tool. I'm gonna click and drag to get kind of the points that I'd like and I'm gonna take. This is my handle where I can adjust the curvature. I'm gonna click the top of this and just drag. And then I'm able to kind of get a better shape. Go up here and find, too as well. Sometimes you have to click twice. It could be a little finicky, a little finicky. Twice It takes years and years of practice to really get this master, let's continue to do the other semi circle shapes like once, click twice. I could also quick, once and then drag and then look here and then click back on my straight shape. So that's another way. Many ways to skin a cat with this. Let's try that method again. Let's create a R curve. First click once, click twice and I'm dragging to create my round shape first and then, see, I need to get rid of that curve. So I'm gonna go back and click my anchor tool. Then I have a straight option now and I'm gonna close. My shape could take the direct selection tool so I can edit my anchors. Perfect. So, as you can see, we made this complex shape pattern very quickly. I was gonna go ahead and separate this and you cannot tell the difference with shapes, and I would go back and do the colors with this one as well 5. Section 1: Intro To The Pen Tool - part 2: we're gonna continue to practice. And where did they do a war and more complicated shapes. So we could really get more and more comfortable with mental eso This kind of an odd shape . I'm just kind of selecting it on all these different layers. Looks like there's some kind of mask on top of those. So I'm gonna delete a little bit of, ah, blending mode mask that's on top so we can get kind of a simple, solid color shape. So this is kind of what the shape looks like. That's what we're gonna be tracing. Let's go and grab your pen tool and looks like this is all curves. So I'm gonna go ahead and click once, click twice and under Skuta drag you click back on this original anchor so it kind of resets my curve and notice how it's It's starting to complete the shape. Um, I want to actually switch this two stroke, so I'm gonna make this black so I could see what color I'm doing. I'm gonna switch it to stroke. So now I can kind of see my line a little bit better if it was on Phil. Sometimes it covers up what you're creating, being a click once again, kind of reset, and I'm closing my shape. Perfect. I can always talk. Will this back to fill If I want to see my final shape a lot of times when they use the pin tool, I'll keep it on stroke, which is what it's on right now, not Phil. Click once, and this is probably the best way to practice your pin tools to go online, grab some logos and to start tracing him clicking and dragging. And the next one we could do a really complicated shape, but after you practice a little bit, it won't feel so intimidating. The hardest part is getting those curvature is correct. So clicking once just getting a feel for it and we're remembering to click again to kind of reset your curve so you can created a new, different curve. Let's do these other ones really quickly and another cheat. If you have a repeat, uh, kind of pattern here, I'm actually gonna switch this and I grab my stroke here. There's what we created. I'm gonna switch it to fill. I got a copy and paste it. That's the same shape over and over, so I'm actually just going to switch it back to stroke. Kind of match it a little cheat. You may need to go back in, and, uh, use the direct selection tool and match it up a little better. All right, let's do that again. Because that was quick and easy. Turn it. Get it Pretty close. Doesn't have to be exact. Looks like these shapes are off by just a little bit. That's no problem. Get take my direct selection tool. Match him up. Match this up. Remember, if you need to edit a curve, go back here to this little handle and you're able to kind of mess with the curve. So there we go. Let me go ahead. Delete the current shapes in here. We were able to create this piece, go ahead and believe what they currently had. And there it is. We would go back. This is on stroke. I flip it to fill and had to go back, and I change all of the colors. And there we go. So now we're gonna get a little bit more difficult by having symbols that you would probably more realistically. Seon logo design it's going to start with this 1st 1 I'm gonna go ahead and zoom in on it. Let's go ahead and trace this guy so I get a couple of arrows. Heroes grabber pin tool. There's gonna be easy. There's a simple point click and then complete the shape. What's great about having the same one like we did before we get the direct selection tool . Notice how? Go ahead, Zoom in a little more. Actually, let me really soon. And so it can really see what I'm doing with the pen tool. So see how it's off a little bit. This getting my direct selection tool making adjustments. I want to make sure that's perfect, because I'm actually to be duplicating this and turning it around to match it up. I was using my arrow keys on the keyboard to kind of find Tune where it lays another little trick with this. If you want to go to object transform, I can reflect this and rotate it. If I want to have an exact things, let's say do preview just doing a vertical reflect and there I don't have to spend it around manually. I could just transform it so perfect. All right, let's do the band up top. It's gonna be a little bit harder cause it's a mixture of, um, points, but also curves on clicking once clicking twice. And I'm actually the click over here and make this little bit of a curve. And now I'm gonna do the head, and a lot of times you need to do several points to make a nice round circle manually. So let's go ahead and zoom in. I'm assuming into 700%. Let me zoom in a lot more really want you to see I get it how this is so I may need to You can go like this and click and try to make a curve But it's not gonna always conform perfectly. I was gonna be off a little bit. So creating several different anchor points. So clicking help sometimes in creating this is this is very difficult. I even struggle with this making circles. But see, the more you make, sometimes you have to click back on the anchor and just create a new curve instead of using the curve it wants to automatically try to do for you always click back on the previous anchor point and reset it for you. What's great about this is we can always go back and we can go use our direct selection tool and mess around with some of the points. It's not gonna be perfect. I can already tell. It's not gonna be a perfect round shape this switch. Two strokes. I can kind of see what I'm doing here Now. It's good active here. Make this curve looks to be pretty easy to make and let's complete her shape. Let's go down, see the circle. That means I'm closing my shape. All right, great. So it's good and swap that back to fill. And that's actually not horrible. That's not bad. That's not bad. And I'm gonna go with shape Builder Tool later in the class, and you're gonna make be able to make circular objects like that a lot quicker with the shape builder tool. Let's go ahead and select all of our elements. Shift into the side. The lead are originals. There we go so we can zoom in a little bit more. If we wanted a tweak. From what I'm not doing 2000% there we go. Go back in with their direct selection tool. Let's see how it's not quite a perfect curve. Go ahead, click. You could just kinda noodle around with it to feel very happy with it. Just use these little love handles kind of news and correct curbs. Let's go down here. There we go. A little bit better. More of a round shape. Let's go 400%. So there's that shape. 6. Section 1: Intro To The Pen Tool - part 3: So now we're having a really big challenge here with this one because this is a lot of curves and you have some other shapes as well. So what I'm gonna do is introduce you to the shape tool right over here. And this is a way to cheat. Instead of having to make a circle by hand, you grab the Ellipse tool. I'm holding down the shift button so the dimensions stay the same. If I did not hold down the shift button and I just clicked and dragged it would not hold its dimensions. Go back up, hold down shift and I'm gonna create a perfect circle. I'm gonna flip this toe to stroke so I can kind of see where it's gonna overlay when you zoom in here too. 500% perfect 90 to hold down the shift to what? I'm just making it smaller to see if I can't perfectly overlap the edge there so now can toggle back to Phil. And I haven't covered pretty much. You can always just make some adjustments. What's great about this is this shape is repeated so I could continue just to copy paste coffee paste perfect on I do the same thing on make it bigger. Sometimes I like to switch to stroke so I can kind of see shape underneath. Second matchup. They would go with that. Now, time for the hardest part of this logo. That's gonna be these Kerr pictures here. Grab the pin tool and let's start tracing. So sometimes sometimes it's easier start at a curve, But I'm actually gonna do something here and start at the top here and work my way down. We make sure it's on stroke so I can see what I'm doing. I remember, just like the last shape of the person. Sometimes doing several different points helps to get a better curve. A lot of times when you have a kind of a nice circle like this like to click in the middle , I could be able to make the shape. This is just practice. There's no way you're gonna be comfortable with this tool right away. You're gonna feel very awkward with it. Even I feel awkward with it after so many years of use. So do not feel discouraged at all. If you're not feeling like you're making the shape and a little trick if I can find the exact center point of the shape, I can cheat a little bit and I can close the shape, make sure it's perfectly halfway and let's go in and fine tune. Our selection is the direct selection tool. And go ahead and get better curves here cause these air a little messy. I didn't do an amazing job, did I? But once you start practicing with the pin too, you'll see what could be a little bit of a struggle to get it perfectly. You're perfect. It's messing with handles here. Get a better shape. A little wonky. That's not like straight, is it? There we go. That's a little better. I can continue to mess with that for another 10 minutes, but lets us see what we have here. So have half of the shape already designed, so I'm actually gonna go. I completed this shape. I closed it back up by clicking on the original anchor point. I'm gonna copy and paste. I'm gonna go up to object. I'm just reflecting it, Bill. I actually get a complete the shape this way. And this is a little bit of what? Like the shape builder tool would do, and it could be able to build shapes a lot easier that way. But just doing it mainly did, too, to show you kind of options he could do. So I would go in and finesse the little angles there a little bit there, a little rough. But just for showing an example that zoom out and what's great about this is I can copy and paste this little round element. So I've actually got a group. These two elements. These are two separate shapes that we duplicated. I'm gonna go up and group them together, so I'm going to object Group. So now, the instead of being two separate elements there now together is one. So that will make it easier for me to copy and paste. And I'm just rotating it by 90 degrees is this is just perfect for that. I can always manually rotate it. I can manually rotate this one for you. It's just not as exact. It switches stroke if he see, need to see where your shape is falling. Copy and paste. Let me rotate. This one rotated 90 degrees and then I'm gonna need to keep rotating at 180 degrees. Perfect. Let's see how quickly we trace the shape. Let me go ahead. And I'm just holding down shift and I'm clicking on all of my black elements and I'm gonna group those together. And so now they're one unit together, so I gotta go ahead. Delete these. We could also add color to those later by using that eyedropper tool. But there's our little shape. Not too bad for, you know, a couple of minutes of work. We were able to retrace the shape and change the colors. Now, if we don't like the original logos, colors, etcetera. So for our last pinto a practice logo working, do this little symbol right here. So this is gonna be definitely a challenge, but there's a couple of tricks we can do to make it a little bit easier. So let's start with tracing the hand first. So let me go ahead and get lift a stroke, grab my pin tool and let's get started. And a lot of times when you have a complicated shape, go ahead and create several anchor points. You can get the idea cut out the curves. More accurate is tracing around. Let me actually is. And then here let's see the little nuances of what I'm doing. Clicking, going ahead, clicking, dragging, finding the right curves. Little tip of the finger. Now you do continuing and the slower occur. See how this is a gradual curve. You don't have to do quite as many anchor points. It's not gonna be exact, but go back and fine tune it later. Now completing my shape boob. So is able to kind of trace that hand pretty quickly and go back and noodle with it. Obviously, maybe get things a little straighter right there. Let's go ahead and flip to fill and let's copy and paste. And what's great about this is all I have to do is go to object, transform and reflect this guy, and I already have my other side done. Boom! Look how quick that waas. So now we're gonna create this light bulb so there's several ways One of the hardest things to do is trace a thick border like this by hand with mental. This is a lot of work to click and trace this entire circle all the way around and also do it on the other side so that here's the trick that I'm going to do. I'm actually gonna create a line along the center of this shape and then put a thick stroke on it. So we get to learn a little bit about strokes doing this. They're gonna take the pen tool. What I'm gonna do is I'm gonna select the center. I'm just going to trace this basic shape along the center. Go ahead and flip that to a stroke and you'll see what we're gonna be doing. We're gonna be able to make this shape a lot easier than having to hand trace the inside and the outside of that libel. I'm just tracing. I like being able to do these examples because this is very real world. This is the kind of stuff you're gonna be doing, especially with clients are gonna have to be retracing a lot of things. Oh, that is not very good. Let's go ahead. I'm tune that. That was a little wonky, wasn't it? Which is Slough Tiny edits. This really has to be in good shape. Okay, That's OK for now. We can always find tune it later. Once we apply the stroke a little bit perfect. Okay, so now this is on a thin stroke. If you go over here to your stroke panel, it's on one point. But if we increase the size, it'll get thicker and thicker and thicker and thicker, and we're gonna try to match the thickness of the light bulb. So let's go ahead and move it to the side. I think seven will probably be a match, so we're gonna drag it back so you'll notice how we went ahead and made this shape you could find Tune it. Now that it's over top, we could even, ah, go back and do some other things to fine tune it as well go back. I don't like that point down there. What do you do? This is where probably getting to, to detect and spent about 20 minutes probably doing this shape perfectly. So now one thing we want to do right now, it's on a stroke. And when we make a stroke smaller, the stroke actually gets thicker. If we make it bigger, the stroke stays the same. So when the objects bigger, it actually gets thinner. Well, we don't want that. We just want this as a solid shape, so I'm actually gonna goto path, object path, outline, strokes. Once I do that, it will take it from a stroke where I can edit the thickness to an object. So now it's just a regular object, Justus, if we were to use a pin tool and trace it so there we go. That was this kind of a quip cheat. And I still have my anchor point. So if I click on direct selection tool, I can now find to night my selection even better. Now that stroke is all. So now I can cheat and go do my shape tools, and I'm just taking the rectangle tool. I'm strong a rectangle over top to kind of complete my shape, and that looks to be a little bit of a circle. So instead, ease in the pen tool to trace that was taking a circle shape and popping it there. I'm not gonna do the same thing with these pill shapes propagated to the rounded rectangle tool from the oh, that's perfect surrounded rectangle tool. So I'm gonna copy and these air, probably I rotate this 45 degrees. Perfect. It's rotated again. Another 45 degrees and I'll probably get the top or could just do it manually. Let me just do it manually. I like I like cheating and doing this rotate anything to make your productivity faster, quicker music. You take this and rotate it 45 degrees other way. Let's dio negative 45 degrees do 90 degrees. I think I gotta get my geometry right here. Perfect. Just like that, we were able to trace this fairly complicated shape. So let's go and join all this together. So I'm selecting all of the black elements that I created holding down shift and selecting and I'm gonna right click you can right Click in Group is Well, that's probably a quicker way group, right click and group. And I'm gonna just move this away and look at that that I could actually take this whole shape. I'm gonna grab the I drop drop high dropper tool, take a selection. I'm going up to my grading and we'll go over this a little bit later and I'm just gonna apply my Grady in. So there you have it. Pretty complicated shape that we created together. Looks like I lost a shape. So let's drag that back underneath here, That's no problem. Right? Click group that guy back in. So now they're all grouped together again, taking my eyedropper tool and applying ingredient to the 7. Section 2: Logo Design Project Geometric Shape sand Gradients: So as we're creating different shapes and illustrator, I wanted to go over something that's really popular right now, and that's geometric shapes. And these could be easily built by using a grid system. So you're just some quick examples, like kind of created an illustrator just now the simple geometric shapes can look really need. So I'm going to show you exactly had a creek that so I have our grid shown. I went up to view and there's a good high grid. Get a good view and show grid kind of show you how I pulled that up. And here's kind of the trick. So I'm taking my pen tool, and I'm just gonna trace a simple box trying to be as precise as I can. But do it quickly, so you'll notice how it's not a very good square. I did the best I could the eyeball it, but it's not perfect. I want a perfect square, especially when I'm making geometric shapes. So I'm actually gonna go up and click on Snap to Grid. So you see that option right here? It's right under hide grid. I got a snap to grid. So now I'm gonna take my pin tool. So now it's gonna snap it along the grid. So I'm gonna go ahead and click once, and it's gonna actually Onley select certain options that are on the grid. So really helps you to be more precise. So if I want to do a perfect triangle, click here. Click your real quick and it'll automatically snap to the point. So now when I do a path, go ahead and zoom in a little bit. You could see how it it's really an excellent triangle. So any time you want to be precise, that snap to grid is very important. Sometimes when I'm doing war curves and loose shapes, the snap to grid can kind of get annoying. So I actually unclip kit, and then I'm able to kind of be more creative in terms of curbs. But when I'm doing precise shapes, I love snap to grid. Um, so we can create triangle this way. Look how how easy it waas because it's snapping to the grid for me. I'm gonna do it opposite triangle. And there you go. Very simple. Could do a diamond with a click right here. Just do all for port corners. And it's a simple is that so when a practice little bit By doing this diamond shape, I just went ahead and copied and pasted from the local. I did before. And so I'm just gonna use this as a guide to go ahead and sketch the South. So I'm gonna grab the pin tool. And just as a reminder, I have my snap to grid set on that's gonna help us here. I think it's Ah, four squares up. So I'm gonna click in the middle here, and I'm just gonna create a diamond shape. I'm gonna go up two squares kind of diagonal, go across and then two squares back down here to kind of make it symmetrical. And I'm actually gonna go ahead and switch this to let me go ahead and make this a solid color. I think it's on sort of radiant right now, So I'm gonna go in my color panel here. I'm just gonna pick kind of a random color spit green, and I got to go over here and I'm gonna toggle the stroke. Something click that toggled a stroke and let me go to my stroke option panel and let's go ahead and increase the thickness. Just a tad. That's pretty cool. But I want to add a little bit of geometry, a little bit of three d nous by adding a couple of triangles. We're gonna go back and grab Arpin Tool, and I'm just gonna simply make two triangles. And the great thing about snap the point is, it does all the work for you. So I'm just gonna kind of move it around till I get a nice angle. I'm gonna complete my shape and see the circles. I'm completing my shape. Let's do it again on the other side, let's do another triangle. So I'm really just making three shapes put together to make, um, this diamond. So we're running into a little problem here. When we go ahead and zoom in, you'll notice how we have these little sharp edges. It's not very flattering. We want to have that be smooth. So let's go ahead. I'm just gonna drag and select all my selection tool. And when you go over to your stroke panel, I'm gonna go and pull it out seeking could see what option panel I'm talking about. If you go over to corner and you click on rounded corner round join. You'll notice it will actually change the corners from sharp to round and notice how it has a nice appearance. Now it kind of gets with those jagged, sharp edges. So let's go and pull it back and put the round, so that looks much better. Go ahead and drag that back over and something happened with our shape here. I don't think I did it quite right. I think I need toe pull that down a little bit, so no problems. You take my direct selection tool, grab this anchor point and let's see it's snapping two grids. It's gonna automatically bring it down to that point. And so there's my diamond shape, so that's neat. But I want to have it have a shiny appearance like this over here. See how it has that kind of greedy int. This is a great lesson ingredients. So before I'm able to right now, it's set on stroke so I can change the solid color. That's no problem, but what if I want to add a radiant little dig radiance? Next? I love doing a practical local design project here. This little diamond shape because it's really what you're going to be doing. An illustrator and I love to be able to practically applied instead of teaching each tool individually and not really knowing how to use them all the one specific project. This is why I do this. So now that we've kind of done all this, we no longer need the grid. And we don't need to have the snap two point on because that's gonna bother us as we start doing some other work. So I gotta go up to view Let's go ahead and hide the grid. Go back up and we're gonna take snap to grid off just for the moment. So now we're ableto freely moving around. There's no snapping to the points or to the grid eso I want to change us to a cool metallic look. So right now it's on stroke, and so a great thing to do to be able to apply ingredient Let's go and go to our radiant panel. This is our grading panel. I'm gonna click on whatever's on the default, Grady in which is usually like a black to white. It's already kind of have a metallic Grady int set up, but usually by default, it said. On this Grady int right here the good right here. This is what you'll see when you click on the radiant panel. And if you want to add different Grady INTs, you can go over to your swatches. Already have some letter loaded that I've created on their son by default. It's loaded, Um, but if he ever wanted to load some defaults watches, that's a really neat gold kind of grainy, and I loaded in, but you go down here to your libraries menu and let's go ahead and bring in Let's bring in Go down Big Radiance and you can't see it's off the screen. But I'm just gonna click on color combinations, and so you have a wide a range of default radiance that we can use. I want to bring in some metallics, so I'm gonna go back down to radiant. I think there's one that says metals, there we go when you play around with this and oh, that's a nice copper. I like that one. So what I want to do is have the Grady int all be. See how it's treating. It's applying ingredient to each one of these shapes, but in different directions. So you can kind of see where the shapes overlap. I wanted to be one continuous shape. Looks like it's one line design. We're gonna go ahead and select it all. And I'm gonna go ahead and select my Grady int tool over here and notice how I have kind of a no sign Can't do it. Sign right there, right next to my arrow. Um, how to prevent that is I need to outline the stroke, and so that's gonna be a very simple process, is something you're gonna have to memorize. You go to object, go down to path an outline stroke. That's how you can find that. So when I outlined the stroke here, it's gonna make it an object instead of a stroke. Now it's Phil. Eso What's great about this is I have the power to add the Grady in only one direction. So I'm gonna go back and select my Grady int tool, and that's with a click of drag to be able to apply the Grady int. And you can click and drag a different angles to kind of let the grating it load in a different way, so I usually like to do kind of an angle from left to right. If I were to do a straight left to right, it looks a little fake. But if I add a little angle to, it looks a little more realistic in to do a tight, radiant weaken, trying to see the transitions that are very harsh or a smooth grading, which could be very long. Click and drag, which is what I want to go for so you could see how it looks like all one continuous shape . It doesn't look like it's three triangles put together that that's great. 8. Section 2: LogoDesignProject Geometric Shapes and Gradients - Part 2: so visually it looks like it's one unit. But I actually when the group, these three triangles together so I can start to drag it around all us. One unit is going to go ahead, drag and select all, and I'm gonna go up to object and go down to group. So now once this these objects are grouped, I can move it around. Is one solid object. Great. Let's go ahead and zoom out and start adding text in a background from zooming out here. And I'd like to add a black background, and I'd like to make it a Grady INT background. So it's not just solid black, but it's kind of a dark grey transition to black. It looks a little classier, so I gotta go ahead. Just bring if you go to your swatches panel. There's a default radiant. Go ahead and click on that. It's gonna add this default radiant. So as I click on my Grady int tool, I can change the direction of it left to right wherever you start. That's where the the beginning of the Grady it starts. You could actually edit degrading a little bit. I could drag it and make it trip a little bit of a harsher transition from white to black. So if I wanted to do this working, soften it by changing this little area right here, I'm gonna have arrowpoint right to it. It's click and slide that make it a smoother transition to kind of play around. With that, I can actually add an additional. I can add as many as I want. This is how you create metal radiance, metal greatness. Let me go ahead and click on a metal. They're made up of many of these different color points or color swatches, and you can add more to make it more realistic. So I'm gonna click on this screening right here. You could see there's probably 20 to 30 of these little guys and whoever created this they hand did each each one to make it a realistic looking radiant. And so you can do that as well. It could make him really simple. Maybe only use five or six. You do, ah, highlight than a shadow highlight than a shadow. And he can create that that metallic look. And here's a blue one. I'm so let's go back to the basic one, and let's make it a little bit of a softer transition. So I'm gonna going double click this whites watch, and I actually make this dark gray. So right now I'm in C. And why, K mode? Which kind of a print node that's up doing a local design? I'd like to stay in the sea And why print color. So I'm gonna go ahead and stick with, see him like a and I'm just making it a dark Not all the way black. What kind of ah, dark gray. And, um, I actually want to make it radio. So linear linear is gonna be a grading in a linear fashion or line. But radio gets toe do the Grady int in a circular fashion which can look really cool because you can actually make items. Looks three D by adding a highlight and then having the shadow so just kind of play around with this, he click and drag to do a very small radio or click on make a much smoother transition so great, I'm gonna go ahead and send this to the back layering system. So a quick way to do that. I want my logo behind it to show through. So I'm going to send it to the back. And there's a couple ways we can do this. I can right click, arrange and send to the back. Or you could bring items to the front this way too, to send to the back. So now it's the back most layer. So just like photo shop where you have the different layering systems, you have that as well in illustrator. So you can also do that another way. I want to be able to play around with this, but I don't want to accidentally drag my background. So I'm actually gonna create a new layer and actually want to make that a little bit of a better Grady int transits and somebody double click this gonna make it even darker. There we go. All right, so I'm gonna actually cut this. I'm gonna go to edit or in cut, because there's also a keyboard shortcut you can use as well. But I'm just gonna cut that object out, and I'm gonna go up to my layers panel. So there's my layers panel right here, and I am going to create a new layer and I'm gonna name it background, and I got a paste it and then I'm gonna do this could actually move it. Ah, this is the top most layer. I want this to be the bottom layer, so I'm actually gonna drag it down. And there you go. What's great about this is I can actually go right over here to toggle lock, and I could lock it. So now it's locked. I don't I can't accidentally move it around. So now I can play around with this without having accidentally move the background around. So Great. So I have our little icon. It's group together is one unit. I could move it around. Let's add some type. We're gonna go over to our type tool, and I'm just gonna get Let's see, what kind of let's do just white for right now are actually kind of maybe a gray so it doesn't pop out too much. It's more subtle. Okay, So have a grace watch elected and I was gonna go ahead and click, and I could go ahead and add it. What kind of thought I'd like. Let's try a railway real way thin, and I like to do things Let's go ahead. Make this a little bit bigger. Let's make that lighter. I'm the why I lost my swatch there like Ray and so we can do any text. So Diamond Diamonds are forever. So let's go ahead and put some spacing. Are some current in between the characters here? So I got to go up to my character panel. Now I'm gonna do a separate couple of lessons just on typography, so go over this in a little bit more detail, but I'm going up here to setting the tracking, which is the spacing between characters. It's right here in my character panel. I'm gonna make that 200 and 200 is the max will go on the settings, but you can manually put in stuff I'm gonna put in 800 and I couldn't make the spacing much more dramatic. And it looks very high in that way. Looks kind of neat. So I'm just gonna, um I'm gonna be aligning these two objects. I'm going over a lot of different tools here, but we'll go over more detail in future videos. Them appear in my line. If you can't find this goto window, they should be in the lines, going click a line. You could have it here or it's sometimes it shows on the top of your toolbar. I was going to a center line after I've selected both objects. So now I know this is perfectly centered to this. Sometimes there's a hidden character at the end. No, there's not great. So a couple things I can decide to change this to gold or keep it both gold and silver, which is kind of neat. Um, well could keep it this way. We go and get rid of some of these objects here. I don't need the grainy it anymore. Let's go ahead. Hide that over there would make it a little bit smaller, so I kind of see how it's gonna look at a distance. I feel like that's off center, and I might, because this extra space in the type is kind of added, Um, so it does look off. So great way to test its grab rectangle tool. There's my rectangle tool. I just drew up kind of a square from the tip of this object down to the end of this D. And I'm just gonna copy and paste it. So I'm just gonna copy, go to edit, copy and then paste. And it's the same size. So I can kind of test how even this is. And, yes, there is a gap there, so I could make it a little bit bigger. Make sure there's nice even spacing. I'd like to make this a little thicker, because when I zoom out on this logo, that's very thin, and I don't think it's gonna print very well. So I'm just gonna up the weight, the font Wait and go toe light. That looks a lot better. It's always great to zoom out on your designs to see how it's gonna look really small, missing back in so great. And another thing we can do is add like a little bit of a background finessing to it. So I'm going to right click on this. I'm just releasing the clipping mask here. Um, let's see. Let's let's show you how to do it here on your own. We're gonna do that next. So I want to create that same effect up here, So I'm gonna go ahead and grab my grouped object. I'm gonna copy and paste it. So have a second object and I'm making a little bit bigger. Maybe so kind of goes right here, kind of encapsulates the other diamond. And I'm gonna make this a much There's a couple ways I can do this. I could make this object white so I can go ahead, make this fill a white color and I want to send this to the back. So I'm gonna right click arrange gonna send that to the back. So I want that to be in the background, and I could go to transparency. So here's my transparency setting right here, and I can reduce the capacity or the transparency all the way down the maybe eight. You could test it out, see if you like it. So that's one way to screen it to the back. Let's go ahead and go back. Or we could just make this a light gray, solid color, Really dark gray. We could do that, too. Look a little bit lighter, making a solid color. We don't have to do a transparency, So there's several ways to skin a cat. I kind of like how I did it when I did the white and I did the transparency. Sometimes that looks nicer. Go back to my transparency. Let's do 5%. You don't need to have it very strong. You don't want it to overpower the design I was gonna find too In this just a little bit more. Maybe do that. 4%. This is where you find tune. And I think we're done. Another whole thing just kind of show You go ahead and select are grouped element in our logo. It's gonna copy and paste. We have a great logo that'll work on a dark background. But I want the same logo to work on a light background, so that's a little bit too light. So I'm just gonna click on my text layer and make it a little bit darker, but not black, because it doesn't quite that looks. That looks nice, but I kind of like a little bit of a light gray medium. Grey just has a little bit of ah, refined look to it and also this grating. And this is another great way, Teoh. Talk about radiance. Let's go ahead and zoom in. So this great aunt looks really good on a dark background. But once I have it on a light background starts to get lost. It needs to be a little bit darker. So we confined to in this a little bit with double click are Phil, Or actually go back to our radiant panel. Where'd you go? I just moved, I think, actually deleted it, which is no problem, because I could go back to window and recall it. Radiant. There you are. So we could go ahead, mess with this a little bit, maybe darken some of the lighter colors. I'm just gonna dark in it. I'm moving. Everything kind of darker. There we go. So that looks a little bit better. Actually. Going to take a little bit of the orange away, Maybe add a little green to it. Where can do it? A new Grady int entirely for the light background. But it's great to be consistent for branding. I don't want to do something to radically different adding a tiny bit of green. Not too much greener looks to greed each shade. I couldn't I can finesse that a little bit better. I want there to be a little bit more contrast to what I have. So let's make that lighter. But not too light that looks a little bit better. Was going zoom out. Yeah, that shows up a lot better. That looks great. So you can see how just using a couple tools put together you can go ahead and start creating logos really quickly. Once you master the pin tool, the grid system and a little bit of typography and ingredients and colors watches. You're really well on your way to starting to create designs. And that's starting to put together branding, packaging packed packages that you could see how quickly we were able to do this using about five or six different tools. We didn't have to use everything we have in her tool belt, but we were able to put something together. Ah, that's pretty cohesive. Let me just real quick. Let's get a copy and paste this background image and I'm gonna make this. Let's see if it suited the transparency is on this. I think I need a recall by transparency than you. It's good. Make that 100%. And I could make this a solid color. Very light gray, even lighter than that. Real, like rightist wantedto barely show up, and I want this descent be sent to the back in the back layer so I can right click, arrange and send the backs were practicing. Are layering system here a little bit too? And I want I want to go even lighter so they actually double click a little lighter. Perfect. So now we have two different versions by using just a handful of tools and illustrator. 9. BONUS Section 2: Polygon Shapes: So let's continue to make some fun geometric shapes. So I have my grid shown to view show grid, and I actually want to take for this particular shape I'm getting ready to do. I'm actually gonna take snap to grid all So I'm gonna click it off and I'm gonna grab one of my favorite shapes. And that's the polygon tool that's gonna create a simple polygon. And I just have a simple stroke. Two point stroke. And the reason I took snap to grid off is this Polygon does not fit perfectly in this grid system, and it's off a little bit. It's not a perfect square, so I'm just taking it off so it doesn't get in the way of snapping two points that are not even on the shape. Okay, so what are my favorite things to do? Let me go ahead and grab the pin. Tool is this has six different points and what looks really cool Geometric shapes is doing other shapes inside that are divisible by the amount of different points. So if there's six different points that make up this shape or six sides Ah, what's divisible by 63 so that would be a triangle. So let's try to do a couple of triangles in this piece. And I like to rotate my polygon a little bit. So I'm gonna go to object. Transform, and I would have rotated just by 90 degrees. So has the points on the top. I just think it looks cooler that way. So now I'm gonna do every other point and make a triangle, so I'll start with this point. Skip that one. Go to this point just like that. And, um, there's the trick I need to select. All need to go over to my stroke panel and do. Let's see, is it round caps are actually it's ground join. So right here on corner, take away the sharp edges that don't look very clean. So let's continue. Can it kind of player on Let's do the opposite side. So let's do the three remaining corners that are not selected yet, so that's kind of a neat shape. Ah, we can continue to play around with other options. Um, so let's do some random corners here, so let's do maybe an ex between this top corner, this bottom one, this kind of experiment here so that's kind of a neat shape. I can select everything. I'm gonna hold down, shift and de select this outside Pentagon polygon shape. And I'm gonna make this a little bit skinnier because all this this thought stroke. Wait, It's just too thick. So I make. If I make the insides a little bit smaller, let's say 1.5 points. It looks a little cleaner, so you have a thick outside border with more thin strokes on the inside. I feel I can get away with more detail. If the strokes air a little bit, then a little bit more thin. So that's kind of one shape we created. I can select all go to object Path outlined my strokes, just grouping them together. And there we go. Let me add a little bit of a little texture. Get my Grady int. I think this one look better. Gold. I might have to work on my gold a little bit. Let's zoom out, go ahead and grab this dark background. I think that's gonna look the best going to send that to the back. There's our little shape. I can go in and detail my ingredients. Do an angle that that looks better and there's a cool shape and actually what I might do, I would go back and maybe make the lines just a hair skinnier on the inside. So there's one shape done with him up here. If anyone is curious about how I added that cool gold texture and the intro of this video, I'm gonna show you how really quickly. I'm in photo shop and I just dragged my little geometric shape from illustrator to photo shop and I have this little texture I found online. I'm dragging it over top and then the layer system. I'm just moving my shape above it and I'm gonna get the selection tool gonna get the let's seals to the Magic Wand Tool. And I was going to select our shape goto our shape layer number selected in shape and make sure it's all selected right. I was gonna go down to my gold texture layer, copy and paste. Go ahead and remove a couple layers and Walla. So let's try a different variation of the same polygon shape. Some good crowd the polygon tool hold down shift and already have it on stroke, which is great gonna go up to transforms. Gonna rotate it 90 degrees. Were you to the similar steps that we just followed with? The other one grabbed my pen tool. And I have I have is actually to snap the point. I don't have it to snap to grid and I'm gonna destroy awesome simple triangles. And there's my 1st 1 And here's my 2nd 1 and I'm just going to draw a couple of points here . So I'm gonna drawn X across Just doing an X on this center. What looks like a rectangle shape right here in that area. Too strong it x connecting those corners. So here's the trick. I'm going to select all of these elements and I'm gonna grab my shape, Builder, tool. And you can also do the same thing with the Pathfinder tool. If you have an older version illustrator, that does not have the shape builder tool. So I have my shape older tool selected. I'm gonna go ahead and hold down. I'm on a Mac. I'm gonna hold down option and go ahead. And I believe it's the old key. If you're on the windows and I'm just deleting this an inner diamond shape to create kind of a very unique shape. So I'm gonna make my outside border are my polygon if I can locate it to make that a little bit thicker of a stroke and I got a select all and they gotta go and make sure I have our own around joins elected Perfect. So there's one option for a shake when we go ahead and make that group that apply a little bit of a Grady into it. Outline the stroke path, outlined strokes. And now I can apply the Grady int across the whole thing. I'm gonna go ahead and grab my dark, great texture appear. Send it to the back, and I got a whole another variation. I just created two different, very unique geometric shapes. Go ahead, make that this color as well. They could just keep experimenting, and you can create a whole line of different um, shapes that you can apply and use with logos or backgrounds. This one would be make a neat background texture. I've made that a little bit larger and let me make that a light gray. See how that works. That could be a neat background texture for power coin or social media graphic. This adds a little element. Make a little screen women brighter, or better yet, I could make it white and apply transparency to it. 10. BONUS Section 2: 3d Cube Pattern: So now we're gonna try something a little more complicated, and we're gonna create a three D cube kind of look and make it a really neat background pattern. So this is kind of the cube book that we're gonna go for with kind of the diagonal lines on one panel. So I'm gonna grab my once again polygon tool, and I'm gonna flip it rotated 90 degrees and I want to make sure the left side. So this left side matches up with the grid on the right side, The top and bottom don't matter right now. I'm gonna, uh, grab my pen tool. And I'm just gonna sketch out my three d cube. It looks like I'm almost making a diamond. You know, assess the top of my cube and these are the left and right sides of my cube. I'm just making a couple of boxes to make our shape perfect. So we just made a three D cube just like that. So now when I try to add some kind of effect of one of these panels, So I decided to go with kind of a diagonal lines because I haven't seen that yet, so Ah, quick way to do that as I'm gonna straw align using the grid tool just like that. And I get a copy and paste to make it a little skinnier. Get a copy and paste on each row to like it. Probably about 15 or so. So once I get three, I can copy and paste. Speed it up. Speed it up. I didn't have to be perfect, cause we're gonna use our A line tool to make sure they're all lined up. That's probably good enough. Go and select just this. Great. So we're gonna make sure these air all lined up with their align tool gonna go up top. Where can bring up my line tool by going to window, And I'm gonna line them all to the top, and I want to make sure they're evenly distributed. So Ah, the space here is the same as the space here, so I'm gonna click on horizontal distribute center. So now I know there's equals facing between the lines. I'm group in these guys together, and this is how I'm gonna apply it to just that one panel to make it tall. Get the angle I like, which will probably be. Maybe from this corner down to this corner, make sure we're staying precise. So you notice how this line hits this right angle and comes up and hits that right? Right angle. That's perfect. I might want to make this just ever so slightly bigger. Maybe 1.5. They're gonna just thickness, make sure it's the right amount. I'm gonna use the shape builder tools. I'm gonna go ahead and make sure all my elements are selected. Look over here to my shape. Older tool. I'm gonna hold down option key. And I believe it's the old key. If you're on a windows and I'm just gonna subtracts or all these elements I don't need and leave this panel with the diagonal lines so I can actually gonna go back and make it easier on myself and only have the lines extend to where I need them to be. Okay. And I'm gonna grab that Schapelle the tool. Hold down option key. Get that minus sign. And I'm just going to subtract people elements we don't need do groups. I might need to select those individually. I don't want to select that top box to delete that Oops. I'm gonna wait till I get that red line. Here we go, shaving everything. All the excess stuff. There's one right there. Perfect. So there's my cube and we'll be ready to make a pattern out of it next, so we can simply take this shape. We can group it already, have it grouped, and we can make a seamless pattern out of it. But I think I'm going to do something a little bit more unique and interesting. But I wanted to show you really quickly how you did, how you can make it seamless pattern out of the shape, just in case you're interested. So you go down the object pattern and make you'll be able to kind of adjust certain patterns. Um, so it's doing nine by nine. You could do a couple different arrangements that look pretty cool just depending on. Well, look, you're wanting to go for that one's need because it creates triangles within the squares within the Cube. So that's kind of neat. Um, but I'm gonna go ahead and click on grid. So do you done appear at the top and the now our pattern is saved, so let's go ahead and zoom out and I'm gonna create a square, go ahead and load my pattern in And there's our little seamless pattern We're going to something different. Let's go ahead. Delete that. I have all this junk over here was going to lead all that to do to do to do we no longer need the grid for what we're doing. So we're gonna hide Grid is getting in the way Geisel amusing back in we're gonna manually create our pattern. So I'm gonna go ahead and select all it's already grouped. If I ever want to change my pattern, I'm gonna need to outline stroke because it's good of the thickness is gonna change when I make it smaller And it's also gonna get thinner If I make it bigger, let's go to path Let's outlined the strokes Perfect. Now I'm ready to go I could make it smaller without the lines or the stroke getting thicker on me So I'm just gonna eyeball. I'm gonna zoom in here for these first couple ones. I'm sure I have it pretty precise. Although it doesn't have to be perfect. You don't want to be a computer. We want to create something that's week, but it helps to not have too much overlapping elements. So it's amount to 300 now. Now that I have four boxes, I can group those together copy and paste. When the UN group those I want to keep him ungroomed just because just in case I need to edit them individually later. I'm just mainly creating my little pattern copying, paste, copying and pasting. We're laying a scream out. Keep doing it. You'll see why we're doing this manually. I think you can have a little bit more troll are designed a little bit when we start to experiment with different options for a pattern. See a little cool pattern coming together. We can even group larger elements about 100%. This is where we can be a little more creative. We don't have toe. Have the pattern be perfect all the way. We can have it. Maybe intersect here. So you noticed how I did that? Let me see, man who does how I haven't almost coming together. I could do that again down here. Maybe they're almost coming together. And each time I do this each time I practiced, this always has a different and unique pattern to it. You never know which way which way I'm going to do it. Maybe that be appear. They come together in a different way, but they don't quite touch. Maybe they do touch. But maybe only in two spots who, maybe just barely touching on that side when we line it up looks better to the I. When they were lined up like that, we'll zoom out. Let's actually apply our background texture to this. I gotta grab this color. Go ahead and expand this out as far as we want. We can make this a horizontal instead of a portrait. It's kind of going with the flow. You can kind of see our pattern coming together here and even copy and paste. Another little element. Haven't come over here of something over here. I'm just gonna draw a couple of quick boxes just so I don't get distracted by everything outside of the art board. Here we go. I like that a lot. It's coming together, so I want to screen all this back, produce the opacity on all of these. So I'm gonna go ahead and drag select a mall. Un select my little borders I just created and un select my background. Perfect. And I'm gonna reduce Instead of reducing the opacity, I think I might just make it a darker gray color And let me group of all like that I want something in between these two swatches. So I'm just gonna do it by hand, a little darker where I could just take the eyedropper tool and sample my background gray Make it lighter that way. Ooh, that's perfect. Contrast. Let's bring my little white borders out. Let's say we want to add a little gold player So let's kind of select a random box and make it gold. I'm just gonna grab one and apply a gold radiant, maybe one that's a little bit more of a copper color. Bring this to the front and I'm gonna make that Grady in a little more smooth. So I'm gonna do a long stretch. Maybe not quite as long. Perfect. So now I'm gonna do this randomly throughout the piece. I don't know if I'm gonna like this, but I'm just trying new things to find out what works I need to UN group. All these might be better to still select all and on group. So now I can kind of select one at random. I don't want to select too many. I want to bring it to the front. So it's at the top layer going to a long ingredient. Perfect. This adds a little spice, something a little different to the pattern. Maybe. Grab that one. Maybe this top one, maybe one up top and maybe one at the bottom when we make sure those air on the top layer right click, bring the front. So if we made a seamless pattern, we wouldn't be able to do all these custom things to our background. So that's why I like to do it manually. Takes a little wild, a set of everything up perfectly. But you have more control over your design toe. Add unique elements just like this. We could even do one next to each other. I'm just gonna play around and experiment with this and see what I come up with. 11. Section 3: Learning The Type Tool : So we're going to dive into typography a little bit with this lesson. And if you're familiar with photo shop in design, you're gonna feel right at home with the type tools. But we're gonna go into do some projects and do a couple playing around with lettering to see what we've learned. So I'm gonna go ahead and create a new document. Just went to file new, and I'm gonna create an 8.5 by 11. Document on, and I will do a horizontal orientation on Let's do RGB mode. Great. Let's go ahead and create new document. All right, so I'm gonna play around with the type tools. Let me go ahead and grab the type tool. Just gonna have some fun here. Here's our type tool. When I am, click and hold the button. I have several different options. We're gonna go over a few of these, So I was gonna have your standard default option, and I'm going to do sample, text, Chris and get our selection to look and hold down shift, which have been I do all the time. Ah, hold down shift and I drag and I'm able to kind of make it bigger as so much easier to do this hold down shift in drag than to go up here and change the point size, the font size. So let's go ahead and play around with some options. I'm gonna change the color. Let's make it Ah, it's make it like a dark grey. It looks nice. I'm gonna go pick out some fonts. If you put your font far enough down here, you can actually see a preview of what your font is gonna look like. So I have quite a wide array. Let's do a really simple fun. Let's do open Sands. This is a fantastic free to use sponte open sands light, and so there's different weight. So if you click up here in this area, um, you're gonna have lightweights. You could have regular old, extra bold if different this air called weights. And you can just set up here. Of course, you could do your paragraph alignment up here, so I'm gonna go ahead and make this two lines and you do centre right, align a little extra space there. Sometimes you step to delete that and left a line. So do some left aligned text and a lot of times an illustrator. When I'm doing logo work, I'll separate. Um, you can always close the gap or the letting, um, between the characters Uncle head and show you how to do that. I'm gonna go up to a character and here a couple of options that you need to know about. There's two big ones that I change a lot, especially in type worker working on headlines for posters that's going to be appears. Go to be the spacing between the different lines and you're gonna be able to adjust that here. So I want to close the gap a little bit here and kind of took that. Make that look like it's cohesive and also the other important thing. I just all the time is colder letting or the spacing between the characters. So by default it only goes to 200 like I've shown before. But you can mainly type in any number, and it'll add that the that amount of space between the characters. So I want to make this all caps, So instead of having to re type in all caps, I can actually go up to character. And there's a little sub menu option right here. Go and click on that. And you have some options to make it all caps, which I think looks nice with big spacing left of space. It do a lightweight. We can go up back here, toe central line. We can even do two different weights so I can have a heavier weight on the top. And you could kind of see it starting to look nice. Let's close the gap on this. I'm just gonna highlight this top section. Let's go to character and adjust the spacing again down to maybe let's type in 400. There we go on a lot of times. This is one unit. When texting it, I'm actually gonna copy. And I'm just gonna press the delete button under leading that. Not gonna paste a new, um, character text this paste. So now have to separate elements. I feel like I can control it a lot better. I'm gonna close the gap again on that spacing. This is too wide. What's actually closed? The gap all the way to zero. Make it bigger. Do we have Ah, heavier weight. They would go. You could start to see and play around with, um, different options. Make that like a lighter color. It's always good to have contrast. We need to design work. So having all caps with the low work and then have another one being maybe lower case or a script script thought it's good to do contrast with coloring. You don't want these to look too similar. There's got to be something to have contrast. So that's bold. And that's a That's a light fault. Wait, so that's good. Okay, so let's have a little bit more fun. So now that we kind of have some basic text work done, I'm going to show you some other options. So you can also recall, uh, your character and paragraph panels here on the right, instead of editing up here atop the system. Other Another option. Second, little literally dragged my character panel out and a paragraph panel and it gives me a little bit more control. Um, if I have the panels out, you can also do it up here. It's just another option. So now I can have it right here. I don't have to go up top and make the adjustments. I'm right here and I could go ahead and ah, just the Kern ing and I can adjust spacing between the lines which these air to separate lines now. So I don't have to worry about the separation between, um, the sentences. So there's a couple of options here. Let me go over to Let's play around with their type to a little bit. Let's some let's play around with E area type tool. So here's what I'm gonna do. I'm actually gonna grab our rectangle shape tool. Just make a simple box. Let's say I want the text to be in a paragraph warm, so I'm gonna go out, go ahead and click on area type Tool, and I'm gonna click kind of somewhere in the upper left hand side. Okay, so maybe have to click a little bit closer the corner, and it's gonna go ahead and paste in some default. Thought for me was great about this is it's contained within this box. So let's say I make this 14 points make it pretty small. Let's reduce the weight to regular and its it looks like it's in all caps so I can go up to my character extra option panel and select all caps off. And let's reduce thes spacing between the characters down to zero kind of the default. Um, so here's what I would do. I'm just gonna copy and paste so I could get like, a nice chunk of text going on here and what's great? It was good and shit this up here, it's a little bit taller, so there's a lot of space in between the lines, but what can easily adjust that But going toe our character panel and adjusting this manually until we get the right spacing, you don't want it to be too tight. I like a little spacing between my lines, just like that's really nice spacing. Maybe tighten it just a little bit more. Maybe they're right here. Just gonna change us to like a light gray. And what's great about this is I can highlight that all the tax tear and I got to go up to my Aiken, go to paragraph. I could go up here working, go here, same options, and I'm gonna click on some different alignment options I'm gonna click over here to justify with Last Line Aligned left that kind of this flushed alignment the left and the right side. So I'm gonna click on that. And now I have this really nice paragraph text that the lined I'm just reducing, um, spacing a little bit here, just kind of fine tuning at all. And I could copy and paste to get more sample text, and so that looks like a really nice Polish aligned bloc of copy. So if you ever have detailed copy for a flyer or ah, for something more detailed, this is a great way. Great tool. I just went up here area type tool. So now I have a headline. Maybe I want to get this right, Aligns, I'm just gonna go over here if you cannot find your alignment. This is alignment for characters. So this is my paragraph. It's gonna line things within the characters. But if I want to align different objects, you select all I gotta go appear toe alignment or you go to your window and get the alignment tab open right here. So I'm gonna do this is aligning objects and, uh, right here is aligning words within text object. So you have to kind of sometimes we'll accidentally press this to a line and I'll realize, Oh, that's the wrong one. So that's something that's easy mistake to make. So you can already start to see kind of a little nice, polished, well kind of flier developing here, least in terms of having a headline having a block of copy. Maybe I could make the headline a little bit bigger. You can even add a line of sticking our, uh, shaped tool here, and it's making a little divider line. Maybe make that a little lighter. So that's great. I would actually balance this a little bit better and make this a little smaller and reduce the spacing perfect. So let's go ahead and start to create a project because I feel like as we would have the basics done, I think if we do a project together, we can practice a lot better than just continuing to do one tool of the time. So I'm actually going to make I'm gonna change the size of this art board, so I'm gonna go file documents set up. If you ever need to change the size of a document after you've created Goto, file documents set up and I could go to edit art boards so we can have fun with our boards here. So this is the viewable space you could work with when he export your document. This will be the size and exports as they go up here and change the settings. I want to basically flip this around. So this is 8.5 by 11 and this is 11 inches. I was gonna click on the selection tool and it goes back toe normal. So now I can kind of create a flyer. So let me go ahead and get some sample text going, and then we could start to kind of piece everything together. 12. Section 3: Poster Design - Let's Start!: starting to block out some sample. Copy. Let's go ahead and create a little, uh, layout for a poster or flyer. So I have our main headline actually have. This is one unit. I'm gonna reduce the spacing a little bit here, over here and reduce. Um, letting a little bit great. Make it a little bit bigger. You really want your headline to pop out, and I'm gonna play around with the line middle little bits. I'm gonna go up to my paragraph and kind of play around in the lineman options Have a nice , big, bold headline, but like a little sub subheading headline that goes here, I'll probably make that a little bit thicker. But see the nice contrast between here Big Bold, um, a little bit smaller and lighter weight. So that's a nice contrast. It's nice to use a dividing line every once in a while to separate blocks of text. Just kind of give a graphical element that goes between certain elements. So you have this kind of, um, you don't see text, text text. You kind of have something to divide big blocks of copy. So I'm gonna go ahead kind of keep it when you have something kind of going left alignment . Sometimes it's nice to keep it that way throughout the piece. Got it. Uh, adds a nice unity. So I kind of have some cold actions here, a phone number, which is not quite as important. So I'm gonna maybe tuck that, make it smaller and put it to the right. But the website is going to be our big called action, so I'm actually gonna make this perhaps a boulder weight and maybe a talic. Maybe not a bold. What I like to do is add contrast within a character or within a block of text. Um, I'm gonna keep that bold, but I'm actually gonna make this a lighter weight, get regular. And that has a nice balance, doesn't it? Kind of shakes it up a little bit. It gives your I a chance to break down the information when it's different. Weights like that. So I have This is the box I created. I'm gonna go ahead and create another box just like this. Go ahead. Copy insist. So we can practice our type two a little bit. So how did we create that? We go to area type tool. But first we're gonna need to make our little rectangle. And you can actually do this with any shape we can actually do it with. A circle s are gonna go back and other have my box area type tool, then click up here and it's gonna pace my copy in. And I can adjust this to make it a more narrow. I can even ah, copy and paste have it be two columns of text so that that could have a use less experiment a little bit. Let's do our, um, that's doing the lips tool. Let's do a shape tool for a circle. And I think I have this copied and pasted already. It's Go ahead and slide this over and we'll see if we can't get the text a load in the circles. We're gonna go to area type tool, and I just ignore that warning and just click around. There we go. I could actually conform it to a circle if I wanted to, so that could be kind of interesting. Do you do any shape? You do a triangle. We could do a star. Well, it's a great way to load text within boxes. But the way I use it the most is to load it into rectangle boxes for my body copy to call this smaller text cold body copy. So we're gonna start to experiment a little bit with this and see what we could do with angle tight and some other things. So it's good to add a gold background, so I'm actually gonna go to my layers panel. I'm gonna create a new layer. I'm just gonna add a box here. I could do it any color. Really? I could do a black Let's do a nice black background, maybe like a really dark gray. And I'm gonna move this layer below this layer. I'm gonna lock it so I don't accidentally move it. And I'm just gonna drag and select all of our text. And since that background layer is locked, I don't accidentally select it, you know, make everything like maybe a light gray. So now we're gonna start to really experiment. Let go and move that all off a little bit. So what can we do here? Um, cold action. I could always have that down here. Maybe I can have this spread across a little bit down here. Now we have this line. Divide the body copy in the top section. What if I angled this a little bit? What if I did this right? And let me, actually, I'm gonna delete this, and I'm gonna copy and taste this style. I'm gonna do this. A couple lines of copy here. Okay. So headline right here. I'm gonna experiment. These were all the same angle, and I just just all I did was, um I went to my text box here. And you see that little ah ah, place where you can actually turn the object just like you would a shape you do it there as well. Let's go to the corner headline. Right. Have tight spacing, make it look cohesive. Um, so the balance is off, so we can always change that by maybe changing the weight on one of these toe light. You know, just experimenting a little bit doesn't have to be perfect. Slide that up here. We also had us have a sub headline. We could put that here a little bit, and of course, we don't have a photo in this, but we're just trying to learn our type right now, so we could do a lot of design without using photos. If you are really strong with your typography, I'm just taking the eyedropper tool. So I have this selected right here. This phone number and I won't adopt the same spacing in style. So I'm gonna go ahead and select my phone number. I'm gonna grab my eyedropper tool, and I'm just gonna hope for over here and select. And now I have the same style adopted. So you're starting to see a theme with styles that I'm using. I'm not having I'm not using too many different styles of to be different fonts. Just enough to have it be a little different, but not too many where it overwhelms the design. We're just I'm sliding everything up, making sure it's kind of the same alignment. I could always sell like this object. So, like this object and select my line and go upto alignment. Or if I have the alignment options panel, bring that up and do left alignment. Now I know it's all aligned perfectly down to the left and let me get the website allied to some. Selecting all these objects left alignment And now I know it's aligned perfectly down in the side. So I'm starting to make this poster a little bit more realistic. I just kind of swapped out some of the the text for some more realistic, believable text, not just sample text. And so I'm gonna play around a little bit now that I just typed in some new information. So this is a little longer than my sample text, so I'm just gonna make some adjustments to, uh, the Kern ing the tracking. I'm just gonna reduce that a little bit. It's reduced that. So we have a little bit more tighter spacing since it's a much longer block of text than I originally had in the sample. So that looks nice. My website probably needs to be reduced in size now. Maybe the websites not it's important like that smaller. But the the website is more important. So it's kind of balance that out like that. More important terms of this cold, Um, what we're doing is called type hierarchy and what type or typography hierarchy does. It helps his balance all of our content in a way of that values importance of certain items . So This is obviously a headline. This is the most important item. It's obviously big, and it's obviously central to our design. On the subheading is probably something that's all it important to the headline, but it's not as essentials. It's a little bit smaller, of course, is detailed. Body copy is less important. And, of course, our website is That's are called action. That's what we want people to visit after using after seeing this poster. So that's why that's bigger down here. And this is smaller, so that's just called type higher. Keep want to give it a new official name. So let's go ahead. And I feel like this means a little something. So it's good, a kind of just and type here, maybe a line this m to the f Maybe make it a block. I could play around with the font choice here. I don't know if I like the plot choice here, so we're just gonna preview savants. I've collected all these through the years. There's plenty of websites and go toe to download fonts. Um, trying to think of something that goes really well, Maybe this Ah, go bold pro. And I want these two match. They're gonna take music at my eyedropper tool, and I'm gonna adopt the same thought for music and the same farm for festival. And this is a condensed fought, so it's a little bit taller and more narrow, so you can fit a lot more text in a small area. So that's a nice fought choice for this. So maybe do something like this, maybe make it bigger. We really want people to see it and continue to play around with weights. Talic. I could do all italics that might look neat. Yeah, I like that a lot. Really Like that balance. Great. So let's play around with the color a little bit. We Let's go back to our locked layer was unlock it and select our black background. And let's do kind of a a really deep purple. There we go. I think one thing that's missing is a photo. So now that we've done some type work, let's let's play around. Some photos 13. Section 3: Poster Design - Photos and Layout: line. So we're kind of used this as our photo behind our headline. So let me go ahead. I need to send this to the back layer. So I'm gonna go ahead and lock our background layer again so we don't accidentally send this all the way back. Go back to our main layer. I'm gonna right click Arrange Cindy back. So there it is. It's in the background now, and I don't like these harsh edges, so I would like to feather thes edges a little bit, so I'm gonna go up to see if I could find it. Okay, So what effect? Stylized feather. This a really need effect. I used for photos a lot. I'm gonna click on previews. I can see how much is being added. And I'm just gonna kind of do two inches where she may have some different sizes and click . OK, see how it feathers It almost looks like it's blended in. That looks wonderful. So I'm gonna shift the photo down and maybe shift our headline up just a tad. And I actually got to select my headline. All three text boxes and I'm going to right click are actually gonna go to object in group . So now that's one unit. I can shift it around. You move that higher and let's see if I can't make that white. Here we go. And another thing with type is you cannot affects to type, and you can add effects to any object. But this is a great example of how to add maybe a drop shadow to make this pop out over the strong photo. So I'm gonna bring out a new panel for you guys and it's the appearance panel and you can go ahead and recall it by going up to window and clicking that appearance and you'll have it already have it loaded on one of my boxes. And so we're gonna go down to this thing called FX. Short for effects. We go and click, and this could give us a drop down menu of a lot of different layer effects. We can apply to our text layer, and I am going to go to stylized drop shadow. You're gonna use this a lot. I also have my drop shadow. If you know Photoshopped, then you'll be right at home. So I'm gonna click on preview and kind of test out some different offsets and blur that's gonna change. Gonna make it a little bit more blurred opacity. I'm gonna make it stronger so I can actually increase the capacity goes 1 to 100%. So that's great, actually. Won a screen it back a little bit more. 76 6 uh, play around with the offset. The bigger the offset, the bigger the more length it's placed away from the object. So let's do a test. Let's do one and once just kind of show you an example, so that offsets it quite a bit, and if you want to blur, it might have a kind of a neat effect. But let's go ahead and rain it in a little bit. Madu 03 You may have some different numbers because I'm doing it in inches that you may not be using inches, so it's kind of adjusted based on what you have. Make it smaller, bigger kind of experiment, and you could do the same thing with objects. So if I could get my rectangle tool, we'll go over this in a little bit more detail. I could go to the appearance Goto FX and Then I can also add a drop shadow two boxes using the same method. So now that has a nice drop shadow to it. Okay, So what I'm gonna do, I'm gonna make this photo a little bit bigger. I wanted to go all the way up to the top, and I think it's too strong. I think it's really hard for that white text to pop up over it. So we're going to do something, throw it a lot. Actually, we're gonna go in more detail about this, but I kind of wanted to show you an example first of how to practically apply this. But we're gonna change the blending mode on this photo. And, ah, blending mode is a fancy transparency. It's a different way to do a transparency. Ah, so we're gonna call that up? What's great about the blending mode is you can use the appearance panel to change the blending mode. So while we're already talking about the FX option down here, we can also talk about the transparency are blending mode options. So if you go down to opacity, you can actually screen back this photo, reduce the opacity, actually, go select my object first, go up to a pastie and I can reduce it. So it's not a strong. That's exactly what I needed to do, but actually want to do something even better than this because I'm reducing the opacity, but it just looks like has a transparency on it. Doesn't look, um, I don't know, just don't like how the colors air blending it just it looks faded. So I'm gonna bring the opacity back to 100%. I'm actually good. Here's where you can change your blending mode. And I got here by going to appearance, clicking on a pass ity and I'm gonna change my blending mode. One of my favorite blending modes to use with photos on behind a solid background is one call luminosity. So I'm gonna go and click on luminosity and you'll see a dozen transparency, but it makes all the colors the same color of the background photo. So if I wanted to unlock my back ground photo and I want to change this to Yellow Country, did you could see it changes with the colors, which is super cool. I love it. It's only go back to the purple and really I could mix any color I want. So let me go. Double click my fill and make it a little bit brighter. Maybe add a little bit of purple. Oh, that's too much. It almost has a duo tone. Look to it if you've ever heard of duo tones and photography, So I love it. So let's go ahead and adjust just our headline a little bit. Ah, let's if ever wanted to remove a drop shadow Let's say I don't like it anymore. I can actually go ahead and click and drag drop shadow down toothy trashcan icon and it will remove the drop shadow for me if I want to experiment. And maybe what if I took the eyedropper tool and sampled this blue background text? And what if I made this picture because it's already as bright as it could be? One way to do it going to go back toe white. This is where we're just gonna experiment here. The different options maybe make the headline a little smaller so you can read it. But I absolutely love this foot. Are making it bigger. Look, it has a little bit more of an impact on the Flyer, But I definitely think this needs to be a different color other than White. We can experiment with black, black, pop up pretty good. I wanted to be in the same blue family, so that's good. Click on here. I think that looks great. So we're getting there. We're getting there. See, now this Texas is not very readable. Let's go ahead and change this all too bright white cause right now it's unlike Gray. Let's change that to Bright White. See if that helps. And it might help to change the font weight on this a little bit bolder. Let's do, Ah, extra bold tightness. Spacing be a little bit more readable and we could add a drop shadow to this. So I'm gonna go to appearance FX. What sad. You drop shadow on this one. I do drop shadows constantly to help, uh, text kind of show up a little bit better. So that drop shadow really helped it kind of show up, didn't it? I could do the same to this and another little trick. Instead of manually adding the same drop shadow each time for each block of text, I could actually select this one I goto effects, Actually, all there, this it saves the last effect you applied up here. It's actually a little shortcut. So instead of having to do it mainly each time, I won't apply the same drop shadow that I just did to this sub headline. I click on this goto FX, and that saved it. So apply Drop shadow. I could do the same thing for these effects. It's always at the top of your effects panel. This old trick actually gonna go back in the history of it. Undo drop shadow for both of those, cause I think I don't think that it needs it down here. Let's go and zoom out. Take a look at her poster so far, See if we need to finesse it. Zoom out 75%. It's always great to zoom out. See? Okay, Does it work? Does the blocking work? I think I need to work on my headline a little bit, so I'm gonna work on that and come back 14. Section 3: Poster Design Finishing Touches: So it took about five minutes and I experimented with some other bond options from a headline. I wasn't very thrilled with what I had before. This is too plain. So I found this really nice font War is over. And another one Sun Valley, which I believe her premium bonds they may need to to find out how to purchase those on other websites. Um, but you can find a whole array of other thoughts online as well, but just playing around and wanted to have more of a custom kind of look to it, a little hand drawn kind of scribble marker and just coming some ground effects. And I shifted the photo up a little bit and I reduced the, uh think I reduced the feathering are I increased the feathering. So it looked a little bit more screened back, a little less opaque. Was it a little bit too strong? And I'm also I moved the line down here and made it a little bit thinner, and I'm also applying to the website. All I did was highlight this. I took the eyedropper tool and sampled my headline font and made a little bit smaller. So There's kind of a theme with the font. You can kind of see it here, but also tie it in on the top as well. So I wanted to do something other than a boring block of text. Um, so I decided to make this thinner and maybe a little bit smaller, and I want to feature the band names. So, um, let's go ahead. And I'm just gonna copy this, and we're going to start over so it can continue to practice working with our thoughts. So I'm gonna make just a typical square rectangle go up to our type tool or to do, ah area type tool. Click up here the paste in my band names and let me find a font. Let me stick with It's a stick with open Sands for right now, adjusting some of the spacing I could do it here is Well, uh huh. So let's see, What I want to do is I want to break this up into a couple different columns. Um, so I'm gonna actually copy. Let's see, I want to have four band names. Let me add another band name. I'm gonna do four and four, so I'm gonna four on one column and copy and paste. We're on another. I'm gonna zoom in a little bit so you can see this better. Okay, so I'm gonna make this a talic, maybe make it smaller and maybe italic. We'll say we feature quite a bit of band names. So let's say this is a pretty big festival. I have three columns right now. That looks nice. Ah, one way to kind of break it up. I need some or visual elements or objects to break up this information. I guess maybe adding a line here this copy and paste it. This is kind of a popular thing to do. Copy and paste just adds something to break up the big block of text. Just a little visual aid. I think that needs a little more spacing space that out. So I could make this a different color. Maybe Aiken sample my purple background and make it just a a little bit of a lighter version of it. So it's not as intense. That's one option. I'm selecting everything here. I'm holding down shift. I'm just gonna make everything a little bigger and kind of bring this element together. is this is one unit. Make it feel like it's one unit. So I brought that a little bit closer, and I don't know if I'll need this line anymore, So it's going to leave that. So we might want to put social media icons or something here as well make these little skinnier, well, skinnier. It'll skinnier. I could always copy and paste it so I could have each one be the same with. But I was doing this quickly, so soon mounts. See what we have. So if we like the overall look of it like I could make the photo maybe bigger, more impactful, emotional and see high over. I have drop shadows on each one of these layers, and you notice how the drop shadow kind of see it almost looks like a three D stacked appearance because of the drop shadow. A little bit right here looks nice with that, a little bit higher, so I think I might play around with a photo a little bit more, not super happy with a photo. But I love the blending mode and let's and we'll go over blending modes in more detail in the next lesson. but we could go back up lending mood. I just took a pause and adjusted the color a little bit, just a tiny bit and adjusted the headline and move some things around to kind of made a little bit smaller to have a nice find hierarchy and balance. Ah, but what I was just about to do is click on the photo and mess around with a blending mood . Just one more time to make sure there's not anything else. We can add that another blending mode that might work better so oven appearance capacity and this is the capacity into the left is where you can adjust the blending mode. I'm gonna try a couple of Mount Multiply color Dodge overlay. I think we've pretty much found the right one right off the bat. That one's kind of more subtle. That's interesting. Um, do screen woo really? Like how Screen looks almost as an instagram filter kind of faded Look, I love it, so I'm glad we experimented there. Let me move this up a little higher. Can we move this down just a little bit? Make it smaller. Not that I really liked the photo. And now that the text is no longer over a photo. I could probably back off the drop shadow and make it a little less apparent. I'm just gonna do it. Reduce the capacity of my drop shadows just so it doesn't look fake are too strong. Got to be careful with drop Shadow is not to make him too strong. I actually like it strong on the 2020. There we go. So I think we're done with this poster. I can continue to mess around with some of the elements I could mess around with this all day. Sometimes it's good to call it a day and say I've done I think that works well and I'm ready to send it to the client. 15. Section 4: Coffee Logo Project - Coffee Logo Project - Type on Path Tool: So we're gonna continue to work with types were to go back to our type pool, and I'm gonna show you how to do curved type. So I got to go ahead and call up, uh, lips tool. And I'm just gonna hold down, shift and drag and create a simple circle. Go ahead and create it. That that's kind of defaults or cool. You'll see. So we're working. Add text that IHS circular that goes around its go ahead. Flip this two stroke, we're gonna add text. I don't go around the curvature of this line, So we're gonna go up and grab the type on path tools. Go and grab that and you'll notice you have this little icon right here. Click anywhere you want your text to start. So let's say I'm making a seal graphic and I want the text to go all the way around. So I'm gonna click right here and there's some sample text. Morris, you could see how it went over the entire circle, which is really cool. It's gonna make that a little bit smaller. Well, we'll go. We'll go back to that later. Let's go to the pin tool and I'm gonna just draw a curve, shape their pin tool. Look at the stroke. I gotta get my direct selection tools. Kind of mess around with the line a little bit. And we're gonna be able to add text off this this large as well. So we already got her type on path. Tool selected. Go here to the very beginning. Could make this fun a little bit smaller. So you could really add curves to anything you could actually, uh, create your own kind of semicircle shape, make it a stroke, make a little bored, even grab my type on path tool and at a nice curve, anything. Let's go back to our circle. It's gonna make that a little bit bigger. I'm gonna add some sample text here in a moment. So I decided to make a little seal logo. Are emblem for a coffee shop? Just kind of a little fun thing. Maybe they could put on coffee mugs. Ah, food, family, love, coffee. So just cut some generic copy, and I'm just going to make sure I have the same spacing between these lines. Perfect. You're gonna mess around with thought a little bit. Let's see What fun would look really good? Let's just try for right now doing an open sands kind of my default go to We'll do lightweight and I want this to spread further across the circles. There's two things we could do. It can either make the pot bigger. That's one way to do it or make it smaller again. We could add spacing between the characters. So go to our character. Pale were right down here. Have it right here at a little spacing 200 and I could have it stretch across as well. I think looks cool. I think I could do a combination of both. So I'm not going to do do 100 spacing and make it a little bit bigger. What's great about Seal live or what you really want to do? Go ahead, grab the rectangle tool. I like to have the very beginning of the font match up with the very edge of the type. So just has a nice balance Look to it. So that's awesome. So now what we're gonna do is do a little custom. We're gonna kind of practice or pin to a little bit, and we're gonna draw a little bug, so we're using a couple tools. Why learning new ones? So let's grab our pit tool and go ahead and start drawing a little bit of a shape. So let's see a coffee mug. Let's let me go ahead and find a photo. Have a coffee mug. I'm on a website called pixels right here. When we do coffee log, all these photos are free to use, so feel free to go to pixels dot com. Here's pixels and you'll be able. I'm just What I want to do is I don't I wanted a trace a little bit of one. I don't want to copy it, but I want to get on idea what a coffee mug the shape really looks like. So let's go ahead and bring this in. No longer need that window. I'll go ahead and bring what we just downloaded in there. It ISS just dragging over toe Illustrator and popping it in is a new document. These photos are really high resolution, so when I drag it to my document, dumps dragged us over to my new document. It's super super big, which is no problem, because I can always zoom out to 22%. And I can make this much, much smaller, making that much smaller. Gonna bring it in. Okay, so now let me zoom. Make this bigger. I'm gonna trace it a little bit, but kind of make it my own as well. So I'm just gonna kind of take the pin tool women zoom and even more so you can really see what I'm doing here. We turn this two stroke so that doesn't fill it in for me. I'm doing many points to do this curve, just like we did with our practice logos. Sometimes you gotta do several points to make the shape how you like it. And let's do Ah, a little curve here around the handle. Don't be afraid to use many different points. A lot of these vector graphics you can download online, you'll see how they created him. And they'll have hundreds of different points for an object like this. I don't feel like you have to just have a couple of anchor points to create this. I'm just gonna keep going. I'm gonna go ahead and just kind of figure out where that bottom would be because, like the beans are covering it up. So I got a kind of be creative clicking, dragging like it's the right Curves are always the hardest to do with the pin tool. That's why you have the direct selection tool. Because I could go back and I'm gonna finesse the shape a little bit and make it a little better, because it's probably not gonna be perfect the way I just did it. Let me do the eyedropper tool in adopt that stroke. Perfect. So I'm actually gonna do kind of, ah character chur of this coffee cup. I can't make it super realistic cause I wanted to be shown very small, just kind of the sample here. So let's go ahead and delete this graphic. They could see how horrible that is. So that's no problem. I'm gonna go in and clean it up. So let's go in 1000%. Let's start to clean up our lines, getting my direct selection tool. This is great pin tool privates to taken that handle, straightening it and also what I want to do say I might want to make this a solid color may switch this to solid toe Phil and we have this other object. You have the other one We drew in the inside. Didn't wait once just once. So, like that. Let's make that make that white. Maybe I need to bring that to the front. There it is. Perfect. Now I'm able to kind of do some adjustments a little bit better lips meant to do 1000%. Really Gotta zoom in on this one. Okay, get that direction. Election tool on. Let's just play around with angles. Sometimes you gotta add a point to have a smoother transition. So let's see up here. Maybe I needed to put some more points. So right now, I just have one here, one here so I can actually go down to my pin tool at an anchor point at anchor points. You see how it adds little bit more flexibility there, using back out so I can see a little bit more of my total cup. Are you starting to look a little better? I think just adjusting the handle made a big difference. We're gonna continue to find Tunis. We'll zoom back in just that handle. I don't like that sharp point. That's not perfect. So suggest that maybe make the handle thicker. They're a little bit better. Yeah, I think just adjusting the handle made a big difference. Let's go ahead and zoom back out. I'm actually gonna make this reduce this a little bit. There we go. It's not horrible. What could probably adjust up here a little bit more ahead of time? Well, we'll worry about that later. So I have my little coffee shape. I have this other little line that I drew to kind of show make that white gonna show where the lip of the coffee waas I could go to stroke, which is in my appearance panel. I'm, like, a little thicker. Or you can bring out ah, stroke good a window and has its own panel. So I'm just gonna bring that out thicker. And I don't like the sharp edges, so I'm gonna do the around it if that helps. Or the cap. Oh, that's nice to go to cap. Select round cap. That adds a nice captain. Each end looks a little nicer. Any time I make an object with God, Yes, with that a little bit. So any time I make an object smaller and it has a stroke on it. So let's see, this has a stroke on it. And I'm gonna make this much smaller to fit in our logo. It gets thicker work. It's thinner. If I make it really digs, let me make it really big. Notice how the stroke adapts when it gets bigger and smaller. I don't want that. I wanted to be the same any no matter what size it is, so we're gonna have to go outline the stroke. So we're gonna go toe object half gonna outline that strokes announcing objects. And now it's not gonna just It's good to stay the same width, no matter how big or small. I make this cup of coffee, and I hate to do this, but I actually don't like a little detail there, so I'm actually gonna delete that. But I just wanted to show you, uh, how you need to outline strokes when you're kind of adjusting things bigger and smaller. Okay, so let's zoom out a little bit more and take a look at our total thing we have going on here. I don't think I need stroke anymore. Make this a little bit bigger and I definitely want to add maybe a heart. So let's do a heart graphic with her pin tool. Um, so let me to get a ticket, red or pink, and, uh, one trick we could do. We could probably get the grid grid system going. Or we could just eyeball it and just do 1/2 of a heart, right? We're doing 1/2 of a heart, and I'm actually gonna copy and paste this object A little trick. I'm gonna flip it horizontally. I could do that manually by just doing that work and have it be exact by going toe object. Transform reflect, and we preview it. There we go. Object, transform, reflect. Put these objects together and it's a lot easier to have perfect half's. You're doing an object that has symmetry. I'm just getting the direct selection too well wasn't perfect when I made the halves, so I'm just kind of adjusting them perfect. So I could join the shapes together by using the shape builder tool. Get my shape of the tool and you do. Now it's one object Perfect. Not everything's precise cause of trying to do everything on the timely manner. But I would usually have a little bit more time toe to make it perfect. So I have our heart. We'll put it in here, the coffee work and have it come out as, like that or can take this pin tool like the heart a little bit more. They would go a little bit more of a heart, put a little bit the the anchor point a little down a little bit. So there's one. Let's make this the circle a little bit smaller is holding down shift. I want to make the font actually thicker now that I'm putting everything together and let's ah, reduce the spacing. There we go. They can always turn. This is well to make it even on down here and down here. So that's one option. I would also put the name of the business down below, but I want to have the circle, um, down below. Maybe I can actually do ah are ridden 16. Section 4: Coffee Logo Project - Coffee Logo Project Part 2: so no, I think I'm gonna add another block of tax down here to put the company or the coffee bakery name. So I'm gonna go and grab Arpin Tool, and I'm just gonna click. And just to kind of occurs, we could do a little bit of a ribbon and I'm just gonna switch to stroke so I can kind of see what I'm doing a little bit better. I'm not gonna be exact cause I can always a mess around with the points. A little bit later. Let me go ahead. I'm actually gonna delete that anchor point Hope. Maybe not. Maybe not. Let's keep that one. It's a just to get the right thickness that we like. Double clicking, direct selection tool. There we go. Make a little bit bigger. Have it go all the way across the bottom and I want to put that Let me make a little bit thicker down here. Just being very picky at this point to, without adjusting, I want the ribbon to be thick enough to have a nice, bold text. So I'm gonna go ahead and take our pin tool. I'm actually gonna draw a line when we go back to stroke that I'm gonna actually put my text on in a curve fashion. So I'm gonna just create a little curve. You know what? My text to sit on? I wanted to be about the same angle as the ribbon. I'm gonna grab my type on path tool that we use before click at the very end. Um, I don't have a name yet. Let me do a shorter name. Um, coffee expert. And it's not a very original name, but we're just kind of filling in stuff like a bigger Do you notice how it has a nice curve along with the ribbon And I can even adjust the line that I put the type on path. I can still adjust my path even after I put the text in it. Just like I would align, but that I drew with pin tool No, go back, see? Notice how it disappears, it goes off the line. Gonna make the font just a little bit smaller to bring it back like a little bit smaller. Perfect. And let me make it black if I can. Or bold extra bold make it just a hair bigger So maybe 19.5 points. Perfect. So we're getting there. I'm gonna mess around with this font next. So let's address this a little bit and have an idea. Let's go ahead and delete these little ours Make the, uh, lettering or the words a little bit closer and spacing. And let's increase or I can actually go right here. Have my character right here. Ah, let me adjust the tracking a little bit on that they could stretch all the way down to the bottom. And I have an idea. I can actually copy and paste this heart, which I'm actually gonna adjust the color to make it a little less pink. A little more red, they would go. I'm gonna make this a little bit smaller and angle it. And that could kind of be our little bullet points between the words. Perhaps was kind of playing around with some options. And maybe this goes on the coffee cup. Maybe it's bigger. Maybe it goes behind. So let's go. Right click. Arrange. Let's send this behind the coffee cup. Maybe like this, or I could put it on the actual coffee cups. So let's arrange to bring it back to the front, but there may well could make this white and make a couple little bit bigger. It's all about trying to balance everything. I could make this fun a little thinner. We rotate everything might have toe adjust my little bullet weight. My heart's a little bit We're getting there. Let's bring out some of this color We'll take my rectangle tool Just be ableto see if the bottom of the F in the bottom of the E come together and they don't So me, uh, but spacing till it does I keep going up here. But I forgot. I have my character panel right there that I could easily track makes a little bit bigger. Perfect. I think I'm done messing around with that part, so I won't mess around with that anymore. Yeah, so we're starting to get there. I'd love to add a little bit more of texture or some layers or something to this ribbon to make it a little less flat. Right now it looks kind of flat. So a couple things we could do we can add a drop shadow to it. I can copy and paste the object and make it a little bit darker than what it is now. Maybe like that, maybe a little more dark. I could actually offset it a little bit from the original banner. I can right click. I'm sending it to the back So this ribbon is looking a little bit off. Looks like it's definitely slanting one way more than the other. So let's go ahead and get our trusty rectangle tool. Let's get a different color. I want the bottom of the sea tow line up with the bottom of the S and we could see that it's clearly missing the mark. I'm just gonna turn it a little bit until there's a little bit more even spacing and same thing with the ribbon. Now that looks a lot more even, doesn't it? Had a little bit more of a ankle course. We can always play around font choices and see what options we have that could work. Maybe something rustic? No, not quite. Make a little bit smaller. I like that. I could have tighter spacing ups right down here. Metals toward me to make it a little bit bigger, 17. Section 4: Coffee Logo Project - Coffee Logo Project Part 3: So let me kind of create a little bit of ah texture or three d effect with this Coffee express, I could just do a simple drop shadow on the layer, or I can copy and paste. Go ahead, sample that color. But make it a little bit darker and actually can overlay it. Offset it just a little bit. We're gonna zoom in so I could see this offset it just a little bit. And I am going to keep sending it to the back. So a range like a send it all the way to the back, But I'm gonna send it backwards. Okay, So select range said backward and I have a little keyboard shortcut for a Mac. I use command. And then I use this symbol right here that you'll see on the screen and I hold down command . I'm able to kind of move it backward. And if I do this symbol, hold down command to click, I could bring it forward. So it's like a little keyboard shortcut, so you don't have to keep right clicking and go into a range. So that adds a nice little punk and let me add a little drop shadow to the ribbon as well. I don't need that anymore. So I'm gonna go toe appearance FX and go down to drop shadow wherever you may be. Trump. Stylized drop Shadow Preview. It looks like it has a purple shadows. Bring that back down the black and let's ah, make it a little less lor and let's make it not as far away Make that two perfect. Just a little something something. So here's our icon so far. Could make a little smaller. See how we like it. We could change the coffee cups. It's not so strong, so we could find a nice complimentary color for right now. It's just a gray. We could make this cup gray. You could even make this that color. I like it white. I could make the heart a little bit bigger, too. Have a nice contrast, leaving defy ripping up. Select all these elements. Hold down shift once like that one, and then get a group of right click group. Miss. See if I can't arranged in the front, I'm gonna add we had, like, a little bit of he's taken the pen tool. A little bit of smoke or steam. I guess that would be steam. You make that a lighter color like that? I could probably work on that a little bit better. Little bit more later. That's, um simple pin tool magic. Let's bring this up a little bit more. Okay, So here's what I want to dio I actually want some rounded text may be established 2017 or whatever along the bottom here. I could do another straight across bond, but I'd like to have it rounded. Um, so I'm gonna actually copy and paste my circle. And here's the trick. This is very tricky. I still have problems mastering this. So let me zoom in just a little bit more. We're gonna have this font if I decide you just press space and I wanted at the very bottom . Here's the problem. It's upside down, which is never good. You never wanna have fun upside down. I want it right side up. So how do we do that? I'm actually gonna take ah, Have my direct Soleil are my selection tool. I'm gonna wait till, like it a certain icon. There it is. See it right there. Have a little arrow to the left click. Once you find that icon click move kind of move around your mouth. I'm still holding the mouse button, and sometimes you have to click and do this and then try again. It's very finicky. Let's try again. I was trying to get it on the inside of the stroke as opposed to the outside. That's exactly what I'm trying to do. Um, and I don't think this is program perfectly an illustrator because it should work seamless . And it's not. So you have this issues going on there. I was having some technical difficulties trying to get this on the inside of the stroke, as opposed to the outside where it is now. So I just created a new circle just to kind of re start a little bit, and I kind of I kind of figured it out. So I think there was something wrong with that other circle to start a new circle. If you ever have any technical difficulties to start over. So, um, looking for that icon again? There it ISS. So I just had my circle. There's my icon with the arrow, and I'm just gonna take my mouse and I'm just gonna push kind of drag up, and it's gonna drag it on the inside of the circle. So now, instead of being on the outside, it's on the inside. So now I can go ahead and copy and paste some thought in here, or at least adapt the same style Cem's gonna click on here and I'm gonna put established 2018. Okay? And I'm just gonna move this circle till I feel like it's in center. It's 2 300%. I don't need that circle anymore so we can have this actually be. We can have it be the same. Here's what I'm gonna do. Times could take the circle tool drawl. I want these to kind of be on the same arc or curve. It's like that. So I might need to make this bigger. The match. Turn it around, sits in the center, maybe make this a little bit bigger and maybe make it a thin wait. I don't want it to compete with anything else, and you know what's cool? This is gave me a good idea of what we could do for another version of this logo is to create a solid colored background. See that gray? So we'll do that in the next video so they would go. It's on the same mark. And so let's do that cause there's a lot of open gaps and spaces, and a great way to feel that in is to put this in a circle. So that's exactly what we're gonna do. So I just have a circle here. I'm gonna right click a range of sending us all the way to the back. So now I need to make my coffee cup a different color or make this a different color. So let's make this really light gray. Let's make our little steam a different color or darker. They would go done that look a lot nicer now could make this a little longer, maybe less bold. I feel like I'm constantly adjusting this this type, so let's make it. Let's put some current ing or some spacing between the characters and their let's dio through something dramatic like 500. Keep changing this, but we keep changing. This is exactly what you do in local designers. You break down what you've already done and do something new, and it continually gets better as you try out different things. I'm just suggesting the circle. So that spacing around this little this line where my bond is going around the circle has the same spacing with this inner circle. This looks even a nice. I want to get a copy and paste again. I'm gonna make a second circle. I'm gonna make this a true seal. I'm sending that to the back and I'm gonna make it. Maybe this color. So now I'm able to put the logo kind of in this seal. And so I'm gonna take this gray circle and this pink circle. I'm selecting both of them. And I'm just gonna go up to my alignment options up here, and I'm going to center. Align all of them. So anything that says center so horizontal aligned center, vertical aligned center, vertical distribute and horizontal. Now all that's perfectly. These two circles are aligned. Now I can make this white. Or maybe a light gray might look cool. Now, let's do a white. I think it needs to really pop out, go back to our hearts, make our hearts white, and let's make our coffee cup a different color other than gray. What? Some I don't know what? Uh well, experiment a little bit with that 18. Section 4: Coffee Logo Project - part 4 Finalizing and Exporting: they come quite get the color combination. I want it. So I'm just gonna stick with simple kind of a gray and this kind of red ish raspberry color . So, uh, what's great about the illustrator? It's so easy to make things a little bit smaller and then just copying and pasting and trying different color options. So that's exactly what we're gonna do. Um, particular do different iterations over logo. That's what they call it. Is it orations? I'm gonna go ahead and select and play around. Maybe, you know, gold tones. That's kind of neat. Another option. Let me see if I can't make that Balu that might pair better with, um do not that it's too like a deep purple. Maybe that's kind of need. I'm selecting that, uh, background option or the Coffee express. Drop shadow There. There we go. I could even make the hearts light again on this one. We could even reverse this a little bit. So when it comes to seal logo, So right now this is white. Let's actually reverse that and make that gold. And to take this outside circle and make that purple so you could see how that totally changed. I'm just using the eyedropper tool. Make that white the select my steam. And this gives us a totally different version. And I really, really loved that. I think that's moving in the right direction. I'm actually gonna select all of my coffee elements, get a group of right click group. So now they're all together. We use my little keyboard shortcut to send this to the back and make it a little bit bigger . You know, what we really need is the steam and the handle kind of go off a little bit, make it more three d looking just like that. See how this handle seeming a little bit. This handle kind of overlaps this. The circle, the outside circle, Brian make my steam a little bit less intense. So I made some final tweaks to our logo, and we're gonna prepare this graphic to be placed on a wide variety of objects. And so a couple things need a couple of things need to happen. Ah, Well, first of all, this logo is actually pretty good. It has a background already. It could be ah exported. I can actually go to my actually open up a new document. I'm just gonna grab a seven by seven inch. I'm gonna put it in, See? And why K mode, Which is what most logos are designed in. Forget it. Never have this printed out somewhere. Lips. This is more of an advanced kind of lessons. So do not feel worried if you if you get a little bit overwhelmed with this one, this is definitely more of an advanced technique. So here's our logo Ready to go. I have are seven by seven inch document. Or you could just have any square size that you'd like. I'm gonna go ahead and make it as large as I can without it going over the art Fourth. Perfect. I can goto file documents, set up edit art board. So I'm just gonna just my art board a little bit so that it hugs the edge of the logo. So when I exported as a J. Paige, there won't be extra white space. Perfect. Where does framing our logo to be exported out? And this one's gonna be easier than the other version we created. And I'll show you why in a minute, right? So this is ready to go The only problem I see is the drop shadow. Most if you're gonna use this is a J. Paige or for the Web. Um, having a drop. Shadows, no problem it'll. But if you were ever to get the screen printed on a T shirt, sometimes drop shadows can cause problems. So I'm over in my appearance panel on the names have the ribbon selected. I'm just gonna drag this down to the trash can and just not have a drop shadow. Or I can manually add a drop shadow. So that's usually what I do when it comes toe logo design. So here's how I'm gonna manually add a drop shadow. I'm basically gonna draw an object right underneath here that would emulate where the shadow would be. So maybe right here is definitely advanced techniques. I don't don't feel overwhelmed. Don't feel worried. We'll go over this as I do more projects, you'll be able to see these kind of techniques happen. I don't like that so much. So I'm gonna start over and let me actually just a different color so I can kind of see what I'm doing. Flip it to path. It's creating a shadow where the shadow would normally be creating a curve. Other curve, they're not going to do a fill. And I want a sample this color right here. But I'm gonna make it just ever so slightly darker just like that. And I'm just gonna send it to the back layer, Send it behind this ribbon and I could probably even adjust it, not make it quite a stick and maybe go back and make it not quite a stark ever so slightly , just a little nudge. Look, mill nudge darker to see how we created a shadow without actually having to add drop shadow . It's basically a manually created drop shadow and let's go and copy and paste And let's flip that object around some. They're gonna do object transform. Ah, reflect and I'm ableto flip it around and use it on this side, since this should be the same angle. And if not, I can adjust it. That would be a shadow created underneath the ribbon just like that. So now that is, the amount looks pretty cool. The look at that manually added shadow. If he wanted to get really detailed, we can add a shadow here. But I kind of like it exactly how it is. But I'm just gonna do this for fun. For example, this color ever so slightly darker I'm gonna use my keyboard shortcuts in that backward in the layering system. So that's a full shadow right there. But, um, I kind of like it just with the this looks like it's further in the background. That's cool. So I think we're ready to go with this logo to export it. I don't have any drop shadows. I have just objects. Vector objects, What looks like a drop shadow. But it's actually a shape. So I'm ready to go. I'm gonna go to file export export as and I'm gonna export as a PNG. So ah, coffee logo sample. And I like to do it at a high P p I P P. Eyes. Another term for Resolution 300 is kind of your standard print resolution, but she could do it much higher, too, so I usually do a little bit higher. So when people blow it up, I know clients take this logo and they blow it up larger than they need to. It's always good to have a higher resolution just in case they try to do that, I'm gonna click. OK, let me see if I can't pull up my p and G pull up my PNG here. Millions of files there it iss PNG. It's got a transparent background. So I complacent this over any, uh anything really. And there we go. And also, if you want, that saves a vector. Which a lot of print companies, and if you ever get it embroidered or all that all that kind of stuff, they like to have a vector file. I usually go down, and I export as a e p s illustrator E p s sounds good. Title that vector click. OK, all boasted the default settings or adequate. So now I have a vector version of my logo. I have a PNG with a transparent background that I come place over Anything could also export as a J peg and it would have the white background 19. Section 4: Coffee Logo Project part 5 - Pathfinder Tool: Do you have another version Bir logo that I also want to export and save. So let's just grab this one. I'm just gonna copy and paste it on that same art board we created. And so this is where we're gonna run into a little bit of issues. The other one was fine because I had a background behind the coffee cup. This is what I want to do with this logo. So I'm gonna draw a background color. Any color will do. I'm gonna arrange and send this to the back, so right, click arranged in the back. Okay, so here's where the problem lies. I have this issue with the circle Big White. I want to place this on any background and have this color show through where the white iss . Well, how do we do that? This is work. It's a little complicated. So I'm gonna go ahead and sue men. There's a couple ways we can go about this. We can use the shape builder tool to punch out that white color and also the heart and this little shape. Or we can use what's called the Pathfinder tools. So I'm gonna go ahead and close down some of these things. I'm gonna go toe, window, window and go down to Path Finder. So here's my Pathfinder window. And so I'm gonna go ahead and select. I'm actually get a punch out objects. So I want to keep the gray all the gray, and I want all the white to be punched out so that you see this color behind it or any color, any background color. So I'm gonna select my heart. I also think I have a shape here, and I have this backgrounds, all that I want to punch out. Okay, so I'm gonna wanna punch this heart and this little loop thing out of this coffee cup. So I'm gonna take this this object I have here that makes the loop of her handle I'm going to right click and also select the heart. I got a group Those objects together. So now their roof together, this work, it's a little tricky. I have the selected, but I also wanna hold down, shift and select the coffee cup behind it. So here's what the Pathfinder window does or the Pathfinder tool. Uhm, I'm going to try on always kind of wonder which one I should use, so I still haven't memorized of all. And each of them are used for a different situation. So I want to punch it out. So I want to punch that this object in this object out of the this here coffee cups. So let's try minus front. See what happens. That did the trick. So I did minus front. So that punched out this. So now when I move the coffee cup over here, you'll notice it punched out the holes. And so now it'll it's transparent and there's little areas, which is exactly what we wanted. So now that the coffee cups complete, I need to be able to, uh, let's see if I could delete that. I know exactly what I'm gonna do. This is where it gets a little complicated. I keep saying that, but it was a lot of throwing at you already. I'm gonna go ahead and copy and paste this circle, and here's what I'm gonna do. Instead of having two circles like this one circle on top of another, I'm gonna actually create a stroke and create a very thick stroke. So how do I get my stroke It's got a window. Bring up stroke. Got my stroke panel. I'm gonna increase this quite a bit until it matches the thickness of what we created here . So let's make it a different color so we can see the difference. Gonna match that thickness. That's what it's about right here. We could have done this to start doing our little we don't have toe do it. How we originally did it. We can go and the creator logo this way from the start. Great. I think that's perfect. I'm gonna go ahead and delete, uh, this gray circle and elite the white, and I am going to outline that stroke. Right? So we don't want that stroke when we make the logo bigger, smaller to get bigger and smaller, and I'll show you an example. We did not outline the stroke yet. Look how thick it is right there. Look how thin it gets when I make it bigger. So let's go ahead and select. Are green path that we just did. Sometimes it's hard to select it when you have a thought that keeps getting selected below it. So let me do select next object below. I might need to shift this out of the way so I can select it. There we go. So I have a 50 point wait on that stroke. So it's good. Object path outline. Stroke. So you see how it made it an object. Now it's no longer a path nor alone no longer stroke, but an object. Perfect. So now I can make my green circle gray, so that looks exactly how it did before. But the power of this is I can add any color background, put the logo on top of it, and it shows the background through the logo, which is kind of what I was wanting to do, which is great. It gives more flexibility to the logo to be ableto have that punched out. So there may be cases redo on a white background, no matter what, no matter what background you would put it in, and he would have left the logo alone. But this is if you want that punched out is used the Pathfinder toe. I will go over more detail about all these tools, but especially the Pathfinder tool. Um, we'll go over in more detail that so then you would do the same thing you did before you save as PNG or you export as vile export export as a PNG. So we'll do second option. And then you also want to do a vector version so you could just have the illustrator file. Or you can save it as a GPS sample this color as well. It was pretty neat to be able to have kind of a background over it if we wanted to. That's kind of our little local mark we discreet. 20. Section 5 - T-shirt Design - Creating Our Text: it. No designed horse is complete without a T shirt design section. So I thought we would have some fun and create some T shirt designs of varying styles so we can kind of practice all the tools we've learned so far and maybe even learn you new ones. Let's go ahead and get started. I just opened a simple seven by seven inshore, Just kind of a square document. And one of the first things I do in T shirt design as I like to go ahead and set my background layer. So I'm gonna go over here to my layer panel. I'm gonna create a new layer. This is gonna be our background That's gonna help us pick our T shirt color. Sam's gonna grab such that toe, Phil. I'm grabbing the rectangle tool and I'm just gonna fill in my art board. And what color T shirt do we want to make? I want to make a darker color T shirts. Let's just stick with Dark Ray for right now. And I gotta go to my background layer in lockets and I don't accidentally moving around and I'm gonna shift. Make sure my background layer is our bottom. So here's your design layer. So I'll go ahead, type in the sign, and I'm ready to begin. So for first design, I'm thinking of doing something really simple. Maybe a simple typography circular logo with some symbols inside. Ah, so I'm gonna go ahead and grab our Ellipse tool or circle tools. I like to call it hold down, shift and drag and get going to get a nice circle here. I'm gonna go over and switch it to stroke and gonna grab our pin tool and do the taipan passes. This is what we I just did in a previous lesson. So I'm gonna go ahead and type in something a little generic. Let me make this white. Maybe a light gray that might look cool. So how about, um, graphic design is my best friend. I know that's incredibly cheesy, but we can always change that a little bit later. Gonna make that make the font size little bigger. There's kind of our semicircle. Or I could do design, heat, live design, eat, live, designed and make that a little bit bigger. Maybe we don't need as big. I'd like this to stretch all the way to the top half of the circle. So I am going to widen the spacing between the characters and our character panel. Maybe 200. Let's try 600. And it just keeps stretching him out or making it bigger to stretch all the way across. So we may do something totally different, but we're just kind of having fun and playing around. So I want to kind of create on X on the inside and have four different icons that describe design. So I'm gonna take the pin tool, and this is where we can go ahead and go up top outside of her art board. Um, and I am going to show grid. So view show grid, we're going to some grid works. I'm gonna zoom in 500%. I'm gonna just draw Simple X. And also I'm gonna make sure I'm snapping to grid. You don't have to. You can eyeball it, but this always helps me make it more precise. I'm just gonna draw Big X to stop. Ah, have a point here. But down here looked at the stroke and I'm gonna do the same thing here. And since it snapped a point, it'll do it nicely. Call me. So I made a simple X. I'm gonna increase the stroke. Have our stroke panel here is gonna increase it. And you notice how it has a sharp right corner. So I wanted to be smooth, so I'm gonna select both and put my cap on. It's gonna have a nice round of cap to it. So that looks nice. So right now I don't need the grid, so I'm just gonna total it off. Maybe I'll toggle off snap to grid, cause that might bother me later. Having that on and let's hide grid. So there's are perfect X Go back to where we were. You go ahead and group this together. I'm just going to object group. Let's bring this guy down to where I might need dizzy amount more. It's bring him down to the middle. So now we have our centerpiece. I think I might change that type a little bit. Once we get going, I'm gonna increase the stroke weight like a thicker. And there's our X. And now what I want to start doing and I am I am gonna make this type a little less intense . This move my circle. I want to make sure it's even on the e bottom of the and aligned with the end. And right now it's not. So I'm just gonna tilt it until it is. Have a go. We're going to four little emblems, and I think I'm going to do something down here to let me go ahead and do that. So an easy thing to do since I already have a type on path circle the lips tool, I'm just gonna copy and paste this element. And I actually think I want to just rotate it, and I would I do with the words upside down. I know in the last thing we did, I did not like it upside down. But I think for this one gonna make an exception. And I'd like something to separate this phrase from this phrase so I could do a couple things. I could make this a different color. I could make that like a red, right. So that kind of could definitely see the separation there. I could even make one of these on the UN group. This one of these lines of color too. Tips. Look that the stroke I think have to do my strokes all over again at a cap. There we go. That's 10 points. And let's see what this one is. 10. Okay, great. So something. I wanted to go over with you guys real quick when we're we're starting to work with the overall designs is going up to view and putting on smart guides. Ah, smart guides could be annoying at times, but when you're doing designs that need to be aligned, bob nicely and doing things with center alignment, I usually like to have smart guides on. So what happens when I have smart guides on? I can go ahead and roll over my mouse and it kind of gives you see that pink line. It lets me know I'm moving the object and it's still aligned with when it horizontally. So you see that pink line when I move it up, kind of just gives me some indications of alignment, and it's just it's just a really nice guide. So you're going and select both of these objects trying to show you an example of smart guides. I'll keep it on, and I'll kind of point out why it's helpful, have on sometimes. So I'd like to have a little element here, uh, right in these areas. So let's copy and paste this X and I do not have my strokes outline or my path outlined. So when I do, when the group this together, when I do shrink it down and hold down, shift and shrink it down, you'll notice it gets much thicker, which doesn't look so bad. I can always mainly adjust it back down. If I were to outline the path, it wouldn't happen. But I wouldn't be able to change the thickness of the stroke once I outlined the path. So sometimes I like to keep it just like this. We could make this a plus sign, maybe course as a accent. Nita Justice a little bit with me on group. Understood. She was smart guys. How that pink line. It's nice. Um, see, that's great. I could not mess with that addition. Sign a little bit later. I may not even included. I'm just I'm just warning some kind of graphic element right there in that empty space. So it's good. Zoom out and see what we have so far, I think probably make my lines a little thicker. Let's see, It's to 12. So now I'm gonna put I think this is too busy. So what I'm gonna do, maybe just do a circle for now? Kind of a bullet point. I know that's not quite as exciting, but maybe we'll figure something else later. Okay, So there's where the smart guides come in handy. I want a line. This on the other side it. So I'm able to do that with smart guides against me. Right there. There it is. See that? That's nice. Nice to be able to have that guide. Okay, so let's start doing the icons were going to four different icons that will go on each empty space of the X. 21. Section 5 - T-shirt Design - Creating Our Icons: So for the different icon designs, I'm actually scroll up outside of my art board. Go ahead and get my grid going. Show grid. I'm not gonna snap the point, cause I'm gonna do some more curves and and and some other things when using. Then what I'd like to do is to show some design tools and each one of those areas. And when I think about design, I think about the pinto a lot. So what actually did is I am taking a screenshot of the pen tool. Well, I'm actually gonna trace it and create my own little icon from it. We see, I think I actually already have this saved. This is just a screenshot from my computer. I'm gonna blow it up. I could hold down shift, make it big, and they could see it's really blurry. So we're gonna have to kind of get do a little bit of guesswork when it comes to some of the curves. So, um, I'm actually gonna grab the pin, told withdrawal the pin tools. That's kind of funny. I'm just gonna doesn't have to be exact, because we can go back and, uh, fine. Tune it later so I'm just doing It's a more pinto a practice for sure. There's the top section, and this looks like I could just use the rectangle instead of having a hand trace This rectangle already have a rectangle tool. I don't have to sit there and try to make a perfect rectangle. There has a little bit of curves to the edge, so I'm gonna go appear to shape shape properties. I'm gonna make sure all these air linked. So says link corner radius values. Go ahead, make sure that's clicked. So when I up the value, it ups the value on all four corners. So left, right, left, right. And let's do maybe point. 08 was like a little bit less of occur. Perfect. Let's go ahead and delete this. I got my little icon we consume and even further and do little details with our direct selection tool. Go ahead, make things a little bit more precise. I don't like the circle very much. So let's that a little better. And I could even take the lips tool. You put that shape here making a different color. When have that be a perfect circle? I'm actually gonna take. Highlight all my elements. I'm gonna take my shape. Builder Tool. You may or may not have the shape builder tool. If you have an older version of illustrator, you may not have the shape over tool, so just be where he may have to manually do this. So let's see. I want to cut out this shape, but I also want to cut out a circle. There we go. Okay, Now I have a perfect circle, so that's a different. A little bit of a cheat to kind of make your workflow a little faster. So I'm gonna group my little element and go ahead and bring it in to my design. So that's icon number one. That's a little pin tool drawing. It will be on the top, so let's do the next one. So I found two other tools that I think are useful for rapid insiders that I can use on my T shirt design. That's the brush tool in the eyedropper tool. So I'll start with the eyedropper tool. We're gonna do the same thing we did with the last icon. We're gonna go ahead and trace this with our pin tool. There's a couple ways we can do this. I'm actually gonna start. You start with this section here and I'm gonna do what I did last time. Go ahead and shed a little bit and grab my wreck tickle tool to create this square shape. It will be a lot easier to do, but I'm actually going to do it. Copy and paste. I could do it again with this. Any time you can use a shape tool instead, the pin tool to kind of do it quicker the better. So I'm gonna go ahead and add Add curves to this are gonna go up to up here to shape, and I'm gonna add smokers. But I only want to add curves on this side and this side of these corners. Let's go ahead and experiment here. So what I'm gonna do is I'm gonna unlock unlinked them. So now I can edit just one corner at a time. So there's one and there's the other, but I don't want to do it quite as much. So let me do 0.7 Maybe that's great. Let me just copy and paste that number on this side. So it didn't edit these bottom corners. I'm leaving that it zero so great. Same thing with here. But I want all the corners to have rounded edges. I'll just link them all. That's too much to let me back it off a notch. Let me 2.3. Perfect. So now I have the holder part of the eyedropper tool. So now I can do a couple things to trace the bottom part. I might want to do a stroke and leave the center unfilled, so I think I'm going to do that. So I'm just gonna kind of do some guesswork here. We could always find Tune with the direct selection tool, make it a little more even, not going to do a stroke and try to match the same thickness as the icon. Let's go and delete the icon or actually limited, shipped it over the side so I could still take a look at it. Let's go ahead and see. They're going to make that a little quicker. Let's go ahead and bring this point. I'm just getting the direct selection tool. It's gonna straighten those out, and it might even make sense to go ahead and take this copy and paste it and work on it right side up. That might help me get it more even. Go ahead and use the grid system to help me get everything. Even right now, it's not even it. Also, I can also snap to grid that would help you to If I said it on there and kept Let's go ahead and stick with that. Bring this back down to lead the old one. Turn the corner, line it up and there's a little eyedropper tool. I'm gonna make this smaller or bigger. So what I'm gonna do, I'm gonna copy and paste. I'm gonna just keep this up here because I'm gonna outline the path and I wanna have a version where I can still edit the stroke and I'm gonna outline this past. I'm selecting this. I'm gonna outline this path all the way through. Let's go ahead and do that object path outline, stroke. So now it's a solid object. So now when I make it much bigger, it won't change. And I have this extra one here just in case I decide to go back and change the thickness. I still have this and I could still do that right now. Once you outlined the path, that's it. It's an object that could no longer mess with the stroke. Okay, so there's my little eyedropper tool, but a group that go ahead and bring that into our T shirt and he does amount to 100%. Here we go. You make that white. Okay, so there's our second icon. Two more to go. All right, So let's do our third icons of the paint brush tool. This one will be a lot easier to Dio. Go ahead and click right here in the center. You can really start anywhere and let me reduce the stroke on that. Let me see. There's my stroke right here. Is that toe one? So I can kind of see what I'm doing. Misses were mastering the pin tools so handy and to getting this stuff these kind of things traced quickly trying to think of that has a little curve to it all the way down. When I do curves, I usually it's like the center. Go out like this and then go out like that. Definitely gonna need to finesse this a little bit. But the direct selection tool I might be the Titan that corner a little bit. Okay, so let's delete the icon or at least move it over here. Let's switch it to fill Miko in 1200%. Let's take a look. It's messed with my handles. Get a little better. I think that's pretty good right now. So let's zoom out. Go ahead and put this one. This one was easy. Would make that white. And let's group it object group, slide him right here. We have one more to go. So one more tool left. I'm gonna do the direct selection tool. Actually, I'm gonna take my pin tool and start to trace. This is easy. This is all straight lines Just like that. We're done the make that a stroke and try to match the thickness of the stroke with the icon. And I'm gonna go up to go to object path. I'm gonna outline that stroke to bacon object, and I'm already done with that one. So let's go ahead and put our last icon on her T shirt and make it the right size to go ahead and put stroke down here. I think I'm gonna need stroke for a while. so just holding down shift and making some adjustments. So there's kind of a rough sketch of our little design for a T shirt. So all these air kind of facing on the same angle. So I wonder if I can change this a row to kind of have the same angle or even reverse these and at least have these to match just to kind of balance the icon direction a little bit. Let's make sure that's the same. Yep. I think that looks kind of neat. We're going to stick with this, Um, a couple little details we can add. Let me kind of mess with the size is a little bit. They're all balanced. And I wonder if I could change the thickness of this little bit right now. It's on 12. Make it 14. I kind of like it. How it I had it. Okay, I'm gonna I want to add a little bit of three D effects to these two lines, and what I'm gonna do is I'm gonna zoom in and I'm gonna hand draw a drop shadow. What's going to come to T shirt did not design and you're using only one or two colors. It's always nice to ah, do manual drop shadows, which is basically drawing it by hand like we've done in the past. Set the pin told, is doing pretty much a work tangle Trying to match it up. Might have snap to grid on smart guides. I'm just gonna take off smart guides for right now, just so I can have a little bit more control over exactly where? Putting it right there. Okay, great. So I'm gonna take the eyedropper tool. I'm gonna sample this red. I believe it's a stroke. So let me flip it to fill, and I'm gonna adjust the color just slightly darker. Maybe right there. So when we zoom out, would be able to see the shadow. Looks like a shadow cast like that. A little bit smaller right there when you take this and make sure that's in the front. So arrange bring to front bringing this gray one of the front toe overlap. This. It just adds a nice element. Little three d Looks like this is over top of this and casting a shadow down on this one. And I could even add shadow effects to the icons, but let me kind of play around with the overall design. Maybe I could play around with the type a little bit, see if I could get something I like. 22. Section 5 - T-shirt Design - Adding Dimension to our icons: so I did a few tweaks to the type a little bit. I actually changed it to sleep. Live design pista change it from eating and it did the bottom Teoh. I also change the font I didn't change The font type are the thought name. It's still Helvetica new, but I change it to a condensed, bold and what's great about a condensed, bold font as I could make it. It's condensed so it can fit more of the font and a smaller space. I was able to make the type a little bit bigger and more visible. I just thought it looked nicer and also took a raid. The bullet points and added kind of some nice bars here, just using the rectangle tool. And so let's say these bars were off centre and I'm trying to finalize my design. You want to make sure everything is centered? I gotta go and select this object and select this object. I'm gonna go up here to a line or I can call it out on my window here a line and I'm gonna do I can't align all to the top working aligned them to the bottom. So I'm gonna line into the top. So I know these are perfectly lined up. I'm just using my keyboard down arrow Key and just doing some slight adjustments. I could do the same thing with my rectangle tool and see if the bottom of the s of sleep make sure this aligns with this and it doesn't. So I'm glad I did this. Make sure that more evenly spaced. Same thing with this. This one looks a little bit better. Make sure everything's concise. We're doing a T shirt design. It's gonna be blown up to a larger size. So little mistakes add up. So little tiny things that are not lined up will be magnified when the design is much bigger. I'm very happy with that. I'm gonna go and save my file and I think I'm gonna experiment a little bit. And, um, see this little drop shadow effect kind of flat design shadow I designed here. I couldn't see what I could do with some icons to see if I could make them a little bit more three d. I'm gonna zoom in and here's a trick, and it's gonna require the Schapelle of Tool or the Pathfinder tool. I'm gonna go ahead and bring out my Pathfinder tool or my panel. Anyway, let's start with the pinto one's got a copy. Go back up here to this blank space and paste, and I'm gonna turn off the grid. I don't think I'm gonna hide grid. There we go. So I'm gonna make a replica. So copy and paste, I make this a different color, but what I'm gonna try to do is cut half of this out. So if I wanted if I have the shape older to live the right version of Illustrator, the newer version illustrator, this is the easiest way to go about it. I am just gonna create a shape and I'm literally gonna cut this half out. It's gonna make this solid, Make it a fill, think of a select both objects, grab my shape a little. Ah, hold down option so I could see the subtract, and I'm gonna just subtract this half everything on that half. And the remainder is a perfect half of this icon that I could place overtop so perfect. So now I'm gonna take the I I'm gonna bring it back in. So let's copy and paste. Got my icon. Um, let's go ahead and just delete that one. I want to take the eyedropper tool. I'm gonna sample this white gray color. Not gonna make it slightly darker, just a little darker. And he noticed the icon kind of takes a really cool three D appearance when I take half of it and making a little bit darker. So let's do that again with the remaining icons. I'm gonna do the same thing to this direct selection tool icon, get a copy and paste it, But I think I'm gonna try something a little bit different. I'm to use the Pathfinder tool for those who don't have the shape color tool over here, which is, I believe if you have illustrator 5.0 r earlier, you will not have the shape older tool. So this is a little bit of the harder way to kind of cut objects out, but still very doable. You pretty much do the same method kind of draw. Joel kind of cut in the shape in half and studies in the shape it'll tool and subtracting. I'm going to select the objects and I'm gonna go over here and I'm not sure which one when we try. Exclude, I'm on Pathfinder, not exclude. So I'm just going to command Z undo Intersect. There we go. That's the adds the right one. So intersect, which was right here. So I just did the same thing. Take the eyedropper tool, making a little darker snow. I have two ways to cut objects out and I could actually go in. I didn't do that perfectly, did I? And this is may just being very precise. I'm actually going to take the pin tool, delete anchor point. And I don't need these right here. Delete time ago. And I think there's an extra one there. Now that's perfectly centred. Go and group are object and bring it down. Just has a much better effective my opinion. I'm gonna go, and I like to keep elements just to have extra ones. You never know if I want to go back to how it used to be. With that out of the way and I'm gonna un group grab this bottom one. I'm gonna take the eyedropper tool and have the same shade when it comes T shirt design, the less colors you use, the better. Um, unless you're doing digital T shirt design in which you can use this many colors as you want. So it really depends on if you're gonna dio screen printing the fear screen, printing the T shirt or sending them to a local printer to have screen printed, um, less coloring paper color. So less colors the better. If you're doing digital printing, which is most likely likely the case if you're ordering the T shirt online. If you order a T shirt online's probably digital printing, but you can always email them and ask if it's gonna be digital our screen printing. So just a little tip there. So I was doing this. Ah, this brush icon and I had a little trick I wanted to show you. So I did the thing with up. I actually used the shape older tool, and I was ableto create this divided half. I have this half right here than I over laid on top to create my highlight and shadow, but I want this claim to have kind of a curve to it and said it just a straight up and down divide, so I'm actually gonna take this is my shape. I'm gonna take my pen tool. Actually, I'm gonna go over here to my curvature tool. We haven't gone over this yet. Too much detail, but I have my curvature tool What this is gonna allow me to do but go ahead and click. This is going to allow me to create kind of a bend really easily. So I'm gonna create a little bit just like that. So I just went to my curvature tool and has clicked and dragged. This is a little trick. Let's make these make sure these air aligned So let's go ahead and select both Go up to alignment and do horizontal align center. Let's also do the same thing. I'm just gonna manually move this kind of over to where I like it. And let's make sure these air also aligned centers. We're gonna dio horizontal, are vertical distribute center and just play around to get the right alignment. Took me a while to kind of memorize all these different linemen options. So now everything is aligned perfectly. Ah, this is still a path. So I got a copy and paste this live path and just kind of took it over here. And I gotta outline the path because I think I'm ready to go. I think I like the thickness object path outlined. Stroke there would announce an object. So let me just kind of select all. Make sure everything looks OK. We don't have any stray objects anywhere. I think I'm ready. I think I like this. Um, I can actually check a few things to draw a box here, make a different color with bright color copy paste. You have the same spacing between lettering on the top of the bottom. And I could probably select all of my text and my bars here, shift it down just a notch. Just making sure the same spacing is here as it is here, so it's totally in the center. Great. So now we're gonna try it on a mock up T shirt to see if we like the color and this will give us give us a chance to try out different colors and design setups. 23. Section 5 - T-shirt Design - Exporting Our Files - Applying Grunge Texture: so I have a few options right now. I'm in photo shop and I have a T shirt mock up. I downloaded from graphic burger dot com, and it's the same T shirt I use for my, uh, Coffee express logo. I did it a little bit earlier so we can go ahead and drag our local, and we could do it this way. If you don't have access to photo shop or you're not comfortable with using mock ups and Photoshopped, you could simply just drag a picture online of the color T shirt that you like and overlay this design on top of it and kind of size it to where you like. So we're just kind of testing out how it looks. It's really for us as a designer to find the right size and placement for our design. So I'm gonna go ahead and, um, this is a mock up. I'm in photo shop. It's gonna double click my mock. A player could lead the old design. I'm select everything we have here and bring it over. Yeah, press enter. Close this window, save it apps. Okay. So that the T shirt and the size needs to change, So let me double click the design, make it a lot smaller. The only thing with mock ups is it's hard when you're doing it on this layer to find out what it's gonna look like when it's applied to the T shirt. So I like the sizing of that. But let's change the T shirt color to our gray. Oh, that's nice. I don't think it's perfectly center, so let's go ahead on double click on my layer. You can do the same thing manually and illustrator, just by bringing in a photo of a T shirt. But I just like the way mock ups look with the the ripples and texture. This looks more professional, so, yeah, that's really neat. Museum toe. 1 50 100. There's this actually a women's T shirt, I think a women's V neck. But there's a little design we did, and probably about an hour or 45 minutes. The icons and everything. We can always adjust it later. We can adjust colors. Let's test out some other colors, because why not? We're having fun. Oh, that's crazy. You know, purple doesn't look too bad. Especially like a dark purple if I wanted to be a woman's T shirt. Or I mean, what if we tried like a light gray, a light gray. And then we go back to our design and we change the colors a little bit. So all everything that's light needs to be dark. So what I'd like to do is go ahead and copy, paste or design over here so I can keep my version that I have here. So this is a second iteration in the second version. Select all this doesn't make it kind of dark. I don't make it black. I want to make it kind of a dark gray. All that is gonna have to change all of these colors. So give me a moment to swap out. All of these will be right back. So I swapped out all icons using the eyedropper tool. Kind of changed it from a light to a dark kind of theme. Let's go ahead and double click are layer where we can change our mock up and pop this in here to see if I like this color kind of do a different lighter color theme. We'll see the sizing of that. So let's not quite perfectly center and let me make it just a tiny bit smaller. Save whatever it is, I'll deal with it. There we go. So let's try outs and different lighter colors now do kind of a light. Wow, that is very weren't looks kind of cool, maybe a light orange, but that red doesn't pair very well, so Oh, that could look cool. Well, we just don't like a light gray. That looks neat, but I still think Let me go back in history. I'm in photo shop right now. I'm going back in time. In my history, I think that looks the best. So that's kind of on. Just why I love mock ups is I could test out different colors and settle on a T shirt color . That's my T shirt color, and I really love this grunge texture. So how do I apply that to my T shirt design? Because right now this is just a mock up, so it's not gonna actually print that way, but I wanted to look like that, So let me go over that in the next video. So first things first before we dive into applying or grunge texture I wanted to take the finished design we have that we put into our little mock up and voter shop. I want taken illustrator and prepare it to be able to export its file that could be used for the printer to be able to put on the T shirt design or actually any type of marketing product or apparel. So we everything is pretty much ready. Um, this is not a drop shadow that's added manual little box that we made. So that's good. Everything seems to be outlined. The only issue I see is our Texas still a live edit herbal text path. Let me show you so I could still edit this text. We need to outline the little strokes so that each object, it's not live edible text. But it's now an object similar to when we outline a path. So I'm gonna do that with both of my tech circles that have two circles at this one and this one, I'm just gonna select both Slyke the top hold down ship, select the bottom and to create outlines under to simply right click and go to create outlines, so you'll notice I can edit it and when I click on create outlines, it creates little outlines so that the text is no longer edit herbal. But that's the format that most printers need the file, and they'll always say, Make sure you create your outlines. This is what they need to select, and a lot of times I'll just select everything and then right click and create out wants. And that helps to. So this is ready to go. So I'm just could expand this out to the square a little bit more, and most of the time you could do a save as and you could do an illustrator file. That's fine. E. P s is another very common file extension that people want. That's also a vector file and a PdF. So between the these three different options pdf E P s and and illustrator file Those are all great vector options, our files to send on to the printer, and a lot of times I'll go ahead and send them a J peg of my mock up that I just didn't photo shop so they can see the right placement and size on the T shirt. That's really important for them to kind of see that mock up to see you know, what's the sizing that I want this to be? So I wanted to be super large. Do I wanted to just be a little emblem that's on the pocket. You know that that mock up will help them decide placement, but that's it. Pretty much just done a T shirt design. So let's finally add the grunge texture as a second logo design adoration for this T shirt . Okay, so we're ready to add the grunge texture. Finally, I'm just gonna go ahead and reduce this to a little bit smaller of a size. And I found this. This is a vector grunge. And I found this. I couldn't go ahead and show you the website where I found it. I think it's three picks dot com, and I found this free vector texture. It's different than a texture. That's a picture this actually has. This is ah, made up of tiny little anchor points, All these air tiny little anchor points s so that means it's factor and the texture is gonna be able to scale. That's exactly what we want. Okay, so let's get started. I'm gonna go ahead and group this object so that my entire thing is now grouped and I'm gonna make it all one color. So I'm just gonna make it all white. That's gonna be easy for the texture delude on top. And this is where it does get tricky. I'm gonna go ahead and call out my transparency window. Our panel. Okay, So if this isn't an advanced techniques, so feel free to re watch the video, don't feel overwhelmed. This could be a little bit complicated cause we're dealing with masks, So this will be an extra mask layer on top of our base layers or base layer. Is this graphic? This is a little mask similar to adding a transparency or blending mode on top. If you're a voter shop, it's very similar. So I'm gonna make a mask, and I got to go up to this little top box and make sure I have my show options checked. Great. So now what I'm gonna do is I'm gonna take this texture a copy it Go back to my I have to select my object. This is where my mask is. I want to get the texture over on top of my mask, so I'm pasting it on top of my mask. So now I'm gonna go click back onto my object and you could see the texture has been applied to my graphic and I'm ready to go. Ah, problem is this This texture is almost too complicated where it's subtracting too much of the design elements where I can't read it. So let's find a solution next. So, Rick, run just a little bit too faded. So let's reverse it a little bit. We're gonna go back to our transparency and this is our mask layer, and this is our regular vector layer. So I'm gonna go ahead, click on the mask, and I'm gonna make sure that clip is unchecked and invert mask is checked. So that basically reversed it. So now Ah, what was faded? It's now wide. And what was white is now punched out on this faded, so that looks a lot better. I no longer need this texture over here. I'm gonna keep it. So I got a foot back to this. I'm not gonna be able if I am set on this mask and I try to click on other things that won't allow me to select it. So make sure you click back on this, which is our main design. Click away from the mask. Basically, Inter able to edit stuff again. Just a little trick. If you feel like you're not able to select anything all of a sudden, So there we go. We have our texture applied. We could do the same thing that we've done with our other file and this is ready to go. I just have to good file, save and save this E P s. Um usually they don't like to have a background layer. So what I'll do is I'll just go ahead and delete this background layer, and I'll save the file. It looks like there's nothing there, but it's white, or you can apply a different color and just tell the printer you wanted to be blue week. Um, if you're ordered online, sometimes they have. You have J pegs or they want you to have PDS when you're ordering online, and they have like a little builder where you can put the design of the T shirt and move it around. If that's the case, go ahead, make it the correct color like this and you can actually export us. Maybe a PNG, if that's an acceptable file or PdF. And then when he loaded on the builder and he loaded on the color T shirt, it'll show up. So don't worry if you can't see it. It's supposed to be white ink in this particular design, so we'll hadn't exported, and we have our T shirt design. 24. Section 6: Social Media Project - Artboards and cropping: today. I wanted to go ahead and do a few digital social beauty graphics. I wanted to work with digital images to show that illustrator is not just for print items but you can do any kind of graphic, especially ones for social media. So we're gonna whip up a few social media, a couple of different designs, play around with some things and learn a lot of tools this way. So I'm gonna go to file new and I gotta open up a digital document, so it's gonna be a little bit different. Um, it's usually set on inches, but I'm gonna set it on pixels. Standard pixel size for Facebook will just do Facebook as our first example is 1200 by 6 28 Of course, that could always change with time horizontal orientation. I am actually gonna do a couple of different art boards and we'll go over our boards a little bit in this class. So 12 to 4 different art boards and let's do color mode. RGB is for digital. Any time we're doing anything for the Web RGB anything for print will be C n y que so it's make sure it's for digital. It's for the computer. RGB great. Don't need to worry about bleed create. I have four different art boards. Let me go ahead and size this up so you can see all four. So now I can see all for art boards, we can create as many as we'd like, And this is how the art board system works. What's great about having four different art boards, as Aiken developed for totally different types of social media posts, I can goto file and export them as J pegs and will be ableto have four different J peg graphics all on one file. I don't have to have four different illustrator file, so our boards is incredibly powerful. If we're doing the same social media graphic, maybe just a slight variation. It just makes, um, file management much easier. So I'm gonna go any time you want to edit your art boards, goto file documents set up and click on edit art boards, and it's gonna get give you a chance to make one bigger other ones smaller. Let's say I wanted to do an instagram post. I can add one that's 500 by 500 pixels or maybe 1000 by thousands. And so I can have different kinds of social media posts, and I can have all the same file, which is pretty cool. So, actually, I'm gonna go to documents set up and it our boards. I'm gonna put a little more spacing between my graphics, just in case I have photos or something that might overlap my other, our board. Perfect. So our poor 123 and four I wanted to create a social media graphic section because I thought we'd work. Ah, lot more with photography. You don't really give us a chance to work with that. Ah, we already did photography a little bit. And a previous flyer project. I did. Ah, but this one will give us some more power with blending modes and some cropping, we'll learn some cropping tools. So I have two different shoe graphics. I thought the first add that will do today will be maybe a shoe based social media post on Facebook. So I just have these two generic photos. I found these on pixels dot com. They're free for me to use. That's why I'm using them right now. And I thought instead of having this background in both shoe. I want to be able to cut out the backgrounds. Well, if we had Photoshopped, I would open this up in photo shop and use the crop tool and basically cut it out. But I want to keep this all on Illustrator. There's a couple ways we can do this. Let me do this top shoe up here. And this is gonna be some more pinto practice. We're gonna grab Arpin Tool, and we're gonna actually trace the shoe as best as we can. And it doesn't have to be perfect is like we've done a lot in previous classes and lessons . We can always go back and find tuna later and let me switch it to strokes. I can see what I'm doing and let's make it a super bright, crazy color. We're basically going to trace this entire object and we'll be able to punch it out of the photo and do a mask, so go over masks a little bit more. So I'm gonna continue to trace this using the pin tool, and I'll be right back. So I was able to complete the object and make a close shape around the shoe. And here's what we need to do. We need to select our stroke, which is what we just traced to go ahead and ungroomed thes that they are grouped. There we go to have this as a separate element in the shoe. So I'm gonna select the stroke element, hold down, shift and select the the actual photographic. So both of them selected and I'm gonna go right click and do make clipping mask. So I'm going to create a clipping mask. So that is gonna trace. Go ahead and cut that image out of the background, which is great. But we still have this Citra part. This is where it gets a little tricky. This is definitely an advanced skill. I'm gonna go ahead and roll a colored box, which is gonna help me decide if it was punched out or not a little part of the inside of the shoe. Okay, so that's what we want a punch out. So let's grab our pin tool. Go ahead and trace the inside as best as we can. Go and flip that two strokes. I could see what I'm doing. Trace around the buckle, click and hold get my curves click and hold and close my shape. I now have our second shape. This is gonna be what I cut out of the photo. So let me go ahead. Make that a different color so I can take the direct selection tool and fine tune any of the curves. I don't want any of the stitching to go away just fine tuning my selection. Perfect. So now how do I punch this out By using the shape. This is where we use the Pathfinder tool. So now that I have my Pathfinder panel ready, I'm gonna click on the center shape we just created that that we went to cut out and I got a hold down shift and select my shoe graphics of this one selected and this one's elected gonna go to Pathfinder and I'm gonna click on exclude, which is right here, and that's going to create the exact shape. See, the shape that I want to create for our shoe created kind of a vector shape. Basically combined the two different shapes we made. So right now, there, there it is, right there. So that's perfect. So now I have the perfect shape to use the clipping mask again. So I'm gonna select this top layer, hold down shift and select my photo. Gonna do another clipping mask. So it's gonna clip all along this shape and there we go. And now that we have are different colored graphic, it's totally transparent. I could do the same thing for this little portion, but for the sake of time, I'm just gonna keep it like this. This also gives me the chance to change any Ah, anchor points to make it cut out a little better. Photo shop is still the gold standard when it comes to cutting out shapes. And then maybe bringing that shape in or that photo as a PNG and to illustrator, does it have a little bit more finer control? But if you ever had to cut something out an illustrator, this is definitely the way to do it. You don't always have to go and use the Pathfinder tool to cut out the shape inside. That's really kind of a rare thing. I mostly just cutting out solid shapes, so it should be a Z Z is creating your shape and then right clicking and going to making clipping mask for most situations so we could find Tune that later. I'm gonna take my shoe. You zoom back out, see what we have. It's 200%. We need to cut out these other shoe next. So this is our one shoe. This will be a lot sent more simple. Like I said before, we don't have to cut any objects out on the inside, but there's no need for the Pathfinder tool. So let me use my trusty pen tool. Let's get tracing when they do 200% so I can kind of see the entire object. With that guy out of the way, we're also gonna be able to recreate the shadows. That's all this photo as well. I just wanted to have a chance to put this on a different background, and I could blend these two photos together these two shoes So they looked like they were taken on the same photograph, which is what I want. My ad to appear looks like it was all meant to be together, and they were never to separated photos. He's cutting it out, putting, she lays out, get lots of mental practice going around the shoe. Don't worry about the shadows. We're gonna recreate that by drawing shapes underneath and using the Gaussian Blur tool, which helps us blur solid shapes. And we're gonna emulate shadows. We do that next. That's good enough for now. So let me do a stroke so we can see what we have. There's a red stroke that we just traced. Gonna select that. So, like the photo, right click make clipping mask. So that was a lot easier. Worsen Photo shop. You have a little bit more control. So if you have access to photo shop, he cut these out. Kind of blended a little bit better, but there's so many times where I need toe. Use that clipping mask to cut something out of a photo when I'm an illustrator. So it's good to learn this tool this way. You just adjusting it. There's another little chip trick. If I cut this out, it's not a smooth as I'd like it to be. If I zoom in, you kind of see a little bit of the jacket edges. I can't quite get perfect with pin tool. In this amount of time, I could probably spend a while on it. I just wanted to kind of make it feather. Make it not so sharp. I can click on this object. Let's see if I can feather it feathering. I loved a feather. So you goto effect stylized feather I feather photo edges a lot when I blend the men. I think we've used this in a previous project. Click on Preview and this is quite a bit. So let me do just 10 pixels and see what the previous who see how feathers the edges has a much softer looks like it was cut out a lot more smooth. Let's try five pixels. Doesn't that look a lot better? I could do the same thing with this you. And since I already did the setting if I goto effect, it's already saved the same feather application or settings. So have my two shoes now so we could start to build our social media graphic 25. Section 6: Social Media Project - Layout and Headline: So if I ever wanted to decrease the feather on an object and go to my appearance panel right here and there's parents and then there's my setting a feather. I can always double click, and I can adjust it back down. If I thought I did too much, click on the object of non appearance. It's just the feather down to three pixels. Perfect. Let's go ahead and do kind of some basic blocking, which is, uh, a fancy way to say, layout design that would have the two different shoes and have a simple headline up top. And with Facebook and Social Media graphics, the less text better. So I'm gonna keep that of miners could put this Pathfinder tool over there. Perfect. So I want the shoes to maybe face the opposite direction. Our face face each other. Really? So I want to flip this horizontal. I'm gonna go to object, transform, reflect and go ahead. I can reflect objects, but I can also reflect photos as well. Let's go ahead and do our type when we balance it so that they look like they're the same size. Here we go do our text. Ah, how about many styles are more than just one style. We've got more than just one style. I was using the type tool. We're gonna make it a little bit bigger. Could be our headline. It's pick a nice font that I think would look well or look good. Get with the maybe a background. Let's do a let me go and get my window fixed. I mean, do a diagonal background diagonal. Things just look good. So but do it. I'm basically taking the pin tool. I could be drawing a basic triangle. Cross the document. I'm gonna make this. Not gonna worry about the color. I'm just kind of blocking it out right now. I'm gonna draw the opposite side. Your triangle here's trying to create a background that's just not just a plain one color background. I just have to triangles different color. So now I can experiment with color. I could bring out the blue, maybe bring out the blue up top. Maybe I could bring out the black or the white or a lighter color were Let me just, uh, let me play around with some colors and see what I come up come up with. So I went online and I found I took a little screenshot of, ah, color that I like and I just took the eyedropper tool and sampled, sampled that color and then did a little bit of a lighter variation for the bottom. I think I couldn't switch that toe white now and maybe make it at Boulder. Wait so that its readable not too bold. There we go. And I think we could probably do something really fun with the type and do something diagonal. Let's make the shoes a little bigger cause that's kind of the whole point of while we're doing the ads to sell shoes, I think I'm gonna play around with the typography a little bit, so let me separate. I'm just gonna cut this out and I'm gonna start a new tight box and I'm gonna make that may be a cool script. What? Right. And let's Ah, go ahead and buy this as well. We're just putting these on separate text boxes so we can have more control over our type. Maybe almost make like a tight box. And I'm gonna take my two triangles. I'm gonna play around with him a little bit play around with the angles and what might be easier if I delete this top triangle. Let's make a rectangle behind it range. I'm gonna send this to the back. Perfect. And I can change this triangle shape. I don't have to change to shapes. It's want something really cool. Horizontal. I can even do another triangle shape right here said that backwards into the layering system. I can even make this a darker color. Not so much gray. So yeah, what's don't do that? So we're just experimenting and playing around. Sometimes it takes a while to find the perfect answer. I definitely think I need to do kind of what I did with poster design and do something a little cool where I could do this. I could make style really big, and that can actually sit in this backward. Now that we cut the shoe out, I could send this backward into the layer in system and I'm on a Mac. So I'm gonna do command, hold down the bracket, assemble the left bracket ups. I went too far. I could even do something like this or send this to the top. That's a word. A work kind of an element of the word tux behind the shoe, so it almost looks layered. That's really popular now. And I might need to break this up further or even shortened my tagline. Well, let me play around with the font choices a little bit. But overall, I'm liking the blocking and layout. As you can see, I've made some typography changes. I decided to make this old caps and much bigger. And I moved these little triangle shape. I just used the direct selection tool and moved it around so I can match Theo angle of style. So it looks like it's obvious resting on or behind this little blue triangle box and also made the headline much shorter, so it will just kind of be more concise. But I need something. It needs kind of a background texture. So I was able to find this texture online. This one right here we go ahead and bring this to the front. This is kind of the texture. I want to overlay on this graphic. Let me zoom out and we're gonna Here's clipping mask once again, this is a great lesson clipping mask. We're gonna be using a lot of them. So let's say I want it toe. Look, I like how that looks right there. Eso I'm gonna go ahead and send this graphic all the way to the back. I'm gonna go ahead and copy and paste my square. And this is what this is what I'm gonna use to clip this is gonna be the shape I clip out of here. So I'm just gonna maybe put it anywhere, Anywhere I want to clip out, go ahead and select my background photo. Right click, and I'm gonna make my clipping mask. Let's cut it, cut it down to that box shape I created. So now I can drag it over. And what's great about this is I could get the direct selection tool. I can select my photo, and there's the original photo. See that little blue bounding box? And this is where we cropped it, too. I can actually take the direct selection tool and shift the photo around to get exactly where I wanted to be cropped. Perfect. If I don't like it, I can always right click. You can release your clipping mask and you're back to your original photo. So let's overlay this and let's do a blending mode. So let's go Grab are our transparency Bach. I'm just gonna bring it out here for you, and we're going to select our main graphic. I'm gonna play around some blending modes and also the opacity or transparency. Let's go down to our trusty luminosity and see how that looks. It will also help to send this backward into the layering system. So sometimes when there's a lot of layers, I know I wanted to be one of the first vote. The layers that are furthest in the back. I'll go ahead and right click and I'll send it back and then I'll take my come. I'll do my little shortcut. And on a Mac, it's command and then to do the right bracket. There we go. I could bring it up one level. It's a little trick I do. So now I'm gonna rip play around with capacity. I don't want It s strong. Let's play around overlay color, burn dark. And I think luminosity is probably the best. It just adds a little texture to our graphic perfect 26. Section 6: Social Media Project - Shadow and Finishing Touches: So now that we have this kind of set up, I feel like these air just floating in midair. They need to have some nice shadows to be able to look like they're not just floating around on this triangle here. So I'm going to zoom in and work it a hand, draw with the pen tool, some drop shadows. We could do the easy way and have our object and be able to go up here to FX And, like we did before, go down to see where his drop shadow There it is. Stylized drop shadow. We can add a generic drop shadow, but you're kind of limited on where it's gonna go. It's not as powerful as the one in Photoshopped. I could do that. That's good. But I want a hand create hand, draw it. You take my pen tool and I'm just gonna kind of trace where I think the shadow would be. So this is where you got to kind of really use your skills. Do you have any artist skills? Trace where you think the drop shadow would lie? The top doesn't matter cause that will be behind the shoe. I'm gonna bring the shoe up to the top most layer. So I'm bringing it to the front and that'll cover our shadow layer. So now I'm gonna make our shadow. I could do a couple things. I could just make it black and have it just be change the opacity on it. There's black. Well, that looks horrible. We need to blend it. So we're gonna use the feathering where we could do Gaussian blur a couple things we can do . Let's go toe effect. We haven't gone over this. Let's go toe effect blur. Let's do a Gaussian blur on this. So effect blur Gaussian Blur Any time we want a blur, an object and feather it. Here we go. We'll try that. That's already looking more realistic, But let's back it off a notch. Let's reduce the opacity on the transparency box. I'm just gonna back off the transparency just a little bit, so it blends in more smoothly into the background. And I'm gonna tuck that shadow up a little bit because right now it looks like it's still floating in mid air. But if I bring it up a little bit closer to the shoe, it looks a little bit better. And let me change that to 55. Perfect. So now we just created our little custom shadow. We're going to the same thing on the shoe. This one's gonna be a little bit different. And I just do a circle or let me do this. Just get a cast. A little shadow here. This show is gonna be a little more challenging to get the right drop shadow. Let's try this out. I'm gonna go and select my objects Gun Grab the eyedropper tool. And I have that that effect that Gaussian Blur already saved so I could go toe effect, apply the same one I just applied. Bring my shoe to the front so I can cover the shadows. It's not bad. Took that a little bit closer. Would be cast this one wider and get the direction selection tool. I could change my shadowing this way too. So we're gonna go over a new option and that's gonna be in our effect panel. I want to add a little bit of a texture here, But instead of bringing in a photograph and adding a clipping mask in this triangle, I want to create a little bit of a grain texture on my own. So I'm gonna select this object I go to effect, go down to texture and click on grain. So it's down here in your effects and there's a ton of effects we could go over us. Well, it's got a grain. And this is also, if you're familiar, Photoshopped, you'll be right at home. It's a very similar ah affects kind of option panel where you can kind of preview what your effects gonna look like and play around with it. So I'm just gonna increase the intensity and contrast. Saw Sprinkles. I could do a lot of different grain types. I think I like soft was too soft. You click. OK, of course, there's tons of effects. You can play with stylized sketch distort tons and tons Go and click. OK, let's see if that what that effect was enough. I don't think it was enough because our social media graphic probably be zoomed. You're going to see it at that size, so no problem. When you click on my object, gonna go back down to grain, I can apply a new effect or it can edit the current effect So let me go down to my appearance panel, which is where you would edit your drop shadows and other effects. There's migraine effect. I can delete it. Start over or you see if I can. There it is. I could double click in, edit it again so I could go back and increase the intensity, the contrast and click. OK, so if he ever need to edit on effect, go to your appearance panel on that particular object. So that's perfect. That added just a little bit of a grainy texture and almost matches the shoe fabric. So that's exactly what I was wanting to go for. I'm continuing to play around with the lay out a little bit and I don't like this angle as much. And I don't like the stiletto kind of being out in the middle of nowhere. So I'm gonna change the angle to select our triangle blue triangle shape. I got her direct selection tools and I cant edit the anchors freely, and I'm just gonna pull it back to covering half of the page. And so I could just take our type here. I can go ahead and just get are transformed box and go up to the corner and angle it to match the new angle. I kind of like the text behind behind it a little bit once again adding layers to everything, we could make the shoe bigger. I don't want the l to be unreadable, so I might need to adjust just ever so slightly. So let me just experiment here looking. Zoom in. Yeah, I think I'm ready to wrap this one up. So I did change the typography a little bit. I decided to take it off the corner to make it a little bit more simple, and I removed the background texture. I could just do something really simple. I'm going to grab the Ellipse tool. Time's gonna make a simple circle to make it white. And I'm just gonna send it backward into the layer in system to, like, get it right where I want it. Which could be right there. Amazing what a simple little circle can do to highlight certain text. Let's not make it stark White. Let's make it a lighter version of our pink. Maybe that I just put this box there to kind of block everything out that goes above it to kind of help my eye, see what the final will look like. I can even do just a hair lighter just to give it a texture. And you just this a little bit. And I think we're gonna be done with this when we can move on and create several different versions of this or do it at a totally different add to kind of continue to learn some new tools. 27. Section 6: Social Media Project - Blending Modes and Gradients: we're gonna create a few more social media graphics. We're probably not gonna spend as much time on the next couple ones because we do some really simple ones. So I just I grab this photo off of pixels, and I was just gonna create kind of a mock up ad just to cut a practice layout design. So here's our Facebook post size that I can go ahead and C and sometimes it's hard on illustrator to see what extends out of the art board when you have a dark background photo . So a lot of times, when I get kind of where I like it, I will get the rectangle tool and do it the same size as the the ad size. And so I have my little box here. Then get select the object below it. I'm just gonna make a clipping mask. It's gonna cut it right where I like it. And if I need to shift it around, I could just get the direct selection tool and move it. How I'd like it Perfect sums going to drag in some simple type. Make sure I bring that all the way to the front. Make that white and then play around with a cool type. The story something simple. Open Sands light. Maybe I could make that all caps or go to character. All caps. Let's put some spacing right there. Maybe I need to make that boulder, don't I? To have that really come out extra bold, right? And sometimes when social media, if you really want something to stand out like I went the website to be the called action, I could just get a really bright colored color here. You could do orange or could do like this color. I'm gonna just send that backward. There we go, creating a simple little bar that goes across You know what? I use too much type when you do. Social media posts were a little bit limited what we could do, I could probably get away with making that smaller. Now that that is highlighted with such a strong color, right? So we're already kind of done with this. We can always do play around. I could zoom in on him a little bit, some getting our I'm selecting our image, getting our direct selection tool, and I'm gonna split about. I click the select the direct selection tool on the photo and actually going back to the regular selection tool. And then I'm ableto player out a little bit more by zooming in. I don't think I want the t shirt design about that. Of course. I mean, I just drag a kind of a random photo, but we could do any photo that would work. And I want to apply something kind of cool, like maybe a cool, radiant overtop instead of just having a normal photo. So I'm gonna go ahead and get at the shape tool and draw with shape. The same size is the ad I'm gonna do ingredient. So let me go ahead, bring over my panel. I'm going to select a generic radiant default Radiant. And I'm gonna go to migrating a tab. Got all my tabs everywhere. It's a mess. Goto window. Let me pull out Grady int There's migrating tab. None of it. Tuck this away, so that doesn't bother anybody. Drag that over here. Hey, great. So I'm gonna make kind of a purple to blue transition. There's my blue, and this is a very popular the call of color transitions. What's really just a fancy name for radiant, just more subtle. So I just have two different colors Here, take my Grady it tool and kind of play around, Maybe given angle, I think we like angles little better. So here's what we're gonna do with the blending mode. We're gonna put this into the background. I want this to be the very last layer. So gonna right click a rage, send it all the way to the back. So now the photo is on top of that radiant. I'm gonna select my photo, and I'm gonna go to play around with blending modes. So are blending. Modes will be in our transparency panel right here. So let me This is a really cool effect. I'm gonna go down the luminosity, click on luminosity, and look at that. It's pretty darn cool. I love that color transition that really just brings that photo life. I can add a little drop shadow behind this text box. I'm just gonna go to stylized drop shadow work and do it in my ah appearance affects panel A couple ways to add drop shadow. I want that to blur quite a bit, so I'm just going up the blur I don't need. I needed to be more opaque or transparent, so I'm going to reduce it. Perfect. Just gives it a little bit of a pop. Give that a little bit of a pop, too. I could even make that smaller if we want Thea tag or the hash tag. And let's say I want to add some curves to this box. I don't like it to be a straight box. Maybe had a angle to it. I could do a couple things. I go appear to shape. I think we've done this before. Click on shape and I can add it just on one side like that. I kind of adds a little bit of a style, or I'm gonna go ahead and bring that back down to zero. You take a direct selection tool and just shift one of his anchor points over a little bit to kind of create a little bit of a defect. Well, let's zoom out, see if we like it. That's one option. We can test out different photos, different type, you know, something more dramatic like that. Or course you got to make sure I found a lot of these fonts online. You to make sure if you use this on actual ad that you either you make sure you have the rights to the to the type to the typography. Sometimes some of these need to go on data and purchase. And if there's one that requires a license, I'll let you know the name. So if you wanted toe Okay, so some of these fancy response So this is Sun Valley, and you could go purchase this. If you like that far, you just google it be the change. So sometimes they don't come with special symbols. So that's the hashtag. So demo use only. This is not a full version. So let's find a different font for the hash tag. Let me just use this user trustee railway black. I could make it a little smaller, so it's not is overwhelming. There we go. I don't want a black. Let's lighten the weight. Let's do semi bold. And I could even highlight this and bring out this pinkish color. There we go. That's looking pretty cool so that the thought name is called Sun Valley. If you're interested in, I just have the demo version, but you were interested and using this, an actual ad campaign feel free to have purchased the font. But this is great for basic basic little design here, and we'll move on to the next one and we'll do something totally different. 28. Section 6: Social Media Project - Layering WIth Type: So this one we're gonna do a really bold take on do a little meat topography trick. So we have this image that I was able to find on pixels dot com, and I wanted to do a thing with the text where I have kind of a to phrase headline. I want to put one phrase here and the ending phrase here, but I wanted some of the type to go behind her and on top over top of her so that the type feels like it's interacting with the photo. So one way to do that as we need to get our trusty pin tool and we need to trace her out. So I'm gonna zoom in so I could get some better detail and I'm gonna just trace her the pin tool and I'm not gonna put it together type behind your head. So I'm not gonna need to grab that, Fortunately, because I would be really hard to cut out with the pin tool of the her hair. Really anybody's hair. That's where Photoshopped really comes in handy for that type of work. But fortunately we just need toe and this could be really rough because we could find Tune it later. And it's only gonna be the areas that the type is gonna overlap her where it's really gonna matter. So I'm just doing a real rough cut out. So I just switched at the stroke, Get her little uncle here. Don't even have to be close. And I don't even think of doing her legs. But I'll cut him out anyway because you never know if I wanna change up. What? My original thoughts were really, really, really, really rough. I think I'll be putting type over her arm, so I want to cut this out a little bit better. All right, so I got my rough basic cut out. And here is the trick. You seem out. I'm gonna need to make a copy. We make a stroke, thicker their stroke. Make that a little sticker so you can see it where we cut out. I didn't need to duplicate this photo, but if I copy and paste, it will paste it in a random location. I want a copy right on top in the same exact location. So I'm gonna go toe edit copy, and then instead of just pasty, I get a paste and the backer of the front. It could do either or but I'm gonna pace in place. So what pasting in place does is it places it directly over the previous copy. So now it's not shifted up or left, and he'd which is great. So I'm going to, right? Click. I'm sending this copy to the back. That will be our main background. So now I have this extra copy I can select, and I could select our stroke. And I couldn't lift the stroke toe a fill so I can see where it's gonna cut out the photo. Right click. And like, we've done a lot already make clipping mask. So now I have this body cut out. But I also have the original background as well. So now I can kind of play around with layering type. Let's go ahead and get her position. I'm selecting both layers holding down shift. I'm gonna find out the best location for our photo. So maybe right there, maybe a little bit bigger and already have her type kind of laid out. I have the type on its own line so I can have a lot of power over where it goes. So I wanted to phrases one here and one here. So in a moment we're gonna play around with layering. So here's where we get to have fun with typography. I was gonna resize a few of these words and I want some of these words to go over like I want this s to perhaps go on top of her and then I want this Oh, to go behind her. So I have these two layers. So if I wanted to send this on the top, I'd bring it to the front. Or I could do my little keyboard shortcut and hold down command or old and do my little brackets to send it up or down behind the layer. I want all of these to be behind and I want all of these to be thicker You can change the way to extra bold I'm just gonna play around with the lay out a little bit I want the need to go a little bit over Bring that on top. But it's hard to read so maybe I'll keep it clean. Keep it right here. I like this. Oh, behind her arm That looks great. We make prices a little bit smaller and maybe tuck this over here. So it just has a much cooler effect where you kind of see this layer dynamic with typography. So I'm gonna play around a little bit with some settings. I might even make this a different color. I'm gonna take my eye dropper to I love to bring out a color in her skirt. And so it almost it reads better, too, because this reads is one line in this raises one line, so styles may change our prices will not. And it reads from left to right, which is a great way to design. If you're doing typography that split, it's good to go top down to the bottom just like that. So let me play around a little bit more with this arrangement and see what I come up with. So this is the final typography layout I came up with, and there's something missing. We need to have some kind of call to action or some kind of website. So I have one right here, but I just kind of made up, and this is a really great empty space to put it in and to make sure people really know it's there. I'm just gonna draw box and I'm gonna make it a stroke. And I got a chicken that stroke a little bit. So let me go to my stroke panel down here and I'm get thinking that to three points. So now the eye is really drawn to this box and the website doesn't disappear. I made it the brown color to kind of have some kind of cohesive color, and I also want to make sure it's good. Draw a rectangle here That may be the edge of this line matches with this website. Does that kind of make it look nice and aligned? I may even make this slightly smaller, So I wanted to show you the power of using illustrator uh for Social Media graphics because we did this Facebook post. But let's say I want expand that toe other social media sizes. I can easily go to file documents set up, and I can edit my art boards and add a couple different sizes. So let's add a new our board, he added. New are per by going up here, it's just like adding a new layer in photo shop. If you're familiar with that knee click New Art Board, here's our new art board. So let's go ahead and drag it right next door, and we want to make this a instagram post. So let's go up here. Size is his with and this is hype. Let's make this 1000 by 1000 so we can apply this to Instagram. Perfect. I don't need that anymore. So now I have my Facebook size. I could just copy and paste this. Now we can reformat it for instagram and sometimes these air easy to do. Sometimes they take a little reworking of her ad so we can perhaps move the website down here and make this bigger or we can rework this entirely. But since we have this already in vector format and we already have her cut out, we could make this a little bit bigger and maybe reworked the add a little bit. When we go ahead and grab this text ship that over. And just like that, we now have an Instagram sighs Perfect. So we ever instagram post never Facebook post and this is overlapping my other our board. But I could just do a square and crop. It, uh, let me go to swatches. Okay, so now I can select my background photo and make clipping mask and then put this all the way in the back. So now have a cropped a little bit. So perfect. I'm ready to export this campaign. So if I wanted to export this campaign, go to export export as it's gonna export all my art boards, we bring this down here. And here's what you dio anytime you export JPEG and you don't want to export everything that extends outside the art board. So this is the art board right here. I don't want this to come out with it. I wanted to be cropped exactly the size it is. So your file export as I'm gonna check this use art board so it's gonna export everything within the art board, and it's gonna cut everything else out, which is what we want. So make sure you click on, um, usar boards. Jay, Peg is fine. Please do. That is test. It's gonna export all of our our boards, so it's gonna export or other campaigns. We were working on two all of separate J pecs and we're good to go 29. BONUS - Create A Poster - Working With Bleed: so I wanted to go through a poster creation process with you. We just finished our social media graphics, and I wanted to transform this into a large two by three foot poster. So I'm gonna go to file new Let's go ahead and open up This new document we're probably to do a custom size 24 inches by 36 is a standard. Of course, you may use other units of measurement. That's okay. Ah, we're gonna add most posters that will be good to be sent off to be professionally printed . Need to have bleed. So this is where bleed comes in handy and this is gonna be the extra stuff that's trimmed off the edges. Eso the ink could go all the way to the outside. So usually standard for a poster are for most sizes. A music inches is gonna be 1/8 of an inch, but with posters, I like to double that. So I would put that on all sides. Um, see him like a color mode, because this is a print project, and we wanna have this orientation and I'm gonna click. Okay, let's make sure I got my size is OK. So here's my document. Will you make sure Haven't all in view for you. Okay, so here we go. I have my other document here. I'm gonna start dragging and dropping everything from our social media posts. That's what's so awesome that we're able to kind of work on the social media post first. And then we could actually create bigger sizes, which is usually the other way around. So it's neat how we're able to start off with smaller sizes and work our way up and scale up because it's in vector. Okay, so I have our new photo. Have another photo to use here. It ISS without this photo, worked a little bit better for a vertical orientation. And when you have bleed, this little part right here, all the way around the edges is the bleed. So anything outside of that will be trimmed off, so it will have a nice print to the edge finish. So you want to make sure your photos go all the way outside to the please write to that red mark right there. So I'm gonna go ahead and zoom in so you can see I want to make sure I covered bleed. Because most print projects fliers, posters are gonna need you're going to need to worry about bleed. So there's the bleed added right here, and you could always look up each printer and each project requires a different amount of bleed. So just be aware. So I have it all the way out. This will be aware it trims its the black line, and that's what's gonna be cut off. So you're not going to see any of that, But it still needs to go all the way to the edge. So now that we have that covered Wiccan, we no longer need are older image and we could just drag and drop our text overtop. And if I wanted to, I could cut her out. But it looks like it fits nicely without having to overlap it. So I'm not gonna cut her out on this one and our website, Go ahead and hold down shift. Make that a little bigger. I may need to change this a little bit, maybe make it course we're gonna need our logo is well, but since this is a fictitious kind of ad would probably put the logo right here So we just put, like a fake little temporary logo right here. I'd make that white to counter to bring out the white on the top left. So we just make this a generic railway Perfect. And we're done with her poster. All we would need to dio is make sure it goes all the way out to the edges and I'm seeing it's not so we need to right here. Pull that in. Let me just shipped those over here. That may change where I could put the text. I could always cut her out and recreate this Grady it back around this orange if I had to. So I'm gonna go ahead and export it. Zoom back out one more times I can look at it. Could a file export export as Or actually let me see what I want? Export This as I could, might be able to save it as a pdf. That's usually what people like. So file save. We could save it. As a pdf. We're gonna put poster And here's what you do with your print settings so usually have preserved illustrator editing capabilities checked off, because if you usually have it on someone will be able to edit it like an original file, but it makes the file size way too big, and it's really hard to email. So if this is just gonna be ready to go, it's not gonna be need to be changed in the future. I'd go ahead and uncheck that, and that will keep your file. Size is nice and small. I made that mistaken and got really large file sizes, and people were not able to use them. Um, I usually do Illustrator default. Go down to compression. Don't need to change anything. The only thing I really mess with this marks and bleed. I'm gonna add trim marks, and that's good. I'll show you what trim marks look like when I saved the file. I don't worry about this unless the printer requests, it's and they never do. I canoes Document bleed settings, which we already set up, is 1/4 of an inch all the way around working. Uncheck that and manually put 1/4 of an inch. But since we already set that up, I'm school. Click on this, so now it's going to do 1/4 of an inch bleed. All the way around with trim marks. I wouldn't worry about anything else because everything else works will. So really, I just uncheck that. And then I just put my true marks on SE. Pdf don't worry about that. It just gives you a warning that it's not with the editing capabilities. That's okay. You already have an original Vector illustrator file. You can do if he needed that. So here's your poster, and you'll see what crop marks look like in a minute. So you see this little area right up here. Let me make this a lot smaller. See, there's the crop marks that are left that just lets the printer nowhere to cut, and they appreciate that. You don't always have to do crop marks, but I do. I'm just help the printers out, so there's the bleed. It will be trimmed all the way down, and the poster will be ready to go. And that's that