Basics of Graphic Design | Lucas Almeida | Skillshare

Basics of Graphic Design

Lucas Almeida, Graphic Design

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10 Lessons (43m)
    • 1. Intro

    • 2. Knowing The Basics

    • 3. What is Design

    • 4. Good practices of design

    • 5. Basics of Color

    • 6. Basics of Shape

    • 7. Basics of Contrast

    • 8. Basics of Hieararchy

    • 9. Balancing

    • 10. Style Scape

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About This Class


Basics of Graphic Design

In this class, we will cover the following subjects:

  • The importance of knowing the basics
  • What is design and graphic design
  • Good practices of design
  • Basics of Colors
  • Basics of Shapes
  • Basics of Contrast
  • Basics of Hierarchy
  • Basics of Balancing
  • Project: building a style scape for a barbershop cosmetics brand

I will teach you about the basics of graphic design, beyond the ordinary and usual content on design classes, most of the content on this class is about design theory and basic concepts. No software will be taught or needed for this tutorial. Following this class will grant you a better and brighter way into the design world. Making you able to avoid many mistakes I made along my career. With more than 11 years of experience in graphic design, I would love to free your way and make you understand what you need before you get going with learning the software and tools part of graphic design.


1. Intro: hi, everyone, and welcome to my very first course here on skill share in this car's we're going to talk about the basics off graphic design. We're also going to talk about what graphic design in design is. We're going to talk about good practices off design, color, shape, contrast, hierarchy menacing in after everything are going to send you on exercise so you can put in practice everything that you learn with me before we get started. I will tell you why it is so important to you to learn the basics before you actually start designing. It's very, very important to know it. And I will teach you in the next video when it was Lucas and thank you for taking my first course here in Skin Ship. 2. Knowing The Basics: in this video we're going to talk about? Why is it so important to you to learn the basics of graphic design before your actions start designing? I started designing when I was 14 years old. I was not a designer, but it waas when I got my first graphic design job. I wasn't at graphic Designer at the time, but I took a job of graphic design. What I mean by this I knew how to use the software because I spend lots of time on YouTube watching tutorials on how to use even Syria cornered role in photo shop after sometime 3 to 4 months to be capable of producing some pieces of graphic design that my parents need for their company. That was my first graphic design job, by the way. I went there, and I search them how to use the software in Okay, I think. Okay, I'm an artist, so I can do everything in our graphic designer can do. And I was actually run and it took me many years ago. Understand that because I had no one to teach how graphic design actually works. And I stayed like this for my 1st 5 years off graphic design, and I still was a very bad designer because I knew how to use the software. But something was missing. I felt like I knew all the letters often offer bed. I knew all the syllables, but I didn't know how to talk and how to write. I tried very hard, very hard to make all my designs very good, as good as I thought I could do. But it's still everything that I made were not good at all. As you know, done is better than perfect in after these five years of experience in software, and it's now I call it software experience, not graphic design experience. I went to a course in policemen about game design. It was not graphic design, but and it was then that I finally understood why is so important to know the basics and this course. The main thing that we learned was about games, but I understood that the basics off design is the same on all areas off design. Of course, they have some differences between area design birds. I finally understood the basics off design in general. It was by then that I decided that I wanted to go toe University to actually learn graphic design, So I 23 years off graphic design. In my first year of college, I finally learned what was wrong with my designs, and I finally understood what I was doing wrong. It doesn't matter what software use once you know the basics, Once you know how to use and how to communicate, you could use any software, even paintbrush. If you want. You can even not use a computer. Now in my first year of college, all my teachers for reading me in the other students, of course, to use computer on their glasses. Everything was made by hand with paper cuts drawing, and this made us understand how everything was made in how we should do everything. Because they focused on the important part. Using the computer is like no one to write. Knowing how to write doesn't make you a writer. And knowing how to use illustrator are Photoshopped doesn't make you a graphic designer. My first year of college was all about creativity and communication, learning how to blood communication to the creativity part. And then I learned one of the most important things that any perfect is and we'll tell you graphic design is not art in our next class. We're going to talk about what design in graphic design is. 3. What is Design: in this class, we're going to talk about what design and graphic design is. One of the most common mistakes that everyone does when they're trying to understand what is design is to think that design and art are the same thing, or graphic design is a form off art. But it is not definitely not. Art is much more off. A relative thing is the way that an artist express their feelings, their emotions. It's a way to express thoughts, and it is relative. That's the first, in main difference between design and art, one of the most common mistakes that people do about what is designed. They think that graphic design is to take everything and make it look good. Look beautiful. But it's much more than this. Graphic design is problem solving is communicating is identifying it's much more off a visual communication. It's all about sending a message and being understood. The audience, the people that are seeing your design must understand the same thing that you wanted them to understand while in art it's very different. The vision that I have one piece of art may be completely different from the vision that you have you may like it, and I may not like it in vice versa. If a piece of graphic design its relative, it's not objective. It's because it's a better. So it's not a matter off if you like it or not. If you understand it are not design, its objective in design form falls function in arts. It's the exact opposite your first thing off the aesthetic part, and then you think about the function part any most cases, it doesn't even have a function. So this is the main difference. Art is not problem solving. Art is relative. Design is objective, and I can prove that design is not art, because many times you will have to communicate things that looks bad. So, yeah, graphic design can be bad looking and still being good design. But when we're talking about art, if everyone that looks at it thinks it looks bad, it's probably better art because they're not appreciating the aesthetics part off art that is actually everything. One of the things that makes this confusion very common between people is because graphic design and art uses the same tools you can use, drop, involve, take photographs. You can make it illustrations you can make. Most of the to use in arts are used in graphic design to bed art art art that no one likes to consume. The one likes to look at, the one likes to hear in bed design is when your audience doesn't understand what we're talking about. Our doesn't received the right message because if you don't communicate properly, you're not solving the problems off your clients. And this is the most important part off graphic design. Now that you already know what design is. And I'm sorry from repeating the word design a lot, it is because we're talking about what it ISS in. I will repeat this name many times throughout this course. In the next class, we're going to talk about good practices off graphic design. 4. Good practices of design: this class, we're going to talk about the good practices of graphic design, one of the most important parts of graphic design. Not only graphic descent, but actually any part of design is to do a proper research. You have to know what the competition off your clients are doing. You have to know how they communicate so you can understand the language off the market and then you communicate with them. You can use tools like Google images. Have you ever heard about it? You can use pain trails to even go to the street, go to stores and look to what the competition off her plans is doing. And, yes, you have to find inspiration. You have to know what you are doing. You are not creating things from zero from scratch from your head. If you just sit on your computer in your start drawing stuff and you start designing from nothing, you are probably going to have one of these two stuff. You're either going to have a bad design because you don't understand anything about the competition in the area that you are working with or you are just going to create these amazing piece of graphic design that doesn't fit dis client in this job. So make sure that you do the proper research before you actually start designing. After you're doing all the research that you needed, you were going to create their mood board. A mood board is basically an art board field with all the reference and inspirational work that you could find in your research phase. You can use any software you want to create it. You can use illustrator photo shop are any other you like to use? You can even don't use software at all. You can print all the reference and all the inspirational work and stick it toe a paper where you're going to look whenever you need inspiration. The mood board is so important because it's the first creative step on your work, and it also will guide you throughout all the process. It's going to give you the guidelines is going to point you to the right direction where you should go with all your design work. After your completing the mood board, you will create something that's called Style Escape. Cell escape is a level of from your mood board. You're going to take every single element that you have on your mood board and we're going to work with it. You're going to cut it. You're going to to make called her selection. You're going to start searching for type for your project, typefaces, time, family and we're going to create a style escape that's going to be the room for your project is going to be there. It's going to be the compass for your project. One of the best practices is involving your client in your projects, but not too much. And what I mean here is OK, you're going to include your clients on a job, but you are not going. They're not going to be sitting on your side and telling you everything that you should do because you were the one who are supposed to know what must be done. And if the client knows more than you, why they're hiring you, let them do with themselves. And how do you include the client on the job? You are not going to create only one style escape. We would agreed four or maybe five cell escapes that are completely different from each other. They will have different typefaces, Callers shaves, communication everything. Just make several directions to the work and present all of them to to your client. Euro present far to five different style escapes so they can peek won. And you make sure that you keep it clear about the style escape being the thing that's going to guide you in your work is going to be the Bible off your work. So they must choose the right one folky. But how do I do a style escape if I don't know anything about design yet. So now that you know what you have to do, I will explain you how to do it. Okay? Exercise of discourse is going to be a style escape. We're going to create a style escape for a fictitious brand that are going to create on the end of this course and to create this style escape. We're going to talk about the basics of graphic design. From now in the next video, we're going to talk the very basics off color in graphic design 5. Basics of Color: Welcome to the glass, where you're going to talk about color and graphic design. I choose to talk about color before talking about all other concepts of horrific design because it's the most clear, indirect suspect official communication, our brain stints to understand caller before and they're sending anything that we see it understands caller before shape before volume. There are two main things that makes you understand an object in everything that you see there are caller in shape, but the first thing that you're going to see is always the color. When you see something that you are not clear about what you saw were probably going to remember, it's caller, but you're not going to remember its shape. You may argue with me saying that the first thing that you see is light, but you can actually see light. You see the reflection off light that reflects caller and shaped where eyes. So the first thing that you actually can definitely see it's called her, and then the shape. The concepts about color that I'm going to teach you in this course are the very basics. Later on, I will create a full course just on caller OK, here comes the hard part. Forget everything that you knew about color theory because you were probably wrong. I'm not saying that you are, but you are probably wrong. There are two different systems off color in the world. There are so attractive colors in additive colors. Subtracted are all the systems that mixing all the colors. All the primary colors are going to generate a black color, and the additive is the opposite. Mixing the mixing. The three primary colors are going to generate you white, so basically additive system is related to light. The color of the light in super attractive system is the System Off Inc. And their primary colors are different to the primary colors. Off the additive system are the secondary colors on the so attractive system, and the primary colors and the subjective system are the secondary colors on the on the additive system. There are many different color models to represent each one of these two systems, and I'm going to talk about the main models in each system. The color of flights is the one that most of you probably know correctly. How does it work there? Three primary colors are R G and B Red, green and blue. So this color model is known as RGB color model, and combining them with different values can create all of their colors that we know. And arguably system is the closest one toe how we see the real world. We see reflection off light, toe our eyes so the light bounces in an object to our eyes, and we receive the information of this color. This color model is most using screens like computer screens, televisions, cellphones, and it tries to emulate how lights and caller works in real life. Now the subtracted color models are the one that most of you doesn't know properly because for some strange reason, all this coup all the school systems teaches. The subtracted color's wrong because you may think that the primary colors are red, yellow and blue off think, but they're not. And every child that starts drawing in painting in arts class aren't thoughts that these are the three main colors. The three primary colors red, yellow and blue. But it's not accurate at all because you can't create these three colors. With this system, it's impossible. The right subtracted color system is C M Y cyan, magenta and yellow. Yellow is the only correct color in the R. I B model. And by mixing these three colors off, think you can create almost every color you can see in the world you may be thinking about OK, no, seem like a But where did the K go? OK, in theory, you could create every single caller in the world with seeing why. But due to some technical issues with the printers and with the machines that produce caller and also because of the ink absorption off the paper, it is impossible to get reach in riel black Onley with the these three colors. And that's why, in the same way K system Black was at it just to make the black really black and for some reason, even the key caller on the same way. Cases, um, is not really, really black, and but this is a subject to talk about in the color curse energy color model. Each primary color has a value from 0 to 255 and seem like a it goes from 0 to 100 but it air four primary callers every time that you start a new project, you have to know if you are going to do the project in paper to be printed, or we're going to do a project just two screens our digital world. For some reason. Some video games, um, Facebook pages, Instagram pages. I don't know, but you have to know if the project is going to be printed. Are is going just to be displayed on screens because bidding on this you're going to pick either RGB are seem like a system for screams. RGB, for printing and for ink seem like a system. So now that you already know the basics off color theory, you must choose the colors that you're going to use to your projects. But before you start choosing colors, don't just choose color because you like, choose it because it makes sense because every color has a psychological effect. For example, blue. It's a sad color. Orange is a happy color. Red is the color of love, but in design you have to know what each color means, so make sure that to do the correct research before start speaking colors and start using colors on your designs. And this is it for this class in the next list, we're going to talk about shape, CIA 6. Basics of Shape: in this class, we're going to talk about shape shifters, one off the most important things in graphic design to individual communication. One of the most important things to understand is that shapes also has meaning. If you are using many pointy stuff pointing typography, toe pointing images, you're going to be telling something. But if instead of it you use something, our flow team are more rounds, you're going to be speaking something completely different. You have to know when to use pointy shapes and when to use rounded stuff. Because you don't want to make a poster for a child party with lots of spikes and pointy stuff. Because everything that that surrounds child mostly are with rounded fate rounded shape, for example, that because of child's themselves but because of the parents rounded shapes tends to have more off safe value. It's more comfortable was not dangerous. If we use something more pointy, more spiky, you may be communicating something very not safe for child because pointy things me coach you me hurt you in what parents wants the child the most is their safeties. So most off the the things for Childs are going to be rounded mainly if you are talking about babies. But if you're doing a poster for a hard rock band, you are not going to make very floating round the things you're going to make. Sharp things were going to meet pointy things because these sees what they sound like. Their sound is more pointy, more radical, more aggressive. It's not a safe. It's not a safe sound. You know there are two very extreme situations, but take this in consideration. Shapes are one of the most important things in any graphic design piece. There is one more thing that you must understand about shapes is that they're also bring sounds with them, depending on the language that you speak. If you speak English, you speak Portuguese like me to speak Spanish. Each shape may be linked to a different sound if you speak English. The sound of the letter T, for example, usually is associated with a pointy shape. And if you don't speak English, why are you leaving? Listening to this corpse? But it probably is related to this sound off the shapes in each language, for example, circle in English. It's a circle. It's a round shape. So be careful with the shape, your using each of your designs. It's a flat one. It's a sharp one. It's around one in the next class we're going to talk about, in my opinion, the most important thing in visual communication contrast. 7. Basics of Contrast: in this class. We're going to talk about contrast Now. I'm going to repeat here something very important. Knowing how to use the software is not going to make you agree. Designer. One of the most common mistakes that I see designers doing the is hierarchy and contrast mistakes. I don't know why, but for some strange reason, many people think that feeling the design as much as they can until there is no space at all in your design, it's going to make it better. But actually, if this is what makes you look, amateur contrast is the most important thing. If you ever want your designs to look professional, every piece of graphic design may be interpreted as a combination off different blocks with different kinds off information. Many times it is text information. Illustrations are other things that you may need to put in your designs. So I think in every single element as a block in each one of these bloods has its own way. Some of them must be heavier, and some of them must be lighter, and you have to choose which one is heavier than other, because this is way we get our audience toe look to where we want them to look at. One of the main things that you have to do as a graphic designer is to guide the I off your audience throughout all your design in the best way to do it is to use contrast correctly. You can either guide your audience through this size off each element or by the color off each element, because color will also guide your audience in one piece. Contrast interest is a clear difference between two elements. It maybe by color, by size, by shape, and you must know how to manipulate contrast. So practice a little bit and I'll show you in the next video about hierarchy. How to manipulate contrast to get a better hierarchy. 8. Basics of Hieararchy: Okay, So in this class, we're going to talk about hierarchy and how important it is to make your design pop into guiding I off your audience through all the pieces of this and that you create. Okay, so we're going to head on the computer now because I want to show you something. Here. I have the two characteristics off hierarchy that makes your design poppin. Shows you how to guide the eye off your audience. It's wrong. Your design. Okay, The 1st 1 being position because and in most countries of the world, we read from left to right into top to bottom. So everything that is here on the left, a Perseid off your design will be read first. Then what is here? Because it is naturally considered the next thing. Because we read everything from left to right into job from what I took from top to bottom . Okay, so the second thing is contrast, and you have three ways to get your hierarchy correct. By contrast, because you can use contrast in the pure meaning of contrast is the clear difference between two. Wellman's Here we have a black, a black back room that's dragging her I to this area here. And then we have a cool year wide contrast here. Just a car. You creo city besides the besides, white is the lighter color that exists in in black is the darker color. If you use black with with yellow for some reason, the contrast is higher than then with white. Okay, so there are three ways to use contrast to improve your hierarchy. 1st 1 is just contrast. Clearly contrast. We can use color because if everything is black and white and suddenly something red pops out, you're probably going to look to this part before everything else and here displayed just not a good example, because everything is trying to is screaming for attention here. So I don't consider these situations, but But the next one that I'm going to show you and then the third way Teoh to improve your hierarchy through contrast is by using sites, the bigger the faster we're going to look there. So if you want to really wants something to be the top off the top of your hierarchy, it just make a big thing being thing read from the beginning and you're probably going to pop the I directly to their okay. This is just an example In here I made an exercise where I used this image. In this situation, the image is the first thing that you are looking at. And then you were looking to this headline is title and then you're going to look to the body of the text. Okay, Here I used the 33 different three level high. Ricky OK, Your first look here to the image because it because of two things because of the size and because it has a body figure in our brains, tend to look directly to the body Figure because your brain understands it as a person in you tend to look to a person first. Then letters are other things. Then you are looking here to this text to the title because in this title, the letter is bolder and is held it and it has twice the size off the text body. Okay, this is a good rule. Every every time that you want toe have a clear difference between two two texts. For example, a title in a text body. You should use at least two weight's higher, so here. We have a regular weight in here. We have a bold wait. So the sea is probably going to be to be the second thing that you look on this composition . Okay, because of the size. And then this one is tiny is thinner. So it's the last thing that you are looking in. Also, it's on the end off the page is on the bottom part of the page. So this is going to be the less important last important thing I wanted eat to look as the less important thing on this page in this example. Here, the I sorted it in a different way. Okay, So in this situation, just because we increased the size off the headline, then we put the headline in the text on the top of the page instead off the ending, right, like waas in the previous page. So this was probably read in a different reporter in a different sort. Okay, First, we're going to read the title. Then we're probably going to look to the to the image because the main part of the image that's not covered by text is here, and it's huge. It's even bigger than this one. So you're going to look second to here, and third, we're going to look to here. If we wanted to make the the audience, read this image in the last place, we should probably going to make it smaller like this in painted black. And because of the because of the order and the size of things, your audience should probably read thes first the second and this would be the last thing that your audience would probably look at. Understanding how hierarchy works is one off the best skills that you can have as a graphic designer, because it not only guides the eye off your audience, but it also make makes every design piece that you make pleasing to the eye. So it's comfortable to look at in. As I said earlier, one off The basic concepts of graphic design is that aesthetics aesthetics comes after the functionality. But I didn't I didn't say that aesthetics is not important at all. It is important, but it follows function. Okay, so here, yet again. Uh, but this one is not as it's beautifully, but its opinion. It's relative. So here in this situation, I like face layoff the most. Okay, I prefer this than the less one, but it only works as a good design if this is the right sort that our client and the job wanted us to make. Okay, so this is it for hierarchy, you have to learn how to use it. This is the most important thing in graphic design hierarchy, in contrast, and it's much more important than learning how to use photo shopping illustrator. Because if you don't know how to use the illustrator Photoshopped corridor or any software , you can still be doing hierarchy. And you still can be doing good designer with an allergic tools and with other things besides computers. The first thing that should learn how to use our hierarchy. In contrast, those are the most important and value things that you must learn as a graphic designer in the next class, we're going to talk about balancing, and it is the last thing that I'm going to teach you before I give you the exact thanks. Okay. Thank you. In seeing the next class 9. Balancing: welcome to the less glass of this course. And in this class, we're going to talk about balancing. Balancing is one of the most important features that you must have as a graphic designer. And you shoud Massery Definitely. Because you're going to finish your work mainly when you are just a beginner, you are going to finish the work and you're going to notice that something is off and you don't know what it is. Normally it is the balancing their two different approaches from graphic design. Okay, And you you can choose only to use one or only to the other are to use both is up to you. No one's going to blame you if you only use one of them. There are symmetric designs and a symmetric designs symmetrically out is when the weight off the design is distributed equally on the art board. Okay, so the weight on the left is the same weight off the right. This one is also some entry because this part has the same weight as this part. You still have a part with both biotechs here and with light X here you still have image on this side and you still have image on this side. So this is a symmetrical layout. So is this one. If I wanted to convert this to a nest symmetrical layout, I would have to do something like this. But in this case, my letters will be to light and this coming to be hard to read. So I do something like this and probably, I don't know, but like this in a would pull this woman a little bit to the left. So this way I have a balanced, but as symmetric design. Okay, because the weight here in here on the left and the right are completely different. But still, you find design very comfortable to look at. We're trying to make a symmetric reality. You should always try to make your elements off the left to the same weight as the elements on the right side, off your only out. Because when you're using a symmetrically out when you distribute everything correctly, everything will feel right to the I will be pleasing to look at one of the advantages of symmetrical. Leon sees that you can put it to prove you can create blocks that simulates the weight off each part of purely out, and you can see if the weight is well distributed. It's a little bit more direct. It's a little bit easier to check if the balancing is correct. If you're trying to use an a symmetrical layout, it's a little bit harder because it tends to feel more organic. It has an organic feel. The biggest problem with a symmetrical it's that it's harder for you to balance it correctly because you have to trust your eyes. We have to see and you have too few if it's balanced, one of the most important in almost every designer. At some point, I discovered that he should use it more. Is white space why space is very, very important, either in symmetrical, a symmetrical or anything in graphic design? Not only graphic design, but on any kind of visual communication. Photography videos, illustration. White space is one of the most important things that you have to know as a graphic designer , and that's definitely something that's going to set you apart from amateurs. The easiest way to see if the designer who's doing the design is actually an amateur is when you look to the peace that he made. And you definitely see that that what space is missing. Everything needs space to breathe. To be seen when you will need to draw attention to something you have to you must have white space around it so you can know where to look at. And remember that white space. It's not literally white space. It can be a space with a pattern with no relevant information. That's just a space there. So hearing these layouts, we have thes photograph that has two elements. That's the waterfall and the girl here and everything else like these mountains. This piece here, where the water is here, in here too, are considered wide space. Whitespace helps your eye to know what you are supposed to look at. So thesis whitespace, that this is what space. So you know that you are supposed to look at the girl or the waterfall in here. I have this this amount of white space here, here and here. Let me show you how it would look if I had know what space at all. In this comparison, it is very clear that the right one is much more polished, is much more like a finished piece than the left one. The left one is much more like an adventure would make. Okay, I made Have exaggerated a little bit here. We looked at these two images. You can clearly see that this one is more balanced than this just because of what spins. The information is distributed in the same way the position of all elements, and these two are the same. But the size is different. And because you have much more white space here, it allows your design toe look more professional and to breathe a little bit more. This is very important in this is a game changer. When you learn how to use white spaces properly, you're definitely going to feel your designs are much more professional. And this is it for this class. In the next video, we're going to talk about that exercise that it was going to send you, and we're going to create this town escape 10. Style Scape: Okay, So for the last video off this course, we're going to create our own style escape. An example that we're going to use for this class is we're going to create a style escape toe, a new brain off barbershop products that wants to look toe a gentleman class. Feel free to do your own research to use the images that you want in this example. In every cell escape that you are doing, there is no problem at all and use in using images that you are supposed not to use, like images from Google or images that has copyright. And why is it because you are not going toe actually use it for your final work? Okay, you are just going to use it as an inspiration. So the first step is go right now to Google to paint rest to stock photos, go to the street, take teachers, do wherever you need to get visual references, wants to have all the visual references. You put everything that you researched that you two pictures off in a big in a wide art board. Every time that you were doing a style escape, I also recommend you to find a person to represent that style. Escape. Okay, he raise my art border right now. It has lots off references off other Wren's off other stuff that's not even related to barber shop. For example, here I found interesting those beer cans, this thing that I don't even know what it is. Those illustrations, those images off cities and think that could be used as in style as a style form for this. Brent. Those are the colors that's going to be used in this style escape. Okay, this brown, this more natural looking because it's a gentleman. All barbershops normally have that natural vibe off. Natural brothers are products from the nature that wants to relate with nature. So that's why these colors. But it's really up to you what the colors you're going to use and the references that you're going to get. And one more thing before we get started. I even recommend you. I strongly recommend you to try to do it outside a computer if you're not. If you don't feel comfortable with this, it's okay to make in the computer like I'm going to do. But if you want, you can just take a big piece of paper and start cutting paper cutting magazines, references, poster references, everything that you can get newspaper pep references. You can also print images that you get on the Internet so it's up to you if you are going to do it on the computer are in paper. But I strongly recommend you for the experience that we're going to get to do it in paper. If you're just starting in. Graphic design probably is going to be hard for you to do it any illustrator like I am doing. But you can actually do as old designers used to do by cutting gluing things and drawing in whatever you need. And you feel that's going to add something to your design. Okay, so jumping back to the computer, the first thing that I want to do is to make this art board here with the same color, the same secondary color that I use for these, they out. Okay, then I like to put the James won't hear more or less in the in the right place. I already precut they need on photo shop, so it wasn't obliged to see all the process off cutting him out off the background. I will let this file in the resourceful there. Okay, so you can use it if you want to. But again, I extremely recommend you to do your own research into search for your own refuse references. Okay, Now, what we're going to do is we're going to place all these elements on this on the art board so the client can choose between these and the other the other possible soundscapes that you are going to present him. Okay. And after placing everything here, this is all the information that I got. You get something more or less like this. It's a little bit too crowded. But there was no problem because all these parts can be considered the extra ring and each one off this individual images has its own white spaces. So there's no problem to be so crowded. Okay, It's a population off. Many references that we're using to to get our final products are our final design. Okay, I'm going to show here to you. Okay, so in this part, I just You just put the packaging that that I was using as reference, okay? And then not really centered but centered with the part off the images. I put the guide, but James Bone. So hey, is the kind off gentleman that's going to use this brand. Okay. And here I used references, off packaging, and in this part I had I put the rift references off the style off the person. Ah, wild person. A person that that's a gentleman that likes cars and motorcycles and to travel truth through CDs. Here I made sevens experimentations with combinations off funds and time faces. And in this part, I made experiment with possible graphical elements that can add a uniqueness to the brand. Okay. And this is it for this car's okay. I really hope that I received some of your stance capers. I really would love to see the result of everything that I teach to you throughout the scarves. Thank you for being with me. My name is Lucas. And see with the next course