Create A Food Package Design - A Graphic Design Project for Beginners | Lindsay Marsh | Skillshare

Create A Food Package Design - A Graphic Design Project for Beginners

Lindsay Marsh, Over 300,000 Design Students & Counting!

Create A Food Package Design - A Graphic Design Project for Beginners

Lindsay Marsh, Over 300,000 Design Students & Counting!

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10 Lessons (1h 31m)
    • 1. Class Preview

      1:39
    • 2. Getting Started!

      9:23
    • 3. Isolating and Cutting Out Our Objects

      13:18
    • 4. Adding Shadows and Adjusting Color

      6:21
    • 5. Getting Our Package Set up

      12:24
    • 6. Layout and Design

      9:55
    • 7. Finishing Our Layout

      6:51
    • 8. Adobe Dimensions

      7:43
    • 9. Backside Design

      16:57
    • 10. Exporting Our Files and Print Prep

      6:06
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About This Class

NOTE: Head on over to the project section of the class to locate the photos and files used in this class!

Have you ever wanted to walk through the creation of a package design?
This class will help you add package design as a new skillset and help you add stunning pieces to your design portfolio.

We will walkthrough the entire layout, concept and graphic design process for a package of cookies.

We will take time to learn Photoshops many tools to cut, isolate and adjust our food photos to create enticing images for the front of our package. We will create realistic shadows, blend our two photos together and bring out colors that make our mouth water.

We will bring our basic assets into Adobe Illustrator and work on our layout design. We will walk through graphic design layout principles to create a compelling high contrast layout that will draw eyes to our product from store shelfs.

We will go over what makes food package designs work well by going over a few examples and finally we will work on typography to create font pairings for our product.

We will adapt our package design to our own custom mock-up using Adobe dimensions to create a great portfolio piece or presentation for our client.

Lastly, we will add a back-side design to our product and work in bar codes, nutritional facts to create a cohesive design that flows from front to back.

This class is for beginners and intermediate level designers and I hope this class is a great introduction that will open up new avenues of possibilities for you and your ever-growing design skillsets!

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Lindsay Marsh

Over 300,000 Design Students & Counting!

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Transcripts

1. Class Preview: have you ever wanted to walk through the creation of a package design? This class will help you add package to sign as a new skill set and help you add stunning pieces to your design portfolio. We will walk through the entire layout concept and graphic design process for a package design of cookies. We will take the time to learn photo shops, many tools to cut out, isolate and adjust our food photos to create enticing images for the front of our package. We will create realistic shadows. Blend are two photos together and bring out colors that make people's mouth water. We will bring our basic assets into Adobe Illustrator and work on our layout. Design will walk through graphic design layout principles to create a compelling high contrast layout that will draw eyes to our product from store shelves. Way will go over what makes food package designs work so well by going over a few examples , and finally we'll work on our typography to create thought Parents for a product. We will adapt her package design to our own custom, mock up using adobe dimensions to create a great portfolio piece or presentation for a client, lastly, will add a backside designed to our product and work with barcodes nutritional fax to create a cohesive design that flows from front to back this glasses for both beginners and intermediate level designers. And I hope this class is a great introduction that will open up new avenues of possibilities for you and your ever growing designed skill sets. 2. Getting Started!: I'm gonna introduce you to our next project. We're going to do a package design. We're gonna go through the entire process and detail, including sizing, exporting final files. How to apply it on. Um, aka for you to use a couple of different methods to do that, we have two different kind of options here we could explore. We may even have time to do a backside as well. I want this to be pleat projects that can learn a lot as we move through. This is one of the first things we want to do to complete this pack design as find a great product photo. And there are a lot of great resource is and free photo websites you go to to download lots of different product photos. I had a hard time finding the perfect chocolate chip cookie one, but I did find a photo. I'll put that in. The resource guide has all the links to all the photos you'll need in the class so you can find those. But please feel free to use your own product. It could be a cracker. It could be something else for your own product design. I wanted to be a little bit different than mine, or you can replicate and move through mine if you want to really go step by step and learn the process. One of the first things we do for any package design is edit and finalize our product photo . So our product is gonna be a chocolate ship. It's gonna be a mint chocolate chip. So I downloaded mint leaves. So I'm gonna cop into Adobe photo shop workers start out in photo shop because we're gonna really focus on that editing. I have this stack of chocolate chip cookies and this bunch of mint, which we're gonna find a way toe, isolate and select the mint leaves we think would be good, because that's a lot of meant leave. So here's what we want to do is we want to focus. The product is a meant chocolate chip cookie, so you want to have a little sprig of meant to show that this product is a little bit special and not just a regular plain chocolate chip cookie. So let's first cut out our photo. There's lots of different ways to cut things out in photo shop, so we'll get to that in a minute. If you take in my photo shop editing and manipulation masterclass, you'll be right at home. You can go ahead and skip through some of these different ways to cut objects out. If you're not familiar with all the different ways, I would approach cutting this out. Um, hang tight. We're gonna go over that. We're gonna go and double click, unlock her a little layer here. So now we can go ahead and be able to cut this out. So I have a newer version of Photoshopped the photo shop 2019. So I have a nice, handy new tool I could do up here in the select portion I'm gonna go down to select. I'm gonna go down to subject matter, and so it's gonna automatically use an algorithm to find the subject matter. And sometimes this works, and sometimes it doesn't. But I always try at first because look at that. It's not too bad off selection, really not bad. We're gonna go ahead and zoom in. We're gonna have to find tune this even further. There's another method. You can use that. If I didn't if it didn't select it really good. The next tool I would rely on is my magnetic lasso tool. I would click kind of go around. This seems to actually be making a little bit better of a selection. And sometimes when you have a blurry background, so you notice it's a little blurry right there where the photo was taken. Because the way the lens is being used there, it makes a little bit harder to cut out, uh, items, because the computer is not knowing where the background ends and the cookie begins. So a lot of times, when I look for photos, I'll try to avoid the ones that have a lot of blurring on the edges. And in some case, in this case, I just couldn't find a really great free to use chocolate chip cookie photo. So I had to make do with this one. But that's okay. We're gonna be able to sharpen those selections and a little bit. So I went ahead and use this method, and now we're going to be able to find tune our selection. So let's go ahead and take a couple things we can do here. So sometimes you use the magnetic lasso tool and he had that little bit of a blurry background. It is hard to kind of get the computer to do that for you A lot of times, Al. Then if I have a lot of curves, I'll use the pen tool to make my selection. I love the pin tool. I use it a lot of the Doobie illustrator. I'm already very comfortable with it. So let's go ahead and zoom in here and use the pin tool. I'm gonna go ahead and click, and then I'm gonna click again and hold and make kind of a little bit of a curve shape, click and hold. And I'm gonna go ahead and complete my shape. I'm gonna add to that selection. So what we want to do is when we complete a shape with the pencil, we're gonna right click, and we're gonna go down to make a selection. And here's the key here. We don't want to make a new selection because then it'll ignore the selection we already have. We want to add to the selection, click on OK, and it just added it right there. A nice, smooth curve that would be almost impossible to do with a polygon lasso or the lasso tools so you could take the polygon lasso tools. Another way to add you wanna adds who and add to our selection that's gonna be addition to our selection, and this is gonna be subtraction. So some of us may be basic for you, But just for those who do not know, I'm just gonna go over kind of the basic tools at first and then not do that as much. We could do this as well. It's gonna make a little bit more of a sharper edge. There's like that. But that's why I like the pin tool a little bit better, because I can smooth out my selection so I could go back down to the pin tool. So many different ways to cut things out. There's not really a wrong way. There's usually just easier ways, so there's a little dip there, so I'm gonna get that nice curve there. And instead of adding to the selection, I want to subtract it right because I don't want to add that to it. I want to subtract that right in there, so I got a right click and just do the same thing. Go down to make a selection and we're going to subtract from the selection. Click OK, and there it subtracted it. Let's do this a couple more times for practice. It's going to subtract of that out right there. Just that little bit. Start going a little bit faster and subtract, Boom! I just love the pin tool for cutting out objects. I feel like it's way more accurate. Um, if some of the other tools don't work for you like selection selects subject, this is clicking and holding. We'll get to use the pinto a lot Adobe illustrator to get this works the same way in adobe Photo shop Go down to make a selection Subtract except remember, if you want a subtract er ad that's the only key to all this nice, smooth selections We want to add that time so make a selection and then add to the selection Boom. So I'm gonna continue to do this. I think we've kind of done enough examples to show you I'm gonna go ahead and finish doing the rest of this making a nice, smooth selection, especially these little blurry areas of the photo. If we don't make a nice, smooth selection. It looks really fake, and it looks like it was cut out a little too rough. We want to make a nice, smooth, natural selection. So I'm pretty happy with that selection on a copy. You did you command, see short cut and command the copy, Or you can go up to edit and do it manually. Copy and paste. So now I have my separately are gonna go ahead, delete, or at least make it not visible anymore. So I can really focus on this. I can always see how good my selection is by creating a new layer. I usually like to use a red as long as the photo doesn't have a lot of red in it. And I'm just gonna drag this as a lower layer. Kind of see how my selection was. It's It's not bad. It's not bad. There's little things you can always go in and do and take the eraser tool and fine tune that selection. But I'm pretty happy with it. There is some blurring that happened that had to crop out kind of some sharp edges out of those blurred lines. But I think because the photo was fairly blurry. It did a pretty good job. It's gonna go down here and look at little details. This looks a little unnatural, so I could be to take the pin two and cut that off. Arkan, take the eraser tool and kind of do just a little bit of trimming and softening of the edges. This is being picky because when you have a package design, you got to be a little bit picky because it's gonna be pretty big on the product. Do you want to spend a lot of time really making it nice? Because that photo is gonna be the main attraction of this package design. We'll make sure it doesn't look fake, are not cut out very well. So we gotta be very good about making sure everything looks pretty good. Any sharp edges are smoothed out, softening that, reducing the size of the eraser tool, and he's going into softly just a little bit. I don't want to soften so much that it doesn't match the rest of the cut out, just little things. So when I'm happy with that, I'm gonna go ahead and zoom out and have that as our cookie. And so now what we need to do is add a little sprig of mint. So how are we going to do that? We have this meant photo here. He couldn't use any minute photo you want. You don't have to use this one. So what we want as we just want a sprig of mint? We don't want this big bunch. What we're gonna do is agree. Be cutting out isolating a section of this meant so that we could put it on top of the cookie. 3. Isolating and Cutting Out Our Objects: so there's no way we can use our little cheat sheets and use the magnetic tool or go to select and find subject because we need to isolate all this. So we need to do some selection on our own. And I thought, maybe this sprig kind of stand alone I can isolate this pretty good, and there won't be any leaves that are covered up. So this is a little sprig of mint I'm gonna isolate, So there's a couple ways I can cut this out. I could just use the magnetic lasso tool, but a lot of times with the magnetic lasso tool and you have a lot of the same color. It has a hard time defining where there's little edges are This is really not doing too bad of a job, but let's go back to our handy pen tool. I just think I just have a lot more control using the pin tool when making a selection, so I'm gonna zoom in quite a bit. Just go over these edges and gonna click and hold drag. Click back on that anchor point click again and drag. It does take a while to master the pin tool. It's going to zoom out because I think we can probably cut across this. Get rid of that stem. We'll do that in a bit and then cut around. And this doesn't have to be perfect cause it's already a cutout background. Just very nice to have. Zoom in here and make sure the selection looks nice and smooth. Click and finish our shape. So now that we have our shape finish, we're gonna right click Make a selection, and we are going to have a new selection because we have a selection yet. Let's go ahead and copy and paste this. Let's get rid of all the excess that we have and let's go ahead and bring it in over our cookie graphic. So here's our little sprig of mint. Let's go and make our cookie photo just a little bit smaller. I'd rather make instead of making the meant photo bigger and stretching a photo, I'd rather make another photo smaller instead of stretching it, cause when you make it smaller, doesn't pixel ate when you make it bigger at pixel eights? This is already a super high resolution photo, so I'm not super concerned. I'm just gonna go ahead and to scale it down to match the size here so I don't have to scale that up. I might skill it up just a tiny bit. Try to avoid that when I can. So now we need angle this so it looks like it's a nice sprig that set nicely atop or right near the cookies. I'm just gonna go ahead and kind of arranges and what I think would be a pleasing manner, because that looks like it's almost upside down. So I just want to kind of angle that all we're doing it's placing. We're going to a little photo editing here in a minute. So now we ever springing meant. I ended up coming out one little leaf and a little bit of a leftover stem that was in the background just to make it look like it was just the leaves. And if we're happy with the selections, we don't need to test how that looks on a different color background. We can always change this, maybe to a light gray to kind of make more appealing background to work with. There's make that a little bit of a dark ray and there we go and let's make that a little bit lighter. And now what we need to do is we have some dull photography. It was professionally edited, edited, and it looked great on the photo, but now we really wanted to stand alone on its own. We also want to make sure both of these totally different photos, taken with totally different lighting look like they belong in the same photograph. This is where some photo editing capabilities will really come in handy. So now that we have the arrangement as we need, let's go ahead and get the Dodge and Burn Tool. We're gonna add some highlights and some shadows. We're also going to use the adjustments panel or the adjustments options in Photoshopped to be able to add a punch of color. So let's do some overall editing first, and then we'll come in and do the highlights and shadows and details last. So what we want to do is select her image. Go ahead and scroll over here so you go over to image adjustments and we're gonna be doing a couple of different things in this adjustment panel. Want to kind of make it a little bit brighter. Ah, one of the biggest things you could do to make a photo a lot brighter is go to exposure. This has a dramatic effect on the photo so you don't need to use a lot is going up this just a little bit. Noticed the change in difference between that and that with product photography, especially in a package design, We really want to make sure all the details of the cook your seen there's not. It doesn't come out printed dark. That's a big problem with printing is you look it out on the screen. You look at it on the screen and it looks great. But then, when you get it printed on a product, it looks a little darker than you expected. It's always like the lighten things up quite a bit. We don't want to do anything like this and have it be over processed that looks over processed. This looks just right. Just a nudge higher, and the offset brings out the shadows a little bit. So I'm reducing the offset. If you were to increase the offset, it makes it a little bit more faded. But I'm just these air really subtle changes you're noticing. This was before, and this is after so just a little bit bringing out those shadows. We're also bringing out the highlights and making it brighter. It's a very, very small changes gonna click on OK, but we're already seeing such a difference. Gonna do command Z and go back so you can see the difference that was before, and that is after a lot, lot better. We could also go to hue and saturation. We can kind of mess with the overall color a little bit with a cookie. When add warmth to it. You want to really bring out those kind of warmer colors. We don't want to have our food look green, so we can always just mess with you. But usually that isn't a a little bit too, too much. We can reduce saturation if we wanted to, or we can increase saturation and notice that's before, and this is after so adds a little richness to the cookie dough, so just adding a little saturation. You can always go to color balance and edit individual color, so if we want to reduce any green, we can actually see this would add green to it. So you notice how unappealing Marine looks on a food product. We actually go the opposite way. Go toward magenta at a little warmth to it. You can always make adjustments in your color. Balance is well, but I don't think we need that for this. Particular photo is kind of going down the list and doing ones I think would be very helpful. We can always do selective color. If there's one particular color, we want to either bring down or highlight Mawr. So once again, very small adjustments because the photo was already professional photo. If this was not a professional photo, you have to do a whole lot more color correction if it's a raw photo that you're working with from a camera. Okay, so I don't think we need to do too much there. I think we do need to bring out a little more highlights here, and we're really gonna have to work on that meant leave because it looks very flat. Let's do the cookie first. We're gonna go to Dodge and burn tools where you could be right here on your panel. If you know how to use these great. We're gonna use these. Redo the Dodge Tool, which is good ad highlights in the burn tool, adds shadows or brings out shadows. Reader The Dodge Tool. What I like to do is go up here to range, and I like to go ahead and start with mid tones, and these have a different effect. So this will bring out the highlights more. This will bring out the shadows. Mawr. This will be right there in the middle. I like to kind of see what kind of effect I have to see what I need to do. So I like to start out with mid tones and let's do a nice, soft round brush. Ah, hard round brush. If we did this, it just be a mascots. Look out, it's not. It's not softened, its not feathered. So let's do this nice, feathered soft round brush and let's add some highlights onto the product. We want to be very careful not to add too much. That would be too much. That looks really obvious that I added highlights. So a lot of times I need to bring down my exposure just a little bit and do you just kind of a click or two. This is where art artist side of design comes out where you don't want to overdo it, make you always go back in your history or do command Z if you just need to go back and and correct something. So I just wanted we're gonna bring out the chocolate chips. So what we're doing here is we're bringing out the highlights more, and we also want to let me go back. Just one more stage. I think I might have then a little bit too much in that 1st 1 That's okay. When you go back, it's trial on air. What you think would look the most appealing. And then now we want to bring out the shadows. We're gonna go down here and select the burn tool reduced exposure a little bit. So it's not so strong or to start out with mid tones and see what effect that has make it a nice big brush. We do what, 348 pixels. Maybe a little bit bigger by 400 or so. So now we're just gonna do little just bringing out the shadows. Now we're making the highlights more bright in the shadows a little bit more intense. And sometimes if you change the size of your brush if you want to bring out the shadows there in the shadows between the cookies. Sometimes I like to do the edges, especially when you cut something out from a light background. There may not be enough shadow there, so I'm gonna show what it looks like before it looks like it almost blends. And if we're ever gonna put this on a light or white background, which is very possible, it kind of just stopped suddenly. But when he had a little bit of shadow kind of makes it look like it was cut out a little better, gives it a little bit more shape and dimension. Just a little tip there. You have to cut out photos that aren't necessarily perfect for this type of work. Sometimes you just have to work with what you have to work with. So I think we're pretty good with the cookie. I can go back in my history. We'll see my history panels. I can always go back into a window and call up my history panel. Let's see what we had before So this is what we had before. Let's go ahead and do when we change the background. That's what we had before. And this is what we have after. Do you notice that it's a lot more vivid? I might even tone down the shot of the highlights just a little bit more if I were to go back and do this again. So now this looks really don't. So let's brightness up quite a bit. Let's do the same process. Let's go upto adjustments. Let's go to exposure first of See if we can't make this a little bit brighter, a little bit brighter. Maybe reduce the offset. See how it added quite a bit of richness. This was before, and then it kind of adds quite a bit of richness. There more contrast and then gamma that brightens it up a little bit. Look OK and we can go to color balance, you saturation. We can either add a meant. We really want this to pop out on. The package meant it's supposed to be enticing and bright, and right now this is a little bit of the dull green, so let's brighten that up quite a bit. we can add a little saturation to it. Not too much. You don't want it to look a little too crazy. Just a little saturation. We could go to color balance and see if we can't add maybe a little more yellow, looking a little more vibrant. So I'm just going to my highlights shadows and mid tones for tone balance Just adding a little yellow for a pop. And now we want to add the same highlights and shadows we did through the cookie is right Now we have that looks like the highlights or right here. So we have a light source that's coming from the top and coming toward the middle of the cookie. So this is where the light source is coming. So we want to emulate a light source. Very similar, even though the light the photo was not taken with that light source, we're gonna try to bring it out. So it looks like, um, it's from that light source. So we're gonna do the same thing. Let's start off with the Dodge. I usually like to start with highlights and end with, um shadows, but you could do it. How we'd like Let's go ahead and add a little pop of highlights right around here. So the shed, the we need to have highlights here. You need to have a kind of toward the middle top of this because kind of a top down directional light, and then we can change this. Highlights are gonna bring out more highlights is gonna be a lot stronger. OK, And now let's add a little bit of shadow so we can add shadow to things that are already gonna be shady anyway, especially down here in the bottom of the light source is coming down would be a little bit more shadowy down here. 4. Adding Shadows and Adjusting Color: so I wanted to show you the difference between these two. The bottom is what we were doing. And I did some more research on meant and realized that mint has a little blue little green in it, and this looked a little bit too much like a regular outside plant or grass, so we needed to add a little bit of that blue to it. So what I did is I took this image. I went up to color balance, suggests adjustments and went to color balance. And I just added a little hint of blue to the highlights and shadows on Did some adjustments there, so I can kind of get a little bit more of, ah, color of meant that I'm happy with. We've got to be picky here. We've got to make it a very enticing photo. So right now I'm happy with the lighting and the way it's cut out. But they still feel like this meant doesn't belong with the cookie, and that's because it's not casting any shadows on the cookie right now. It's a slat, so let's we're gonna draw some custom shadows, so we're gonna have the mint leaves casting a shadow on top of the cookie, so it looks like they're taken as one photograph. So to draw custom shadows are going to do it on its own layer. So I can have maximum control over how the shadows do it instead of drawing the shadows by using the dodge and burn tool that I just still have as much control over shadows. If I do it on the actual image. So I'm gonna create a layer that's gonna be between the mint and go ahead title this meant and then the cookie. This is gonna be our shadow layer. So this is when we're gonna drawl using the paint brush tool. So have the paint brush tool right here. We're gonna make it not quite as big, just just enough to draw a nice, feathered, soft, round brush shadow. So we're gonna go ahead and select black. We can always lighten this at another time. This will really help us know where the shadows are. So let's zoom in. Where is this gonna be cast? We have some light that's coming down to the left. So it's on this cooking. It's on here. So the shadows air probably most likely gonna be behind them at Leaf right around here. Go ahead. Drawl the shadows. And we may need to reduce the brush size so it could get a little bit of a shadow here. It doesn't have to be perfect, cause we're gonna use the eraser Racer tool and fine tune our shadow selection. There might be a little shadow down here, maybe just a little bit of one. And there's also gonna be some shadowing that's gonna be cast from the leaf itself and notice how it's not casting very far, just like that. We could do deeper shadows that cast further out if we wanted to. But the further you cast a shadow, the more it looks like it's floating and we don't want it to look like it's floating. We want it to look like it's arresting on the table or wherever its at. So you notice I'm just doing a little bit of a shadow there. Okay, so let's go ahead and erase some of the steep stuff. I gotta go and use the opacity over here in my layers panel right here. And I'm just gonna reduce the opacity of the shadow layer just a little bit. We don't want it to be too strong. That's way too strong of a shadow. The key to shadows and make is making them look light and subtle just a little bit like that. And now we can use our eraser tool and kind of fine tuner selection by erasing some of this excess shadows. We're not gonna have shadows cast there. We're gonna have it. Just cast a little bit here. You had it there, but let's just took that in a little bit. And we don't. That shadow right here well, extends a little too far outside is gonna shave it just a little bit shaving it out. It could even reduce the opacity of your brush so you can kind of feather out your shadows . So this is 50% brush to fade that out. So there we go. Just adding a little highlight and shadow. We also need to add shadow on the cookie and go ahead and create a new layer if I want to. So I'm gonna create a new layer, and this is gonna be for the cookie. I'm just gonna draw. So we have a kind of a diagonal casting shadow. So we're gonna have a shadow that's going to be looking make it a little bit bigger on this side, going to make sure that layers under the cookie and it's gonna be cast about there. And we can reduce the opacity of that shadow and make it lighter and then take our eraser tool. And right now, I still have it at a 50% opacity. Start shaving it, trimming it, and we have our shadows. That looks a lot better than before. So I'm gonna, um, take away the visibility of the two shadow layers we have. So that was before it looks very static. It looks like it was just put together, but it's adding a little richness with shadows. It helps a lot and bringing these two photos together. So we're ready to move out of photo shop and end to Adobe Illustrator to do our layout design and package design. So let's go ahead and export this file. We do not need a background, so I'm just gonna make sure that layer is no longer visible and just to save on space, because sometimes large large canvases take up a lot of ah space on your computer. I'm just gonna go ahead and crop this to the right size and I'm just gonna save this as a Photoshopped file. Save it as a photo shop. I'll not export as a P and G. I feel like Photoshopped files are a lot better to have on hand when you bring them into Adobe Illustrator. So now I'm ready to hop into Adobe Illustrator. I'm gonna go ahead and size up my document. I'm gonna try to research what I think would be a great standard package design for the type of package design that you see here on the screen is going to try to find some sizes so that we can have a size that super duper close to the final thing So we don't have to do a whole lot Edits when we get those final specs our final sizes from our client or the printer who is going to be printing and manufacturing the bags 5. Getting Our Package Set up: Now we're in Adobe Illustrator, and we're gonna open up a new document. So what size do I do? This package design. We wanted to be a standard bag format and you can go on lots of manufacturers. Websites are those who would produce this type of package to find out some sample specs. You can email your client and ask them if they know the specs. Or you can talk to who ever is gonna be your manufacturer and get the specs directly through them. Ah, by a phone call or an email. As a graphic designer, it's up to you to guesstimate the size and then finalize it at the end with the right specs . But you can't always come up. You're not expected to magically come up with the sizes. You have to get them from somewhere. You have to get them. Ah, from the person who actually will be applying this designed to a riel package so usually contacting the manufacturer will do good if you don't know who that is yet, you can always take a great guests. In this case, we're going to do four inches by 10 inches. I think that will be a good custom size first of all, if it's really good on the mock ups that we're gonna be using. So that's kind of how I'm basing the size on. So we're just gonna do a 10 and height was due 10 and height and a four in width and see how that works. You know what's great about getting at least the dimensions right is you can always scale it bigger or smaller, especially now that we're working in a vector illustrator environment. So it's not gonna be a big deal if we have to add 1/2 an inch later on. It's not totally change or design too much. We're gonna make sure we have a design that's flexible. That's not totally dependent on having the perfect size already. Okay, we're not gonna worry about bleed. In some cases, when it comes to package design, sometimes you need bleed. Sometimes you don't need lead, usually with bags that kind of wrap around a product. Sometimes most of the case I, they have not required bleed a lot of things that's printed on paper. So let's say, a rapper usually do require bleed, but something about bags and printing on cans. Usually I found that they don't need bleed because you can't really Trey McCann, like you can trim paper on a printed paper products. So that might be why. So we're not gonna have any bleed. We're gonna go and create the document, and that's a little bit to toll. So actually, I want to change the sizes. I kind of did this on purpose just to kind of show you how I quickly edit again a dimension of size after I've already opened it. So if I want to change and tweak the size, I'm gonna go to file documents set up and go to edit art boards, and I'm gonna go ahead and change this so that it is a 10 hype are a 14 height and a 10 with that looks more like it. That is a great size for the front of the package design. And we will be doing a back a little bit later as kind of some bonus kind of lessons. But right now we're going to focus on the front. That's okay. If we were gonna get this printed on a bag printer usually requires the front and the back to be together in one big pdf document, so we'll get to that a little bit later. So here's the front. We need to go ahead and bring in all over elements that the client is requiring us to have on there. I'm gonna go ahead and bring those on and I'll be right back. So I opened up the starter pack illustrator file. I have that as a downloadable resource so that you can have everything you need to kind of get started with this project. I have the logo on there. I have the cookies cut out, Hopefully will be able to go through that yourself and bring in your own. But if you were just wanting to hop right into the layout, this is a very helpful starter. Remember when we did the badges? We did the badges not long ago. We have lots of different options to choose from for badges, because that also needs to be put on this product. We have the logo. We did that in a separate project and we did the photo in a separate kind of projects. We have all of these elements coming together for one final package design so layout. This is the hardest part of graphic design. Everything else was very straightforward. We're doing a logo. We're working with this, But with layout, you're working with all these elements together to create one cohesive package, and that could be the most challenging part of design finding the right color palettes and find the right balance between all of the elements. So we're gonna do that right here. So what I'm gonna do is I'm gonna start to block. So when you block out a design, you're making certain elements the size they need to be. The most prominent items need to be bigger. The smallest detail items need to be smaller. So the title's gonna be fairly large, right? So I could have a pretty large. This is the product name title. The photo of any product needs to be large. It doesn't need to take up the entire graphic cause. And it's like you don't have any room to put any of those really important text. But it needs to be big enough where it does become the main focal point of the layout. We're gonna make that fairly large farm fresh ingredients is kind of an extra little banner that we're gonna have. So this doesn't need to be quite a large, but still important. We have all the package details that don't need to be as large, so it could make that a little bit smaller. Put that on the bottom. For now, you know, we might find a better place for it, but for right now, there's probably need to be about that size. You start to get an idea. That's gonna be a banner. This is gonna be some kind of cookie area. We have a badge here. We're not quite sure where to put the badge yet, and it does probably need to be a bit bigger, but we don't know where we're gonna put it If we're gonna angle it, we're just gonna kind of group this together and just keep it right there for now. And we need to have a logo. So we don't know if we're gonna put this on a dark background or a light background. We haven't experimented with that yet, so we're gonna put these off to the side and let's start off with a light background. Because why not? We're gonna use our darker logo. The logo needs to be big, but the logo should never overtake the product name. If you look at products on store shelves, especially cookies and crackers, you'll see Nabisco or Oreo are you'll see the manufacturer. But you'll see the name product like Oreo a lot bigger than the manufacturer like Nabisco. So you always see kind of the manufacturer or the overall company name smaller than the product. The product is the most important part of this piece, so now we can kind of sense were blocking. We could continually make things bigger and smaller to our liking. So now we need to start thinking about our typography and what kind of final type choices we wanna have So we could play off the logo and use the same type face. Or we can apply a different type of type so we don't fight with the logo, so we need to find something that's very bold and chunky. When you're talking about package designs, you really need to stand out on the store shelves and go look at your store shelves and see how many times you see really super thin thoughts are font weights being used. You almost always see these big, bold, chunky typefaces or fonts, and you also see them outlined with a border to stand out even more. So you talk about these dramatic, thick, chunky type, so that's easy to read from a distance, and that's all. There's a reason for that. So I'm gonna keep that in mind when I'm doing this title. I could make other things in. This may be a thinner weight, but I really want to make the product nice, chunky, and I can see it from a distance. Let's find a nice, chunky, bold typeface that we can use. So this is the same type face that we use for the logo, and this could work. This is really not bad. That could definitely work for the product. Well, let's see what else is out there. We have this beautiful Sarah fart. It kind of adds a rustic little look to it meant chocolate chip cookies, and I think that could work well, good as well. So this is a brill fat face, which we have used in the prior badge, um, project. And I think that could work really well to add kind of this soft, organic feeling to this farm to table company, so that could be an option. And I'm looking at bold, chunky ones. Only that could work. But I think the problem here is it's chunky and it's got these slabs. Arabs is big, chunky Sarah ifs, and I think it makes it almost looked too clunky. Um, so we're wanting something a little bit mawr smooth. So this is just kind of the process I go through when I'm looking at different options. See health in that IHS. See how when you zoom out, that product doesn't really stand out to me because the weight is too thin. So you know there's certain ones that I just automatically ignore or Markoff. So I did find one that could work really well. It's called fieldwork. Geo Black. It's nice and chunky. It doesn't have lots of Big Sarah apps on it. It just looks really clean to me. I love the spacing, the natural spacing between the type. It just looks really nice and clean, and I think we could definitely use this. So now that we kind of chose in that tight face, let's kind of Charest this headline and make it a little bit more differentiated. So one thing we could do is we have a little bit of an issue here because we need to have the ah, nice big headline. But we also have this very toll product photo. So sometimes it's hard. If I were to do this, put the product here. It seems very it seems stacked, but it also seems kind of tight, like I don't have a whole lot of breathing room. So I think what we need to do is find a way to incorporate this next to each other so they can feel connected. So we're gonna do just that. This is where can make certain words bigger and tuck things in like a little puzzle piece. So the typography feels like it runs together, and it whole fits together like that puzzle piece. First of all, we could maybe make meant a little bit smaller and notice this natural space That's kind of between the L in the age. Gonna take advantage of that and maybe put it right here. I like to leave a little breathing room or space. I don't want it to be too far apart. where they seem disconnected. But I definitely don't want to blood it up too close. That's too tight. It causes anxiety for the viewer. So I want to have it be right about here. You can usually find the same spacing between here on the left and right sides. You can try to have the same spacing here just to have some kind of ah, way to find that perfect spacing. Okay, so let's find a way to do Chip a lot of times, especially with big, chunky typefaces. I like to find opportunities to continue a word down below. So in this case, I'm not putting them together like this because that starts toe be a readability issue. I can't read that very well. So if I put a little space in here, but it just kind of has this natural flow from the bottom of the H down to the age on the top, so just kind of seems to fit together like that puzzle piece. Notice how the eye is tucked in this white space. It just looks really nice that way. We try to have cookie to the same thing. But see, there seems to be this huge kind of gap right there just doesn't seem very good. So I could maybe have the K come up here, and that could have a nice kind of see how everything's connecting like a puzzle piece. Another thing I like to do, especially when you have such tight spacing. Sometimes I like to turn things Ah, a little bit vertically, so just kinda twist things. I guess you say diagonally just a little bit. This adds a little bit of a dynamic pop to your headline. I'm gonna go ahead and do that right now, and I love and I know this is really popular now is to kind of overlap the type. So the cookies coming over kind of layered over the type and see how it's layered over the i. R. The E. We could find opportunities to maybe make cookie a little smaller so that we can read the entire word just like that, but have have the cookie come over. The S just helps add a little bit of a layered look, which could look nice 6. Layout and Design: So now I kind of fiddled around with this a little bit. Tried to find the right space, and year will kind of notice. A few changes had to make cookies a little bit smaller because that's such a wide, long word. It wasn't quite fitting with everything there, but I still have some things covered up in that layered look. Just had to make cookies a little bit smaller. Off course, there's always opportunities to find. Alignment with type always makes it a little better. You don't have to do it every single time, just little things that you're looking out for. Okay, so overall very happy with that, we could start to add a little color to the headline. Once again, it's gonna depend on if we're gonna have a white light background or a dark, rich background. So they were good. Explore both kinds, and it's going to depend. The color's gonna change depending on the what background we use. But let's say at first we just stick with a plain white background to show I'd like to change all of this to a chocolate color, and what I like to do is take the eyedropper tool and sample something from a photo nearby . I like to do that, said it. Just trying to find a chocolate color myself. Go take it right from the chocolate chip here and I wanted to be dark. I went dark chocolate. There we go. There's a nice dark chocolate is really go pop out against the white. You wanna have a lot of high contrast stuff what he have a package design that means you have something light next to something very dark. That is contrast. So another thing is meant meant so meant is meant. It's it's green. Doesn't really need to be chocolate colored. So this is all this is a lot of different, um, the same color, a lot of different typography and the same color. So let's break that up a little bit. Add to that contrast by bringing out like a meant color just like that. So notice how that really broke up the headline and it feels more readable. It feels more digestible. It's got two different colors now. It looks great. So just kind of a little hint. There. We can always double click this color and maybe, you know, lighten it just a tad, and a little bit of that meant labour to it. So now we have that together and we could go ahead. And since this logo go ahead and have a plane logo without texture for now, just to keep it easy, let's make this logo match with the chocolate kind of bring that in as a thematic themed color. And so now we might have an opportunity to bring this a little higher and make it a little bigger. So now we have a couple things we need to have here. We need to have this badge, which we already spent some time on, and now we kind of have some better colors here. Ah, lot of times with badges. Once I feel like I'm happy with the type, I like to kind of angle him a little bit and you'll notice we already have an angle here with our headline. So let's just keep with that angle trend. Kind of at makes it look like it's a sticker that's placed on there, and it wasn't placed on even like a a real sticker that was placed. You make that a little bit bigger. We don't have too much white space here, we wouldn't be able to tuck a little element. And there we can, right Click this and we can change the colors here to make it match with what we have so far. So we could try, you know, a mentor color here and make all of this like a chocolate color, maybe a white color. You know, that's that's an opportunity. We could make this the chocolate color and bring that 100% out and maybe the bars as well dividing bars and make that green the mint green we have. You know, there's a lot of ways to add contrast here. So now that we have the badge and kind of the color, I just kind of highlighted the little divider bars and kept everything white. And now we can kind of focus on this little banner that's gonna be across the bottom. We could just draw a quick little banner. What I'm gonna do is I'm going to destroy a rectangle. I'm gonna go ahead and put the type over to the side. Wanted to make like, a little waved banner. It's not gonna be a straight boring banner. There's gonna be submit movements and curves to this banner. This drawing what I think would be a good size for it I'm gonna go up to effect could go down to a warp and I'm gonna click on the flag right here. That's gonna add a little bit of curve for us. We don't have to do it manually. Of course, we can always grab the pin tool or the curvature tool and manually add curves. But this just doesn't like a nice even distributions. It is doing a little curve, a little curve to our banner, so it's not straight across and boring. And now we want to apply the same effect to our type. Let's go ahead and get our type figured out. I love that nice Sarah fun. What was that? A Brill fat face. I think that looked really good, and I think since it's a Sarah font, it'll pair well with all this. That's Sarah far. It'll pair very well with all the sand Saref on. It's nice if you use a lot of one type of font. Let's say you're using a lot of the Sand Saref. It's nice to throw in a Serra font for a little bit of variety. So we're gonna do that course, we could make this white so it can kind of see a little better, and we're gonna apply the same flag effect, so I'm just gonna go up to effect. We're going apply the same one, and this is when you have to kind of mess with it a little bit. It's not always gonna do it perfectly, and that's okay. Another thing I want to do is add a little bit of ornaments to the side, kind of make it more of a flag on the edges. So what I'm gonna do is I'm just gonna add an anchor point, just have the pin tool adding an anchor point. They're gonna take the curvature tool, and that's gonna collect the select this one anchor and bring it in. And then you do the same thing over here could add a new anchor point right there in the middle, get that coverage or tool and just bring it in where I can use the direct selection tool. So now I added a little bit of a wave effect and kind of some hedges, so I thought that looked a little nicer might just need to rotate this just a little bit. So now, in terms of color, and also, I could around this. So what I need to do is this has the warp effect to it, so it's gonna always have this war. Perfect. So what I want to do is outline this object so it doesn't have this affect any war, so I could edit all of the ankle points. So what I'm gonna do is I'm gonna goto object, and I'm going to go down to expand appearance. And so any time you do kind of anything from the effect like warp and destroy, just distort transform. Sometimes you have to go toe object, expand appearance and you'll notice. There we go. So now if I do the direct selection tool, I have access to all of the anchor points here. And the reason I did that as I wanted to soften the edges of this flag. So I'm just gonna soften the edge of the flag. I think it kind of makes gives it more of a polished look. So let's zoom out, talk about color because right now we have a lot of brown and we need to have better contrast here. So here's what I'm going to do. This is a great layout, but it's missing something. It has the all the whole background is the same. It's just a big white background, and we need to change that. We need to break this up somehow. So I have an idea. Let me go ahead and just do some last week's here. Okay, so now I want to be able to divide this to add kind of a lighter top in a darker bottom to break it up quite a bit. So what I'm gonna do is I'm gonna take the rectangle tool, and I'm gonna split it where I think would be a great halfway dividing point. And it doesn't have to be exactly halfway. And I'm gonna make this brown or could make it green. And here's what I'm gonna do. I'm gonna add a little bit of curve to this, because right now this looks great and dividing it up and I can even make this diagonal across something like that to kind of play along the diagonal look, and I think that looks fine. But I think for this I'd like to add kind of go along these curves here, and I'm gonna take the curvature tool and I'm going to take it's gonna be clicking right here, click clicking down And then I'm gonna click over here and click up. I'm just creating a little bit of a wave. Just a little bit of a wave Action here and this badge can kind of sit nicely on top of that, maybe kind of halfway there. It's also gives us an opportunity to play around with color a little bit. What kind of reverse this out? And maybe make this the men color. And we could also take an opportunity to take this banner and make it a different color. Because if I make it brown, I can't make it Brown. If I make it green, there's just way too much green happening there. So it's all about high contrast with package designs, so let's try a totally different color that's different than our color palette. To really bring this banner out, we're actually gonna try a yellow orange, maybe add a little bit of a darker orange color to it, bringing it down and help it pop out And of course, I think black might work a little bit better for that course. This down here needs to be switched to White, a little information. So I think that works to kind of help break up the package design a little bit more, and I still think something's missing. I still think we need to continue to work with this a little bit more to get something I'd be happy with. So let's let me take a few moments to kind of process this. We make that brown so that looks more together. I think we need to have a little bit more cohesiveness. We have a lot of extra space happening here, so let me take a few minutes. I will be right back. 7. Finishing Our Layout: so I had a chance to revisit this. I did keep the bottom there as well, and I wanted to make sure that everything was a little bit more tight and looking at the package design. We're gonna need to relieve some room at the top for the zipper, the zipper part of the package. So I was able to condense everything, and that kind of helped a little bit with bringing everything a little bit tighter together without feeling too tight. So this is kind of an example of a light background I think could work. I think we have a little contrast here with green and the white. If we were to remove this bottom different color, look how everything just kind of fights for your attention. But when we add a little bit of that background contrast, it kind of brings and breaks everything into two different kind of areas, and it really helps your I break everything down. So this is so important to kind of add, there's different background elements, and then we course who made this kind of a yellow high contrast color and noticed little little changes. I put the little mint leaf kind of over the banner just to add that layered look just kind of thinking about How can I make this look as dynamic as possible? And I think we're there. So let's try a different version of this. Let's keep everything the same layout, but let's reverse everything out. Let's make this even more high. Contrast. We're gonna create a dark, rich chocolate background with a mint background as well. So let's reverse this out. So what we're going to do is we're going to make the top portion portion green. I was glad and get a box here instead of the stark white we're gonna do Green, we're gonna make everything reversed out. So over the men, we could make it a lot lighter. Make that stand out. Gonna make all this white. I'm going to take our dark or bottom here and make that dark course. Our badge needs to stand out now. Now that's blending into the bottom, and that's where strokes can really come in handy and extra borders. So let's go ahead and add a stroke here. I want to take that the same green up top. Gonna go ahead and double click that I got a copy, this hex code, and then I'm gonna be able to apply that right down here on my swatch unders pasting. That's watch Code in so I can match that green. Go, go over to my stroke panel on. That's gonna increase the size of that. So that can stand out against that other darker meant. Here we go. Then. We need to do the logo as well. Gonna make sure that is white, but not brown. And there we have it. The only issue here is the Let's go ahead. Make that brown. That looks good. That looks together. The only issue I see is the meant not being quite as readable. And there's several things we can do. We can always separate this as a separate layer. I was cutting that out, and I'm gonna paste it in its own layer sums here in my layers panel. This is more about file preparation for printing. Create a new layer and call this a spot layer and I'm just gonna paste in place sums going to edit paste in place, announced on its own layer. So now it's all by itself so I can isolate it What I can do is talk to the printer about how to add a metallic ink or a spot finish on that to make it a little shiny er to make have something having helped stand out over the plastic packaging because I do want to keep it a different color. And I don't want to make it orange, because when you have a word that's meant, you want to keep it. That color meant you don't want to do it a different color because if I do it orange, it's stands out. It looks great, but it doesn't make sense. It's meant it's supposed to be green, so that's one thing we could do to get around that issue. We could also do a little bit of a drop shadow to make sure this type stands out a little bit more so I can go to affect style eyes and to be adding a drop shadow. I don't like to add a lot of drop shadow, so when I do drop shadow, I just do a little bit like maybe even 9% just enough and they tighten the distance, almost make it zero distance and so you just have a little bit of blurring there. Maybe make it 12. There's adds enough to keep that going. And one thing I've noticed that I want to do is this hat this is this cookie is over the p . But there's no shadow, so it just looks like it's floating. So let's add a little bit of a shadow right here in Adobe. Illustrator, get the pen tool. I'm gonna draw my shadow. That's a little bit of shadow over here over the P. I'm gonna send that backwards in the layering system. I'm using command left bracket My little shortcut for that if you take in my classes and I'm gonna blur this quite a bit So I'm gonna go up to effect Blur Gaussian Blur. I know I'm using a lot of tools, but feel free toe go back and you don't know these tools very well. Go back and watch it again. You make this dark black. It was like that and reduce the transparency a lot. So we're just getting a little bit of a drop shadow over the P. If we're doing this in photo shop would probably be a lot easier. So there is our package design. I feel very happy about this version. We can, of course, use the light version if you want to. There's a light version, and then there's kind of the dark version, so there's a few things we could do. We could add a little bit of texture to this as well. We can just draw little pattern and have a little pattern over top. We could bring in a texture as well. We want to do that and it with package designs. Sometimes it's nice to keep a nice, solid color because you already have the texture of the plastic bag that's also gonna be on their butts. A very shiny plastic bags. Sometimes that's enough, and sometimes adding a texture can take away from that, so I might keep it a solid color. We could put a texture there, but May will do that for another project. So now I'm ready to kind of see if this concept is gonna look good on a bag. We're gonna put it on a mock up, we're gonna hop into adobe dimensions, and I just got to see how it looks. This is just for seeing how we like it on the bag, and if we need to go back and make tweaks, we can. It's also be good for getting approval from the client, so once they like the front, we can continue the theme and do our back, and then we can get it ready for the printer. 8. Adobe Dimensions : We're in a program called Adobe Dimensions, and it's free for anybody who has an adobe creative cloud subscription. And it could even be free if you don't have one of not 100% sure. Adobe can change that rule at any time, but it's a great way to create mock ups and toe work in a three D environment and kind of see how your package design looks in real life. If you don't have adobe dimension, some people don't have a computer that has enough ram or memory to run adobe dimensions. If that's the case, you can head on over to graphic burger dot com or anywhere that has a photo shop mock up where you could do the same thing that we're doing right now. But using a Photoshopped mock up instead, that is okay. But right now we're gonna use Adobe dimensions for this class. If you've taken my graphic design mastery class where we kind of go over or something similar, we do a whole branding project. Together, we create a lotion bottle design. We do the same thing in that class that we're going to do here is we're gonna go ahead and create a new document. And here's kind of what it looks like. I'm not gonna go over all the basics of adobe dimensions, but I'll kind of get you started. Yours kind of some free assets that come with adobe dimensions. We're gonna use the one right here. You can do cans, lotions, coffee cups. It's great if you want to apply a lot of your designs, flat designs and illustrator and make them a reality. So we're gonna use the food pouch. That's kind of how I design this. How I got inspired for this cookie bag is this particular three D model that comes and adobe dimensions. Something's going to drag it over to the environment. And here it is. This is where it can get a little bit hard to learn, like, had a position and turn it. But mostly the controls down here are gonna show are gonna be able to control the camera view, and the ones that heat up here actually rotate the product. So the select and rotate tool we're gonna go ahead and select that it's gonna give us three different arenas to kind of rotate this on an ex a y and Z axes. And where is gonna turn that over right here? And that's actually positioned really good already if it was not positioned. Really good. This is kind of your camera angles. Hey, can pan the camera in the view. You can click on this and zoom in and out, and then you consume down and kind of zoom in on it and this will rotate the product so great. So now we're ready to apply or flat J peg image. We're gonna go to Adobe Illustrator right here, and I'm gonna export this as just a simple JPEG. So I'm gonna go to file export export as I'm gonna click on usar boards. That's very important, because it's gonna export all sorts of things around your art boards. If you don't click on that number, is gonna do a simple J. Paige. It's going export that we want to have a nice high resolution, if possible. Go ahead and replace that big already did this once before. So now we're gonna apply it on the bag itself. We're gonna go over here of food pouch. This is over here on your scene. You have environment, camera and food pouch. We want to apply the graphic on the food patch itself. So I'm gonna go ahead and click on this little arrow and I'm gonna It's gonna be able to go into a new menu. So this is a food pouch. What we want to do is we want to go down here to this area and click on place Graphic on model. So this is on the food pouch, and we're gonna bring in the J peg that we just loaded. This could take a little while to load. Let's say we want to select it and move it around So we have the graphic layer selected. We're gonna click up over here to the move selected Move, tool, and it's going to give us some dimensions. So we want to scale dimensionally. So if I just clicked without holding shift, it kind of scales it and mix it all distorted. We don't want that. We want to click on the move tool, click on the graphic and we want to hold down shift and scale. It'll scale it dimensionally. What's gonna keep scaling until we get the right fit that goes across the entire package? Could be right here. There we go. We haven't applied to the product. Now we have to worry about lighting and getting the light right Lighting for this. There's a couple things we can do. We can go to what's called Environment, and we can change a lot of the lighting. So one thing I find it has a big changes the rotation. So this will change the rotation of the lighting up here. So I'm gonna click and drag and you'll see how it rotates the lighting and the highlights around. So this is behind. Now the light is behind the package, and then the light is moving in front of the package. So what I like to do is I don't wanna have I like to have highlights because it makes it look real. But I don't want to have the highlights cover up the type like right. There would probably be a bad place to put your highlights for lead shifted over to the right a little bit so it could have a little bit of the highlights there, and we could always change the intensity, make it brighter. You can also add sunlight as well. If you want to add kind of a sunlight. Look, I just kind of clicked on the sunlight to play around with these settings will change the intensity. You know, cloudiness. It'll soften the shadows, can change the height, and they could change the rotation. Chris, you can always had a background we're gonna scroll down in her assets panel. Moores, keep scrolling down until you get the backgrounds here. Some backgrounds, you can always import your own. So let's go ahead to this table. One were just dragging a background anywhere in the background. It's gonna load this table and it's gonna automatically place it on here. And we could always move this product down. So we're right here in the move tool. We're just gonna click that It fits really nicely on the table. So now how do we get this? Export it out. Let me actually bring this a little bit further down on the tables. It's bringing a little further down. There we go. So let's export this patch design. I'm gonna go to render clicking up here to render, and this could take a while depending on your computer. If I got a pretty good computer and it still takes a while to render, so I'm gonna keep it at medium high will take forever. So you click on medium used type test and I like to have both a voter shop and a PNG exported and I'm gonna click on render. What it's going to do is go to slowly render the three D model. It's going to get more crisp and more crisp as it starts to render. You're gonna be able to get a photo shop document, but also a J peg. And you can send us to your client to have a nice, polished look at your design. You can also do it on the light colored backgrounds you could see here how I have both of them. I rendered both of those J pegs. Um, and I have two different options to present to the client, and I usually don't like to do a back design until I have some kind of approval for a theme on the front, because the back theme is going to spill over to the front or the front theme is gonna spill over to the back. So I don't want to get, you know, the client having a lot of changes to the color, and then I have to go back and totally rethink the back. So I'd like to get kind of a front approved, and then I could start to work on the back. So this is what we have after maybe 5 to 10 minutes of rendering. We have a really nice Polish piece for a portfolio. Or if this was for client work, we have something we can send to our client. So now we have one more thing to do, and we're done with this project. We're gonna do a back, lay out really quickly using some sample items. 9. Backside Design: so now it's time to move to the back. So when it comes to doing a package design similar to this going get rid of some all this extras. What you do is you have the front side, and then you'll have the backside connected to it in the same document because the way they're going to print this is gonna print this all in one big plastic sheet and then they're gonna fold it together to create the package designed. This is how a lot of boxes work, too. You won't have separate files, you won't have a separate file for the back, and the side will all be one file that folds together after they printed. So they're gonna print it on one item and then fold and glue everything together. So we're gonna make it easy on everybody. We're gonna go to file documents set up. We're gonna double the size of her art board. We're going to double it. So if let's say it's 10 inches and with let's do 20 inches and with okay and so we already have this down the middle. So now we know this is a down the middle side, so I'm just gonna do a little indication of where that is with a nice read line. So now I know where the front ends and the back begins. So this is exactly how you'll send the file force. You'll get rid of this little red mark. That's just for me personally, and you'll export this as one final PdF, which will go through all the steps of properly exporting a file for print. So what we want to do is we won't extend the background all the way to the side, and here's where it gets a little bit challenging. We can either have this end, which is totally fine because we have a front and back. That's no, you don't really have a side on this particular package design, so it's OK if it abruptly ends. If you had maybe a box that might be need to continue that over to the other side, and you can always duplicate this transformer, just reflecting it, just doing a simple reflect and you can always do something like that to kind of continue it onward. But we're going to see what the back entails first, and so this top portion and This is just for me. I don't want to send this to the printer, but I'm just doing a special marking to indicate where on the package. I need to leave blank because this is gonna be where the package seals. So I can't put any design elements there because that's where you have a little zipper, the seal for the package. So I'm just doing a very light color here. Just a kindness is just for me to help me out. A little guide. So a lot of times, manufacturers will send you a template, and that's fantastic. You want them to send you a template? You don't have to set all this up yourself. You put the design on there and you're done, but sometimes you have to do set up yourself. So we're gonna do that in this case. Okay, So the back we're gonna need two main elements and these air elements. Thankfully, you don't have to design these air things that manufacturer or the client will have to send you. The 1st 1 is good. Be nutrition, fax. And I have this little file I found for free online, and I'll give you the link to be able to find that in the resource guide. So you don't have to sit there and create one from scratch you. As a graphic designer, you're never responsible for creating the nutritional fax that is something that is supplied. And it's something that's required by law to be in a certain way. So you do not have to worry about that. That will be provided to you by a client. So don't worry. That's a lot you'd have to design. So thank goodness. And another thing is the barcode. Once again, you do not have to design the barcode. The client will send you a barcode when they receive that. So that's another thing you don't have to worry about. I'm just gonna grab. This is another file I have on the resource guy. Just a link to it. But you can use any barcode that you find for free on line. So there's a barcode. So these are things that are just gonna be required to be on the back, no matter what. So what I want to do is we could do a couple things here. We can either extend the green over where we can have a white back. It's just gonna depend. I kind of like extending the color over. So maybe we can find a way to make some of this white down here on the bottom. And maybe we take this. We reflected again and make this white. You know, it all depends really want that barcode to be illegible. I like to put barcodes on white. It's not required, but I really like to have, um, that available so Well, I don't really like how that looks right now, but we'll get to that later. Let's go ahead and remove this little drop shadow here. Not a big fan of that. You get rid of that. So nutrition facts usually, you know, you can kind of see it on the side, going down the middle course. This is the area that I can't put information on, so maybe right here. We also need an ingredients list, and we also need a little bit of a product description. So I'm gonna go ahead and write that up so you can have that. So I think we could do something a little bit different with the back. I have a couple headlines We want to have in here have a little bit of a description of the product that I want to have in here as well. I'm gonna go ahead and pace that in here. I have it right here. Just got a copy. What I like to do is create a rectangle tool and I like to go ahead and select the type Are area type tool? What this will do is this paste. I'm gonna do it right here in the corner. Go ahead to copy and paste that what's great about this instead of having to do manual line breaks and go and have a paragraph that works just like in design kind of nice for controlling copies. So all I did was made a square, and then I did the Thai area type tool on the top left corner and just pasted in my information, there's one more thing I need to add and that's gonna be ingredients. Let me go ahead and add that right here, right underneath. Tuck ingredients right underneath the nutrition facts. And here's where we could maybe use a photo to further tell our story because it's having on a green background. Is done seem to be working. Let's also apply some similar type work here and meant flavor in every bite. We could even borrow some of this ribbon and do something very similar here. Got down below. Let's use railway. It's nice. This is a nice, typical fought to use for body copy. Just nice and easy. And years we're gonna talk about layout and paragraphs a little bit later in the class and further layout projects. But what I like to do is I like to add a little spacing between the lines, so I'm gonna increase right here. The leading who could increase that a little bit to add a little breathing room. I'm gonna make that white. I'm also gonna tighten this a little bit. Tighten those lines. We could even make that brown, but I don't think that's looking too good at this point. So here's kind of the basic elements in the back, but I feel like it's missing something and need some kind of photo or something to draw me in. So I went ahead. There's a website called on Splash, which is another great place to find free photos and loved. Add another chocolate chip cookie photo on the back to really add something there, so I have a few here. Let's first try this one and let's see how it looks on the entire document, sending it to back and then bringing it forward. I think this could look really good. I wonder if we change the blending mode a little bit, not really feeling that's going to keep it normal. This might be a situation where we need to open it in photo shop and do a little editing. But I really like this. I am worried about the barcode not showing up, but that's okay, because we can just take this and make it white. You always want that barcode to be very, very readable. Be very shame would be a shame if the barcode, for some reason, could not be scanned after you printed thousands of these. That would be such a shame. So there's a little practicality and everything, so let's kind of lineup this curve. Let's not worry about it so much continuing, continuing over just because it doesn't have a spine or aside, it just harshly ends. Bring that down and have that be there. So what we could do is we can make this particular background. We could even make this brown, make it a nice chocolate color instead of green and take this photo and somehow play with the blending modes like overlay luminosity. Reduce the opacity a little bit. Just so you have subtle hints of that cookie, right? There's a little chocolate chip cookie, and then we want to make sure this is the same size. Is this body copy and maybe make ingredients a little bit bolder? There we go. See how we made that boulder. It kind of chops everything up a little bit, and this might need to be a thicker weight because it's now has to be over a photo. Let's make that semi bowl and increase the spacing. And with package design, sometimes it's harder to get away with a lower sized typeface. So let's increase the size to 14 and expand it down a little bit, and sometimes a drop shadow is required as well. So I'm gonna go ahead and do that. I'm gonna shift this overseeing its see what I'm doing. I am going to go to stylized and just adding a drop shadow just for readability, Really? Not necessarily for styling or anything. Okay, so just add a little drop shadow. I think this is coming along. Let's do another little dividing line here. I love dividing lines. Really helps to break up the headline in the copy. There. What I'd love to do is incorporate the meant somehow what if we took fresh and we adapted that, um, color we want to bring in. That meant color somehow. And it could be that we reverse this out, and we have this, And White are in black are actually better. Brown so meant flavor in every bite or brown. And then add this as meant just like that. A lot of trial and error of finding out what works with spacing. Okay, so we need to make sure we have enough margin on the edges. There's something called a safety. And this this like a border around the document that the printer does not want you to put any active text on our any really important photos on. So make sure you have a certain margin that's clear all the way around, and we may need to shift this up a little bit. Just make sure we have enough margin all the way around both the back and the front. You gotta kind of think of these as independent sides because they're gonna be viewed independently. You see the front, they're gonna flip it over and see the back, and so there's not gonna be really a spine, so that's is gonna be a sharp transition to the back. So you could even line up this little curve here with this if he really wanted to. So there. Well, we have it. Let's go ahead and eliminate this and it looks like need to extend that all the way up to the top. That's gonna be part of the package design. Is the photo up here where we can feather this if we wanted to? So we're gonna go to effect stylized, and we're gonna feather this just a little bit, so it blends in naturally to the top. Great. Feeling pretty good about that. I think there's always room for improvement, but I think for this demonstration I think we have something here. I think the logo also needs to be on the back as well. That could be a requirement. So farm to table logo will fit right there in that little space. I think that will probably be important to see. So let's do the same thing we did before. Let's go ahead and export this as a JPEG and a lot of things. This is kind of how you prepare it for print. So let's go ahead and eliminate this. We don't need that anymore because that was just for me or for us. And we just want to go around and just make sure everything lines up. We don't want any elements from the back spilling over to the front, since there's not a consistent look across the panels. Just make sure they end perfectly sinless, using the direct selection tool and lining everything up perfectly. Okay, it's going up the side and making sure nothing crosses over. It's one of the first things I check. That looks good. Make sure there's margins all the way around both sides. That's good. Check also might not need to make that as big, so it's going to get a little bit smaller, just little final tweaks, and then right when I feel like I'm done with the layout, one thing I want to do is I want to create outlines on all the type because right now, some of these are edible and we don't want the printer toe have tohave the thoughts installed for him to open up your pdf. So we're gonna create outlines and everything, so I'm going to select all the selective so easy way to select everything. We're gonna go to type, go all the way down to create outlines. Just go to create outlines on all the type. If you're using stroke anywhere, so there's a little stroke around there. You also want to outline your strokes, so I'm gonna select all I'm gonna go. I know this is a lot. We can always pause. Rewind. We're gonna go down two paths, outline stroke. So we outlined the type, and now we're outlining the stroke, which we only had one stroke, I believe so. What I'd like to do is select all again and just make sure all the type is outlined and you can tell when you see all these little outlines and then I can no longer edit the type. Which is fine, because I just approved the document myself. I don't need to go back and change anything, so I know I can't edit it. It's all outline. That's great. It's perfect exactly what we need. So let's go ahead and zoom out one last time. We also want to make sure we're in a c m Y que environment Just want to select all. Make sure the way you check is gonna file document color mode and make sure it's on C M Y K . If you're doing any kind of professional print work, we're gonna make sure it's set on that mode you ever need. Teoh convert anything to see him like a good edit, Edit colors and go down to convert. Seem like a I just threw a lot at you, so please feel free to re watch these last couple minutes to get an idea. And sometimes if you designed, you always need to start a document and see him like a because you can already have the colors in the right mode. But for let's say you did this, let's say you had an RGB and you just ah, you started a new document, an RGB mode, which happens by accident a lot, and to create a print document. Well, that print document needs to be converted to see him like a which we just did. But sometimes when you do that conversion, the colors can get a little dole so you can see how the meant color. And anytime we use that light meant color it. It doled it out all the other colors air fine. So all we have to do is go in and manually adjust thes back to what we think would be a nice bright color for see him like a. It's all we have to do kind of Brighton those up a little bit and see him like a Does not. You'll notice. A big difference between C M. Y Que Options and RGB RGB seems to be much more vivid and bright because its fourth screen and see him white colors seem to be more dull, so you just have to kind of work with that. Print colors are never as exciting, and it's bright as the RGB counterpart colors. That's always the challenge doing print design 10. Exporting Our Files and Print Prep: So we have our exporting for print checklist. We created outlines. We outlined All the paths are strokes, I should say, and we make sure it's and see him like a mode and then corrected the colors. We made sure there was enough margin or safety around the document we made sure, wherever it's gonna fold, there's nothing coming over from the other side by accident, So nothing kind of crossing over. So we made sure everything is center aligned. Everything is great and ready to go. We made sure the top has enough room for the zipper or the package wherever it seals were ready to export. So what we're gonna do is we're gonna file save as and we're gonna export as a PdF and we're gonna click on it's taken final and save. And so there's some default ones. There's one cold press quality which I believe is a default one. So going Click on press quality. We're going toe un select preserve illustrator editing capabilities because that will add a lot to the file size and the printer does not need to edit it. Once you have everything final and ready for pre press, there's not a lot for them to do. So go ahead and unclip preserve illustrator editing capabilities. And that is OK, we're gonna go down the compression. We're gonna make sure we have 300 b p p I for both of those. And that's by default. So you don't even have to change anything marks and bleed If you wanna have trim marks. Great. But we don't have any bleed for this because it was not required for this type of package design. So we're gonna leave this completely alone. But this is where you would add your trim marks and add any bleed marks as well. And we'll definitely be doing that later on in the course out port output. Go ahead, make their sure that C N y c m y que. And I never hardly worry about security or summary. So there we all were ready to go. We're gonna go ahead and say, PdF Now we send that to the printer. Let's take a quick look at what it looks like. There it is. There's our item here. We can always kind of find, too in the back. We don't feel like client likes it or if he wants to continue that. That green look over there. I kind of like the change and color there from front to back, kind of changes it up a little bit, but they may want to have a green, but I think that's a good start. It's going close that down. We're gonna do something really quickly. I'm gonna go to file and we're all done. So this is just for show. This is just for building a portfolio piece. We're gonna bring this back into a mock up. We're gonna go back into adobe dimensions and I'm gonna take what we have on the front. But I'm gonna duplicate it and put have a backside so we can have we could show off our entire product and one nice, beautiful mock up shot. So we need to export. This is to separate J pegs now one for the front, which we already did. And we need one for the Bacca's adobe dimensions. Does not stretch things across products very well from front to back. So I'll show you how to do that. We're gonna edit our boards. I just need the back. We already have the front done just going to do that and export that as a J peg and go back into adobe dimensions. So now we're back in adobe dimensions. If you need to do this in a photo shop mock up, Just copy and paste your front and apply the same, uh, JPEG to your to the back so you can have a front in the back. Look, So what we're gonna do in adobe Dimensions, we're gonna take this front that we already did. We're gonna copy and paste it. We're gonna go ahead and move this out, and then toward the back, just like this. We're also gonna be rotating the product, so I need to change the camera. So gonna go right here to this area kind of change the camera angle a little bit here so you could see both. We'll see if I can't rotate this back one, let's rotate it so I could see the back of the package, which I think it's the same as the fraught sidled. Think it matters too much. We're gonna go to this food. Paltrow's just now gonna be the back. We're gonna delete the old material, and we're going to place on a new back J peg. So this is our back. We'll do the same thing, and this is already rotated a little bit. This package said I have to kind of rotate this a little bit to match it, and that's OK. It's kind of an extra step I have to do since it's already angled. And so give us a good idea of how the back looks cause I want you to see it Plain and Adobe Illustrator is a flat design. Sometimes it lacks a certain possess. But see, looking at it on a real three D product makes it look a lot better than it did. And Adobe illustrator make that just a little bit bigger. Here we go. There it is. So there is our package design. We can move. This is gonna get this dolly tool and kind of mover camera There it ISS. So there's are back there's our front. We're gonna go to render, and I'm gonna export this final two and render so as that renders, we could take a look at how that looks. We did the front and back. We have a nice presentation. We exported the file to the printer. So we know how to kind of go through that file Proper gonna do that several times was with different layout projects. And the next couple projects last hopefully have enjoyed this. You don't have to use adobe dimensions if you don't want to. Just wanted to kind of introduce that as a new tool. This is very similar to the graphic design mastery class. I did. Well, we did that lotion, design products hopefully learned something new. Even if you did take that horse Now we're gonna move to the next project. I'm not sure what that is yet. I'm gonna go back to the drawing board and plan an awesome project for you, and I'll see you there in the next section. Don't.