Creative Logo Making: Design With Type | Peter Bone | Skillshare

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Creative Logo Making: Design With Type

teacher avatar Peter Bone, Designer who mentors marketers

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

Watch this class and thousands more

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

Lessons in This Class

11 Lessons (38m)
    • 1. Welcome

    • 2. Before you start

    • 3. Ranger

    • 4. Sofia

    • 5. Pincoya

    • 6. Otama

    • 7. Lobster

    • 8. Val

    • 9. Blanch

    • 10. Leco

    • 11. Project and Goodbye

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About This Class

A short class to get you playing and experimenting with type, turning it into logos, and discovering some great features of Illustrator such as Blends, Patterns, Appearance, Pathfinder and strange Stroke attributes.

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Peter Bone

Designer who mentors marketers


Peter Bone has worked in graphic design for 25 years. During that time he has taught thousands of people to use Quark Xpress, Indesign, Illustrator and Photoshop – at every level from complete beginners through to experts in their field. He has taught designers, marketing people, creative directors, writers, editors, illustrators, fashion designers and photographers for companies as varied as the BBC, the British Museum, Condé Nast, Paul Smith, Price Waterhouse Coopers and The Designers Guild.

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1. Welcome: I'm Peter Bone, a designer, writer and teacher. Like my other classes and books about creating logos, this one is also designed to help you develop your creative thinking and for you to discover some useful features of illustrator in this case, ones that pertain to working with type. There are loads of great classes on working with type on skill share. My intention in recording this one is too quickly teach you some new skills and to get you playing with type. If you're unsure whether or not it's for you, look at the poster image and see if you could easily create the logo is using your current illustrator skills. If not this plenty, you'll learn by taking this course. All the fonts of use are available to download either free or for an amount that you choose to pay, so it's open to everyone for the project. At the end of the class, I'd like you to pick any typeface you like, make a logo out of it. Simple of that. So let's get started creating logos, type 2. Before you start: to participate fully in the course than the first thing you need is a copy of Illustrator I'm using the 2014 version of Creative Cloud on a Mac. That's not to say you couldn't use the same software on a PC or indeed, pretty much any earlier version or indeed, later version. You also need the typeface is that I'm using so just quickly flicking through the websites that you're gonna need to go to get these so that the lost type website, my funds and fonts girl of the three places you'll need to go to so in illustrator here you can see these are the type faces and these other websites that you'll get to use you get toe, download them from just a word about lost type the this type faces you can download for free, but you'll notice here there are for personal use its play what you want, so I would encourage you to to pay to download those funds. If you do want to use them commercially, then you're gonna need to pay for that. Okay, then, intensive illustrator, I'm assuming you're putting up a complete beginner in Illustrator. If you are I'd suggest on alternative course to start with. I've done some other courses on skill share, which are a bit more straightforward to start with. But if you do want to get going and you are starting from scratch, just a couple of quick things that you're gonna need to know. And if you do know the about art boards and zooming in and zooming out, then feel free to skip to the next lesson. Okay, so you can create a new document illustrator by choosing file and new on. Then you've got two choices. Either you can do a series of individual documents, and you can choose the straightforward print set up. Or indeed, you can change the orientation of the page. So a landscape shape is is better. You can make these numbers larger or smaller. It makes very little difference. So if I press okay here, you'll see that I've got a document with one page on it, and that's find for the way we're gonna work. But you could also do a new document with several art boards. So say it doesn't. The difference is there. You can put all your work in one document if you're gonna use that approach, then you're gonna need to know how to zoom in and zoom out of your art boards on in the view menu, you can choose fit art, Boarding window shortcut command zero or alternatively view fit all in window Shortcut command Ault zero. 3. Ranger: we'll start with just a couple of basics. So the first thing you need to do is to select your type tool click once on the page and simply topped the wood ranger with a capital R. You know, it's it's quite small, so selective. And then up here you can see the font on the way to the front on the size. So having installed the range of font, you can type in the character area there, which helps if you spell it right. Erica Ranger on. Then let's font size 70 t so you can see we have talked the way there. We've got text the right side, the right front to rotate it around the other here with the finish. One is for this end to be vertical. You can see currently it isn't on. One way to do that is in the view money. Do you rulers showed rulers and then with your selection tool drunk on the ruler in the left hand side and then drop it next to the bottom left of the uppercase n. So now we're gonna rotate this so so click on it to select it, and then one way to write a is to double click on the rotate tool on it remembers what I've done previously when I was just checking this work so seven degrees. But you would start with a zero degrees and you just put your cursor in there So click and then use your up arrow with preview switched on to get the result that you need and then press Okay, so you might want then clear that guy. You can do that by doing view guides Andi, clear guides. And then with the selection tool to create this one on top. When you normally drag you, you simply move that the type object. If you hold down the key when you drag, you make a copy. So currently, there, too Ah, versions of ranger there and they both got a black fill. Now that Phil is described both here and also here. So what I want is for the Phil to be white. So two ways of changing it one is to click up here, choose wise like that. The other way is if that's in the front, you can go to swatches and again change it from black tow watch. You might notice that this finish one has got a black outline, technically known as a stroke. So to do that, you bring a stroke to the front or again, you change it here. Either way, apply the black stroke and that you guys. One thing to say is, in my version, I'm looking a double with tools panel, which makes it nice and large. In your version, you might be seeing a single tools panel, which is slimmer but gives you less information that's readily visible certain on the small screen like mine. So this button up here and I'll just leave it on that sake and see that button there is the one that you want to change. Okay, so that's how you can create a simple duplication, changing the fill in the stroke of the item on top. 4. Sofia: so we'll start this logo much like the last one. We use the type tool, click on the page, type Sephia regular, select all the text and change the font to sow Fear, which is a lovely typeface by Latino type. Chase the size something like that 60 point should do, and then with selection tool, notice that there's just one anchor point. So that's the way we've worked so far. But for this exercise and everything that follows it, we're going to do what's known as outlining the type. It's a part of the best way to explain this, to do it so with its selected he's the type menu and choose create outlines. And you could see now if I zoom in that the text is now, you can see it's defined by anchor points rather than the font itself. So I couldn't now change the font to a different one, or change that the tracking or the leading because no longer made with type. So this is typically what people do at the end of the process when they're designing a logo so you can keep control of the health of how the thing looks. But for our case. Really? We're doing it because it gives us other kind of creative options. Okay, So firstly, let's ah, change the fill on the stroke. So I'll do that up here in this section here. So we'll change the Phil toe white on the stroke to black. And then before I do anything else with the stroke Oh, it's just notice if I just de select how the I and the A I don't quite join up. So it looks a bit strange with the stroke on there like that. Whereas if you look at the finished one, you can see they do join up. So the way we can do that is to select the whole thing and use Pathfinder. So window parf either let you add shapes together. So I'm gonna trying to Here is zoom in a bit so you can see what's happening. I'm going to use this one here, and it will unite all the objects toe to keep an eye on here. And I just They now become effectively one shape. Okay, so that's close apart. Final panel on the next up, the stock panel by the fault, it just looks like this you just got a very slim panel. But if you click on this tiny button on the left, it opens it right up and I'm gonna play a dashed line. Zoom in a little bit so you can see that we have dashes in between. We have gaps in between the hashes and you can control the cap. You can make it so the squarish or roundish. If I make the dash zero point, then click on this other. This next box here. You can see that there we have for nice rounded dots. If you will make the dots bigger, it increased the white, make them smaller, reduced the weight. You can see that it's better to use the arrow here because there's a few more options there . So that's one thing you can do, and then the next thing you could do is you could increase the distance between the dashes off the dots, and these were to do that is to click your cursor in this area here and then press the up arrow to increase this place all the down arrow to reduce it. So, using a combination of the weight of the front and the size of the dash on the gap. You got plenty of options there to explore. Okay, so that was using the Pathfinder panel to join the shapes, having outlined them on, then using the expanded options in this stroke. 5. Pincoya: in the previous exercise, we looked at how we can outline type what? You can outline it. You can start to do a lot of things with it. So what we're gonna learn about here is manipulating those anchor points in various ways. So using the type tool again, click ones took the name of the front, which, as you can see, he is coming out in Sofia. Let's just up here in the control panel. So this is pink wear Black, which is by Daniel Hernandez from Chile. Quite so like that I can Let's do that again. Make that a bit larger. In fact, I'm gonna make it larger. Still, there's a keyboard shortcut I'm going to use to do that on the Mac. It's command shift and then the, um, greater than symbol that's really hard to. That sounds really difficult when I explain it like that, but it's too Keach to the right of the M key. It's above the full stop. Okay, so on the one to the left of that will go down so that would be controlled. Shift in the same keys on the PC. The case that got the typeface nice and large. No, let's outline it. So again, with the selection tool currently, we can see it's just made a one anchor point. So from the type tool create outlines. So last time we didn't do much to that type. And to be honest with you, I feel a bit some conflicted here because I don't really want to encourage you to manipulate the fonts. But moving the anchor points around because I kind of feel that the people have designed the funds. They knew what they wanted and if you don't like their fonts and fine pick someone else's, But I want to show you how you can manipulate anchor points. So I'm not suggesting for a moment that what I'm about to do looks any better than this. Possibly ITT's quite the opposite, but nevertheless, with the black selection tool when you click, you will select every anchor point in that group or on that object, depending on what's going on. Whereas if you change to the direct selection tool de select by clicking on the any part of the empty page when you then click and I'm gonna just seem a little bit here when you then click noticed that one of the anchor points is blue on. The others are white so that one is selected. So if I was to now move that anchor point, it would move, and the other one's wouldn't so just lean back out again. So I'm going to go through a process of shift clicking. So shift click and again, not just zoom in so you can see this. So those two ankle points are now selected. So if I it was to nudge than to the left using my left arrow key on my keyboard. And if I hold down the shift key and do that, it works quicker. So with a simple with a single click without the shift key just moves kind of one unit with the shift key. It moves quite a lot, so you can basically adjust. And with something this fine, it's It's better to do it that way than to drag, I would suggest, So I'll do that again on the A here, So Click wants to select the anchor point shift holding down shift. So like the other one and then with shift get held down to the left arrow. I'm just trying a line up. Not in this case. It's quite hard to see what I'm doing, so I'm gonna be select. You can see I'm trying to line up with their and it's not quite lining up. So the only way to do that now is bike pressing down, keeping the mouse down for a second. Then just dragging gently left. Oh, here we go. There's the spinning wheel. What I'm looking for is that this is saying that thes ankle points are lined up with these ones, and that's what I'm after. Actually, there really no other that lined up with these so smart guides? A wonderful, but they can sometimes. Miss Lady, I'm not convinced that's working. Okay, let's just not worry about that so much right now because I want to select leads to do the same thing dragging downwards. It can help once you're dragging. If you hold down the shift key that can keep things lined up. Okay, so you get the idea that you can manipulate anchor points by selecting them with the direct selection to Okay, so in the finish one, you can see that I've manipulated the A In both cases, I'm not gonna do any more with that because the other thing I've done is I've replaced the counters. So these the CA negative shapes inside the O's and the A's. So to do that again, when you've selected on object with the black selection tool and you get the every single anchor point, what I want is just to select these ones here to remove them on the selection tool I don't fight two years is one that people don't generally use illustrator. But I think it's one of the most useful tool there, which is the group selection tool we can do. There is Click once on that should get inside that group so it's selected that one. Onda. I'm gonna delete that in a minute, but before I do, I'm gonna create a shape to replace it so you could see on the finish one. There's a star, so the startled is hidden under the rectangle tool on the line up in the center of that counter click and drag, and what I would do is hold down the shift key whilst you're drawing, and that would keep the it's sort of square on the bottom. So something like that. So when I let go the mouse, I'm gonna keep my finger on the shift key to keep the the base of the star. If you like flat than to make life a bit easier. Change the color of the star to something that clashes. So in this case, Redwood do quite nicely. Does the amount a little bit. So with my selection to I'm going to select the star, hold on the altar key and then drag to the right on the or key means I'm gonna be making a copy. So I'm gonna try to line that up with center again of that counter of the center of that. Oh, and you can see I've done that and then repeat the same thing again. So press and hold down the mouse. Hold on the all key object to the right. And then again, I would repeat it on the other ones, but just a safe time off. Stop there. So now with the group selection to, I can select this first counter and deleted the 2nd 1 on delete it. Repeat with the 3rd 1 and then it's simply a case of selecting they that the letter shape on with shift key, click once on the Star, and then we use Pathfinder again. So Window Pathfinder. And this time, the warm or years is this second button in here minus front, OK, minus front, and that's attracts the thing in the front. So again, select the oh select the star minus front so far repeated that over the whole shape you would see that I would end up with what we've got. Other Boston. So again, um, I'm one, since I'm not encouraging you to kind of manipulate that type that other people have spent a lot of time creating. But I want to give you a sense of what you can do so you can manipulate anchor points with the direct selection tool. You can get inside groups with the group selection tool, and that enables you to do things like just the anchor points and delete counters of shapes and replace them with other ones, using tools like the startle and again using the Pathfinder panel 6. Otama: a Tommy E. P is a gorgeous typeface by Tim Donaldson. And I hope you won't mind meet mine too much me doing what I'm about to do to it. So I've already typed it out on I've already selected an outlined it. So, as you can see, we're gonna end up with a sort of pattern slightly offset inside the letters. So to do that object path and offset path. And I've done this before, so I've got this value, which is what I want to end up with. But if you haven't done it before, you're likely to end up with something like that, which makes the path much larger and outside the original shape, which is perfect for some typefaces, but not for this one. So I'm gonna use a value of minus one, and I'm gonna ask for a miter join. So you got different options. So this is definitely want to experiment with and really work out all the different options before you finally settle on the one that you're going to use. But this is what we're gonna use now that haven't done that. It's worth grouping this together in case you want to select it later. So objection group and then fill with white. I've been to get the pattern inside. Edit copy of an edit paste in front. So now I've got the two smaller white shapes on top of each other on top of the larger black shape. So in terms of the one in front, I'm gonna used this pattern here. Now, this is already in the document, which is why I've got quick access to it. But for you, you're gonna want to click on this button to the top right of the swatches panel and choose open Swatch Library Patton's by sick graphics, her then basic graphics lines, and you'll see you got a whole bunch of different patterns you can choose from. Now, the likelihood is whichever one you choose, the pattern will be two large as you could. If you compare this one in this one, the patterns a bit too large. It's the way you can change. It is double click on the scale to on. It will offer you different scaling options, but by default it will offer you to transform the objects, which is not what you want. So uncheck that. But leave Patton's checked, and then you can use your up and down arrow in clicked in there, you can adjust the scaling. Not only that, but if you double click on the rotate to, you can adjust the rotation, so that gives you lots of flexibility and the ability to create some really interesting adornments to type. 7. Lobster: we've already seen in earlier exercise how it's possible to create multiple copies of type with different formatting, one on top of the other. But what we've done here is a bit more complicated. If I just be selected, you can probably see that there's this three different objects going on here. But what's different here is that there will actually touch the same thing using appearance . So this is more complicated. But there's quite a few interesting creative options here, which I'd like to show you. So to start with, I've just created the lobster to text, and I've outlined it on. I've used Pathfinder to United all. So that's the start point. And then my suggestion is, when you're working with appearance, you can either affect the group or the contents, and I find it less confusing if I do everything just on the group that will hopefully make more sense in a minute. But to start with with the text selected, I'm gonna give it no Phil and no stroke and then click on the word group, and by doing five, you'll be to see everything that happens all in the same place. So the first thing is toe. Apply a fill and you can do that. Sort a stroke, and you can do that by pressing this button. Here. Add new stroke. So let's keep that just like that. The moment just an ordinary black stroke. And then we can change the fill from none toe white. And then we pressed the add new Phil button. Now this color will be white, but it's gonna be easy for you to see what's going on if I make it red. So currently you can't see anything at all, and that's because the fill it directly beneath the white film. But if you press the little transformation button here, the FX button, you can then choose distorting, transform transform on. This will transform just this particular Phil. So with the previous switched on, if you just drag the horizontal slider, you can see that it is transforming not the whole thing, but just the red. So we'll leave that there and press OK, so what I want to do now is have another one of these, but with a different color and a different offset. And the easiest way to do that is to drag the one of the bottom onto the new Icahn that would know me, just give you a new default appearance. And so now we got two identical ones, so we select the one that's on the bottom, change its color ter, Let's say a dark gray and then to adjust the transform that's happened, you can open up a little triangle. Click on would transform, and you can see that it's inherited the way we did in the last one again. Turn the preview one. And then you should be a to see that if you drag that little bit further and maybe we'll do but a vertical as well press. OK, let's do a couple things. Let's firstly hide the edges. So command control H and then click on the red fill and make it white. Now let's so let's zoom in a little bit. Never look at that so you can see. Got that one probably used to come down a little bit. So this is the second White Phil. That's the original one. That's the 2nd 1 So if we click on, transform their and just drag the vertical one down a little bit to keep saying on preview , which is kind of annoying, but company to do that the other way, they get up so you can continue toe. Adjust these different settings so you can adjust the fill color, that stroke color, the transformation. So I think to finish that I'm gonna just change the stroke color to match the other gray and maybe just a just a stroke with a little bit. But what's nice about this? You might like what I'm doing. You might know, but thing is, this is completely flexible, said. There's only one real object there along. The rest of it is done using the appearance panel. So when more complicated than what we've done. But you can see the upside is that it's flexible. You can you can continue to mess around with the options. My suggestion, as I said before, is when you start off, start off with something I would say with no film and no stroke that make sure you click the word group and then start to play around with the Add new Phil at new stroke and the effects button 8. Val: so looking at this, whether you like it or not, you will notice it looks quite complex. But before we get into how we created it, a good trick is if you look in view and outline, it takes you into outline mode, which just shows you the bare basics. It just shows you what's kind of really there. So in other words, this is saying that the only real anchor points of those ones Texas been outlined. The rest of it YSL done with something like appearance. And if I select the text and look appearance, you can see this quite a lot going on there. So I'm gonna shrink this down without White and do this again from scratch. So with the type tool, start with how bold outline it and then because we're gonna use appearance. As I explain in the previous video, my tendency is toe give it no Phil and no stroke. And then make sure that I've targeted the group. So first in today is give it a fill on the Phil I'm gonna give it is white, and then I'm gonna add a stroke. That's the struggles appearing above the film. That's not what I want. So having got accepted, that I'm gonna drag underneath the feel like that. Having done that, I might want to increase the street with a little bit. So I'm clicking in the in the area where the numbers are, Then using my up arrow, you can use the arrows to doesn't make any difference the case. And now add another Phil. Another film, another stroke. OK, so it's the same as the last one. It's five point. This one is gonna be white a bit sicker. Can't really see the difference there. But you won't. In a minute. When we do another one, this one's gonna be black. So I realized that you are going somewhere in the dark here, but now you can start to see what's going on. So we're going black, white, black, white and effectively can change all of these different options. So if you're going for something fairly conservative, you know this this is pretty much what you want. You've got the original Phil and you've got a variety of strokes underneath, so that's pretty straightforward to do. But the finish line of the Boston is really looks really quite different, and challenging, but really all days is that some of these strokes have changed. So, for example, the one at the very bottom If you click on the strike panel, one thing we haven't looked at yet is the profile. So this came along a few versions ago of of Illustrator, and it's the ability toe change, the width along the width of a stroke along its path. So if I choose something like this one, it's quite hard for you to see what I'm doing while I'm doing it. So I will just click over here, notice how certain bit to this get much fatter, and some of it stays more or less the same with that. You can't really control this perfectly, but you get a sense of it. I really like the look of that. So I think it looks really quite interesting. So if you want to take that further, you could then say OK, let me try adjusting. Let's say this white stroke, how I suspect this isn't gonna work now well, but let's try anyway. So let's try a different one. And again, I'm adjusting the stroke value of here so you can see some of it gets clearly bigger on some of it doesn't. So you can play around with the the profile you can play around with the way it does it. You're the direction and many other things. Besides, and again clear. I'm sticking to black and white, but you could choose other colors. So when hopefully there's a whole bunch of ideas that you can try out for yourself and see what you're not with. 9. Blanch: So this Loga has got a beautiful simplicity about it, especially when you compare it with previous a couple of things we've done and using a lovely typeface. Quote Blanche. But you can get from lost type cooperative, So I've type that out. But notice, unlike what we've done previously, this is still real type, so I haven't outlined it. I could do, but I don't need to for this. So I'm gonna make a copy a little bit up into the left, and then I'm gonna make another copy. But just copy into memory by doing, edit and copy. Use that in a minute, so I want to select both of these objects and choose object. Blend on Mike at What you get is a temporary object in the middle that you can adjust this blend so there's a blend between these two objects. So for us to change that by going object, blend and blend options, I can change it from the default, which is smooth color. It's in the preview on let's say, specified distance. You get a more idea of what the blend will look like, but I want I want to minimize the distance so they really look like they're one object. So if I reduced that value right down to something like zero point one millimeter, you might need to turn preview off from them back on again. You can start to see you get something much more Smith. So what I'm not gonna do is do edit paced in front on the original, her lettering that that I've got in my memory, I can paste in the front and of course, so you can see it. I could give that one a fill of white and possibly, if I want to A stroke of black. Sorry. Yeah. Strike of black or or an additional striker white If I just wanted to sort of nudge in there. But essentially, I've got this bear one and then the blend underneath because it's a blend. They call these things live blends. And that meant that basically, you can drag one or the other and it will adjust. So personally, I'm gonna undo that. I prefer it was a much smaller distance that it's covering. But other things you could try would be to adjust the color. So, for example, if you wanted that to be, let's say going from? Um Oh, what a nice land. Toe black. He choose the black one. Done. Of course, that will change that. Personally, I'm not that keen on that. I prefer the simplicity of the black and white, but it does give you an idea of how you could incorporate more colors if you wanted to. 10. Leco: before explain how I created this logo. I'd like to have a think about how you might create it. You could create it using a combination of a couple of things you've learned already. So if you could pull the video, have to think about it and then, um, pulls it when you're ready to continue. Okay, I'm assuming you've had to think about it on you've paused on Pause the video, and I'm sure you have worked out that this was created using combination of two different things. It's a blend, but it's a blend using a dashed line. There's also a spare one of the top, so there's a spare one of the top, which has got a white stroke on it. But you can see the blend in the background to objects that they're exactly the same that we got a dashed line. So if I look at this in outline mode, you'll notice that is simply a blend, like the blends you've done earlier, but a little bit more complicated in the each one. We look at the stroke panel. It's been carefully put together, using a dashed line with the appropriate white, and then this blend, sir. Figure object blend options. You'll see that I was a very right fine blend. Okay, so when you're doing this yourself, you might find your machine takes a while to process it. You might need to be a patient with it. It's entirely possible future. Select the different groups and moving around to achieve the effect that you want you might find when you come to print it, you might be better off expanding it on door rest arising it, which you can do in the object menu, so expand or rest arise. So that's an example of how you combine two of the different things that you've created so far to create something different entirely. 11. Project and Goodbye: So that's the end of the course. I really hope you've enjoyed it, and that's giving you all kinds of ideas to be getting on with what I'd really like. You did in now is toe. Combine any skills you've learned with any we had before. Pick a font that you like, turn into some kind of logo and submit that to the project section that's attached to this course. I really look forward to seeing what you come up with.