Design a Professional Mosaic / Pixel Logo | Daniel Evans | Skillshare

Design a Professional Mosaic / Pixel Logo

Daniel Evans, Logo Designer

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24 Lessons (1h 31m) View My Notes
    • 1. Introduction

    • 2. About Mosaic Pixel Logos

    • 3. Questionnaire Review Digiart

    • 4. Mood Board

    • 5. Mind Map

    • 6. Sketching

    • 7. Digitising the Symbol - Part 1

    • 8. Digitising the Symbol - Part 2

    • 9. Digitising the Symbol - Part 3

    • 10. Digitising the Symbol - Part 4

    • 11. Digitising the Symbol & Colouring - Part 5

    • 12. Digitising the Symbol & Colouring - Part 6

    • 13. Digitising the Symbol & Colouring - Part 7

    • 14. Selection a Font - Part 1

    • 15. Selecting a Font - Part 2

    • 16. Selecting a Font - Part 3

    • 17. Kerning

    • 18. Customizing Type

    • 19. Marrying Text with Symbol - Part 1

    • 20. Marrying Text & the Symbol Part 2

    • 21. Marrying Text and Symbol Part 3

    • 22. Colouring the Text

    • 23. Colouring the Text - Part 2

    • 24. Final Word


About This Class

Learn how to design beautiful, abstract pieces of art to develop a Mosaic / Pixel Logo Design!

The Mosaid / Pixel Logo Design style has been trending for many years and there's little sign of it ending any time soon.

Add this skill to your Logo Design skillset to get the edge and offer clients a unique, sought-after style that they will love.


1. Introduction: welcome to the course. It's my hope that the forthcoming information will enable you to excel as a designer. If you're succeeding in your skills, it means I'm succeeding as a teacher. If you have any questions, please don't hesitate to start a discussion, and I'll do my very best to help I post new courses on a regular basis. So if you want to stay up the date, please be sure to click. Follow next to my using them by clicking follow. You'll get priority announcements when I launch new courses when I share, Resource is and when I launch contests. 2. About Mosaic Pixel Logos: pixel or goals or mosaic. Law goals have bean a trend for a number of years now, and they are still very popular way of approaching design, particularly log or design symbols. The term pixel is commonly used for mosaics composed of squares true, the pixels on a visual display. Whereas the term more sick usually refers to any under all shapes. Many designers are renowned for their pixel designs, both in the field of log or design on graphic design. In general, quite often, styles of games, particularly on more bile platforms, adopt the style of pixel art or eight bits style graphics, as they are otherwise known. The pixel mosaic style can be used to depict an object letter letters or an abstract image in the symbol, or the log or design text by a way of different colors. The design style can also use negative space to depict an object letter, letters or abstract image actually cut out from the mosaic. There's some very well known companies that employ the pixel straw mosaic stale in their loggers, which serves the best for highly effect of branding. There are two men approaches to a mosaic style ogle. They can be designed with negative space between its shape. Or they can be designed with each shape back to back with north space between. When there was no space between the shapes, it is entirely dependent upon the function off color. This is because if the log or symbol were colored a single color, all the shapes would meld into one. On the other hand, if their space signed between the chip, the law go assemble still retains its form when colored a single color, but it often loses its function since its palette, and consequently the majority of the aesthetic is lost either. Where the two approaches rely heavily upon color. The first example, especially where shapes are prone. Melding. It's for this reason a pixel straw mosaic log or designs are often designed for companies who are not likely to depend upon a log or design application, which utilizes a single color or single material. Since this design style is now a prominent trend, however, it certainly want to be aware off. This is especially true since the development of pixel stroke mosaic law. Gore's convey very simple, especially when composed of squares, and they can be very effective. Admittedly, the more simplistic forms of mosaic graphics are judged in accordance with an acquired taste. Some designers will find more six a little bit too simple, particularly in the square pixel form, whilst others will appreciate the graphic on a deeper level, which is true of art on the audience in general, the primary principle, which makes and distinguishes a mosey local from being bland and interesting, is the use of color. This is especially true when there's no variation and form. Such is the case with the pixel ogle, where all shapes are usually the same size squares. Obviously, when designing mosaic law goes consisting of various shapes, there's an extra element of creativity required, so the designer needs to consider and develop each unique element in the mosaic. On the basic level, it's advisable for the designer to begin with the square mosaic or pixel symbol, as it's commonly known to experiment with the value of color before delving into the more advanced development of different shaped fragments. So, in the fourth Common Case study, I'm gonna teach you how do exactly that using a source image for reference, I'm gonna show you how eaten developed a simple, effective image and make it even more detailed, more interesting and more intriguing as an artistic more sick to incorporate into a log or design. 3. Questionnaire Review Digiart: So let's review the log or design questionnaire for the forthcoming project. Question one asks, What name do you wish to use in your local design? And the clients applied? Iggy Art Question two. What specific tagline do you wish to see in your log or design, if any, and they've replied. Non question three. Do we have free reign to use Upper unluckiest characters were appropriate on the client. Asked for Lower case only. Question four. What is your business sector on the client's replied Art question five. What kind of product unknown or services do you provide on the client's replied? Special digital format of artwork for canvas? Unforced. The prince Question six. Where do you intend to apply your local on? They've stated website promotional material, office documents on labels, questions. Seven. Who is your target market? And they've replied 18 to 7 year olds so scrolling down to question it. What kind of feel would you like A law or to project i e. Corporate classy fun. And they have stated high tech under modern Question nine asks which of the following log or styles you prefer and the client selected icon above text on icon up the side of text question can asks which of the following form styles do prefer on the client's selected sounds. Saref Scrolling down to question 11 All the any specific elements. Pictures, for example. You'd like to see in your design, and the client stated an abstract form of art with a reference to digital question. 12. Are there any specific elements you do not want to see in your design? And the clients replied, Paint brushes, paint or computer Hard way. Question. Third in What is your preferred colors on the client's replied any colors which are suitable? Question 14. Which colors do you dislike, if any, and they have replied non question 15. How many colors would you like to use in your design? And they've stated as many as necessary. Question 16 Please mention any specific existing laws or styles with you favor on. They've given Unilever Dictionary of Australian Artists online on BP British Petroleum. So scrolling down a question 17 which marks the last is there any additional information which would like the odd which would help on the client, said we'd like the law of war to be relatively simple in form, but clever and concept as mentioned, We'd like something abstract. It would be great if you could somehow make reference to something that people will instinctively relate to, such as a famous piece of art, but not in a literal, detailed full. So it's this question at what you'll be using as a reference material throughout the entire project. 4. Mood Board: So here we have the mood board for the project. This is a college of relevant images connected with the industry on the client's preferences, as stated in the question a so analysing the content and brief detail, the client stipulated that they'd like some kind of non literal depiction off a famous piece of art that most people could relate to. As such, I have a selection of famous art pieces from Van Gough, Support Rate and Starry Night Poll. Suzanne's The Card Players, Leonardo da Vinci, Salvador Mondy on The Last Supper, Grant Wood's American Gothic and Edward Monks The Scream. This selection will give me a test of styles and lead me in a direction as to what might be appropriate. Recreated for a log or design symbol in the middle and bottom left regions are have a selection of digital art samples from pixel art, pop art, geometrical, pop art and law Polly pieces as well as personal styles of digital artists. At the top right, I have the all important competitor Law Gore's so that I analyzed the ascetic that other companies are adopting from the state. I can ensure the infinite in the market with my local whilst avoiding designing anything to similar to the log or oven existing business at the bottom right? I have a selection of pixel art from abstract, a literal depictions, including Marry your characters, a mushroom pizza, watermelon, an iguana on a pencil on the Pringles mascot. These images is a whole Give me a feel of the industry on the client's rough requirement at the glance throughout the entire project. Aiken reference the mood board to ensure that I'm on course specifically analyse in more detail. I can go on a unique ideas in the mind mapping process, which follows next. 5. Mind Map: using the mood board for inspiration, as well as ideas that come to mind. I developed a mind map in the mind map. I wrote down the company name in the center of a piece of paper, as well as the industry beneath it. Either Andrew protruding lines with ideas, a sore See it with those words and the sander from those ideas. I branched out further as each idea spawned a new one. The result was a full page of word associations and ideas, including the or doodle toe help may visualize certain concepts. The doodles could potentially be carried over in the subsequent sketch in stage saw the rank and hit the ground running at the left. I have concepts relating to digital, including computer software, hardware graphics resolution on pixels to name but a few. The grid stroke pixel concept is one which features prominently on the mood board. So this captured my interest and I highlighted it with an Asterix, as I did with my other ideas, too. On the right hand side, a naughty down concepts and word associations relating toe art. These included famous artists including Van Gough, Salvador Dali, Michelangelo, Rembrandt and Money amongst them and some really it. It's tails. Tapes of art and mediums will also not a down, including passel, watercolor and acrylic, as well as forms of art. As managing throughout the development of the mind map, I was constantly reference in the mood board for ideas to, so this mind map serves as a bridge between the mood board. On the sketch in Stage, which follows. Reviewing this complicated mind map, I was actually able to deduce a solid concept, which I'm taking through to the next stage to experiment. 6. Sketching: heaven deduced an idea from the mind mapping stage. I proceeded to put pencil oughta be precise colored pencil to paper. The idea I hard was to take advantage of the grid idea to develop a colored mosaic stroke pixel ogle off a well known piece of art. I didn't want it obey immediately apparent, but something that most people would recognize studying it for a few seconds. My aim was simplicity, but at the same time, I wanted the law go to be creative on an abstract, an artistic level, giving the log or depth and something the ponder over from the mood board, I selected the exact image which I wish to replicate in the mosaic. The image was that of moral and mon role depicted in a pop art style by on Lee Warhol. Essentially, I was developing my depiction of someone else's depiction, though this process is actually one of few which can be tackled by heading straight and the software. Upon deciding upon idea, I always like to begin with the raw medium. Firstly, I printed out the image of the art and divided it in 19 by nine grid with a lead pencil next, I use my grit part to utilize colored pencils to color in the correspondent squares reference in the grids and image I previously drawn. Previous to this, I experimented with an eight by eight grid, using judgment off my eye for color. Though the result wasn't of good quality, it did enable made to get a quick idea of how that size grid would work with my image. From this, I concluded that a nine by nine great would allow May to contain the required extra detail . As I call it each square, I judge which coalition feature within it as an example. If a square contend approximately 70% gray and 30% yellow on the print out, the square would be rendered gree in a similar fashion. If the square was approximately 60% blue on 40% yellow, this square would be colored blue. The colored pencils naturally gave me a limited palette use, and in some cases, a cola may look a little bit off. But both of these issues could be rectified in software and saw this represented the next stage. The software with the symbol planned out roughly on paper. I was ready to replicate the grid in the software and developed the mosaic with the freedom off a greater color palette 7. Digitising the Symbol - Part 1 : So here we are in the software. Now the first thing I'm going to do is to place the image. So I'm gonna go to file a place. I'm gonna look here to that image on my computer here. I'm clicking upon that clicking place. Un double clicking on the our board. Here, have the image. Next, I want 1/4 properties and click embed sort. This image is embedded in the document and not just simply linked to with this done. And now, want to recreate my nine by nine grid Sort of Do this. I'm gonna ensure that I've got my fill selected here on. I'm going to select a blue of use the eyedropper tool just too much us blue here. And I want to draw out a square. With that done, I'm gonna hold all turned shift, drag down another square until and meet the bottom off the square. I've just drawn here ensuring that smart guy ages on. And once that on, you'll see that it shows intersect with a pink line once that's aligned with the bottom of the square. There, selecting those two squares on hold old and shift again on drag Those down. I'm gonna go to the Intersect Point when that pink line appears. Andi, I'm gonna do exactly the same again. Copy these four down on Meet it. That insect on. I'm going to use Olten shift again just to drag another square down to make about nine without done, I'm going to select all monocle object group. I'm gonna hold own shift again. I'm gonna drag these across until the in a set line appears on the vertical. I want to select all of these. I'm gonna move them across with Alton. Shift once again on again Olden shift dragging across and finally to make it a nine by nine grid. I'm going to select one column and drag it across Will end the sec appears and pink And there we have the grid. It doesn't look like a great obviously it looks like a solid square, but each consists of an individual square here I can now select all goto object on Dawn group so that each square is selectable. So now I'm going to resize this so that it resembles the size of this image. Alternatively, econ resize the image itself. So let's go half way there are there about arms will match up the grid to the size of the image is going alongside it here on. That's close enough. So now we're ready to copy this grid across to this image. I'm gonna go to object group. Andi, I'm going to rid of the Phil here, so I'm gonna go to the color panel on I'm going to select non fulfill ongoing select stroke on the left hand side on. I want to select a black for the stroke here. Once that's done, I'm going to hold shift the locket on the horizontal on. I'm gonna place it over my image here. So now the images dissected into those squares. So now I know which colors to place on my grid as I create the mosaic here on the left, as mentioned, If a square has the majority filled by a certain color, for example, it will become that color as you'll see in this square here, the majority of this is yellow. So the square in the mosaic will be yellow rather than the blue. Because there's less of the blue in that square. If we encounter a square such as this, the eye shadow here or the one here. We can gather that there's a roughly 50% of each color, a little bit more of the skin color, admittedly, but it would be up to us to use our best judgment as the what color this square should be in the mosaic counterpart. In this case, since we want to emphasize the eyes, we would choose this blue, the color of the eye shadow, so that covers the protocol off copying this image across to the mosaic. So now it's time to get creative and put this method in the action similar of the grid I drew with pencil over the image and print it out. 8. Digitising the Symbol - Part 2: So now let's proceed to develop the mosaic coloring each square and appropriate color. So analyzing this grid version on the right onside, you'll see that this column here on the left hand side, is mostly blue squares or squares where the majority is blue so we can leave this column here entirely blue. Now, if you look at best one here, you'll see that this is also blue. As of these three up top, right? Not a mansion. The column on the right here, moving downwards. So we keep this column on the right all blue. So let's focus on those squares that are not blue. Here you'll see the top of the head. We have 1234 squares, which are mostly yellow. You see this oneness? Probably around 50% ello, probably around 50% blue. But for the sake of bringing out the shape of that, hey, we're going to color this square in particular yellow. So we have a total of four squares for the top of the hair. They so account. And then 123123 This is our first square, ensuring that fills Select that we select the eyedropper tool on We can click too much The color yellow next week in click the square next to it on a weakened much this yellow always in select from the graphic again Since this is a pop art piece the inks used actually solid with nor Grady INTs. So we can just go ahead. Andi, much this color here. I'm going to do that for the next two. So there we have the top of the Hey, 12341234 So let's work on the next roll here. You see, the majority of this square is yellow. So again, we're gonna color this yellow. So we have 123456 ond seven. The majority of this is actually blue. But we want to bring out this shape here so that the hay comes down. So we have 123 holding shift for 567 And we can use the eyedropper tool too much that year . Lawns again. Now we have a yellow here so we can select that one. I dropped a tool matching again, and then we break into this skin color here. As you'll see, we have 1234 squares in which this skin color is present. This square has mostly yellow and indeed the black here. But to bring out that hairline, we would use our best judgment and actually color this square skin color. So holding shift counting across 1234 And we use the eyedropper tool too much that skin color on the image like so so looking. Next we have 12 for the yellow holding shift 12 matching like yellow again on moving downwards. We have 1234 again for the skin color holding shift matching that with the eyedropper tool . Now here was got black. Now, if we were to put black in here, this is gonna look somewhat odd. So to counter this, like the harsh contrast of black against yellow, we do like a kind of dark yellow which is bordering is basically a brown. So if we I drop the neighboring square on, we bring up the color here in the color panel, you see, we can achieve a happy medium. So we have, like, this kind of dark and yellow here. So it's the medium between the yellow on the black and this helps the image to look better overall. So moving on these two squares here we have mostly yellow this square on the square holding shift. That's much of that yellow again. We haven't quite a bit of black in this square here, so we could highlight this square and use the eyedropper tool and match this one yet again . So what kind of using this color, where there's quite a lot of black and otherwise yellow square, so moving down? Let's color this. The same color is that that begin with of the eyedropper tool on and in the color panel. I'm going to bring the black up because the majority of this square is black, the warm, reluctant just to put black in there because it looks to harsh against those light colors. So again, let's analyze these. We have the eyes, the I shuttles, which a colored blue similar to the out of blue. So holding shift in selecting those this is going to give like a visor effect, but I'm sure it's gonna work out well, I will, much that so looking at these two squares, mostly yellow, so highlighting them, selecting on with the eyedropper tool. We're gonna much that yellow analyzing these squares. We have a kind of black issue. Let's let's match it with this one. Once again, we can always change the colors later on if we need to. We have one, 234 squares, which are mostly a skin color here. So holding shift 234 on we much that skin color once again here and here. We have quite a bit of black in here, so let's go ahead and much. This square, which is similar color wise to this square that we don't earlier selecting the necks. I want to treat this to Vatican, also moving down. You say we have the Norse here. I think I'll possibly leave this out and color all of these squares here, a skin color so holding shift selecting. Those four squares aren't applying that skin color Now on the mouth. You'll see that we have a square that's full of rand here on the other two were just partially in red with the rest of skin color to bring out this lip shape. I'm actually going a utilize these two squares. You say that lips are mostly off to the left hand side. So I'm going to select. These two squares are stated on I'm gonna much the color of those lips there for the neighboring squares on the right, on site. I want to use that skin color moving right off moving left of the lips. You say we have that kind of dark again with the yellow. I'm actually going dio color this yellow. I think on the next one I'm going to color the darkest as mentioned. We can always change this later when we come to review the symbol. So we're not forgetting these parts. Here have 1234 This one is also going to be dark. So working with this square here, the other one is also going to be dark. It's neighboring one moving down towards here without question This one as a Darkman square also under free, moved down here you'll see you'll have some red here, so let's place the end. A stay true to the original painting Clicking locked on beneath the lips. We have that skin color I dropped with tool matching that again underwent a utilize this square for the skin color, also, which is here this square is going to be colored dark on this square. He, I think, also skin color. So that's the symbol. Brought together. We've matched up each square in the piece of art on the right, with a correspondent square in the moors, a grid with a few alterations to avoid harsh color contrasts, ending with a total of six colors. The minimal amount of colors were utilized stays true to a typical pop art palette. Due to this graphic being a pixel image, it's naturally best presented a smaller size. Or at least it's perhaps more clear on more fathomable when it's reduced in size. This doesn't represent the end of the process. We still need to analyze the created image, the experiment and see if we can make any improvements with regards to color. It's perfectly fine a story away from the paintings color squares. For as long as the decision, a deviate is an effective one 9. Digitising the Symbol - Part 3: So let's begin experimenting to see how we can improve this mosaic image. So let's move these open on a group these first. Andi, I'm gonna take a copy. I don't want to try and improve this one here. So having a look at the main image, the original image with the grid upon it, I'm going to analyze each square. And I wanna ask myself, Could a square possibly be changed going back on my original decision? So this square, for example, here, you'll see it contends quite a bit of black. So perhaps I could use this color here in this square. Um, place it here that represent this darkness and the hay, and this is going to give it an extra bit of depth because, as you see, we have, like, a blanket of the same yellow color here. So what we're trying do is we're going to stick to the same pallets that we have here, but in reduced these colors in different places just to give a bit more depth to the overall mosaic. As you'll see here, the darkness and the hair gives a feel that the the hairs got various levels. It's got depth and so will try our best to recreate this in the actual mosaic. So selecting that square, I'm going to use the eyedropper tool, and I'm gonna match it with this collar here. I'm gonna try it with the dark. Actually, Andi, I think the lighter color works better. They so analyzing this image again last myself. Where else could have put these dark bets? As you'll see already, This is added the type of falls to the hair, if you can see that in the mosaic. So I want to select this square which represents this one here and the original image. And I'm also going to treat this to that darker kind of yellow brown color. Let's try it with the even darker one. See how that looks. And I actually like that because that does give a great a degree of depth, as if the hairs weaving backwards and common forwards towards the light or indeed, away from the light. So I'm quite happy with that someone. I'll analyze this image once more. Now you'll see that the eyes obviously are separated as eyes are. So I'm gonna select the square here. I'm gonna try and insert a skin color. Now the result of this is quite like a crude face, so I'm actually going to keep the tape of Advisor Effect in. And it does, I think, managed to successfully convey eyes, even though it's just one straight bar. So looking at this image again in this square here, you'll see approximately 50% is blue some actually going to try this with Blue? That's three from the left. At the bottom on, I'm gonna match it with the eyedropper tool to the blue. The trying bring out the chin more. It works reasonably well, but it looks as if the lips are overhanging. So I'm gonna try the stock cooler here. Andi, I think that's worked quite well. Overall, I think I'm actually going to try the light color brown stroke dark yellow with the eyedropper tool. I want to select that. See how that looks and I'm happy with that. We've managed to bring out the Chin Mawr as mentioned on this, a bit more darkness given to reflect the hay, which is gone towards the back away from the light. It's a lot to reduce this in size to see how it looks making a copy with Alton. Shift here unjust, reducing hold and shift to keep proportions. Make a version here a smaller version on a smaller version. Again. Olten Shift cop in across Andi From a pop art perspective with a limited palate, I would consider this as complete. However, we're still not done. If I wanted adventure further and make this more fort or realistic on reflectively mawr detailed, we can make further changes. 10. Digitising the Symbol - Part 4: to re Cup. Since this mosaic is based on a pop art image, which consists of solid colors with a limited color palette, the mosaic results in a basic looking form. This is all well and good if your even have your symbol look aesthetically simple. If the pop art style suits a project or if you wish to learn the mosaic methods starting with the basics, however, we can go a step further to make the mosaic look even better and more professional. Maurin drug it an overall more interesting. So in this case, it does come at the expense of sacrificing the pop art style. But the general recognizable image does remain either way. It's good to be a way of this forthcoming method, which will show you to bring another level to your pixel stroke. More sick design work sort of demonstrate this. Let's take a copy. Hold on shift and I'm gonna work on the one at the bottom here. Okay, so, looking at the hair, you can see that we do have different thorns of yellow, and here the overall aim is to get rid of this blanket type of coloring. We don't want blue after blue after blue of the same color. And we don't want yellow off the yellow off the yellow. This also applies to the skin color also. So what we're gonna do is we're going to copy some colors from the original image as much as we can. And then we're going to innovate in the color panel to introduce some Torme's of color of our own. So and sure, not c m y K's on here. So going the stroke here on the left hand side, we're going to go to the color panel Amazon click non. So we've just got the fill color here, which is now white Now with the selection tool. If these are on grouped or the Direk selection tool, if they're not on grouped, waiting, select individual shapes. Now I'm gonna keep this square as it is on the hair at the top. But the next square, I want a different from its neighboring sway. So selecting that I'm gonna use the eyedropper tool, and in this original image you'll see that we have a darker tone of yellow. I want to take advantage of that. So clicking upon that, you'll see that we now have a different thorn of yellow in contrast to this one here. Actually, I'm gonna make that a little bit darker. So selecting that, I'm gonna go to the color panel and I'm gonna bring the black up ever so slightly to around 10% here. And you see, there's a create a contrast. They perhaps I'm gonna bring that down about seven on second thoughts and you'll see that there's a difference between those two squares. It isn't subtle. It's enough for you to see on again adds a kind of depth to the hay. So again, this square doesn't match this one anymore. But it doesn't match the one beneath on the one to the right of it. So I do want to change this also. So we click upon that, see if there's any other tourney that we can acquire from the original image. And we've got one there. That's kind of different Thorn from the last redone. But I'm gonna make slight adjustments to that again in the color panel just to give a mawr difference. In contrast, my fat don't I've moved up the yellow there on the black. We have another color of a yellow sort. Speak again bordering on brown on and quite similar to this color here. So I'm going to keep this square the same and instead, I'm gonna move on to this square below. Let's fish around again with the eyedropper tool. So if we didn't acquire any other shades there from the hey, just clicking around it doesn't necessarily have to be on this square that corresponds to. Here we go. I'm happy with that. I'm gonna click on this square and do exactly the same again. Fish around that head just for unique tone of yellow. Let's take advantage of the color panel again. Bring up the magenta on there we have it. A unique yellow adding more body in depth to the hair there. Click on next, doing exactly the same. Having a fish around the hay just for that unique color. Some is gonna be too dark. The only dark points that we truly want is this on? Maybe this one here. So it makes the hail that was, if it's curling around in an obstruct fashion, let's use a cola panel again. Bring up was cool us its energy. Some Cy on there. Let's keep this one as it is. Let work on if All right, moving up the magenta on the yellow again There we have a color The contrast Well, against this war Until selecting the one beneath as I have there, I'm gonna bring down the magenta, Bring back the yellow So there we have another unique color. We don't want this square to be the same as the one above. So I'm gonna do exactly see him again. Magenta and yellow with down Sion up a little bit on and exactly the same for the warm below. Yellow up magenta ups ion up. Andi, I'm gonna keep that square down there as it is because it's not neighboring a similar square. So these two here to work on. Let's click this square here on, use the color panel again to bring the black up. Fans will bring back the yellow here on this square down here, I'm gonna make a little bit darker exalting that covers of the hair. So now we have a hair style which is more pleasing to the eye on more creative. So what's left now is is the skin tourney off the face on the blue, off the background 11. Digitising the Symbol & Colouring - Part 5: So next we're gonna work on the skin tone of the face. Now, as you'll see, it's one color for the skin tone. So what we're gonna do is introduce some new colors to give a feeling of shuttle Now, from what we can assume by the shadowing of the head and ordered by the black bets that the figure of liked is shine and dead on to the face. So since we have shadows at the side on the hair, we're gonna put shadows at the side off the face, the left in the right, with the centre being more brighter. So let's select that first square top left. I'm going to go to the color panel, and I'm gonna increase the black ever so slightly on the yellow. Just taken those up and you'll see there's a difference. Say it's not going to be too much difference in the skin color. Otherwise, it won't look like skin if we go too far with the sliders here. So I'm happy with that. Let's go down to the next. Just make this a little bit darker. Bring up the science so it differs from the last square, the yellow here under Ghannam. Happy with fact. Moving down to the square beneath the eyes. Moving up the magenta, moving up the black little bit too much There on them. Help you, in fact, on the square, the bottom, just above the mouth. Bring on the yellow, um, agenda. Andi. I'm also happy with that. I'm actually just going to bring down the black in the square, the previous square ever so slightly, and I'm happy with that. Let's move on the top, right of the face, moving up the black in the color panel, the yellow a bit on the agenda. I'm also happy with that, moving down to the next way. Black yellow. Let's bring up That's ion just to give it different thorn from the previous square. I'm also happy with that, clicking down beneath the I bring not black just to touch the yellow on the side. May we have another call of a That's a bit subtle, but it will do on. We're bringing up the black and the yellow again. Magenta down there we have it. So let's focus on the one our bottom, right? I would basically do the same again. I'm going to choose the black, the magenta on the scion. Let's put the yellow up a little bit for variation. So let's work on these squares in the centre as mentioned. I do want this to be the lightness part in the center of the face. But I don't want all the neighboring squares to be of the same color in these regions. And so, whilst keeping them light or even later, I'm going to adjust each one and a similar fashion. So bringing down the yellow on the magenta So you have a later version there selecting the next square. Bring it down beneath the eyes, Bring down the magenta on the yellow Just bring the black of ever so slightly for the variation again on for this square I'm going to make it a little bit more dark for the fact that this region has the North. Now I don't want to put a black bottom of the North zone because that's gonna look old. So I'm gonna make it quite dark skin color to moving up the black and the yellow here on the agenda on this I on I want to achieve something like that and I feel like captures in an abstract way, a feeling off the nose. They maybe just decrease the block. And I'm happy with that. So now these two portions here, though, that's the chin area. You'll see This one has about maybe about 30 40% black. So I'm actually gonna color this square a little bit more darker. I'm gonna go up with the black on the yellow on the sai on there, maybe reducing the black. I don't want to keep this quay as it is, because it it isn't neighboring any other similar ones. So on the vest column here gonna select with top one bring the yellow down, bringing the magenta dow. It looks similar to the neighbouring one on the left. Let's just bring that yellow up there just to give it a little bit more difference. Moving on the next square, go down to make light Next square down, down, down Later on the next quay Andi, one of the bottom can remain because it's not neighboring any other. It is on the vertical. Ask you and see what? That doesn't matter too much. That's increase of these so that the doctor must goes up a little bit more hot, a little bit light on the magenta Europe as well as the yellow on. Let's make this one a little bit light of just a much on there. We have it. That's the face complete. Let's see that a smaller size. So we in judge more effectively on there. We have it, It's amore. And there we have it. It is a stretch amore, lifelike representation. There's more details. It's more pleasing to the eye, but it does escape that pop art feel with all solid colors. But this is an option, so we could keep this as it is all we can press on and also give some variation to the blue background. 12. Digitising the Symbol & Colouring - Part 6: So now let's explore the option off changing the background color to various shades off the blue here. So I'm gonna make a copy of this. Bring it down. I want to keep the first square as it is on the left on site, and I'm gonna proceed to change the one on the right hand side of that square. So with the Direk selection tool, I'm gonna select that square. I'm gonna go into the color panel and I'm gonna move down the sliders, as I did before. I'm gonna move them up to change the color of that particular skway. Someone adjust the yellow bringing that down when you bring down the scion to make it a light color in the previous on the left, I'm gonna click the square benefit Andan the color panel. I'm going to go up with these sliders first with the black, then with a yellow and with, um, agenda. I'm happy with that. So you'll see. There's a kind of contrast between these three squares as the wars with the hair and the skin tone so moving on the next, again bringing the black up. Let's bring that sigh on down a school for a light Tauron there. Next. Bring that sion down again and magenta. I'm doing the yellow down. And there we have another tour. I'm just gonna with just that slightly so it's a little bit more blue. One popular fact on the next. Bring up the block slightly. I'm happy with that. Next. That can be a tedious process, but it's worth all the effort. In the end, let's bring the on the yellow down. Moving on the next. Bringing the scion up Magenta Hope I will bring back the yellow on the next square Yellow down, sigh on down, black up slightly going a bit too light. There we go under the next Bring in the black up bringing the yellow I'm bringing the sayang down just to make that a little bit later Andi Under the next at the bottom Here, bring the black up, Yellow down, magenta up Just a touch on the covers, the left hand side. I'm happy with that result. Perhaps I'm gonna change this. If anything, make it a little bit more blue. It's never too late to make changes and there we have it. So moving on to the right hand side of the background. I want to start with this square in the cola panel Moving up Cy on a little bit. Magenta, I hope you're fat Next gonna move down the yellow and I'm gonna keep it up that square atop right, Move down the cyan magenta rope on black. That's just a just a science to bring that back in the territory of the blue On the yellow down Moving on to the next black ope Al Odile scion down Not too much of a difference there but a difference on the last. And we're gonna change the next square so that some contrast there next quit found on the yellow the science next square So basically, there's no actual concrete rules here. We're just trying to make a similar blue to the previous square with a bit of difference for contrast. So this gives variation to the overall image moving on to the next. Just just more sliders, as we've done many times before. To make that a little bit more blue bringing up the Cy on their yellow down on day next square down black rope Next school. So I on down next ground the left of that Bring the yellow down, Sion down on bottom corner Black Hope l o down general, up somewhat on a final square Here Yellow down, Scion down my general bonds that should do it now the only changes or want to make here reviewing it is this square on And perhaps these two squares the bordering too much hungry in there. So I'm just going to try and make them a little bit more blue. So bringing down the scion, clicking on the next, bringing down lots I on on the yellow too far So I Ah nope on to do exactly the same for this square. He had to make it a little bit more blue Sion down the yellow down. Bring up that magenta A little bit Very cool Put left square bordering green again. So let's just bring them down. Messiah The yellow down on There we have it. The completed version off the symbol with dynamic colors apply to the hair, the skin on the background 13. Digitising the Symbol & Colouring - Part 7: Now we have three different completed versions, which represent the three options we have when designing a pixel ogle, particularly in this case one which derives from a pop art style. In the first instance, we see the colors copied directly from the source image grid, with only a mild degree of deviation in color and some squares to improve the mosaic. In the second instance, we see the version in which we extract additional colors from smaller details on the source image, though the majority of the development involve utilizing the sliders in the color panel for each square of the head to achieve a different contrast in tone to the neighbor and squares , this principle was applied to the hair to give it figure it of body depth and detail to depict the hair on the shadow on in the path of a figure of light source. The same principle was applied to the face, using darker tones for each side, with the figuring of light hitting the face in the vertical center. Overall, this technique gives the face a more three dimensional look, which is more true to life rather than the original piece of art, which utilizes solid color. The background is kept a solid blue in this version saw that the head is allowed to shine as the men feature of force. In the third instance, we see the principle applied to the background various tones of blue or concocted in the color panel, using the C M y que sliders under applying to each square, perhaps at a cost of making the head stand now less. The background presented in this manner adds a further element of realism, since is a general observation. Even a solid white wall in real life has a vast array of colors in it when observed and photographed, particularly thorns of white on, of course gray. So these are the options available. The office. When designing a more sick stroke, pixel based local, we can use solid colors with collections of the same color. Squares are shown in number one all we can keep the background solid and give detailed colors to the hair and face to attend a three dimensional effect. All we can apply detailed color throughout, including the background. All we can apply detailed color throughout, including the background for an overall more life like image Naturally, we can achieve even greater lifelike results by increasing the number of squares in the grid, which is essentially a resolution. The more squares we have, the greater amount of detail were able a feature in the image. Many designers prefer to keep the number of squares to an absolute minimum, however, using the smallest resolution grid, which is required to convey the information, some designers may shoot for more abstract images by utilizing few squares or others may wish the image to be identified at a glance, thus using a great a number of squares in the grid. So you might wish to start developing a version similar number one for simplicity. Six. Then try your hand with color experimentation similar to that of number two. Then extend your skills and develop the entire image with that diverse color scheme, after which time, with a technique mastered, you can select which style is more appropriate in accordance with your specific projects. 14. Selection a Font - Part 1: Now it's time to consider the text, which I'll use in the log or design he, you'll say of Whittle down to 10 of my favorite and install them and present them here within the software. Every fund is a son Saref with Law case characters as requested in the client question. A to judge Fairly. I've put the last field symbol I made to the left of each font. Since we're using the law kissed characters which very in form and aren't flatten the top like block capitals. I think the left is where the symbol will be in the final Ogle that what will be experimenting further. Regardless, the position is good enough for me to be able to judge if the font melds well with the symbol. So diving right in and reviewing font number one A. I like the modern look of this front. It has an artistic kind of flay and isn't too tacky. A. Some funds related to digital tend to be the ball of the G At the bottom is particularly interested in form, and, together with the two turtles of the eyes, forms a smiley face which actually melds perfectly with the symbol subject matter. My concern is that the fund is a little bit too thin, and making it thicker would consequently tarnish its overall stale. Number two is a formal and basic san serif, with ends composed of sharp corners. Though this fund is entirely functional on aesthetic and eligibility level, it's perhaps to symbol to be associated with art. Three. A also has a modern look to it with a unique and attractive form. The balls of the D and G are similar the half circles, in contrast to full circles in these regions in the previous two funds. Since I'm finding it difficult to judge if this fun is mounting well, with assemble, I'm going to give it the benefit of the doubt and experiment with it in the next stage. Number four is an attractive, more bald fault. The Upon reviewing it, I've seen many similar funds. Often the G in particular is quite common, and I'm or fun of a ball all loop in this region rather than a figure of loose thread. Perhaps, with that issue addressed in the font a little bit thinner, it could be a candidate. We see a much bolder font than the previous four and found five. A. Its style is quite attractive and unique. The forms of the D, the G and the A R rounded and the overall tax line is working quite well with Assemble the bottom of the G to a law. Half Ball serves as an interesting quirk, which is not overpowering. So, having reviewed the first column, I've concluded that I've got to funds here that I wish to consider further as I wittle down font number three on five A and so are proceed to see what for opportunities there are in the next column. 15. Selecting a Font - Part 2: focusing on the next column, the first fund at the top number one a look somewhat similar to number three in the previous column that we reviewed. In this case, however, it's a little bit more bald and most prominently, each corrector flays at the ends. Due to this style, I don't feel like this fund is much well with a symbol, since it's a little bit too fancy looking are not an artistic kind of style to be sees a fund which adopts around it square kind of form. It therefore, has a very slight hint towards digital, but it's certainly not strong enough to the point where the treat is too dominant. I feel like this former font would work very well with a symbol, and so what? One I'm going to short list phone number three A has a form which resembles the previous to be font, though in this instance the font is more rounded since there's such a similarity to the previous font on the fact that I prefer the rounded square form or I'm gonna disregard this one in favor of the previous. We have a bald curly font in four a. This fund is very artistic, interesting, unsurprisingly legible. I do, however, think it's a little bit too playful and therefore detracts from the focus of the symbol. This phone would perhaps be good as a stand alone for a tax base local in the final forint of five A. We see a condensed I a vertically dominant front. The style gives a very slight hint to digital, but again a similar to way. It's not overbearing presence, which immediately suggests computers on technology. The form of each character is essentially based within a rectangle shape. And as it happens, this makes the fun work well. Against the square mosaic symbol, the G is a striking feature of the tax line. The courts of the loop at the bottom of the character could suggest RAWs similar to the composition off the symbol sort of conclude within this column. I'm gonna take B two and B five through to the next age, as well as three a unf. I've a from the previous column 16. Selecting a Font - Part 3: here we have the Final Four log wars, which I've chosen from the previous two columns and each instance I've placed a smaller version beneath. Saw that acting judge, both the font on assemble at a smaller size, looking at the first, which is one A. I like the overall stale of this font. In contrast to the rest, however, I think it falls short with regards to peering well with the symbol. It's definitely a fun I could utilize with great effect in another project. Perhaps it just isn't fitting in as well as I'd like in this case. On the two way, as mentioned, the form of this fund is rounded. The what manages to contrast very well with the symbol. The G looks great, too, with the bottom cut. This fund is one on gonna consider on one B with this considered as a rounded square version of the previous log or to a admittedly, I don't find this version attractive as the latter, but this is a contender as the font that goes great, with the symbol finally to be the form of this fund. Together with the treatment given to the loop of the G as a feature looks very attractive after reconsidering. I think vertically dominant condensed form doesn't contrast well against the more sick, which is composed of perfect ratio would squares. So with all points considered, haven't whittled down to two bottom left on top, right? The final fund of chores and for reasons mentioned, is to A I want to take this through further stages to pair it against the symbol in the best way possible. But before this, I'm gonna experiment with a little bit of type treatment, which I have in mind to make this pair and even mawr attractive. 17. Kerning: So here we have the isolated chores and font. The fund is called Fashion Fetish heavy. Analyzing the characters turning, which is the space between each character is a relatively good, but it could be better illustrate. As built in Kern ing, feature depends only upon mathematical principle, not what looks aesthetically correct saw their serves nor use in this regard. The Kern ING process involves manually adjusting the spaces between each character in accordance with what looks good and what looks correct. So I'm gonna take a copy of this whole shift, bringing one up above here on gonna work on the one at the bottom. Now you'll see it in a to roll format up top here are shown in the correct a panel, and the one at the bottom is also in the raw format. So we need to go to type on and create outlines. So now each character as a literal shape, as opposed to a character of a font. So analyzing the text, you'll see that we have a gap here between the d and the I. We also have a similar gap to verticals between this part of the G on this part of the eye here. We also have this cup again to verticals on this one. At the end to verticals, the top of the are on the stem of the tea. So we want these gaps. This one this one This one and this one those four to be the same width. Now, if we look at the G, you see that we have around it shape here, which shares that of the shape off the A. So both of these gaps will be the same size. Also the distance between the jury in the eye and the distance between the A on this I. So since a curve around the chip like this on Lee is touching this far point with a tiny bit of the curve, we can bring a closet of the neighbouring character in contrast to the other wealth gaps. So what to do that I'm going to go to Pathfinder? I'm gonna go to divide beneath Pathfinders there on, and I'm going to ensure that that on grouped object on group and I'm gonna select G i e r t with the selection tool and I'm going to use the right arrow key cursor on the keyboard to bring this along 123 as you'll see it a little bit closer this character to the I that what the i is to the day This is because only this part off that circular shape is actually making contact with this point here, whereas a curves out a top on bottom. So because of that surface area issue weaken, draw in lagi closet of the I and the same also applies to the A on the I. So selecting the a r t I'm also going to do three clicks across with that right? Are all cursor on the keyboard. So looking at this, I in its relation to this G it's probably gonna need one click to become the same width as they stay. And I So I want to select the i e a r t. And I'm gonna press once on the right are okay board. I'm gonna press once on the right arrow on the keyboard, and that's it. So next I'm gonna work on this This gap here between the are in the air, so selecting the are on the t. I'm going to do two clicks across with the right arrow cursor on the keyboard on that looks right. Perhaps I wanna just deal one for latter, going back with the left cursor on the keyboard, working on the t to give about the same width as the in the ER on the day in the eye and the genie I someone to use the right arrow on the keyboard again. 123 on. I'm happy with that. So that completes the Kern Ng for the did gr font on. You'll see the difference now between the top version on the bottom version, you should be able to see that the bottom version looks more statically pleasing on and correct. 18. Customizing Type : before I think about how I'm going to marry the symbol against the text. I want to do some customization to make the text pair together with the symbol more effectively. I'm really happy with this front, but I immediately spotted something that I was gonna change during the font selection stage . So here's the text all nicely turned. I have the symbol against attacks on the left hand side just to demonstrate the principle. As you're already aware, the mosaic consists of squares. We've got a few rectangles. However, standing as the totals of the two wise in the text. To make the text, give a figure out of nods to the symbol. I'm gonna change these two turtles from their rectangular form two squares. This will allow the taxed unassembled a pair better as two separate yet figuratively connected entities. With these changes done, I'm going with just other characters to compensate for this change. Firstly, I'm going to bring up the height of the stem of the day too much the height of the turtles and next on want with just the stem of the tea to achieve the same with these changes made the tax and assemble should work together with a much greater degree of harmony. So let's go ahead and quickly make those changes with the Tech Select that I want to go the object on group. So they're going at it, each character individually, including the total of the two eyes there. I want to zoom in with the rectangle tool. I'm going to start in the bottom left hand corner off this rectangle, and I wanna hold shift to keep proportions on. And I'm gonna pull out a square and you'll see I meet the point on the right hand side where it is intersect and shores those pink lines that tells May it in line with the far right hand side of the eye and therefore is too perfect square. And again, I can do the same on this total of the I clicking on the bottom left hand corner holding shift dragging out of the square until the in the second appears once again. So now we have to perfect squares. Phenomena make those squares on the stem of the eyes into a single united shape. Selecting the first I want to go. The Pathfinder panel on beneath shape boards I'm going to click Unite. I'm going to do exactly the same for the next, Selecting both ships of the eye beneath shape boards. I'm going to click Unite Next. I'm gonna work on the day with the direct selection tool. I want to click the anchor point at the top left hand corner holding shift to keep it locked on the vertical axis. I'm gonna bring it up to the point where it is in the sect and the Pink Line Shores May that it in line with the top of the tittle of the I. I want to do exactly the same with Young. Appoint the top right holding shift that keep it locked on the vertical on. I'm going to go at the point of intersection with the pink line moving on to the T. Do exactly the same. Clicking on the young. Appoint a top left holding shift to keep a locked on. The vertical on the pink line will appear when it's in line with the tittle of the I, doing exactly the same again for the top right holding shift, bringing up until a pink line appears on. With those adjustments made, we now have type, which gives tribute to the form of the symbol by featuring subtleties which in turn actually improve the characters too. This scores to demonstrate that when we analyze the appropriateness of fonts, we should always look out for opportunities such as this, in which we can manipulate and customized text to develop an effective overall log or design. 19. Marrying Text with Symbol - Part 1: Having completed all text editing, now is the time to marry the tax with the mosaic symbol. As you'll see, the tax and assemble are already paired together. Aunt have being in previous stages. However, the aim now is to pay symbol in text in such a way. That looks great to the I the clients data to preferred options and the questionnaire symbol above the text unassembled up the side of the text on the left. So I'm gonna experiment with those two early out with a symbol adjusted to various sizes. I can naturally offer both Lee out to the client in the finals. Though for the sake of this lesson, I'll be developing only one version which I judge to be up there, though for the sake of this lesson, I'll be developing only one version which I judged to be optimal. I'm gonna develop six instances three for the symbol up top on three for the symbol of a side on the left. So let's go ahead and develop those six versions. I want to take this. I'm gonna put it up top left. I'm gonna have this as the first option using Ault and shift I'm going to bring down another version. A copy of that. Andi, I'll also bring down 1/3 here, cropping in the first across with old and shift over the right on site. I'm going to place the symbol up top on grouping, placing it above the text highlighting both in the ally in panel. I'm gonna click horizontal align center. So this will center the symbol with the text. It was just a slight alteration there because I almost had a dead center. So let's copy this down own shift, honest to do the same again for the final one at bottom. Right. So let's increase the size off this symbol here, and I'm going to increase it so that it meets the top of the day. You'll see that a pink line appears and tells May it's in line with the top of the D. So I'm gonna have a This is a second option now, the third according to on group, and I'm gonna increase this in size past the top of the D and I'm gonna move it down when using the cursor on the keyboard. The down arrow 567 seven clicks over to far one to go up another two, and I'm happy with that. So we have a version with the symbol at the left in a small size medium size on what could be regarded as the large size. So let's do the same again. Let's increase this second version on the right onside holding shift to keep it locked on the vertical. I'm just gonna bring it down slightly. I want to do exactly the same with that up top. Just a brand closer to the text on. And finally, I'm gonna make the enlarged version Holden shift to keep the ratio of that square. And again, I'm going to select both of these, and I'm gonna go with the align panel beneath Align objects, Select horizontal line center on There we have it sent it. So I now have a range of six versions from which I can select my favorite in accordance with what looks more correct, Andi, aesthetically pleasing 20. Marrying Text & the Symbol Part 2: analyzing these six options at a glance, I've already decided that I much prefer the law goal with Assemble at the side. The symbol positioned at the top of the text looks like a spare part due to the fact that it doesn't sit well with the law case characters, which are various forms at their peak. This arrangement with a similar top could potentially have worked if the characters were block capitals with a flat form of their top. With the law go at the site, there's a much more pleasing shape in the streamline text line with Assemble position. The floor with it granted the local warm displays well on social media avatars and similar where the allocated space is usually a square. Despite this, we have a square shaped icon, which is nor less than ideal saw. The focus is on the column at the left. Anyone, I think, the symbol. Despite being in the same height as the median line I e. The lower part of each character looks too small. Jumping down a three a. I feel like the symbol appears to large. In this version, the graphic surpasses the extender line, which is the very peak of the day in T, in this case on the baseline. As a result, the text, considered as a whole, is sitting horizontally scented to assemble. Finally moving on the two way, the Symbolist, positioned and sized, saw that it's slightly beyond the baselines of the D. G. Under a at their bottoms, the symbol extends to the furthest point where the ball of the day richer's down. As an example, this compensates for lack of surface area at the base line point, which these characters cover, so the symbol go slightly beyond that. At the top of the symbol meets the very height of the day, the titles of the eyes and of course, that t since those characters are flat at the top. Overall, I feel like this represents the perfect size for the symbol. After some slight adjustments in the following stage, this could very well represent the final log or design 21. Marrying Text and Symbol Part 3: So here's the log with my chores and lay out. Next, I'm gonna judge how far I want assemble be from the text because we haven't yet touched upon this. So I'm gonna place this appear next. Amante a copy with Alton Shift. Bring the version down on. What I'm gonna do is I'm going to use the part of the mosaic as an actual measure. Now, the first thing I'm going to do is use a column off two squares with toe. Act as the measurement for the space between the symbol on the day here. So let's go ahead and do that. You wanna go the object on group? I'm gonna copy the symbol own shift, and I'm gonna take a column comprising off two squares and thickness. I'm gonna delete the rest. I'm gonna drag this over to this point. I'm gonna go over the D very slightly for the surface area issue mentioned earlier on. I want to drag this out holding shift to keep it locked on the horizontal using the keyboard curses. In this case, the right are okay. I don't wanna place that they know I'm going to get rid of this measurement on that stands as an option. I feel like this looks good, but again, I'm gonna experiment further. I'm gonna take a copy with only shift dragging down. Now, with this time, I'm going to use a gap which is three squares in thickness. So deleting that, why don't need to go in the object group hall and shift to keep it locked on the the horizontal. I don't want to match it up against the similar. I'm going to select both and bring it across until the days just overlapping very slightly . So delete the measure. And here I have another option. Already. I can tell that the middle version looks ideal in my eyes. It serves is the happy medium between the version of the top, in which I think the gap between the elements is perhaps too tight under version at the bottom and which I think the symbol is too distant. The measurement using the squares of the symbol while speed and highly convenient, has given us a subtle degree of consistency. It could be suggested that this method offers an aesthetic which looks more tidy, un correct. Regardless, for May, it stands is the perfect solution for spacing between the text and symbol and that they both look associate ID but stand distinguished in their own right. This means, of course, that each text or assemble could potentially be used independently. Saw This represents the final log or design form that we've got something else to do before , this log was considered as complete. So we're gonna press on and explore further. 22. Colouring the Text: Obviously we have the mosaic colored, since the form of its content relies entirely upon color. However, we still haven't considered the color or colors off the text, which so far has remained a dark grey at 90% black. I have a few things in mind which I'd like to try, but also things I'm keen to avoid. I don't want a tax to be too colorful, since this would consequently detract from the focus on feature off the symbol. At the same time, I don't want the text to look to drop, since it's a law goal representing art after all. So my aim is to find a solution which satisfies both criteria, at least it in effect of compromise. With this achieved, I can also be confident that the elements used independently look aesthetically pleasing in their own right. So I want to reduce the size of this law goal here, and I'm going to make five copies of it together. Total off six versions and I'm gonna call it each differently. So keeping the 1st 1 as it is for comparison. I'm gonna work on the second now for the second using direct selection tool, I'm going to select all of those characters. They I'm going to bring us down to 80% black to see what it looks like at a light. Agree for the next. I'm gonna go even light oath, agree. So let's bring this down a 75. I think maybe seven, you will be too light. So next the top, right? I'm going to experiment with some blue kind of colors. No, a bright blue by any means, but like a kind of dark blue which complements the blue in the mosaic. So, using the eyedropper tool and matching the blue in the mosaic there, I'm going to bring up the key, which is the black in the cola panel. Andi, I'll have that is one of the options. Next, I'm gonna do exactly the same for the local beneath select Nolan Cartas with a direct selection tool with the eyedropper tool. Select a blue from the mosaic, a different one this time bringing up the black on bringing up the scion. So this represents another option I have here. So for the final one, a bottom, right. I'm gonna do the same again and select all those characters I dropped a tool matching a blue at the top left this time Bring up that black I'm not. So I on to make an even darker version. You go to 70 black on it's the it Sion on Dhere. We have a final color version. So in conclusion, I have those six versions in the column on the left, I have my three tones of greater consider and in the column on the right, I have my blue versions haven't reviewed these. I think the compromise of rt avoiding drab is definitely in the blue version. I don't wish to settle for text to darker blue, however, since this makes the blue less prominent and, of course, less vibrant. With this considered the option I'm selecting as the happy medium is a version in the middle. The tech scores great with all the colors in the mosaic on its baldin often color this stand as a non distractive element shoot of the principle of all log or design work. I'm not considering anything finished just yet, since yet another idea has spawned in my mind and I've got every intention of exploring it 23. Colouring the Text - Part 2: in a previous stage. After analyzing the form of the characters, I customized the type whilst illness. I changed the titles of the eyes from rectangles two squares to give association the square Moore's ex symbol on the squares within it. As I call it, the text I identify thes shapes is having further potential. No, only could I have the square ships resemble the symbol inform, but also color. So what I intend to do is is color each tittle off the I A color from the mosaic 11 color on the other, another color. This will help both elements tie in together, more establishing association even when both a parted. I have an idea of the two colors would likely use, but I'm going to prepare for myself three versions with different colors in those regions. So let's take three copies off the original law. Go here. I'm gonna place this up top left to use as the original for reference on. I want to take a copy using all shift dragging down, and I'm gonna bring to across old shift again. That gives us the three options on the original. So working on the bottom left hand version first with the Direk selection to I'm going to select the first tittle of the I using the eyedropper tool. I'm going to select the hair here in the mosaic. Its not too dark, not too light. Which results? And not selecting the next tittle of the eye using the eyedropper tool. I'm gonna select a blue a medium dark blue. So that stands is one of the options. And I feel this works quite well. So we're working on top, right? One A click. The first tittle of the I selecting the eyedropper tool. I'm going to click on a skin tour. Got to make that a little bit darker. A network on the next shuttle of the I using the eyedropper tool. I'm going to select the color of hair. Once again, Andi, feel that looks good. Next local bottom, Right. Selecting the first tittle of the I. Once again, I drop a tool. I'm going to select a rad. This is the lipstick. Next I'm going to select with the eyedropper tool. A yellow of the blonde. Hey, haven't analyzed these color options. I've chosen a favorite. And that one is it Bottom left. True. to function. I'm still gon experiment, however, so I'm gonna take a copy of this. Put one of the top as the original for comparison on the idea I have in mind. This is to take this tittle here, un color it a skin tone rather than the color of the hay. So the Direk selection tool and want to select that with the eyedropper tool. I'm going to select the skin color. I'm going to see how that looks. Let's experiment again, bringing another version down. I like to call of this a light, a cooler. So selecting that again with a direct selection tool, I dropped a tool, and there we have a light skin tone. Let's try this again. Pick a copy, pulling one down with Alton. Shift on. Let's try a different blue direct selection tool. I dropped a tool, and there we have an alternative blue so zooming out and now analyze these options. So, having considered each without question, I'm electing. The second version is my favorite since the versions beneath this or a bit too light retaining the blue, which I considered as an aesthetic medium which wasn't too dark nor light. I selected a color from the skin and the mosaic rather than the blonde of the hay. Again. I chose a color for this that wasn't too light and wasn't too dark. So now the taxes associate it with the blue of the background on the face of the subject. And this design, together with its colors, stands as the final article. This here is the log or design strategically developed for the digital art business. Did yacht 24. Final Word: well done for reaching the end of the course. I hope the information has proven valuable in extending your skills. As a designer, I post new courses on a regular basis, So if you want to stay up to date, please be sure. Click follow next to my user name by clicking follow. You'll get priority announcements when I launch new courses when I share Resource is on when I launch contests.