Getting Started with Adobe Illustrator: Learn Through Projects! | Lindsay Marsh | Skillshare

Getting Started with Adobe Illustrator: Learn Through Projects!

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

Getting Started with Adobe Illustrator: Learn Through Projects!

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

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
28 Lessons (3h 50m)
    • 1. Course Preview

    • 2. Introduction To Adobe Illustrator

    • 3. Setting up Our Workspace

    • 4. The Shapes Tool

    • 5. Intro to the Pen Tool

    • 6. The Curvature Tool

    • 7. Tracing Shapes - Part 1

    • 8. Tracing Shapes - Part 2

    • 9. Tracing Shapes - Part 3

    • 10. Icon Set Project - Part 1

    • 11. Icon Set Project - Part 2

    • 12. Icon Set Project - Part 3

    • 13. Icon Set Project - Part 4

    • 14. Icon Design - STUDENT PROJECT

    • 15. BearCroft Logo Design Project - Part 1

    • 16. BearCroft Logo Design Project - Typography

    • 17. BearCroft Logo Design Project - Final Touches

    • 18. BearCroft Logo Design Project - Grids

    • 19. Parsons Logo Design Project

    • 20. Parsons - Typography

    • 21. Parsons - File formats and exporting

    • 22. Poster Project

    • 23. Poster Project - Blocking

    • 24. Poster Project - Rule of Thirds

    • 25. Poster Project - Layout

    • 26. Poster Project - Finalizing Layout

    • 27. Poster Project - Finalizing Layout part 2

    • 28. Poster Project - Exporting Our Files

16 students are watching this class
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

NOTE: Check the project section of this class for a document that contains all the links and resources used in this course! 

Adobe Illustrator is a powerful vector-based tool for designers, I have done around 80 percent of my design work throughout my 14-year freelance career in Adobe Illustrator and it has become the cornerstone software for my graphic design business. 

This extensive course will first walk you through the basics of Adobe illustrator as we review how to create shapes, the curvature tool, and go into full detail on how to master the pen tool where we can to trace and recreate simple and complex shapes. 

We will quickly move into our first project, creating an icon set.  We will learn and practice many tools while creating our icon set including reviewing the stroke panel, alignment, the width tool, artboards, shadows, gradients, exporting and more!

Our next project will be the creation of a logo design, where we work with the type tools and talk about best practice in logo design and the use of Grids. 

We will tackle yet another logo design and talk about how to best utilize several tools including working with color and what type of files and formats you need to export.

We will then take this logo design and create a series of flyers and posters for this newly created company look. We will talk about proper layout design theory, using grids, the rule of thirds, cropping photos, working with headlines and type hierarchy, all this while continuing to practice and use Adobe illustrators powerful vector tools. Lastly, we will learn how to properly set up a document and export it for the press. 

This simple course was designed to get you comfortable in Adobe Illustrator as fast as possible through real practice design projects. I look forward to having you as a student!

Meet Your Teacher

Teacher Profile Image

Lindsay Marsh

Over 300,000 Design Students & Counting!


Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.



1. Course Preview: Adobe Illustrator is an incredible, powerful and useful tool for designers. I've been about 85% of my design work in my long feelings career in Adobe Illustrator, and it's become the cornerstone software for my design business. This extensive course will first walk you through the basics of Adobe Illustrator as a review how to create shapes the curvature tool and go into full detail and had a master that pin tool where we trace and recreate simple and complex shapes. Together, we will quickly move into our first project. Creating a full icon set will learn how to practice many tools. We're creating our icon set, including reviewed stroke panel alignment panel, the Width tool, Arc boards, shadows, Grady INTs, Exporting files. Dan More. Our next project will be the creation of a local design, or we work with type tools and talk about best practices in logo design. And using grids Way will tackle yet another local design and talk about how to best utilize several tools, including working with color and what type of files and formats you need to export. We will then take this logo design and create a series of flyers and posters for this newly created company. Look, we'll talk about proper layout design theory using grids, the rule of thirds, how to crop photos, working with headlines and type hierarchy. All this white continuing to practice and use Adobe Illustrator's powerful vector tools. And lastly, we also learned how to properly set up a document and export it for the press. This simple course was designed to get you comfortable in Adobe Illustrator as fast as possible through riel practical design projects to look forward to having you as a student . 2. Introduction To Adobe Illustrator: Welcome to Adobe Illustrator Adobe Illustrator is a vector based design tool. Objects, lines and shapes that are created in the Adobe Illustrator are created using an equation. That means when you scale an object, larger, smaller equation scales of objects so they maintain a perfect resolution of matter. Size. Adobe Illustrator is an incredible, powerful and useful tool for designers. I've been about 85% of my design work and my long freelance career in Adobe Illustrator, and it's become the cornerstone software for my design business. I highly recommend that all local designs are created in Adobe Illustrator because of that vector environment and the ability to scale logos, symbols and objects to any size without reducing the quality or the resolution. In a lot of large and small scale print projects are created an illustrator, including poster designs, banner designs, billboards and brochures, T shirt designs and even icons or other objects that are readily designed in Adobe Illustrator. The pentacle is an amazing tool that gives it the chance to create any shape imaginable. Will focus heavily on the Pentagon's class and create a wide variety of symbols, icons and objects. We will create a Nikon said that we can use later on in the course will also create a few local designs as well a several different layouts for a poster design. New projects will be added to section frequently, so feel free to check your email for announcements of new project additions to the course. Let's go ahead and head into Adobe Illustrator and get our dashboard set up so you can work alongside me on these projects in class. Are you ready to learn one of my favorite adobe products? Let's get started. 3. Setting up Our Workspace : Welcome to Adobe Illustrator. First things first. I want to make sure that I match my desktop with what you see. And so there's a couple ways we can do that. I'm gonna set the desktop to a specific preset setting, and you go ahead and go with through that with you. Right now, we're gonna go up to a window and we're gonna go to workspace and right now minus highlighted on layout. But we also want to reset the workspace so we can get all the default windows popped up so we could start to create the workspace that you're gonna be seeing throughout this part of the class. So I got to go down to reset layout so it doesn't matter what your on right now, just go ahead and reset the layout. You can go back up to window and go to work space. Okay, so we have layout and we also reset the layout so it's back to where it would be if you first opened Adobe Illustrator. So this is the default. I have the 2019 version of Adobe Creative Cloud Eso. Your version may be slightly different. Most of the tools are going to be the same, but just letting you know I'm teaching in the 2019 updated version and there's some new tools, and I'll talk to you throughout the class about which tools may not be included in which versions as I use them. So let's get our windows to match. So now we're gonna eliminate some windows I don't believe we're gonna be using through the glass just kind of cleans up your desktop area. And you don't feel like you have so many options screaming at you kind of simplifies your environment. So we are going to use the transform panel. We are go to use the align panel. Ah, the swatches and the color panel are very, very important. Circuit A. Leave those in place, the color guide, and it's going quite a slide of that out and go to go ahead and close that window for now. So we just have colors and swatches here, radiant. We're gonna be using Grady INTs a lot in this class, so let's keep that stroke is a very highly you used panel that I like to always keep open and available, so make sure that is in a nice prominent position. Art boards. I'm gonna go ahead and close that. For now. We are gonna talk about art boards, but let's tryto simplify our layout here. We can always bring a new window open at another time. I'm also gonna close down libraries. You got to keep my layers panel here so I can go ahead. You can drag these and combine them together. So I'm gonna put my layers panel along with these other two panels, So I have a nice, simple layout. You can also have some pull out options here. I'm so character and paragraph are very important. Three open type. Not as much for this particular class. So I just deleting anything I don't need. So these character and paragraph and this little pullout menu, this is important to keep on there. It's kind of going through all of these. That's a repeat. Okay, we'll leave these in for now, but what I'd like to do is take this character and paragraph panels and go ahead and drag them out. But that little extra pull out men because they are so important and so readily used. So now is able to kind of create this own little module, and I'm gonna go and slide that right over here by color. So now I have swatches color, character in paragraph. Um, so you could even bring color. Let's see, what kind of arrange these in a particular way. Let's bring stroke up here to the top, and you don't have to have it exactly like me. But as long as you have these particular windows available, you can arrange them. How you feel comfortable if you see a window missing or you accidentally close out a window , just go up to window and you can bring out any of these, um, that that that I talk about through the class. So if I start talking about, um, the brushes and you're not seeing the brush window, just goto window and click on brushes and you'll be able to bring that window out, and he could drag it and create whatever window you'd like our arrangement of Windows and same thing with some of these I don't use very frequently, and some of them I will use daily. Um, so that's how you bring out windows. And so we have our desktop set up eso. Now that we have our desktop set up, the next few lessons are going to go over the basics, tools and layout of Illustrator. And then I gotta move on to the pin tool and then some more advanced tools as we work on projects will be able to do projects together and work with those tools as we do it. So this is the point in the class the next 30 to 45 minutes, where you can start to skip a lesson or two if you already feel comfortable about that topic, so the next few lessons are gonna be very basic. We already feel comfortable with a little bit of the basics of illustrator. Feel free to skip around a few lessons until you get to the level. Or if you want to skip right to that project development part of the glass, please feel free to take this class at your own pace. 4. The Shapes Tool: so I'm gonna start off with a really fun and easy to use, and that's the shape tool. So it's gonna be the fifth position down and that maybe in a slightly different position, depending on what version you are, but it looks just like this name time. You have a little arrow at the bottom, right? You can click and hold, and you'll be able to get another pullout menu. If you want this pullout menu to stick ik over here to this little arrow and you're able to cut the dragon around just like a window, go ahead and close that out and go ahead and select the rectangle tool. We're gonna go and click and drag and create a simple rectangle so you'll notice there's a what's called a stroke around the box and what is also called a fill in the inside. So the inside is a fill in. The outside is a stroke, and we work a lot with strokes and illustrator, especially when it comes to a local design and typography. And we were doing icons and symbols. Strokes were very important to kind of known master. So how do I change these colors How does which amount you go down here? This is the fill option right here. This little swatch and then right down here is gonna be your stroke option. So you can always has changes colors by double clicking, and you have your little color picker and you could slide down, maybe make that darker, then click on the blue and make that a green color. Or maybe let's do an orange color. So now we have an orange fill in a red stroke. Well, let's say that stroke is way too thick. Let's change the stroke thickness to make it a more thin line. We're gonna go ahead and select our object, and we're gonna go over to our stroke panels. Remember when I talked about how important that stroke panel is and how often we're gonna be referring to it? So what I like to do with Windows sometimes if there's a big gap between where I'm working and kind of the panels, I like to kind of drag it out so I could keep it close by So I don't have to go all the way over to the right to make options, so I just drug drag that window out now, I could make some adjustments, so that has a 14 point wait. So let's reduce that to seven. So I was gonna go down to seven and you notice it made it a lot skinnier. So let's say I don't like this really sharp right edge. I'm gonna go ahead and zoom in a little bit. I really don't like that. That angle it's too sharp. I want a nice, smooth stroke. So let's go ahead and select her object, and we could go down here to corner. We're gonna go to a round join, which is the middle option, and you noticed how it made it a nice round shape, as opposed to a sharp right angle shape, but always a selector object and switch back to a corner or a round join. There's also another option, which is a bevel join, which kind of gives it that little bit of an angle. But I'm gonna go ahead and keep it on round join. Go ahead and drag my stroke panel back and let's say I want to switch the colors. I want red on the inside, but oranges my stroke You can go down to here to this little arrow. Swap Phil and stroke, you can Also, there's also a a keyboard shortcut shift X if you're interested in the short cut, but you can go ahead and just flip it back and forth. And so now it it kind of switched positions. Let's say I'm sick of the stroke. I really just want a simple box. I don't want a stroke. Go ahead and select your object. Go ahead and click down on this stroke, Phil, we're gonna go down to none. So this is gonna be the option to eliminate that stroke altogether. So go ahead and click on this. None symbol, and it's going to disappear. And the same thing goes, I'm gonna do Command Z, which is just a very quick shortcut to go back one step. So I'm gonna do Command Z, which goes back to the step I just was on. And he could also do the same thing if he selected the fill. So I'm selecting the films, watch going down here to none, and I could just have a stroke and this is transparent. You go ahead, do this. You can see that it's kind of a transparent box. We're gonna go and delete that. Now that we kind of understand Phil and stroke and shapes. Let's go ahead and create a few other shapes real quick to kind of practice. And I have these on a stroke. Someone we go ahead, make her circle and you notice Oh, that's a nasty looking circle. That's not a perfect circle. How do I make a perfect circle? There's a little keyboard, short cut. All we have to do is hold down the shift key and then drag. It will make a perfect circle. So let's go ahead and hold down shift, click and drag. Now I have some nice, beautiful circles. Let's create a few other shapes gonna hold down. Let's do a polygon. Now I have a stroke on this polygon, but I want to switch it to a Phil. So I'm gonna go down here and swap it out to now. I have a solid shape. Well, let's see what else we have. We have star mixed, are holding down shift to make a perfect star. If I did not hold down shift, Um, sometimes the shapes do not come out perfect like we saw with the circle. So now that we have our object, we could change the location very easily by just holding and shifting it around. But we can also change the angle. So I gotta go here. This is called the Bounding box. That little blue line that goes all the way around the object. You go up to the corners, you get a little arrow symbol that looks just like this. Go ahead and click and hold. You'll be able to change the angle. What's great about the latest version of Illustrator is it shows you the exact angle that you're spending the object, which could be very helpful. If you want to spend it, spin it exactly at 90 degrees. So now I just switched that object 90 degrees and rotated it. So now I'm gonna talk about anchor points and anchor points is the lifeblood of illustrator . Everything works with every object, has anchor points. So I'm gonna go ahead and select this object to show you what an anchor point is so that I have this object selected. I've got to take the This is the direct selection tool which I'm able just directly to select something and shifted around. But I'm gonna go down to the direct selection tool, which is the hollowed out arrow, And this gives B of the ability to see all the anchor points in the object. So you see, this has six different anchor points all the way around the object, and I can click on any of these anchor points and manipulated in anyway. So if I wanted to shift this out, I can't. It is click and hold, and I'm able to kind of adjust these acker points to create any shape that I need. So now we're going to talk a little bit about the pen tool that could create a few shapes and manipulate those anchor points. You can see the wide variety of shapes that you can create an illustrator. 5. Intro to the Pen Tool: pen tool. This is how you can access the pen tool. It's gonna be the 3rd 1 down. Of course, it could be in a slightly different position, but this is exactly what it looks like. We're gonna go and click and hold, and we're just gonna select the pin tool, which should be the top option. We're gonna cover these lower options here shortly. So we're going to select the main pin tool, and we're gonna be creating the PINTO helps us create and manipulate these anchor points to create a wide variety of shapes. So I'm gonna go and click once, and I created an anchor point and you'll notice have a chance to kind of press the anchor point again to create to create a shape. So in this case, it will be a simple line. So I clicked once, come over here and click again. I have a simple shape. And so right now this is on a Phil, and what we want to do is flip it to a stroke. So now we can see our line, who has made a simple line to continue to make some different kind of shape. So let's make triangle together. You got a click down here, the click up right here. You click down, and there's certain things called Smart Guides, which will get to a little bit later and will be able to make a perfect triangle by having our our guides on. But right now I have them all for the sake of teaching this lesson. But let me go ahead and zoom ins. You go and see. Select that direct selection tool and you'll be able to see the three anchor points that we created. And let's say this is off a little bit. I think that line is not completely straight. It is clicked with the direct selection tool and shipped it down. I will say I want to make it more of a fat triangle. We just select that and bring it down. So let's continue to create a few other shapes with pin tools. Have the pin tool selected, and I switch between the pin tour of the direct selection tool often so I'll go ahead and create a shape. So let's say this kind of strange triangle, and then I just go back to that direct selection tool, and I'm able to manipulate it. Button, delete that. So let's create a more complex shape. And we need to add some curves to our shape so we can create simple triangles and boxes. But they're all just straight. How do we create those curves that you see in logo designs you got in clubs like the pen tool gonna click like we want to create a line But I'm gonna click and I'm gonna hold. So I got ahold when clicking and I'm able to kind of create a rounded shape just like that , I just click off the selection tool and I'm able to complete my shape. So let's keep going with that Grab Arpin tool and let's do a wavy line. We're gonna do the same thing, but with multiple points, go over to here, click and hold you to create kind of an upward to do a downward or an upward kind of movement curve. So I created that, and instead of clicking here, it's gonna keep going. It's gonna allow me to create another curve, and then I'm gonna go over here, click and you kind of an upward. This takes a little bit of time to master it could be a little uncomfortable when you first try it. It took me a while to kind of kind of get comfortable with it. So don't worry if you feel like, Oh, which direction do I go? Let's create it one more time. But let's do a tight kind of, uh, curvy shape. Ah, so go ahead and select pin Tool. Let's do a nice tight curses could go up, down and click, and then you'll notice it straight again. So now I need to go back to the point where I want the next anchor point to be Click and then go up and then click back here and they did the same thing. Click and hold up creator shape and then click back one more time where we wherever we want our anchor point to be. And then we make our curve and then that. So we're able to kind of make a tight kind of bound and like Okay, well, that's not quite really even. How do I kind of adjust these anchor points on this particular line shape? Let's get our direct selection tool, which is how we see our anchor points and you'll notice all the anchor points that we just completed, and we can click on these and manipulate what are called handles to be able to change the shape that we created the curve shape. We can actually change that. So let's say this one's a little fat. Let's go ahead and change that. So I'm gonna click on this anchor point and this long bars culture handles. So this is how you get to manipulate the curve of any anchor point. So I'm gonna take the top one of this curve and adjust it a little bit. If you just it this way, you could select this one and also a just You can kind of get your curves to match a little better. But sometimes it's hard to do by hand, and this work grids come in handy and we'll talk about grids a little bit. Kind of help. Help guide you a little bit. Just making some adjustments. I could shift this whole thing over. Bring this over as well. I was using the direct selection tool in manipulating my anchor points. I could change the thickness of the line by using stroke panel. I just had my stroke out. I can increase my stroke a couple times, Okay? And I'm gonna go to cap, so you'll notice at the end of this line. It's kind of a rough Go ahead. Zoom in. It's kind of rough ending to this line. You'll notice that with all the default lines you create with pencil. But let's say I want this to have a nice, smooth cap at the end. So I'm gonna go up here to cap notice how we did corner in the previous video. We're gonna go up to cap and do a around cap to notice now that fine has a nice, rounded finish. So we're going to tackle our first little, many project. We're gonna take this polygon tool that we created simply by using the shapes tool we did the polygon tool, and I believe we rotated it by 90 degrees. And so when I'm kind of noticing, here is a little bit of a three D cube that we can create. So we're gonna create a couple of different objects with the pin tool to create a three d cube. We're gonna use this layer as our guide. We're gonna go and select a different color, so I can tell the difference between the different shapes. Let's do a purple color. I couldn't grab that pin tool, and I gotta draw boxes around here to create kind of a cube shaped just to practice the pin tool and creating different anchor points. So I'm gonna create one side of the Cube. You go click down here on this corner. Click up here, click about. We can always adjust it later. We're just making a simple box, and so you'll notice. When I go back to my original first anchor point and I go back to click on it, you'll notice this little circle, and this is how you close a shape. Once you do this, you'll have a completed shape. You have one anchor point that goes right back to the original AC. Appointment creates a shape. If we didn't do that, it would really just be a incomplete shape. We're going to click on that, and now I have a complete shape that we just created with four different anchor points. So let's say I think that's off a little bit. I could describe my direct selection tool, click it and shipped it up a little bit. Let's continue to make her cube. Let's grab the pin tool. Let's do a different color. Let's just do, like, a lighter shade to show highlights. Click up here, and I'm gonna simply create the top part of her object. And so now we have, ah, way to create this other shot side. So I gotta grab. I want to sample this color so I can collect a click it. But I also want to get the eyedropper tool. Go ahead and highlight this color. I want to grab that color. And so I want to double click on the swatch so I could go ahead and change the color. Ah, I wanted to be a little bit darker, so I'm just gonna go down a little bit trying to show dimension with lighting. So I just want to a little bit of a darker shade. Maybe right there. Great. So I'm showing a little bit more dimension there. Let's draw our last square. I'm gonna grab the pin tool. It's gonna cover up this last little bit, and I'm gonna make that a little bit of the darker color to show 1/3 dimension Just like that. So I made that kind of the height highlight. Made that the low light. So we just created a cool cube. So I'm gonna select my object. Ah, this one panel or this one side of the box, I'm gonna hold down shift and I'm gonna click on the top. So now I selected the top of aside, and I'm gonna hold down shift again, and I'm gonna be able to select this side. So by holding down shift, I can click and select multiple objects. May hold on shipments. Select that. One side is gonna shift this over. This was our base, our guide. We no longer need that shape. So now we have this cube and I can right click. Now that I clicked on one held shift click the top of continuing told shift click That last part all three were selected, and I want to be able to group these together as one single object. Right now, they're three different objects, so I'm gonna right click, and I'm gonna just go to group. And what's great about this is I don't have to hold shift to connect a mall or selectable. They're all grouped together as one wonderful object. So I'm gonna hold down, shift and make this smaller, and I can just copy and paste and create multiple kind of cubes, if you will. I could make kind of a pattern out of this. I was copying and pasting, making a little pattern, and you can also, um, hadn't copied. There's a there's a kind of a short cut to copy and paste, and that's holding down the old button, holding down the old button. Okay, just go ahead and skip all that says a new version so haven't gone through the tours yet. Hold down. Ah, that old key, I believe, uh, tryingto algo had research and put up what it would be on the windows. I believe it's gonna be different than the all key on the windows. But you hold down the hall key and I could make all sorts of duplicates as I just continually hold down all key and shift. So instead of having to sit there, do command C command V, which is the short cut to copy and paste copy paste copy paste. You just hold down that old key and drag and create all sorts of different options that we can create. So I'm just gonna go ahead and play around with this a little bit, kind of creating a little three dimensional kind of environment. Anybody grew up in the 19 eighties, you know, Hubert, which is the game that existed on this little three d plane and so we can have. We can make small adjustments by clicking and moving it, but you can also make little small movements by using your arrow keys on your lap are in Europe keyboard. So let's say I want to make this adjustment. I want to kind of move it up and down until I get it perfect. I just do the up and left keys until I kind of find the right. This is a great way to kind of slightly nudge something. If you don't feel like you can click and drag it to the right point. Just use your little arrow keys and will help kind of make little small minute adjustments and sometimes zooming in. You can make more micro adjustments that way. So just here in a few minutes, we're able to kind of create this cool kind of cube shaped environment you can download in this lesson. Ah, practice sheet. We can practice drawing simple shapes using the pen to pen tool can take some getting used to. So take your time doing this practice shoot and I'll see you in the next lesson. 6. The Curvature Tool: So now I'm gonna talk about the curvature tool. We're gonna go and create a simple shape. I'm gonna go down to shapes and let's do a star. Let's do something with a lot of sharp edges. And the great thing about the curvature tools is able to take sharp edges and convert them to rounded curves. We're gonna go here to the curvature tool click on that's right below the regular pin tool you to go and click on our object or actually select our object first and then click on the curvature tool and will be able to show all the anchor points. But instead of the square, anchor points will notice they have little circles. Sir, Get a double click this top anchor point. It's gonna convert the sharp edge to a curve. All I'm doing is this double clicking and I'm able to convert all of these to a soft, rounded a curve shape. And to show you another example, I'm gonna go and create a polygon when the shapes tool the whole downshifts. I could make a perfect polygon, grab that other than selector shape and then go ahead and grab our curvature tool and There's all the anchor points that are being converted with circles. Double click the circles and you'll notice what happens. Double click all these the kind of kind of creative circles or just kind of showing the power of that tool in action. And you could also click and hold and be able to kind of change the bend of that particular options. If you want to kind of shift, occur without changing all the other anchor points around it, you do that. So if you want to create like a moon shape, we could do that and shifted around. We could see how you can create kind of, ah, really wide gamut of shapes by using this tool, and when you double click, it'll convert it back to its kind of right sharp angle. So I go back to our a little star that we created good selector object and go to the curvature tool that I'm gonna double click apps like Actually was the top that I double clicked DoubleClick that converts it back to the sharp angle so you could just keep toggle ing those when you create your shapes. So that has the curvature tool 7. Tracing Shapes - Part 1: way. Better way to practice. The pin tool is to draw riel world symbols shapes. So I would had downloaded this doctor pack from all free download dot com. I'm gonna be providing a link in this lesson to be able, Teoh, grab those so you can have these shapes and you can trace along with me so we could not practice that Pittle. So I kind of put these in a specific order from kind of easier. What I think would be easy to do. Two, maybe a little bit more challenging. So go ahead and trace all these work down to the bottom and really kind of master not only straight edges, but also getting those curves right. Especially with that middle one could be a little tricky. So we'll go ahead, trace thes and practice that pin tool. So let's go ahead and start with this very first symbol. I don't get a go ahead and make it black or some other different color so that you can tell the difference between where you're drawing and what is underneath. So I'm gonna go ahead, grab the pin tool and go ahead and start tracing this. So these air Simple rectangle shapes Someone's gonna click down here on the corner or wherever. Whatever corner would like to start on. And I just croak can create anchor points on each corner And I got to go back and complete My shapes are gonna go right back to that original point and see little circle. I'm able to close my shape. So I just drew a simple rectangle. We're gonna keep going with this. I'm gonna go ahead and take this to are going to get a different color so I can tell the difference between the 22 withdrawal of this shape over here. Same thing we just did my It might even be able to copy and paste it. Make it simple. So I'm not gonna make the connecting shape. I'm gonna go down here, and the connecting shape would make that a little bit of a different color from always. Maybe, ah, make it darker. That might work well, Gonna have a dark to light kind of movement. Let's go ahead and remove the symbol below. And there's our new one that we created very quick and easy, with three different shapes put together. Okay, so let's move on to a little bit more curves, so there might be a little bit of a shortcut to this one, so we can sit here and take the pin tool. We could click right here in this area, go all the way to go zoom in. So I'm sure you what I'm doing, maybe click right here and then go ahead and click on this little corner and I can hold and create kind of a rounded shape. Click over here to right where I think the curve starts. Click and then go right down here to where I think the curve ends. Click and go ahead and make my curve. This is the long way to do it. I'll show you a short cut in a little bit, but this is good practice. Click and hold click when I go to go back to complete my shape Hold and I just made my self a shape. Here's a little bit of a shortcut when you have a perfect square like this, I like to make a square shape. Our rectangle shape could hold down shift. Go ahead and make it. I can switch it to a stroke if I want to see underneath it kind of line it up that I'm able to create curves. So I'm gonna go and click on this little symbol right here in the click and hold. It's gonna be able to create occur for me. And what's great is it creates a curve on all four corners. I can also click on this and make make it a little less round if I'd like are clicking hold . And I believe if you have a older version of Illustrator, I believe 2000 15 I have to go and check the versions. But if you have an older version of photo shop, you may not have this little nice, rounded corner option. But that's just like a little trick. If it's a perfect square, that's the one we did by hand. Let's do this one by hands. We're gonna grab the pin tool. Good click, and I like to click where I think the curve starts so that I can click where I think the curve ends and then be able to make it that way to the corner. And a lot of times when I'm tracing shapes, I'll flip it to a stroke so it doesn't interfere with me being able to see this. The shape I'm gonna click where I think the curve bands and then click where I think it ends. Just keep going. Click. Now we can also do that other option. We could create a square, but so we have this little bit more of a complicated object here, So that's why I'm doing it by hand. We just had a simple square without any complexities, and he could probably do what I did down there and use that rounded corner tool. Let's go and switch that to a Phil. Let's go ahead and sample that color. Looks like it's a Grady in. We'll dig radiance here in a bit. So now this one simple. I'm just gonna grab you do the shortcut one and do a rectangle tool. And I'm gonna do a stroke so I can kind of see, I could make my stroke a little skin year. Some down here, my stroke panel. I'm gonna reduce it to a 0.5 points. So now I can kind of see the definitions of the line a little bit easier. Okay, so now I have my little around a corner, tooling the click and hold. And just like that, we created that shape, and I'm gonna go ahead and get the eyedropper tool and sample that color. So this is the shape that we just created. Shift that over. We don't need the original, and you'll notice, you know, when you do the pin tools, sometimes it's not perfect. You're doing it by hand. Sometimes it's not precise. So I noticed right here they're sent That seems to get a little bit skinnier. The stroke and it doesn't look quite a smooth. That's okay. We could select our object and get are direct selection tools. We could see where anchor points lie. We'll click on our anchor point. We can change this handle, make it a little bit wider to make it fit a little better whenever you need more position, precision and a curve. And we'll probably get to this when we start tracing the more complex shapes. And sometimes it's nice toe. Add an anchor point to give you more precise control. So right now have an anchor point here have an anchor point here, but I can go down to my pin tool and go down toe, add an anchor point. So let's say I want to add anchor point right here in the middle. So now is ableto add more precision because now I have more anchor points to manipulate, so I could go to my direct selection tool. And now I have this other point where could be a little bit more precise. Sometimes when I have curves like that, I can't quite get the angle right. I will add an anchor point and give myself some more precision. You could do the same thing. You can add anchor points to any point. So if I want to add anchor point here, I can take my direct selection tool and make like an angle or something or make it a narrow so you can add a anchor point to any point in your shape. You can even go ahead and use that curvature tool. So right down here, double click were shift. They're ago make kind of a rounded cap. Let's go back to where we had it. I couldn't take away those extra points. I added, Um, I think our shape looks great. So there's shape number two, so we have shaped number one, shape number two. And I don't like the gap between that's the original shape, so I'm just gonna change that. I just used my keyboard tooled of nudge it closer. So this is gonna be a fairly simple shape, since we've already done a lot of straight edges. This doesn't have any curve, so this will be really easy to do. So I'm gonna go ahead. I think it's do green. That's a different color. And let's do a stroke. We're gonna do strokes with this so I can see where I'm at with my shapes. That's one. Okay, I'm gonna go like this to we could continue to repeat this process for as long as I need to complete shapes. This could even be a copy and paste situation. Since these are all the same exact size, you could just simply do 11 point of the star and copy and paste it. So anyway can kind of streamline your process and make it quicker. Go ahead, do it worse, doing it manually. Just practice. But she'll do that when you're doing local designer symbols or you I elements and you're kind of doing the same thing over and over. I love to copy or pay a copy and paste and rotate just to save myself some time. 8. Tracing Shapes - Part 2: So now I've completed my shape. Go ahead, delete shape underneath. And so we're left with our strokes. And so you also noticed with strokes if we were to leave him in a stroke, which could look kind of neat. Well, you notice how you have this really kind of sharp pointed edges at the top. I don't like that at all. So we're gonna go to our stroke panel. The highlight, our shape, good or stroke panel zoom ins, they tickle up, we'll bring my strip panel out, and I am going to do a rounded join on the corner. Since you notice it kind of eliminates that extra sharp edge so we could just go ahead and select all and then add that rounded corner so we could change the color and make this like a light gray when we have kind of a neat shape there. So we'll go and leave it that way. I think that's kind of neat. We could always flip it to stroke, are to fill, and we can kind of select every other ones. I'm just holding down shift and selecting the objects I like. I could do like, a little bit of a lighter color to kind of give it a cool three d effect. So I just clicked every other one hold held downshift and changed the color right here in the Phil. So there's our next shape. So now we have three shapes down is going to get our stroke panel back over here. Let's do our next shape. We're still not doing curves on this one, so this should be quick. So let's do this one quickly. Grab the shape tool. Are the pin tool flip that strokes. I can see my strokes. I'm just gonna go ahead and do a rounded corner so I can go and have those nice and rounded already. I'm just tracing, making kind of a syriza triangles. And this also, this is how I'm gonna kind of do a short cut. So I'm gonna select all three of these shapes, which is this is what I just created, but a copy and paste it. I'm gonna rotate it, So I'm gonna go over here to rotate. I'm gonna rotate this guy till he's over here. It's the same shape repeated. So anyway, we could streamline and speed up our design process. The better, All right, so let's delete our original shape. And so we could probably clean up these lines a little bit. So I'm just gonna cut a shipped it down till I have him wind up a little better, You know, when you trace it. It's not always exact course. They're smart guides, which I'll get to here shortly. That will help you snap to certain points, and they could easier. There's a shape we can switch. Make that Phil kind of CR empty gaps here. Just take our pin tool, are direct selection tool and just kind of make some adjustments and make sure it has a nice blushed look to make some adjustments here, right? So now it could do. Maybe you never every other one type situation. Let's like this one, this one and this one. That's every other one. It's going to slightly lighter, and there's our little shape course could make it fun colors if you'd like. Let's move on. This is gonna be a challenge. It doesn't look like it be very hard, but there's a lot of little curves here that we have to work with. So anything to speed up our workflow So here's one thing we could do. I see a lot of circles here. Let's just take our shapes. Tools already done for us. Hold down. Shift. We already have our circle here. Done. We don't have to sit there and do the pin tool with a circle which could be actually harder than you think. A copy? Paste that. Or he could do the little hole down the old key and drag and create a bunch of versions too . With the same size. This looks to be a slightly smaller size. Let me hold down shift so I can adjust that circle. I'm just gonna keep copying and pasting, creating these curves. So why sit there and trace curves with a pencil when he already had these curves done for you in the circle? So now what we do is we need to create this in between connection. So this is where we are gonna have to use your pin tool. You just click down here, click here, and I was gonna hold down and go and create a curve actually gonna create it a little bit higher. There we go. This is why it's nice to have these stroke on because you're not gonna see that inside when it becomes a solid shape. All right. And I believe we could just copy and paste the shape ups select a little shape we just curated. And we can rotate this if I want to rotate it exactly 90 degrees. You can rotate it manually, or you go to object and transform, and you'll be able to rotate it perfectly. So I want to rotate it at 90 degrees eso 90 click. And it rotated now could drag it down to the shape. That should be the same shape. Well, it's off a little bit. That's okay. They didn't do it perfectly with this logo, But that is OK, so I'm gonna click here and see this little handles Really hard to see with that orange. Really, really hard to see. You see the handle here? I'm just gonna just that up to get the curve right. Same thing over here. I'm gonna shift this over here, see if I could find there's my handle. It's really hard to see. You could see it right there. I was gonna just that. All right, so let's switch all these to a Phil. So you kind of see what our final shape looks like. We have three circles and we have our two connection points and was good. Switch all those to a Phil. Let's go ahead and group them together because right now it's one all separate little elements. So let's go and select all of them, right? Click and group. Now we have a grouping, and let's go ahead and sample this beautiful Grady colors. Who's going to the eyedropper tool and you notice it'll do it for each shape instead of doing one nice, smooth line. It will repeat the grade Ian for each shape. So one way around this and we'll get to grainy It's a little bit later. Go and select her shape and grab that Grady int tool, which is, could be right down here. I'm gonna click and hold and you're able to apply the Grady int. Okay, so now I noticed kind of some little inconsistencies, which you can easily kind of figure out. So I'm just gonna shift these things around, get the right shape using those handles. If I need to add an anchor point to add more precision, I could do that and also the shape builder tools are really cool tool, which we're gonna get to it a little bit later, and it's how we can combine these objects in tow. One object instead of having all these separate little objects, I'll show you demonstration, but we'll do more in depth later. I'll see. I don't think the show there's a shape build tool. Good. It's on the layout version. So good and click on the shape Builder tool, which is right above the Grady Int tool right here. And what I can do is I can select my all my objects. It's one big group now, right? So we selected all of her objects. Then we click on the shape Builder tool and you notice how, when I hover over, it will select certain objects. I'm going to click and hold and just collect all of these objects into one shape, and it looks like I need to connect that little object. So now this is instead of having three circles into connection points, I now have one solid shape. Now I can come in here and let's say I don't need that anchor point. It's like an extra anchor point that somehow got there. You could just like you can add anchor points. You can delete them as well. Hold out the pin tool, go to delete an anchor point, and let's say that's a redundant anchor point. It's causing kind of a strange kind of been there. I'm gonna remove that. One will see what happens if I remove that one. There we go now get my direct selection tool and kind of mess around with it. But more to get the right shape. Same thing down here. Let's see what we got. We probably shipped that around. Okay, it's not perfect, but I think it's pretty good for now. We could spend another 20 minutes, this fighting tuning those lines. But that is just one way to trace this logo or to create a local like this or soap in different ways. You can tackle it. I'm going to select the object below, so we have different layers here. So, just like in photo shop, you have a Larry system. So if you switch over toe layers, it works just like photo shop. We could drag and drop different layers on top of each other, but for this case. I want to select the object below. So I'm gonna get that one. Get rid of it. So I want this to be on the top. We have that. Uh oh. I guess that original one also disappeared. Great. Now we have a little shape. That's what we created. There's nothing original left. Okay, so the heart grabber pinto and get started. 9. Tracing Shapes - Part 3: stick a pin tool slicked down below. And so we have a very curvy, curvy Let's just say that. So we're not gonna be able just to click up here and make a big curve because it's not going to get the angle that we need. So this is gonna be something we're gonna have to do. Lots of different anchor points and adjustments all the way around the heart shaped. Let's go ahead and zoom in. This isn't so bad. So let's kind of click here and just do a small a little curve. And let's change this color to make it really a different color. And let's switch it to stroke so could kind of see our strokes. And I got to go down to stroke or ah, right here my stroke panel and reduce the thickness so I can have more precision. So instead of just going up here and trying to get this to match, you do small, incremental curves. So maybe right here just do a little curve along the way. Click back up here, Okay, so if I go ahead and click and I don't click back on that anchor point, I just created it will give you a chance to make a curve. But if I click back on the anchor point I just created it will go back to giving you a straight option. Let me go back and do that because I like to kind of go with the curves. I'm gonna go and click here, and I'm not gonna click back on the original anchor point and it continues that curve shape click again and it goes back to straight. Create a curve. Might be able to get away with going all the way over here. So you notice we have, what about five or six anchor points that helped us make that curve? Let's could keep going and you'll learn as you practice how many anchor points you think you'll need for each shape? I'm gonna do the whole trace, the whole outlawed and do this little shape on top. I just like having have you ever create outlines on us When we get into typography, I'll created outline on the letter, Um, and you'll see how many after points anchor points are being used, and curvy letters actually do that right now to show you a quick example so I'm sticking the type tool, which we'll get to in a little bit. This could create a simple be, uh, don't have an option to make that thicker. I'm just gonna right click the hump, creating outlines and what creating outlines does is it creates all those little anchor points. So when I go to the direct selection to you'll see how many anchor points it took to make the curve of the beat it didn't just take to it. Took 12345 And then you'll see some letters that have maybe 15 different anchor points to make a curve just to make that curve really accurate. Let's make a little flat portion grabber pinto again. I think we'll be able to divide this in half, so gonna click in the center and then go ahead and click and hold and then complete our shape and it would flip to fill and let's go ahead and leave the original object. Go ahead and get make this a different colors. Make this a Phil. So you flip that to fill. I'm gonna make that a deep red color, right? So there is our little object of one object on top of this one, so we're able to create a cool heart shape. Let's go down. I think we have one more shape left. Here's our other shape. So you take our pin tool, go click on the bottom and move my way around. It's gonna do a complete outline of the shape, so this one has, like a little bit of a curve. So let me grab a different color so blue would be very different. Making a stroke quick route here make a small cool. This is good, even a someone who has done this for more than a decade. That's nice to be able to do these kind of projects to kind of keep my pin tool practice up because even I'm not perfect after all these years. So you see the little dent that's created kind of like a little bit of an imperfection. We could just go in and fix that with the direct selection tool. We could go ahead and change our angles and our handles groups, and we also have our curvature tool. If you want to have more precision over curves, so it's good a kind of help you out to make those curves too. So if you ever feel like there's kind of a dent like that that was created, switched to the curvature tool and kind of play around and kind of kind of help you create this curved a little better. I understand the curvature tool. What? I'm just fine tuning my curves. You don't look so dented, I guess would be it. Good way to describe it. So now I want to switch to the direct selection tool click here. I want it just to justice, handle a little bit and bring that down. It just takes a little bit noodling work. There's kind of a basic shape outline, and now it looks like we need to go ahead and right click. And I'm gonna ungroomed this shape because this is one group to shape a right click and ungroomed pit. I'm just kind of see how this is constructed. That seems to just be a circle. Okay, that seems to be a shape. I was going to take this circle away. This is create this shape right now. So right now, if I were to switch this to a Phil, you have just one solid object. You don't have the whole of the middle. Well, how do we make that hole of the middle? There's a couple things we can do. There's the shape builder tool. But there's also the Pathfinder tool, and I'm gonna do both. So you can see which one do you feel most comfortable with? The Pathfinder tool is available on any version illustrator, and this shape builder tool is available from 2015 and beyond. If you've updated since 2015 you will have the shape builder tool option. So let's do this shape builder tool. First, we're gonna go ahead and create a circle could create this shape in the middle. Now, I have a kind of our shape, but these are just two different shapes or not. I haven't punched the whole out of the big shape yet, so I can select this center circle, and I'm also gonna select this outer sort this out of shape. What I'm gonna do is I'm gonna remove this original so we don't get confused with what was there prior to. This is what we sketched. And this is the circle that I just created was goods like both objects. We're gonna flip it to a Phil and I gotta go and make this a different color so you can kind of see the two separate objects. I'm gonna grab that shape builder tool, which is down here, and I'm able to add objects together so I can click and add that object in create that one big object again. But I want to punch it out. So I want to remove the green section. So I'm gonna hold down option and they get to see how it switched to a negative sign. That means I'm in subtraction mode. And so now it could subtract specific objects that are highlighted. So I couldn't subtract that object or even better yet, hold down option and go ahead and remove the green. So now but go and shipped this back in. You could see it totally punched out. You could see what's behind it. We have our shape. So now when you did create this kind of this is what was there before is what we need to create now good in a range. And bring that to the front layer. So we need to create the shape let me show you another way to cut that out. Let's go back. I showed you the shape builder tool. That was quick and easy. But just in case just to give you another option, put those to fill. You're gonna bring out the Pathfinder tool. We're gonna get a window and bring out this window. Pathfinder. It's right here to drag it up here, so this will help you subtract and add particular objects together, just like the shape alerted Tool did. But it's, um, a little bit more precise, so they couldn't select both of these layers. And I want to do it. Believe I want to do exclude. That's it. So you play around with these different options. I'll use them throughout the class so you can figure out which ones which in which one to use. But sometimes I'll experiment and I'll click on one hope. That's not it. Just kind of check it out. Ah, through time, you'll learn which one each one does. There's divide minus back. There's a few different ones, but in this case, I selected both, and I went up to exclude, so it's gonna exclude that that centerpiece And so now I accomplish the same goal. I personally like the shape builder tool because I think it's more friendly to use. But if you didn't have that as an option, the Pathfinder tool will do just what we just did with shape. Older tool. So great. So now we're back to where we were. We need to create the shape, so an easy way instead of having to do the pin tool and do two different lines and the do fill and do the shape boulder tool to punch out a whole. I have a trick for this one. Is this just a simple circle? I'm gonna go ahead and create a circle. Now, let me make it a solid color. I'm gonna switch it to stroke. Okay, Not gonna change the thickness of the stroke until it matches the thickness here. I'm gonna drag this about in the center and could adjust the weight. So I'm over here in the stroke panel. You just adjust it, make it really, really, really thick. And there we go. So now I have this wonderful shape created, and I didn't have to do any kind of Pathfinder anything, cause it's a perfect circle, But see, when I'm when he have ah, stroke. Sometimes we need make it larger Hold down shift drag to drag her circle perfectly Notice how the stroke its smaller when I make it bigger And when I make it really small the stroke it's thicker. How do we keep that stroke? The same with no matter how we drag it, we gotta outline this path. So this is a path couldn't click this little red line. This is a path which is a series of anchor points. We're going to go toe object path. We're gonna go toe outline, stroke What this does it outlines the path. So now it is no longer a path that has the little manipulable anchor points. It's now a shape. So you do that one more time, I'm gonna go to object. Path outlined. Stroke. So now I want to make it larger thing. Once you outline a path, I can't change the stroke anymore. I can add a stroke to it, but it's gonna do around it as opposed to making it thicker. Okay, so now that that that stroke is created, I'm gonna take the eyedropper tool sample a little. Grady in here pop that over here. More shape. Go ahead and grab the great tool here, and I am going to kind of make some adjustments. It was not to the stroke, but to the fill. There we go. You have been select our little doughnut on the inside. Click. There are a great tool. Be able to change kind of the thickness of it. Here we go. It's making some small adjustments. Will go ahead to lead the original. And there we go. There's a little shape. So we created all these different shapes by practicing the pin tool. So if you can create these shapes and they get comfortable creating the shapes, you can create anything imaginable. An illustrator If you just master the pen tool. Ah, the curvature tool, which is a part of the pen tool. So, your master, these two right here Ah, you shapes whenever possible to save time and then manipulate that, using the pin to on the curvature tool and also using that shape builder tool in the Pathfinder tools toe. Punch out the shapes out of objects so you don't have one big object. You could put shapes within objects to be kind of master. Those tools you can create any shape imaginable. And so next we're gonna create a couple of small icons, and we're gonna play around with what we learned today to creates a real world icons that we can use for a website we're gonna design later on in the course. 10. Icon Set Project - Part 1: for first many project. We're gonna develop a series of icons that we can use on a website and a mobile app. And I wanted to do this because I think we can learn a lot of the tools and even further learned the tools that we just went over by doing projects and and kind of showing you have these tools work in a real world application, so it's going to get started. The 1st 1 I want to have really clean, simple icons with nice, bold, thick lines and, ah, flat style of designs of super simple. The icon needs to be visible when you zoom out, so it's got to be an icon that doesn't have super duper thin lines. It could be easily read at only 25 by 25 pixels and size. So we really need these icons to be very simple, powerful and bold. Just kind of. The idea behind these and behind these Siris of icons and the future of design is digital. So learning how to do these digital oriented projects crushed, especially when it comes to a Web app, design and ah website design. You need to learn how to do these kind of icons in different and different graphics for the Web. So its go ahead and get started with the search icon. I like to use real photos as a reference because it just really helps to get an idea of what that shape looks like in real life. So I could be ableto simplify that even further. So I'm gonna use this real photo and I'm gonna go ahead and grab the Ellipse tool, Go ahead and hold down shift to make my little circle, go ahead and bring that over here. Doesn't have to be perfect. We're just getting a general idea of what we want. The icon toe look like go ahead and bold are stroke a little bit. Some over here, you get a bold it quite a bit. I want to make it fairly thick so that you could see it when it's really, really tiny. Have a good idea of the shape of the handle that I maybe want to emulate a little bit. So I'm just gonna go ahead and grab. We can always trace with a pin tool, or you can create a series of shapes and join them together. So that's what we're gonna do. I'm gonna get the rounded rectangle tool, which, if you do not see it on your default panel. There's this little three dots at the very bottom of your toolbar, says Edit to Obor. Go ahead and click on that, and there's many more tools available that you can drag over here and and swap out for tools. Maybe you don't use. So what I did as they went down here, let me see my shapes. There's my shapes, and I was able to click on it and drag it onto the toolbar. So if he ever see a tool that I'm working with, that's not their by default. Because we did the default layout workspace when we first started and you don't see it. Just go to these three little dots and you'll be able to pull up any of the tools I talk about. You'll be able to drag him over to this shape to walking, drag it over here. If I don't want it. I just drag it back when you can build the toolbar, how you like it. There's probably some tools I might even drag out because I want to simplify my work space so that Leske icons we have the better. So I just wanted to kind of go over that real quick. So let's go ahead and grab the rounded rectangle tool this is automatically get around, have the rounded corners so I don't have to do that manually. Let's kind of reduce the stroke so I can see my shape a little better. I was gonna create a couple of these to kind of get that shape, go up to shape. And so this already has the rounded corners on it by going up to shape. But it's too much. Let's kind of reduced the amount of curves. Let's make it less of a curve. So we're just gonna cut this in half. So now it's 0.4. Let's do point to, and I have them linked, so they're all gonna change at the same time. So enter, it's gonna have a less of less curves going on there that could go to continue to create different shapes, and I might even switch to fill at this point so I could kind of see how my shape is looking. I could do another little shape here another one here. And maybe with a pin tool, we can draw a little bit of details. Here, take our pin tool. We're just gonna draw little custom shape. Go ahead. Make this a different color. So you can kind of see what I'm doing. Let's click up here. Could make a little bit of a curve. Look up here, make a little bit of a curve. And now I could take the eyedropper tool and sample the red. And right now I have all these little elements, but I want to join them together. But I also want to make him center. These aren't really central line. And let me make these all a different color so you can see what I'm talking about. Not all the line. So had a while. Line those. So they're all nice and even gonna go ahead and hold down, shipped and select all of my items. I think there's five in total and I'm gonna go up here to my line. The align panel. You could find the align options up here at the top before going to get rid of that update . You can go over to your line panel and do it that way and just do a simple horizontal align centers. When I click on this, everything is good. Align perfectly. And so now I want a group my objects together. And now I'm gonna all align it to the top object because now we have this aligned within each other. So let's select are grouped object. It's good. Make that one color now and now we're gonna group it with our top object. So now we're gonna go back over to our line panel and do a horizontal align center. You could do the same thing. There's left alignment. There's right alignment and their center alignment. There's quite a bit of alignment options which I'll I'll use frequently throughout the class. So any of the tools I use you're gonna see a lot. So if you feel like a wedding, quite master that tool. I don't feel comfortable with that tool. We're gonna be reusing a lot of these tools over and over when we do these practical projects, so you're gonna have lots of practice. I don't don't feel overwhelmed at any point. With one particular tool, I'm just taking the direct selection tool and manipulating a couple of these objects. Let's go take my handle. And that might be too detailed of a handle. We'll see. We don't really need the photo reference anymore. So let's go ahead and delete it. So now it's all about finding the right balance with their icon. And so what I'd like to do when I developed icons, as I like to zoom out every once in a while so I can kind of really good a good scope of how the object is gonna look in real time. So this icon is probably gonna be viewed probably around this size. So it's good to kind of zoom out to see if I can make out and define all of the major parts of this icon. We're gonna go ahead and zoom back in and make this a lot thicker, this little object so we could just kind of pull this out, make it just a little bit wider war We could hold down shift on this corner, Just make the entire object bigger, and they could simply cut this object below. So what we could do is right click and ungroomed these objects. So now that we just have this little bar selected. I'm gonna drag it down. Do do, since we have this on the shape, it's gonna automatic automatically when I make it shorter. Keep those curves the same so I could make this handle shorter very easily without having to change the curves. So now I'm just kind of adjusting and trying to make this a little more simple of an icon, making sure everything center aligned as they go along so we can now angle or a little icon . I think when it comes to a search icon, you might need to make this a pretty short handle, because when you have search icons on websites, they're usually put in square kind of boxes. So we really want to make sure this will fit well in a square box. So let's go ahead and angle it, so if you like it angled, we can mess with the color as well. We could change the thickness of this outer line. We can add a little detail, perhaps make it look like a reflection. So I'm just drawing adjusted one point, another point with the pin tool. So now I'm going to go down and add my uh, my rounded cap right here with a stroke tool. It'd my rounded cap to get nice, smooth caps, then go to reduce the weight on this. I'm just trying to emulate reflection. Sometimes that's done with lines like this. So all I did was did the pen tool drew a line and then added my rounded cap. Okay, so that's one option. What I like to do when I do icon development or local development or symbol development they like to make what's called different iterations and federations is just a fancy word for another version. Just to see a soaked. I could compare several different ones and see which one I think works the best. So we're gonna do just that. A copy and paste. We're gonna try a version without the reflection. And I think we're gonna do, like, maybe a glass reflection. So what I'm gonna do? Think the click I have the pin tool click and hold on that kind of a curvy shape across just like this. And I'm gonna keep going around my stroke just like this and make a complete shape. We make that a different color so you can kind of see what's happening. Okay, so that's the shape that we created. I want to send this behind everything. So I'm gonna right click a range. I'm gonna soon it as the back layer. So I'm gonna do this A lot throughout projects is I'm gonna be right clicking objects, and I'm gonna be arranging them there. Shortcuts study some of these shortcuts because some of them are really make it. Instead of having to right click and go through this process, you could do short cuts for now. I'm gonna do a little bit of the long way So you guys can get comfortable with that and learn the shortcuts as you do. More and more projects would be a where there's always shortcuts that you can do for almost anything in this program. So I'm gonna go arrange and I get a sin backwards. Arrange sent to back. Well, we send it back. It'll seven all the way to the last layer. So that's another option we could do. Of course, the colors are not final. At this point. We're just doing a red so you can kind of see your shape. We could do another variation where maybe maybe it's upright. Maybe we don't have anything. There's kind of our different iterations. So one thing I want to do is I want to change the color. I don't like this Red. It's not really gonna go with the Web design I have. So I'd like to do kind of a cool Grady in with this, too. So one thing we are gonna have to do any time he added, Grady int or you change the size up and down and you have a shape that has a stroke to it. Similar to this little circle here. We want to make sure that path is outlined so that when we make it bigger, it doesn't get smaller. And if we make it smaller, it doesn't get thick. Similar to this when it happens, right? We wanted to stay the same weight or stick nous as we mess around with it. So one thing I am going to do is I'm gonna select all three of our circles. Gold object. Yeah, an outline stroke. So now that stroke is outlined, and now it's a shape 11. Icon Set Project - Part 2: We also want to make sure these little lines that created, which are also strokes right now. We also need to outline the path on that. Let's go to object path outline, stroke. So now Oliver Strokes are outlined, so it's gonna be really easy to swap out colors now. Since it's everything is a Phil, there's no longer strokes on anything. It's just going to select all. And there's actually a little color cheat. I'm gonna show you here in a minute, but I'm going to select all of these and make them kind of a bluish color for right now. I think eventually thes will end up being a radiant. Let's make that a lighter color. That's kind of a reflection happening so we can zoom out and see if we like how some of these icons air going. So I'm gonna show you that cool, color changing shortcut right now so we could do it like we did before. We select each object and we change the color, but well, what if we had 100 icons and we wanted to change the color on all of them, and not all of all of them had maybe two tones or three colors, and we don't want to change. Select all of them and change them all the one color. So there's a really cool way where I could go to the select option. So select go down the same and go down to fill color. So what, this is going to do it? It's gonna select everything with that fill color. So let me go back and make this just a different color. Make that purple. Make that purple. Let's say I just want to change the handles so I goto go ahead and highlight this color. I go to select the same and go to feel color, and it's gonna select everything that is that color. So this really helps when you have a lot of different things on your art piece. So I want I would did a map one time for a mall, and there was probably hundreds of small little colors, and I had they wanted to change the colors up for a new year. So instead of having to select each one of those colors and then changing them, I was able to select one color go down to fill and select him all and change all of the colors, the entire color scheme of that map within seconds. And that was a huge time saver. So if you ever want to select something specific across an entire art board, let's go to select Go to same. There's also appearance it could select. The same blending mode will get into blending modes in a little bit. You could select strokes and fill opacity. There's several different ways to cancel ECT objects that have a similar attributes. So let's finish up our first icon. I kind of like this to tone. Look, I need to make some quick adjustments. So gonna go and select all of these layers right here. Or I could just drag and drop. Hold, shift un, select that purple circle and make sure these air group So I have a easier time changing colors. So now I have This is one object, and I have This is one object. So now I can click on these that could right click arranged. I'm gonna send it backward into the layering system. Now I can kind of see the two toned look. So here's kind of how it looks zoomed out And so another thing I want to do is go ahead and set my first art board for my first icon. So art boards So I could talk a little bit about art boards. We're gonna go file, go down to document set up. So file documents set up and you're gonna see a little edit Art boards option on documents set up. So go ahead and click on edit art boards. That's going to allow you to create different art boards. So by default you have the one art board what you can then change the size of the art board , and then it can create new ones. Then click up here to create a similar size. Or you can just draw the kind of size that you'd like. Go ahead, draw a couple of art boards. So I'm gonna draw the starboard and then create new so new art board. This is gonna be where all over icons reside. And what's great about keeping our icons on these squares? Not only does it help us design for the Web because you usually are gonna be in a square format, because that's how you do. The Web development is you work with square icons, but it's also gonna be able to help us when we export our files is P and G's because you can go to file and export, and it's gonna be able to export all of these as single P and G's, as opposed to having one icon or a big list of icons. This will be able to divide it up for you. So, for example, if I wanted to have this icon go and make it size it up, I can have this one as well. Once we develop our entire Siri's, I think we'll probably end up doing five or six icons across here. We go to file export. We'll talk about exporting a little bit later, get a click on use art boards and then PNG want to export that to the desktop. It'll be nice and cropped, which would be so nice when you're working with hundreds of icons or even just 10 of them. It just kind of simplifies the process so you could see how it exported each one and its own. Our board. It's on P and G. We're gonna go and start to set that up so we set up five. If we need to add six. We can always go to edit art boards and set that up again. Let's get rid of this big art board. We're gonna goto documents, set up edit art boards and there should be a little close icon where I can close it out. Or you could just press the delete button and what hadn't closed it out for us. So I think I got to go and drag this awful art board and work at the work with this icon as the final it started. Just resize it to where I think it would look the best. And we want to really maximize the space when you're doing an icon so you don't want to ever go over the edge and be cut off, But you really want to push it as far as you can to the edge. I'm gonna switch this to a different color. I think what I'm gonna do Let's go and talk about radiance a little bit because I think of you really need to do a slow Grady in across this entire piece. So I'm gonna select both of these objects and then get a group these together as one big large object and I'm gonna copy and paste. And the only reason I'm doing this is I want to save all these little pieces, just in case I wanna edit it someday in the future. So I always like to copy and paste and shifted over my our board. So now I want to make it all one color just to kind of see what we have. And now it's all grouped as one element. So now we're gonna add a cool Grady into this icon. So now that we have in a single color, let's go over to our greedy int tool, which is, could be right here in your toolbar. You do You have different radiant types appear so we're just gonna do a leaner grading for now, Go and click on there and we're able to kind of adjust. I'm just holding and adjusting. And this is the newest version of illustrators. So it handles it just a little bit differently than other versions. You'll see kind of a line. We can kind of change the direction, but with this instead of a line, it shows you a live preview, which is actually really nice and helpful, which is kind of a good development in this program. So I want to change the colors. I don't like this default Parady int right here. So how do we do that? We go over to our radiant panel, which we should already have up in our panel area over here, to the right, we're able to change our points, so let's make him bright colors. So I got a double click on that. And right now it's just a gray scale. So it's just got one option here, which is white to Grey. I want to go up here to this little sub menu right here, and we're gonna switch this. Looks like you can't see it on the screen. Let me see if I can't drag it over so you can see, um, get click over, seek radiant. You click over to the small icon and they go to C C M y que or rgb. So C m y que is meant for printing projects. They're gonna be sending this to the printer. You got to be screen printing it on the T shirt. RGB is gonna be for digital for Web. That's what we're doing. These icons force we're going to switch to RGB. So now we're able to kind of pick a color, or you can pick it right here. So you have swatches which could load in and set. So if you have a certain brand brand you're working with and they have certain color palettes you can bring those watches in. I could also use the eyedropper tool, the sample of specific color, which is actually a new feature. I don't believe they had that before and past versions of Illustrator. So I'm gonna go back and we're just gonna do the I'm gonna do that down here. You can also do this scale. We want to find the right color, but I want to do like a deep purple. Well, I got a click on the other side, and what I'm gonna do is I'm gonna get the eyedropper tool to sample that same purple. I get a double click on it again and I'm gonna make it a little deeper. Maybe a little bit more on the blue side, almost like a jewel tone. And let's go ahead. And you can also change kind of wear ingredient falls. So if you change this little middle area, you'll have the transition between purple and blue be quicker. So then there's gonna be more blue, and the opposite is true. They can also add different points and your radiance to create way more complex radiance. So that's how you can create metal radiance as well. You know, lots of different points going from, ah, highlight to a low light. So I'm gonna make this a little bit more of a complicated radiant. I can always take the eyedropper tool and sample that bright purple. So now I have, ah, purple toe blue to purple to blues. It's kind of got a little bit of a striped kind of look to it or let's say I don't like that. I just want a nice transition from one color to another. I could just delete this little portion by dragging it down, drag it down in a deletes it. So now I'm back to the single purple to blue color. So now I want to change the angle of it. I'm gonna go back over to my grade Ian Tool, which is over here on the left not a linear radiant on. And now I'm able to kind of change the direction of the angle by just clicking and holding and dragging. Let's say I wanted to be right about here. You can also do other things. You have a radio radiant, so it's gonna be kind of starting in the centre and going out as opposed to a linear. So now we were able to add a neat Grady in effect, to this icon. So I feel like we're done with this first icon. You can always add little finesses and details later. 12. Icon Set Project - Part 3: So let's say we want to add a nice, realistic shadow behind this icon. So I'm gonna go ahead and duplicate this object so I can hold down all drag where I can disc Ah, pee and paste. And I'm gonna send this backward into the layering system. I'm gonna first make it a different color so I can tell the difference between the layers. So I'm gonna make it a super like Graham. Switching over to my swatches panel and I'm gonna select is very, very light gray color right here. And I'm gonna select this object right click and sin that all the way to the back. So now it's all the way to the back of the layering system. I'm gonna position it where I think realistic lighting would be gassed. So it's gonna be a little bit more of a angle come similar to this, and you may like this nice, flat, clean shadow, but I want to add a little bit of a blur effect. So it kind of has a little bit more of a realistic shadow. I'm gonna click on this icon in the back to go up to effect. I'm gonna go down to blur, and we're gonna do It's called a Gaussian blur. So this is this gonna buller everything a little bit we're gonna do, Gossett and make sure you click on preview to kind of see if you think it's too harsh or too little, we can go ahead, engage that. So I'm just gonna go and do 7.4 and he noticed it kind of cast a nice light shadow. I won't say. Oh, that might be too much. How do I go back and change that effect? Well, let's say you can't undo. For some reason I want to go ahead and change that effect. We're gonna open what's called the appearance panel, and this is probably a panel. You want to go ahead and permanently add over to the right. So I'm gonna open up the appearance panel, and this is gonna show all of the effects that we applied and all of the effects are up here. This is what we just apply. We just applied a Gaussian blur effect. So if you ever want to go back and change the settings on any of these, just go to your appearance panel. It's gonna have him listed. So right here for gossip Blur. I didn't want a blur quite as much. So let's bring it down a notch. Click. OK, I'm happy with that and you're gonna drag my appearance panel over here. It doesn't matter where I'm just kind of putting it over there for now because I feel like that's a panel we should probably have open for a while. So I'm gonna reduce the gray color just even more to make it a more subtle shadow since making up more white. And there we go. I think I'm pretty happy with that. We can export her icon to see if we like it, but let's go ahead and do our whole Siri's and see how we can make all of these have a unifying look and look right on our new website. The next icon working to develop is one that's going to show a check box or a checklist. So we're going to kind of figure out how were the best be able to portray that. So you start off with a simple square rectangle tool shape. It's gonna make kind of what I think of a list. I think of a piece of paper with some checked boxes on it. Maybe some items. So we're gonna create something very similar to that sums creating a very simple box. I'm gonna flip that to a stroke. I want to do icon design. I like to kind of do it in black and white sometimes, cause I could just take color out of it for a minute. I'm so just to switch to a maybe a light gray or black, just kind of a simple, neutral color. So I want to make a nice, thick lines, because when I zoom out, those thin lines are just not gonna work. We like nice, bold lines with things that are gonna be very small. Let's go to our stroke panel. Gonna bring that out for you. Let's increase the thickness. And it would be nice if all over icons kind of had a similar thickness or lines to them. So maybe matching the thickness of that line. So maybe about like that, maybe expanding this is high as we go to maximize our little icon size or a little 50 by 50 pixel size or 100 by 100 pixels. Whatever. Whatever the Web developer needs it in. Let's do a couple of check boxes and list. Basically making a list. So let's do the same things. Grab a box. Gonna hold down shift so I could make a perfect square. I'm not gonna make these a little thinner, so we'll see how many items we don't. It's gonna be a small icon, so I don't want to have too much detail. So let's just do three simple check boxes. There you go. Down the side. This is this could indicate a check box icon. It states for a quiz or to sign up for something. This will be the little icon they see to initiate that response. So what I did, right? Here's I want hand selected all three icons and let me go back to where Iwas let me to strip that off a little bit when it comes to alignment. Gonna go ahead and select all three of my little boxes here and I want to align these perfectly to the left. I was gonna go up to your to my line options or I have your aligned. I have a line panel open so I can use it. Here is Well, doesn't matter which one you use, So I'm gonna do a horizontal line left and all those will be nicely aligned. So But I also wanna have him aligned. Where? The space here, based here in the space here. What if they're different? What if I want to have equal spacing here? Let's say this is off a little bit. I went that gap to be the same as that. Why don't we do that? I'm gonna go ahead and select all of her objects. I'm gonna make sure I'm left a line. We've already done that. We're gonna go down to vertical distribute center, and it's gonna go ahead and just distribute the same space here that it is here. So I gotta go in the copy and paste and kind of show you this a little bit more so we can really go through alignment in more detail. So let's say it's up here. Make sure we're left a line and I'm gonna go down to vertical distribute center. You notice how all of them are changed? We're gonna do a few more so you can kind of see this more in action. I use this a lot to make sure I have perfect alignment, not just left and right alignment, but alignment between objects. Let's say these air all over the place, you know, just a mess. We want to make a mall evenly distributed the steuer left alignment and then just go back to our vertical distribute center. And now they're all perfectly aligned and the same thing works the other way to let's say these boxes are gonna go take these boxes object, but a trans rotating these 90 degrees or could manually rotate them. And I'm gonna put these out of order. I want to make sure they're all lined up, going across select on my objects. I'm gonna make sure they're aligned at the bottom. So this is vertical align bottom or you can do vertical align top. But the spacing between the boxes or not, right? So I need to go down here to horizontal distribute center, and it's the same thing, is what we did. But it just works for horizontal objects. So this is for vertical objects, and that's where horizontal play around with ease. Sometimes I clicked the wrong one. I'm like, Oh yeah, that's for vertical So I still make that mistake, so just play around until you get the right alignment for those. So these are nice and aligned and let me mess around with a thickness probably wouldn't hurt to add a little bit more thickness to there. So now maybe we could do like a little check mark on each box. So let's make a little check mark icon. So to grab her pin tool and do it manually, I believe there's a symbol or a Nikon, where we can just do it automatically. But we're gonna do it mainly so we can practice. So a check mark. It's a couple things a couple ways. We could do this so we could take the pin tool. It's click and hold on, do like a little shape and make like a really stylized check mark like that at a little thickness to it. Maybe around the caps around the corner here. So I just did kind of around joint on my stroke. It was kind of stylized, so maybe I don't want the caps. Maybe like this, and then I could take the direct selection tool. Maybe not have quite a been there here. There's a little tool here. We can go and go over called the width tool, so if you don't see that, you can add that to your toolbar. But I'm just gonna quickly go over the width tool. It's not a tool I use a lot, but sometimes if you want to change the thickness and one area of a stroke, but not across the entire stroke, you could just change one part of the thickness. So go ahead and mess around with the width tool you're going. Click this and drag, and I'm able to add a little thickness to the top here and see if I can't do it here so that it goes from like a thick stroke down to a little tinier stroke. Kind of gives it a little bit of a style. Make it skin. You're here so it doesn't look like it's the same width. Kind of gives it a style. Yes, there's our little handmade one. We can also do it by tracing the shape ourselves. Let's say we want it very stylized, like we were doing, but we just want to draw it. I was taken the pen tool, drawing her own little check Mark. Just doing a full complete shape. Go ahead and get are direct selection tool kind of mess with our selections that we just made. All right, So let's make this small and make it green just so it could have some contrast. We care little check boxes, copy and paste, or can hold down old and drag. So now we want to put some lines. Or indications that would be text is gonna make a little fill box here. It would be two lines and then a short line to indicate a paragraph. Make sure there's a the same thickness. Let's do our aligned panels, do a left alignment and do a vertical distribute center so that the spacing here is the same here. Okay, great. And we can make this a light gray color to the light gray color to add contrast, drag this down and drag this down. We could make sure all of these are the same by clicking all of those paragraph indications of doing a left alignment. I used alignment a lot, so I'm gonna use that a lot. So there's kind of our list Maikon. So now we just need to zoom out and see how it looks, how it translates when it's smaller that might be able to reduce the thickness just a tad. Here, go ahead and zoom out. That's probably the size that you'll see it. We may need to simplify it a little bit more. That depends. It depends on how small the icon it's gotta be. If it's gonna be using infographics, we might be able to get away with this complexity. So now we're gonna apply some coloring so it can make sure these icons match and have a similar theme. 13. Icon Set Project - Part 4: Let's start applying our same Grady. So right now this is a path. So you see how its path and it's not outlined yet. So when we apply, we make it a little bit bigger. It gets really skinny. We make it small like it's really thick. So we need toe. Go ahead and outline that path. So I'm gonna go up to object. Path outlined stroke. But since once its outline that's it, you won't be able to change the thickness of it very easily. So just kind of be ready for that, um, to be committed to that thickness. So same thing with these little squares and goto object path outlined strokes of those air Now objects instead of a path. Let's go ahead and select all. Let's go ahead and take the eyedropper tool will be able to sample Argh! Radiant! And then let's go and get our radiant tool and change the direction of it so you can have it be purple than the blue or we can have it be the other way. I kind of like a purple down to blue. I'm gonna leave it at that. These air individual lines if you want one to be change shorter than the other you can Do. You have a minute control over each one of these little objects that we selected. Not sure if we want to make those a different color. To really bring out the check. Boxes will go to our swatches and make it a solid orange color, something that's really gonna pop out. Maybe keeping a bright green. It's pretty dynamic. This depends on the look we went to go for. So let's say we want to create some action icons. So, for instance, there's an addition Icon. There's a subtraction icon, something they're doing on the website where they could it be interacting with something s . So let's create a few icons that help the user, uh, kind of have a symbol for addition and subtraction of certain objects. So, for example, I'm gonna do a Circle 19. Apply thickness to it. Let's do like a light gray switched a stroke and new kind of the same thickness says we were using with the tool over here, the icon over there to get a little more thick. Let's say I want to do in addition sign, so it'll be simple it's ticking a rectangle tool switching that to fill. And then I'm gonna copy and paste that same rectangle tool, and I'm gonna goto object and I'm gonna want to make it. I can always rotate it, or I could do it perfectly by going to transform rotate. I want to rotate this 90 degrees so now will be able to make a perfect audition sign with these two objects. And what I want to do is I wouldn't make sure they're aligned horizontally. But I also want to make sure they're aligned in other ways, too. So you do all the center alignments, so that's a perfect, perfect alignment, horizontal and vertical. So I just made kind of like a little addition. Little icon. Let's do a little iPhone Icons indicate maybe a cell phone number over Teoh download a mobile app. Lets just like you do look a little iPhone or Android phone type outline. So now that we know some of these tools start going a lot quicker, it's going get our rounded rectangle tool. Go ahead and create a rounded shape. This will be your phone. We go up to shape and maybe reduce the size of the corners, so it's not as dramatic. I could do that manually, but cutting that in half that's probably about the size could look at a phone for a reference or bring up a photo of a phones and get some reference. Let's go ahead and draw a rectangle box on top. It's gonna be our screen. We can make it a new phone and not have the button. Or we can do an older phone and have a little button icon down there. So let's do an older phone Gwen grab. It's a circle just doing shapes at this point, not even working with the pen tool yet. So just like that, we have a little iPhone icon, but I want to make this punched out. So I want to put this icon on any colored background and not have this white shape here. I'm gonna punch this white shape out. So, for example, let's go ahead and get understanding this to show you an example, let's do a red color to sending this to the back arranged in the back. So right now went that red to show through. I want this to not be a white thing. So how do we do that two things will do. The Pathfinder tool we could select are too wide objects and group those together. And they were going to select our object below that we're gonna punch it out. So I'm gonna Pathfinder, see. Do I have Pathfinder listed? Nope. So it's got a window and find it. There it is, Pathfinder, and we can do. Let's see if we can't do and exclude. There we go. We punched it out. But it's going to Pathfinder and doing the exclude option. Or he could do what I like to do. If you have the option available, do the shape, builder tool. And then you can just hold down the option key. You're gonna switch into subtraction mode. You'll see the little subtraction sign interview to Click, wants to delete the screen, and then you could have delete the button. So now we have our icon that's ready to go. Go ahead sample are grating color we've been using Go to the Grady and Tool and find the right Grady int flow. And just like that, we have a little icon so we can adapt some of these little things to indicate text on the phone. Maybe it's, Ah, chat. We could do bubbles. That's like reading an article or go do little bubble chat bubbles. So let's go ahead and grab the rounded rectangle tool. We create a couple of text bubbles. Well, let's not make such a dramatic curves are gonna go up to shape up here. Kind of reduced that a tad half that Stewart 05 There's our little chat icon we could even put take our pin tools is where he finally grab Arpin Tool. I'm just gonna create a little triangle which could indicate our chap bubble that could take my direct selection tool and they get a smaller chap bubble. And then all I'm gonna do is go to object group or shortcut right click group. I get a copy and pasted object, and I want to flip it around, so I'm gonna go toe object transform, and I need to reflect it, so I'm just gonna reflect it. Lumps that wasn't a true reflect off. That's why change out tonight usually defaulted by 90 degrees. Go ahead. Apply ingredients to this as well, where you can make that gray like gray. We add a little more contrast to the peace so that could end up at indicate chatting. Make that a little bit bigger, More obvious. Remember, we've got to make things as simple as possible with little small icons. And I'm gonna make sure those airline left There's our little phone icon. You can also do a tablet. So let's say we do a tablet. We're gonna make it a lot thicker. Maybe about like an iPad pro or something could be really thick. Change this less thick. Let's do like a 0.6 same thing. We're gonna add a square screen. We're going to like an iPad pro and make not have a bubble or a button. They got rid of the buttons. So there's like an iPad pro you could put grab our little icons here that indicate text, maybe an article. If you could do a square that indicates a photo and bring this down So we have the photo on the top like they're reading an article, right? I'm gonna go ahead. I wonder the same thing we have this, um, it's gonna make these really crazy colors. We have this red object here, and we have our object here. We want a punch it out. We don't want to have that blue box. We want that to be transparent. We're gonna select both objects. Find you to use the shape builder tool this time with a hold down option key and windows all go ahead and put up what that is. I'm in subtraction mode. I'm just gonna subtract the middle object and then go back and put our radiant back on this . Okay, To make this less busy, we could make this gray. So not too many colored radiant things going on. You don't overwhelm people, stretches all the way across to look like they're reading an article. And just like that, we have a little tablet option. We can add a button if we want to make it an older tablet. So there's kind of our icons we created really quickly. Let's say we were ready to export or icons, and I think what I'm gonna do, I'm personally gonna make this decision. I just wanted to show you the drop shadow, but I'm personally gonna remove that because I really want to keep this flat design and flat designs when you don't really add a whole lot of shadows. And if you do, they're flat. They're not blurred like that. I was gonna keep him really simple. I just wanted to really show you how to do that. So I think I'm gonna make the decision that these are nice and clean over here cause I use Gray. Let's make this gray as well, cause I think this icon is just too busy with everything being ingredient was going to select all of these options. Click the gray and that simplifies that list quite a bit. We can also make squares gray. Absolutely. My need to zoom in on that one. 123 Eyedropper, tool gray. Now you to see the check box marks and that much more clean. We might need to darken that a little bit, but let's mess with that another time. Okay? So I'm ready to export these icons. Gonna go ahead and save. I'm gonna go ahead and go to export. I get an export as where to do what I showed you earlier, but I'm gonna go into a little bit more detail. So p and G's air Great, cause we're gonna have a transparent background. If you export as a J peg, go and bring up J Peg the export of as a. J. Paige deals. Have the white background connected with it. You won't be able to punch out that white background. So if you want to have the white parts of these aren't bored to be transparent, which is what you're gonna want to do. A PNG Just go ahead. Make sure you click on art boards cause it's gonna export and crop it according to what the art boards export. I like to do high resolution, but with Web, you want to make sure you keep your file size down, so I'm just gonna go ahead and do 150 p. P. I 300 is standard for print, but for Web, it's 72. But with the invention of higher resolution screens, I don't mind pushing that number higher than 72 in doing like 100 50 to 300. So just work out with your Web designer. Whoever is gonna be making this happen, click. OK, I'm just replacing the icons cause I've already exported once. Here's all my digital icons going to click on P and G's. They're all on transparent backgrounds, which is exactly what we wanted. So there you go. We just developed an entire icon set and will be ready to do our next project. 14. Icon Design - STUDENT PROJECT: So now it's your turn to do a student project. I want you to develop an icon pack of your own. It could be a set of 345 You'd pick the number, but pick a certain kind of style, stick with it and have fun creating icons you can posted in the community section to get feedback from us or the Q and a section of the class. You can also post it on our Facebook group and get feedback from other students just like you. So half on Good luck, and this could be a great portfolio piece. 15. BearCroft Logo Design Project - Part 1: So for first, many project to help us practice more of the tools we've learned where you do and many local design project. And the focus of this one is to practice our Grady INTs, but also to bring in something new called transparency. Modes are blending modes as we need to open up a new window. We have the ones that we've already set up. We need to bring one more into the mix, and that's transparency. So just make sure you have that open, you got a window and you go down to transparency and you go ahead and make sure that is clicked to on. There we go. So we have our window open. We're just gonna keep it available so we can be able to access it very easily. So I'm gonna kind of reproduced kind of a dynamic, colorful, bright logo that involves three different different oval shaped shapes that overlap with each other and kind of show a little bit underneath of what's behind the layer. So it's kind of do a little bit of an example. That's gonna be a mini project. So we're gonna go ahead and draw a simple circle, doesn't have to be perfect. So I'm not holding shift. I'm just kind of making a circle. Go ahead and make that go ahead and delete a Phil and just flip it too a solid shape so it doesn't have a stroke to it. We're gonna apply a simple radiance. We're gonna go ahead and get our radiant panel out. So I went and clicked on Linear, so we're just gonna do linear for right now, But I wanted to show you something really neat. So this is linear. It's what we've been doing throughout the course. But there's this new option available. And if you don't have to see this option, you might not have the most up to date I'm using. Ah, Adobe Illustrator CC 2019 And it's brand new to this year. So 2019 If you have anything, Priory, have not updated yet. You will not see this feature s O. This is a really neat future, cause you're able to set different points. It's very simple to a radiant mash. Was will get to also in a little bit where you could have different points and create a much more complicated Grady instead of a simple linear left or right, you can create almost like a gravy and mash where there's multiple points that she can change. You can see I can make some really neat kind of colors out of this and you could not hold this little icon down to the bottom seethe circle. You can click and drag to make that particular color wider or shorter, so that one's white. So let's change that to yellow. So I'm gonna go ahead and highlight a few these and click off of them. I got to go ahead and do a simple radio radiant just in case a few guys cannot upgrade to 2019. For whatever reason, I'm gonna go and click on radio messes. Middle option. And so now I have a radio that goes from one color to the next. So now I'm gonna go ahead and pick my colors, go ahead and switch to RGB mode, and I'm just gonna pick some bright colors within the same color palette. So I like this color. So I'm just gonna click right next to it, and it's gonna have a similar color Swatch. I'm gonna pull down on this black. I don't need the black anymore. They dragged us all the way over to be able to double click and make this within the same family, Just making a little darker. Then you could do the eyedropper tool from on the sample. That's all we're going to do. And now I'm gonna make kind of an interesting shape. Instead of just a boring circle in a circle on top of a circle that overlaps, I'm gonna make a dynamic shape. So right now you could do a couple of things we can go to The curvature tool wouldn't cut a push this out in different ways to make it more dynamic of the shape. We can also add acre points, so it's gonna add, like an anchor point or two. And I got to switch back to that curvature tool. New time. I'm working with curves, the curvature tools, my best friend. I'm just trying to make a dynamic little shape here a little different than an oval has got some different bends and curves. There's my little dynamic shape. What I'm gonna do now there's my purple one I'm gonna make to other colors and they're gonna start to overlap them and we're going to discuss Ah, the transparency window, which will be our different blending modes. So let's do our next shape. What I'm gonna do is I'm gonna make it really easy on me. I'm gonna copy and paste the shape, and I'm gonna go ahead and modify. Go and make it a little bit bigger. Modify my edges with the curvature tool to get kind of a different shape, because this will be overlapping the other shape. You'll see at the end kind of what we're going for. And I'll show you what I've showed you at the beginning. Kind of what the final result waas to get an idea of the effect and the style that we're going for. You make these about the same size. I think those air look cool, overlap with each other. Let's make this a totally different color. So we have purple. Let's try some warm tones. So let's go ahead and double click this. Go ahead and grab my slider. Here, try pinks. We could try. I like that color. You're gonna go and drag that down. Or actually, I think I need to double click that and get a second point, and then I can get rid of that one and to drag this over. And I'm just gonna reduce the brightness slightly on all three sliders to get a little bit of a darker color. I might want more of an orange. Drag this up so I can kind of see my entire window. Here we go. Let's do an orange. We're gonna double click on this one and go to a darker or lighter orange. That's kind of my orange pop a color copy and paste into one more shape. So I'm gonna mess with the curvature tool and get different shapes on this one. Just get some, think the blue or overlap with the purple a little better get your eyedropper tool, sample the blue and then make it darker. Similar to that. Okay, so now I'm gonna overlap all three of these circles, and they can interact in a special way by letting certain pickle pixels behind the certain object through. And that's the whole point of transparency window and the transparency modes. So I can select all three and you have your opacity, which is how you adjust the transparency of a particular layer. So if you want to reduce the opacity or in this case, the transparency and then have it be nothing, you could produce it to zero. Or if you want a full max capacity where you can't see, there is no transparency. Said it 100 where you do something in between. So that's kind of how you adjust the transparency layer of any object. But then you have blending modes, and this is extra special. So I'm gonna go ahead, overlap a couple of these, and right now they're totally covering each other up. But we're gonna allow where to change the blending mode so that certain pixels are gonna be allowed to shine through behind objects going to select all of these. And we're gonna play around with a few of these to find out the one we think looks best. Let's go and try overlay first, you'll notice how they almost create different colors as they go behind the other color. So this purple is allowing some of that orange behind it and actually mixes to create pink . Do you kind of see this overlapping effect in action? So what? I'm just gonna arrange the shapes where I think it's gonna be kind of pleasing how they overlap to the little bit more balanced and shape. Okay, so let's play around with some more blending modes to do soft, light, hard light. Some of these they don't use often. And some I use all the time I attend to you screen a lot if you ever wanna screen it kind of makes a little bit brighter or lighter when use the screen blending mode. And you could do this with photography as well. So you probably did some things in photo shop in photo shopping, good to transparency modes. Same thing for illustrator. So soft light seems to be kind of nice. I think overlay is probably the one we're gonna go for, but I'm gonna cycle through some of these. I'm gonna play around with this just a little bit to kind of find the right match, and I'll let you know what I decided to come up with. 16. BearCroft Logo Design Project - Typography: So here's what I came up with. I messed around with it for about five minutes. And so the blending mode I applied to all three layers is hard light at 100%. And I kind of show you the final radiance that I ended up mixing together. I had to tweak him a little bit to make him lighter and softer, so they kind of had a nice blended to look look when they were put together. I'm just gonna do Command Z and go back in history to go back to where Iwas and we can make a little logo out of this as well. Just for fun. We're gonna grab our type tool, go ahead and just do a simple be It's gonna be a logo for company called Bear Croft. So we have a B, and I'm gonna find a really thick fought that I think would look really nice and white in the center. So I think I did my homework a little bit and went ahead and found a typeface that I thought would be nice and bold for this. That's Borough Groot. So I think I pronounce that right, Burroughs wrote. Perhaps So do Black. There's bold. All of these could work, but I'm gonna stick with a simple bold Put it over, top the logo. I'm gonna go ahead and make it white to provide nice high contrast, Shrink it down a little bit. I could even add a drop shadow to this, but I kind of like a clean bowled look. And, you know, since this is a very soft logo, it's got nice, soft, playful colors. Perhaps it's for a Children's toy company or its for a media company, you know, we want to be kind of playful, and so capital letters tend to be very strong and professional, but lower case tends to be nice, soft and approachable. So perhaps we could do a lower case being in this particular logo mark. So I'm gonna scroll through and try to find one that I think looks really good as a lower case. Um, Avenir looks pretty good, and I have lots of different weights. So these air different font weights I have light all the way down to bold and then black and heavy is gonna be your heaviest weight, so we might be able to get away with just bold. That might be too overwhelming. Let's stick with the bold. Wait for that. And so now we could start to kind of pair A little bit of our typography has played a little bit, kind of an introduction to how to work with Type an illustrator so we could play around with some different type choices for her spilled out company name was glad and spell it out , Bear Croft. It's kind of a made up company like it's a media company. You're going to make that a little bit bigger. And so if I'm gonna do a lower case, be for the main symbol, I want to have some consistency with my type. So I'm gonna also keep this lower case and even keep it in the same typeface, if possible. But it's not always a requirement. It's just nice to have some consistency with your main symbol, font and your actual typography in your local work. We can play around with some different layouts of this, but let's kind of play around with the coloring and kind of the presentation of this. So if I got a character appear in this character panel or I believe I have the character panel right here on our main panels right here. Let me go ahead and slight transparency out of the way. So that doesn't bother with us the same thing with radiant. We've got to put Grady and all the way down there just to kind of give that away. Eso right here I can happen. Do not see the character panel Go ahead and go window and make that visible. But there's several different options that can change the spacing between the characters. So that's gonna be this option right here. It's called tracking. It can change its facing. I could make it a nice tight spacing, which could really work well of this so that you could do a negative 50 spacing. So you notice how it's tight and it feels more concise. And I really like this little bit of a tighter spacing with this nice, bold sans serif typeface. And so what I want to do now is with color. I don't want to add any more additional colors because I always, always already have several different radiant colors happening in the logo. So let's do a nice neutral color. Black overpowers all the beautiful color, so we need something solved, so I actually switch it to a dark to medium grey. What that does is it takes the emphasis away from the name and kind of lets the I look at the nice, soft, radiant colors, and I could even lighten that further. So I'm just double clicking my swatch and making it a little lighter. So now it can play around with what's called balance in the logo, so he never went to have assembled be too large or the type B two large thes two elements need to work together and not overpower one another unless it's on purpose. So, for example, if I have this really large B and a kind of a really small type, it's just the balance is off, there's not. There's just doesn't feel right. And opposite is true. You can have this really beautiful logo, but this gigantic text and it doesn't have any impact. So how do we find the right balance? It's gonna be testing it out with different iterations are different versions, and so that's exactly what we're gonna do right now. Let's go and make this a little bit bigger, but I'm gonna try to guess what I think would be a good balance. We're both of them have equal weight. And so that's kind of my first attempt. But we can always just copy and paste this and continue to play around with ideas. There's also a way weaken Break up this word. Now, Bear Croft is last name of the media. Come, whoever found this fake media company, that's your last name. So I thought it would be neat if instead of just saying one more bear crop is we can lighten the text on the last half of the word and make a little lighter gray to add contrast to that word may just I can't even make it darker or lighter. Let's make it lighter. Enough contrast. We could see a little difference and it reads a little better. You see, Bear Croft. It kind of helps divide the syllables in the name Bear Croft Dist works that way, and I also have a nit aeration where I don't do that to see if I like it better as all solid arm coloring. I was going to copy and paste and continue to work on different balance options, so I make this a little bit smaller. We can also play around with Ah, so this would be a vertical presentation. We can play around with making a horizontal presentation, and I am a big fan of making a horizontal and a vertical presentation of every local I design. It should be able to be adaptable to ah websites pro small, square size profile pictures, but also very long headers and long banners. It needs to be very adaptable, so you always have have a horizontal and a vertical presentation of every local. You do as well. It's a black and white version should always have a black and white version, the full color version, a horizontal and a vertical version. So that's what we have right here. So we can continue to play with horizontal. Was could make these a lot smaller. I'm gonna play around a lot more with ease, and so sometimes when you have this big, overwhelming symbol, this big circular symbol when you have a very square kind of rectangle object, what's kind of nice to do is at a dividing line, and dividing lines are great in the design world. because it really helps people break down objects when they look at them. That's why you see big flyers that have lots of different sections of objects on the Flyer . They use divider lines to divide everything. So it kind of it doesn't feel overwhelming to the viewer, and the same thing goes for local design. So I'm just doing kind of a simple vertical bar to see if that kind of helps break it down and let me continue to mess around with the balance to make sure that symbol is large enough to be prominent but not overwhelmed and totally eat up the attention. So that's an arrangement that we could do would be to look back at all the different iterations. And I'm really liking the two tone bear Croft. I just feel like that's one more way I can divide the information for someone. Try those syllables up for them. So what I'm gonna do is I'm gonna just go ahead and use that as my my version and we're gonna get into grids here momentarily. We're gonna be able to really, uh, sizes up perfectly using grids. And but I'm in the concept in stage So when you concept something, sometimes you just need to get it done. You don't have to worry about grids and being perfect. You're just getting ideas out there so you don't have to use grids at this point, but I use grids when I get down to the final version. 17. BearCroft Logo Design Project - Final Touches: I wanted to keep this short and sweet. So I'm gonna do a few more things and then move on to grid so that we could move on to other many projects. But I wanted to play around with the beat. We found a B. But nothing has ever said When you really start to work with the local, you start to go. Okay? Now, when it challenge what bond choice had made, can I find a even better for choice? That's exactly what we're gonna do with this version. Go and copy and paste it so I could compare it to the previous version here. And I'm gonna go ahead and select my type and see if I can't find a better match. I like this, but you just never know what else is out there. So that was Avenir. So let's see what else we can find. And we could find a serif typeface. So that's a serif typeface. Where has little syrups at the end? But the problem with Sierra type faces when you have kind of a complex color profile like we do with ours, is it It does kind of add more complexity to something that's already complex. So that's why this that's why I originally went with a sands here, which tends to be more clean, just kind of going through a cut of my brain story storming process with you. So have a lot of different type choices. That's a slab serif. That's a wonderful slaps here, By the way, Archer, if you have a chance to get Arja Pro or Archer see, that looks lovely. That's a beautiful font, but it's not gonna initially work with this one, maybe for another project. But I really do enjoy that tight face. Probably make a list of typefaces I enjoy using. That's a very interesting Anouk Bold. I don't like the B per se, but I kind of like interesting kind of angles that that type has. Do I really like this one very thick and bold, and I love the tight spacing. Remember, I went over to the character panel and I have a negative 50 spacing, and now that I change the typeface, I can always go back and loosen spacing a little bit. But I'm gonna keep with the tight spacing. I think that works, so I'm not a huge fan of this be that dips down. But I love the rest of the type. But you know what? It's really easy, Teoh to change, create outlines and be able to manipulate that now that we know the pin tool. So I think we're going to do that. But first things first. I noticed there's some uneven spacing here. So you noticed how their spacing. Here we go ahead and double click stew red their spacing. Here, let me make it a little bit transparent to my transparency and to reduce the transparency. Okay. And I got a copy and paste this space, and there's some inconsistent spacing here. There's almost no spacing between there. That's really nice to have consistent spacing. It's called Kern Ing. So we're gonna I'm gonna manually current this. I'm just gonna move the letters individually until I feel like they have better even spacing. So what I'm gonna do is I'm gonna highlight both of these letters. We're gonna hold down the option key. Keep that held down option or your old key, depending on if you're on a Mac or windows. I'm holding down my fault or option key and I'm using the arrows my left and right arrows and I'm able to manually separate my highlighted characters. So I'm just gonna highlight two at a time when I'm doing is I'm manually koerting this to create more, even spacing and to really create the perfect manual spacing you have. Each of these is an individual letter, and he would come do it that way. But this is a lot quicker of a way to do some manual work earning. So I'm gonna do that one more time. You highlight what two characters I want to bring together or pull apart. I'm gonna hold down option or the sole key and use my heroes Just a little trick to help help you out. So I like the spacing a little bit better there. And now I think I'm ready to create outlines and modify the Be a little bit. So I'm gonna always like to copy and paste before I create outlines. Because once you create outlines, that's it. If you won't be able to access the original fawn again going to slide this over here Oops, just so I can have it. So now I'm ready to select both of these, and I'm gonna right click and create outlines. We're gonna create outlines. And now we're gonna be able to access the anchor points, make it a zoom in on this B and I'm gonna grab who could select the B and grab the direct selection tool that was going to take that anchor point and fix it till how I like it. That might be to the point where I need to just delete that one anchor point. Here we go. Let's just take the direct selection tool and I couldn't really modify. I can make this be whatever I want to make it. So if I don't like a particular angle, Well, if I want to add an angle, I can. So that kind of adds a little bit of a personality to type and go ahead and drag and pull this little circle to create kind of a softer corner to that. I could do that to all of these, and what I'm doing is I'm making a unique type face. It's no longer this type base that it originally waas, but it's now something that's unique to me, and it's not copyrighted with you modified like this when you create outlines and you start to modify it to become your own. This this typeface is no longer copyrighted. That's really important. Some of these typefaces you need to purchase, but at some point you can modify it beyond its original characteristics. So that becomes your own. You gotta modify it a good bit. See, I don't like how See the thickness between this point right here on this point right here, how it gets wider. I'm not a huge fan of that, but I can just go ahead and fix that. I could probably remove an anchor point. Bring this out. Make sure that's the same thickness. I could probably spend quite a bit of time messing with this, but I wanted this to be a short project. I guess it's turning into a longer one. That's okay. We're going over some really good basics here. Click and drag, and I'm just rounding out the corners on each one. These little letters get it, giving the characters a softer appearance by giving them nice little rounded edges like that. I'm also fixing anything I really don't like. Who knows how we have the slant on the T there and I added a slant on this. Be so I kind of like how one slanted down and one slanted up. So it kind of created her own kind of cool typeface. And oh, if I fix this arm on the characters killed arm coming out to the right, I want to fix the other. So that could be simple, as going and getting to direct selection, tool copying and pasting and just going ahead and replacing it. I'm getting the eyedropper tool and we no longer need the one that low. So let me go and get the direct selection tool and see you later. So now it can replace the B for their own little custody and make it white and a little bigger to add contrast. So it's not competing with the black be since its own bigger be we can even add maybe a drop shadow hate to ab drop shadows. But sometimes it adds a nice effect. You can always remove it for some other versions. Gonna goto effect. I'm gonna go down to style eyes And then I got a click on drop shadow. I have my drop shadow window open. I'm gonna click on preview. And so it could do quite a wide variety of shadows so it can change the distance. So let's make it a much closer distance. So if you kind of accidentally close your window and you wouldn't be able to access any of your Tom effects that you've done, remember, we go to appearance. So let's go ahead and open up. Our appearance window dragged it out so there's a drop. Shadows double click it, and now it can edit it. I don't want so much blur, and I don't want so much distance. So it is closing the gap there. Preview, and I like a nice light would never do drop shadows. I never doing to Ah, at 100% opacity. Always do it very, very light capacity. I wanted to barely be shown. That's how drop shadows are doing these days. You don't do those super dark shadows anymore. Just it's just not the thing to do. Unless there's a particular situation where you really want something to pop out. I'm just doing a very light shadow clicking. OK, so it just adds a little bit of dimension to the B. So there's are a little logo and how it's kind of coming together. So now we can go back Now that we defined everything, I'm gonna go ahead and put my versions together. So now we're no longer using that type. But I kind of like these particular versions. I like kind of the line, so we're just gonna copy and paste and notice the spacing here. It's pretty tight, but it's not so tight that it almost feels like it wants to touch it. So there's enough spacing here, but it also doesn't feel disconnected. See, that feels disconnected. That feels just too tight and makes me anxious. And this makes me feel just right. So here's our final versions put together for a logo. We did this lug like, Yes, this was Bell about 25 minutes, maybe 30 minutes. But we've kind of been able to put this together. We're just playing around radiance and also blending modes to get kind of a neat, overlapping effect. So this is how the final logo looks on, hopefully enjoyed this many project. We have a couple more coming up so we can continue to practice some lovers 18. BearCroft Logo Design Project - Grids: and one last thing I did, I did decide after a few minutes of playing around with this, I did decide to change the angle to go downward because it felt more soft and less aggressive than that, starting up high and slanting to the right. So I What I did is I drew a line here on the T u c the cut of the tea here, and I matched the same angle going down. I actually did decide to match it cause I felt a little bit better about that. So one more thing I wanted to do as I wanted to apply grids to this so I can make sure I have some right alignment of all my elements. So to be able to switch out grids go to go down to view and it could go all the way down to show grids. And you see the little shortcut. I'm gonna be toggle ing the short cut back and forth, but she ever want to be able to disco to view new show grid Because you can't remember the shortcut. Just go down the view show grid. Go ahead. Memorize that shortcut. So the command and the quotation key, some school toggle that back and forth very easily throughout the rest of this. A glass. So I'm gonna go ahead and line up everything. I'm gonna line up my typography first. What I'm gonna do is it's gonna line it up on a corner and have its expand all the way over to the edge of any any line, just as long as it kind of goes across a certain amount but boxes. So you notice how that's a line and that's aligned. And now what I'm gonna do is this entire shape. I'm gonna try to put the same boxes on the left that there is on the right. So let's say three spaces and then that's three spaces. So it's really gonna be 2.5 if that's gonna be an exact middle. So somehow in the half of that box and then the half this box and this trying to find the right center point, and what I'm gonna do is I'm gonna drag this down so that this is down at the line, see there at the line of just aligning it just a little bit. So it's lined up that way, and so I feel like that's pretty close. Let's go ahead and toggle our grid back arm. We're gonna do the horizontal version, so I'm just gonna kind of put that over there to do the type First, I'm gonna put this at the bottom into the left and then with this area, I want to make sure this the same boxes here as there is down to the bottom whose sizes up . We have two boxes here in two boxes here and maybe one box and between the two objects and you can align things on the grid perfectly. But then there's just the designers I and sometimes you have to do optical adjustments and go. Okay, that's spacings to tie. Let me nudge it up Just a tad. That spacing might lead to titles budget up a tad, so there's gonna be not Everything has to be perfect on the grid. Helps with finding a line of alignment 19. Parsons Logo Design Project: So for our next many local project, we're gonna do this one right here and set up adapting character from a typeface. We're gonna be able to create our own letter P just from using a combination of shapes and the shape, builder, tool or Pathfinder tool to be able to create this kind of three d overlapping effect. So let's go ahead and get started and get a scroll down here. I'm gonna crab the rounded rectangle tools to create art stim of our letter P. And I'm going to reduce the amount of curvature of that team's gonna cut this in half. I said, I want I'm gonna do 0.5 I'm gonna make sure all those air locked too, so that all four corners are rounded. So now we need to get this circle for RP. So we're just gonna draw simple circle. Go ahead and place it where I think he would have good balance. Okay, so now we need the center of our pizza, draw another shape, and this is gonna be white gonna drag it here. You want to get some nice even thickness with our type. I'm gonna make this a different color. So you can see where this Stennis here we go. And notice how the thickness here is. Not the same is here. We're gonna do the align panel over here, and we're gonna be able to fix that issue. We're gonna go over to my line, pale into a horizontal line center. I'm also gonna go around, do a vertical aligned center. So you notice the small adjustments that made horizontal distribute centre, and I'm gonna go ahead and do a vertical distribute center. So I'm just going around. I'm doing the center alignment on all four of these categories. And so now there's air perfectly. These two circles are perfectly aligned with each other. So if I'm happy with a thickness, let me go ahead and go back and look like I didn't want to make it a little bit thicker. Think I had a little bit thicker line and some could go back and just cook on all the horizontal and the vertical distribute center. I'm gonna select both of these, and I want to punch that white part out. So I'm gonna simply go to the shape builder Tool, Hold down. Option or Ault. Go ahead punch that out. Now, that's transparent behind it. So now we want to create the cool three D effect where it looked like it was spinning on top of each other. So this is how I get the cool three D cut out effect. Glenn, zoom in and make a circle. We're gonna make a circle where I think I can cut it out, using the Pathfinder tool or in this case, the shape builder tool to find the right shape to make that curve. So it's gonna go and draw a circle. And once I do this, you'll be able to see why I chose the place where I chose. So I want to show Jews kind of the curve. See the blue outline. I wanted to kind of cut through that section right there. Go ahead, make this red. Look that two stroke and make that a small strokes, I can see. So I want to be able to get this portion. So anything with the Pathfinder tool for I have overlapping shapes I can create any of these shapes by punching are adding to it. We're gonna go ahead and copy this circle and copied my little circle that makes the loot of the P. Just paste it over here. We'll make this a solid shape. Send that to the back just so I can see what's going on going to select both objects and grab the Pathfinder tool. So this is the shape I'm after right here, this little half moon shape. So that means I can go ahead and hold down, option or all, and get rid of anything I don't need. And so, just like that, I was able to make this curve. I could do the same effect by tracing the same shape with a pen tool. But I find this better cause I can get a really accurate curve of that P. C this curve right here. That's sometimes a challenge with a pin tools. So any way you could make it easy on yourself, please do so trying to make this lighter so you can kind of see the shape that I created. And so what I'm gonna end up doing is I'm gonna have make this a Grady int. I'm gonna make this ingredient from keeping that light and then fading into this very same color. So what? I'm gonna need not gonna need a little bit more space around here so I can fade it properly . So I got to create that right now. I'm just gonna grab the pin tool, and all I'm going to do is kind of give myself a little more room to fade the radiant. That's gonna help it blend into this other half of the Pete. And it's a little hard to explain now, but once you kind of see it in action, you'll be able to understand why did all this? I'm gonna go down here and kind of fix any imperfections. It always fix them later to. It's a great thing, and this is gonna be faded out, so that's not gonna matter as much. Okay, so I'm going to add this shape in this shape and Adam together with shape, builder, tool could hold down option or old. And I'm gonna drag and include all those together. And now they should be one shape. Hold on. What? Those two objects together didn't want to select the other This part. So now I have This is one big object and let me to smooth this little point out, and I bet I could get my curvature tool and make that happen just like that. Now I'm ready to do my fading and add Mike radiant so I can go over here and just do a linear radiant. Go ahead and draw. Crab are radiant tools so we can get the angle we want. We want to go from a light up the top two dark. We want this to end up lending in, so we're going to try to find the right. Actually, that works out really well. So I want to make sure it doesn't look like you could see the end of the shape that this is the same color at the end of this shape. Radiant. That is the circle to see how those blended together. So now we confined to in our colors a little bit and also add some shading so we could make this even a particular color so it could make it a green. We could even apply grading it to this. But let's kind of keep it through black and, uh, black and white. That's what's gonna do kind of a lighter grey. And I also want to add a shadow just to make. Give it that three D effects of this is casting a shadow down here, this little circle part of the character. So I'm gonna do that manually with pen tool. I think I'm gonna grab these two shapes here. So our circle when our little circle that added the three d effect shift that over just a tad, Yes. I'm just gonna go from the top all the way to the bottom, make a curve, and that's gonna be covered up by the loop of the P. So don't worry about that so much. I'm just creating a thick portion that will act as a little bit of a shadow that's cast from the top of the Pete. So just making sure my shadow has similar thickness. Okay, Now I'm gonna zoom out, and I'm gonna make that a little bit lighter, so I'm gonna take the eyedropper tool and sample this gray, and I'm just gonna go down a little bit darker. I don't want the shadow to be too dark that it looks bake. Wanted to blend in nicely. Just be a nice, subtle touch just like that. I'm gonna go back and just find to my little selections and maybe not make it quite a stick . Here's what then Shadow to be cast. What? The angle to be right. So there's your pea. We can apply text to this. This is gonna be Parsons PR sons Parsons dynamic because we can just call it Parson Dynamic . Kind of a made up company kind of a tech company. But we went out, be able to balance the text out. So we're gonna work with typography next to try to find a font or a typeface that will work really well with our little three d p simple. 20. Parsons - Typography: I'm gonna find a typeface I think will work. Really? Well, there's one. I've already kind of research, but I'm gonna try a couple other ones. I don't want anything too specific because we already have that detail p similar to a logo I did in the past the Bear Croft logo where we had such a strong little symbol that we don't wanna have a typeface that takes away from that. So we have this really intricate P. So let's do something simple. Let's do as Oh, Sands Black. This is just like a really simple font. We could even do a lower case because we want to match the lower case of the P here. And then we can copy and paste. We need to do a second part of her name, which is gonna be dynamics. And what I like to do is I like to pair a very strong first word with a much lighter ah, waited and thickness of the second word. So in this case, dynamics and so one way we can do that by changing the weight, Let's find another font that has a wide variety of weights and I know offhand that railway has a wide variety of weights, including a thin. But here's all the weights available to me, so I really thick to really thin. I actually want to do a light, because then might be so light that it's not gonna print really well. So let's go ahead and stick with light. So now I want to balance this tight spacing. Might even wanna tighten the spacing Mawr. So let's go to our character panel. Let's tighten the spacing. Are the tracking just like we did with the previous logo? It's doing negative 25 there with this we want to do. Why try? It was all about contrast. So if you have one letter that's really tight spacing, try the next one wide spacing. Anything to add contrast to your logo. So let's do some dramatic spacing. Let's do 555 Put that here and we can even do this upper case. This would be Parson. We can lighten this so we can match this gray color. Go ahead, put our character panel back over here. Now. This is where we really play with this spacing, so I'm back over the character panel. Let's do a widen it even more. Let's 2888 and I'm gonna make sure I'm flush. You don't have to do this, but this is kind of the look I'm going for. Where the end and the asset the end match with the P and the D. They both are flush with each other. They can always do it where you know this. Bottom one. There's a little bit of a smaller portion, and that works really well when you have a center alignment. But when you have such strong left right horizontal appearances, sometimes it's nice to have this flushed block look with your text. So now arrangement and also balance. We don't want the Peter overwhelm the parson's air. The dynamics. So we're gonna go ahead and group this p together and go ahead and group our characters together. And let's play around with sizing and spacing and orientation. You do exactly what I did with her previous logo and play around with horizontal presentation as we have to look about about spacing and gaps in design. So right now there's this huge, glaring gap right here, and it just seems a bit awkward, so we need to somehow close that gap or find a way to arrange the logo. Where that gap doesn't seem so empty, it just seems like it's creating so much negative space. That's not adding to the design. So it could be a matter of just making the peace smaller and adjusting the balance and maybe even ing out that p. It could be a matter of adding that dividing line kind of break those elements up, just like then, making sure there's enough spacing between the line and the elements you don't want. You don't want anything to be too tight, like that's way too tight. That just makes me anxious. Makes me nervous. Was having nice, open whitespace cannot have enough. Well, I guess you can have too much less. That's too much. But to be very careful about having things too close to one another, it's a very common thing I see is people not having enough white space between and around elements. It's a huge deal, Okay, so that's kind of an arrangement. I think this P is probably too big, so we need to adjust the balance of our logo, make that a little smaller, and we can continue to play around with different options. We're not final on the type choice. And once again, we can manipulate default a little bit or the type face to make it a little more custom. So one thing I do want to try is perhaps go ahead on group that element, delete the P. And this is just I'm just playing around. This is all part of the fun. All part of the concept in process here to make this larger, I'm not sure. One that making it larger, keep it the same size copy and paste we're trying to do is make this all one word. So we don't have a separate logo mark and a typography element. We have them combined. I didn't know how that was gonna work. This is where popping into our grid. I'm gonna do the shortcut for grit, which is command. And then the quotation marks. Course you can always go to view. And then, uh, Goto Hyde greater show grid down here. I'm not gonna line this up on the grid to help me a little bit. So this is the baseline of the type wording here. That's the baseline. This is your top line on both of those together and make what's called your ex height very bottom of your characters in the very top of the characters. I want to make sure this is aligned with, um, to make sure the top of the P and the bottom of the P is on the same line as all the other characters. And this could be a case where we need to mess with the type choice we need to make it our own cause. It may not work because this is so different than the rest of the characters. It's not working. So let me try shifting this down to this bottom line. Seeing if it can't work is a capital letter that does look a little bit better, but I'm still not. I'm not happy with the type choice. And when I do this, you have this very open gap. It's really too big, and it looks awkward, doesn't it? You almost want to tuck this underneath just like this. But see, now you have a Miss balanced logo. It's the piece of whelming, and this is just too small and it looks funky. This is a case where you experiment and it doesn't work out. That is okay, but I just want to give it a try. The P Is this a hard letter? Some letters are easier. B is very balanced. The letter B you got. It's kind of similar on the left summer little right with the P. You have this large gap, and that's the issue that I'm having here. But I my feeling okay about the overall logo as it's going now. And I want to maybe experiment with adding color because I think greats Fine, if this is an industrial coding company. But what if we want out? Make it colorful and a little bit more modern? Let's just experiment with a dry so it's gonna copy and paste, and we're gonna do that next. So let's play with color. We're gonna go over to radiant and maybe add a little bit of a dynamic color. I'm gonna go ahead and select, go ahead on group first and select are rounded area and I'm gonna go to Radiant. And this is a brand new option only available on Adobe Illustrator 2019. So make sure you update, or if you have an older version. You could always just use the radio radiant or a linear ingredient. But the great thing about the free form go ahead and click on that I can do is many different points as I want. So I'm just gonna double click and just do some simple orange tones. Let me start light and then work my way down to darker When have we ever little shape that we did a Grady int? So I'm gonna go and click on here and you'll notice the opacity on this particular radiant is zero, so it's fading, so you have the top grainy it, which is the sculler is going change at the green so you could see that. So there's the green up top and then you have it going to it almost looks like no color. That's because we set the capacity to zero. If we were set it to 100% you'd see the color. But since we set it to opacity 0% it fades into nothing and fades into transparency. And that's how it's able to smooth out and look good. So remember that one is set to opacity zero. So if you wanted to do a transparency that seemed a blend or feather out going to do an example. I'm just gonna do a box. So this is what we have here we have See how it's feathered, kind of a feathered effect, which is could be very useful in layout design. If you want a particular color that fades and just into nothing, it doesn't fade into white. So if I would click this and go capacity and do 100% it fades into wider in this case from to change the color yellow. But we can go and change the opacity of one side zero and feathers and to nothing, which is very, very useful to know. So do you do that in the grainy int, um, panel? Okay, so let's change these colors because they're looking pretty ugly. So now I can go over here, try something like a yellow or a white were purple, we could do a yellow, and that could take this and do the eyedropper tool. So let's Let's editor points. Let's do some cool blues Just gonna do some blues and I kind of like this dynamic color going on here. This is really interesting Let's make that Ah, more of an orange. It's very similar to one of the other logo's. We did works very. It's kind of a very modern thing to do to kind of do this grainy it mash where you have warm tones and cool tones collide together. It's kind of the in thing jewel tones and all sorts of vibrant tones coming together. 21. Parsons - File formats and exporting: So when you're in the concept in process, you're constantly challenging what you think you want to have happen to the logo and they end up making mistakes and having happy accidents. And this is kind of where I ended up going with it and the reason why earlier I wasn't able to kind of close that gap. So I wasn't thinking all I could put dynamics down there and kind of clothes, that awkward gap that that dropped down P was making. So I was able to kind of fill that in with the other word. And I also went ahead, and I softened all the corners of each letter, and I kind of changed the coloring to a more simple color palette instead of doing kind of crazy multiple colors, which could look cool. But I was a little worried that it was almost too much, so I changed the colors. Of course, you can change it. The client doesn't want pink. That's a very easy change to make whatever color scheme I think that they would want, depending on what kind of company this is gonna be. So I just wanted to kind of show you what how how I ended up. These are the final kind of versions of the logo. We have this one of black and white version, which could be the one that ends up being selected by the client. I love to have simple black and white versions because sometimes when you mess with color too soon, it could confuse the client. Sometimes I like to send black and white concepts to them first. And then we can dive into color afterwards because when you send a color version will go. I don't like pink. We didn't think purple would match your brand. So unless they already have a color palette developed or branding standards, sometimes it's great to go ahead and send them the black and white version. So if you're working with the client on this, they're gonna go back and forth with you've probably for a couple of different revisions and different tweaks because you're gonna be able to design the logo well, but they're gonna have their own idea of what they want in their head. So in this case, this is kind of the logo that I thought would went out because it was bright and vibrant. and I even brought out a little bit of that element of the O in the are in the circular part of the P. I also brought that out in the oh so it could stand alone instead of having the P B. It's separate symbol, but in the end, this is the one that went one out. Two different versions, one that can work with the large P but one that could be totally stand alone and does not have to depend on a symbol for the logo to be recognized. I don't think this was a smart choice on part of the client to get a really well rounded, adaptable logo. You could see how we rounded the corners from the original type base. And I also added that same rounded effect that goes from dark to transparent on the as well . So that added a little bit of consistency. So I'm gonna just make a few more tweaks, and I think we're ready. Teoh be able to bring this to the client for final files. So if they've already approved, I'm just kind of messing with that. I want to make sure that comes down with a D is. And after I've paired it on the grid system and I've been able to kind of get the alignment properly, make sure the S goes all the way to the end of the end. Make sure these are all consistent. Look, very, very close or very, very, uh, ready to go. I'm gonna talk about exporting files, so I'm gonna go ahead and zoom out of here, and there's all of our other versions that we no longer need. It couldn't slide all of these away. These are the two final versions they want. I'm gonna go and make this larger, and I got to go toe file documents set up. I'm gonna set up a couple of part boards are gonna go to edit art boards. I'm gonna set up square for my vertical orientation. Right. Click on news is gonna be a new art board, and this is gonna be for my horizontal presentation of the logo. What's great about setting up multiple art boards is when I export this. I'm exporting both files. I don't have to have a separate illustrator file for each version. I have just one illustrator file for the entire logo. I'm gonna go and save my file and then I'm gonna go ahead and export. We're gonna talk about versions, so there's several different versions that clients gonna want. Indeed. And the 1st 1 is gonna be a vector version, which is the most important because that means if another designer was to ever inherit this brand, they'd be able to have all the anchor points and biddy able able to change it, update it, refresh it. Whatever. It's really great to have a vector version we're gonna go to save asked for a vector version and working to save it two different ways. And I always like to give clients more options because the more than marry, they don't have to come back to you three years from now. Go away and you still have this file. They have everything they need. We're gonna save it as a AI file click. I'm saved and for the second time, I'm just gonna pretend like I clicked on save. But I'm also going to do an E p s. Both of these are ballad vector files. These the files are gonna send off to the T shirt printer. Any large format printing like a banner. They're going to really, really want this nice, high resolution vector version. So both of those I'd like to give to the client I also like to export. So instead of going to save A has and get export and this is gonna be your P and G's and J pegs, this is gonna be what most of the employees are gonna use. And P and G is gonna be transparent background. I'm gonna export that. I'm gonna use art boards so that it crops it to the art board. I'm gonna do this at a pretty high p p I, which is resolution. The higher the better because a lot of people like to use these p and G's and they blow it up to a large size and it looks really bad. So if I go ahead and save it as a high resolution file, they don't have that problem. It's super high resolution. They would really have to make it big to make it blurry. So that's just from experience in working with clients over the years, what they try to do with the files. So that's exporting. I want to show you what both of those look like. It's on a transparent background, so that gray indicates that it's could be put on any background at some case. Okay, so, Export. So I did a job. PNG. But now I'm gonna do my final one, which is J. Paige. I'm going to do the same. This is gonna be for the web for social media. So I'm gonna do a resolution of 150. But you could do 300. Um, because most social media website fill size down for you, So better to give him a higher resolution. They can always size down than having too small and them not being able to size up. So just to kind of go over the different file formats that I'm sending my client, I'm sending them the dot ai file, which is the illustrator file. And also, I make sure I outlined the type. So when you have any live edit herbal text, unless they have the thought installed which you can always send them Ah, file of the font so that the typeface a railway would send that to them. Or you can click on any live text and right click and create outlines, so it's gonna create outlines. I can't edit it anymore, but I can go and manipulate the anchor points. We want that when we export our files, because if they don't have that fun installed and they try to open up this file, it's gonna substitute another front. So right clicking. And sometimes what I'll do is I'll select all. And then I'll create outline so you could write good type, create outlines or you can just right click. This is what I do and then create outlines. Um, so what do you do that you can go ahead and export those files? That and all the type is outlined. You don't have to worry about live texts and them not having that type installed. So there's all the different file formats had the two vectors that ups the dot A. I also have the P and G's and the J pegs, and that's pretty much it. I package that together in a ZIP file, and I set it off the printer, and then I send them my final invoice, which is supports my favorite part. Just when you think you're done with your logo, there's always just one more thing to do. So we sent them all the versions that are gray that goes great on light backgrounds. But what if they wanted to apply their local to a dark background? We definitely want to give them that ability. With every single local we do, our local should be able to go on a darker background. We're gonna go ahead and take our local real quick, and we're gonna go take this and converted to White. I was gonna select some of these elements on group. Everything's will be able to have access to all these little pieces and group. I'm gonna go ahead and change them all to white. So we want to do that, White. Or we could do a light gray that I was gonna do a white actually, like gray might look a little better. Let's do a little bit of a light gray. That looks really great on the purple. Now I'm gonna go back. We have three little places where we have this swirls. We want to make sure all those were the same. We're going click on radiant and see if they'll let me change both of them. But the same dime, but probably not. We're gonna go ahead and zoom in on the 1st 1 under these one at a time to make sure these have a better contrast in what they have right now. And that's clicked on radiant. And let's see if we can't make that a little bit of a darker contrast. Double click. We don't want it too much of a dark contrast. And maybe right there, we definitely that's part of the branding. Is that little swirl? So we want to make sure that's a little bit darker. I was gonna go through each one of these, make sure it's the same color. I have one more up top. This one is very light. Go ahead and get a radiant going. I think this was I'll lend your Radiant, so I'm just gonna make that darker. And there we go. We have this adapted to a white background that's too dark, so I'm gonna make that much, much lighter. So now this works well 22. Poster Project: So it's now time to practice layout design. So where to go through a poster project using the brand that we just developed this Parsons dynamic logo. We're gonna take this logo and color scheme and some of these branded elements to create a dynamic, no pun intended poster. So the first thing we're gonna do is gonna open a new document in Illustrator since good to file New. And this is 2019 version. I think they changed this in 2017. This is a brand new kind of interface, but if you have an older version, it may look a little different. But for a poster, I'm working in inches because I'm in the United States, But she couldn't work in centimeters elsewhere. So I'm just gonna do a standard. I'm gonna do a flyer design that's gonna be in 8.5 by 11. But I'm also gonna leave this open where I can scale it a higher if I want to make a two by three foot poster. But I can also scale it smaller and make it a social media graphic. So we're gonna be able to make this 1 8.5 by 11 inch flyer will be able to make all the size we need from this particular size. So I'm gonna make this a print project. I can also make it a digital project very easily by exporting it as a J peg when I'm done. But I'm gonna go ahead and add a bleed. And I have this locked so that when I press up, all its bleed added on all sides. So in this case is an eighth of an inch bleed. So one divided by eight is 80.1 to 5. If I needed to do 1/4 inch bleed, which is usually not required unless it's a large banner or something super big, the bigger you get, the more bleed that may be required. But this is a simple question to ask to your printer how much blood do I need and will say I need an eighth of an inch so you would do an eighth of an inch all around so you'll see the red line, which indicates the bleed. I'm gonna want to carry everything over to this bleed. This will be eventually trimmed off in the printing process, and this will be where it actually is shown. And so that's just for the printing process. Toe have a little extra leeway just in case the machine prints off a few centimetres or a few millimeter. So this is for the printer. We won't see anything in that little area, but sometimes it's required by printers if you're gonna get this sent off and printed. So let's go ahead and get the layout concept. We're gonna do a couple of different layout ideas and we're just gonna brainstorm, and I got to go through this raw process. I have not thought about this project ahead of time. I just have the branding elements right over here. That's all I have. So you get to kind of go with me as I think about how toe lay this out. So before I bring over my branded assets, I want to go to view. I want to go down to rulers. So view rulers and show rulers. When I do layout design and like to have my rulers on, I don't really care for it, one of doing other things like social media graphics. But when I'm doing print projects and love to be ableto have my ruler. So I know sizing wise where I'm at with particular objects and also helps out when I do lay out stuff and I'm thinking about the rule of thirds. So let's talk about the rule of thirds. What is the rule of thirds? We're gonna do a little trick so we can go ahead and set up the rule of thirds. Basically, it's too vertical lines and two horizontal lines that evenly divides a particular piece into nine squares. And wherever you see, the kind of coming together of two squares usually ends up being nice places to position a certain piece. So I'm just going to show you this in action, and we'll be able to apply later to kind of make sure if we not sure about a certain placement, we can bring in our little grid and we can figure out if we like the placements. Let's go and create that you to do a box, just a simple box. Let's just make it a solid color and bring this back down and I'm gonna show you a little trick. So I'm just highlighting my box and going toe object, going down to path and going down to split into grid, and we're gonna be able to split this into nine even boxes. So split into grid and I got to do to Rose would preview are three rows and three bones. So now that I have my three columns in my three rows, I'm gonna be able to add guides a good and click on add guides. And that's gonna add these little guides at the end. Read. Click on. OK, we're gonna delete what we just created, but we're gonna keep those guides in place. So I'm just deleting all these little boxes. You will notice it created these thin little lines and this will be your rule of thirds that will help us with placement. And so a lot of times, if you have a particular object and you're not sure where to place it, sometimes tucking it right in the corner of a rule of thirds will be a nice position. So what we're gonna do so this doesn't interfere with their Eller. Other elements is we're just gonna select this entire grid that we just made. Make sure those air grouped and they are grouped. I'm gonna go over to my layers panel. God drag this over here. I'm creating a new layer right down here, and I'm gonna copy and paste that into my layer So there's a special way I'm gonna copy and paste. So I'm gonna go upto ob job up to edit, to go ahead and cut it out to do this keyboard shortcut if you want to, you have pasted and the new layer but what I'm gonna do instead of just pasting it cause I can paste it, but it's gonna be shifted a little bit over and I don't want that. I want it. Paste it exactly in that same position, I got to go up to edit and do paste in place on what paste in place is gonna do is gonna paste in the exact place that I cut it out. So it's not gonna shipped it at all. So that's kind of a neat trick for uses on when you're copying pasting photos that need to remain the exact same space. Just do, um, edit and then them paste in place. So now that that's here, I'm gonna lock that layer because I don't want that layer to be changed or shifted in anyway. So this is a locked layer. I'm gonna go back to my layer one, and this is where my design is gonna reside. We just call that rule of thirds just like a spell. That right, Rule of thirds. That's our bridge. We also have our other grid, which we could toggle with our little shortcut. I need to do command and in the quotation. And this will also be another help. We don't use those at the same time. So the rule of thirds is something to keep in mind when we're doing the basic part of the layout. But it's not something we always have to have on. So if I do come man and do my quotation Mark, I'm gonna get my main grid. So this is really gonna help with more minute placements of typography? This will help us align typography to the top portion, and we have typography on the bottom. It's nice to have that grid to be able to feel like we know where certain boxes shit and in certain text boxes should line up. So I'm gonna toggle this often on using my shortcut throughout this design. So command quotation. Go ahead and turn it off. Now 23. Poster Project - Blocking: So let's go ahead and get to the fun part. It's quite and rather branded assets, and I'm not sure for me to use a logo on a dark background or a light background. That's why we have both. And we'll go ahead and copy and paste both of these in here, and we're doing it on my design layer as my rule of thirds layer is locked to keep in mind for later. And, uh, I teach a 5 to 6 our design theory class where I go more in depth about layout design. So if you feel like you need some of that theory, I'm gonna go over that a little bit here. But if you really want deep theory, that's a fantastic class to take. Both Jeremy Deegan and I teach that class as well, so let's go ahead and get started. I'm gonna toggle off rule of thirds and toggle on my grid system every once in a while. So that's exactly what I'm doing is I'm switching between my rule of thirds and my grade just to get this to help guide me on placement, it doesn't have to be exact. That's the thing with layout designed. It has to look right to the eye, and sometimes getting it on the grid is not always good to be perfect. It's not always gonna work. So in the end, it's up to you to find out what works to bear, that just there is a guide. So I'm gonna play around. You're going to grab. This is actually ingredient mesh, which I'll have a lesson on your on how to create the radiant measures. But it's simply ah, complex. Grady in that has different points where you can edit the particular points of color and you're able to kind of create this almost highlight shadow effect with it. So I have. That is my main background, but I'm gonna try to think, What do I want? What is the main focus of the supplier? And so it's the advertised part since Dynamics, but it's also toe very briefly communicate what they do. What's their mission statement? I know Parson Dynamics. What is that? Is it an industrial firm? I don't know. That's what this poster is there for this flyer. It's already have some written out generic information that I would like to have on the Flyer. So I'm just having this in the same text this copied and pasted. So industry redesigned is their tagline or slogan, so that's gonna need to be pretty large. Have an idea. Let's build it together. So that's gonna be basically you're called action at the end after we've told the viewer what we are, what this company does, and we have some contact information and we'll be able to style eyes that as we get further down in the layout process and there's one more piece of information that I need to put in here and this kind of some generic copy that I've wrote written, that explains what the company does a little bit more detail. So instead of just taking the text box and pasting this information, you'll notice how I don't have a whole lot of control over this block. A copy and I have to do manual line breaks. I have to press shift and enter and create manual line breaks, and I don't have this wonderful right alignment. So how do I make a nice paragraph that I have control over? This is how you do it. We're gonna go hold the type tool. If you're gonna get an option called the area type tool, this is gonna be what we want. To put it in, we're gonna want to paste it in a square box or just any square box. Any sizes. Go ahead and create a box. We're gonna go back to our area type tool. We're gonna type up here in the upper left. Just go ahead and click at once. Could get kind of close to the corner. There we go, and it's gonna put some filler text in there. But I'm just gonna do Command V. And I'm pasting my copy that I got from my word document and you'll notice I now have ultimate control by changing the bounding box so I could make it a really tight column or could make it a really wide column. So that just gives you more control over your text. And when you get into end design and design, does this ah, lot easier for you. So this is how you do it? An illustrator. So now I have complete control over that type, and I can go and start to bring in my main elements and start to think about Where's my type? Get a live. So let's begin to, um go ahead and arrange this. So I'm gonna group this together so I don't have a nice group logo, and I want to maybe have Parsons at the bottom, and I'm not sure whether I want it black and white. So we're just gonna do what's called blocking, which is a very kind of nothing is a final design, a system blocking things out. I'm finding out where things were gonna live. We could put the type up here industry redesigned, so that could be our made headline or catchphrase have an idea this kind of a called action , so that's gonna be close to the logo. And contact information is probably to be the very last thing you see. So this is some very basic blocking not gonna start to get the idea of scale in size certain things like it was called type hierarchy. And I want to make sure I have specific objects small that need to be small in certain ones that are bigger. I don't want everything to be the same size cause. Then they all start to compete with each other, so industry redesigned, could be fairly large. This is all having a proper balance. Just like we had a proper balance with their logo. We need to have proper balance with layout. We have our main photography, which let me, uh, police the clipping mask. I'll show you how to do all that here in a minute. So this kind of generic photo of a group, But we may need to incorporate multiple images to make this flyer work. We'll get to that in a minute. I'm gonna go ahead and switch all of this off. It's gonna bring this back to how the image originally Waas. This was originally a black and white image. What is that text? That's my little pattern I created. So we might be able to incorporate that pattern in a little bit, but we're just doing basic blocking so we could have the information below here. Industry redesigned. Make that a little bit smaller. We could even put that in a bar that goes across. So I was creating a simple box, and I'm just going to send that backwards in the layering system. I'm gonna do my little shortcut command. And then the left bracket until I see my text on top. I think my text on top is black, so I need to make that white. There we go. Now, it could push that up a little bit. I want a little more white space here for my logo, and I'm gonna need my other logo. Here we go. Put that together. We don't need that. I think we're deciding to keep it on White. Have nice high contrast with their logo popping out there. Go ahead while we're blocking out. If we see something that could make it better, you got the eyedropper tool and just go ahead and get that color popped out there. So here's what I could do with this photo. This photo is way too strong. We wanna have this nice faded back into the background. It's not, um, see, all this kind of stuff up here, the ceiling. We don't need to see that. We really want to focus on the people. So this is where image cropping really comes in handy. So I want to basically crop that entire top portion out. I don't need it starting to draw a box where I think I'd like the photo cropped to draw simple box, and I'm gonna make it a stroke click down here and make sure I have it on the stroke. Okay, so I'm going to see where I want my image corrupt. So let's go and move that text box out of the way. Maybe cropped right here enough where it gives me a little room to feather it. So that's exactly where I wanted cropping to make the stroke bigger so you can see it. So now how do we crop this? We're gonna go ahead and select, are a little simple stroked box, and I got a hold down shift and select my photo and I'm gonna go to write, clip, right click, and then go to make clipping mask, and it's gonna go ahead and make clipping mask, and we'll do this again. And another layout idea. So we'll do that in a couple times as we go throughout the project. So now I want to either keep that sharp cropped line that could look cool, industrial or can faded a little bit by adding a feather. So let me see if I can add a feather to that photo. So you could go toe effect. I'm gonna go to style eyes, I think, to go down to feather. So effect stylized feather And then you do click on preview. And just seeing a little feather might look kind of nice blended in there. We can always remove that feather by going to our appearance panel and just dragging that into the trashcan. But I think we're gonna keep it for right now. We'll see how it goes. Um so also, I want to see how it's this black and white color and we have this beautiful kind of warm tone. It doesn't quite jive. How do I get this photo to match kind of this nice brown color? And so, for that is no going back to fourth to a couple different things. But let's do the transparency. And we played with this a little bit before, But let's see how it could get this photo to Blunden naturally with that warm brown color. So I'm gonna drop all the way down to luminosity. This is when I use a lot when I want a photo to blend in with the color and kind of bring that color behind it. through. So that's what we're doing right here with this photo. And I wouldn't have a little bit more of an emotional connection with this poster. I don't want to see a ton of people zoomed out. So let's zoom in a little bit more on these faces so we can have that emotional connection with the viewer. So let's zoom in on her photo, even if that means a couple people get cropped out. Sometimes that's just what happens. We can't always include everybody they will understand unless a client has a preference and wants to include everybody. But for that high emotional impact, we really want to zoom in on those people's faces and really having a conversation. They're planning their getting stuff done. So I'm gonna go ahead and remove that feather for right now so I can get an idea of my photo. So right now I'm gonna send this backwards into the layering system. I'm gonna do my little short gotten do command left bracket to send it backwards until it gets behind some of these elements. There we go. And let's say I cropped a photo. It's gonna be that texture of the way we crop that photo be doing right, click and doing a clipping mask. But how can I add it? That clipping mass, I could bring it down a little bit further. We're gonna get are direct selection tool When they go home over here to this corner, I'm just gonna kind of click it once and drag. And I'm able to kind of change where my photos cropped with the clipping mask just bringing that all the way down here. So it's cropped right at that white board in the background. Make sure that's evenly aligned. Great. We're starting to see a poster come together. It's not even close, but at least we're blocking it out, and we're getting a good idea of where we think they should go. So we're gonna go ahead and apply the grid system next to see how we can kind of shift some things around to make it a little better 24. Poster Project - Rule of Thirds: remember our rule of thirds had to go back to the layering system and toggle that visibility on you could toggle it all on and off so you can have it there the whole time you're designing. Or if it bothers, you can talk with off. I'm having it toggled on, and you could kind of see the small kind of lines that were created. So we'll see if we can't position things according to these lines. That'll maybe make it seem a little more clean. So I'm gonna take the logo and size it up. So it fits perfectly in that bottom box. Bottled bottom middle box. We could even align the little M of the Parsons Dynamics website to the to the right of this line, take the eyedropper tool and resize our phone number to the same size and could maybe tuck it over to this side. So you kind of see how it helps guide us and make certain design choices. It's not perfect. So you see this little top of the box here? No, it's a little bit hard to see. I should probably go in and change that, so it's a little bit darker you see, if I can't do that, let me unlock this for you and see if I can't make that stroke a little thicker for you. There we go. That's much better. Let's go ahead and lock that layer and go back to another layer. So I noticed this box is so close to that other, uh, first layer of boxes, most when Just go ahead. Line that up. Because why not? It's not gonna affect her layout to dramatically. Okay, And let's maybe arrest this line here. Four have it. Start here. Will have toe finesse this typography first. Before we continue further, we could even crop the photo so it comes down here on this middle part. But then again, we gotta see designers first. This is just a guy. It's not saw. Science was going travel this off. Must do one more thing. I'm gonna do my view and go to grids. Or I could do my little shortcut into command quotation and get my grids on. I kind of see what the grids say. You can use the through of thirds or it can use the grids is kind of guides, and sometimes you have to kind of shift certain elements out to be able to see the grid century underneath. So in this case, I might maybe align it to the grid system, the topography. Here, let's play around with this font choice and get our headline situated. And then we'll be able to kind of go back to the grid and get everything kind of nicely laid out. Well, let's get this headline a nice and situated. So in terms of font choice, we have me toggle the great off. We had a couple of front choices when we were developing logo that we went with and we did a custom version of the logo, so we don't have necessarily a type face that matches the rounded corners. We're gonna find something that's close. So this is as, oh sans black. This is what we used to develop are rounded corners down here. So we're gonna use that as our main headline font choice. Cem's gonna go ahead and drive out the the eyedropper tool. Go ahead, sample or text. And we have lower case used for our type on person so we could play around with the idea of also keeping this lower case to kind of have a design team. And what I'm gonna do here is I'm gonna go to the character panel, which you can find over here, or you can find up here. But I'm gonna use the one right here is gonna tuck transparency away. Okay, So have the character panel under play around with spacing here and let me first make this white. There we go. So this basing is way too wide. There's just this a gap that doesn't feel very connected. So we're gonna connect these a little bit. We're gonna go to the character panel on we're gonna set the letting it's called letting, and that's this spacing between the lines. We're gonna tuck this nicely to see how that why is nice and tucked into that space. That space is closed. It's not so tight that it overlaps. There's a little bit of breathing room, but not a huge gap. That's what we're gonna look for. So now that we have kind of Marfan choice and the leading situated, we have also the spaces between the type and with lower case letters. I like to have a little bit of tighter spacing. UBS because if you do, we'll go and show the example. Wider spacing with lower case type. It feels a little disconnected. So let's bring it back to the negative 25. And we want this to be the largest element. We want to have balance with her designs. We want to make sure things some things are larger and some things or smaller. That'll be kind of our big kind of grabber headline. We also want to adapt this. So let's go and get the eyedropper tool. Sample this and go ahead and hold down shift and make that a lot smaller. We could even play around. Let's see if we even have a metallic. I think, What? This typeface. I don't have a choice to make it italic, and that's okay because we have a second type choice. We can have this dynamics down here in the logo. See this? Believe this is railway, so we can just ungroomed this text and copy. They are just have it right here. I have railway medium, so let's play off the second type choice that we have with the logo. Make it white and let's have some nice wide spacing. But Let's also make it all caps. So I'm in the character panel. I'm gonna click here to this extra options area. This is just a quick way to do in all caps, or you can make them small caps. Or you could do the sub scripts kind of where those options are. So I'm gonna make this a ball cap and disclose the spacing until I feel like it's at a good spacings. Let's Bud skip down to four for four. A little bit more spacing. 555 Great. So now we have this nice, clean option, and let's actually make it a tighter spacing so I could make the type a little bigger. Here we go, just kind of messing around with spacing and size. I have several weights with Railway. That's why real way is so amazing. Let's do a semi bold to make sure that people can really see this when it's printed, and we could even change up this text instead of it all being the same weight. We can really bring emphasis by making one word boulder. So have an idea. Let's build it together. What's the most important word for this particular piece? have an idea. Okay, that's not as important. Let's build it together. So to worse that really pop out to be is the word build and together. So both of those are very important. So which one do we highlight and probably gonna do build? Because Parton's dynamics is an industrial manufacturer. So what they do is they build things for you. So that's the word we really wanna highlight. And so understanding the branding and the kind of the fos or what the company stands for really helps to understand as a designer. So you know what words to bring out and what words to emphasize. So we're gonna make this black, which is the boldest weight available, so haven't idea. Let's build it together. And I'm also noticing I stuck. Need to continue to tighten that spacing. Okay, so this is just kind of the trial and error of doing the layout, and I'm gonna make that back to regular medium weight to have a higher contrast between that bold and in the lighter weight and what I like to do instead of expanding and having everything go right to the edge. I like to have a lots of white space and breathing room. It really adds a sense of professionalism and cleanliness to a design. So notice how this is stretched all the way across amusing 100% of the of the real estate here. But sometimes it's nice to be able to make this small and have it in the center and have lots a lot to room here. Doesn't it kind of bring a clean professionalism? It just kind of helps it just look better and you don't have people. I don't know a lot of people stretching all the way across because they want to make sure that the viewer sees it, but they'll see it as long as the text is legible. When it's printed, you can make it in size because I know a lot of designers are like I don't want to make it so small that they can't read it. But trust me on this one sometimes and making it a little bit smaller like that is a good trade off because it helps to bring out all the other elements and to make it look clean and professional. That's the whole goal of this particular project, so sometimes It's not wise to stretch all the way to the edge, but to have that extra padding their an extra margin and so the same thing with our little contact information. So let's go ahead and bring out We take the eyedropper tool example the railway. Or we could bring out our headline thought. Let's see what the headlight thought Looks like, says Choose Black. For right now we have to make that a lot smaller. Okay, I really like this boulder type over. The railways were gonna keep with the as of Sands has of Sands. So let's get our rule of thirds back out because I just messed up the location of that. And when it comes to point sizes is an 8.5 by 11 flier, and I have this up here, If you see appear the character panel or right here, the character pale. Um, I can have it a small as eight points, and it could still be legible. I don't like to have anything lower than eight points unless it's fine print or like a legal copy or something. Words all rights reserved. That can be six points by the personal Aidas my level where I really don't want to make it smaller than eight points, and that's just because it's electability issue. So this is the smallest. I would recommend having it, but it's way too small, but just kind of letting you know that. That's kind of the limit I have in terms of size. So I got up this just a little bit and size. This is important information, but it's not. They convey if they need to get the contact information, they'll see it. That doesn't need to be like a billboard. We have the number or super duper large. It just looks tacky. If you do that on the Flyer, we're gonna have this nice and settle. We could line it on the rule of thirds. Or it can end up bringing out or grids and finding kind of a nice placement there. So let's which to our brown color that seems to be our feet. Let's switch off the rule of thirds for a moment, so that doesn't get in our way. Okay, so now it's where we can kind of mess with the photo. Maybe it blurs a little bit more, so let's get that feathering effect back out. So let's do feather. I'm just gonna go ahead and apply a feather and bring that up a little bit because we don't have so much real estate just for that headline. We really want the photo to be a focus so we can have this left aligned. But we do tend to have, like, a really strong center alignment with his peace, especially at the bottom. So what if we continue to play with that and we keep this center aligned? As much as I love left alignment, I love left alignment, but let's have a nice center or committing to a particular alignment, it's gonna be center aligned instead of having the left line in. And then you have a center. It seems disorganized. But when you have you commit to a particular type of alignment, it looks really good, and we're gonna try a couple of different layouts so we can play around with alignment. So we're not just gonna do this one option 25. Poster Project - Layout: it was able to light this further a little bit, and this could be a nice soft flyer option or layout option. I think this is very soft, but let's say we want to play a little bit more with color, maybe have a different layout option in a photo option for a client for ourselves that we're doing this for ourselves. Let's play around with the different option. I'm gonna go ahead and save this version, and a couple things we could do is we could create different art board so we can see all of our layouts together. So I think that's what we're gonna do after this saves just gonna file documents set up and let's get that edit our board option available. I'm gonna go ahead and add anyone that's gonna added at the same size, but we're going to shift it over a little bit. Eliminate that one and let's bring in a really bright, vivid, colorful one. Let's take a different direction to see what way the client wants to go with this cause we're still working on their brand. We're still working on their color palette that needs to be brought down well They found this photo on pixels dot com, which is a great place to find free photos to work with. You don't have to pay for them, and you have the full rights to use the artwork. Let's play around with the different palette ideas to really bring out the color here. So I'm gonna go to our logo and make some color changes real quick. I'm gonna highlight one of these really cool colors. Maybe that purple. And that was a pretty quick transition. What's also highlight and bring out some different of different colors. Kind of a lighter shade. Maybe bring up being orange tone out on this, Maybe make it dark. There we go. Bring the orange out in the copy. Now we're getting a little bit more of a modern kind of layout, so let's play around significantly with this. We could do one line of type and they couldn't feather this photo a little bit. Let's go effect stylized. Let's feather it just a little bit and let's put a solid color box behind it. I'm not gonna worry about bleed yet. Some designing everything to the black line. I worry about believed later arrangements in this one of the back instead of fading toe wide, fades into a nice, rich color. So let's go to our, uh, what a change that. So let me go to appearance panel and let me make it a more dramatic shadow. I'm just doing 2.2 inches so that we can really make sure this pops out. I'm trying not to use too many colors trying to keep to maybe two or three. Maybe there's a light on Warm Jack and use here. Uh, let's try something a little different. Well, Springer White logo in. And let's make this a full solid set up having bars. Let's do this. Needed to go in and change his color on this logo your real quick. Okay, so we have our logo adapted. It's gotten zoom out and get a good idea blocking. So I like this land a little bit. What we could do is bring this down. It will be able to bring down the cropping. Let's crop this photo. We're gonna do this again. So we're gonna go ahead and grab our box, go ahead and draw where we think we would like it to be corrupt I just want a crop a little bit up there, so it fades a little nicer to bring this down. Drop it right out there. Double click both of these and under the right click and make a clipping mask, and it's gonna crop it right where I want. I'm gonna go back and add that same whether I had Here we go now I'm just gonna now have some nice area for our called our big headline. And let's bring out even more color here. I wonder who can't go ahead and go draw box your second sample my yellow See if we can't make that yellow Make that a little bit bigger now it's no longer in that box or what we can do is bring more emphasis. Make that white again and we could bring more emphasis to our build by making that a different color. So we have it a little bit. Can also bring out dynamics a different color. Cut this word out to try something a little bit more creative with the headline. So just having one type going across can't see if we can't tuck that in a little bit and notice how I'm kind of lining up the are in the d. How that Why kind of tux nicely into that space And we could play around with color, have two different colors here where we could do white. And what's the most important words redesigned. So let's make this white. So the color one is redesigned. You make that photo a little bit smaller. There we go. I think we have pretty close on this one. I want to make sure there's the same space in here as there is right here. We're gonna switch into grid. I'm gonna do command, and I get to the quotation marks switching to great. I'm just gonna remove this background or lowered a little bit so I can line this up a little better. Let's make this black. Now that's gonna line this up on the grid that lines up almost perfectly. Just needed making a little bit bigger. So you notice how the D is on this line in the eyes on that line just kind of helps guide me a little bit. Okay, so I'm gonna toggle right off and bring our color back up. You make our industry wide again and I have a pattern that I used. I developed this pattern when I did the logo design. I can't see it, but I'm gonna go ahead, bring it over. This just kind of this little X pattern that I created. Now, put a video here in this class to show you how to create patterns, just in case you want to do the same thing. So I feel like I could maybe incorporate this pattern somehow. Just not sure how yet goes to show. Just extend that brand assets somehow. So it could even just be too simple. Rows of exes that go across the bottom there is element doesn't overpower, doesn't overwhelm. Sister really settled element. And people can know that it's tied to the brand. Kids will see it elsewhere in the branding. Could be down here in the bottom. We're gonna play around with this and see if I can't find a better placement 26. Poster Project - Finalizing Layout: So what I decided to do was I wasn't liking the way it was feathering at the top. It seems kind of harsh. Couldn't get it to be a more gradual kind of look. And since this is an industrial company, I really want to have these nice, sharp edges. So I decided to go back. I went to my appearance panel and deleted the feathering, and I went back to my transparency and took off the blending mode. Made it normal. So basically brought back the original photo exactly how it waas and I just have a box, you're gonna crop it. So I'm gonna make a box and crop it right about here. I like how this looks right here. That connects nicely. And I believe we already made sure the left and the right sides are good. And we want to have a little bit more space up top because we make sure we have margins, especially if this is gonna be a design in a magazine. Wouldn't make sure you have lots of margin around your piece. So that is a fantastic second option. Totally different from the 1st 1 isn't it? Um, And now that I'm looking at the 1st 1 I'm realizing we could make some tweaks to make it even better. So do you think it needs a higher contrast bar here? So what if we adapted to make that a different needs? A contrast in color. I think what goes really well with Brown and tans is blue. So let's go. You know, a little bit of color theory. You'll know that there's go really well together. Brown blue. Let's try to find a blue. That's deep enough. See, that could work really well, I think once you move away from one layout and you go back to it, you start to see little mistakes and ways to improve it. What we could do is, since we really like the way this is laid out, we could bring it over to our other layout and adapt it. Yeah, so just kind of tweaking that to make it a little bit better, we could make this a little bit bigger. Try to find the right balance, maybe do a drop shadow on that some scoop. It'll effect style, eyes and drop shadow, and I want to add a really subtle shadows going to preview back that off to maybe 15%. And let's reduce the spacings 2.1 point 01 and reduce the blur as well. It was just enoughto make it pop against that light background. Since this is also light, it's always room for improvement and tweaking. What do you think about that? Yes, that looks great. I like the change to blue, so we have the option one option. Two very different. We could bring our pattern over here if we wanted to. We could put it over top. This little bar, I think I have to go back into swatches. Is there a little pattern? I'll teach you how to do patterns here shortly. Have a little pattern here and make it white boots and save it. We'll go over this in a little bit. Here we go. A little pattern. Send it backwards into the layering system. Okay, so let's do one final layout. Let's make this one a little bit more detailed and complicated. Let's add this copy into it. Let's see if we can work that end with maybe three different photos and we could work with cropping a little bit more and how to work with a little bit more complex amount of data because right now we only have a couple of lines of copy. It's very easy to lay out, but when you start to ADM or information that is to be read, it starts to get more complicated. So I want to do one more layout that incorporates more information that you have to somehow make readable, professional and clean. 27. Poster Project - Finalizing Layout part 2: so because third and final layout to do a little bit of blocking ahead of time. So I brought kind of some elements over to save a little bit of time. And I go toggle my grids are going to command in quotation to get my grid, and I'm gonna start to block this out. So I think the important part is finding out where the work in this pretty large block of copy we don't need this have an idea. Let's build it together cause we already have that. I'm gonna bring out my paragraph panel and you notice how it has a wonderful left alignment . It looks great, but you have this ragged right alignment. And you also have these hyphens that air dividing very simple words like company. We don't want that clients never like hyphens. So let's go ahead and highlight all of our text and we're inner paragraph and we're gonna unclip hyphenate. So that's good. A, um make it where they don't have any more hyphens, which is fantastic when you have smaller columns. Hyphens air really important. When you have a column that small, you almost have to do hyphens. But for something like this. You don't really need hyphens, and it really makes it look nicer. So now we get to mess around with alignment, so I'm gonna highlight them all. And there's a couple of them you can do. You can do center alignment, right? Alignment Israel. Pretty standard alignments. But the one that I love the most, it's justify with last line a line left. What this does is it aligns everything flush on the left side, but also the right side. So it just looks like a wonderful block of copy. This is great when it comes to lay out design. When you do editorial magazines where you have much larger blocks A copy. It looks really nice. So I just kind of did that alignment and I took away. The highlights are the the hyphens. Pardon me, I'm gonna highlight everything. And right now this is myriad pro. We want to go ahead and adapt. Ah, one of our font choices. I think that as oh Sands, I don't have a lot of choices with weight. Let's see what happens here. See how that's a pretty large block. A copy. We'll see if I could make this a little bit longer. I like how that looks, but there's just too much of a block, A copy. So there's a couple things we could do we could do are thicker, bolder font for the first line and the copy. Go and make this smaller. And then I can highlight this part of the copy and make it the smaller railway fought, which I believe waas was it this one. But I want to do it from scratch. So gonna go up here into railway and do a regular wait, make it smaller, and then reduce what is called the spacing or the leading between the spacing between the lines and to reduce that I'm in the character panel. We're gonna leave some wide spacing here. I'm gonna do the same thing that highlight these three lines. I'm adjusting the leading to find the right spacing. I want to make sure there's a line break here to divide that copy up. So let's go ahead and get our grid back on and see if I can't make this a little bit smaller stew 14 and then reduce the letting of work and make sure we have our just by just if I would last line a line left for that one. But for this top one, let's do a left alignment. Let's not let me do that unless I divide into two separate boxes. That's no problem. Get a copy and paste. I got to separate these two elements, which is probably wise anyway, because they're so different. Now. I have a little bit more control over each box, and I can keep That is a left alignment. And let's make sure the hyphenate is unclipped. And now I could take this box and make sure Hyphenate is unclipped and click on our justify left. Let's bring this down. Put a dividing line, okay? And we're just doing some blocking out our type. Okay, so we can make this probably a smaller size. Remember, we don't want to go under eight, so it's keeping it 12 points and close the gap a little bit. This is smaller body copy. We don't have to have this much spacing for a little dividing one. Here, go flush with that paragraph and there we go. Let's do a left alignment here. This is why we have a separate elements. I think that just looks better. So let's start like, really utilizing the grid system. Here, let me close the gap between that just a little bit. And I'm just gonna kind of put this on the grid a little bit, So I'm just zooming in on putting this line right here. If I have two spaces between here in the line, let's try to spaces between here and our other smaller body. Copy. And let's maybe bring us all the way to this line. So you notice the grid is helping you find out where I can make the thickness of that copy . So let's bring in our headline. Now, let's keep with this nice left alignment here and we can keep this he this going here? So the headline kind of goes a little bit over to the right, So this have I have an idea. Build it together. Let's make it flush. Let's make it where the are ends right here at the line of the grid, and we can worry about the this other contact information later. So let's toddle off the grid. Let's find a way to work in these photos. I want to work in three photos with this layout, so we're gonna kind of make them all the same size, and we could do some cropping here. So here's what we can do with, uh, blocking. Let's get our rectangle tool and let's make three different boxes. Let's use our grid system Will to make it six full grid system boxes to get a copy and paste. Copy and paste were to see how we can work in these three photos. We could do him even like this. And now that we have them all the same size, we could just go like this and become a little bit more narrow. Let's make him three circles most Mecham different sizes. So let's make him different colors. So we know which circle is which. And this is worker to use the cropping tool again. So let's figure out people is most important for your people shot. So let's bring in the people shot to be the bigger circle. We're gonna click on this and also click on our circle better right click and make clipping mask. And now that it's crop, we can take our direct selection tools. Select on the photo and we could shift that photo around the cropping. Or we could go back into the selection tool on hold down shift and be able to make it smaller, get the right cropping. We're gonna do same thing with the other photos. Go ahead and make its shorter select, both right click clipping mask. Let's bring out the material a little more in that. So I'm just making smaller. Could put a yellow border on them so we can take the eyedropper tool. Sample that yellow, switch it to a stroke. Let's bring our strip panel out and make that a little thicker. OK, do that. Let's bring our purple background and really start to put this together. Let's get a purple background right clicks and that to the back. Let's make this fall white for now and then make our redesigned hello. And despite that yellow too, it's gonna swatch yellow Sample that yellow so it can always click back and user eyedropper tool. Hey, we can also do the line yellow, so this is really coming together. I think the stroke is a little too thick, so I'm gonna select at all and reduce the stroke a tad. And let's do a nice drop shadow on these, you click all of them, but a drop shadow preview. Let's make it a nice long shadows. Let's do a big blur. Let's put a little distance here and let's do to do 33 seat. That's not too strong. Let's make this little bigger. Put that on top, and now we can make this all yellow or even better. Make that white and bring out that build as yellow to have that nice high contrast. And let's play with that nice left alignment here and what's tough that right here with enough space to make it a different thought. So I don't want this to Rita's one big block, so of putting a little distance here. Let's also left the line. Our logo. We could bring back our grid and align everything want to. Let's have this continually stretch across here, so I like this overall layout. There's not any huge gaps. There's nice margin here. Between everywhere, we can do something kind of fun for the background, so it's not kind of kind of a boring background. We could bring in our little texture. We can bring in one of our other photos, bring in our little texture that we made right that could also be in the bottom weaken do, ah, blending mode and bringing another photo. I think that's exactly what I'm gonna do. I'm pretty happy with this layout. What I like to do what I have type here, make it one notch small. It's the making 11 points. I like to bring out a word every once in a while. So our main focus and what I'm gonna do is this bold focus. It's going to do a bold, and that kind of helps break down this type a little bit. So our main focus is to help design, produce and mass produce any project product imaginable. So how about any product Any was highlight any. I'm just picking out a word that I think would help help it re a little better, Um, of the are talented team, talented teams. Pretty important. It's bring out that has okay, and I probably do some spell check on that's kind of awesome generic copy and could do the same thing here where maybe this is white, right? But I kind of like it simple, kind of less back and forth. Let's make that a little smaller. And bring that down a little bit more so I could connect it with the rest of the type. Just noodling around with spacing. Making sure I add enough. I have lots of room here, so there's no excuse. Bring that over to utilize that space. Make sure people's heads air not covered. And then there's enough. Ah, nice cropping with the photography. All right, So one more thing that work done with this entire project let me grab one more showed. I wonder if I could grab people photo, see what that looks like. So that's being brought over. And I'm gonna do a different blending modes. I'm gonna break out my transparency panel. Hopefully, you guys air learning through repetition Kind of a lot of this. I'm gonna right click. I'm gonna bring that backwards and then bring it forward. I do in command, right bracket on bringing it second. Bring it back and forth. So have luminosity at 50% have a luminosity blending mode. I have all these different windows open. I apologize. I'm a mess when I create, That's okay. And the key here is we could use it this way so that people are looking to the left, but they're looking off the page and kind of a design, I guess Theory kind of idea is toe. Have people look toward the center of a design piece? So instead of people looking away and off the page, you have people look toward the page. So when you ever want a crop of particular photo, that could help you make that choice of whether I did the left or the right side. I want people looking inward toward the other photos. It kind of helps the kind of a psychological thing there where people see someone looking somewhere, you look toward that direction. So this could be I'm a little concerned. It's time. Tiny busy. Let me see if I can't maybe not have that texture up top. So let's eliminate that altogether. You try one more photo to see if it works better and that I think we are done 28. Poster Project - Exporting Our Files: All right, we're in the homestretch. One more photo to test out going. Delete the photo. We had to see if this one works better. So I get in my transparency and set it to the same luminosity. And I got to reduce the opacity and also do a feathers are gonna go down stylized and feather that so it blends in nicely. Don't see the edges. Okay, let's make it a little bit bigger so you could see the texture on it. And OK, so luminosity is not working. Let me go ahead and send this to the back. So I know that's all the way in the background there. And let's do a couple of different ones was trying overlay. Okay, so overlay. Let's make it a little stronger so we can see what effect that blending mode is having. I like hard light. Lots of Let's see, if hard light looks is just experimenting with the different blending modes, which you could also do in photo shop. Soft light is looking the best so far. So thank you for joining me on this kind of adventure. I know it was kind of a long kind of chapter in this class, but I just wanted to show you my role design process. It's not about of coming up with the perfect layout using the grid right away. It's more complicated than that. And it evolves scums and brainstorming and blocking out of your type to kind of find out what works for you and what works for the client. These air, three very different types of projects, and I'm gonna do one more thing, and that's gonna be able to export these files. So let's say we chose one Final one. So what we're gonna do is go ahead, delete the 1st 1 and elite 3rd 1 And let's say this is the one we really want to adapt around. We might need multiple versions depending on it. They like that small copy or not going to delete that are bored and under delete this art board. We're left with one left and let's goto file documents set up and somehow are bleeds got knocked off during the process of creating new art boards. That's okay. We're gonna go ahead and make sure the bleeds air on. So I just went to document set up and have 1/8 bleed all the way around. Let we're gonna bring everything this is gonna be for print. We're gonna send us off to a printer to print maybe 10,000 of these. So we're gonna just make sure everything goes off to the edge. Where we have it right now is exactly where it's going to be printed. So this is just extra left over for the printer to work with, just in case the printer machine doesn't work perfectly times getting the direct selection tool since this is a corrupt photo and I'm just bringing it all the way to the edge. All right, let's cough the edge going. Take this pattern, make that go off the edge and down to here and that's it. We've added lead to this product or to this flyer. So before we export, there's two final things. If we're gonna get this printed that we need to do, we need to create outlines with all live text so it can hand select each item each text item we can right click, and then we can create outlines. Or if there's a ton of text on this document, you could do a little shortcut and go to select, go down to object and go down toe all text objects. So it's gonna automatically select all text objects you can right click and create outlines . The printers always require you to create outlines on all documents to make sure that text is not creditable and its kind of final. So that's one step. And then also you want to make sure your poster isn't see and why came out? You don't wanna have r g B mode, cause that's for print. And since we're kind of designing this poster to be used for digital and print, that's why I currently have it said Toe RGB. So all we're gonna do is go ahead and get our documents, which to the sea and like, a color mode. So we're gonna go to file, we're gonna go down to document color and their c m y que where it's gonna switch it over to see him like a mode, and Scott automatically can convert all of our colors if we need to go in and find tune any of the colors to make it match. What we had an RGB we can Sometimes it'll darken the color is a little bit because they're different color profiles. So if you ever wanted to switch it back, go to file document color mode and you could switch back to RGB for when you do. Ah, digital documents. All right, so now we're ready to export it. We're gonna go to file, save as I'd like to do pdf's because it keeps him in vector format. We're gonna go down to pdf click out save, and this is the illustrator default. So go ahead and click on Illustrator Default, and I'll show you how to kind of export. This is a press ready document. So I like to own click Preserve Illustrator editing capabilities because this means that someone can access the layers and edit this. But the problem is, it makes it a really big file size. And the printer does not need to go in and edit this. You've already done all the edits. So go ahead and click this off because it's gonna make the file size a lot smaller, which is good. Go down the compression. Don't worry that the defaults line marks and bleed. We want the trim marks clicked, so just click on trim marks, and it's gonna show up where the trend the bleed so include the document bleed settings, which we set up when we started the document. Everything else by, um, output. Don't worry about it. A lot of these don't worry about it for right now, unless the printer has a particular request. Okay, so you can save in a particular format. 2003 is something that I've always done, the one a. But I've been doing none for years, and I've had no complaints. So then click Save as and we're going to go ahead, it says, saving this document worth preserved illustrator and editing capabilities turned off. Don't worry about it. The printer does not need to edit this three. Click on Save, and we have our pdf ready to rock and roll. Here's your poster and eager to see the crop, Marks added. That's where the bleed, where they know to trim off the bleed that we added. So let's go ahead and do. 50% could see our final document as a PdF. You had in test that out to 25%. There's our final document ready to go to the printer, so let's say I want to adapt this now to digital mediums, so I'm gonna go file documents set up. I don't really need bleeds. I'm just gonna take it down to zero. I'm gonna save it as a JPEG. So let me do the file you want to save as about doing something for the weapons export. So file export export as a J peg. Just like that, we have a J peg and we have a J. Paige in a pdf and we can resize us. We could go to file documents, set up edit art boards. We can add a new art board and make it an instagram post just by making it 1000 by 1000. And we could copy and paste that and be able to adapt, are designed to a different layout, maybe removing a particular element to make it work. And so we did this post resign because now it can scale it up to a larger size or smaller size like the instagram. So I gotta go to documents set up. I'm going to scale this higher to a big poster design. So we had a flyer, and now, just like this, it's highlighted all my elements. Get a hold down shift and drag, and I'm gonna be able to adapt this to a large poster size very, very easily.