Intro to Package Design: Creativity, Print Production, and Hot Sauce | Jon Brommet | Skillshare

Intro to Package Design: Creativity, Print Production, and Hot Sauce

Jon Brommet, Graphic Designer

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13 Lessons (1h 9m)
    • 1. Introduction

      1:45
    • 2. The Class Project

      2:27
    • 3. Ideas and Sketching

      4:14
    • 4. Inspiration and Competition

      7:17
    • 5. Dieline Setup and Usage

      9:01
    • 6. What Is Bleed?

      1:45
    • 7. Nutrition Facts and Barcodes

      8:18
    • 8. Font and Stock Licensing

      5:15
    • 9. Designing Your Label

      12:02
    • 10. File Naming and Organization

      5:22
    • 11. Making a File Print Ready

      6:21
    • 12. Final Thoughts

      2:46
    • 13. A Message From Future Jon

      2:24
12 students are watching this class

About This Class

In this class I go over the basics of package design so you understand things like branding, hierarchy, legibility, consistency across products, and everything you need to get started in the world of print production.

In this class we go over:

- The importance of generating ideas and sketching BEFORE looking at inspiration or competitors

- Setting up your artboard with bleed and safety margins

- A real world example of how bleed works

- Using Nutrition Facts and barcodes

- Font and image licensing

- File organization

- Setting up your final file for print

- And more!

What you can use:

Knowing how to properly setup a file with bleed and prepare it for print is the basis for most design work you'll do in Adobe Illustrator. Therefore you'll learn good practice tips to make sure you know the ins and outs so you can be confident in your process when dealing with printers or clients.

Be sure to follow me on Skillshare, Instagram, and YouTube to see my artwork and latest videos.

Thanks! I hope you all enjoy the class.

Transcripts

1. Introduction: What's up Skillshare? My name is Jon Brommet and welcome to Intro to Package Design. In this class, we are going to be going over everything you need to know for package design, and that is hierarchy, branding and consistency across products, understanding nutrition facts, barcodes, some of the boring stuff, the rules, all kinds of crazy design stuff. You're going learn a lot. On top of learning all that, you're even going to know things like bleed and die lines, and all these really murderous, terrible sounding terms that for some reason they are used in the print industry. I'm going to show you what those are in case you don't know, and if you do know we're going to go quickly so you can skip over. It's not a big deal. For this class, I'm super excited about the class project. It is designing your own hot sauce label. Hot sauce labels are basically the wild west of package design. You can do almost anything you want, but I am going to show you how to follow the rules and be creative along with them. We're aiming at the hot sauce, efficient auto, which is the boutique. It is kind of, have you ever seen Hot Ones on YouTube, that kind of concept. We want somebody who is searching out hot sauce online, and we want your package to stand out amongst all of the amazing packages that are already out there. We want your label to pop. Also, don't worry if hot sauce isn't your thing, this is a class about Package Design. It's not just about hot sauce label, it applies to any kind of package design, general rules, general setup to anything to do with the food and beverage industry. This is going give you a good starting point to understanding how it all works. Obviously I'm super excited about this class. I've had maybe too much coffee but let's get into it, let's get going. It is one of the most fun projects that we've done in a while, let's get into it. Let's create some hot sauce labels. 2. The Class Project: Let's talk about the class project. That is in this class, we are going to be making, wait. We're going to be making hot sauce labels, super, cool, hot sauce labels. That is the class project.I want you to create your own hot sauce label. Now it doesn't have to be in the 1930s style like I did. I just thought it would be fun.It will be unique and something I hadn't seen before. But you can do it in any style you want, or you can do it in the 1930s style. By the way, I taught a class on 1930s, if you want know more about that style. Anyways, so now that you know the class project, you want to start coming up with ideas and you want to start sketching.I recommend that you do that before you actually look at inspiration, before you look at competitors, before you look at anything else. This is going to always be to each their own. But in some cases, if you actually look at what the competitors are doing and you're trying to get inspiration, you may end up inadvertently copying them, or they kind of put you in this little box because you see all the different things.It's like, wow, this guy never did this and this guy never did this, so maybe I shouldn't do that.You may just you're not thinking this, I don't think, it's subconsciously going to put you in this little box and you don't want that to happen. You want to be able to create anything you want, be as creative as possible and try and come up with your own ideas. Then you can look at inspiration and competition because it is important to know what they're doing so that your design stands out from theirs. But I recommend highly to sketch, come up with your ideas first, then look at inspiration, and then afterwards, of course, you can change your sketch and you can be like, oh, that's a great idea. You can take little bits of ideas from things. Of course don't copy anyone, but then you can refine and finish your artwork before you move into the computer, at least your idea of what you're going to do, if it involves drawing or sketching like mine does. Some of you may do something really modern that just you can hop right into the computer, whatever your style is, that's totally fine. Just start with the idea and the sketch first. Then look at inspiration, then look at the competition because you need to know what they're doing. Need to know. Now we're going to go into my sketching process and my drawing, it's kind of getting used to be a really quick overview because I've done so many classes now on my illustration, in my sketching literally did in 1930s class on illustrating a drawing. That kind of already broke that down. We're not going to spend a lot of time on my design and my artwork for chain because that's what I've always done, but rather how to set files up properly, good design tips, you know a little bit of dealing with branding and all those sorts of important things. You can hop in and do your thing. It's not going to be a lot about illustration this time round. 3. Ideas and Sketching: [MUSIC] So you can see when I went into drawing that I went in basically right away to draw in my yeti. I didn't bother with drawing much of an outline for the actual layout. I just wanted to have the idea of sweaty yeti and the idea of a chicken wing and I just make some notes, that I want mountains in the background and I want sweat dripping off him. So I basically just want to get down as much information as I can as fast as I can, so I can keep sketching. From there I played around with the look of the yeti. I tried making him a little more cartoon. I played a lot with the expressions. Cartooning isn't exactly something I'm super comfortable with doing but I love the 1930's look, so I thought it would be fun to play further in that realm that I've done in the past. So you can see here I experimented with a bunch of different faces. The way the eyebrows go, lots of different ways for the eyes and the mouth. The eyes, eyebrows, mouth, those are kind of the main focuses that I wanted to try and nail down but I found that these are looking too cutesy and what I like about the 1930's is that it's generally got a little bit of a creepy vibe to it. Once when I arrived at this guy over here, and I thought that he was looking pretty good, but he looks a little too human. The way the beard is and the face and stuff that's just looks like a guy. A normal human, basically with long hair here, other than the body. So I didn't think it looked much enough like a yeti. So then I experimented more with trying to make it look a little less human and I arrived at this concept and that's when I thought it would be best to bring in Procreate on my iPad so that I could draw it a little nicer and faster. Of course, you do not need a iPad or any kind of expensive drawing software. In order to do this illustration, you could draw it nicely, go over with tracing paper with marker and then bringing it into the computer. From there it'd be the exact same but I do have an iPad Pro and I can draw digitally and if you have it, it makes it easier because you can easily just move things around and resize things digitally and it does speed up your workflow. Especially if you're like me, you're not as confident of an artist and it takes a little time to refine. So this is how I started and then from here I went to the iPad. [MUSIC] So I just want to show here that I did not actually sketch out my layout and that was for a single purpose is because I knew when I was going draw thing it'll be a little bit small here. Hopefully you can see this. I knew basically I wanted a simple rectangle and I'm breaking that up into three sections, which I'll show in a second and I knew I want all of the info, basically everything important here and then this is going to be nutrition facts, ingredients and over here we'll figure out where a bar code, some texts goes and where it's made and that kind of boring stuff. So both of these are very unimportant to sketch. It's basically all of this panel and I knew from the start that I wanted basically all of that panel to be the yeti. So I didn't do a lot of sketching for my layout, which is something that I would normally recommend doing. Once in a while I like to break my own rules. So here's an example just so you can see. This label is basically three rectangles, one, two, three. So you can only see basically a third of the label at a time. So that was the main part and then that is the nutrition facts, boring stuff. So there's not a lot of point in sketching that and then this has a little bit of a layout opportunity, but I was able to just figure this out on the computer comfortably enough. I didn't feel that I needed to just sketch it. I had in this project a pretty good idea of what I wanted to do right from the start. 4. Inspiration and Competition: Now that we've sketched our initial ideas and our initial sketches, now it's okay to look at the competition for inspiration and just to have an idea of what your hypothetically competing with at the very least. Of course, if you're designing a package for something else, you're going to look at someone else, because this class project is hot sauce, we are looking at hot sauce labels. The website that I'm on right now is heatonist.com. They're either affiliated with or owned by the YouTube channel Hot Ones, and I've seen Hot Ones, it's an amazing YouTube show, it was the inspiration for the show, and it got me to realizing how fun and cool hot sauce labels can be. I think a lot of people are buying them just similar to craft beer market, where people just want to try it because the bottle looks cool. Sometimes people will buy the product purely because they think the label looks cool and they want that in their house. Then they're more likely to enjoy the product, even if it's not as good because they loved the label so much. That's how important packaging design can be and I think it's really important with things like craft beer market especially and something like these hot sauce label packages. Now, you notice something that's really important on most of these because I see this a lot, especially for beginners when they're creating their own package, they want to go insane and sometimes you're taught that in school. I think I was taught that in school as well, is you want to go insane. The sky is the limit, if you're making this for your portfolio or for fun, you can do anything if you want. You can have crazy dielines, you can have them BOSSED in foils, all this crazy stuff. But the problem with that concept is that a lot of the times that's just rooted not in reality. Most hot sauce labels are just going to be very simple. A lot of them are just a rectangle and that is because it is cost effective that way. It's going to cost the printer way more money, it's going to cost the company way more money to do any specialty print, especially if they're planning to do a small run because they're just starting out. It's super expensive to have a specialty. So I encourage you to try and be creative without doing some specialty print. Although admittedly, if it's for your portfolio you can break those rules. But generally speaking, I like to try and root myself from reality and make something that someone can actually buy and use right away and they wouldn't have to pay a fortune to actually get it made. You be creative within those constraints, rather than just making it really cool because you can do whatever you want. A lot of times when I tackle any design project that I feel I need to look at competition or reference, what I would do is make a mood board and a mood board is basically just a board with a bunch of examples of things that you like. Some people would include silly things like a couch or anything that gives the feel of the customer and who's going to be buying the product, because that's something you have to consider. In order to design the design, well, you need to know who is going to actually buy it. You have to get in their headspace and what they think is cool, not just what applies to your product. But this website is a really great example because HOT Ones is really popular, so a ton of people are coming over from that YouTube channel and they're buying hot sauces right off of this website and of course, these top four here are all from the actual hot sauce company, Heatonist. They're actually made by them. Then they do sell all products that are made by other companies. You can see here is one example of a die cut this heartbeat hot sauce LOGO and I think it's one of the better design ones on this website. It does have a unique bottle shape and it does have a unique dieline. They're willing to put some more money than other product to differentiate themselves from the competition, which is really cool if you have a client like that and they're doing a great job, all their branding is awesome. Somethings are going to be dependent on your taste. For me, Stargazer here is not cutting it, Keith's Chicken Sauce not cutting it, but I get it, they do stand out in their own way, but to me they're not like the nicest design-wise. But some of these other ones and I mean Widow Maker, that title alone is intriguing. What's cool about the hot sauce world is that, it's basically the wild west of package design. They go really crazy because their market is interesting. They want some crazy cool label, much like the craft beer industry. You can go a little more ridiculous and it doesn't have to be so perfect as if it's a cereal or normal grocery store thing. The truth is a lot of these hot sauce companies aren't going to be available in your local normal grocery store, at least not where I live. If you live in a cool city that has an urban like hot sauce place or some cool restaurant that has all different hot sauces, they might be there. But they're probably not going to be in your mask grocery store next to Frank's RedHot and Sriracha and Tabasco and those ones. You're not trying to stand out from them, you're trying to stand out from this Indie market. Generally speaking, obviously the reason why it's important to not look at the competition first is you don't want to copy anyone. You want to go in with your creativity and trying to come up with something really cool. Then from there, you can borrow some small ideas you can pick and choose, but again, you don't want to copy someone. But it does help to look at a really nicely designed label like this Double Take Salsa Co label. That's a really nice design and you can get an idea of what they feel is most important. Obviously, they want you to know it's hot sauce, it's got that really large. They want you to know the type of hot sauce, smaller and then of course, the net weight, which is something that is usually needed to be on the label legally. That's something you don't consider when you're sketching, but you're probably going to need to put the weight right on the front of the label. Another thing that can be important is the actual logo of the company. You may want that on the front, but that's going to depend on the company basically and whether they think that that is as important as the actual hot sauce themselves. What's interesting is I went to the grocery store recently and I looked at some really mass made packages, even like chocolate bars and Cadbury has their logo really tiny. But if you look at Hershey's, they use their logo huge. Each of them feels different importance as to whether the actual name of the product is more important or the name of the company is more important. That's something that you can decide if it's your own project or something you need to talk to your client about. The other thing that's cool about this website is they actually show usually one side or both sides of the labels, so you can get an idea of the nutrition facts. You can get an idea of the ingredients and just the overall design of the label. You can see everything that they're doing. You know you need this barcode, you know you need the nutrition facts, you probably want to see where it's made, you know you need the ingredients and maybe you're going to have a little something that someone can read and appreciate where the product came from or what it means to the company and so on and so forth. Taking a look at this Heatonist website. Take a look at all the different flavors. They've got different flavors that are under, mild, medium, hot, so on so forth. There's tons of different things you can look at and of course, you can Google it or look at other places. This website just has a good example of some popular hot sauces that they're actually selling a lot of, so you can get an idea of what the higher end of the competition is doing, and you can use that as inspiration and you can use that as trying to make sure that your product stands out from their product. You can decide, "Oh yeah, they wrote the little gluten-free symbol, that's important to me. I'll put that on there." That's according to your hypothetical client, those scenarios like that. Once you've got your inspiration now and once you've checked out what the competition is, now, you've got your sketching, your ideas done, it's time to go in and set up our file. 5. Dieline Setup and Usage: Okay. Now we're going to talk about a dieline. If you're working with a client or you're working with a printer or both, then you may be able to get a dieline first. That's especially because we're talking packaging in terms of all packaging, which is everything, cereal boxes, coffee labels, basically anything you can carry generally is going to have a package, whether it's a box or a label or a bag, that's kind of package design. Anything that the product that you're buying comes in is generally what's considered packages on, and it's super important to accompany. It's one of the number one things, or at least in terms of marketing and design, all that stuff. Because you want people to be able to want that product. A lot of the times that package will jump off the shelf or it'll stand out from competitors even on a website and that'll make that person want to buy the product and, of course, that's the company's main goal, is to sell the product. Package design is crucial. Depending on what that package is a lot of the times a printer will already have a dieline because it will have already made prints for that package. If that's the case, they send your dieline, great, or if your client sends your dieline or measurements, great. But once in awhile you're going to deal with a client that doesn't have it or something simple like a rectangle and you just want to get started. In that case, and especially for something like this, go out, buy a bottle of hot sauce, you don't have to, but if you want to and then measure it yourself, otherwise, of course you can use my measurements, no big deal. But in this case, I went out and bought a bottle myself and then I can measure it myself, that way I can create my own dieline. I should somewhat preface that in my file. I actually set it up just with crop marks because it's just a rectangle and it's being cut. I didn't make an actual dieline as far as the shape where it's get punched out. But the same concept applies to whether it's just like an art board with crop marks because if it's a simple rectangle or if it's an actual shape that has like an actual dye stamped out of it, same idea doesn't really matter. In this case, we're going to measure a bottle. Now, you may wonder what the best way to measure bottle is. It is certainly not to take a ruler. This is a tiny little ruler. It's definitely not to take a ruler and spin it around. That's not a really good accurate way. Here's the trick. Use either a string or a piece of paper and put it on the bottle. Now in this case, I already have a label on here, of course, but when I measure this the first time, I didn't have a label, so I had to guess. I've wrapped this piece of paper around and you can decide whether you want the label to actually wrap around itself so that there's no seam or if you want to leave an opening, I decided to leave an opening. It helps to show the product and that seems to be that a lot of labels were doing that. I'm guessing that that's how the printers would actually want it. I left a little space. What I did is I wrap this around. I drew a line on the piece of paper. Let me grab my pen here, just like so and now I know exactly the width that I want my label. The height is pretty simple too. You use this as your top. You can kind of bend the paper, do whatever, or cut it. I made a mark here, and that gives me the height. Now I can, of course, put the bottle down. I don't have to bend this ruler around it. A string works totally fine, just the same as paper. Now using my ruler, I can just measure out that line to five-and-a-half and I can measure out the height, which is three-and-a-quarter. Now, I can jump in and set up my actual file. Now, that we've considered what our actual package is, we've measured, what we've needed to measure, and when it's time to go in and create the file. Now keep in mind, if you are not making a label and you're actually making a box or something a little more complicated sometimes it's best to talk to the client and see if they've already got a printer and if that printer can send you a dieline because it'll save you a lot of time from having to manipulate your artwork afterwards. It's the worst if you design your design, you have kind of this made-up dieline that you made and then they send you the real dieline and it's a little too different and yo have to retool everything you spent a lot of time working on. If you can get the dieline first, that is super important and if you can make it, then you just make it first. That's pretty easy. I've made this document, it's pretty straight forward. I'm going to assume that you have a little idea of how your use Illustrator. You're a little past the beginner stage or you just have a decent idea of what you're doing. What I've done is I've made my art board and I've made sure that I have one-eighth of an inch. That's 0.125 inches all around. That is usually about the amount that you need for any kind of paper printing. If you're doing signs and things, you need larger amount, but usually paper prints are an eighth of an inch. Otherwise, again, you can talk to a printer if they specify something different. My art board is five-and-a-half by three-and-a-quarter, which is what I measured on the bottle. That is what I've made the file as. Now from there, we want some margin, some safety margins to make sure that we stay within. Usually, what I will do is I will make a safety margin that is the same as the bleed. In my case that bleed's in eighth of an inch. I want to make sure that my safety margin is within at least an eighth of an inch of the cut line. In order to do that, we look at our sizing and that's five-and-a-half by three-and-a-quarter. There's two ways to do this, but one way to do it, that's easier. You don't have to do so much math is make sure you have your smart guides on. That is "View Smart Guides" just checked right there or "Command U, Control U" on a PC. Then we're going to use our rectangular tool, which is "M" on my keyboard. I'm going to go up to the top corner of the art board. You'll see an intersect text, show up real small. We're going to click that and we're going to drag it to the opposite corner and because I have smart guides on it, you're snapping exactly into place, exactly at the edge of those corners. If you don't have smart guides on, then you're just guessing and you'll probably missed by a certain margin. It's not the end of the world, but I like to have things as perfect as possible. Now, there's two ways we could do it here. We can go up in here and we could minus the amount. You go minus type that in 0.125. But technically that's per sides. You want to go 0.25, hit "Enter," and that works just like that. Then go up here. That art is pretty easy, but you can go minus 0.25. and there you go. Now you have it exactly what you want. Now another thing you can do is you can go down to path and then offset path and then minus it by the exact same amount as you bleed. You don't double it. It's confusing, but it'll apply to all edges. Just make it exactly the same as your bleed some minus 0.125 inches. In this case, we'll hit "Enter," and it makes it here. Now when you do offset path, you have to make sure you understand it's making a separate box. We're going to go up here, click our original box and hit "Delete." Those are two ways to make your safety margin in InDesign, it's more automatic, but in Illustrator you have to set this up. It is annoying. Anyways, then from there on we want to go to view and we're going to go down to guides, and we're going to make guides. Right there, and that's "Command 5." I'd like to show you where you can get to the tools, but I always use the quick keys if I can. "Command 5 or control 5" on a PC. Now you have a guide. You know that anything that is important to you, that you do not want cut-off, basically, anything other than the background should never go beyond this guideline that you just made. We're going to make a couple of more guides to make life really easy for us. I said before that in generally speaking, if you're making a bottle and it's wrapping all the way around, your label needs to be split into thirds. The first third, the middle third, is going to be the front of the package and you're going to have the left and the right side, at least in this case. We want to emulate that and make sure that we can see that so that we understand where things fall on the actual package once printed. Again, there's a few different ways to do this. What I would do is once again make a box. Technically, we didn't have to leave that box that I just deleted it but its okay, so make a box. Now I'm going to hit "S" on my keyboard, which is the resize tool, and then hit "Enter." From there, I'm going to type in 33.3333 [inaudible] as you want, and that will make it one-third of the size of this label. From there what I want to do is use my selection tool and make sure that I have aligned to art board checked. I'm just going to snap this to the far left. Now if I hit "Command R or control R," I'm opening up my ruler and I'm just going to click on the ruler itself and drag a line over to this. Now you can see, it's not snapping and I like that. I want it to snap exactly to that edge. A trick is if you have this selected and then you click and drag, just make sure if you're up here above the shape, it's not actually going to snap to it because you get in the shape, you see how it snaps, it'll say path. It's snapping to exactly that edge. We know that's perfect. Now because this is selected, I'm just going to snap it over to the right side. I'm going to repeat this process to the right, make sure it snaps there and we're good. Now, I can delete that rectangle and we've got artwork setup and get rid of the rulers, which is command R or control R. That gets rid of it again and if you need to bring them up, that's view. I don't even know what rulers. They're somewhere here. You got rulers, show rulers. Obviously, quickie, much easier. That's it. Now, you have your artwork setup and it's time to dive into the sort of not fun stuff. It helps to get your nutrition facts set up and you're barcode and the kind of annoying stuff figured out and then you can start being creative. 6. What Is Bleed?: Here's a brief explanation of how bleed works. If you're unfamiliar with bleed, essentially what happens is you have these crop marks here. They may not pick it up in the camera. They are really light thin lines. What happens is, if you hypothetically cut at exactly that spot, you have all of this excess color and excess design and artwork. That if this cut were say, off by even just this little amount, then you're still not going to be able to notice it is obviously because you're still going to have color. For example, let's just say that this bleed didn't exist and I cut right to this very edge right here. Let's cut right here just off the artwork. Let's say there's no bleed. Now as you can see, there's actually a white line here. You don't want that, that obviously looks terrible. The only way that you can actually avoid this, I know you can say, "oh, well the printer should be more accurate or the cutting should be more accurate." Well, this is life. You have to actually deal with this as the designer. That is why we add bleed. A lot of the times we add one-eighth of an inch onto most of these things but you can discuss with the printer as to how much bleed they want. The idea here is that now if the cut line is on or even slightly off, your artwork will go right off to the edge and it'll be unnoticeable whether the cut is slightly messed, that is the purpose of bleed. Now having a safety margin is also important because sometimes the cut could go the opposite way and if you go in towards your artwork, so you need to make sure that you don't put any of your information too close to the edge of the paper. The best way to avoid this is to probably do about the same amount as your bleed. If you have an eighth of an inch bleed, you want your margin to be about an eighth of an inch and make sure nothing important goes past that. Just in case to make sure it doesn't get cut off. 7. Nutrition Facts and Barcodes: Now, it's time to talk about easily the most exciting thing about package design, and that is the nutrition facts. No, nutrition facts are very boring and many of times, it sucks. You know what else is really boring? Bar-code. Those are two things that stink. But we'll look up. That's confusing, there's so many options. I'll show you how to figure out how to do it properly, let us go to the computer. Just head over to Google real quick and type in nutrition facts and then basely on your country. So in my case, Canada. What you should be able to find fairly quickly is some websites that are going to give you information. In this case, I've got Canada.ca, that sounds fairly official. I'll click that and see it's by the government of Canada and they're going to explain a bunch of different things about nutrition facts. Now the problem is, sometimes these are going to be more specific to the actual percentages and things that are actually in them, which is not something that you need to concern yourself with because your client would tell you that. But I can see down here it says food labeling for industry and professionals. So I'm clicking that, and then through the Food and Drug Act, which is FDA, we're going to go through here and we're going to try and find labels. So as you can see with a bunch of clicking around, I had to read the thing and I've found this directory of nutrition facts table formats. It breaks down all these different formats and in Canada you have to be bilingual and all these different things that you have to do just depending on the product that you're selling. But what's convenient is, if I scroll to the top of this page, it says here download alternative format which says PDF format and that was basically what I want. So I'm downloading this PDF and in this PDF it actually shows me the actual labels with all that same information. What's cool is, I can pull these labels into Illustrator and they're actually going to be following the size pretty closely. You still want to read and make sure that it's following the rules but you can see that gives you all these different things depending on the size of your package. I do think it is up to your client to figure out the exact size of the nutrition fact that they need and the exact regulations because there's a lot of options that can be confusing. But I don't think it hurts to try and figure it out as much as you can yourself. At least a few especially if you plan to make more packages in the future, it's good information to learn, but this should lay on your client. Don't allow them to force all of these things upon you, because if they spent a lot of money getting labels printed and somewhere that they're going to sell it, declines it because they didn't follow the rules specifically. You don't want them coming back to you saying it's your fault because you didn't figure out this extremely complicated system for nutrition facts that's all different in all different countries. So no, make sure that it's on them and they talk to somebody who knows more about it and then you follow those rules. That is a huge tip. You could even make them sign some legal stuff to make sure that you are covering your butt. But anyways, once we've got that downloaded, we'll just open that up in Illustrator. I'm simply dragging it into Illustrator and it's giving me the option of importing one page or all. I'm going to go ahead and click All and then I'm going to put import PDF pages as links. So that's good. It's linking them, it's not putting all the information you just embed the pages that you want. So I went through this and I read over all of them. What's interesting is, as I went to the grocery store, as I've looked around online, everybody has a different size nutrition facts on their actual hot sauce bottle. That's because some of them are in different countries or different provinces or states or whatever. So they're following different rules and I think that I don't know how strongly it's regulated and I think they are like us and they don't fully understand either. We're going to do our best, but basically I went with the smallest label I could find, with the smallest rules I could find, because this is a tiny little label on a pretty tiny bottle. In this case I went with Narrow Standard of format. I click this and I want to click "Embed" and that'll bring this editable. Now most of the time if you have a PDF, it's going to be massed like crazy. There's going to be all kinds of mass. So I'm going to hold Option Command 7 and I'm going to hit it a bunch of times to unmask everything and then Command Shift G. Again anytime I say command, just replace that with control if you're on a PC, and we've un-grouped everything. I'm going to drag here, delete all that background stuff, and now we should be able to select this bar-code. I'm going to drag in here trying to avoid those arrows that I don't want. I'm going to shift click them to deselect them, and there we go, we've got our nutrition facts. So I'm going to copy that and I'm going to paste that in here. Now you can see that is still a huge man, that is taken up way more space than any of the examples that I saw online. So what I want to do is refer to that PDF and try and find all of the rules about the sizing, see this has to be 6 point. This is something that I've already done because I've already made my label. So I found out all the rules and I made a smaller label that's still followed all the rules as far as the sizing, the tracking, the point size and so on. I'll open that up in another video, but for now I just want to show you one really cool thing. With this nutrition facts thing that I just copied and pasted from my PDF, you can see that everything is broken down into little bits. So that happens sometimes when they save PDFs in certain ways. I won't get into that right now but, these are all a pain in the butt to edit. So the thing that you can do obviously is copy paste and copy and paste and slowly build this out yourself and use tabs and everything to build it all out. That's something you can definitely do, it's free and you can do it. It's just going to take a little while. Luckily for me, I have some plugins by the people at Astute Graphics, which they make some really awesome plugins. I have something called Vector First Aid and that was a small disclaimer. They did give me these plugins for free because I use them all the time in my classes because they're awesome, but that's just a small disclaimer. I'm not paid by any means to promote them, they don't even know I'm putting this in this class. Anyway, in fact back to first day, there's a lot of options you can do. In this case, I'm going to go check selection. I'm going to fix all. It's just fixing some weird little errors and unneeded points. But the coolest thing here for this particular purpose is the combine point text options. If I simply click this button, man, it doesn't always work this perfectly, but in this case it works so perfectly. Watch, I'm going to go over here and I'm just going to drag this over and it has now combined all of those little bits and pieces of texts. One nice clean text box where I can actually select each line, but it's all connected and it's all got tabs and everything all set up for me and it's pre-designed to all be perfect. Now I can just go in here and I don't have such a messy file with all those different little bits. I can select the points that I need and there's texts that I want to do. I can come in here and highlight everything and change it, change the font. It's so amazing that it saves a ton of time. Of course, by the way, I should say if we go back a couple steps, you could leave it in pieces like this. You don't have to make it all clean. It doesn't really matter but that's, I guess my OCD that I like my files to be perfect. Now for the bar-code, this is definitely something you need to talk to your client about and find out what kind of bar-code they need, how big they need it and if they have a number that they can give you, or even sometimes to be able to already give you the bar-code file. If not, you can simply search bar code generator. You can find the one that you like the best. I usually type in EPS beside it, so I know that they're going to give me a vector proper file for it. This website's pretty cool online bar-code generator and I've used it before. You just click this, then you go down to UPC-A or C. I think this 1,2,3,4,5,6,7,8,9,10,11. I said 11 or random numbers, then I click "Create", and now it spits out this file and I can choose whether to download an EPS or so on. So I'll download it as an EPS. I was going to go into my Temp folder here, open back up my file, and I'm going to drag that EPS in, copy it, and I'll paste it in here. Again, talk to your client about the size of that bar-code actually it needs to be. That's a pretty simple way of setting up the bar-code and nutrition facts. Now from there you can mess around with making it smaller or bigger. Just again, make sure that you're following the guidelines for your specific country and for your specific product. 8. Font and Stock Licensing: Another super fun exciting topic is font legalities, vector stock image legalities or photography stock image legalities. It's actually not that confusing. It's really simple, especially nowadays with the websites, you just go over to them and you pretty much can click license options so you can figure out exactly what you need, but I'll show you exactly how to do it. The key is, it's pretty important if you're making this just for your portfolio or just for fun for the sake of the class, use whatever font you want. Use a free font, it really doesn't matter, but if you ever intend to actually sell this product or sell a design to a client or whatever it is. You do want to make sure that you're using proper paid-for products as in stock photography, stock vector, or fonts. If you're using those things, if your handwriting, everything, it doesn't really matter, but I'll show you it's not as scary as it sounds. Will go back to the computer, see it's behind me over here. Of course, there's lots of font websites. There's tons of them. MyFonts, I don't know, Fonts.com. Who knows. Tons of different font websites, Creative Market I find to be really good because they actually have pretty good pricing they are not as ridiculous. You can definitely buy fonts that are $200, $300, $400, but Creative Markets prices are usually a lot more reasonable than that. Let's just click some examples. We'll go to popular fonts. When you're here looking at fonts, I want to give you one small tip. I did not know this right away. I like to be able to see what my text looks like in the actual font and the way to do that on this website is hidden, it's a little small. Over here right beside this grid icon, you see these three lines. If you simply click that, that becomes your live view. Then you can type in whatever word. In this case, I will type in hot sauce and now you can actually see what your word looks like in that font. Super useful. I think that should probably be the default. But anyway, that's a small little tip. Lets just say you really like this heritage brand collection font right here. We're going to click it and we're just going to see what the license options are. It says here, ''license type,'' and you can click what are these? It will explain the exact uses for that license. Like I said, if you're going to more extensive font websites, the fonts are going to be more expensive. I find that this website happens to have pretty good pricing. If we click off just for a second, you can see right here that it gives you these options of buying it as a desktop font, a Web font, an ePub, or an app. Obviously, in this case of food packaging we're not making an app, we're not making an ePub, which is a book and we're not doing any web related stuff, web font. That means that this font looks like it's about 25 bucks. If we click, what are these? It'll actually give you the info. It says whether using this font for desktop or betting, there's a license to meet your creative needs. You can look through here and you can see number of projects, unlimited commercial and personal projects. That's really good to know this is under the desktop thing. That's good to know because sometimes when you buy a font, it'll say for one project, which means legally if you use it for one client, I don't know you have a client in this case, I made my thing Crusoe, use a Crusoe and then along comes Nike. You can't use that font now for Nike because you've already used it and you used up your license, you'd have to re-buy the font for Nike. Legally speaking, a lot of people obviously break the rules, but that's the legal disclaimer. Now in this case, you are allowed unlimited commercial and personal projects, which is A plus. That's super good for a font. That's what you want great publisher to allow you to do that. Then you can go here, you can see what's important and what else you're allowed to use this far, it says, "Design or print on demand applications." In this case we're not going to do that. Just read through all this and make sure that which version is going to work best for you. In this case when an awesome deal, only 25 bucks. I think this font has a bunch of different options and in pre-plan, that's fine, I just clicked it. It's a good price. If you pick a different fonts, sometimes the prices are different because they can be set up by the person themselves. Let's just click another one real quick, but as you can see, this person has pretty reasonable pricing to in fact, it's even cheaper, but once in while you may click a font that's really expensive and if it doesn't suit your budget and it doesn't suit your clients budget, just try and find another similar font, but like I said, if we go over something like MyFonts.com we'll just click a random line. Let's try this delivery note. We can go over licensing, just click buying choices and now you can see here, you can see how many users pay once, so on, so far. As you can see in this case, this price is good too on MyFonts.com. Maybe this is something I should use more. Anyway, that's fonts. Make sure you check that out. The next thing is stock photography. There's lots of different ones here. I'll try and make this quicker just because it's basically the same, but I stock photos or big one. Let's just click random photo here. Literally clicking the fastest one I can try and get, go ahead and open this image. Obviously this wouldn't apply for what we're doing. It says $36 for this image and it says include standard license. Click that, read over the licenses and make sure you understand what you're buying so that you don't get yourself or your client in trouble. That is fonts and image licensing. The same thing would go if its vector, just to make sure you're reading the little commercial notes. 9. Designing Your Label: Now that we've got all of that stuff done with, we've got our sketch, we got our idea, we've looked at the composition, we've set our file out. We understand nutrition facts, bar codes, font legalities, image licensing. We get it. We know what we're doing. It's time to take our idea and make an actual finished label. Let me just put my guides on to show you that I did use the same guide scheme. This is my actual file that I created for this class. This is my project and I created this Yeti character as you saw earlier. I'm going to talk a lot about how I decided to make the design ideas that I decided. I want you to be creative and design it your own way. Nutrition facts certainly don't need to go on the left, tobacco doesn't need to go on the right. You probably do on your info in the middle, that wouldn't make sense. But you can customize your design, how you please. I want to leave it open to you for your creativity and what you think works for you. But I want to give you some tips on general graphic design rules. These are things that I haven't talked about in other classes. I try and vary it up. I'm pretty sure I've never talked about any of this. Rule number 1, don't use too many fonts. I would suggest if you can, not including the logo for the actual company, I would keep it under three fonts. Sometimes it's good. It can be a little bit boring to just have one font. You need a little variation. I think generally speaking, you're going to have a display font, perhaps for titles are the main name of the product. You're going to have a font that has the nitty-gritty stuff like the ingredients or in this case the text over here. You can have that second font for the more important smaller details, and then if you want a third font just to add a little variety, that's okay. Generally speaking, I'd never go over that. Try and keep your fonts to a minimum. There are of course, going to be exceptions to the rule and with any rule you can break it. But that is definitely a giveaway of a newer designer when they're using 45 fonts unnecessarily. It just lacks that consistency. It doesn't have that branding. You want to try and keep everything as clean as possible. That's rule number 1, three fonts. If we take a look at rule number 1, we can see here I actually used a font for hot sauce, and I used the font for Sweaty Yeti. Now, they may look slightly different, but they're actually the same font, you can definitely tell in the S. I had to customize a few things just to make it a little bit cleaner like the A, I didn't leave this like funny triangle shape in the main HOT SAUCE but I left it in this small amount. Maybe I could do it here too, but I didn't want it in the hot sauce, it's just a weird design of this font. But I like the theme of the font. I thought that it matched my 1930's theme, and it had that cartoon fun look. It's just a good font for what I wanted to do. But I didn't want to use that font over and over because it's not the easiest to read font. It's a little too bold, it's a little too big and wild. I didn't want that for the small prints. I had to pick another font for the small print, which I did. I have this small print and it's got this font here. Again, it's a weird font, but because I'm going 1930's, I wanted that slightly cartoony, but also readable font. That's important to make sure that it's readable and you don't do too crazy. Then my third font is the script font for The End, and You're Dead here. That is the only two spots that I believe I want to cruise sauce coarse. Those are the couple of spots I use that third font, but that's basically it. I've got my main title, my small text, and that little cursive font just add a small amount of variety. I stayed within that kind of general rule I've made for myself of not going too font crazy. When we're talking about fonts, let's go into the next rule. Generally speaking, again, rules can be broken. I would never go under six points. That is the size of the font. Any smaller than that, you're going to run into trouble. It's going to be really hard to read and certain printers are going to have issue with it. It's going to be difficult. I would say that six is the lowest you would go. Now, the only complication to this six-point rule, is that six points is a normal font. Now the problem is, if you're buying fonts from other creators, and depending on their knowledge of font creation, their sizing might be slightly off. Let's just show you a quick example. If I take this font here and I just have my net weight, let's bring it off the iBoard. There is my main font now. It may be actually an okay size. I don't know, I haven't tested this. But if I go to Helvetica, you can see yes, it is nice and even. This is six points, Helvetica is six points. Generally speaking, compare it to Helvetica. Certain fonts, let's just go down here real quick. Here's an example of just a pre-installed font called noteworthy. It is also six points, but if you look, it as definitely taller than the six point. Which is fine, not a big deal. But sometimes it will go the opposite. Some fonts, if they're handmade or whatever, and they don't do the rules properly, but it's still maybe a cool looking font for your purpose. Their six points will be way smaller than a proper Helvetica six point. Just if you're in doubt compared to a really big popular common font like Helvetica, myriad or arial or one of those fonts, because their sizes are technically correct. You want to make sure that when I say the six-point rule, that your font creator hasn't gone crazy and made their font the wrong size at so called six points. That's important. Turn my guides off here. That is six points. Now, generally again, I would say six point is for your small, really like unimportant stuff. Usually around nine point is something that I would use for something that I want to be readable. But that's the highest I'll go. If you open certain font documents, they're going to open it like 12 point, like Microsoft Word we're used to anyway, that's too big. No. Don't use that, that's not going to look good. Generally nine point is going to be your bigger size. Then anytime you're over nine point, it's going to be a real like punch in the face. That's your huge like really crazy texts like in this case, the hot sauce. Obviously I blew that out of the water saying with the Sweaty Yeti. Once in a while, if you want to make that big upper cut and you want to have a crazier design, then you can go over that nine point. But that's generally where I go. Six to nine, that's a good font size for nice, clean readable text. Don't go smaller. If you go bigger, you're going to make an impact, so use it wisely. Another thing to consider when you're designing is the amount of colors that you're using. I would try to use, generally speaking, under four colors. Now, it's going to depend, of course, again, on your client, what kind of printing they're using, if it's digital printing, offset printing, screen printing, so on and so forth. But if you can try and keep it under four colors, as that'll keep the cost reasonable. If you go back to that hedonists website, you'll notice that probably most of them do that, and there are ones that don't do that because they were digitally printed and so on. That can work. You can break the rule. I'd say generally try and keep it under that because that'll make it more cost effective if they're doing screen printing or some type of big press run. You have to be reasonably priced. This can apply of course to other products too like T-shirt designs and things like that. It's becoming the less important in the print world as the printing industry changes. But it used to be live or die that more colors costs a lot more money. The next rule of design would be consistency. If I'm designing multiple products in this exact same line, I want them to look very similar. What I've actually done is basically just copied and pasted the template exactly in place on each one of these designs, and then I've created a new character and a new backdrop behind them. But for the most part, everything is very consistent. I did not suddenly use a new font. I did changed the color just to give it a little bit of variety, but for the most part, the branding is very similar across and that is super important. You want people to know it's the same company, it's the same product because once they're selling it and it's selling well, and people like it, you want them to say, "Oh, that's another product by this company that I already like." They'd been more willing to buy it. It would make sense to keep it similar. Like sometimes, if I suddenly have had this 1930's theme for this, and then if I suddenly did a completely different design style on one of these labels. Again, hot sauce labels, kind of the Wild West, I've seen some people do it where there is a different from different types of products. But generally speaking, you want that brand and consistence, so if you pick a style, stick with it. The last thing to talk about in this design overview would be coloring. In this case, I use CMYK coloring and that is generally what you're going to want to use for paper printing as far as when you're setting up your document, anything that you are going to be printing, you want it to be a CMYK. Because most printers are CMYK. It can be RGB if it's on the web and so on, but generally print is CMYK. That's just how you set up the file. Now, if you're actually going to be sending this to a printer, you also want to make sure if you can that you use a Pantone color. The reason for that is because let's say that I have this gold color that I've picked, now I will warn you, I've left minus CMYK because I've printed it to myself and I didn't have my Pantone book with me. But if I select that rate there, I've got it set up as a main color. But I've got that color in this file, and the problem is if I print this on three different printers, it's possible that this goldish color will look different on all the three printers. That is because of a myriad of reasons, but basically CMYK is slightly inconsistent. If I have a Pantone book, it is best to look through it with my own eyes, out in a natural light, and pick the color that I like. Check that with your client if you have a client for this. Makes sure they're happy with it, and then you make in this color, the CMYK color. Let me show you how you would do it. These three little lines beside the swatches once you have your swatches opened just click that, open Swatch Library and you go to Color Books and then go down to whichever one, Pantone plus solid coated, uncoated, depends on what you use. Then from here you type in the number that you'd like. Let's just say it was 118 and you select 118 there. Now makes sure that all of your stuff is that same color. It's really important. You use it consistently, and then that way there are no surprises. If your printer prints it and it doesn't look like that color, you can call them out and say, "Hey, I need that Pantone color should look like that Pantone color." Otherwise it's on you. Actually, one last thing that I do want to mention too, when you're done designing a product or designing anything really at all that you are going to print at some point, print it out. Print it out on your home printer. Go to your local copy shop, e-mail it to them, bringing in a USB stick, whatever it is you want to do. I suggest you try practicing printing your work. Don't spend a ton of money printing things like crazy. But especially at the start, you'll be surprised at how much you can learn from printing your actual design and seeing it for yourself. That's when you'll realize like, "Oh, this font is too big, this font is too small." Some of those things I already spoke about. I don't like this color, so on so forth. It's worth doing that, it's worth that investment, especially in the beginning. You really learn what things look like printed versus what they look like on your screen. Because a lot of time when you're on your screen, I have this thing set up the right size, but look how big I'm looking at it? You get stuck in your head that this is what it's going to look like. But really when it prints out, maybe it's actually going to be this small. You need to consider that, and printing it out will be really useful for you. On top of that, I find that having a tangible thing, like a tangible product is so much cooler. I encourage you too that when you're done this class for your project, print your actual label out if you can, put it on a bottle, get a hot sauce bottle, get whatever bottle you want, stick it on there. Take a photo of it. You'll be surprised at how much more cool it looks and how much more proud you are of your design when you see it done in a mock-up. You don't have to do that all the time, obviously that gets expensive. But it's super fun and it'll bring your designed really to life. Try that out. 10. File Naming and Organization: So I want to talk about something again. I haven't really spoken about before, and that is organizing your files. If you're doing one type of design and really often like field in package design or web design or whatever thing that you're doing all the time. That you can set up a sense of rules. You can say, all right, I already always have these five folders and then these folders, I have these ones and you can set those up right away before you start even creating your files. If you're that organized and you have that well established system. For me, I design things a little bit differently, sometimes am doing billboards, business cards, logos, and so it's not quite that easy for me. I tend to have to do it afterwards. Generally speaking, if you can make your organization beforehand, otherwise when you doing a project make sure that you have everything organized. It's not going to seem that important right now because you're going to remember okay, yeah I know this is my main hot sauce file and this and this. Okay. I already know what those are I remember, but let's just say you make more files than I have here, and let's say that this is a couple of years down the road you need to refer back to this. Sometimes finding the files that you want can be a lot more complicated and a lot more irritating if you're not organized. So let's get organized. For this class, obviously I had to create my illustrations and to create my designs, I needed some texture files. I wanted to photograph it, so on and some inspiration for photography because I'm not a photographer. So I've got all these different file types, I should say to that, to get that 1930s theme, I liked that having a rough texture on it, and sometimes I create my own, but in this case I'd looked up 1930s and I just found this film dust texture pack. It's from Spoon graphics. I've looked at his website before. I don't know a ton about it, but it's really cool. So if you want to get those textures for your own product, just type in film dust textures, 3D graphics, and you'll find that website and check it out. So to start with, what I want to do is I'm going to call make a folder here and I'm going to call it working illustration files, and what I mean by working generally speaking is any kind of thing that I consider working file means it's something for me. It's something that is behind the scenes and it's something I've never really going to send a client, and in that case, I have this PSD of my actual illustration that I saved out of Procreate and then I saved each individual layers. Sometimes there's multiple versions of this guy that I created, and then I have the time-lapse of him. I'm going to keep the time-lapse separate because that's a video that I want to use for the class. But I'm just going to drag in all of these working illustration files into there. Now I've also got these mountains that I drew for the background, so am going to drag those in there. I've got this buyer shelf. I should get the PSD version of that. Definitely try and keep all of your files organized. So I will export that from my iPad to make sure I have it backed up, and now I will make a folder called Photography inspiration, and I'll put all of these files in here, and now I make a file generally called working files, and this is where I just dump things that aren't that important to me. So the nutrition facts PDF, these topper decors that I put on the top of the bottle, I just experimented with it. I didn't end up using it in the final piece, this little flame character should actually go into my working illustration, and so nutrition facts topper is going and working files. This is 1930s is where I got the Crusoe logo. I've made that before for my 1930s class. I'll put that in there. This is my inspiration. I just Save that. So that instead of having like a mood board i just had a link. So I remember that's where I got that from so that can go in there. I've got my class outline. I put that in working files. These desk textures can probably go in working files, and now I have this time lapse. In this class I've obviously going to make videos which I'm going to be doing now so we can just call this, I make one called raw videos, and I'll be breaking down some files that go in there. But basically I try and get everything organized into files except for my final prints, and then usually what I'll do is I'll right-click on them and I'll give them some sort of mark just to indicate to myself that those are the finalized versions of that artwork. Now you will notice that me as a graphic designer, I don't keep a lot of backup files. A lot of people do it. I don't like it. I like to try and keep my files is organized as possible. So I don't have version two, version three, version seven, version 12. I just I've always thought that's crazy, especially when people have like final version one and final version two. Now final should be final. So what I do is in the actual documents themselves, I'll save versions in pieces of old things in the back and I'll try and keep it as organized as possible. I try to just simplify everything as good as I possibly can, now the only thing I will sometimes do is setup a print file, which I'm going to show in this next video. But generally speaking, this is my system for organizing my files. I highly recommend that you organize your files and we'll have tons of sub-folders and things. But it's a good tip for you. It's going to be super useful going forward. If this isn't something that you put priority on. 11. Making a File Print Ready: Here's my setup. I put those little red dots beside my files. Just to show you that there were my finalized files in the last video. In this case, I actually don't want them, so I'm going to uncheck them as red. Now, all I'm going to do, this is the only real step I do for a second file ever. Personally, I just don't like having 12 versions of the file. If I make a change and I'm worried that the client might go back, I'll just some like say I changed this text over here, then I'll save a version of it just off the art board by dragging and holding Alt just like that or option. That's about as far as I go for backing up. Another thing is that I do use Dropbox and it has a version history. That can be really useful if I need to go back a certain amount of steps, but I just hate having an unorganized amount of files. Also takes up way more hard drive space. It's just unnecessary, nine times out of 10. A lot of the times I just want to move forward. If a client goes, ''Never mind, I like that design you had before.'' Usually, it's not going to take me too long to get back to that step and that almost never happens. In fact, it basically never happens. Anyway, what I do want to do though, is if I'm sending this to a client, you don't need everything that I have here. It's just unnecessary. They don't need all these sketches, they don't need this little mock up. I may just to make sure that my label is fitting. By the way, that is a little hack. I took this design, put it on top of a bottle I described for the hedonist, and I massed it out so that I can see exactly what I would theoretically be able to see on the bottle, and it's pretty accurate to the real bottle in the end. But for this case, we want to delete it. Now, here's the tip. Before you start deleting things, make a new file. Here's what I do. I go save as and all I do is at the end of the file name, I go underscore PR. PR for me means print ready. I say this, this is important too actually, this is the step I missed before. When you're saving your file. If you have bleed and stuff, I've made this preset. But otherwise go to press quality, select that, go down and marks and you want to add trademarks and make sure you use document bleed settings. That is basically what I have set up here, and the offset. The offset is also important. So if I go back here, I click trademarks and click use document bleed settings. I need this offset to be the exact same number as my bleed so that those crop lines are outside of the belief that's properly setting it up. You can have registration marks, color bar adds all that fun stuff if you want. I rarely use that stuff, but I've setup a preset. So if you do want to set up a preset, once you have it, how you want, just click this little button over here, name the preset, and it'll now be under the presets along with the ones that came with Adobe. We're just going to save this just like that as the PR version. So just give it a second to save. Of course, depending on your computer may take a moment, and then once it saved, now we can go crazy deleting things we don't need. I'm going to get rid of all of these old versions. I'm going to get rid of these are just some mood board thing I built to the side for the 1930 style. I don't need any of these texts, and I don't need this example though, and that's all deleted. Now, some people are going to want to be able to edit the text. They're going to want to be able to do things, but generally speaking, you don't want to do that. I'm going to go Command A or Control A, and then Command Shift O, and as turning all of the texts to outlines. Now if you open the file that you don't need the fonts to be able to look at it. But more importantly, if someone is printing this file and they opened it up and they don't realize sometimes the fonts will get swapped and cause all kinds of issues. That is what we're going to do is just try and simplify everything. The thing is if you have any drop shadows or you have anything like that, I recommend rasterising because sometimes those accounts transparency issues and it won't print nicely. Also, make sure that you go into wire frame mode and make sure you don't have anything crazy going on in the background. I can't tell you the amount of files I get with old renditions and old versions, don't do that. You want all your files to be really organized and clean. You don't want anything just because you can't see it, no, get rid of it. If you can't see it, delete it, it doesn't need to be in your final print file. Beyond that, you can always go in a step further and go Command A, just select everything and then go to object, Expand Appearance. Then sometimes we might have to do it multiple times and that's an expand any of these strokes into a rectangle, things like that, so that you have one final clean file theoretically pen down. Theoretically, everything is rasterised that needs to be. Sometimes if you want to save file size, I made this illustration and procreate and I made it really big. You can see it's 939 dpi, that's pretty aggressively large. Sometimes what I'll do is I'll go back in and I'll just rasterise it. I'll make the resolution 300. Generally speaking, I turn off this preserved spot colors because it's only caused me problems in the past. It's so that you can sort of have a pan tone in a raster, but I don't know, I don't like it. It doesn't work for me. So click okay, and just like that, it is now made it only 300 dpi. That'll save me a lot on the file size. Another thing I like to do is with smart guys selected, I'll go here and I will select this image. I'll go crop. I will crop it to the actual size of the airport because it doesn't need to be any larger, and we hit enter. As you've seen, nothing is going beyond my art board, just trying to keep everything as organized as possible. Another little tip is, I add the texture on top of everything. It's not on a separate layer, it's a sub layer. What I do is I put that all the way to the top and I hit command two and that locks it so that I can select things through it. Otherwise, every time I selected something, it wouldn't want it to select that layer. That's super frustrating. So that's a small tip. Make sure of course that that is also rasterised to roughly about the same amount. Now, if I go ahead and save this file, we'll just give it a second. I'll go over here and you can see this is my original file. It's 89.3 megabytes, pretty small file really. This file, because I rastarised that background is only 22.2 because I got rid of all of the junk, I kept only what is necessary and it should be ready to print that is you save your file and print file. That is exactly how many files you should ever have is maybe two for the actual design. Forget about all these versions, that's crazy. To make it easy, I'll just give it a little red mark so I know next time I come back in here, that's the final file. That is the one that is good to go. 12. Final Thoughts: That's it for this class. Thank you so much for checking it out. I really hope you enjoyed it. I tried to make it a lot more concise, not so crazy on and over more like I've done in the class. I tried to make sure that I was teaching you more about design than I have been about Illustration lately. Just trying to do something fun, so that you guys can actually learn something and enjoy it. Man, this is definitely probably one of the top couple projects I've ever done. Maybe next to like the pin or something like that at the pin and patch are pretty fun. That's the pen tool class if you're interested. But other than that, man, making a hot sauce, a little has been super fun. I don't know why I just like drawing in the 1930s sigh. I think it's crazy. I like looking at the inspiration. I think other than maybe the craft beer industry, hot sauce labels are just really fun, really creative and cool. I hope you enjoyed this project. If you did, please let me know because it's important to me to know what you guys like, students, obviously. Speaking of what you like, please leave a comment. For one, I want to see your project. Obviously your project is super important. Not only is it really cool for me to see that you guys enjoyed the class and that you guys are willing to put in your time to make sure that the class is super fun and super awesome and you actually follow along and created your own product, which is just amazing to see your label come to life, I'll do my best to of course, to review it or comment on it and check it out. I think it's super exciting to see what you guys creates. I want to see that. On top of that, whether you do that or whether you don't have time to do it, if you don't have time, I get it, or even if you just don't want to post it, you follow along, but you want to keep it private, totally understandable. But if you could please leave a review. It helps us class trend and helps get in front of more people, which makes it easier for me to make more classes, so please leave a positive review of down below somewhere in the review section. That would be amazing. If you like this class, definitely click over to my profile, check out some of my other classes link. This is my 29th or 30th, I don't know, too many classes. I've taught so much different stuff and I really think that you should check it out. Enlightenment, this one, I did a setup for print, so it talks a little bit more about that. If you want to know more about setting up an actual dial line like a cut line, cut file, then you could even check on my stickers class. I talk about that. Of course, my 1930s class, if you'd like the illustration salad I did for my hot sauce labels. You can follow me on Instagram @jonbrommet. Make sure you're following me on Skillshare, so you just click on my profile, make sure to follow, top left, somewhere. My goal is to be putting these out like monthly now. 2020 is going to be a big year for me. Let me know if you guys love the class. I'm coming. Oh, and I started a YouTube channel too where I'm going to put little bits and little tips and things that don't work out in a full classes, so follow me on YouTube @jonbrommet and I don't know I'm on everything, just follow me everywhere and I don't know, I'm super excited though this year is going to be big. Let's do it. See you guys soon. 13. A Message From Future Jon: Wait, one more thing. I'm adding this, this is future Jon Brommet talking to you, I hope you enjoyed the class that you just watched. Some of these classes have been recorded a few years ago. I just wanted to give a little up to date on what I'm doing now. You can see that I've put out a ton of classes potentially from the class that you just watched as you may have been watching one of my older classes. If you go over to my profile, you can click it somewhere on the Skillshare website or go to skillshare.com/Jonbrommet. It's spelled just like that with no h, just J-O-N. You'll see here I've got things broken down in my newest classes. This may even look slightly different for you because I'm putting out classes once a month. Right now, I've got my most popular classes, illustration, efficiency in Illustrator, Photoshop stuff and then all of my other classes. Make sure that if it's not already selected, you click "See More" to see the rest of it. So many different classes, I hope you guys will be inspired to learn lots more and hopefully you're enjoy my classes and want to see more. If that's not enough, I'm @jonbrommet on Instagram so you can check out my Instagram as well to know what I'm doing. I post all my new artwork there and of course let you know when I'm doing new Skillshare stuff. I've started a YouTube channel where I put short videos that are instructional and I obviously advertise it with my Skillshare class but short videos that I can't really put a whole-class out. I put here on YouTube. I even do things like have conversations with other teachers, like tab with a park, plan to do that kind of stuff more often.If you head over to johnbrown.com, I've newly updated my website. I have a digital shop where can grab my Procreate brushes or other things like that. On top of seeing that my different portfolio elements and things like that, I've also got a Etsy shop, which I'll click here and it would open this. You can buy all of my pins and different art things that I've created. I will ship them to you from here. I've got them all produced here in my home and they look awesome and I know that they're cool. I just recently started a Threadless shop, which you could click here. There's about Skillshare and contact. Everything's linked from my website. This new Threadless shop has all my merch that can be printed on demand on a really weirdly wild variety of things like, I don't know, let's just click one of these things here. It's going to open a t-shirt but let's just say maybe instead of a t-shirt you wanted, I don't know, what? A duvet cover or shower curtains? Why would you want those things? Anyway, I've got lots of different things going on. If you'd like what I'm doing and please check out more of that and I'll keep making more things. Thanks everyone, bye-bye.