Logo Camp: Make Your Mark in Graphic Design | Neal Peterson | Skillshare

Logo Camp: Make Your Mark in Graphic Design

Neal Peterson, KING of TYPE

Logo Camp: Make Your Mark in Graphic Design

Neal Peterson, KING of TYPE

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11 Lessons (1h 6m)
    • 1. Welcome to Logo Camp

      0:39
    • 2. What is a ("good") logo?

      1:04
    • 3. Pondering Design

      6:57
    • 4. Sketching

      1:26
    • 5. Computer Club

      14:12
    • 6. Type Carving

      24:44
    • 7. All About the Pretty Colors

      7:46
    • 8. Logo Painting

      3:19
    • 9. Technical Specs

      4:55
    • 10. Final Thoughts

      0:18
    • 11. One Last Thing:

      0:33
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About This Class

Logos are everywhere—from business cards to billboards. A great mark should identify a brand or product and make people remember it. In this class, we're going to explore all things logo: form, color, and type. You'll also learn the basic techno-jardon: file formats, resolution, and more. This class is for everyone from hobbyists to aspiring pros.

When you're done, step up your Typography and take my "Type Camp" class!

Here's are some of my designs:

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Meet Your Teacher

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Neal Peterson

KING of TYPE

Teacher

I'm Neal—I've been a graphic designer since the third grade. I've worked for small non-profits, international corporations, and everything in-between. My portfolio of work includes Be The Match, Dell Computers, Polaroid, Room & Board. I hold a Master of Fine Arts in Graphic Design and have been teaching at both public and private colleges for over 10 years. Beyond Graphic Design, I work in collage, photography, and digital sculpture. Check out my art here: nealpeterson.com

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Transcripts

1. Welcome to Logo Camp: Hey everyone, I'm going to be your camp counselors. We build a logo together. I've been doing this for a long time. I've worked with everyone from non-profits to international corporations. And now I'm here to teach you what I know. By the end of this class, you're going to have all the skills you need to design your own logo. We're going to navigate brainstorming, design basics, color theory, and how to bring it all together. So get comfortable, get something to write with, and welcome to the logo camp. 2. What is a ("good") logo?: All right, first off, what is a logo? A logo is a symbol. It's an icon, it's a mark, it's a signature. It represents a person or an organization or a product. And it communicates a message to anyone who sees it. A good logo is unique, that it's memorable. So by the second time you see it, you recognize it, doesn't get lost in the crowd. The logo will communicate clearly and will be and instantly recognizable. Next, a well-designed logo or work in black and white or color. Last but not least, a good logo works at any scale. Doesn't matter if it's on a billboard or on a pencil. 3. Pondering Design: So edit dream a couple weeks ago that I was throwing a house party, showed up. It was incredible. He was dressed like a nineteenth-century peasant painter. And when he entered the room, the arch. But why are we showing a painting in a design class? Visual art and fine art is essentially what preceded graphic design. And there are a lot of similarities and principles. It's time. For example, an opinion like starry night. You have the components of art. You have the subject. What is this painting about? Spout a small village at night. The moon is out. There is a cypress tree. Okay. This is like what is your logo about? It's about an organization, it's about a product. The other way we can look at a painting is a question of form. How is it put together by side from the canvas and the paint? We look at the colors used and the textures, and the shapes and the expression of the brush. And then we can go one step deeper. And we look at what's called the content, the psychological and emotional properties of a work of art. We know banjo dealt with mental health. We know that this was painted from his window at the equivalent of a mental institution at the time, the darkness and glue meanness could be a reflection of his depression. But I think that the light and the warm colors could be an expression of his optimism. It's hard to say. But we know that there's some sort of emotional properties to this painting into most works of art, the same principles can be applied to logo design. Here's two very different logos. On the left you have beauty rest. K, It's a mattress company. We want to sell you the idea of restful sleep, of peace and quiet and calm. So we're using a soft blue color and we're using a relaxed typeface. We're using lowercase letters, were using soft smooth curves. Conversely to the right, we have mud mania, extreme obstacle challenge. We have texture, we have warm colors. We have capital letters in the title. We're really screaming it. It's got a sense of action to it, right? Two different organizations, two very different identities trying to communicate to different messages. One trick you can play is to say the name of your logo in the tone of the typeface that you're using. So on the left and on the right. The other principle that we use in design that is also used in art. Abstraction. On the left we have an objective, non-abstract image of a tree. It's immediately recognizable as a tree, but it's not going to work well as a logo because it's a complex image. Lots of different colors, lots of texture, lots of detail. So as designers, we want to simplify an abstract, our iconography, so that it can communicate the message we want to send as quickly as possible. As we move over to the right, we see another tree, much more simplified, much more abstracted, but clearly still a tree. And we move further to the right. And now we have a very subjective abstract version of a tree, though we still recognize it as a tree. Still very complex. So not necessarily great for a logo, but you can see the level of increased abstraction. Here's some examples of simplified abstracted trees used in Logos. Now let's talk about balance. Here we have two examples of balance. Both of them are great logos, but they have very different approaches. The Volkswagen on the left is referred to as symmetrical. It's the same on the left as it is on the right. The jaguar logo on the right is referred to as asymmetrical. It's not perfectly balanced on each side, but it still functions well. This is something you want to be looking at with your own logo design. Now another consideration is direction. Direction is how the design moves the eye. This is often subconscious, but as the designers, we get to be the magician. We get to use the sleight of hand to direct the viewer. This Hilton logo is a great example. This h I counted, it swirls around. It brings you in. A completes the H almost asking the question, what is this? And then the answer is for you below Hilton. And another great example, the Russian constructivist rod Chienco. This image might be a 100 years old or more, but it's a great example of the use of direction and moving the eye across the page. And let's talk about closure and visual blinky. This is another sort of magic trick that we can do as graphic designers. We can create a design that is greater than the sum of its parts and therefore provides multiple meanings or perspectives. You may have heard of this before. It's called gestalt in organized hole that is perceived as more than the sum of its parts. You look at an icon like this and you might say, how many circles are there? Your instinct might be to say eight circles, but in reality, there are 0 circles. What we actually have here is 24 pie slices. Yet our human brains are able to perceive this as eight dots and or one cube in logo design. This is what I call Haldeman. Here's some great examples of just stalled in action. Whereas the deeper meaning, oftentimes it's in the negative space. With the NBC logo, you have the peacock USA, the S. Yoga Australia. If you look at the negative space created from this woman's leg and arm, you see the shape of Australia. Brilliant. And last but not least, FedEx. Where's the gist case between the E and the X? It's an arrow. And it gives us that sense consciously or subconsciously, that FedEx is accompanied. That's always on the move and always moving forward. Now if you've never seen this in the FedEx logo before, you will never be able to unsee it. 4. Sketching: Research. I love research because when you're a graphic designer, that means browsing the Internet, finding cool design books. Or in the case of a logo camp, like going out to a park to find inspiration. One of my favorite techniques is to create these mindmaps where you take a central idea, put it at the center of your page, and then you sort of branch out on all the different elements that make it up. So in this case, a food, things, people, and activities. This way you can find unique and actions that might inspire your design. Alright, once you have a few ideas that you can start sketching, your sketches don't have to be perfect. They don't have to look photorealistic. This is just an exercise and speed to see how many ideas you can get out. The idea is sort of like automatic writing. You want your dots to flow freely onto the page. Now if you're new to graphic design, you're going to have to spend a little more time in your sketchbook before you jump on the computer. But as you get better and improve your creative process, you're probably spending less time in your sketch book while there's a lot of dogs out here. All right, so I've got a few ideas and I really like these axes. So let's move to the computer and see what we can come up with. 5. Computer Club: You don't have a computer because we're out in the woods. So I guess we're going to have to build on there. Alright, even know where to start. I'm never going to find a computer model here in the woods who goes camping in the winter. But it's a nice day. It's beautiful. Nice trees. Sun is coming out. This gorgeous universe is a weird place. But I believe the few that intention. And you're grateful. The universal provide. What's this? It's like a small cabin. Let's go inside and check it out. Man. Scott, art and design books. And also as a year. Oh, perfect. And computer with Adobe Illustrator. Start with a clean letter sized 8.5 by 11 inch page. Now I've already saved this file and I'd encourage you to save your files right away so you don't forget. And as you're working, just make sure to your keyboard and continually save so you don't lose anything. And I did find an existing logo, camp logo. So I'm going to paste this in and we can take a look at it. Yikes. This isn't going to cut it. You know, there's a lot of instruction out there that talks about how to make a good logo. But it's important to understand what makes a bad low stakes. What I'm gonna do is select the entire logo and all the pieces within it. I'm going to hold down my alt key. And I'm going to drag this over to the side just so I have the original and I don't lose anything. Now, as soon as I put it on this dark space, you can kind of see a few issues here. Number one, this axis within a white box, and that tells me that it's not actually a vector. And so we're going to need to redraw a recreate that acts. The next thing I notice is that we're using dark elements and light elements. So on a dark background, this starts to get lost. And on a light background, this yellow starts to get lost. So we'll want to consider that as we're choosing colors moving forward. Right now, all these pieces are sort of loose right? Now I've moved down and I want to bring them back to where they were. So I'm going to go Edit, Edit, Undo. I'm going to select the entire logo with all the elements. Group. Now if I just grab the acts or anything, it'll all move together. If for some reason I need to work on one element, I can always go Object and Ungroup. And that'll free those up again. Alright, slow. Let's focus in on this little. First thing I'm inclined to do is get rid of this magenta circle around the edge here for a couple of reasons. Number one, when I think of campaign, I don't really think of magenta. The second reason, if you recall, goes back to one of our rules of what makes a logo great. And that's when there's nothing left to add and there's nothing more that can be taken away. We can always add it back in later. Next thing we're going to look at is sort of the hierarchy. We have our tagline at the bottom, which makes sense. And then we have our icon on the middle, and we have our main type on the top. This type almost looks like it's sort of teetering on this acts. I'm thinking we might want to start out with the ax on top and move our logo name towards the bottom. And as we read this top to bottom, we're going to have our icon. Makes sense, right? You know, just to get the ball rolling, I'm actually going to delete this tagline. I feel like we can add this in later. But I feel like the phrase, we're online really dates this as a sort of mid 90s. And remember, we want our logos to be timeless and we want them to have a sense of longevity into the future. So we don't want anything that's going to totally date it. All right, Now we're getting somewhere. Okay, so we need an ax. I could draw it by hand. You could go online and find a reference image, or I could go chops and would you gotta look out for the wildlife? Great, Now that I got my image, I'm going to pull it into Illustrator. So I go up to File Place. And this is going to allow me to place the image directly into my find my image and hit Place. Now I'm going to get this thumbnail. And wherever I click, it's going to be the top left of the image. But sometimes it drops in there and it's massive. So one little trick is to click and drag and give it an area for Adobe to place it. And there it is. Now as I trace this image with my pen tool or by Bezier, I don't want the image to shift around and I don't want to lose place of it. So to make sure it's secure, going to go up to Object seven, dealing with an object which has an image, go down to Locke and Locke selection. Now if I accidentally click or move, It's not going to go anywhere. Grabbed my zoom tool. Zoom in on the head. Now a common beginner mistake is the fear of zooming in to close. Don't be this designer. Don't be afraid to get in there. So we're going to grab our Pen tool. Before we start creating the silhouette of our acts. I like to set the fill to nothing but set the outline to something bright that contract. And choose this magenta again. And I see down here that my stroke or outline is set to 1. I'm actually going to make it a little thinner just so that we can really see the detail. And then you just pick a corner and you dive in. The pen tool is tricky. It takes a fair amount of practice. But I believe in you and I know that you can master this. Alright, so I'm going to click, I'm going to move across, but my line is like perfectly little bit of a curve to it. So when I click, hold and drag, and that will create a little curve and my line. So let's do that as we move around. Showy. Now I got to this kink and I want to go around, but my line isn't cooperating with this acts. So I'm gonna go back to my point and click on that anchor. And it's sort of resets the line so I can continue. Now you can see this isn't like a 100 percent perfect because we're zoomed in really close and we really only need it to be like, alright, so we're getting to the edge of the act here and the axis buried in the woods. So we're not exactly sure of the exact shape. But this is where, this is where artistic intuition comes into play. And we are going to, I'm going to say it's right about here. I'm going to click. Get one nice played cut. They're not bad. I liken this to Michelangelo getting a fresh block of marble and his sculpture studio. And you know, knowing there's an angel somewhere in that marble and he needs to carve away the excess and release it into the world. That's a fair analogy, right? And the important thing you need to do is make sure that you close this loop. So we want to click on the very first anchor point. There's no weird like there's no weird dancer edges or anything that's going to cause us a problem. Great. I'm going to zoom out. And I'm going to swap my outline with my fill so we can just see what the silhouette looks like. I'm going to grab my black arrow here. Yeah, Not bad. Let's get rid of that image will go up to Object. Unlock All, and we can just delete. All right, Let's paint it black. Select, choose our swatch over here. An illustrator, if there's a task that you want to accomplish, you have to understand that there are multiple ways to do that. I'm showing you one way. But typically there are 34, even sometimes five different ways to do the same thing. You'll find your own routine and you'll find your own flow with the software. So take your time and see what works best for you. Now if I go to my acts on the corner, I got my little curly icon and then I can click and hold, drag and rotate. And we want to make an x. So this is going to be one. Now I need a second acts. Should I redraw it? No. One of the best tips I can give you. Pixels are free. Once you have your computer and you have your software, you can make a near infinite designs. So don't be afraid to create different versions, to create different files, to copy and paste, to try different variations. The great thing about being a digital designer is your material cost is essentially 0. And the more you practice, the better you'll get, and the more you make, the more options you'll have to choose from, and the more experience you'll have if you create three logos for an organization, you're going to have three logos to choose from. If you create a 100 logos for an organization, you're going to have a 100 to choose from. So odds are, there's going to be a better. Now, if I want my second acts, I can go up to edit, copy, edit, paste, or you could have used my L key like now. I want to create this x here, but if I just rotate E, that's not going to work, we actually need to flip it over, right? So with this acts connected, so with this selected, I'm going to go, I want to reflect it. Okay. That's the right angle. Kinda spun it around but we can rotate. It's more hit. Okay. And there we go. Not bad. The problem is they're not aligned. The problem is they're not aligned. We want to make sure that. So we're going to select both axes, axes. And we want to align, vertical align center here, this option at the top. Now if you're not seeing these options at the top, there's also the Align window over here. And if you're not seeing that, you can go up to your Window menu and select a line. This will be a major time saver for you if you're working with a lot of different vector elements that you need arranged on a perfect grid. Great, I'm gonna take this, let's select these and just for now, we're gonna go object, ungroup them. All right, We're getting somewhere, going to save my file and move on. 6. Type Carving: All right, Now we're getting somewhere. Let's select these axes. And we're gonna put our cursor up in the corner so it's an angle and we're going to click, drag and scale it down. But again, we want to hold our Shift key click to make sure that we're keeping the proportion correct. Much improvement. I don't know about you, but I am looking forward to selecting this and delete it. Goodbye. Let's bring our logo camp up here. Select both and drag these over. And maybe just get the scale it will. Now looking at this type right here, I can tell that this is Papyrus. It's terrible. But the other thing I notice is that there is an outline stroke on here because I know it's not this bold. So let's select that. We see our stroke here. It's also over here. If you're looking at in that direction. And we're going to choose none. And turn that off. There we go. That's your regular papyrus. Looks like we got some kerning issues here. Topography is what separates the good designers from the bad designers. I definitely see a kerning issue going on between a few of these letters here. Well, just that once we get our typeface picked out. Now I don't think this is a good typeface for these axis. These axes have a nice like sort of clean cut edge on it. Whereas this kinda has this like pseudo Hobby Lobby craft store grungy effect on it. Let's see what else we can find here. All right, so I've gone ahead and put together some typefaces that I think could work for. This is very tricky because you want to find a typeface that for the record we use the word font and typeface interchangeably. So don't worry too much about that. You know, you want to find a typeface that's going to be first and foremost, your typeface needs to speak clearly. And you want to have a typeface that's going to work good at a big scale. Whether it's on a billboard or you want something like your logo that's going to shrink down and still be legible. But anything too generic or too boring, we don't want anything too crazy. So we want to really find that middle path, That's the Buddhist. I sort of chose these based on the style of how our axes turned out. You know, they sort of have this clean-cut designed aesthetic to it. They're not grungy, they're not techie, they're not cubicle or geometric. They just kind of just a simple clear representation of an ax. So looking at some of these typefaces, this one, for example, I thought was interesting for a logo camp because it had sort of these. Pixelated elements in there, which I think speak to digital design. But I don't know that that really matches with my axis. Let's go to this guy right here. It's like too obvious, right? Maybe a little too much, maybe a little too can be good in theory. But again, stylistically, these logs don't necessarily match up with the style of the act. You know, some of this is going to be personal style. I like to have like a nice, clean, flat Mark. I don't like to get too fancy with it. And you know, you look at a typeface like this and there's a lot of detail in it which could be tricky. Embroidery. The polo shirts of the camp counselors. So something to consider there. Let's get rid of that. And I found this little weird guy. And it has that unique boldness and flatness that matches the axes. But two things are kind of off putting to me. One, this G, I don't know, it doesn't read that clear. So I could recreate that g. But then I felt like I kind of had a Pac-Man thing going on here. And so it was sort of to strike. All right, I thought this had a nice sort of campy, tribal look to it. And luckily we did have a bold version. So I'm going to hang on to that one. And maybe and along with that, I also like this typeface. It did have the boldness to it as well. And this one does well. You'll note that this one has a little bit of grunge around the edge. It's got a little roughness. That's okay. But the axis don't really have that. So if we do go with this typeface, maybe we'll want to rough up the edges on the axis a little bit, or clean up the edges on the typeface. Let's put that in. Maybe. This one is similar to the others, but I don't know. I just feel like it lacks a little character that the others have. So we're going to ditch that. And last but not least, I just want to throw in something different. This typeface here I've used before, It's called thirsty, and it's just a really nice script typeface. And I like the boldness and flatness seemed to really match up well. And the axis have some curvature to it, which I think speaks nicely to the curvature of these letter forms. So here we go, four options. Now one reason I really like these top three here is you can see all these O's are very geometric. And it sort of reminds me of the side of a log, which I think will be a knight. So I'm just going to mock up for different versions with our axes and we'll just start there and see how it looks. All right, are you sick of the axis yet? All right, this might be getting a little too repetitive, so I'm going to play around with a few of these and see how we can maybe rearrange these elements. Might be too stuck down. Axes. So I feel like I'm getting x down here. Maybe the xs are getting to be a little too much. I'm going to play around with the relationship of the moles with the type and see if we can come up with some different variations. I'm also leaning against a scripty fonts, so we're going to set that over here. But I do still love the ax. I loved the acts as a tool, which is a symbol tools that we use in graphic design. So let's see if we can play around with that a little bit. I'm going to ungroup these. And this is trying to rotate and see what happens if I maybe just if you do have questions, I'm working a little fast. Just so you can see the process move along here. But if you do have questions, feel free to raise your hand. Now I felt with this version a little bit. This these axes are little, maybe too tight and there's not enough breathing room. I'm going to close. I'm going to scissor those together a little bit. I'm going to start by deleting one of them because I'm concerned that I want to make sure that the angles are the same. So I'm going to first rotate this one. And I'm going to edit, copy, edit, paste, and do what I did before. Object. And I can align those later when we get further down. But now you can see it kind of opened up a little bit. It's a little more clean and clear. There's a little more breathing room for that typography. I don't want to try one with just one acts and see how that looks here. The reason I'm really enjoying these axes for a campaign related logo is tuber watch those cheesy horror movies from the eighties. And they're always based in a summer camp. And then there are some serial killer. Love those movies. I can't watch them anymore though. I don't need that sort of like I don't know. I don't need that like infiltrating my consciousness anymore. Kinda over that. But, you know, teach their own. Now there might be something there, a little bit of rhythm are really alright, we get narrowed down and we've definitely come a long ways from papyrus day. I'm going to show you something new here. Alright, let's go down to the Pathfinder window. So the main two. Options on the Pathfinder window that I use are the first one which Adobe calls unite, and the second one which is minus front. And I'm going to use this first unite here. And what it does is it's like taking two pieces of dough and welding them together. You don't want to miss this and unite. Okay? So now if I click this, it's one solid piece. And if I do something like change the color, it will change color evenly across the whole thing. I don't know. Is there something there? It's kinda it's kinda of wood choppy, kinda axi. Well, we got options. I'm going to let these simmer on side. I'm going to backup, move them back over by my other rejects over here. So it'll be fun to look at later. I don't mind this ax murderer version here, but this one has a little more like Team Spirit. I like the positioning of the ACS. I'm going to select both of these. I'm going to choose this option up here. This is part of my Align panel, which would also be down here. And I'm going to select this vertical top align. Even though I'm looking at this, these look aligned, but just to be absolutely sure I'm going to click that. Okay, nothing. So we're good to go there. I'm going to select them and night. Because why not? Now, I want to think about the proportion of the axes to the proportion scale, thickness, boldness, et cetera, of the letters. So the way I want to look at this is thinking about the handle of this AX and making that thickness roughly the same thickness as the letters here, I think would be a nice complement. They'll seem to relate a little better. So I might even just temporarily change the color on these. I'm going to shrink it down, sort of overlap it. We're going to we're going to eyeball. It doesn't need to be exact. I suppose I could rotate it as well and just see it's real close. Painted black there, right? Next thing I'm gonna do, I'm liking this typeface again, loving this little accidental tent here. Now we're going to jump into some topography. All right, we have our typeface, we have the right weight that we want. In fact, there was not even another wait for this. So it worked out kinda nice. I'm going to grab my type tool over here. I'm going to put my cursor in the word. We want to have equal spacing in between the letters, so it just reads nice and evenly. I feel like we could loosen up this space a little bit. Maybe tighten here and here. These look pretty good to me. And maybe just add, maybe just loosen that up a tiny little hair. So the way I do that is to use kerning. You may have heard of kerning refers to the spacing in between the letters. If you've taken my type class, you definitely know kerning. So this has been sort of auto current already to minus 110 tightened up. But I feel like that was maybe a little bit of an exaggeration. So let's now I'm going to stop doing this on my mouse, because now that you've seen it on the screen, I'm going to hold down the Alt key on my computer. I'm going to use the left and right arrow buttons. You'll see that to move in and I'm going to tighten that I want in my image. And that's due to clicks each. Then we'll go one click over there. That's like minus 20 points or whatever. 72 points equals 1 inch. I've got these were okay. I could tighten a little bit and yeah, I want to loosen up but maybe not 20 points. So I'm going to manually type in the back here. Same deal. I'm going to do minus 10 on that instead of minus two. Like that. Edit undo. Okay? So right now the computer actually abuse this is type right? I can highlight it, I can edit it, all that stuff. But I actually want the computer to view this as shapes instead of readable letters. So I'm going to do what's called a Create Outlines. And this is very important. This is something you should do to all topography that you use on your logos. So that if you send your logo off to someone, say accompany for printing, when they load that logo up, if you haven't converted this to outlines, it's gonna say, hey, I'm looking for this typeface. And if it doesn't have that typeface, it might replace it with something else. And that would be terrible. So we want to avoid that by selecting the type and going to type menu at the top and down to create outlines. Okay? Now, the software doesn't know that this is the letters. It just thinks it's a collection of shapes that look like. So. Now the nice thing about this is we can manipulate these letters. We can move them around, et cetera. So the first thing I wanna do is I want to break apart the word logo and the word camps. And now my letters are separate, so I'm going to select camp and object group. I'm going to select Logo, object. All right, we're coming along. Now what I wanna do is I'm going to select the word logo. And I want the word logo to be roughly the same width as the word camp. Because I want the logo to be balanced from left to right. So I'm going to hold down my alt key and I'm going to shift and slide this over and align it up. That's pretty close. We're going to actually change the color of the word logo so we can see more of the top of each other. And that actually looks kinda cool. Let me select that and put it up. So I want to put some guides in here so I can really, really plan this thing out and get it mapped out on a grid here. I want to be able to see my rulers right now so I can hit Command R, which is also going up to View. And Rulers Show Rulers. Now with my ruler is I can click and pull out these guides. So I'm going to pull on the right in the center. There are right in the center here. So I have a starting point of the now it looks like these words or sit in a little high. So I'm going to select, Let's say that's the middle. All right, let's zoom in laggy computer. I want to grab my black arrow and make sure that this word logo is just on the edge of that C. And then I'm going to grab a ruler. And I'm gonna go over to the letter O. Pop it on there. So now I can delete this logo where it out of here. And I can see that the word camp is a little less wide. So I could adjust the kerning here to spread it out or the tracking. But I feel like it's already pretty good. But one thing I noticed right away, if you noticed this letter P, it's not as wide as this L is a little less wide. So what can we do about that? Now that we've converted this to outlines and Illustrator views it as a shape. I can grab my white arrow and I can select a point on here or a line, and I can start changing and manipulating the letter K. I don't wanna do that. So I'm going to. But the nice thing about this P is it's got some straight lines in here. So if I can retain this curve, maybe I can just pull this out a little bit. I'm going to click and drag over the points I want to grab. And now I can grab this. Move it around, right? That actually looks really cool. But before I go too far, you're going to straighten it out, Edit, Undo there, and grab this anchor. Going to hold down my Shift key. I'm just going to pull it out. I'm actually going to go little under Snowden's going to know so much. And I might actually do same thing on this l. I just felt like as a low sharp corner lip. And I can turn my guides on and off using the keyboard shortcut command. All right, We're getting somewhere. I feel like the words logo could be in a little further to the right and camp could be in a little bit further to the left. So I'm going to zoom in. All right, so I'm going to hold down the Shift key, grab the word logo, and slide it in a little bit. Same thing on the other side. All right, get in there. I want to make sure that this distance is the same as this distance. The nice thing is we're dealing with similar curved shapes here. So it should be pretty even. Now, there's a lot of ways I could do this using the ruler tool or other tools. But I've kinda got this habit where I kinda got this system are just draw a box, the distance that I make it an odd color. The V to get my Blackett. And looks like that C is a little closer, so we'll judge it based off the sea. Well, okay. So now I know that the width of this box, so within that space, Let's keep building. This thing will add color next. Color is up next. All right, Maybe one more thing. Because about to close this down and I noticed a couple of things. One, I thought the letters were maybe sitting a tiny bit on the lower end of the axis. Maybe it's because the blades at the top have more by heavy impression. But it's within our liberty as graphic designers to make that call. So I'm going to select these and I'm just gonna give him one tick south. Okay, one down stroke on that. The other thing I was thinking, It's like last way, remember this thing over this logo down here. This typeface had these cool little notches in there which, which were sort of nice reflection of that acts as a tool, right? Gives it a sense of like action. So why don't we add a couple of those. I saw an opportunity for one in this letter M. I like this 45 degree angle that comes down and Azure AI is coming across and reading logo on the left and then it's coming over to camp. This will help draw the eye through the letters and down. Maybe we do it on the PIE. This is going to get a little too. Metallica. Either thought was, we do it on the L, right? We could do it two ways. On and on. I could be cool. Not bad. Also not bad because then you come in from the upper left. Now let's think about this a little bit. Maybe see how it fits once we have color. 7. All About the Pretty Colors: What is color? Technically speaking, colors, the visual response to the wavelengths of light and their difference. Color can have a huge impact on the success or failure of your logo. So it's important to understand how color works and the effects that it has on people who are going to see your logo. All right, we're going back to seventh grade art class here and we're going to recap the color wheel. Remember our primary colors, red, yellow, and blue. Theoretically from these colors, we can create any other color. Now this is interesting. The number of colors that we, as humans can actually perceive is a pretty small amount compared to some other animals or insects out there. We actually see a very small percentage of the total visible spectrum. But we're also monkeys on Iraq flying through space. So we do our best. So let's start simple. What happens when you combine two primary colors? You get what's called secondary color. So if you combine red and yellow, you get orange, yellow and blue, you get green and red and blue you get violet. Now if you combine a primary color with a secondary color, you get what's called an any three equally spaced colors on the color wheel are referred to as a triad. Now, triads can be used to develop color palettes. For example, if you want to decorate a child's bedroom in the 1960s circus theme, you might choose red, yellow, and blue. You can also play with complimentary colors, which are two colors across from each other on the color wheel. This is used all the time in branding. So for example, yellow and violet. I automatically think my local football team, the Minnesota Vikings. Whereas red and green, you automatically think of Christmas. Thing about being a graphic designer. We have some artistic flexibility with how we create our logo and what colors we use. So for example, on the left we have a red apple, we would call this objective color. This is how we perceive it. In the world, The sky is blue, the grass is green, whereas on the right, we have a blue Apple. This is what we call a subjective color. Let's see an example of that. If I was in the grocery store and saw a gray Apple, it would be off putting. But in this example, apple is used as subjective color to really reinforce their unique brand. Now you can generally put colors into two main categories. You have warm colors on the left here, reds, yellows, oranges. And then you have cool colors on the right. Blues and greens. Each one has its own unique sense or feeling that we associate with it. So let's see this used in logos. Lays, potato chips, potatoes. They got that yellow warm feeling to it. It's a wholesome comfort food. Something Come on. I that hot oil deep fryer. Conversely, on the right you have Ocean Spray, right? They sell cold beverages, cool water, something to drink. And just as another example, I love this painting. I love the use of both warm and cool colors and the sense of depth that it gives you. As a general rule, warm colors tend to advance towards the eye and cool colors tend to recede into the background. Let's see that in Logo form, Firefox. Now clearly the fox is layered on top of this globe, but the globe is also in a cool dark color, so it recedes into the back. And the fox is in a warmer, brighter color in front of the globe. So we get that extra sense of depth and dimension. Not bad, right? But isn't this Firefox logo weird? There's something weird about it. The way that the fox is facing the globe at it. Paul is historically associate. It's considered a relatively artificial color that's difficult to find in nature. So when it was originally made as a dy, only the rich could afford it. But thanks to capitalism, now, everybody can enjoy purple. At least speaking, in graphic design we work with to color mode. Cmyk and RGB. Cmyk is exclusively used for anything that's printed, anything physical, printed on a physical page, et cetera. Now there are exceptions to this, but as a general rule, CMYK is associated with print and RGB is associated with anything digital, the web, video, TV, et cetera. Now when you create your logo, you'll want to consider this, although you can find pretty close matches between a CMYK color formula and an RGB color formula. There are slight differences. For example, if Coke is printing their logo, that red might be a couple percentage points different than the red Coke logo that they have on their website. So as the designer, you'll want to be prepared for any scenario with your logo and be flexible with changing up the color formulas between CMYK and RGB on a case-by-case basis. Typically, when I make a logo, I'll produce an RGB version and a CMYK version just to have at the ready. Here's a quick comparison of RGB versus CMYK. Now you can see with RGB you can get some Richard greens, blues and reds. But at the end of the day, the areas that they both cover include millions and millions of colors. So don't feel like you're limited by one color mode or the other. 8. Logo Painting: So how do we add color? Well, we can play around with our sliders over here. Could go into our swatches here and crap shoot a bunch of defaults. Or we could go to this little hidden menu up here, which has a lot of important information under it. And we could go down to our Open Swatch Library. Look, we got earth tones. We've got some nature. Let's try foliage Shelley are at, I'm thinking these axes are going to be one color. And they're going to be sort of our mark. And then logo camp is going to be one color. So it's sort of reads as one unit together. So I'm going to select camp, hold down my shift key, select Logo, and group them together. And I'm going to do the same thing for these axes, just so that when I choose a color, it'll cover the whole thing and not just parts of it. An ax to me is sort of, you know, sort of heads that would sort of coloring on it or the handle. I don't know, I'm feeling that let's go try one more here. Let's try landscape. Yeah, I was thinking more like a tab like this. Maybe a little darker. Let's try that. All right, camp. The nice way to coordinate this is just going to be with a green. So there's a million kinds of green, right? Do we take something sort of military here? Maybe a little more sea foam. Now, reptilian, dark forest. We are kinda like that balance there. Let's try it. Oh, well, I kinda like that too. Let's make a copy. Fill in the darker version. Let's go with that. All right, finishing touches. Let's grab these axes. We're going to go and weld them together using our Pathfinder unite here so that it's one solid element. What do you think of these cuts that we put in earlier? What the hell, Let's keep him. Now we've already gone up to type and created outlines on our typography. So we don't have to worry about that. But if you haven't with your logo yet, make sure that you do. If you have any strokes or lines outlining any of your elements, make sure you go to Object, Path, Outline, Stroke. This will prevent them from getting too thick or too thin. As you scale up and down your logo. Save your files. 9. Technical Specs: All right, we design logos in Illustrator because we want them to be vector. But what are all the other file formats at? When do we use them? This is mus, no information for any graphic designer. Alright, we have two letter A's. The little a's on the top are just smaller versions of what you see below. One of these A's is referred to as a raster or bitmapped image, such as a JPEG. And one of these is a vector image. Can you tell the difference? Is referred to as a raster or bitmapped image. This means that it's essentially a grid of pixels. And the pixels are filled in with different colors. To create an image, we use raster and bitmap images in print, and we also use them in electronic media such as the web. On the right, we have a vector image and look at how great it looks. It's clean, it's crisp, it's clear. And if I scale this up really big, it's going to look just as good as if I shrink it down really small. Now, instead of working with a grid of pixels on a background, vectors actually use a mathematical algorithm. So when the computer looks at this letter a, it sees it as a triangular form with this crossbar, some curbs, black K. And it computate that and displays it on the computer. That's why when we stretch it out, instead of stretching and pulling all those pixels to get that muddy, it stays Chris, whereas the raster bitmap image on the left, when you stretch and pull those pixels out, they get muddy and they get what we call artifacts. So what are some common file types for a raster bitmap? We're talking about jpegs. We're talking about gifts, not Geoff's gifts. And we're talking about paintings. Pings are sort of the preferred file nowadays. And the great thing about pings over a JPEG or a GIF is you can use a transparent background. Vectors always have a transparent background unless you build something into it. Common vector files, EPS and AI, which is Adobe Illustrator. All right, resolution. Here we have a side-by-side comparison of a high-res image on the left and a low-res image on the right. The high-rise image on the left is 300 PPI. Ppi stands for pixels per inch. So how many pixels are in an inch of that image? So a four by four image at 300 PPI is a 1200 by 1200 pixel image. How do we get that number? We take four by 300 and we get 1200 by 1200. Image on the right only has 72 pixels per inch. And so if we take four times 72, we get our 288 by 288 pixel image. Now in the design world and in the print world, sometimes instead of PPI, you'll hear DPI, which stands for dots per inch. And this is more specific to the print industry, but sometimes people use those terms interchangeably. Now a 72 PPI is the standard for anything electronic web video projection. Whereas when you're working in the print world, using a raster bitmap image. Ideally, you're using at least 300 PPI. You can get by with 200. You can get by with 150. It happens. And when you don't have a high resolution image, sometimes you have to make concessions. But as a general rule of thumb, shoot for 300. Alright. See that co after bagel. Let's take a closer look at that. Here's where you can really see the difference between a high resolution image and a low-resolution image when we zoom in to a 1000%. All right, let's recap. Print. When you're working in print, ideally you're shooting for 300 ppi. When you're working on the web, 72 is your standard. When we're working in print, we use the CMYK color mode. And when we're working on the web, we use the RGB color mode. And when you're working on a project, you can use raster or bitmap images, and you can also use vector images. Examples of files that you would use in a project, such as a poster or an album cover, could be a tiff, could be a JPEG, could be an EPS or AI vector, or it could be a Photoshop document. Now when you're working on the web, 99% of the images out there are going to be jpegs, gifts, or pings, easy, right? All right, Let's check in and see how our logos coming along here. 10. Final Thoughts: There you go. And this is just one version and one concept for this logo. You know, imagine if we did five versions or 10 or 50, you'd have a lot more to choose from. Because at the end of the day. 11. One Last Thing:: All right. You did it. Thank you so much for watching checkout the project below. I can't wait to see what you come up with a really rooting for you. Skip those basics in mind. Less is more, you know, your logos done when there's nothing left to add, there's nothing left to take away. Keep it simple, but make it memorable. And make sure it works at any scale, big or small. Thanks again. Take care.