Logo Design: Illustrative Retro Badges | Jeremy Mura | Skillshare

Logo Design: Illustrative Retro Badges

Jeremy Mura, Brand Identity Designer

Logo Design: Illustrative Retro Badges

Jeremy Mura, Brand Identity Designer

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
12 Lessons (1h 37m)
    • 1. Class Trailer

    • 2. Badge Inspiration

    • 3. Finding Color Palettes

    • 4. Creating Mountains and Hills

    • 5. Color Guide, Clipping Masks and Experimenting

    • 6. Class Project: National Park Research

    • 7. Building Badge Structure

    • 8. Illustration

    • 9. Adding Typography

    • 10. Adding Color

    • 11. BONUS: Craft Whiskey Badge (Client Brief)

    • 12. Learn More

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

Community Generated

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





About This Class


A logo does not have to be a geometric shape or a symbol it can be in the form of a badge like we see those ones from the police force. You can have different styles of badges, flat, monoline, illustrative or even a sports badge. I'll show you an adventurous style using bold fonts, colors, and illustrative elements to improve your logo design skills

I'll show you tips and design principles when designing a badge and what works to make it function in it’s nested form. We will go through each step of the design process of creating a badge based on one of my favourite national parks.

Key Takeaways:

  • Logo Badge Tips & Tricks
  • Step-by-Step Design Process
  • Inspiration & idea generation
  • Shape, Colour and Typography Techniques
  • Adobe Illustrator Workflow


  • Real-life client project example in one of the lessons

You'll need adobe illustrator to complete this class, you can get a free trial here.

Meet Your Teacher

Teacher Profile Image

Jeremy Mura

Brand Identity Designer

Top Teacher

About Jeremy

Jeremy Mura is a brand identity designer and content creator from Sydney, Australia.

He has been in the design industry for over 7 years now working for both small and big brands worldwide. He has worked for brand names such as American Express, Telstra and Macquarie Business School. In that time he has also helped hundreds of people upgrade their design career from logo designers, illustrators, brand designers, web designers and many more.

‍I’ve become known for my transparent, helpful and positive personality as well as creating practical content and courses that help launch beginners into the creative industry.

He has over 2M+ Views on Youtube with over 300+ videos uploaded, has taught over
45k+ Students on Skil... See full profile

Class Ratings

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

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

Your creative journey starts here.

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

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

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



1. Class Trailer: Hey, my name is Jeremy and I'm a designer and a illustrator from Sydney, Australia. I've been designing logos for over four years now, and I really love designing badges. In this class, I'm going to show you my step-by-step process of designing and illustrating badge and it's really based off one of my favorite national parks called Blue Mountains National Park. In this class, for this project, we're going to be designing a national park in your favorite town or city or country that you visited or you like, and we're going to design a badge that has an illustrative style that's using typography, we're going to be using color, and layout, and form and some other tips and tricks to add some nice details in there. I guess that concludes the class, enroll today and learn some more tips and tricks and principles on how to do some logos badge designs. 2. Badge Inspiration: It's always good to have a place where you find some inspiration when you're doing your badge designs. I'm going to show you a few places where I look to get some inspiration. Obviously, you can go and Dribbble, and you can go on Behance, and places like that to get some inspiration. But it's also good to have some other sources. The first source is Alan Peters. He has a blog with the badge hunting on it. He goes to places, and takes photos. It's really cool. He takes pictures of packaging and vintage type stuff, which is awesome. So if I just click on one of these blogs, you can search him up online. You can see here, for instance, all these different types of badges. He's really good at it and super cool. I just love his work. A great form, great typography. Awesome use of color. Just really awesome. You can check out his blog. He's got plenty of them. This is a really good source when you're looking for badges in different styles. Which is really cool. That's awesome. You can also go on Instagram. There's a channel called Badgett Design. On this account it pretty much shows different artist designs, different styles, and everyone has a different vibe to it. Different styles, some are flat, some are more illustrative, some are more hand-drawn. Some are more simple, and minimal, and monoline. But you can see here heaps of different badges here. It's some badge design on Instagram. You can follow that account. Super-cool. Love the work, and you get some nice inspiration there. Super good. Another cool place, is Logo Inspirations. They have an Instagram. They post heaps of logo designs, but they offer there some free [inaudible] badges e-book that they posted earlier this year. You can see if you download it, or sign up with your e-mail, you'll get this e-book. It's super awesome. It's got so many different artists and they pick the best. There was a competition that pick the best. So I'm just going to scroll through here. You can see the founder there, and some other [inaudible] stuff. But if I just zoom in here a bit, you can see all these cool badges. It's amazing. So it's a curated list of some of the top designers that do badges. I love the different styles. Love the layouts. So awesome. You can download that for free and check these out. Then it gives you the website on the bottom. So if you want some more inspiration, you can go source out those designers there if you want to look into it more. So that's a free e-book which is super handy. Another artist I've been [inaudible] following is Trey Ingram, he's awesome. I love his style. It's flat, but it's really cool. So you can see he got all these different badges. Huge inspiration and I love his style. It's pretty awesome. Look at that. It's super cool. These are one of the artists I follow, but there's plenty of other artists. Like Erin Joplin is awesome. It's plenty of others. But yet this is just one place where I go. Super cool work. I have Pinterest, I have some boards, and when I'm online, or if I'm out and about taking pictures, I upload stuff, or even my own products as you can see here. But I get different inspiration. Even if it's not like a [inaudible] design, I like seeing badges or patches in the real-world. If it's an old vintage on clothing, or something stitched on, or some packaging. I love seeing that type of stuff too. So you can see here, even in a real-world badges. Even a police badge and all that. It's cool stuff. So you can see that it's good to get a mix of inspiration. Not just a fun design P Vector peace. It's good to get real-world examples. But here's just one of my pin boards that I love to use, and I'm always, constantly adding to it. I haven't updated in a while, but I'm going to add some new stuff to it. But yes, plenty of stuff there, and it's really good for inspiration. 3. Finding Color Palettes: There's a few places you can find some decent color palettes. I've been recently going on Color Leap, which is pretty cool. It's one of the more recent tools. You can sign in to save your palettes if you want. You can just click on it, it's colorleap.app, and you can choose different eras of time, 1950s, 2000 BC, which is pretty cool. You can choose an era. You can go ahead and select maybe I want like 1940s retro. I can scroll through and it will show you in images and some of the color palettes that it got from like these old school posters or whatever they are, images or designs or layouts. You can see that's a cool palette. If you want to see more pallets, you just click on the left, see colors and it'll come up with all these cool colors. You can click on them and it'll copy it to your clipboard, as you can see there. You'll find some decent colors here, super cool. I can click these arrows in the left here and I'll go up and change what time period or era it was around from. Look even that one's pretty cool too. What I'll need to do, I'll take a screenshot and I'll jump into Illustrator and just copy that. I'll copy this image in my former browser, copy that in. Then I'll make some shapes and use the eyedropper tool to pretty much sample those colors that I just made. You can see that I'm doing it fairly quickly, but you get the gist of it. What I'll do is select them all. Go to my swatches panel. Click the folder icon on the bottom right. What you want to do is you want to make sure convert process to global. That's just a good tip because you can pretty much edit the color, and it will change every object with that color in your Illustrator file. You can name it whatever you want and then press "Okay". Now you have that whole folder in your swatches panel. That's why it's good to use that, it's super cool. You could find heaps the colors, and it's pretty awesome and you can see the images as well. It looks pretty sweet where they got the colors from, that's pretty cool. Another cool place is colorhunt.co. Same thing, you can click and copy the hex code or just screenshot the whole palette if you like it and just sample the colors. It also has a extension for Chrome where you can just get nuke color palettes every day or just click it and it'll pop up out of your Chrome. I don't really use it that much, so I don't need it. You can also search on what's trending or popular. One second, If I click popular, you see all these palettes here. Nice palettes you have. These are very bright and abstract, a lot of these, but if you pretty much funnel through it all, you'll find some decent palettes that you can use. That's just a few size you can use to get some nice color palettes. 4. Creating Mountains and Hills: Before doing some research, I go online, go on Pinterest, Google, go on other places on the net to find some good reference material and reference images. I'll get images of mountains, of rocky hills, even in the Grand Canyon there. As you can see, that's pretty cool. I'll get pictures of trees, clouds, the sky, just things that I'm going to put in my background of my badge, especially if I'm doing a themed badge of a jungle or a national park. You want to find things that are going to relate to that. Things I can put in my background, to my foreground, and make it have a nice layer. I love using monochromatic color palettes to support that, and it has a nice fade effect out from the background, and when it blends with all the text and the other illustrated elements it looks good. That's how I design it. You can see here I've got some examples, and we're just going to do a quick example. We can do the mountains here, you can see here, I don't own any of these images, they're just from online, and we're going to start to trace over it. I'll use these mountains here. I press the pen tool, I'll make sure I'm on the right layer, press P and I just pick a bright color, and I'll just do this really roughly. You can see here, I'll start to click and drag on the edge and trace over the mountain, and what you want to highlight is really have pictures with a clear definition of light and shadow, and that's going to help you when you want to add some more detail into your illustration. When you're doing a badge, you can add detail but the thing is you don't always have to go too crazy with the detail because if it's something in the background, it won't matter as much because you wouldn't notice it, which is totally fine. We traced that bit there. You can see here there's a big shadow here, we want to do that shadow, so I'll just pick another color for the strokes, so we know what shape is what. Once again, I'll click where I left off of this anchor here, and start to go down this mountain bit, and I'll create the shape like this, and we can actually clean it up so I can actually cut this shape of so if I just select them both, press Shift M for the shape or I can just plus these two shapes together. I'll have this shape, and I'll have this shape here. As you can see there, and you can see there's more shadow over here. I'll just quickly go through that. You can see it's a bit pixelated, but that's okay. Just doing this for an example to show you guys the type of effect you can get. Not to follow it exactly, but the more time you spend on it, the more better it'll look. As you can see there, change this, and what I'm going to do is bring this shape to the back, so I can select these two shapes. This one, this one and this one, and I'll make it a dark color. As you can see there, I've already started to get the shape of a mountain which is pretty cool, so the longer you spend on it you can start doing shadows here and other stuff which is pretty cool. Another example here we've got some hills, this is a nice photograph, it goes down layers, so this would be a lot easier to do. I can come through here, once again tracing over the hilly areas and I'll use a gray scale to demonstrate that. I having high contrast, so I'll use a gray-scale if I want to do another color palette here, and I'll start with the darker tones at the front. Sometimes I flip it around. You can see here as I'm going through just tracing these shapes, these hills, I'm also bringing it behind the other hills and I'm changing the color to a lighter color. You can see that, to bring it back, you can go object, and arrange, and you can bring a shape forward or backward. That's a tip. I use a shortcut key which is control, and left square bracket, or right square bracket to bring it up to the front. Go through there. I don't have to worry about doing the shape nice at the bottom because it's going to be behind the other shapes, so that's totally fine, and we'll just do one more quickly, and that will make us a nice background to the back, just that, and now we have a cool background that we can use, pretty sweet. 5. Color Guide, Clipping Masks and Experimenting: Now what we'll do, we'll put it within a shape here. But before that we'll add a bit of color. I'm going to select these altogether. A cool trick I use is using the color guide. I have my color guide here. You can see in my swatches panel, I've already got some grouped pallets or colors that I'm using. You can see, and what I'm going to do, I'm going to select the objects I want. I will select all these, click the little color wheel, and now I can select any of these pallets in my color groups. I've got that one, I got this one. You can see how it has that nice fade effect that I've spoken about. I love that looks so cool. You want to use a monochromatic palette that goes from light shades to dark tones. Then you're going to get that cool effects. You can see the cool effect. I can do this green one, or I can do a bit of a mixed one, and I can just click that. If I want to change the ratio or I want to flip around which colors I want, you can click this little button here. If I click this, it's going to shift them around, or I can drag them where I want them. As you can see, just like that. We'll use that, that's cool. I press "OK". I don't have to say changes, I can just click "No". That's going to affect that. Once again, I can use these trees, I'll use this detailed one for the sake of it. I want to use the eyedropper tool and I can just sample this color here. Just drag that back and I can leave it like that. I'm going to bring this over here. I'll make this a bit smaller. Now it looks like I'm going to have some trees here. Duplicate it by pressing Ctrl D. When you copy so you hold auto option, drag it, and then once you've dragged it, you can press Ctrl D and its going to duplicate that action that you just did. Add some variety. We can change the scale by upping the size as well. It depends on what type of look do you want. If you want to make it look like it's further away, you want to make the trees really a lot smaller, but we can make it really big if you as well. I'll just leave that for now. Bring it over here. I'll select the clouds, I'll pick the lighter color. The stars, I'll just pick a white for now and I'll scale this down, bring this across. Another thing you want to keep note is clipping masks are your friend. We can see we have the shape here. I can skip the darker for now. What you want to do, you want to select it, press Ctrl C and Ctrl F to make a copy and paste it on top. We see we have this now, and you want to make a few of those because we're going to be using these to put these into clipping mask. What I'm going to do, I'm going to group these together so I can group. Just to show you, I can just bring this one down. I want to make sure that the mask is on top of my objects that I want to put within the mask. I'll bring that. Then because these shapes are grouped, I can just go ahead, select these two shapes press "Object", "Clipping Mask", "Make". The shortcut is Ctrl 7, or Command 7 if you're on a Mac. Then that should make a clipping mask. You can see because the shape wasn't big enough, it didn't fill up the space. I can double-click on the clipping mask, it will go into isolation mode and then I can go ahead and select the shape within it, I can scale it, I can move it with my arrow keys, whatever I want to do. Then I have that clipping mask and now I can just drag it back on top. Just so it's looking cool. Sweet, we have that. I'm going to go bring my clouds. I'm going to lock this clipping mask. Once again, I need another clipping mask so I'll make it a duplicate. I will place my clouds where I want them. Make a group of the clouds by pressing Ctrl G to group them, or you can go "Object", "Group" at the top there. Once again, select make a clipping mask, "Object", "Clipping Mask", "Make". I'm going to double-click, go in there and I'm going to select a lighter color. A cool trick I like to do as well, is if the swatch doesn't have a color I want, I can go to "Color". What I'll do is I'll click on the three lines in the right corner and I'll switch it to HSB. That stands for hue, saturation and brightness. I'll usually play around with the brightness and the saturation mainly. I'll hold "Shift," put my mouse over the percentage bar over here. I'm just going to put it up to make it brighter as you can see or we can make it darker. I'll make it a bit brighter and sometimes I'll put the saturation, shift it a little bit up. We have that. The little stars, I can drag them in, but we want them to be really small, so I'll scale it down and I'll just play around. What I'll do is I'll move them around, different angles like that. But also say think about scale as well. You don't want it to look too unrealistic. You want it to be somewhat balanced. I'll even do a sun as well by making a circle, or I can make its heaps big and then I'm including mask and bring it all behind that. I'll make another clipping mask. Well, I don't really need to because of the clouds, that's fine. I'm just going to bring the sun back behind that. Just going to play around with them. The stars don't look too good when they're too small, so you always want to zoom out just to check how it's looking. We've got all our elements there. Now what I'll do, I'll change the color of the background. I'll test some of the colors that I already have in the palette to see what it looks like, so I can make it lighter. Go to my color. I can make it that yellow background, as you can see. I'll lock the masks I don't need. I'll use the shape that I want, and I'm going to do a stroke and I'll make it a dark one. You can see press "Shift X" or you can drag the fill onto the stroke, and I'll bump it up. As you can see there, I can make a box. I'll group these together. I'll just select these together, make sure they're unlocked and group them. Bring it to the front. Just see we want to have this same color as the front there, it looks cool. It looks like it's flowing together, or you can play around with what it looks like. You can get some different effects. Just by playing around, you can get some cool badge effects and you can go ahead add typography or you can just leave it like that if you want. I'll just quickly go ahead and add some type in there. Then we have it. Some examples, you can use some tips and tricks, and it's looking pretty cool. 6. Class Project: National Park Research : Before jumping into designing the badge for this class project, whatever you choose, you want to choose something that you're familiar with, whether it being your town or your country, just some national park that you'd like. For me, I've picked the Blue Mountains National Park, and I've been there since I was a little kid. I've been there four times or something, but it's really cool, and it's got good vibes, and it's got a nice view, a scenic view, and it's got bush walks. It's got the Three Sisters in these waterfalls, and all this cool nature, and stuff that you can go look at, and I love it. First off, you want to go research, you can just go on Google, and whatever national park you're doing, you want to find as much information so you can get contexts, and can make it relevant. It doesn't have to be a 100 percent accurate. But the more you know, the more you can make it better, and add more elements into your final badge. You can see I've typed in Blue Mountains National Park, and I'm going to click on the first link. As you can see, here get that website pop up, and I can see an overview of some of the go through here click. You can see I'm already getting some information. A 140 kilometers of trails, walking tracks, and your camping here. I'm just seeing the vibes, and getting the information, looking at some of the images. Cool, it has got nice waterfalls, and that's on the Hibiscus plant, Kangaroos, all this cool stuff. I'm just cessing around, and I'm going to just look through here, and cess get some information. It's pretty cool, and look for that. I can even go on Wikipedia as well. I'll jump in Wikipedia, and find some information. You can see here it talks about where it's located, dates it was created, the history, the geography behind it. It's got some map there. Feel free to use Wikipedia, even though it's not the best results, but you know, it's fine. You just going to do a design, and that's cool, and then what I'll do, I'll usually go on Google, and I'll look up some images. Click on the images, and then I'll start to look through, and sift through images. As you can see, we've got the blue sisters, I mean, the three sisters. That's cool. That's awesome. Look at that. I'll just go through, scroll through, and get some ideas sought. Looking at some colleges I can use, some elements, and that's pretty sweet, and then once you have some images that she'd like, you can copy them, and then drop it into your Illustrator file. 7. Building Badge Structure: Before jumping straight into designing the vector forms of the logo, I want to do some sketches and you can see here's a picture I took by phone. I just did a quick one page sketch of some of the layouts I want. Whenever you're doing badges, you want to start off with the shape and then see where you can place the text and where you can put your illustrated elements in there. But the more time and more sketches you do now, it will save you time when you're working in vector form. As you can see, here are some of my ideas I had. This is kind of quality with a waterfall and then the trees up here. I thought that was pretty cool. By the way, you can play around and it's really going to help you out. I want us to do some of those simple design for this class. Once doing the research, I got some of the images of Google. You can see here are the scope of some basic images of the rock formations, the trees, the colors, and I can even use some of these colors later on to include that in the design. I really want these Three Sisters. This is one of the most famous landmarks in the Blue Mountain National Park. It's called the Three Sisters and it's a rock formation that was formed a thousands of years, which is pretty cool. You got shadows there and the outline which I can trace over, which is really going to help me get that nice element in there. I thought about adding a little bit of an icon illustration in there and these are black cockatoos which are endangered species and they only live in the Blue Mountain National Park, which is pretty interesting. I like how it's got these red feathers. That's awesome too. So I thought it's pretty cool and we can use that in our design. Then I've got some basic information here I want to include. The location, it's in Australia, Sydney, when it was established and the main name of the park. So we're going to include that into the design. I'm going to start off and I'm going to use just basic shapes and I'm actually going to use gray scale. You can see I've got my gray colors in my Swatches panel. We're going to use that to start off with. First I'm just going to press "M", make a rectangle, I'm just going to start off by adding a light color for the background there. I'm going to press "L". You can use your shaped tools on the left here, which is pretty cool. So I'm going to use my ellipse tool here. I'm just holding shift and alt and that keeps the proportions, which is super handy. Because if you don't do that, it's just going to make our circle like any shape. So I'm going to select these and I'm going to change the color up until medium gray. So cool, we have our shape there. Then what we're going to do is we're going to add some trees. Usually what I do is actually I got a free picture. Because sometimes I don't want to create trees from scratch, it takes up a lot of time. You've got a free picture and it's got heaps or resources. If I go type trees, there's also plenty of other sites where you can download free resources. You can see you're [inaudible] trees and there's all these different types of trees. Pretty cool. Make sure you want to get the free ones. That's with the black box, but the crown is premium members. So keep that in mind. You need subscription if you want to get the good stuff. So you can do some research, play around. Just keeps resources and obviously don't just use what you download. You want to edit it to your design and you don't just want to copy it, you want to make it different. Plenty of trees we can use here and I'm going to use one of these and I already have one downloaded which I'm going to use. As you can see here, I've downloaded some trees and I'll just drag that into this document and what I'm going to do is I'm going to play around with some of these and move around so we want to make sure that they're all grouped, so I'm going to group the ones I want, I want all different types so just dragging this. We're going to need all of them. What I'll start to do is play around, even adjust the sizes. I'm really trying to get this nice line for a tree line because we're going to build a silhouette style. Then what I'll do, I'll select them all, and then you want to go to a Pathfinder. So you can go to Window Pathfinder there, and what I'm going to do is click the first one, "Unite", and it's going to plus them altogether and you can see we're starting to get this nice tree line. Then what I can do, I can hold Alt and Shift and just duplicate it like that. I'm going to flip it, I'm going to go transform, this little transform box and I think we could just flip that horizontal, so it doesn't have the same side. I'll group these together and drag it and I'll make this gray color. What I'll do now is I'm going to turn this bottom bit here, all grays also. What I'm going to do is use the shape better. I'm going to select the trees, select the circled and press Shift + M, all the shape that is on the left T and I can hold all and I can just click and drag and minus the excess which I don't want, which is pretty cool. I also want to make a copy of the circle, so you can see on top here. I want to make this bottom a new shape, so I'm going to hold Shift. So I've got the circle and these trees here. I'm going to press Shift + M, I'm going to minus this top section here so I'm going to start off. I'll hold shift and plus all this bottom section there. Then now when I change the color, make sure that this trick is off. There you can see now we have this tree line shape, which is pretty cool and we have this bottom section here where we're going to put out other elements there. You can see here, it's taking up a lot of space, but we might just adjust it a little bit. So I'm going to bring it down and then I'll minus of the excess. Select it all, Shift + M for the shape builder tool, hold Alt and I'm just going to mark this set off. We're starting to get some formation, some shape, some elements in there, which is looking super cool. What I'm going to do now is trace over the rock formation, the Three Sisters. So I'm just going to pick a bright color and turn this into a stroke. Then now I'm just going to go roughly, what I'm doing here, I'm not clicking and dragging because the rock formation is very rough. It's not like smooth lines, even though you can do it like that, you can add more anchor points by clicking more so it can look more jagged. I'm clicking and dragging in short increments. Obviously it doesn't have to be perfect, but the closer they are, the more realistic we want it to look. You can see we've got this shape here. That's looking pretty sweet. I'm going to drag it down here. I'll just make a copy on the side here, in case, that's kind of looking cool. I'm going to change the color to one lighter. I'm using a monochromatic colors, so I want to make it lighter. I'm going to select these bottom bit and bring it to the front. You can go "Object", "Arrange", and "Bring to the Front." And that's going to put it on top of the other shape because you want the rocks to be behind the tree line, so bring to front. Now you can see the Three Sisters are here behind the treeline, super cool. We can sort of have it, we can center it if we want, or we can have at most of the side, and add some more elements here. We're going to have it mainly in the center, but just a bit, we want to make sure that the white space is balanced. So we can't have it too far unless you want the rocks hanging off the thing, if you want that style but, that's fine, but we want to make sure it's balanced. So add that, it's pretty cool. We've noticed that the sort of mountains and rocks and valleys, and we can add that into the background as well. So what I can do is I'll pick a lighter color and just simply use my pen tool and make a hill. Then once again, I'll select these two by holding shift and I'm going to use the shortcut and bring that to the front or you can get "Objects", "Arrange", and "Bring to the Front". Just remember that, and I'll minus off the excess. So I'll select the circle and this shape, press Shift + M and minus that excess off. I have this shape and now you can see that it's in the background. I'll do the same for this side. 8. Illustration: The way I do clouds, really simple. You can own free pick and get clouds if you want, but I love doing this way, so I'll use circles and I'll use different sizes of circles. What I'll do, I'll get a box, do this. Then I'm going to select everything and I'm going to use the shape build a tool just to monitor bits off like that. You can just hold shift and move things to the side if you want to adjust it. Duplicate that, add a bit of a like a tail there. That's cool, we have it like a cloudy, that's awesome. I'll make a duplicate of that. I'm going to get my path phi naught and press the night which is the first one there, the two squares together. It's one shape. I'm going to scale it down and I'm going to choose these. We don't want to be the same color, but I want it to be the second last gray here. I'll make it smaller so it's just try keep things proportional. Obviously, it's just a motif. The direct depiction of scale of these things but you can see that we're trying to add some scale with the sun and everything so just play around and just do what you think looks good. I'll duplicate the cloud, go to my transform bar over here. Just move these up. Click on the little drop-down menu and I'm going to flip it horizontal so you get this other side there. Then I'm going to cut the excess of and so make sure you hold shift selecting the circle or just dragging. We've got two clouds there that's looking cool. Maybe we can add some birds or whatever, but I'll keep it simple. Cool, we've got all those elements and now we can work on this little bird here. I'll try to be quick so these videos don't go too long. But I'm going to use basic shapes using the pen tool. Once again, I'm just going to follow the outline of the cockatoo. We won't be needing too many details, but we just mainly need the tail and the head, the body and the beak there. I will just go through holding shift to keep things horizontal just to get a nice curve. To get a nice feather shape it's a long, think of a cylinder. That's like a long cylinder and that the ends are curved. I'll just turn that off and put the strike on. Do this. It's like this [inaudible] together. Use the shape of the tool. So we have a shape there. I'll go ahead and do this. I'm going to let that shape. I don't like that shape. Doesn't have to be perfect, but you can see we've got the flow there. That looking sweet. I'm doing the long curves on this. You going to hold it and click and drag to get a nice organic curve. Then you can see how we got this shape here. I can make other shapes and I can cut out the excess later on, so I go to the beak here. I'm just going to cut that off. Then for the frizzy bit you can use the pen tool or you can use shapes, it's up to you. See I'm clicking and dragging, trying to keep it around. We want to keep it natural as possible. We get a shape like this. Let's get that nice effect. Sweet, that's good and we have the little eyeball here. I'll just make a circle with that. I'm just going to break the section off from the head. See, this is the main elements. We also want to do this little feet there with the branch. I'll do the branch. I'm zooming in. I'm holding alt to zoom in there. That really helps out. I'm using space bar to actually shift across the screen. We've got that branch there as you can see and for his little beaks, we can use the pen tool again. It's a small details. You don't have to think about it too much. I'm just going to make sure that it's an a connect together so any part that is not connected, you can see these parts are not connected. I'm just going to the lock that. I'm just going to connect these together, so I'll plus that and I'll plus these two together like that. Now, we have that one shape there. Just to extend the tail. I'm using the direct selection tool just to do that path up like that. Jut to cover that and plus it together. Then we have this tail. You can go on and outline more by pressing control or command Y and always make adjustments along the way. Let's unlock these and make sure they are build in, that was plus so that with the shape the tool. I'm going to bring it to the front as well. There we go. Put these together. Now we have owl, not good. I'll cut the two. 9. Adding Typography: Now we're going to add some of the topography in. I'm going to just use the basic sensor fun. So let me change the color this, bring it to the front. So I'm going to use vw Modelica bold or Modelica.Sorry. I'll go and type of the top guy changed case uppercase. So I wanted to be uppercase. So type, change case, upper case. So I'm going to make all these smaller.I'm going to put National Park on its own line. One has some hierarchy, say blue mountains would be the main types. I'm just scaling that up. That will be the primary.The national park will be the second word. Because it's a secondary word I don't want to ever take, you want to have hierarchy, don't want it to be too big. So I'll make it shorter, so scalar and make it shorter than this word here. So you can see that they read from the top bottom. It goes down smoothly. Then I've got Australian sitting next. So once again, I can scale it.You can also use shortcut keys like control shifts, and use the full stop or the comma t mode. I'm going to change it to ESTB. You can see how it's 1959, that's when it was created. You can see how this is full letters. We want to keep the space consistent. So that's how they ESTB to stand for established. I'm going to just select this press control C to copy, right? Then I hold Alt and shift drag these across that will copy that. Then our press T selected press control V. So I didn't copy distance the clipboard, others hold Alt and it copies it, but it doesn't copy to the Clipboard. But when you press control C, it will copy that one to the Clipboard, which is pretty cool, pretty handy. I'll make these ones bigger and align them to the top. You can see it's got these aligned tools. You want to align to selection. You click this boxy and I can click the Sign Up button here. That should align these on the same line CD. I want to line up and I want to center these.I'll probably make the bird bird to fill that whitespace. That's cool.You can see we've got some whitespace. Now we can add some lines there to counter balance.I can reflect this line if I want to make sure it's accurate. I'll go to outline mode and find the center. You see how it says anchor, holding all left-click ones. I can reflect it vertically or horizontally.So I'm going to click vertical and press Copy. Get out of Atlanta, represent controlled Y or command y. Then the pot isn't me on the other side like that. I liked having thick lines, not to thick. They said we can have those lines that if we want this strokes, no alignment with the type if I want.I can just like leave it out of the moment. 10. Adding Color: I'm in Adobe Color right now, and I'm going to input an image. You can see I've got these three CC image, and this is how I got my color palette that I'm using. The cool thing about Adobe Color is, when you input the image, it automatically generates these colors or these color circles which you can drag around, which is pretty cool. The thing I love is that you can get the color mood on the left, and actually select different color moods you want. Colorful, bright, you got muted, you got deep, the dark, your custom, where you can just move them around. Muted is nice, and then maybe I'll just sort out of these [inaudible]. What you can do is, you can save the color theme and I'll save it to your CC library. Once you've done that, you can jump back into Illustrator, and you can see I've already got my palette, and I'll customize it a bit. I am going to start to color these things, and because we use the gray scale and we've already changed the colors to fit the tonal values we want, and the tonal range it's going to be a bit easier. I'll start off, and I will start adding colors. I want to make sure that we use the darkest color C and it goes lighter as we go down. What I can do now is if I go to my color panel, I'll drag that out, what you do is, you click the menu and you want to go to HSB, so hue, saturation and brightness, What I usually do, is go to brightness and I'll hold Shift and put my mouse over the percentage. What you can do is just use your mouse wheel and scroll up or down. You can see we can make it lighter or darker. We can make that a bit lighter and I'll do the same for this one, a bit lighter, as you can see there. Cool, so that's looking good. We can make that a little bigger. Nice. Now, we're just going to add some color to the type. So I'll select the color I want and you can see how I'm balancing it out now, even maybe use a gray if you want. [inaudible] I'll drag this back. I'll go to the bird and start to color it. I'm going to minus this eyeball out. I am going to go to my Color Guide. If I select the Harmony Rule, if you click this little arrow and it'll drop down with different colors and you can see you go complementary, which is pretty cool. I want a red color. That must be orange. I'm just going to have to do it myself. So I go to color, I change the hue a bit, and yeah that color is fine to match the photo. What we can do is to fix this. I want to duplicate this just so it's not straight. You can see looks like the feather is there. Now, just move this. You can see how the color looks different and now we adjust as we go along there. Cool, it's looking good. You can see here that, it's very simple. We use the foreground and background and it's all the way through. Nice. But we want to add a bit more detail to the rock formation. What I'll do now is, I can actually wing it and just use my Pen Tool and start to go through this. I'll use the Shape Builder just to cut the excess off and I'll go and use these colors like that. Insert to add the shadows myself. But if you're not confident in doing that, you can just go and use some of the images and you can see all the shadows and copy those shadows there. For example, I'll go through like this. You can see obviously the sun is hitting it from this side here, so imagine the sun is over here and the rays are coming down like this. That's how we're getting the shadows. You can see the same thing in our image, our light source is coming from here like that. Bring this in, do a couple more examples [MUSIC]. I'm not liking this color, so what I'll do, I'll select the same color as the background and I'll go and multiply and I'll drop it down to 40 percent. I'll hold Shift, select all these other shadows and select this same color like that. You can see you've already started to add more detail. If you're doing a mountain range, you can do long ones like this. If it's like a snowy mountain, and I'll be in that effect. You don't want to over do it, you want it to look natural as possible. That's our final design, we can add some texture if we want, we can add a stroke. If I want to make it into a sticker, I will select the background. Typically that, and I can add a white stroke and I'll bump that up. I'm going to bring to the front. I'm on one of them I strike panel and I want to select outside, so it's not interfering with the inner parts of the design up on the outside. You can have a white stroke or you can make it gold. Now it's looking cool. That's how we create an Illustrated Badge. 11. BONUS: Craft Whiskey Badge (Client Brief): In this section, I'm going to show you how to create a cool badge that I actually worked on with a recent client and I was doing it as a bonus in his class. I really hope that you guys can get something out of this. I also want to show you some of the presentation and the research and the logo designs I did for the client. It was a bit of a low budget project, so there wasn't too much discovery in strategy and stuff like that, but it was mainly about designing a logo that fits well with a target audience. Let's get stuck into it. It was called Craft Whiskey Society. It's a company based in Australia and they primarily want to have a whiskey service where they send out a monthly whiskey every month. The business name was Craft Whiskey Society. They had a cool tagline which is, United In Craft, and their digital subscription mainly aims at males with a high salary income. They're mainly men, that are husbands or dads with a family and they just enjoy having a whiskey after work just to relax or maybe on the weekend at home, chill out, watching the TV or something like that. The client really emphasized on, they want to be premium but still accessible, not too upper class and high-end so that's in-between there. That was the general target audience that they were going for and they wanted to be a global business, not just based in Australia. They send their whiskeys every month where they source it from around the world and they try and get the best quality they can. That was the goal. The traits in the words that I focused on was accessible, premium, bold, and modern. I really tried to keep that idea across throughout the design. We really wanted to go for a badge look just to differentiate from our different competitors so, I did a bit of an analysis. Here the three key competitors that are based in Australia, one being The Scotch Malt Whiskey Society. These guys where their key competitor. They are pretty established that we know for a while and their website was pretty flushed out as well. But you can see their colors there and they're using a serif font, so very classical. Bit of a badge stamp effect as well and using illustration in that other logo lockup at the top there in that icon, which is pretty interesting. Then you've got The Whiskey Club on the bottom right, which is a horrible logo. I don't know what they're using a drop shadow on their website. Couldn't find another logo, but yeah, it's weird. Then you've got Craft Whiskey Club up the top right. They went for a rough-type effect, not too classical, a modern younger feel which is pretty cool. But try to stay clear of these colors and these designs and make it different. I'm going to show you four directions that I did. It was mainly aimed at doing three directions, but I did the extra one for the client. I'm just going to go through these quickly. I tried to do responsive logos where you can use the lock icon by itself and they need a favicon for a website in the future. Then you can see I've just done some mock-ups as well. Went for more of a typographic approach. Whenever I'm doing a logo, I try and do a typographic approach. I'll do a badge one. You can do an iconic or a geometric. It just depends on the client and the tag and all that type of stuff, all the questions you find out in the discovery phase. I try and do different versions here so you can see typographic. I also focus on pulling a whiskey glass in the W as a negative space, which was interesting. I think [inaudible] well. In this part of the class, I'm going to show you how to do this badge because I find that it's really interesting. It's purely typographic and it's got a nice layout there packed full of different details that you can add in there. I'll be showing you how to create this, and you can see it's a bit responsive with the icon and stuff like that. Some mock-ups, not going too crazy with the mock-up just keeping it simple for this one. Then number 4, pillar typographic and you can see the whiskey glass idea there as well. I like this font. It got a vintage feel to it, but it's very blocky, very nice, and thick. There's all the logos that I did. Because we're focusing on a badge style, we focus on the refine that the first two ones. I'll quickly show you the final one. If I jump into Illustrator now, you could see this is the final logo that we came up with. He loved it, suits pretty well. I like the font choice that I've chosen here, which is a nice serif font, and it's not too classical, but still feels modern. I'm putting in this badge shape so it feels it's all coming together, all the elements, and it feels like a nice badge shape that it's a unified body in business. So really cool. Like how it turned out and then you can see here, the horizontal version using the little icon, the bally, pick up a tagline and the type here as well, which turned out really cool. We're trying to illustrate. I'm going to show you how to create it. I'm going to quickly show you the bit of the process before jumping into the design. You can see here first, I actually did sketches, as you can see, did a bunch of them and I did a whole another page as well. Because really I always want to start with sketches and get the ideas and test different layouts before I jump into anything so that's just an example of some of the sketches I did. I spent about maybe 30 minutes, 45 minutes sketching out stuff. First, what I want to do is always focused on typography. I'll literally press "T" for the type tool, jump in there and just type out the brand name or the business name. Then I'll make it bigger and I will just flow through my typography tool. You can go to window and go to type and go to character. I'll go through here and just go find different fonts. I can use a filter as well with Adobe CC comes with a filter so I'll filter for different serif fonts or whatever then go through and find the ones I like. Then if I'm happy with that, I'll select it and then I'll duplicate the font holding Alt Shift and then do the same thing again. I'm looking for fonts that fit the brief. I pretty much spend time doing that. You can see here I've got a whole bunch and then I'll do a process of elimination. This is called a type pool where you just get heaps of fonts and typically, you will get heaps and just stack them, get all different ones. From this, I will select a font that I like, and go from there. Then you can see the prices of it all so you're coming up with the design, and then on the second version, I started playing around with the different fonts. As you can see here, playing over the type how it looks stacked. It's horizontal playing with the icon here as you can see. I save it as different version. I call do round one, round two, round three, and just keep refining as you can see the logo there. That's just the bit of the process so now I'm sending it back to the file here. What we're going to do, I'm going to make a new file. I'm just going to do a basic 1080p width. I'm going to call it Logo Badge. I'll make the format horizontal. PPI:72, RGB is fine. I'm going to bring this to here. I can delete all these colors. So if I click on the Swatch panel, I'm just going to select all unused, click the bin and delete all the swatches as I don't want them. Cool, so that's how we can on it. It's always good to research as well. So before I jumped into actually doing the designs, I got some images from Pinterest. You can also look on other sides like Google and stuff like that. But it was a simple project and it's one of the figures and the design. So you can see, the client really, as I talked to them it was really wanted to focus on the badge design. I found different types of logos, some imagery on Adobe Stock. I went on free sites like Pinterest, which is key, and I'm talking like retro, badge, vintage logo design, whiskey logo design, that those type of words that are relevant. Yeah, it goes some different images for inspiration. Looks up the competitor's websites down some bottle packaging and bottle labels, with some nice typography on it. This is like a nice emboss and see the circular mission is really cool. So it's got a couple photos, nothing too crazy as part of the research, and then I jump into the design. First, what we want to do is we want to select a nice font. So if I just bringing one of the fonts from here. This one that I use is called a harshstadt or stadt. I don't know how to say it, but, I'm going to press T for the type tool. We'll start off with the typography. I got this from [inaudible] , works really well for like a rich or vintage style. So you can see it's a Serif font, nice and thick. I'll type out, craft whiskery society. So I'll type that out like this. I'll just leave it there. I'm also going to press Control Shift H just so I'll turn off the eyeball so it's all white. Then what I'm going to do, I'm going to make a circle. So I'll press L for the ellipsoid, holding Alt Shift, drag it out like this. Boom. I'm going to select the circle. Press Shift X to flip it around. We're going to strike now, that's pretty cool. Then what I'll do, I'll press Control C, Control F on this circle, to duplicate it. Go to the corner of the bounding box. You'll see your mouse will change, I'll hold Alt and Shift. Then I'll left click and drag at the same time to drag it inside of the circle. We want to have a nice balance of spacey, as you can see. But you also don't want to make it bigger than this inner circle because our main fonts and type face by using. Want that to be prominent because that's the business name. We want it to stand out. I'll just type the font here as a reference so I can just eyedropper it. Because if I type something over here, for example, I'll just choose a random font. If I select this font, I can press I for the eyedropper tool and left click once on the actual font there. I'll just duplicate that font style which is useful. So first things first, what we're going to do? I'm going to select this shape again, press Control C, Control F. Holding Alt Shift, left dragging, clicking and bringing it down here. So we have another stroke key. I'm just going to add a color. I'm going to grab some colors from the logo that I previously did. I'm going to drop these colors in. I'll show you where I got this colors as well. Red, a brown, and a green color works really well. So I will just change the color so you guys can see. So what I'm going to do now, I'm going to use the type tool. So if I go to the left, I'm going to right-click on this type tool and click these little arrow here, and it should bring out these little box. You don't have to bring out the box, but you can just click here, right-click and it'll give you the dropdown options. What I want is a third option which is type on a path. So I'm going to left-click once in the path, and then I'm going to type craft whiskey. We're not going to type society because we want it to go on a different path because you want on the bottom. You can see you've got the little lines. There should be three of them. These controls where the starting point of the font will be. So I'm going to literally left clicking on this part and dragging it. I'm going to drag it across like this. What I do to make sure that it's balanced and even, I drag a box out, I'll change the color of it, and roughly see. I see there is a lot of whitespace here. If I go hold, I'm just holding spacebar to drag my screen. I can see that the space is, there's not much space, it's more tight. So I'll click on the Type again, right? I'll go to this little line here, and drag it, drag it down. I'll use my eye to optically make it even so you can see here, the space looks sort of even there. Looking good. So good. What I want to do now you can see that there's a lot of space below the font. What I'm going to do is select it and just drag it down to make it click to this inner circle, what I can then do as well, is I can bump up the sizing, so I can press Control Shift and the full stop on the keyboard as a shortcut. You can also go to the top here and make it bigger. But obviously, we don't want it too big. I'm going to drag it. Once again, I can just do a quick test just to make sure that it's balanced. If it doesn't have enough space on the inner and outer side. What do you do? You just scale it up and roughly use your eye to balance it in the middle there. Zoom out and see that, test it. So we have that. What I'm going to do now is press control C, select out font here, press control C, control F to duplicate. Then what I'm going to do is I'm going to grab this middle line here and drag it. Make sure it's this middle line, not the end because you got the end on the side and the end there. You want to drag the middle line and drag it inside the circle. So outside, it would bring you outside. If you hold left-click and drag it in, it'll bring it inside the circle. Then what I can do, I can play around dragging this starting point and ending point. I'm going to actually double-click, type society, and delete that. I'll scale these up. What I like to do is I like to align my line to the top of the ascender of the other top font there. I want to make sure it's the same size so you can see the size is smaller. I'll click society and the eyedropper, the top one. Then I'll drag this in like this. So cool, that's looking good. What I'm going to do is bump the tracking a bit. So I'm going to select both pops and I'm going to hold alt or option if you're on a Mac and press the right arrow key. So I'm making the kerning, which is the space between all the letters together and make it a bit wider there. Just so it fills out some of that space and becomes a bit more readable. I can always tweak it and the spacing later on, but that's totally fine. So what I want to do now, I'm going to grab this font that I've had here before. So see what I'm going to do now is add the type in the middle. So once again, I'm going to duplicate this top because we've already created this nice type on a path on the circle shape, we can reuse it. So press control C, control left and then drag it down. You can see my mouse goes on the bounding box, and I'm dragging it down like this. I'm going to pick a plain sans serif font. For this one I believe I used connect, make sure my filter is off, so I'm going to turn the classification, turn that filter off. I think I used connect for this, which is a paid font, and I think it was semi bold. I'm going to make the type uppercase. I'll select the type, press type, change case, and select uppercase. This is the fastest way to change the case of the letters or a sentence or a paragraph really easily. The reason why I picked uppercase is because it's very dominant. Appeals more to males. It's very strong and bold, and also helps it to be readable because we're using shapes in a circular motion in a weird shape. It's better to be uppercase so it's more readable and legible. So I'm actually going to scale it down. We don't want it too prominent. I'll type united in craft like this. I'll hold alt to bump the tracking out like this, and I'll balance it. I'll drag this up like that. So right now that's looking cool. I'll duplicate it like last time. I'll find the middle path, drag that inside the circle, and you can drag it. Then find the bounding box with a white little square there, scale it up. Try and match the top of the other one there. Just roughly. Press I for the eye dropper, select the top one that you just created, so it makes it the same size. What I'm going to do, I'm going to type established in 1989 just for fun. Especially when you're working with a classical vintage brand identity. Sometimes it's not best to be established very modern because people will see that you're not an expert. So just for this example, I'm just going to put 1989. You can put whatever. You can put 2019. It doesn't matter. It's fun. So cool, you got to have that. Now what we're going to do, I'm going to add another circle. So press control C, control F. Drag this inside like this. If we have to adjust these middle sections, I can select both of them by holding shift, then finding the bounding box again and then scaling it up a tiny bit. Not too much because you want to leave a white space around it. So what's readable? That it flows nice, that looks appealing. So also that's looking cool, that's looking good. Now what we're going to do is, I'm going create this negative space in the W. So I'm going to duplicate this. We're going to get rid of these here. I can get rid of the other letters, I just want the W letter. So how I did this, I actually went on Google and found, you can literally just type in whiskey glass. So if you type in whiskey glass, you will come up with this Glenn can whiskey type of glass. As you can see there. So I thought it would be a good use. As the client mentioned it. I thought it was a good use that we can use it. So what I'm going to do is select the image and then drop the opacity about 50 percent. I'll lock it with control two, press P for the pencil, and what I'm going to do is literally just trace it so I'll make the stroke red. You can see my swatches panel, the stroke is now red. I'll left click in the middle here holding shift. I'll just bump up the stroke. Make sure that connected. Then I'll follow the edge of the shape. I want to make as minimal anchor points as I can. So I've got one I can put there, one there, one there, and one here. To get a nice curve, all you have to do is just click and drag. You can see I've got this handle, it's blue. What I want to do is hold alt and drag this inside because it's too long. Make it shorter. Clicking and dragging, holding shift if I have to to make it more straight. I'll line these up. You can also make sure your smart guide's on, which is useful. I'll turn off snap to pixel. I can select these and press control J to join that. I can actually delete this anchor point here. Set the top, press control J. So now if I press shift X on the shape, you can see you've got this cool glass shape. I'll select it. Press O for the reflect tool, which is on the left-hand side. You can see. It's like two triangles reversed, mirrored. What I'm going to do is, I'm going to press O, hold alt, left-click once on the middle anchor point. Press preview. You want to make a copy so make sure it's on vertical and press copy. Now we have this glass. I am going to go to the Pathfinder tool. So the Pathfinder tool, I'm going to click the first one, which easy not, click that and it should unite the glass together. I'm going to hold alt, duplicate these out, scale this down. What I'm going to do now, I'm going to select this W that we have here. Go to the top left menu of Illustrator. You want to click on create outlines. Click that. It's going to turn this font which was live now into a shape. So you can see now it's into a shape. I can actually customize these anchor points and whatever. You can see it's got a lot of anchor points actually, which is weird. What I'm going to do now is, I'm going to delete this bottom part of the back of the W. So I'll go in, zoom in holding alt, and my mouse wheel. I'll left click on this anchor point, left-click on that, press delete. Select these two and press delete. So now it's all black there. You want to make sure that you join these two bottom points as well. So select there, press control J. I'm going to get the whiskey cup. I'm going to scale it down. Drag it right into the middle. You can see here, you want it to be straight. So what I can do is actually delete this bottom part and just keep the bottom part straight there. I'll drag it up. So you can see it's actually lining up with the bottom of the W and the snapping in the place. I'll scale this up and make it white. So I'll I drop at the background, which is white. Now we have a negative space mark, which we can use as a secondary mark for a fab icon, for a sticker or whatever. What I can do is I can select it, group it together. I'll make a duplicate. Then what I can do just to make sure that it's all cutout, I can get them a Pathfinder tool. Click the second one, which should cut out the shape from the W. So you can see now it's one shape. Instead of having two shapes. So this one has the two shapes, it's not minus doubt. But when I used the second button, it actually cut out the shape from the W shape. So now what I'll do, I'll drag this W inside here, scale it up. What I'll do to make it centered is I'll left-click, hold shift and left-click on the circle. Then I will just let go of shift and left click once on the circle. Then I'm going to go to the top hand menu and click center, and I can click center as well. So it's centered now, completely in the middle of this circle here. Optically, if it doesn't look centered, you can always just adjust and bump it around and stuff like that. Which is totally fine. Cool. We have the main elements. I can add CWS like I did before, but that's totally fine. I can add some other elements if I want, but I'm going to work on doing the body leave now. One quick read into the body leaf. What I'm going to do is make a rectangle. I'll press M for the rectangle tool. I'm going to show you how to make the Bali Laurel right now. We're going to get a rectangle shape. The shortcut key is m, or you can go to the left-hand side and right-click on the actual rectangle slash squared looks like and you can click rectangle. What I'm going to do, I'm going to hold Alt and shift and just drag it out and one of the, I'm going to drag this in a little bit. I'm going to skip to the side and drag this in. What I'm going to do is we're going to round off the corners. I want to select the top left corner, drag that in. You see in the WCC you'll get this like white circle with a blue dot in the middle. That's round corners. Make sure you just select one of the corners. By doing this, you can press a for the direct selection tool or on the top left you see two mouses you can select direct selection. Also at the top left corner. I'll drag this in all the way until it goes red. I'll do the same for the bottom-right corner. I'll select it and drag it in like this. Now we've got this cool leaf shape, but we don't want to leave it like this, we want to customize it. I'm going to select this top part here and select this bottom anchor points. We've got two anchor points. I'm going to press up arrow just to make it longer and wider. Awesome, looking cool. What I'm going to do now is I'm going to select a still my Direct Selection Tool. I'll select the top right corner again and you'll see these handle. So what these handle is doing is pretty much rounding off this curve here. As you can see, the top curve. What I want to do now is actually I want to drag this down a bit. I want to drag the sound and I'm going to hold shift and just what would happen is it's pretty much going to go on a 45 degree angle like this. Then what I can do, I can drag it like this. I don't want to make the curve crazy. I'll probably leave it like that and I'll do the same for the bottom. I'll select like the bottom and what I'll do that the handle will pop up this long line with the blue line, and I'll do the same. I'll click and drag and then hold shift and drag it up until it makes it go in a 45 degree angle. Then I'll drag the lining like that. It doesn't have to be too accurate. It's fine. I'm actually going to just duplicate this. I can make this leaf. I'm going to maybe bumping in and beat tighter or I can actually make this wider little bit. I'll just Control Z that actually make it longer like this. That's it. I've got these anchor points and then just bump it up. Then what I'll do is I can make it a bit smaller, so I'll scale it down. Then I'll use the Reflect tool. I'll select it, press O, find the bottom anchor point because we use this as a midpoint holding auto option. I'll left click once. Once the books pops up, I'll click on vertical. Press preview so I can see what it's going to do and press copy. Once I've done that really its leaf shape. What I'm going to do, I'm going to disconnect it and just holding Shift, I'll drag it out like this, leaving a bit of space there and now we have this shape, which is super cool. What I want to do now is I'm going to get this shape and I'm going to duplicate it. I'm going to duplicate it up like this. Make sure that this is group. I've grouped these by pressing control G and then holding alt and shift, dragging it out like this. Then press Control D like that. I can scale it down. Now we've got this Bali type of leaf shape. You can also go ahead and add a shape. Because typically Bali has these like long grain strains on the ends. If you want to do that, you can go ahead and do that like this. If you want to make that sort of Bali shaped like this. That's a possibility, but I'm just going to make it simple for this tutorial. I will delete that and I'll keep all these. I'll duplicate this one and I'll rotate it. I'm actually going to select these and I'll go to View. I'll go to object transform and I'll click Reset bounding box. You can see I can use this Bali shape. I can make it like make sure that it's centered there. It doesn't have to be perfect. But you guys get the point. It's going to be a 100 percent straight with its fine. Cool we had the shape I'll press Control G. What I'm going to do is I'm going to select all these leaves, part of the Bali or the seeds of the grains, whatever and I'm going to select it and scale it down a bit. I'll duplicate it to leave it on the side. What I'm going to do now is select it and rotate it on its side. It's like this. What I'm going to do, I'm going to drag out my brush is panel. I'll just quickly delete all these ones that aren't needed. Then what I'm going to do is I can make one version without the top pod if I don't want it, I can delete that and I'll just show you what it's going to do. I'll select this and left-click, drag it into my brushes panel. You see you should turn blue. I'll let go and box should pop up. We want to make it pattern brush. A pattern is good because it allows us to make sure that it stretches on a direct path. You can see here what it's going to look like. If you want to add a space. You could add a space like this. We can approximate the path. I typically use the unstressed stretch to fit and press okay. Now if I make a circle and I click it, get rid of the field, you can see what it's doing is making like a perfect path like this. Can bump it up. I can scale it down. Look super neat, doesn't it? That's super awesome. I can do the same for this one as well. Will have the same effect and I might add a space to that one because it's got the top part of it. You can see what that looks like as well, so that it looks cool and what we can do is select it and you can up the strike or down the strike. Typically I'll make the strict small. They can see that's what it's going to look like. What I want to do in this new move this aside, I'm going to do this for he now. What I'm going to do, duplicate the outside circle again, control C, control F to paste it in front. I'll scale it down and put it roughly in the middle of the font here. I'm going to go ahead and delete parts of the actual line. I'll probably delete the top anchor points so you can see this anchor point here, let us bringing it to the front. Maybe it's out of the way. Brushes down here and I want to click this anchor point, delete that anchor point and I'm going to delete this bottom half as well. Make sure that it's even, you can even use a box as well. So another quick way is you just make a box like this. Select the strike and select the box and I can just press Shift M and minus these off by holding Alt. Shift [inaudible] , holding alt left clicking to drag it off and you just cut the shapes there. Now what I'm going to do, I'm going to go select the shape like this and you can see the shape is stretching. What you have to do is drop the size. I'll probably go to 0.5 or 0.75 and because it's unstretched the fit, it's trying to fit the whole object into the shape. If you make the shape really big it will make a difference and if you make it really small, it makes a difference how it works on the path. You can see this bigger one. It has a different effect because it's a bit long up. What I'm going to do is make this smaller. I can actually type in a custom stroke, I might go 0.6 like that and the stroke on the top, you can see here this one is the opposite direction, so what we can do to change this, is select this path, Click on object in the menu, Path, Reverse Path Direction, and it should make it so that the ending of the top part is at the top. Cool, that's looking good, there's bit of white space there, so what we can do is I can bump up the tracking in. That's one way to fill in this space, I'm just measuring it there. Then I'll make sure that, society has the same level of tracking as well, minute, you want to make sure it's always balanced and works well. Cool, it's looking awesome, looking nice. Now what I'm going to do, I'll duplicate this shape or rotate it like this, and then I'll delete all the bottom part and now I have this, scale it down, I'll duplicate it, I can even get rid of this first bit, and if I just want to have it like that, that's totally fine as well. It's up to you how you want it and then what I'll do, I'll duplicate it, and you can pretty much just use your obstacle eye to adjust it or you can reflect it and do it that way if you want it perfect, but optically, you always want to adjust it anyway, I would say about that. There we have it, we can make this bigger, we can play around, you can add some more patterns and effects in here if you want. Just to fill in this white space so you can leave it to like just keep it simple, it's up to you but, this is how we create the logo. Now once we're done, I'm just going to group it altogether, I'll duplicate that down here, and I'm going to quickly color it. One of the ways that I chose colors is I go on adobe color, and you can actually type in some different words. If I have a double color here, I press explore, and you can type different things, if I type, let's see if I type whisky, what pops up. It's going to pick some photos of whiskys or whisky package design or labels, and you're going to get all these cool colors, you can see there's some with reds and browns, and you can literally just select it. I can left click on the actual colors and it's going to copy the hex code, or I can actually add it to my library. If I click add to my library and I've selected the library that I want it in to be, and I'll go back to the logo. If I just open my libraries now, so I'll go to my Library panel, you can open it by window and clicking libraries, you can see what happens, you can see it added that gold color there, which is fine, but you see you will add the library into your, Adobe libraries. If you own CC Creative Cloud, it should work for you, and you can see here's a label design that I downloaded from a Adobe color, and what I can do, you right-click and you can click Add theme to swatches. This will add all the colors into a group and your Swatches which you can use, so, I can go ahead and start using the colors. I have the duplicate of my logo here, and what I like to do to clean it up and make it nice, I will go to object and I'll expand appearance, and I'll keep doing expand. Next time I should say expands the object, expand, after you've done expand experience, you're got a box pop up press, you are going to press "Okay", and it should expand everything, it should also expand your topography, you can go to type and do create outlines, but expanding is the same thing. Now everything, if I double-click inside the group, everything is just shapes, and it's all into one grouping here. Then what I can do is actually start to color stuff. If I double-click, I'll go into isolation mode, and I will start to color the logo, how I want it, maybe I want all the typography red, I want this to be the brown color there. The leaves can be maybe a brown color if I want, it's all about playing around, I can even make this brown color like that. Play around, do different versions, I can press "Y" for the magic one tool and select all the ones with the red and maybe can change it up and see what it looks like, you can see that we want to have some nice contrast so we don't want to go too wild. Press "Escape" to get out of that isolation mode. I can pick this nice color here, I can put it on multiply selected, put a multiply just to get this nice green color there, and you can play around and create some amazing different styles of logos. Hopefully this part of the class was helpful, I know a lot of you guys wanted to see some different examples. Hopefully this was another cool example that you can use and play around with, works really well, using icons, strokes, good topography, circle shapes, all that cool stuff, you can create a really compelling mark that's unique and different. If you want to roughen up the top of it more, I'll show you quickly how to just add a bit of texture, I have these texture packs on my creative market shop, which you can go check out on one of the links in my profile, but you can see here, I've got all these tifs that I've mad,. I can actually drag out the tif and drop in illustrator, you can see it's a bitmap, so it's all like pixels, but what I can do is actually drag it on top and change the color to the background color. Play around with how the scaling of it, you can see you get these nice texture and I can save it as a JPEG or PNG, and it will keep that texture there, and it looks pretty cool, you can play around some of these ones, some concrete, and yeah, I think that's looking pretty sweet. Yeah, that's one way you can add some texture to it just to liven it up and give it that nice rustic feel if you're going for that feel but yeah, I hope you enjoyed this part of creating this badge and that you'll learnt some tips and techniques and tricks that you can create your own badges, but, if you want to see more different examples of this that I can add in the class, you leave a suggestion in the discussion board and we can talk about it. That's how you create a cool badge. 12. Learn More: Thanks guys for watching the class, I really appreciate it. Go to the top left corner and click on the "Follow Me" button, and that's going to follow my profile so you get updates on new classes that are coming up. Once you've watched about three of the lessons, you can then put in a review. You go down to the bottom right here, you can click "Leave Review", and then you've got a few questions here that you can just click the buttons, really easy, to give some feedback so that I can improve the classes and make it better for you. Then down the bottom, you can put a positive review if you would like or give some feedback about the class and I really appreciate it. Thanks for watching and hope you guys can learn some more.