Logo Design and Branding - From Concept to Finish | Lindsay Marsh | Skillshare

Logo Design and Branding - From Concept to Finish

Lindsay Marsh, Teacher & Freelance Designer 14+ Years ✅

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11 Lessons (1h 45m)
    • 1. Class Preview

      0:53
    • 2. Logo Concept

      11:12
    • 3. Working with font/type choices

      8:11
    • 4. Developing Our Symbol

      11:54
    • 5. Tweaking our logo

      10:19
    • 6. Colors and fine tuning

      10:02
    • 7. Business Card Design

      10:32
    • 8. Business Card Design part 2

      13:50
    • 9. Developing Your Branding Standards

      9:04
    • 10. Developing Your Branding Standards - Part 2

      10:03
    • 11. Developing Your Branding Standards - Part 3

      9:13
35 students are watching this class

About This Class

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Have you ever been curious about my logo design and branding process? Join me for an intimate and detailed review of my process from start to finish.

We will develop various logo concepts, finalizing our type, icons and layout. We will then explore color palettes and options for our logo. 

Creating a brand package or branding standards manual is an essential step, ours will include logo variations, color palettes, logo alternatives and any additional branded assets we can use for brand extension. 

Finally, we will use our brand manual to create a business card, letterhead and other assets. 

You only need to be somewhat similar with Adobe illustrator, so do not feel you need to be an expert illustrator user to get a ton out of this class. So, let's learn together. 

Malleable = Mall(YOU)able = Malluable

Transcripts

1. Class Preview: Have you ever been curious about my logo design and branding process joined me for an intimate and detailed review of my process. From start to finish, we will develop various local concepts finalizing our type, icons and layout. We will then explore color palettes and options for a logo. Creating a brand package or branding standards manual is an essential step. Ours will include local variations, color palettes, local alternatives and additional branded assets we can use for brand extension. Final. We will use our brand manual to create a business card, letterhead and other assets. You only need to be somewhat from the lair with Adobe Illustrator. So do not feel you need to be an expert illustrator user to get a ton out of this class, so let's learn together. 2. Logo Concept : So I'm coming up with a few ideas or a fictitious companies so that we can practice developing a branding package that will extend to all of our marketing needs. So we're gonna do a logo design, but branding as we learned this much more than that, we're gonna have design elements that we can extend to print campaigns and online digital campaigns. We're gonna have a branding standards manual that we're gonna be able to present to the client. So we're gonna really come up with this entire full branding package and go through kind of a real world process of how I do this and how it really I recommend doing it. So the fictitious company is gonna be a life coaching business. And the reason I Josephs this is a lot of life coaches, business coaches out there looking for branding. And I wanted to fix something that's pretty common that you see a lot of people requesting brining packages for so just kind of trying to make it really world and applicability toe what you're gonna be doing. So I came up with a kind of a little fake name called Valuable, and when something is valuable. Usually think of a gold or a metal that's able to be hammered or pressed permanently out of shape without breaking a cracking. So gold is a metal that you can melt down, and it could be able to form it to any kind of warm. And I thought that was a great creative name for life coaching, because when you seek life coaching, you don't want to change who you are. I like with a gold bar. You don't change who you are, but you want to form it into something better and into something new. So I thought this was kind of a clever, creative name, just kind of going through the whole branding process of how I came up with the name. So we're gonna start here with the name, so a lot of times they'll call this the creative brief. So a client will approach you and they already have their name developed, and they have their company obviously developed, and it's up to you to make this come to life. And so I just kind of have some main element. Let's say the client gave me some of these elements. They gave me the name. They gave me their names. Sometimes people want to integrate their name into their marketing or their logo brand mark . And so that's always good to have on here. Ah, business type and kind of some target markets. And really quick the target market demographic. Eso, CEOs, small business owners and personal people. So really, this person, Sophia is going to be doing life coaching for a wide variety of people, but mostly people in the business and professional world. So it's gonna be a little bit of a high end life coaching, trying to figure out what they want to do with their life and their legacy and everything. So what I'd like to do is go ahead. I have the name developed, which is half the battle, so I'm just gonna copy and paste this. I'm just gonna leave this here for now, so I kind of think about it as I really start to work on the design. So I just opened 8.5 by 11 inch document Adobe Illustrator, and I'm just gonna play around with the bond choices. A lot of times I'd like to do before I mess with symbols and any kind of actual local design symbols. I like to take the typography and play around and see what I could do with the type, and that'll help inspire me for maybe a symbol to integrate inside of it. We're going to be looking at my raw design process, so I have not thought about a certain designed for this before filming, because I wanted to show you the process of what I go through to find the right fit. So this is option number one. Uh, Let's go ahead and play around. It's getting my type tool. It's gonna highlight it and let's see, Let's play around with some pot choices. Let me slide this over so I can actually see a live change of all the type right now. A cyst on your standard. Helvetica Let me select this and then go up here. I'm just going to the list of my kind of standard fonts I have and figure out. Do I like all caps? Do I like? I don't think I like all caps. I think for this I really like it all. Lower case at softer. It's more gentle when it comes to life coaching That's kind of how you want to approach it . You don't want to be angry or all caps or bold. You wanna have a little bit more of a softer approach, especially as a female coach. So let's continue toe. So we've already established a lot already. Just They're just going through some of these and realizing I don't think all caps is gonna work. So now we need to figure out Do we wanna have a sand Sarah for a serotype bond? So let's just pick this Gary Monde for right now and let's compares his copy and paste. And now we're gonna find a sand Sarah font to compare that we like. And if we find another Sarah Font that we like better, we can always replace it. So I know. Ah, typical one is railway. I always use that, Um, this one's pretty bold. That's a good comparison. So what do we like better course? This is a tallix, so that can kind of throw us off to. So let's copy and pace and do a nonmetallic. So we're just gonna be able to compare and see what we like better let me get this over. So Let's find a Serra Font. True. That's beautiful. What bond is that? Handley script course need if you're gonna use it for a logo design, I need to make sure that you purchased the rights, if you need to. Some of them are free and open to use, but for for profit use some bonds you do need to purchase. And so just look into that. You can google this and see if you need to purchase to be able to use it in a logo design. Okay, so we're kind of getting some examples. I like the script. So let's keep going to make the smaller and let's copy and paste keep going. And this is really helping us set the mood. And the tune for our logo font is everything. And I'll probably spend who I really liking. A script type font for this. I know that's really in right now. I don't want to do what super popular all the time. Um but I am liking how some of this is looking. Okay? Just anything I like. I'm just gonna leave it in the copy and paste and keep going. I like this Die dots a really nice classic fun. Let me try Italic course. We already have a Talic over here on this one, and I can already tell you I like this one better, so I just delete it. If I find something I like better don't need to have to. Metallic Sarah fonts Let's make this bold and let's try in all caps just I don't want to write off all caps right away. So I'm just going to my character panel on your character panel could be along the side, but right now it's right here. Let me actually character when we bring up my character panel your graph Okay, let's just go ahead and keep it up here, so I'm gonna go and do all caps and go to character, and there's a little drop down menu right here. Go ahead and click on it and you'll be able to switch your fault. All caps. So character and you got the option panel that all caps. Just if you didn't know that has kind of a high fashion kind of look, let's try a sand Sarah. Let's just take a sample of this one and let's go to character and do all caps. Well, let's put some spacing. Let's do a dramatic spacing on one just to try something different. So just spending 5 to 10 minutes figuring out which ones, um, I kind of like, let me do one more because you can always delete these. If I don't like how it's going, you like that one. So here's our options So far, I'm gonna start to eliminate ones that I do not like gonna slide this to the last. I'm not a big fan. Wonder if I collapse the spacing on that? Would it be better? Yes. So that's gonna stay. I think this could stay. I like this hand drawn script and I almost wonder if I can even do something myself with a hand script for this type of brand. That bite might be something I can explore. I don't like this specific type, but I'm gonna keep it in here to remind me to explore that option. That's too messy, Too busy, almost looks like a marker that has some potential. I need to work on it, and both of these are okay, so we're able to kind of eliminate a few options here, and I'm going to slide this to the left. I could work on that as option a little bit, but I really like this top one. Let's see if I can continue. Um, I'm gonna drag these over to the right. You can just do whatever system you wanna have. I'm going to start working on some of these in isolation. So does that have potential? Let's put some spacing turning between the lettering. I just feel like the font. I'm gonna go ahead and zoom in on this one. I just feel like the font is too skinny the stroke on some of these. I just don't think it's gonna translate when it's really zoomed out like this. It's not gonna It's not thick enough for ah logo. So let's go ahead and eliminate that as an option. School head. Drag this one. I really like this. I wonder if we could play around with the type a little bit. So I don't like how the M is the lower case. Here. Let me see what uppercase looks like What's beautiful. So let's copy and paste and continue to work on this version. I'm actually gonna be making this a little bit smaller. I can even cut this out. So I'm just highlighting my M and I'm gonna go upto edit and cut. We're going to your keyboard shortcut, and I'm taking the type tool, and I'm just gonna pace that I am back. So now I can kind of customize the size of this. I am a little bit and play with the spacing. What we've done before even draw a line here. So I know where my based tightness, there's kind of where everything arrests. Let me see if I can't keep this m on that same line play around. I want TM to be overpowering. That's my only concern. I may have to do a custom m and tweak it. That could be what I do. I might might do that. 3. Working with font/type choices: So it's very easy to get sidetracked and start working on one concept before you really feel like it's gonna be what you want to work on. So I'm gonna step, take a step back and bring in some of my other ones. I'm gonna keep both of these for now. So this is it's kind of mine. Option, my iteration. One just put the number one here, Make that a Helvetica Helvetica Lights. That's option number one steepled one that we're gonna keep around. Let's see what our options to would be. What a pair these down to get the final one that we like. It may be a while till we get to that point. So here's option two. How can I play with what I like to do this, not zoom in too much. If I'm not doing detailed work, they want to be ableto see how it looks at that about this size. This is a great size to preview it at a few of zoom in, and due to the close eyes, you're not gonna be able to see it. How most people will end up seeing it on marketing campaigns, etcetera. The Let's play around in different weights. I don't I don't know if I like the italics work. It's a little bit difficult, but I think both of those are potentials. Let's do regular Let's let's make that light. That's option to Let's go down and do Option three and I do all of my logo designs in black and white until I have concepts starting to develop. Then I'll start to integrate color. So here's option three. Let's make these a different color just so that we can differentiate it from the logo. There we go. So these have potential. Like a symbol perhaps. Um, I don't like this one. I kind of like the Sara's with this particular type business. I think it looks higher and it looks nice. Let's play around with spacing a little bit, so let me copy and paste. When we play around with tracking or Kern Ing could make it tight. I could make it really tight and see what happens. But that's an option. Yeah, let me bring in the spacing a little bit, and then I think we'll be happy. So let's do 400. That's great. That's an option. Let me play around with lower case. Let's take all caps off, just go into character options and then tick in all caps off when we tightness facing and even making a talent that has potential to going to keep that one around. Let's do one more option cause we really don't want to have too many at this stage. We want to start paring them down slowly. So let's come over here and see what our options we have left and I use them all. And there's the ones that did not like. So let's explore one more option. Or actually, I really I like these three less is more so These are the three options we're gonna continue to refine and explore, and then we're gonna start to see if a symbol is gonna match some of these and just kind of going through the process of that. So I want to explore a symbol. I think this is kind of a standalone font, so this will be an option that will remain maybe typographic only type only, and I so I want to maybe explorers some kind of symbol for this one and also the third option as well. So let's go ahead where? Scott, slide these off. We don't need those anymore. Let's make this option a little bit bigger. And let's explore a symbol, perhaps. And so this is when we can toggle our grid. So get a good view and put far grid on show grid. And this will help us when coming up with the simple. So let's go ahead and zoom in a little bit and let's play around. Was something here? So it's gonna take my pen tool, and I'd love to do kind of a really cool geometric shape that could go a long life coaching something that interconnected web. So we're gonna play around. They be submissive triangles and try to figure something that looks cool. So let's just do a diamond. No, I have not planned ahead anything. So this is kind of be experimenting. I'm just gonna copy and paste this triangle and want to goto object transform. I'm just a rotated. Let's do 45 degrees. Know what I'm doing with the grid ums? Kind of matching things up. Let me create a new triangle here or a new rectangle shape. Probably easier to do so that's an option on a copy and paste. And I got a group right click and group this little element together. I'm gonna make it a little bit smaller. Well, maybe place it right in this area. That almost looks. Yeah, I'm not sure I like that too much. I don't wanna to detail. So I'm gonna go online to find a little bit of geometric shape inspiration, and I'll be right back. So as you can see, I was playing around with some basic geometric shapes and I went on Pinterest and is able to kind of get a little bit inspired by some of these shapes. And he never won a copy someone else's design. So I'm trying to be inspired yet create something on my own. And I love how a lot of this uses cold, which is goes really well with my malleable theme with the medals and cold said I was gonna go for so this kind of re it reiterates and reinforces kind of this branding direction. I definitely want to go in. And I played around some basic shapes and I found this kind of cool combination of a triangle and a polygon and kind of put them together. And it's almost the street e Jim shape and I really like it. So I got to go through the process of how it created that and let me go back and put everything on defaults. I can show you all the step of the process that I did with that. Okay, so what I did is there's actually in your shapes panel. There's a handy dandy polygon tool that's already there for you, so you don't have to sit there and create a polygon tool or polygon shape. Go ahead and drag that here. And I was going to create a simple triangle that's gonna cover some of these corners here. I'm gonna do every other corner. So I'm gonna click here, skip that one click here, skipping that one, and I'm coming over here and then I'm good, complete my shape. It was really just two shapes in one. It's a really simple, and so you'll notice these kind of museum and just a little bit here. Notice is really hard, pointy edges, and that's because there's some settings over here in your stroke panel that you can adjust to around them a little bit to make them softer, some selecting both objects. And I'm gonna go down here to my corner. And instead of having a straight, uh, join, I'm gonna actually do a around joined for the corner so those corners of short corners disappear. So if we ever do again designing when a softened it a little bit, it could select all. And it's good to the round, and it it makes a nice round appearance. So this is like a little trick for you and your stroke panel. 4. Developing Our Symbol : So now that I'm happy with my shape, I'm gonna go ahead and get rid of the grid system. Just for now. I started to hide the grid, and I'm gonna take a couple of these shapes that I'm not interested in using right now. Just kind of shove him off to the side. I'm not interested that this kind of I was experimenting, and I just any time to come up with the shape, our design and, you know, you can't use it for this project. It's just not fitting, but I like it. I'll go ahead and save it, so I'll throw it into another pile of shapes. Save it for another local design project. You just never know when a symbol or shape you came up with might be useful later. So these are two different shapes. Um, go ahead and get rid of this one. I don't play around with the stroke off this a little bit. I wanna have it be a nice thickness. And the thicker the stroke the better. Because when this has ever reduced small, you're gonna be able to make out the small lines. I do not like using really thin lines and logo design. So thick lines is what you're looking for. That's kind of a good, good stroke size. So it's a seven point stroke right here. I'm safe thing for this. I really like this. I thought maybe I could do a variation the logo where we put the name in here or you just put the AM so that could be a second symbol option. So let's go ahead and zoom out and see what we have here. It's too much, 150%. And so this is kind of a mess, But we're gonna start peeling some of this away and really finalizing. So I really like looking at our font options here. Um, I'm looking at the ones that we tucked over here as well. I like this one. We grab that for the symbol over here, so let me make this a little bit smaller. And when you make something strong smaller that has a live stroke on it, it gets bigger as it gets smaller and it gets smaller as it gets bigger. So sometimes to prevent that, what I'm gonna do is I'm gonna copy and paste my shape. So I can keep it live path right here. I'm just gonna tuck it over here. It's always good to just slide things to the side. You can always grab it later. I need to select all. And if I really like the thickness, I'm gonna go to object. Path outline, stroke. So when he outlined the stroke, it makes it an object now so I could no longer edit the stroke. But now it's it's an object. So I could make it bigger or smaller without it changing. So that's great. And so I thought little see, let's match him just getting the eyedropper tool. And now, instead of using black, I like to switch to kind of a dark grey, which helps me emulate the possibility of a color because black is very harsh. And that might change how I what I use. So I come to switching to a dark gray. At this point, I'm gonna do This is another concept. I'm sliding that over and let me do balancing. So this is I'm just gonna do bound that I like to do logo design seven Zooming in. Like I said before, keep a nice distance so you can No. If it looks good when it's small, I'm just playing around. I want to put an angle on this. Perhaps a little bit of space here can maybe took it in there, make it smaller, small icon. And so now we're gonna do the same thing we were doing before. And we're gonna diss, copy and paste and try out different options. It's kind of a large symbol. Copy and paste. Let's try this. Another popular arrangement, but a symbol to the left and the type on the right. So let's play around the sizing on this one. So that's one option. This was when he really good to have fun and do a lot of different generations or variations. So maybe I can put like a divider line here that could look kind of professional and nice. Assemble a little bit bigger so you can make out what it iss maybe a line it back where it was, and I think I have one. This is why I saved this one over here. Go back into my path, outlined stroke and group it. That's why I saved this one. What kind of like the triangle? That way that's kind of cool right there. We need to make sure can always bring back the grid tool. Make sure it's lined up perfectly. Arkan, zoom in and just get a box here. Or let me do the grid tool. That's gonna be a lot easier. You show grid now we're just lining it up. Okay, Now hide grid Good. Kind of bothers me with him doing layout. Some just get a the amount seem battle, the more 1 50 perfect. I'm just starting to get balance. I'm tweaking like that a tad, but smaller. I really like this so far. That's that's getting too crazy. Unless I make it smaller. I'm not liking that. So that gets removed. That gets removed. So so far, these are the only ones that have made it with the symbol. I really like the simple to the left. So I think we're gonna keep that as our option. And we could even play around with and have another iteration or another version. Federation is just a fancy name for options, But what if I feel in certain portions of this little geometric shape? Not sure if that's gonna look good or not, but we're just just seeing what other versions we can create. You never know which one the client is actually gonna pick. You'd be surprised they don't always pick your favorite one. Sometimes we'll pick the last one you did. Sometimes we'll pick the very first version he did. You just don't know. That's interesting. Um, if I added the angle to it, I don't know if I like that. It looks almost to scifi to me, kind of going for high end coaching, kind of a cool geometric shape. I think that's just too weird worth a try. Now I'm just kind of you're saying What's out there? So let's play one more time with the different font choice, like thes my favorite or it's probably these are the same. So let's try a different bond. Get that gray. Ooh, that looks nice. Make a little smaller. Let's try another one. Let's grab one of our fonts. Did we have some along here? I think that needs to stand alone. We already established that. Let me try this one. Let me do in all caps. I'm liking the overall high end kind of feel. This is starting to take on. We don't need the line. We wanted to be unique because in the coaching world there's a lot of competition. So have a brand or mark that is very attention grabbing. And I think the the unique characteristic of this logo. I was actually wanting to adapts and gold into these lines. So I think that's going to really help it come together. So we're gonna work on that next. So let's work on color palette and then we'll be able to bring that gold effect I mentioned earlier in and this is starting to get a little bit distracting. So I'm just gonna hide that over here, kind of clean up my workspace. So I just feel like I don't have a lot of distractions. It's always so important. Of course, you always want to save your work. I've lost lots of work by getting way too into my work and not saving, huh? Enough. Do I use this italic? Let me try this italic course. You always I want to continue to tweak, and sometimes you just have to tell yourself to stop. But I love that as an option right there. So I'm gonna tuck this away. I don't really need that at the moment. I kind of my my my element here. So there's some really great options. And so I'm gonna go ahead and do the color palette and see what what starts to work here. So I'm gonna just grab the rectangle tool. This is all about building a branding standards manual. This is all gonna be a part of it. Um, you're gonna have your color swatches of color palette, your font choices, your symbols, any kind of textures or Grady into use. So I'm gonna come up with a really cool color palette. Of course, you could do a mood board and bring that into adobe. Uh, adobe color is ableto pick that out of your mood board, but I have already kind of went online, did some research, and I have a couple of ideas kind of floating in my head with some color options, and I thought like a really dark, rich navy would look really good paired with gold. So gold is a definite color option, but I'm gonna play around with some different types of navies and blues. I'm just working on a couple of options may be bringing in almost like an emerald color would look really cool, actually, with gold, maybe like a purple, maybe bring in a little. I think that's probably overused. Let's do I think thes colors would all look really nice paired with it, but like gold. That's kind of these air awesome options. So I'm going to go ahead and dio primary. That's gonna be your primary color options. This is gonna be our gold color options way may end up doing a radiant here are using a texture we don't know yet. So this is where we get to have fun with creating radiance. Want to go ahead and zoom in and we're gonna create a gold radiant. So I'm gonna go over to my grade. Ian swatches. Let's see, here it is, my great Aunt Tab. If you do not see it good a window and click on Grady int. I'm gonna go ahead and drag it out here so you can see what I'm doing. Okay, 5. Tweaking our logo: we're gonna go ahead and highlight this first box and I gotta go down here to this radiant in school DoubleClick. I'm gonna be able to add a certain old elements so I can add Maybe this is just to color transition. I could do a three color off more color and making a really complicated gold or a really simple gold. So let's do a simple gold. We're gonna double click this, and it looks like it's set to gray scale, and sometimes it sets a new swatch or grading it to gray scale. Just go appear to the options tab and switch it to Let's match our color profiles. RGB wants to switch it to RGB. Let's find like a deep rich, a little more yellow in there, honey. And if I want to get a color close to this, I can click it once and then click next to it and it's gonna load the same color. And I could pull down on this to eliminate that radiant. It's just like photo shop, and I'm gonna double click and make this a shade darker. Let's make that a little bit darker. I don't want it to be Brown. I want it to be have a little more gray and it almost so Let's bring a little more green. That's an option. So let's see if there's already a greedy int that we can load. I'm gonna go over to my swatches panel. Oh, let me get my clothes, my Grady int window by accident. So let me just bring that window back. Drag that back over here. I'm gonna get my swatches panel and I'm going to see if there's any default. Radiant Seiken load in. So I'm clicking here in my library tab or my library options, and I'm gonna go down to radiance and there's a lot of preloaded grading. You can't see him their off screen, but I could show you a screenshot, but let me do gyms and Jules. Let's see if there's any Grady INTs or color swatches I think would look really cool. Or a second option. Okay, so I'm just highlighting my second box. No, that's pretty. That's almost little to PCI. I don't want skin color that's a little too well, too much. I needed a pair really well. That almost has a copper vie, which could work so I'm gonna keep that and keep moving on to my next option. Let's Leadsom more. Let's do radiance. Ah, let's do medals and let's see what kind of options we have here. So this is a great impact that I've used a lot in the path. This is what we're gonna load into Adobe Illustrator to kind of give us a couple of pre made radiance. We don't have to sit there and painstakingly created greedy INTs. We can modify a few these tour like it, so it's actually Ah, it's by Traves on sports eso It's ah vector metal packet. Think if you just type in this any do Grady int pack, you'll be ableto find it online. I'm so to load this in. What I did is I almost watches panel. I'm gonna go down to my library tab and remember how we were going to Grady INTs and we were grabbing a couple of different options. There's actually an option at the very bottom. It's off the screen, but you'll be able to see it to the left of your screen right now and suddenly cold. Other library. Go and click on that and then you can double click your the file that you downloaded and you'll be able to load it in. So this is what the panel that opened a soon as I loaded it in. So let's try a couple of these as well. I think that might be a little dark, but let's copy and paste. Let's get a couple more options. Let's go ahead and get everything set up so we could play around with it. It gives us a nice white space between these. Let's zoom in about 200% and I'm gonna start with my primary colors and I'm actually gonna just I'm just bringing them down here so I can use the eyedropper tool to better select and have fun. So here's all of our swatches and let's begin. We'll start with this 1st 1 Let's start with the type and let's select that kind of rich blue and let's kind of play around with some Grady and options. Of course, we could select ingredient, tool and change the direction I'd like to do diagonal because it just feels more realistic than a straight across. Let's do that. That's an option. Contagious little line. We could even make that ingredient or make that the dark blue. So that's interesting. We can also do a box, a colored background to see if we like it on a color background, cause a lot of times and advertising, you want to put it on a different colored background. Gonna make this white selecting or type in our little no vertical line. And this will help me determine if I really like the gold on top, too. Well, spacing there, Um, not feeling that particular one. But let's keep playing around with other options that might be too dark to light. We do a diagonal stroke. I like that a lot. Let's see if it translates on a light background click on the Grady, and then we'll let me do it. So it's a little light there so we could have two different versions of this logo, where the radiant is a little darker on the white background version and you're gonna end up with probably 20 different versions descended. The client in terms of white background, dark background, transparent background, they're gonna have to have a lot of different versions. So let me play with some darker let's see. So we're gonna wanna take the same one. Let's go and double click on our radiant or go to work Radiant tab. And let's make all of these just a hair darker. I'm just bringing everything back, keeping the same color to Stark Inning each step about the same amount. I'm just ought eyeballing this for now. They can ever so slightly darker it has a little bit of a dull look. Let's keep going. Let's try a different foreign. I'm kind of liking this a little bit more now that I'm looking at it with slicked it'll and try Navy. And this is when adding a little bit of texture might come in handy because this is just flat colors, watches. There's not, like a texture over top of it or kind of a rusted look, or I'll show you a photo shop kind of applying some texture could really add some need effects to this, So let's see if I can't had a little drop shadow, so I'm gonna go toe affect. I'm gonna go down to drop shadow, do a little drop shadow that's a little too much. I'm just changing the blur and the distance. Maybe I'm just doing it by hand. I don't I don't want the A pass iti to be very strong, so I'm just gonna do 22%. And let's do the same thing with the type. You know, that could add Kadison need effects. Zoom out. I'm not feeling the green, so let's check out the next color. Kind of a light blue. That's beautiful. I like that shade of blue. I'm not sure which one I like better. Let's keep going. Let's try a different up here. A different one up here. Let's bring in. Let's bring in this one. I was gonna make it all white. That's a pretty versatile logo. I can't. I like a logo that's versatile. Bring over swatches. You're gonna feel like a mess sometimes with all these different elements on your art board . But that's all the process of creating and designing, and it's messy. Okay, so let's get going. Oh, I'll have an idea. Oh, okay. So, polygon tool, I'm gonna make that gold. Hi. And maybe I'm gonna try this silver to have, like, a gold and silver, you know, maybe maybe angle it. I like it kind of angled 6. Colors and fine tuning : I was doing a couple of versions in the of these little geometric shapes. I wonder if I could actually make the stroke thicker. So I went and grabbed the one where I did not outline the path on so I could be able to make that tack a little bit thinker or the stroke a little bit bigger. We bring this back over and let me go to their stroke, and I'm gonna increase it just a little bit. And I'm also gonna try a little trick here. I'm gonna copy and paste this toe, have another version, and there's kind of a neat trick. If you go to effect and you go to distort and transform their several different little tricks and little filters, you can apply to your shapes to add a little bit some interesting effect. So I'm gonna go down to popcorn bloat. I'm gonna click on preview and just kind of play around. You can create a lot of really interesting effects this way. So what I'm gonna do is I'm just good at moving ever so slightly into the negative. You'll see. It kind of created a neat little curb to my shape I go around and see just playing with different options over here on my stroke, you could not see where the stroke is. Good. A line stroke to the center line struck to the inside and outside. You could play with those as well. I feel like the middle option. So that's this. Another option that could have kind of gives a little bit more of a curve there. Maybe I can reduce the weight on this one, and you can actually apply brushes as well to your stroke. It doesn't have to be the standard one. So let's go to brushes. Let's see. I don't even think I have that option panel open. There's brushes right here. So this is your Brushes panel, and here's some basic ones that are already loaded. You can load more by going to your library and loading some different ones. So artistic, let's dio it's to think. Here's a different brushes. We can apply to our path. Let's do a paintbrush and a lot of these I have to reduce the wait a little bit, so that's got a neat hand brush. Look into a darker ink like that. Once again, I think with the brushes, you can download some online. That's gotta need effect. So if I like it, I'm gonna copy and paste my original and keep going. That's a little too messy. It is, well, messy. So I'm done with that one. So I'm just gonna delete that option. Oops. And this is the calligraphic one, and I have to reduce my weight. If it looks really thick like that, go and reduce your weight. That looks nice. That adds a little bit more rounded nous to To it. I was playing around. Oops. These have a little bit of an angle to it. Let's go back to the one I like because this one, you could see a little bit of a difference. Let me make it a little thicker. That's too thick. It's going close. My Russia's. We got a couple of options here. What kind of like this one? So let's throw these over for another time, and now we can go back when they make a copy of this one, too, just in case Now, when I met, could ever so slightly thicker, so it's gonna go 0.33 points, making it thicker, actually, Let me go back as when you're really getting detailed here. Like it 28 And now I'm gonna go to object path outline, stroke. So now I have it as an object again. And now I could take one of these copy and paste it, and I could go ahead and grab this radiant that I used. Delete this one, and let's see how a much thicker shape looks almost wonder if it's too thick now. Kind of like Ben, Look. And this is why you do these experiments so you can find out what you do and you don't like museum in a little bit more. Let's do 300% kind of scene is a little bit better and almost wonder if I could do a combination of strokes. So let me bring the one back that I did. This is why make copies of things paste it and let's do one thing one thick so it's on group. We can make this one thinner. The outside I make this one notch thinner or make that thicker in this thinner do ago. I like that a copy so I can have a copy over here. I could do the object path, and I'm gonna outline that stroke. Perfect. I think this might be the one. You go ahead and delete that. That wasn't working. Anything that's not working, just deleted. Get it off your board here. Art board. Oh, yeah, that is it. Let me try one more thing. I'm gonna rotate this guy and going to object, transform, rotate and see which one I like. I'm really, really liking this to copy and paste. I'm not final on that kind of pink. Not pink, but maroon color. Think I like some of the blues? Little better, but I'm like, in the overall concept, I think we're getting there. Okay. Oh, that's perfect. That's it. And let's find the right color. I don't like the green. So it's between this blue and that dark. Oh, that's it. I think we've almost found our brand was going to take this on a new canvas and play around with some branding concepts. So once I hone in on kind of a final concept, I opened up a fresh new document. I could get all that stuff kind of out of the way. And now we can really kind of finalize everything. So this is kind of what we picked out. All that mess, all the process, and we were able to come up with this. So I'm gonna come up with a couple of variations. Of course. We need to have two versions. One that goes on a dark background, one that can work on a light background that is absolutely essential toe have. So this logo needs toe work Well, on both. So I'm just gonna copy and paste, and I'm gonna go ahead and select this color swatch right here. And so this is gonna be the challenge. Is making this Grady int pop out over the white cause right now, it's not enough. It works really well here, but not here. Let's go ahead and zoom in and see what we could do about it. There is a possibility we can make it all solid color, but I really like this. Look, let's go in and darken everything a little bit like we did in the past, but let's do it a little bit more accurate. So now that have established a dark Bracker on version and I was able to kind of tweak Enlighten this Grady in a little bit toe work on a white background. I feel like we got the two main logo types developed. And there's one more option missing. We want to be able to have a non Grady INT version as an option for the for the client because they may want to do in a Bordering are something that does that where you cannot have the multiple colors of radiance. So I'm gonna explore a couple of swatches. I'm actually gonna take us. Watch out of this, Grady int. I'm just gonna double click this color and see this. So this is kind of your hex color down here. I'm just copying this Oregon jot down the numbers of the Sarge. It's an RGB. Formats draw down those numbers and then I can actually highlight this object in double click on my fill, And I can actually copy and paste that number, or you can type in manually. Uh, the RGB here looks. We do this, uh, as a single color. Let me go. My swatches. Let's do red. And then I can go back and copy and paste. This should be Ah, that's perfect. And so we can lighten it. Now let's say lighten. It may be or have a little less orange, maybe, and just play around with an options. I like that. It's like got a nice tan color to it. Let's go ahead and zoom out and see what we have. We have three different options. Here are variations that they could use. Ah, single this only two colors. Ah, this is a radiant on a white background. And then we have our dark background. So we have our logo pretty much finished. And so the next stage is finding ways to adapt this kind of shape and a sponte and type, um, toe other elements. So we're gonna do a little mock up business card and kind of see how we can apply this branding toe, other objects. 7. Business Card Design: So here's kind of our mock up business card. It is kind of to the basic shape using our colors watch. And I'm just gonna take the rectangle tool and go ahead and make our swatches so I could be able to use the eyedropper tool and get him. So there's are greedy it that we've been using. And I want to get that solid color gold we used on this logo as well. That kind of tan, muted brown And I also want to grab over here a loco that I think would work. So let me grab the one on the dark background bringing it here. I'm gonna paste it. So how can we adapt a little bit of this geometric shape to the business card? Let's see what we can do here. I'm actually good a draw, a couple of white boxes on the edges, and this is just so I can play around. You'll see kind of where I'm going here. So do some white boxes from the top. Okay, go ahead and take this element, and I'm gonna make it a little bit bigger. What would you do? Something kind of screen back. So I'm just gonna us and this back into the layering system. I'm gonna send it to the back, and then I'm gonna send it one more step. Actually, send this in the back so background, so that that will pop up there. This let me screen it back a little bit. We could do a transparency and screen it back like that, where we can make it a solid white that's looking really cool. So let's go ahead and keep that. I'm just gonna copy, just like we did with the logo design. We're gonna copy and paste and try different versions. And once we figure out kind of the front of this business card in the back with some of the detailed information, it's gonna really set the tone. And it's been good. Act like a template for everything else we do. And it's a great way to present a logo. When you adapt the logo to another object, like a business card or a letter head, you can show them how the brandis flexible and how it can adapt a different in different ways. You're not to showing the logo, but you're so in showing how we could have the symbol in the geometric shape, perhaps play a role in the design elements could always do that down here. It's playing around with, uh, make this really big. Maybe the triangles here. We can also even explore a vertical, uh, logo as well. So that that they ever had a more vertical need or space. They can do that as well. So that's an option. And I really, really like that. I like that to the point where I'm gonna go ahead and grab it and copying it. I'm gonna paste it with our other versions of the logo so that I now have a vertical version, and I could now copy and paste and apply are same versions here. Now I have one that could work on a white background. Perfect. Okay, so that's an option. I don't really like that one. If I'm not in love with it, I don't want to keep it around. What if we put it in the box like that? Okay, let's keep going. I like the horizontal version. So what do you do? One more these course. We haven't even added texture yet that that's when it gets really fun. What's at an angle to this. So maybe we do the symbol here. And maybe this gets talked a little bit to the left. That's an option. And we also could do a bar. We have this tan color we could bring out. We can even make this the Grady Int and have it have a little bit of an angle down to the left. That's a nice papa color. That's nice. We could even take our direct selection tool and select this anchor man. Have a little angle, but I don't like that because this is straight up and down. But this one, I believe it's angled lips. Grab that picture. It's perfect. Perhaps copy and paste. Hopefully, I'm not making you to dizzy by scrolling back and forth, but this is kind of on the process of doing some stuff here. So there's the angle. So, um, this experimenting. I'm just putting that back into the layering system. A couple of steps. Ah, that's that's weird. But I think if I did a better gold texture and Photoshopped, I could make that look really cool instead of just this flat, radiant I have I have an idea for that I'll show you in a little bit. So that's an option. I really like that one. Actually, I wonder if I can screen this back a little more like that. 10. So that shape is not so obvious. I don't want it to overpower the logo, but I want people to be able to see it. Let's make this 18 So there's option one. Option two, option three. So this is the front of the card. We're gonna mess around with the back side of the card, and then we're going to start to be able to play with textures and really make this thing look finished and polished. So I went ahead and grabbed a few of these little details that will probably want to have on our business card. So this is going to be the back. So I copied all of our fronts and I shifted them to the right to so I could have them available. So now I could take thes and create the back. So I want to keep kind of that same element on this side as well. But make the logo smaller. Maybe I don't need ah, this element. Maybe I put it down here well, playing around. Let's go ahead and bring in her name. And this is where we have this established already as kind of our main branded bond. It's Georgia, but we can have different variations so we can have all caps we can tight spacing a little bit on this, and they get this copy and paste and let's get her title. So let's say Owner and we want to have balance. I'm gonna zoom in. We want to have balance with our type on a business card, so we already have a lot of all caps. So let's do a less too tight spacing. Let's go back to zero. Let's do a Talic if that's available and let's go back to our character option, let's take out all caps and let's also make it smaller in comparison. So you noticed how we balance that out really nicely, and I love having dividing lines between blocks of copy, so it's gonna go ahead and get a line here and maybe make it that gold radiant. We have a nice dividing line to separate information. Let's go and copy this smaller font and let's see, we want to incorporate kind of the target market in there. So let's take this. I was using the Eyedropper tool and I'm going to When I click on that click on the Eyedropper tool, it adapted all of the elements that style of this bond right here. So let me do that against I can show you. Uh, this is what I had selected this object in getting the eyedropper tool. I'm clicking on that and automatically inherits the style. So that's great. I just slide that over. Do I have I have a bold italic and have a regulars? Let's do a regular and let's do um, no, let's actually say life life coaching for CEOs, business owners and personal coaching. I wish the client may give you all this information. You may not have to worry about that this little and I like a talic. So let's go back to Italic. Let's make this eight point pot. We don't need to have this be very big or overpowering, and I'm gonna go back and I'm adjusting the, uh, the leading here in my character panel. A nice wide letting is nice. Helps you breathe the amount kind of see what we have here. We can even shift this over to the right side. I feel like it might need a photo, some sort or texture. So I'm gonna go and let's source some textures and see what we have here. Like the logo. Bigger, even spacing between this little elements make it skinnier. Perfect. I think this is really coming along. And so let me go grab a texture. 8. Business Card Design part 2: Now that I found a few textures online, this is gonna be a great opportunity to show you how to work with both illustrator and photo shop. So the textures I grabbed a raster images just photographs of the texture. So you really want to switch back into Photoshopped when we're working with raster images? And so I'm gonna actually bring this business card. I'm gonna bring the background into on. All I'm doing is I'm just clicking. I'm just clicking this rectangle shape, this green color and I'm just bringing it into photo shop right now. This is still a mock up, so we're not doing a final business card yet, so I'm just gonna bring that in here, and I am going to go ahead and lock. I'm in photo shop now. We don't lock the layer. So now I'm toggle ing between illustrator, and I'm just gonna select only what I want to bring over. So when we select all these objects and I'm springing him over, this is just a mock up part. Go and make this a little bit bigger. Perfect. So now I have my two textures loaded. Let me make this application get into the monitor. There we go. So I thought this would be a neat texture to have overtopped the green to add a little bit more of a richness to it, miss dragging it over top. And I'm just gonna go ahead and dragon below my green square here, and I'm just gonna get the magic selection tool. And under selecting when they grab my green layer, I'm just gonna be cutting this part out. What I don't need go. We go to my layering system and drag this above the green. And here's where we can play around with blending modes. So let's try. Let's try luminosity. Um, let's try overlay color, burn screen. There it is. I like that. And so let's bring in. I also have a gold's beautiful gold texture, and I wanted to play around a little bit with this, so I thought we could do a couple of things here. I'm highlighting the gold texture and I'm actually going to opacity, and I'm just screaming it back, reducing the opacity so I can see everything. And since we're just playing around here and you know what I forgot to bring in, I forgot to bring in our cool back around. So let me go to Illustrator bring in our shape over here way have our shape. There it is. So let's make like a diagonal cut. I don't know if this is gonna work, but we're just gonna We're just playing around here because I got a triangle. I'm actually gonna cut that triangle and paste it back. And then I no longer need this one. So I'm just gonna toggle the visibility. I was playing around what I thought would be neat iss What if I got this again and I put it over my logo and what I could do is actually let's go back in time here when we bring in the front of the card as well. So you bring this up, highlight all my layers dragging a Oh, I locked it. That's what I did when we unlock it, select everything and shifted up. And I'm actually gonna go ahead and layer duplicate it right now. This will be the front, and I'm gonna delete all these objects. I'm toggle ing back into illustrator and I'm gonna go over to my fronts. My front side you would go, Go ahead and bring this in. Actually, I'm just gonna need I'm gonna bring these elements in separately. So I got the logo. This is we're just mocking up, playing around with textures. You'll want to keep the final design and illustrator anytime can keep something in vector format the better. But I'm just playing around with the idea of adding textures to this. This is really just a mock up. I don't recommend doing any kind of layout or design work in photo shop because it's not in Vector. So this is just given the client an idea of what it could look like texture and yourself as well. I like that texture. Gonna lock that so I don't accidentally grab it. I'm gonna lock that as well. Here we go. So let's go ahead and bring this on the top top player and let's zoom in and let's cut this out. I'm gonna reduce the texture a little bit. There you go. So let's try this. Gonna get the magic eyedropper tool and I'm gonna select our logo shape. Where's our logo shape? There it is, and I'm going to select it, and I'm going to also subtract this election's gonna get a little tricky, so I'm going up to your you remember. Click on, subtract. Let me see here. Cool down and subtract or hold down Shift there again, I'm gonna add to this election. I was trying to cut that out. So then I'm gonna go up to my shape press enter. I'm gonna get my polygon lasso tool and just delete the little bit of the texture over the text. So that is an option. We have this cool kind of gold texture of the top and let's make it 100% opacity. Now we could take our burn tool and our Dodge tool and add a little bit of highlights to this who wanted to working at a little drop shadow. So what I've come to find out through this little experiment with photo shop is I really love the school texture. I definitely want to integrate that instead of having a solid gold color whenever I can. You can always use a raster image in the logo. You'll have to use, um, maybe a single color sometimes. But as long as the client has options, But I think for most of the print items. I really like this. And that up there, too. We could add. See if the, um we could get back our diagonal gold color here I might have lost on might need to recreate it, but I had a little bit of a gold here getting ready to add that back here. I'm gonna be able to export JPEG texture so we can utilize those an illustrator and keep everything in Illustrator. So one thing we can do is go ahead and let's isolate everything. So I'm gonna unlock, not isolate these two layers. Let's talk with the visibility on all these objects here. Everything but the background. There's the background. I wouldn't take that toggle that untangle that. So what I'm gonna do is I'm actually going to crop. Well, let's see, Crop. Here's my crop tool right here. And I'm just gonna crop the texture. I'm gonna be able to use this texture and all of my branded elements that I'm gonna design an illustrator and I'll be able to keep everything in vector format. With the exception of the texture. Of course, you scroll down a little bit. Perfect. So now I'm going to save this is a J. Paige, and I'm gonna be able to bring this into illustrator and recreate that business card and put the texture on it. So I'm just saving, um, six background texture seven it to the death stop at high resolution. I'm not gonna do the same thing to the gold texture, so I'm gonna go back. They gotta go ahead, bring that texture. And I actually already have it as a large texture. So I'm gonna bring that back in, and I'm gonna do some of the editing that I did, and I'm gonna go to Hue saturation, and I'm just gonna reduce the saturation. Now, I can save this as gold texture, and now I'll be able to bring these into illustrator and recreate everything. So I have my two textures I was able to open up back into illustrator, were able to edit it to our liking to be able to recreate what we did in photo shop. So now that we have our textures, I can actually go back and apply them is copying and pasting my texture and putting them on the illustrator versions, which is really your final design version. This could be an illustrator because of that nice specter format. Once it's arranging it in the layers, there we go. Perfect. I could go back and I can apply this back to it. So I'm just gonna copy and paste the shape I'm gonna zoom in. Here's another little trick. So I'm zooming into 300% and I have this shape I want adapt this texture to this shape. So what we're gonna do is mask it. So we're gonna make this bigger and we're going to click on this main gold layer. We're gonna hold down shift. So we're gonna be looking on this layer to use. We have both of these selected we're going to right click, and we're gonna make a clipping mask. So what it's gonna do is going to take the shape on top of the texture or photo, and it's gonna clip it, trim it, so make clipping mask. And here's our gold texture. So now we have our gold texture, and then everything else is in vector format, which is great. So they were going to zoom out were an illustrator. No final business car design. We don't have it sized in its own document yet, but we are getting there were really, really pressing forward on our branding and let me do one more thing. The copy and paste. I'm gonna release this clipping mask. I'm getting like to go texture back. I'm copying and pasting this gym and let me see if I can apply that gold texture to this. Do the same thing, selecting both objects. This objects on top, right? Click, make clipping mask, cat. So I think what we may need to do You may need to use Thea the shape builder tool here, and combine these objects. I want to get the shape builder Tool. I want to go back. Let me to select this object that one. Be careful about what I select. There we go. Perfect. Now Maybe it'll let me do it. Right Click. Okay, so now I have the texture applied as well. If I wanted to add a texture to the logo, I may not, but, um now I have a texture applied. Gotta zoom in really good. Always good to have options. Let me make sure that Zack that could always just select the layer underneath. I could delete the radiant one since I have that and I can select this and apply a drop shadow. Let me see. I'm gonna goto effect style eyes And this is how you add drop shadows An illustrator a little bit different than photo shop. But the basics are the same once you get into it, they're 44. Open enlightenment. Great. I could select this. And if I goto effect, it's gonna memorize the last effect I did. So go ahead and do apply. Drop shadow and old memorized. You're drop shadows settings. So there you have it. I can, actually Ah, I wonder if I could brighten that up. That's why we do things a better shot first is a get or texture. We were able to reduce the saturation and get that texture perfect so we could bring that into photo shop and be able to start applying it to our final design. 9. Developing Your Branding Standards : So now we're gonna take all of this mess on all of our local design and assets that we've been building. Go and create one consistent page to present to the client, but to also have a reference for certain assets to be able to access for us as we're starting to design of the material. So I'm just gonna create a simple 8.5 by 11 document, and you could do it whatever size. I don't need to add lead to this. I'm just gonna make it zero. It's just just gonna be, And I'm gonna go ahead and make it seem like a color Just toe Have that. If I need to do any print documents, I can have it and see him like a So let me go ahead and make it the size of the screen. This is gonna be our document. I'm gonna go ahead and zoom out so I could start to drag and drop elements that I think would make a good presentation. So, in terms of a final local design, I think we decided to pick this one. So I'm just gonna copy paste and I think we have a color palette here, but I'm actually gonna crab that from here. So I'm not gonna worry about anything else here. I think we're done with this. This one, specifically. When they go ahead and pull up, I have everything in a nice organized folder, and I kind of have a business card design that we were doing. I'm gonna grab a couple of elements. I believe we did a vertical version of the logo there. It ISS Go ahead. Just grab that one. Copy and paste. And I'm also gonna take just grab a couple of other objects that I think I'm gonna need. So I need to go ahead, take this business card. I had to get rid of that. And I'm gonna take other side of the business card, Pop that in here. Discredit, grabbing elements. We think it will be a good part of the brand. And I believe this one was our one on white background. I think we already have. Unless that's the vertical version. Okay, great. All right. So let's go ahead and start building this out. I get a zoom in ever so slightly. Okay. So what we want to present versus the logo. So this is kind of logo that we like the best over that dark background. But we also want a present, the same one on a white background. So let's slide that over. Let's make it about the same size comparison. There's a little bit of a white box there. I had to get rid of that slide. All of these elements out Here's the vertical version, and what I could even do is do this. So I'm gonna go ahead and extend this backgrounds. It doesn't look like it's in a box. I might make it a little bit bigger just like this, and I'm gonna show the vertical version next to it. So you kind of see the different arrangements that we have. And then now I enable Teoh do the same thing, but show how it's flexible and how could also exist on a my background. This is gonna be our first page. We can also do this and in design. If we want to do. It's easier to do multiple page layouts and design. I'm just still kind of finalizing the logo a little bit as I go about this. Um, I also need to make sure this is just tweaking our final logo that we have the final concept. Just making sure the space here go ahead, make that a different color is gonna be the space here, so make sure everything is nice and the line and it's not. So let's go ahead and select in these elements. That was kind of using my arrow key, kind of aligning it a little bit better doing my little trick. Where does take a Uh huh, the rectangle tool. And see if I can eyeball that. I could be more precise after the projects approved. That's great. I also want to do the same thing to the white version like sure, that's a line. So what I'm gonna do is this copy and paste and just recreated from this one that be easier than trying toe fix that one. Perfect. So that's how we can present the presentation of one concept. Of course, we might want to send another concept, but this is the one that I feel like would be a final descended them. This would be the logo design, and the next page is going to show them how they can adapt other graphical elements toe other objects and other marketing materials. I thought this would be a great opportunity to show you how to use art boards. So right now we just have 1 8.5 by 11 paid. I went add a second and 1/2 by 11 page that I want to send the client. So let's go ahead and do. I could do this in all and in design, but I feel like since I'm still tweaking kind of the design and kind of, ah, little bit of the lettering and just kind of doing some final tweaks I wouldn't keep in illustrator for right now, So I'm just gonna go to documents set up, and I'm actually gonna go to edit art boards. And so this kind of your art board options. So here's my one. This is my first art board. It's the only when I have I want to duplicate this because I want to take this exact size and make another page. So I'm gonna go up here. This would create a new art board. So what's going click on that when you click on the new airport, it's gonna automatically do the the size of the previous art board. You two go click once. This is our board number two. And I could actually if I wanted to I can edit the size of this art board, and I could just delete it if I don't want no one it. I'm gonna go to add new our board, have a right next door. Perfect. And you can create 2030 art boards if you have 30 different concepts or designs that you'd like to export as individual J Pecs goods. And if I were to go and export this as like a J peg, for example, I'll have to j pecs. I don't have to have separate files and have to save them each as a. J. Paige. So it's a huge time saver. So I have these elements of her business card also have some textures, will. I'm gonna go to my little folder and bring out the textures that we already used this gold texture. Go ahead. Bring that out. I was dragging it to my illustrator, opening it as a new file dragging it in. You do the same thing with my little green texture that we made in photo shop. I do a lot of my texture. Works work in photo shop because illustrator really doesn't do a whole lot with textures and raster images. That's what photo shops for. I'm just a holding down shift and making it smaller. What kind of I wanted to show the client kind of the two texture options they have that's gonna be this. Hi. There's also color palette I'd like to show. So let's go ahead and zoom in. We could develop the color palette. So let me go ahead and do a whole downshift. I'm just gonna make two squares. Or I could make one square this copy and paste it so we don't have a whole lot of colors going on kind of the screen hunter green color. And we have this gold grade and I'm sticking the eyedropper tool. And I'm just gonna highlight my Grady in so I can show him that it's a great aunts watch were using and also just now remembering. We also have a solid single color gold color that we need to present to decline as well. So I'm gonna go back and see if I can go ahead and locate it. I think it's right here and there's that. There's a SWAT, so I'm just gonna copy and paste it on. There we go. So I have this tan color also want to present as a solid color option what I like to do in presenting color swatches. I like to have grading. It's on on the end just so you could see the solid colors together. This is our solid killer option. So I'm trying to think if I have room, this is gonna be more of kind of your presentation where you want to have the nice shiny gold. But you also need to show him that it can exist in one color so we can go ahead and do that on the second page where we're presenting this watches and the textures. So I'm gonna spend a little time labeling a few of these things, and I'm also going to be putting in the RGB amounts for each color swatch so it could be exact. That can show him kind of. That's a little bit of a science. He's weren't randomly picked. But here's the RGB numbers. I'll be right back to show you 10. Developing Your Branding Standards - Part 2: Okay, so I'm back, and I was able to kind of add a few more details, and I'm adding some of the color swatch specifics under each color swatch. So right now, I have kind of the hunter green established, and I could kind of show you how you can access and find out the colors of these watches. We're gonna go ahead and click on this tan gold color, and I'm actually gonna double click my swatch right over here, and it's gonna bring up a color picker picker panels. I could say that correctly. So here's kind of where I've got a lot of these statistics, so you could just open this up and just kind of memorize it and type it in. So I'm taking a copy. This is your hex number. This is gonna be what you used to build websites. When you when they ask what colors to use when you're building maybe a wordpress website. This is what they use is the hex color. So that's for the web. When they go back and click and find RGB so to 24 201 48 and just type it in. I'm just realizing RGB. Okay, that's correct. It's making sure that's correct. Same thing for seem like a find this numbers here 13 19 and 46 type that in 13 1936 is great to have and anything that doesn't have the numbers make sure okay is black that I didn't have any black. This is great for print projects. This is great for Web or digital projects, and it's great to be able to send this to other designers or people within the company that will be able to expand this brand a little bit further out. And Grady INTs I don't touch. I just leave them as this watch since they have quite a complicated array. DoubleClick, the radiant tab that's gonna be hard to tell them. So you just have it as a life's washing illustrator because you probably mostly be transferring this to them as a PdF. That's creditable or as a E. P s or a illustrator file. That's how you'd send it so they'll be able to access that swatch by getting the eyedropper tool. So that's fine for color palette just went ahead and just kind of Fidesz this a little bit , Um let me zoom out secret and see just having some dividing lines between the elements. And this is gonna be our farm. So this is Headline Font and then body copy. So the headline farm is Georgia Sums. Get a copy and paste and I'm gonna type in Georgia. And I'm gonna put this in the same thought as some of our information here. So a headline and then body copy. We haven't established that yet, but I'm just going to do a simple open sands as your body copy. And I'm gonna collapse since his body copy, which is gonna be all your detailed text that you'll use in advertisements and Web site articles. I'm gonna make that smaller and go up to our character panel, and I'm just turning all caps off. And I'm making this a little bit smaller and making the sentence longer so you can actually put a full paragraph to show them how the body copy will look. And this is going to be open Sands. It's gonna copy and paste and label. This is open Sands. Perfect. I'm just gonna go ahead and highlight all these and I'm gonna go to my center align. It's gonna line everything. Let's make it nice. A little spacing between it. And if you have ah, byline sub line heading in a different font. You can also put that any any Fonsi want people to be able to use your basically telling them in terms of the branding projects, what thoughts they're allowed to used to adhere to the branding standards. So this is a branding standards manual, So alternative presentations. Ah, we can have this. This is where we can present may be the single color, and I'm gonna go ahead and tell them what this is they may not be able to see right away. I'm not gonna do this a single color. Actually, this is to color to color or let's do solid color. And you could even put in parentheses, non Grady in color or whatever to describe that different presentation. And another presentation we can present is black and white here because it's always good to be able to see any local, black and white, just in case I'm gonna make these a little bit smaller. These don't need to be big. They just need to be able to know they will have alternative files to use that you you went the extra mile to think about different presentations than that really goes a long way into showing how professional you are that you're thinking about these other situations that they're going to need this logo for. So the single color, they're gonna be able to use this for a broad ary or anything that require that they cannot reproduce the grading and color into this geometric shape, and this one will be black and white. I could just highlight it all. I'm gonna go down. You don't go down to edit edit colors. It's just a quick way to convert to Grayscale. So I'm gonna convert this to gray scale, and that's gonna make it a nice black and white image. I could keep it like this or could start to tweak the logo here. So if I wanted to make this a solid So right now it did it black and white. But it's still keeping the Grady in so I can actually go back and click on one of these grace watches over here on my swatch panel. Maybe I like it kind of light to contrast against the dark text. And maybe I have one of these shapes. Shades to shade lighter like that. Bring this to the front. There we go. So that could be our black and white version. And what's great about this is we can use this when we're starting to build out some of the other marketing materials. It's gonna be easy to grab objects from here and use them so branded assets. So these are gonna be things that they that the designer or yourself or someone else in their marketing team can use to be able to build stuff. So we have these two textures. So I'm gonna put, um, you don't let them know you can even name these texture or something fancy, so I'm just gonna just do something simple. But he could not do emerald texture, whatever you wanna name it. Cool texture groups. Perfect. And we have some other assets because we're building out our business card, and we have this little symbol that they can use that screen back. I'm actually going to make this white. Let me see if I can't just grab the solid killer. I'm just gonna copy and paste this to kind of Show him how they can kind of use it on any kind of background. Perfect. I might need to make that a little bit. See, the opacity is only on 8%. Let's make it 12. They could pop out a little bit more. Maybe even more than that, Maybe 16. There we go. Just so they could see kind of the different asset that they can use. And right now, this is the only asset that we have is this extra element. But as you could see on the business card, we were trying out some different little things here. And actually, I use Georgia here. So this is This would be great as an alternative bond. Get a copy and paste this over here. Make it black or dark. Grey. I like this a Tallix used. So let me do this, uh, to kind of give them another option was due subheading. Give them another option for this italic font. Make this horizontal. And this is Ah, Georgia. Talic. Make sure I spell that right. Okay, I'm gonna go ahead and believe this. Bring that in as kind of another option. Headline body copies could be much smaller. And your why lines could be This is gonna be your subheading want perfect. Just kind of detailing all that out. Let's make that the same green risk over tourists watch with their eyedropper tool make agree. So I think we're pretty much done with the details page. What I would do somehow that got shifted. There we go. So we're done with kind of our assets and different presentations and color palette. So this would be the second page percent to them, along with this kind of Maine logo page, and you may have more variations. You may need to do 1/3 page where you really go into detail with different versions. You might have a vertical horizontal one with the line. It's good to have that. So what I would do last is at 1/3 page, and I would go ahead, plop in perhaps the business car that's finished and maybe a letterhead, or maybe a digital ad to kind of show them how they can use some of these assets. So right now they have this asset. But how do I really use it? That's a great way to show them that. Okay, here's Here's a great presentation over here. You would show them the business card in the letter had to show them how these assets are being used. How maybe you have the spoke old bar, how you're using all the font typography and how you may be using the gold textures, and that's it. 11. Developing Your Branding Standards - Part 3: So now that we have kind of a branding standards manual developed, I'm gonna go ahead and develop a few other marketing materials to show you how easy it is to create things. Now that we have this manual developed Ah, this manual developed. Let's go ahead and go to file. We're gonna go to documents set up, and we're gonna add another art board. We can start a new one, but just, uh I want to show the quiet how I can use all these assets and developing a letterhead. So this is how easy it ISS. So I'm gonna go ahead and kind of drag and drop some of these elements that I like. So in terms of the logo, I think I like this one. So I'm just gonna copy and paste. I'm just gonna start building out a letterhead, just kind of go hand group the slow go together, make it smaller and play around with a lot of different option ideas. I'm just getting my direct selection tool in selecting its anchor. I'm just gonna try and angle out sleep. I like it because our local has a lot of anguish and assemble now this is just like zooming out so I can kind of see the whole piece together and see how it's coming together. Good ground. This element over here you could have this kind of go off to the side. Maybe let's make this are really light gray. Sure if I'm able to see that too well, so let's make it a tiny bit darker. Have the element kind of off to the side of angle here. And what I like to do is just kind of grab working tool. Just like we did a business card. I'm just gonna make that light. This helps helps my I kind of block out everything that's extending outside of the art board. See if I like it kind of going off to the edge. There may be kind of cool. Bring it up a little bit more. There's not perfectly center. Might not need. The logo is big. We'll get some information website possibly. Let's go ahead and grab our body. Copy. Stewart headline font size crab. This is what we have for a headline slot. Could bring this arrange. I'm gonna bring it to the front so it's the top layer. Make it white. And, uh okay, so I'm gonna have to just do kind of Ah, just doing some generic, um, information your real quick. What's do do a phone number Leads to an email to kind of see what that would look like. Maybe do a ride alignment alongside here and also do website grab a website. This is great. Uh, go ahead and doing a few assets when you percent, because it can show him. Ok, well, how do you do the website? What thought do you use? How does that look? Maybe we keep with that sub headline font that we're using. It was just really simple in the bottom. Maybe it's been a radiant and then maybe not stood off to the side here, get smaller people, more room, toe, actually put content. You don't wanna make ahead or too big because you need to be practical. Let's do this. But let's dio I don't want to use too much green trying to figure out. Maybe down here would be the best. Maybe keeping it white I'm making that tan it's not sure is when you're playing around different options that definitely like it in the box. Doesn't think it'll disappear with this symbol. We could play around a little bit. Maybe add, I think I know I have an idea here. I can make that ingredient and I'm gonna make it go diagonal, so it looks more natural. This is where we might zoom in and do details. And this is something we're putting together really quickly. I would spend a whole lot more time on it. I had a little more time just getting a bar to kind of set that nicely. Maybe even have contrast here and make his name in the headline font, but smaller. See the nice contrast there. This doesn't need to be quite a big let's collapse. Just messing with the spacing. There we go. See, that has much more balance to it with the different font styles and sizes. And I think I have an idea. We have these beautiful textures. Grab this gold. It's got a copy and paste this shape when we get some of the darker part of the texture. So I'm gonna go ahead and create a clipping mask. So I'm gonna select my top box. It's like my background texture. Right. Click, make clipping mask and so it's gonna mask it, and I'm just realizing I want to make it a little bit brighter. Let's try that as our about our box at the bottom. I would like to bring out the gold because that's the whole theme of the brand is the gold , which is where our name derived from one is him out. So I like that when you just make sure it's center and a little trick. I'm gonna do my little, uh, rectangle. And I'm selecting both these objects as well as a rectangle. And I'm just gonna do a center line and they use my arrow keys to kind of bringing back. This kind of helps me a line things a little bit better. And let's make this font our headline flock because I think that's gonna stand out better and let's make it smaller. Don't need to be 17 points. Let's make it 12 and let's make it if I have a bold, beautiful old options and so I'm gonna actually release. If you ever wanna change a clipping mask, right click release clipping mask, and it's gonna go back to where it waas and let's get my rectangle here. What I'm gonna do now I'm gonna make it bigger and longer kind of Now that my font is stretching out more maybe right about there. And so now I can so like both objects and make clipping mask and bring that down. And I don't need that red box anymore. And let's add a drop shadow to the text to make it pop out just a tiny bit more. We just need very subtle effects and 01 inches or she may have different measurements on yours. Let's try out the thin regular. That's too thin. So what I can do as I think this texture let me zoom ends they could see I think this texture is too overwhelming, but I like it. So I got a copy and paste. Or actually, I'm gonna take the rectangle tool. You're on a rectangle on top of it. I'm gonna go up and grab a tan solid color, see, to be right here sums getting the eyedropper tool and making a tan going back in and I'm just gonna put it on top and I'm just gonna send it back behind the gold texture, going to take the gold texture and scale back the opacity, and this is a great way to still use a texture. But see, I'm reducing the transparency, so it's showing a little bit of that behind it, but it's making the texture less sharp and less visible. But it's still there like that, and I'm just gonna go click on my appearance panel and adjust my drop shadow, making a little bit stronger. Perfect. Let's zoom out 100%. Seems like it. So really quickly. We were able to kind of put this together, and this is just one option. I would definitely play around with some different variations. Maybe the placement of the website needs to be talked over here. I don't know to something to balance it out a little bit, but as you can see, that was really quick to put together. He could put together so many other assets as well to kind of have a complete package to show them