Making badges and logos in Affinity designer- Volume 1 the Artist badge | Jeremy Hazel | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Making badges and logos in Affinity designer- Volume 1 the Artist badge

teacher avatar Jeremy Hazel, Education Through Creation

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (55m)
    • 1. Introduction and Structure

    • 2. Laying out the design and blocking it in

    • 3. Laying down the base shapes and applying text

    • 4. Adjusting text and detailing

    • 5. Masking finishing and Exporting

    • 6. What is a badge and the 3 most important characteristics

    • 7. How to sketch at a basic level complete

    • 8. What is a shape and operation

    • 9. Making pallets and cords

  • --
  • 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

As a designer we all want to create more innovative work, FASTER,be more PRODUCTIVE and be able to respond and create easily without always having to go back to the drawing board from scratch., and BADGES allow us to do that. 

Whether you are doing print work, T shirt design or web development badges allow for pre-made assets to be created to assist in concepts and developing mock-ups, PLUS badges are HOT right now....and very sellable. So if you are looking for a way to learn Affinity Designer WHILE create small, scalable and sellable projects, then this is the course for you. 

In this course we give you everything you need to create an artist badge , from sketch to final export .....included in the lesson we have 

  • All of the tools you will need along the way, including the final file 
  • All of the color pallets we will use 

And if you may not be too familiar with Affinity Designer, sweat, at the end of each course we have a "boot-camp" section with the technical lessons broken down so you can still accomplish the badge

Meet Your Teacher

Teacher Profile Image

Jeremy Hazel

Education Through Creation


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.

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. Introduction and Structure: Welcome to the scale share course for a fitting designer. Four badges. Now this is part of a Siri's. So whether you found us in less than one or whether you found its badge five, it's all formatted the same. We're taking a badge all the way from the start to the finish in affinity Designer. But because we know this course is geared for intermediate users, and you may not quite be there yet. We've included the last four lessons down below at the bottom of the course, with almost a boot camp of tools that you might need. So if you're an intermediate user and you're already familiar with operations, just run right in that course. However, if you need to know what an operation is, check out the last four lessons. It's our way of making sure you have the tools to do what you need to do in order to pull off the project. You want to pull off all right, enough talking. Let's go ahead and get into the badge, making 2. Laying out the design and blocking it in : all right. So consistent with our process. The first thing we're gonna do is we're going to go ahead and begin blocking out this initial design. Now I'm going to be using my tablet. You do not have to have a tablet to do this. So the first step is we're just going to sketch in order to sketch. We're gonna come down to our pixel persona. We're gonna grab the paint brush tool, and I like to sketch in red. So I'm just going to make sure that I have a brush, maybe a soft brush around 32 pixel. That'll be fine. All right, Now, this is gonna seem terribly disjointed, but I just want you to see that you don't have to be perfect in order to pull off a design . So my design for this is going to be kind of circular in nature, and what I think I'm gonna do is I'm gonna have a palette of some form, right? And then I'm gonna have a horizon line on this thing. So this side, I might want to be a little black and then what I think I'm going to do, I'm gonna put a brush right about here, and the brush is going to be coming down to some text. So I think where I want this thing to be kind of hugging around the corner is here. And I think I want to put down, create and then over here to balance out this side and this side I want to put down Amazing . All right, now, my vision for this badge is something that is just three tone. So I think that this is a pretty good idea. Now, if I wanted to refine it a little more, I could always come up to my color. I can grab the blue and because I'm working in layers, let's go ahead and drag that layers panel out a little bit. I can always turn down this opacity on this layer, and then I can create a new pixel air, and I could create a refined sketch above it. So now if I wanted to sketch in blue, let's say I wanted to be a little bit more exact with the brush, I absolutely could. Now paying attention to our principles. We're gonna want to keep this area in this area relatively consistent with the circle in the center so that these areas are very, very similar. All right, so I'm gonna go ahead and delete this pixel because I got everything I need. Let's go ahead and delete it. And now to keep it very simple on this one. Remember, you don't want to use more than three colors or three tones in any sort of badge because the badge has to be readable from across the room. So in order to do this, let's go ahead and start a new palette. Now, to start a new palette, where to come over to swatches. We're gonna come up to our menu, and we're going to add a document palette. Now notice it's gonna give us an unnamed palette. I'm gonna pull this out so that we can work with this so you can see this easier. And we're gonna rename the palate. Let's call this badge, create. All right, so this is gonna be our creative badge. Awesome. Now we're gonna do something very simple here. I'm to take my black And now with the black selected, I'm gonna add the field to the palate. I'm gonna take a mid tone grey and I'm gonna add that to the palate, and I'm gonna take white, and I'm gonna add that to the palate. Now, the pallets over this course are going to get Mawr complex. But for right now, in this very 1st 1 I'm gonna make sure that it's very, very simple. All right, to re dock your palate. Bring it back over here. All right, so let's go ahead. Get started now, following our process. As soon as we've sketched it out, we've got our ballots and check. The first thing we're gonna do is we're gonna lay out our basic shapes now, to lay out the basic shapes. We're gonna grab a circle. I'm gonna hold shift, and I'm gonna bring this thing up. All right? There's my circle. Now, I make sure my snapping is on with this, And this is a 2000 pixel by 2000 pixel workspace, and I lined this bad boy up just like that. All right? Perfect. Now first thing I'm gonna do is I'm going to come over to my swatches. Almond filling gray. All right, Problem solved. Problem still unsolved. Now what we're gonna do is we're gonna grab a rectangle I'm gonna come up to the halfway point and I'm gonna draw a rectangle animal. Fill it black. Now, layers when it comes to badges, is going to be the entire show pretty much right. Especially for this one. So let's drag the rectangle inside the ellipse. Now, you see where that blue Linus cool. And then let's drop it down just a little. We're gonna just all of this later, so don't get too hung up on it right now. All right? So now we've got the gray, We've got the black. We're in pretty good shape. Let's go ahead now and make the brush. So let's go ahead and grab our tear tool and drag it out. Now you'll see that the tear when we drag it out has a solid point. Appear In order to knock down those points, we're going to use what's called the corner tool. We're gonna push that in a bit. All right, Perfect. Now, if your brush gets cut off like minus, always go back to the layers and make sure that this brush is outside, and then we're gonna rotate it. All right? Perfect. Now I'm gonna bring my pixel air up to the top I got my brush started. I got my circle, I got my black Okay, cool. Now let's make the brush tip. All right, let's turn that off. So you saw how I reordered my layers. Now we're gonna come up and I'm gonna grab another tier and I'm going to zoom in So I grabbed my zoom tool I come down to my tear tool and I'm gonna go ahead and I'm gonna make this grace with my tear tool selected. You see, You can't really see it because it's black on black Cohen Voice watches and boom. There it is. Now with the shape tool selected. I'm gonna come over here. I'm gonna push that around. Hope, Control Z got to from there. Make sure my move tool selected, and then I'm gonna rotated into place, and I'm gonna flip it. All right, Cool. That's looking pretty good. Let's go ahead now and bring that down to the base. Let's go ahead and shrink that a little bit. All right. So you see now we've kind of sort of got a brush. We've got a base and we've got the curve. Now we're gonna combine these to do this. Grab the tear hold shift Grabbed the curve. Right Click hit group. Perfect. Now to rename a group Click on the group name. Let's call it brush. All right, Perfect. Now remember, we had this ellipse with the rectangle inside. Let's rename it and call it background. Perfect. All right, so we got the brush, We got the background. All right. We're in pretty good shape. Now we have to get the palate. That's gonna be the last thing for this lesson. So in order to do the palate, I'm going to come up to my pen tool, and I'm going to click and just click and drag out a basic palette. Now, it doesn't have to be perfect. You see, mine is awful. Okay, so I got this weird shape, right? That's in no way, shape or form. Good. This no tool is going to be your best friend. Now, you see what's created here is a curve. Let's rename it and call it palette. Bring the palate up to the top of the stack. And now, using the no tool, you can move the nodes. You can adjust the nodes until you have something that resembles on artist's palette. Now, if you put down too many notes like this note here, I don't like you could always delete it. I find working with less nodes makes for much better curves. So I'm actually pretty happy with this. And you see how I'm manipulating the handles out a little bit. Hey, that's actually pretty cool. Now, let's think about this. We really want this to be stand out. So right now we're gonna make it white. Now, how did I do that? I chose the whites watch. I came to my fill, and I made it white. Okay, so you got this palette. Now we gotta put a thumb holding it right, cause problems have thumb holes. Come down to the ellipse. Hold shift and drag. Now with the move tool selected position the whole on the palate. Select the ellipse right here and the palate. And now with the ellipse on top of the palate hit, subtract And Oh, there you go. There's your artist's palette. Now you can grab this bad boy and we can shift it up anywhere we want to be. We're not really worried about placing it right now. Remember the name of the game is to get all your base level shapes figured out in this lesson. All right, so right now, we may make some editorial changes in the next lesson. But right now, you should have your sketch completed. You should have your palate created. You should have your brush grouped, and you should have your background identified. All right, let's go ahead and call it on this one, and then we're gonna take a break, and we're gonna get into the next lesson where we'll start making some adjustments and we'll begin placing text and a detailed. All right, we'll see the next one. 3. Laying down the base shapes and applying text: All right, So now that we've got the base sheeps kind of laid out, let's go ahead and think about the design here. I like toe work with solid geometries when it comes to badges, and I like to work with very bold outlines. So let's go ahead. Make sure your background circle is selected, which is right here, and let's go ahead and crank this up to 10 point. We might even go a step further. Let's go to 30 point. There you go. That's as bold as I like. All right, Now you can see you from across the room, right? The thing with badges is people are gonna be using these in T shirts. They're gonna be using them on print so they may shrink them down quite a bit where they may enlarge them quite a bit, and you have to make sure this thing is readable at all those different areas. Now my outline tells this story, So this is gonna be a 30 point the biggest, baddest, boldest outline I have. So the palate outline is also going to be black. But I might have that outline at, say, 20. I want all of my secondary outlines a 20 and now I want this palette to be down below the black, some to click on the palate, who to drag it inside the background, and you see where I'm putting it there? I'm putting it behind the rectangle. Now let's put it on top and then dragged down below the rectangle. Perfect. So now with the selection of the move tool selected, I'm going to readjust this thing a little bit, and I'm going to almost fill my frame. I think that that is pretty cool. I wanted identifiable. So that's a really nice look. I like that. All right, Now let's take a look at the outline for the brush. Now the outline for the brush. I don't want black on black. You see, in the center section, you can't tell what's in front of what. What I'm gonna do is with the brush selected, I'm gonna come to my stroke panel, and I'm gonna choose a white outline for my brush. I'm gonna go 20 point on that as well. All right, now that's even a little bit bold. Let's go to 10 on that. There we go. All right, Now, you see what that did. I really like breaking the geometry, so that's pretty cool. All right, let's go ahead in position. That kind of where we want it. I'm gonna go ahead and make this even a little bit bolder. All right, let's go ahead and crank that up a little. There you go. Now, you see how much of this is over here? And I'm still in line. If we took a ruler out and we kind of brought this down, I'm just going to show you this. You don't have to do anything with it. You'll see how we're still staying true to the outside of the circle. We're not exceeding that boundary. That's actually pretty well lined up with this outside, so I'm happy with that. All right, I'm gonna go ahead and put this off to the side as we may use that ruler again and I'm gonna bring it to the back. Okay? So the next thing we got to Dio I got my brush. I'm happy with that. I've got my palate. I'm happy with that. And now I want to lay out some of my text. Now to do this, we're gonna come up to the Ellipse stool, and I would put text on curve now to do this. Stay with me. I pull out a circle and I want this circle to be the size of my original circle. Looks good. Now, I don't want any stroke, and I don't want any Phil on this circle. All right, So you see, this is just a plain old the lips. Let's bring it to the top of the stack now. And now this is key. This right now on the lips is a shape. In order to do a curve, you must convert it to curves. So make sure that you have the ellipse selected head convert to curve. And now with your no tool, select that note. You see how it went blue and come up here to actions and break the curve. You see how it now went red. Now here, we're gonna grab this tool that went blue. Break the curves and you'll see in the layers. Now you have two halves. Now, don't mess with it yet. You gotta come over to your move tool here to select the bottom half of the curve. So figure out which ones the bottom. You see how the Marquis box went around this bottom? Pull that away and delete it. All right, That leaves you a curve right here. Now to move text on a curve, we pull artistic text tool, we come over to the curve and now watch you see the cross hair. Watch what happens when you get close to the curve. Boom. Right there. Now we're going to use Create. Okay, now we got to see it showed up there. That wacky affinity designer made it super small. All right, now you see, that doesn't look extremely cool. But you do have this green box which we can now move around. And we have this red box or this orange square right here that will show where to stop the curve. So if I only wanted it to move between here and here, that's all it'll do for me Now, font selection in badges is extremely important. You can goto font squirrel duff font. 1000 and one free fonts and you confined fonts that you can use. I'm gonna go ahead and I'm gonna grab one that I think is pretty brushy. Literally. You could use brush script or I might come down and I might use 40. I think I'm gonna use Forte. All right, now your font doesn't have to be mine. You may not even have mine find a font that matches the feeling of this. And now select all the font and you can manipulate what you do with that fault. Watch this. We've selected all the font. We come up to our character panel now, I can increase the width of the font. I can increase the height of the font, and I can begin to increase how much it skews. You see this? And I'm gonna pull this panel out now. Boom. All right, I'm using the sheer I'm using the horizontal scale, and I'm using the vertical scale for my fault. Now, I'm not going to do too much more with it right now. We're gonna settle it up here in the next lesson, but I'm now going to put down create. And now I want to lay out one more piece here. I'm gonna come down to my artistic text tool again, and I'm just going to come down and I'm gonna put down Oops. It decided it had a mind of its own there. Okay, Create. Amazing. All right. Now, I know that doesn't make a lot of sense, but we're gonna position that kind of sort of here, coming over with my ruler. And I'm gonna position it now so that I make sure that I'm in pretty good shape here. All right. You see, I'm just lining it up with everything that we've got there to make sure we keep in line. All right, so I want to cut it here where you should be. You should have one artistic type box that says amazing one artistic type box that says Create which you created on a curve. And then your brush should be in the foreground, followed by this circle, all of which now have outlines that has your rectangles, your palate all squared away. Alright, folks, let's go ahead and cut it on this one. And the next one, we're gonna start detail ing some of this out and making some subtle funk adjustments. All right, We'll see the next one 4. Adjusting text and detailing: All right, So now let's take a look at this. And let's start detail ing. So this stuff out, right, Because it's kind of cool we've got going on here, but it's not done yet. Not by a long shot. So when it comes to badges, you want to keep it very, very simple. So I want to add a little bit of interest in this palette. Now, to do this, make sure your palate is selected. Grab your pen tool and now touch off on three points one, two, and then come back up to this point and hit three. Now, it doesn't look like anything happened, but you see, a curve is created, and now come to your no tool and pull away one of those lines. Look at what happened there. We now have a very nice sort of roundish curve that we can put on this pallet and add some visual interest. So I'm gonna put a little curve right here. Now I've got white. So what? I'm gonna deal. I'm gonna use my palate, and I'm gonna put gray down. That's it. Now let's do this again one more time. Let's come down here to the pan tool one to three. Now, it doesn't look like anything happened. Right? Come over to your no tool. You'll see the curve has been created and pull away the line. There we go. All right, let's go ahead. And now make it follow the curve of the palate a little bit, making quasi realistic. You want to put a little bit of interest in there, but not so much that you're just detail ing it, because if this gets terribly small, you'll never see this. All right, Now, let's go ahead and fill it, and we fill it with our palate. Beautiful. Now you see where the curve is in the layer structure. I want to take both of these curves, and I want to move them down inside my palate layer. All right, that looks pretty good. Now, let's go ahead and do the same thing with this brush. All right, so we're gonna come over. Where do you find the brush? Right here. Let's grab the curve. This black handle. Let's grab our pen tool. And now what do we dio? One to three. All right now, it doesn't look like anything happened, but what happened we did create a curve. Let's go ahead and pull that curve. Beautiful. All right, Now we're gonna pull this out so it looks good. Pull that down and you see that these two areas now aren't touching. Zoom in with your magnifier. Make sure you're no tool selected, and then just make thes two things touch. All right, That looks good. And I'm gonna bring it a little bit more front and center. Now, I want to fill this with white. And just like that, the brush comes into existence. Now, we need to do a little bit of work up here with the no tool selected air. We go make it a little bit bolder. All right? That looks really good. And you see how we've got good contrast. White outline. Black area here. White highlight. Now, let's go ahead and do this brush tip. All right. To do the brush tip, come over to the tear tool. That's what the brush tips made out of. We're then going to do something a little bit different. We're gonna use the pencil tool now, and we're going to go in and out just like that. Now, that doesn't look really good, right? You're saying, what did you just do with the curve that's created? Selected? Let's fill it black. And now bring it down inside the tear tool. Now, we're gonna have to do some work. Bring in your magnifier. All right, we got this. Something all locked down, right? Grab, you know, tool. And now, start adjusting the nodes. If you wanted to adjust the node, all you have to do is swing out the handle. So we're just going to swing some handles around until we get it kind of the way we want it . And now, if I wanted to add a note somewhere along this line, just click. And now you create another wave. You see how we're creating different waves in different patterns, So this is a great way to add some visual interest to it. Okay, So, overall, I'm pretty happy with that. You can make it look, however you want to make it look. And now let's see. We got one Zoom out. That's pretty cool. I'm actually quite happy with that. All right, So now that's the first step of this. So this has visual interest. The tear has visual interest the brush has visual interest. We're good. Now. What we have to do is we have to work on this, create here. So to do that, we're gonna come over to our artistic text tool when I click on create. And the first thing that I'm gonna do is I'm gonna push this up a little bit and with my move tool. Now, I'm going to move this up just ever so slightly. You see, however so slight, that is. And then I'm gonna come back with my artistic text tool, Adam, and push it just a little bit more. Now, this is kind of cool as is. I love the differentiation here. You see between the E and the brush. But I want to do something different with this sea. Oops. Let's go ahead and undo that Select on Lee the sea. And I want to turn the sea so that it's got some edge to it There. Right, that's pretty cool. And now I want to move the position of this thing. So what I'm gonna dio is I'm going to begin touching on it and I'm gonna up the position. This is the baseline adjustment. Same thing is true with the are I'm gonna shift it ever so slightly and I'm going to adjust the baseline. Same thing here. I'm going to adjust it a little less, and I'm going to up the baseline just a little bit. And what I'm really doing is I'm kind of driving the I into the edge of the brush the Nutrients farm. You see how more visual interest is created this way? This is subtle texts adjustment that you're gonna want to figure out, right? You want to make sure that everything kind of goes now toward this area. I really like that. And now go ahead and we're gonna zoom out. We're now gonna position this amazing. So let's go ahead now and what I'm going to do, I'm gonna put a completely neutral color on this. This is not gonna be the final color. I promise you we're gonna put big, bold blue on this thing and then we're gonna drive this up a little bit, and now I'm gonna go ahead and get rid of this. Here's what I want to do. I want to position this so that the Z is on the outside and I want a line it up so that the end of this is right here. You see, my snapping on that actually looks pretty good. I might nudge it over just a little. Alright, so I've got the a totally engulfed and I've got the Z half in half out. All right, take a look at how that's working. I think that I'm quite happy with that. Now, let's check our alignment real quick. All like butter. Can't beat that. All right, so let's go ahead and cut this one here. What I would like you to do you should ideally have some turned or some sheared text. You should have some adjustment to the baseline on this text. You should have nice kern ing in between here. And you should have decent detail now in the palate, the brush and the handle. And you should have amazing in a very, very ugly blue fought. All right, let's go ahead and take the next step. Folks, let's go ahead and elite out are placeholder and we'll see in the next one 5. Masking finishing and Exporting: All right, folks. Welcome back. So now we're gonna take this thing, and we're going to fix this amazing area here. And what we're going to do with this is we're actually going to make where it's black, white, and we're gonna make where it's against White make it looked black. So we're going to get a new two tone. And the cool thing is, we're then going to draw a line from this brush so that it looks like it's brushing on this Amazing. So let's go ahead and figure out how to do this. The first thing we're gonna do in the draw persona were coming to the text, and now you see where it says, a. This is a text layer we go to layer, and I want you to go ahead and convert this over the curves Now, All right, Now what did this just do this? Converted everything to a group. So you see, now each letter is actually curve, which means that the computer an affinity no longer recognize amazing as a word, and the first thing we're gonna do with this group, we're gonna go ahead and we're gonna make everything black. So make sure your group is selected. Change the filter black because we've already positioned it. Now, once you're done here, we're gonna go and we're gonna call this on a label. It's we don't lose it. We're gonna go to the pixel persona now in the pixel persona. The first thing that we're going to do is with the Amazing group selected. We're gonna come down and we're gonna create an adjustment layer. Now, what is an adjustment layer on adjustment layer is a layer that's applied over top of something that changes the properties of it. And we're going to invert now as soon as we do that. Just so you know, the black text will become white and the white text will become black. Boom, Just like that. But now we lost half our word, right? We got this half back, but we lost the other half. No worries with this invert adjustments selected. This is what is called a mass square. Now what we're going to do, we're gonna mask the adjustment layer here so that Onley part of it shows to do that, we're gonna come down to our elliptical marquee tool. We're gonna swing down here, and we're going to grab just that part here. Just this little piece. You see what we've got going on here? So we're gonna position that just here. All right? Stay with me now. Now what we're gonna do you see? Now, whatever's in this circle is selected, but we want everything that's not in the circle to be selected to do that. This is a complex operation. Go to select an invert the selection. Now you see the marching answer all around the side of the page. Okay, so you should have marching ants around the side of the page. And now I want you to get date down in your soul. Black conceals, white reveals. So if we want to conceal the adjustment layer outside where the marching ants are, we have to paint black to do that, make sure black is selected up here in your swatches. Grab your fill tool, make certain you're on the invert adjustment and click on it. What that did is it filled everything that was not inside or outside that circle. So all of this area where the marching ants were, it just said to the inversion layer. Do not apply the inversion to this area. So that is how you do that to tone effect. All right, Now, you see, you still got marching ants in order to de select come up to select de select. Perfect. Beautiful looking good. All right, let's send it this bad boy here. So I'm selecting it all. I'm coming down, and we're gonna center this thing, all right? Looking good again if you don't have snapping on one. Congratulations for making it this far, but secondly, you can find it up here in your toolbar. Now, let's clean up our layer a little bit. We've got the amazing we've got to create Let's drag or pixel layer to the base. We could actually get rid of it if we want. I'm gonna leave it because this working area is going to be in your download files. We've got the brush all figured out and we got the background. Now, the last thing we wanted to do is we want to make it look like this brush is painting on this Amazing. So let's go ahead, zoom into the area that's under investigation here, right here and now we're gonna be working in the background. We're gonna be working on top of the rectangle. I'm gonna come back into my drop persona. All right? Now what we're going to do is I'm going to grab my pen tool. I'm gonna re dock this. I don't need it. I'm gonna click here one to three, four, five. All right, So you see, we created a line. So we call this the curve. We're gonna rename this paint line. Cool. Now we're on black, so I probably want that to be white. Correct? Who? That was the Phil. We don't want to fill. We want the stroke to be white. Now we're in the business. Make sure the hollow circle is there, and that's what turns the stroke. Quite all right. Perfect. Now let's crank this up a notch. Were adjusting the stroke size, and now with my no Jewell here, I'm now going to come down over here, and I'm going to kind of join it to where that is, there to make it look almost like we're brushing it on. All right, that looks pretty good. Let's go ahead and turn this a little bit here. All right. Looks good. That looks pretty good. So now I'm gonna line this up is best I can. Now watch this. This is what pulls off the illusion in your studio. There's a stroke panel. Let's pull that out. With this stroke selected, there's something called a pressure curve. Now watch this. Remove this over so that you can see it better. Okay, When I click on the pressure curve, we click down and you'll see how the beginning of the stroke is getting narrow. Don't bring it to nothing, right? You still want a little something, but this allows you to pull off the illusion that the stroke is going from here down where we needed to go here. So we're gonna go ahead and just make this thing move a little bit. You see how when I move one handle the other works, grab the Ault key and you condemn, definitely move it. Or if you're having problems with this at all, click and delete the node. Because I find in the war nodes you have, the more problems you have. So I'm gonna go ahead. I'm an elite, that node, and I'm just going to take that note completely out of my problem. equation. Change the type there, Bring it up just like that. And you want to play with it until it looks good to you. Alright. Right about the time you feel it looks good to you. You're probably good to go. I'm actually quite happy with that. All right, now you see here, it's got the A the A looks good. It swoops up. That's relatively natural. I'm actually very happy with that. All right, so I would say that is a nearly completed piece. The only thing I would do in addition, to complete this badge if you're going to export it, don't forget to go to file documents, set up color, transparent background. And now, with transparency, you always want to export as PNG. You're gonna export the whole document were to call it export. And I'm gonna go ahead. I'm gonna put this in your files badge one J h. And then you've got it. Now, I'm also gonna go ahead and we're gonna see this working file also. Let's go ahead and save as let's put this in here for you too. Badge. One working file. That's J H and save. All right, folks, that's the first badge down. Let's go ahead and get into another one 6. What is a badge and the 3 most important characteristics: All right. Welcome to my little corner off this badge course. So I thought maybe what I do is I'd start by talking about badges just in a very high level . And I want to show you the three characteristics that I consider very present in every successful badge. So now let's go ahead and let's talk about what A badges. Right? So a badge is really kind of like a pre usable are reusable asset, if you will. Right badges are used in everything from print work to Web work to advertising. You can put a badge up for everything. Right now, there are badges that air steamed around certain things as an example. All of these badges obviously are themed around a holiday. You could have badges that are themed around different things, safer Web work, these air, all different versions of guarantees, premium quality, that sort of thing. And what designers tend to do is they create these badges and then you as somebody who may be building a website, you go through and you grab these badges to either borrow the artistic elements that are here, like these borders or this font, or you might just grab the badge and plug and play it right. So I want to explore the badges that we're gonna be making during this course. And I thought that maybe I'd go through, and I just share with you some common themes that I consider crucial in terms of making a good batch. Now, a badge, in my opinion, should have only three colors maximum. Right? And I know as soon as I come out with that rule, I'm gonna find a way to break it. But in this create amazing badge, we've got really three colors. We've got some blacks, we've got some grays and we've got some whites. Now let's take a look at another badge again. Very similar, right? You've got the white and black, you've got blue, and you've got a couple different greens. But you see, you got blue, green and white, All right. Very, very simple. And lastly, here, let's take a look at this one. I've got red, black, white and gray. I know I've got four in this one, but I want you to keep your color palettes. Very, very simple. Badges should be identifiable from across the room, so you'll see that all of the badges that we look at online all revolve around similar color traits. They may even be monochromatic, and they certainly don't have a ton of colorism. There is a great example of one that has 123 colors in it. Maybe 1/4 grade, if you count the gray. So all badges, theoretically should be fairly simple. A good badge should be able to be seen from across the room. Now, the other thing, I would say that a good badge has is good flow because there should be something that takes the eye through the badge and tells the story to the viewer of what you want them to see. So this one has the brush providing that flow. I've also got the circle here, but I've got this palette with the Swiss here that really draws the eye in a couple different directions. We've got the soccer ball, which is straight up, just a swoosh. And then you've got this one here that really kind of has a lot of different elements to see how I'm varying some of the line withs here in the white, versus here in the white so that we've got a big blocky element here and we do have some flow here in the record. So first characteristic of a good badge, in my opinion, minimal color. Second characteristic of the badge, in my opinion, is going to be the flow. The third thing is going to be the symmetry. Now, as soon as I say symmetry, I'm going to show you some examples that will absolutely violate that. But you'll say this is a good one. With symmetry, right, This side is the same as this side. Same thing here. I've got the circle. Everything is relatively well placed, Let's say and I've got rather symmetrical. Look, now, I did break it up a little bit with the font, but I even balance the font a little bit. Same thing is true here, right? You've got a very nice symmetry. This half is the same as this half. And then we've got the action line kind of separating it. So in my opinion, when I go to make a badge, I really think about the colors that I'm gonna use. I keep a minimal I think about the symmetry that I'm trying to do. What is the overall look of the peace and then lastly, I'll go through. It'll take a look at the motion to determine that the line and the view is what I want them to see. Now, let's take a look at some of these online again. You'll see very similar colors. Symmetry in these badges, right? So again, when I'm telling you in my badges is not anything different than what you're seeing online for other people, even here, you've got some difference here. But you've got symmetry around the badge. Very, very simple, minimal color. And they're telling this story through the badge. And they've got your Iife here following the motion. So we see the same thing here, right? Look at the motion line that's created right here, so you'll see the same thing present in almost all badges. And these are the characteristics that I think are important when you make a badge. All right, enough. Enough of me talking about how we're gonna make a badge. Let's go ahead and get a boot camp going about the techniques you can use in order to do this 7. How to sketch at a basic level complete: All right, folks. Welcome to our badge. Course, I thought maybe we do a little boot camp here. We're gonna keep this to four quick lessons. And if you are already comfortable with the techniques, go ahead and start making badges. But I'm going to show you the basic techniques you're gonna need in order to follow along in this course. Now, the first thing you'll always get, see me, do is I'm going to sketch. So if you've got an open document here, sketching is performed in what is called the pixel persona up here. So you click on the pixel persona and all sketching takes place with the paintbrush, which is right here. Now, if you're brand new to affinity designer over on this far right side, there are a bunch of what are called studio panels and you're gonna look for your brushes. Now, I'm gonna go ahead and pull this brushes panel out, and I like to sketch with just my basic brush and over in the color panel, you see, Now there's the color panel. I'm going to choose the red color and now with my mouse, even I'm not even gonna use my tablet you can then start sketching on the layer. Now, you see, that's very, very small. How do you turn it up? Well, you turn up the size up here of your brush. Now it's a little bit bigger. Now, what are we sketching on? Notice the layers panel. I'm gonna go ahead and pull this out now, created what is called a pixel air so I can sketch all over this layer. And if I wanted to make a new one of these, I just come over here and I can add a pixel there. So I wanted to sketch blue. I could use blue. And let's say that I don't want this sketch anymore. With this lair selected, I just come down to the trash can and boom that leers history. Now, if you want to keep your design but you want to erase, you just come over to the eraser and you can easily erase using the right bracket key to increase the size of your eraser. And now you can erase all of your marks. All right, in the lessons that are gonna follow, I will be sketching out each one of my designs in a very rough shape. I will be using my paint brush tool. I'll be working in red, and I'll be using my mouse so that you guys can follow along. So when I say Sketches circle, that's my idea of sketching a circle Right up there is the banner. Yep, there's a banner in a circle, so I'm not going to do any really crazy, high graphic stuff here in the pixel persona. This is just simply how you sketch design, and it's done using a pixel layer now to re dock these. Don't get crazy. Just plug and play them right back into the studio. All right, that's it for this lesson. I just wanted to show you how to do a basic basic sketch. Let's go ahead and get on to the next one. We got two more of these before we start actually working in badges 8. What is a shape and operation: All right, folks, welcome back to our boot camp. Now, we're gonna keep this real short. Now we are gonna be working a ton in shapes. Now, if you're brand new to affinity designer, there's gonna be a little bit of a learning curve Ingle idea. But shapes are down here in these blue areas in what is called the toolbar. So if you wanted to create a shaped like a circle, just click and drag out the shape. Now, hold shift and you get a symmetrical shape. And now you can move this thing around. So all of your shapes. You see the little cog here, how it has a little white triangle. There are a ton of shapes so I can make a red circle like I just did. I can go ahead and I can create a red cloud and to change the color of the shape you come over to the color panel and you can change it out to a blue. I know this is very rudimentary, but if you understand shapes, go ahead and move onto the next one. But if you just opened up Affinity designer having an understanding that shapes are a thing in what is called the draw persona is key to working on these badges. I'm gonna be using a ton of shapes because all of this is done, is what in what is called the vector persona or vector art. So this is what shape is in the shape is different than a line In order to draw the lines when we get there will be using the pen tool in the pencil tool. This is all about shapes Now. If you wanted to lead a shape, just hit the lead, just hit, delete. And now the last thing that I want to show you. If I have two shapes, let's say I have a round rectangle and a circle. Okay, now let's look at our layer structure. You'll see how the circle or what we call the Ellipse is on top of the rounded rectangle. Now, if I wanted to take these and I put him on top of one another, watch this. There's something called an operation and operations are up here. You got add, subtract, intersect, dividing combined. All we're gonna do is add and subtract. So to do this hold shift, select both your layers and let's hit. Add Now you see, you got two layers. Boom. One layer. This is what is called a complex shape. Notice one layer now, and it changed to a curve. Curves are different than layers are should say different shapes. I'm not going to spend too much time on him. But I do want you to know how to do operation. Now, if you wanted to undo that, you come up to edit, undo, edit, undo. And you can always bring him back, just like that. Now watch this. If I bring them together again, I select them both. And I hit. Subtract up here. Look what just happened there. It took the circle away now And this is the weird shape that I'm left with. And if you don't like that undo, undo, undo. Undo. There it is again. Now you got to shape still. All right, so just a little bit on what a shape is, where to find it and how to find the operations. If you do not see these up in your toolbar here, go over to view. Go over to customize toolbar and you will see them over here. You can just click and drag them up into that area just like I did there. All right, let's go ahead and move on to the next boot camp lesson, and then we're going to get into some drawn. 9. Making pallets and cords: All right, gang. Last boot camp. Listen, before we get into the drawing. So we covered what a shape was we covered. What an operation was we covered? How to do a basic sketch. The last thing that you really need to know to kind of lay some stuff down. It is the theory of what is called a color cord and a color palette. So to do that, we're gonna come over to our studio. Right? Studio is over here in the right hand side, click and drag your color panel out. And if you do not have it, go to view studio, make sure color is selected. And also make sure your swatches panel is out. Make sure they're check marks on those. All right, so we're gonna grab color. I'm gonna grab swatches now. First thing we're gonna do here, we're gonna create a new palette for every one of our badges. So in order to do that with swatches panel selected, come over here and add a document palette. Now, that's gonna make an unnamed Fallon. Then you're gonna come up again to the menu. This little four line thing here is called the Menu and you're gonna rename. I'm gonna call it Badge X. All right, All right. No, you'll see that you've got some color here. You got blue, right? First thing we're gonna do. If I've got blue down here in my swatches and I want to add it to my palette, I can add that filled to the palate right there. Let's see, I got red. I want to add it to my palette. Boom. I got white. I want to add it to my palette. I got black. I want to add it to my palette. Now, let's see, we got green because that's not over here, Right? Come over to the green, find the green and you find the color green, you like boom added to the palate. Now, the last thing that I want to show you here while we're on this color green let's say I want to make a color cord. Now I can come up now. I mean, the color palette, right? I grab a color cord, and now I'm gonna go ahead. I'm gonna make a try. Attic color cord. What that's going to do is gonna take the color wheel, and it's gonna go ahead, and it's going to divide it into three. Notice what it did. Green, blue and red. Cool. Now let's do another one here. I'm gonna create a new palette, So stay with me here. Create a document palette. What's rename it, and we're gonna rename it Trial palate one. Because in our first lesson, we learned that a good badge probably has four colors. Max. Let's say you wanted to make something in the greens. You come up to the color palette, you go to create a color cord, and let's create a cord of shades. Look at that. Look at all those colors, agree, and you got everything from dark green to mid green toe light green. That's nice. Now. If you wanted to create another chord, you come up here, create accord. Let's create one of tents. Look at that. Now you've got all the colors of the rainbow there in terms of grey or in terms of green to work with. So that's how you create pallet. That's how you create a color cord from a color that you want to be your primary, and the reason I bring this up. One of the first steps in every single one of these badges that I do, I create my color palette so that I constrain my number of colors. And also, in order to import my color palette, all you got to do is in the swatches menu. Come down and import the palette. There is an in portable palette for every single badge that we're gonna be doing. All right, let's get after it and get in. It's a badge making.