Master Graphic Design & Software with Practical Projects | Lindsay Marsh | Skillshare

Master Graphic Design & Software with Practical Projects

Lindsay Marsh, Teacher & Freelance Designer 14+ Years ✅

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61 Lessons (10h 22m)
    • 1. Course Preview

    • 2. Course Guide

    • 3. Creating Badges Part 1

    • 4. Creating Badges Part 2

    • 5. Creating Badges Part 3

    • 6. Logo Design for Our Package Design Project

    • 7. Package Design Getting Started

    • 8. Package Design - Photo Editing

    • 9. Package Design - Photo Editing part 2

    • 10. Getting started in Illustrator

    • 11. Layout and Design

    • 12. Finishing Up

    • 13. Working with Adobe Dimensions

    • 14. Backside Design

    • 15. Exporting and Print Prep

    • 16. Book Cover Design - Discovering Your Concept

    • 17. Book Cover Design - Romance Novel - Cover Ideas

    • 18. Book Cover Design - Romance Novel - Photo Editing

    • 19. Book Cover Design - Romance Novel - Non-Destructive Editing

    • 20. Book Cover Design - Romance Novel - Spine, Bleed and Exporting

    • 21. Book Cover Design - Romance Novel - Exporting

    • 22. Non-Fiction Book Cover - Getting Started

    • 23. Non-Fiction Book Cover - Pill Image

    • 24. Non-Fiction Book Cover - Typography and the Title

    • 25. Non-Fiction Book Cover - The Background

    • 26. Non-Fiction Book Cover - Spine and Back

    • 27. Non-Fiction Book Cover - The Back and Exporting

    • 28. Children's Book Cover - The Title

    • 29. Children's Book Cover - Drawing and Sketching

    • 30. Children's Book Cover - Exporting

    • 31. Youtube Thumbnail

    • 32. Youtube Thumbnail - part 2

    • 33. Album Art Cover

    • 34. Album Art Cover - Highlights and Shadows

    • 35. Album Art Cover - Exporting

    • 36. Magazine Article Spread

    • 37. Magazine Article Spread - Working with photos

    • 38. Magazine Article Spread - inside spread

    • 39. Magazine Front Cover

    • 40. Magazine Front Cover - Working with Titles

    • 41. Magazine Front Cover - Exporting

    • 42. Conference Branding - Getting Started

    • 43. Conference Branding - Logo Design

    • 44. Conference Branding - Colors

    • 45. Conference Branding - Final Logo

    • 46. Conference Branding - Color Matching

    • 47. Conference Branding - Poster Design

    • 48. Conference Branding - Editing Images

    • 49. Conference Branding - Lanyards

    • 50. Conference Branding - Lanyards - part 2

    • 51. Conference Branding - Client Presentation

    • 52. Conference Branding - File Prep

    • 53. Conference Branding - Postcard

    • 54. Conference Branding - Postcard Back

    • 55. Conference Branding - Large Banner

    • 56. Conference Branding - Large Banner Exporting

    • 57. Conference Branding - Facebook Ads

    • 58. Conference Branding - Facebook Ads part 2

    • 59. Conference Branding - Powerpoint Slides

    • 60. Conference Branding - Display Ads

    • 61. Conference Branding - Display Ads - Part 2

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About This Class

Do you like to learn by doing practical real-world projects? This project-based course is extensive, starting at beginner level and moving all the way to advanced level design projects. With over 10+ hours of video-based project learning this course was created to appeal to graphic design students of any level and can help expose students to all the most popular graphic design projects while learning software and design principles.

We master all aspects of design including theory, layout, color, exporting and preparing files for print, working with digital and print files and of course mastering the Adobe software including Adobe Illustrator, Photoshop and InDesign. 

We will walk through step by step the creation of: 

Badges and Seals

Logo Design

A Complete Package Design for a food project, including the front, back, labels and print preparation.

We cover Book cover design and we conquer three different types of book covers including a romance novel, a non-fiction book and an illustrative children’s book cover. We talk about what makes a solid book cover and follow basic layout principles, use grids, work with typography and learn how to create concepts that pop using examples as our guide. 


We will conquer digital projects as well including going over what makes compelling YouTube cover photos and we will create a dynamic one together.

We even talk about creating digital art and as we create an eclectic modern album art cover. 

Then, we master editorial design as we create a dynamic cover for a home cooking magazine as well as a full article spread. We talk about how to work with larger blocks of text, font pairing and headlines and how to maximize both Photoshop and InDesign to maximize our impact. 


Last, but certainly not least we will have a 4+ hour advanced section for those looking for more detailed real-world projects. We will create from scratch the entire branding package for a conference including the Logo design, lanyards, posters, advertising, a digital marketing campaign, large format welcome banners and even a postcard.

This extensive section is perfect for those looking to learn how to export and work with files of all types, how to export, prepare and save them for professional print or for the press.

This section goes into an entire new level of detail that will satisfy those curious on how to take on real large-scale graphic design projects for clients. 


This course is prefect for those who prefer a project-based hands on learning approach and for those who love to see all types of different projects being created. This course is great for those wanting to learn and maximize Adobe Photoshop, Illustrator and InDesign and learn tons and tons of new tools along the way that can speed up your workflow.

This course is great for beginners, advanced designers and everyone in-between, there is something for everyone, so let’s master graphic design by creating some fantastic and professional level projects together! 


1. Course Preview: do you like to learn by doing practical real world projects? This project based courses extensive starting at beginner level and moving all the way to advanced level design projects. With over 10 hours of video based project learning, this course was created to appeal to graphic design students of any level. It can help expose students to the most popular graphic design projects while learning software and design principles. We master all aspects of design, including theory, layout, color, exporting and preparing files for print, working with digital and print files and, of course, mastering the Adobe software, including Adobe Illustrator, Photo Shop and in Design. We will walk through the step by step creation, off badges and seal graphics. Local Design, a complete package designed for a food product including the front back labels and prep preparation way, will cover book covered sign As we conquer three different types of book covers, including a romance novel, a nonfiction book and an illustrated Children's book cover. We talk about what makes a solid book cover and follow basic layout principles, using grids, working with typography and learning how to create concepts that pop using examples as our guide, we will conquer digital projects as well, including going over what makes a compelling YouTube cover photo and will create a dynamic one together way. Even talk about creating digital art as we create an eclectic modern album are covered. Then we master editorial design as we create a dynamic cover for a home cooking magazine as well as a full article spread. We talk about how to work with larger blocks of text, fought pairing and headlines, and had a maximize both Photoshopped and End, designed to maximize our impact. Last but certainly not least will have a four hour advanced section for those looking for more detailed real world projects will create from scratch the entire branding package for a conference, including the local design branding, lanyards, posters advertising a digital marketing campaign, large format, welcome banners and even a postcard. This extensive section is perfect for those looking toe. Learn how to export and work with files of all types how to export, prepare and save them for professional print or the press. This section goes into an entire new level of detail that will satisfy those curious on how to take on riel large scale rapid design projects for clients. This course is perfect for those who prefer a project based hands on learning approach. And for those who love to see all types of different projects being created, this course is great for those wanting to learn and maximize. Adobe Photoshopped, illustrator in and design and learn tons and tons of new tools along the way that could speed up your This course is great for beginners, advanced designers and everyone in between. There's something for everyone. So let's master bracket designed by creating some fantastic and professional level projects together. 2. Course Guide: first of all, welcome to the course, and I'm glad he decided to join me for this project filled design journey. And I hope this course provides you with all the knowledge you need to feel confident in graphic design, practical application and creating real world design projects. The core central you watch was a great overview all the different sections in the class. But I wanted to break everything down and guide you through the sections so you could know the best way to go through the course. The first section starts with beginner level design projects, and it slowly builds up to more intermediate, advanced projects. I want you to start at the project that fits best with your skill level. I recommend starting at the beginning and working your way through each project to find that starting point for you. The earlier projects focus heavily on tools and tips. Why later Projects focuses more on producing a final product, exporting files and design theory and a little bit less on individual tools. It could be that your best starting point for your skill level is the beginning package design project or that you're starting port will be the book cover project some of you may want to skip to the advanced project. The key here is to take this course at your own pace, as all of you will have different skill levels, and most of you will want to start earlier in on the course to maximize your time in the course you will see attached to this lesson in the course are two very important files. One file will provide a full list of external resource is used during the class like free photos, fonts, blogged articles and graphic assets. There's also a second larger ZIP file that contains all of the internal resource is used throughout the class, including helpful templates. Guides and project files during the course will be challenged to create a few student projects. I would love to see these projects and give feedback when I can. Also, there is a student Facebook group exclusive for you guys of all my courses, where you can post projects and get feedback and also personally message me you conjoined by typing in learn design, go freelance and the Facebook search bar. We also hold monthly design challenges there. Why I challenge you to create a different design project each month, and each student project is reviewed during a live video stream. If you're not on Facebook, don't worry. I have a YouTube channel where I also post the design challenges so you can still participate. You can reach my YouTube channel at youtube dot com slash Lindsay Marsh. You can reach out to me anytime with questions and feel free to post in the Q and a section of this course along the way. And now that she have your files were ready to start the first project section, I'll see you there. 3. Creating Badges Part 1: when it comes to doing graphic design projects, it really helps to know how to do badges. So badges could be stand alone logos or that could be stickers on products or package designs were gonna create a couple of badges for this right here. Good to see a little example of what we're gonna end up creating. I'm going to show you all the different varieties in different ways. We could do badges and borders and shapes. Ah, so that you can know how to do these really easily for a lot of different things. You can put this on a flyer. He could put this on package designs. Just so nice to know how to do a wide variety of badges. So we're in Adobe Illustrator, and we're gonna go ahead and get started. This is our basic text. 100% organic. We're gonna have 100% in the middle, being a little bit larger. We're going to some circular text around the badge. So let's find out all the different borders we can create. We can create your typical circle just like this, and then switch that to a stroke and we have a simple circle badge that we can fill in. But what if we want to copy this and I'm just gonna hold down option and then drags? I could easily copy it. So let's say we want to add a little bit of style to a border. We can go ahead and select our object, go to effect, go down to distort and transform, and let's try zigzag at first and you'll recognize this pattern right away. Were to go and click on preview, and you're going to be able to create a wide variety of badge textures here. You could change the amount of ridges around by increasing these bottom section. So you create a very tight, almost a re see peanut butter cup. Look just like that, where you can make it a lot tighter and less ridges so you can kind of see can do quite a wide variety of one's. This way, if we click on the smooth, it's gonna do a nice, rounded corner for each of those. So it's not a sharp edge, so I'm gonna go ahead and just repeat that. Go ahead and create our clean circle. I want you guys to do this just to practice a few times we're gonna goto effect destroyed, just distort and transform Go down to zigzag And let's do maybe a sharp corner Maybe not as many with this one we could see for sale badges and kind of attention grabbing badges that she can use on advertisements. That zigzag, Let's try a different method. We're gonna go back up to effect distorted transform. And let's try one that's called Pucker and Balut. We're gonna go and click on preview, and we're gonna increase the bloat just a little bit. If you do it too much, it will be a little bit dramatic. We're just gonna do a little bit of a pucker and bloating kind of almost see a flower badge developing. We can increase the pucker to do almost a diamond shape. It's a lot of different things we can do here with creating different bad shapes. So I'm continuing to use the distort and transform zigzag option to create a wide variety of different options. So with badges, you could go ahead and flip this to a Phil and weaken drag in our text on top and white, and that could look just fine are. Sometimes you can add a little more detail to a seal or a badge to kind of get a little more complexity, a little bit more authenticity. Looks a little bit more vintage. We're gonna do just that was going to draw a typical circle. Let's try this one. For now, we're gonna go ahead and zoom in and focus on this one. I was creating a little border on the inside and all A lot of times, instead of having the same stroke with on both of those, I'll usually lighten the stroke on the inside border so it doesn't have too many strong lines competing with each other. Some just in my stroke panel. Go ahead, bring that out and just reduce that just a little bit so that you have kind of a nice border there. So some people add multiple warders and and different things going on and depends on what you're gonna put in your badge. You could even have multiple ones. And let's say I want to make sure the spacing between these two lines with same I can highlight both of those. I'm gonna go up to my align options and I'm doing all the center alignment. So horizontal align center. I'm gonna do a vertical align center, just doing all the center ones. And this is a little neat trick. If you want to have everything be perfectly aligned all the way around in the center, you could do the same thing. I could select all of these lines, go up to a line click on all the align centers. And now I know there's the same spacing between all of these elements. I could even have different contrast between my lines to make it more dynamic, just like that, to add kind of a dynamic pop to my badges. And sometimes you want to replicate the same border twice to create a little bit of a stroke effect that you see here. There's one way we could do it is we could just simply add a stroke to this object right here. So we're gonna go back. This is the same shape. What we could do is have a fill. You have that as a pill, and they could just take a stroke and then go ahead and apply a stroke to this. Let's make it a different colors. You could kind of see what is going on here. And then you have this nice border here just like that, we're gonna go ahead and bring our text in. And this is where we're going to really kind of play around with typography and how to fit this in a seal like badge So we could try to fit everything like this. We could do a center, align them, disappear in my line, panel to center, aligning everything we could find a way to make it stacked just like this. And we could, of course, mess around with the typeface to make it nice and have contrast with our typeface. Maybe make this bold, make that light, and we could probably make this work. We could even put some spacing here. So let's do some spacings. You can have contrast with your spacing in your typography, so it's gonna do to to To spacing. Of course, this is the tracking right here in the character panel. You go ahead and press enter. That means I can make this a little bit smaller and notice how that breaks up. The difference between this top on their bottom kind of helps this stretch a little bit further across without having to be so much bigger than this topic kind of provides a little bit more balance. So let me go ahead and add double that. Let's do that four for four and bring that down. So now I can talk about foreign choices, and this is kind of your typical badge where you kind of have the type kind of center aligned in here. But we're going to really kind of make this a little bit more custom, and we're gonna have some texts that go around in a type on path of circular type on path. I think it's gonna look a lot more polished, but it's kind of determine some type that would look really good here. Would I like to do is the most important factor of this badge is 100% so we would probably want to make that the boldest typeface or the boldest. Wait, let's go ahead and find what I think would be great typeface pairings. So this will be a little bit more of a traditional packages for or an organic brand, and I know Sarah fonts are a little bit more popular now with organic brands. So let's try to find a Sarah tight face. Let's go ahead and see what we have here. And a Brill Fat faces, A really great choice to have that really bold serif typeface. I think this works really good here. A lot of times I have to tighten the spacing just a little bit so I could make it big enough to really pop out some is. Go select this. Go up to my character. I'm going to be going to my character panel a lot when working with typography. And I'm gonna change that tracking or spacing between the characters a little bit. We're actually gonna do a little bit of a negative one. You don't want it too tight or it starts or run into each other. You do not want that, but just enough. We're kind of tightens it a little bit. It kind of helps it feel more together. Course it depends on the type face you're working with, how much you have to do that. So let's do let's instead of doing. I could do the same type face here, but as you'll see, there seems to be a lot of competition. It's all the same. There's not a lot of different contrast going on with my different type choices, so I want to have a little bit of contrast. So I have this nice, beautiful Sarah ifs the little tails at the end. It looks beautiful. It's a detailed typeface. Let's do something more simplistic for the other information that's not quite as important , but relates to the whole phrase. So let's find a really good, typical San Serif typeface. We could do Helvetica. We could do Gil Sands. I mean, there's a lot of different options, one that if you've taken a lot of my classes before, you know I really love railway. One of the reasons why I, like Railway is it's free on Google fonts. It's It's an open source typeface that she can use but also like it, cause it has a lot of different weights to it, so it gives you a lot of variety. Let's go ahead and do a semi bold and kind of see how that works, And it could be when we start to really craft this in its right place that we may need to take change the weight a little bit to have contrast further with this 100% and organic, and we may need to make the organic a little bit bolder to pop out so you can start to see I'll just doing a little bit of contrast with the typeface. Kind of makes it a little bit more interesting. Of course, you don't want a pair too many different bonds together. I usually like to stick with two, two or three. This kind of depends, but you don't want to overwhelm people with too many different farm choices. So let's craft this and make this a little bit better. Let's go ahead and move this out of the way and we're gonna do a circular type on path tool to go ahead and put this inside the circle. 4. Creating Badges Part 2: and we're gonna use the type on path tool to have the type kind of go in a circular direction. We already know how to do this. Great. Go ahead and skip by the section. But for those who really want a lesson how this works, let's go ahead and grab a circle. And this is gonna be where the type is going to lie So eager to just flip that two stroke making a little bit skinnier. And this is gonna be where the type will go along the stroke or the path you're gonna go and click and hold down on her type tool and we're gonna have this special type on path tool Gonna go ahead and click on that. We're gonna click anywhere we want, but we usually want toe start where we want the type to begin. So we want to have 100% go across the top. So let's go and click somewhere around here. So now it's got a copy of 100%. Go ahead and paste it in here. Let's go ahead and add a little bit more spacing here so it kind of stretches a little bit more across the seal. I don't want to make it bigger and have it stretched because obviously it's getting way too crowded. So a lot of times my fix for that is to add a little bit more of that, tracking our spacing between the character. So let's go ahead and add 200 and leave it at that. We could also spin this so we can get it tow line up. Sometimes I like to grab a rectangle tool and just kind of make sure they line up properly . So I'm seeing right here. I needed to spin that just ever so slightly to get that to match on either side, right? So how do we do it the opposite way? This is a little tricky for those who don't know how to do it. If you already know how to do it, great, you're ahead of the game. But this could be a little bit tricky. So what I want to do is, and I've done a lot of client work where I've done seal work and logos where the we have text on the top and text on the bottom, and a lot of times at first I would just spin it around and then half a type, but no one wants to have upside down type. I could tell you that much. They want to be able to read it correctly. So a trick to do that to get it to be on the inside of the line instead of on the outside of the line or the path we're gonna go ahead and look for a special symbol here. So we're gonna move all the way down here to the right till you see a little icon. This is always a little bit tricky to get it to happen. But if you just kind of slowly move your arrow over, it's usually towards the right of the type. You're gonna see that little hero see the arrow with the line. We're gonna click that and hold, and there's gonna keep holding until it goes on the inside of the line and we're going to release. And so now we have type that is readable. It's not upside down, and it could fit nicely on the bottom. We may need to make it a little bit bigger. So now let's go. And copy and paste or organic type and spin it around to where we need to have it. We just do a quick check and make sure it lines up good. The O and the C lineup. We don't want to have it be uneven. And now we're gonna need toe kind of noodle around with this to kind of get the sizing right and maybe add some design elements to make it look a little bit more polished. So a lot of times I like to look for empty white spaces that might be a little bit too big . So in this case, this is a pretty open gap with not a lot going on visually and same here. So what can we do to kind of add something visually interesting to tie everything together so you don't have these big, wide, empty gaps? A lot of times I like to use dividing lines. It's really thin dividing lines. I don't like to make him too thick because it then it becomes too strong of an element and takes away from the most important part of this, which is your type. And you always got to remind yourself what's the most important part of any design that's what needs to stand out. If anything else is competing with it, make it smaller, make it a different low contrast color. Find ways to always make sure the focal point stays the focal point in this case 100%. I would like to make it kind of short. Just just a little element. Little design, um, element that we can add to kind of put something in that area kind of breaks up all that white text. That's why dividing lines air so useful in layout design. And when you're working with large blocks of type, as you could see here, these little dividing lines has really kind of help that piece kind of break up, break it up a little bit so we can always make sure we're centered aligned. So I'm gonna select all of these objects and select all of our type. We could just drag and select everything at this point because you want everything to be nice and center aligned, so it's gonna go up to my line area and go ahead and do a horizontal line center. And so now I know everything is aligned properly, so now we can change a few things. I think this might be getting really close to the edge, and also this is a really thick outline. We could just reduce that just a little bit, so that thick outline does not compete with 100%. So now what I want to do is just kind of make this a little bit smaller. I don't want to have it get too close to the edge, because then it starts to look a little. Makes people anxious when type is too close to an edge or there's not enough margin. They didn't want the viewer to be anxious. So another thing we could do is we can add even more dramatic spacing here and the 100% so we could even do a 500 maybe across. This is where you really have to experiment and see what works. So just reduce the size. Don't be afraid to change. The size of the type is facing the orientation. So spending just two or three more minutes kind of fine tuning the type. You could see how where I where I waas and where I ended up, and he noticed I did have to make the 100% a little bit smaller, to be able to get everything with the Summerlee. Nice spacing. So now that we have that taken care of, let's go ahead and get rid of the one that we were refining and this is the one we want to work with. We could start to reverse things out. We could have the badge be like, just like this. If we wanna have it be a bright sticker on a package design, for example, or product or a flyer, we can go ahead and reverse this out. Those good cuts kind of switched that and make that Phil and then take everything and make it kind of a white color. So this is where we can use color to our benefit. We can make these lines a little bit of a different color. We could make that bright green or whatever would go along with the product or where you're placing the badge. You could even make the 100% really pop out by also making that a different color. Or you can experiment with doing the top a different color or you can even have different colors within here, you know, So it's all kind of kind of experimenting with the color and contrast to make something as dynamic as possible. Course we can also add borders, borders always help when you're putting it on something to stand out. So it's gonna replicate this. You could always do a stroke just like we showed you before. It's gonna go ahead and put that in. It's gonna increase the stroke. Come on, the stroke panel and we're gonna change the color here and make that a little bit shorter and, you know, just strokes kind of help things staying out. Sometimes you have toe split, the difference to in size. I'm gonna type in 1.5 and you know gonna have something like that. We can also this is with having different varieties of badges really helps. You could have another little border inside here kind of capital that off. It's doing a white stroke very thin. We don't want it to compete with everything else we have going on. You could make that green and dinner. Just add a little bit of complexity to that. We could even go a step further and cap off this text right here and This will eliminate really the need for these dividing bars because we're having another design element that's closer to the center. This is another option that you could do, and you may just need to adjust. You're type a little bit to make it work, even make that a little bit lighter and wait and more dramatic spacing. It's always tricky when you have type on path Tool. Is this kind of in its own circle? It's not gonna match perfectly with the two different circle. What's here? So sometimes you just have toe, expand it out and just make sure that it has a nice arc. Little Arc death years Make sure that arc matches your circles. Between here, you don't want to have it be too small and then the arc just doesn't quite match. That does not have a really professional look. Just make sure you continue to expand that circle or contracted to make sure it kind of has even spacing here, here and then here. And that just might take a little bit of noodling and a little bit of eyeballing. It's kind of making sure it looks good and has the same spacing throughout So this is another option. We don't even need a border. Sometimes when it comes to this, they could do all a stroke. Flip that. So you can even just have that without the little details there, we could go back to what we had. Make this outside one just a little bit thicker. There we go. See? Notice how, like before, the lines were a little bit too thin. And when you zoom out on something, those thin lines tend to disappear. So a lot of times I will thicken it up a little bit. Just so when I do the zoom test, make sure all the elements are intact. So sometimes thickening up your lines is not always a bad thing. 5. Creating Badges Part 3: As you could see, there's so many different methods of attacking this so many different ways. Toe lay this badge out. Borders to borders, no borders at all. Ah, lot of different ways to do badges. So I just wanted to kind of go through this and walk through this process. We're gonna use a badge. We're gonna basically use an outline of one of these. We're gonna find out what works best on her package designed. We're gonna be doing a package of chocolate chip mint chocolate chip cookie pack design, and we're gonna need to put this as a badge on the front of the product so we could create the product together in the class, and then we'll find out which one of these versions will work out best. Of course, the colors will totally change. This is just an example. We're gonna have a different color scheme, but we have something already that we cannot know how to design and know how to apply to a real product. And there's also other ways to divide type up and elements up. So we have these little divider lines which were actually to make a little bit smaller here because we already have so many other lines happening in this particular one. But you can also take the pin tool and just kind of do a little bit of a dividing line. Here, make that a stroke. Make that the same thickness was taking the eyedropper tool. And you can copy and paste. Have this item right here. I want to reflect it so I can put it on the other side. So I'm just gonna go to object, transform anger to reflect just like that. Go and click on. OK. And now I know they're gonna be perfect. I could take these two and I'm always using my line panel. They could do a vertical line top, so I'm gonna be aligning everything to the top. You know, stretch this type a little bit further across. Just like that. It does kind of help to divide everything up just a little bit more. Could make the angle a little bit different on these kind of match. There's all sorts of ways you can use lines and circles and shapes to kind of help you further breakdown information and easily digestible little elements. So now, before we had it just like this. I'm just gonna copy and paste it before we had it like this and the lines kind of ran together. This is a little bit more divided. You could even draw with pen tool. Or even better yet, I have an idea. I'd like to make that a different color. A different feel color to really highlight the word organic, since that's equally valuable. So let's go ahead and duplicate this. We're gonna do a little trick. I'm going to show you the shape builder tool in action. So what I'm gonna do is I want to cut that out. Well, how do I do that? When all these air, different elements, I could take the pin tool and hand drawl all of that, and just kind of draw a little shape and then fill it in and then I'm done or could do it. And even easier way with shape, builder tool, which is right down there. We're gonna use that a lot throughout this class, so don't worry if you don't know it quite yet. So what we want to do is we want to be able to create the shape is a fill so I could drag it over there and have that as a different kind of con high contrast background. So what we're gonna do to accomplish as the shape polar tool one of the first things I need to do if I'm using strokes. So these air strokes right here. I need to outline those strokes so they're no longer edit herbal, and they're treated just like a shape. So how do we do that? We're gonna go upto object, but at the path. And we're gonna do outline stroke if you already know how to do this. Great. We've outlined the stroke, So you noticed. Now, instead of a line in the center, I can no longer change the thickness of the stroke. It's now its own independent object. It's going to make it a lot easier to use thes shape, color tool. We're gonna go and click on the shape filter were to use this a lot throughout the class. So if you don't understand how to use it now, don't worry. They'll be lots of opportunities. So now you'll notice I'll have an opportunity to punch out certain shapes. So I want to have this shape so I'm gonna go ahead and hold down the option key. Hold down the option. Kenya knows there's a subtract sign. It's gonna click on that object and subtract all of those elements eventually. Sometimes you have to really work with it. I have a shape here. Sometimes you have to find Tunis. Doesn't always cut out perfectly. That's okay. Get are direct selection tool and clean up our selection. I have a showing a lot of basic tools by doing this, his first couple projects, which is kind of the point. So we'll get to more complex projects. We don't have to go over a lot of the tools so much we could just focus on the design. The fun part. I'm just sending this to the back. We're gonna make it that green color. We help it pop out, and so that is an option as well. We can fill in the circle with green. I mean, so many different combinations. What I want you to do is I'm gonna task you with a student project that's going to be and I'm gonna go ahead and give you this as a downloadable resource. So you have some of these shapes available. You have some of these already available toe. Look at to kind of see how I have everything laid out. I think that's important. I got feedback from a lot of students who appreciate more downloadable files, so this class is gonna be full of those. So go ahead, download this. I want you to create your own badge. I want you to create a series of badges, all with different variations. Use of color, different stroke lines, different thickness. Ones with borders. Ones without borders are willing to try some with dividing line, some without some with circular text and some that are not circular text. You could just do straight text inside the badge, play around with the edges. You could do the re C cup jacket style. You could do a smooth style. You could just do a plane circle. I want you to create several different badges and also experiment with color. We're gonna do that a lot in this class. High contrast worked really well when you put it on a product or you really want to stand out or it's gonna be a sale badge. You really want to have this high impact colors. So let me see what you got. You could post it in the student Facebook group, get reviews, or it could poster right here in the classroom with you. And I look forward to seeing him. 6. Logo Design for Our Package Design Project: Another quick fund project we're going to do is a logo design project. We're gonna be doing the package design. We've already kind of done a seal or batch graphic for that. But now we need a mock company to be the company that produces are fake package design cookie product. So it's farm to table Food company and we're get a pretty much a whip this up. I'm fairly quickly, just a have an idea or just have a local to use on our mock product. So this will be a good chance to practice some of those basic illustrator tools. Some of you guys air coming at this at the very beginning level. Some of you guys already have a little bit of experience. So as we move through the class, things are gonna get way more advanced. So hang tight if you kind of already know some of these familiar tools. So the first thing we want to do is we want to recreate this fork, and so we can just grab the pin tool and create a fork. If for really good illustration, we can do that. But if that's not really our strong suit, sometimes we need some inspiration photos to go on. So I'm on Google and I just Googled Fork and we're just gonna uses as inspiration when I could copy the fork, Where is going to trace the fork And at her own unique flair to the fork, we're just gonna be creating a silhouette. A very simple version that we can use for the logo. Let's go and find a fork that we think would match an organic farm brand or farm to table brand is could it be not a fancy fork, but kind of a basic fork. So that looks like a pretty basic work. So we're gonna use that. Make sure we credit everybody that we use here. We're not gonna be copying the photo. We're just gonna be taken a quick little screens shot so we can get ah, little inspiration from the photo. Just just the shape. We're really just looking for a shapes. They could pick any fork right here. That seems like a nice farm style forks. We're gonna grab our pin tool here. We get to practice or pinto a little bit. Hopefully, guys are already kind of aware of the very basics of the pin tool. So when it comes to things that are symmetrical, so things they're gonna be basically a reflection from left to right. I like to draw half of the fort and then just copy, reflect and join the objects together. So in this case, I don't have to draw the entire fork. I'm just good role half of it. So I'm gonna start right here in the center point, make sure pretty close to the center It's gonna click and hold and make sure have everything And I'm just gonna go to view I'm gonna take off Snapped a pixel, snap to grid. Just gonna remove all those Because sometimes I can get in the way when you're doing really fine work, We're gonna do a nice around it area here. So what I can do is I can grab the curvature tool. I love the curvature tool. So I'm gonna click in the middle and its drag up to get a nice round a top there, switch back to the pin tool and let's keep going down the fork, click in the middle and create a point and then click back once again I could do the same thing. What I'm doing, I'm gonna flip the strokes. I can see my stroke a little bit better. Reduce the stroke size, grab that curvature tool and add a little bit of a soft point there to the work that can also go back with the curvature tool and kind of softening the edges. You can also get the direct selection tool and soften it were at a new curvature to a point and soften it that way. So just kind of a combination of curvature, tool and pin tool to get more natural curves. We're gonna add her own unique flair to this fork once we're done sketching the first half of it. Still about the halfway point and let's go back to our original point. So now we have made a complete half of a fork, and we want to make sure everything is how we like it. We could start to add bends and curves here before we replicate it or duplicate the side and reflect it. Let's take our coverage tool. Maybe add a little bit in here, get a little bit more contoured. It's adding her own unique shape here. Okay, so now let's remove the original fork to see if we like it. So I got a copy and paste and we're gonna reflect, So I'm going to object, transform and just gonna do a quick reflect and do a preview to make sure reflects properly . I just saved us a lot of time. We could do it manually and trace the whole thing and be done. Or we could just kind of cheat a little bit and have our little fork. So once we're happy, we can go ahead and join the shapes together, cause right now they're two separate objects trying to select all of them. I'm gonna grab that shape builder tool and you would click on that. And I'm just gonna click and drag and select both elements and boom. Now they refused as one object and have a nice, sexy looking fork, but I could use for our logo. Now I have kind of a logo fork and let's do some simple typography work. We're not going to spend a whole lot of time with this logo design. Have a logo design mastery course. If you really want to dive super deep into logo design, it's its own beast. So we're gonna bring in some of these type we're gonna need farm to table and then food company. So a couple things we can do here go and start to lay this out. So farm to table in a lot of times when I have a word that's not ask super important. And we have a pretty long company name here. A lot of times I like to make the less important words just a little bit smaller just to kind of have given a little bit more balance. Then we have food companies, so this needs to be in a different typeface, because if I do that, that's all. It's all the same. And so it all reads, Is one big block and food company really is kind of. It's like think it's kind of its own little thing. It's farm to table food company, so we want to make this a different type face. Let's go. Let's stick with what we've been using. Let's do a typical railway. We'll get to a railway light or just a regular railway. Let's make this a little bit different from up top. First of all, let's make it smaller. And then we could go to character. And we could wind the spacing here a little bit, maybe do more dramatic spacing and make it a little bit smaller. So you notice how, having a little bit of contrast that kind of starts to help break down type in the logo? Another thing we could do to studying kind of rustic, vintage kind of looks. I noticed that kind of treat company a little bit different, and I actually just got a copy and paste this on its own layer. And I've noticed sometimes will make it a little bit smaller. Kind of stick it out here and put a little dividing line underneath. I just thought that looked really nice, kind of a ode to the rustic style that you see. And I might need to make that a little bit thicker so it stands closer to the same weight as food and company. So now this looks a little long and awkward with the fork. So let's find a way to put the two up here and tuck table right under there to make it more of a concise condensed logo. We could make this work here on the side make all this the same color. Maybe like a lighter. Grey can look kind of neat and rustic instead of a very stark black. So let's do some similar treatment. This too. This too. Do some dividing lines Here is adding a little vintage player little dividing elements to make it look really good. Eso a couple things we could do is make sure everything is aligned evenly. Here. We could always pop into the grid and make sure things are aligned up or just for the sake of this kind of quick project weaken, Just eyeball it. And also another thing we could make sure the f So right now if we align the F to the F on the top, it can look a little strange. Even though this f this is all a line down here, it just seems like this empty space. Kind of just make sure it's makes it look a little uneven. So this is when you do have to do some of your own adjustments and you have to just manually put it under the teeth. And then now I'm making sure the O on the right is matched up and I could probably just tighten that just a little bit right there. So now that looks a little bit better, I think is you kind of embracing that gap instead of trying to fight against the gap where it was over here, Just just a little small thing. And since we have a little extra space here, we could have that to kind of tuck in there a little bit. Kind of has a nice little space carved out for the two. And there we go. So that's just a quick little logo. I think maybe the spacing here is a little too tight. So I'm just gonna kind of bring this down just a little bit, giving that a little more breathing room and bringing the bottom of the fork to align with the bottom of the F Just little small things we could do to make it good. Another thing we can do is we can add a little more spacing to This is well so we could make food just a little bit smaller. So I go over a lot more logo design stuff in my liver design mastery course, which is a great deep dive in the logo design. But for what we're doing now, we're doing lots of different projects. I want this to be part of a much bigger project I think will be happy with what we have here. So let's say we want to add a little rustic flair to this. There's a couple things we can do. We can soften the type face a little bit, and what we need to do is we need to right click, and we have to create outlines on our type. So when we create outlines in our type, it's gonna outline it. So now will be able to edit all the fine little corners so right clicked. We created outlines. So now we're to just grab select farm. I'm gonna grab the direct selection tool, and I'm gonna be able to soften and round the corners just a little bit so you could do it a lot or a little bit. But it's good to just do a little. Rounding of the corners just helps to soften the type, and I'll show you what it looks like before. So this is before you have very sharp edges, and this is a very organic vintage brand. So let's just soften it just a tad and notice the difference. I think it looks a lot better this way, softening all the corners and the type. Nothing dramatic here, little tiny, softly of the corners. I think that adds little softness to it. And now we're gonna add a little bit of texture to the love of design. We could even around the edges, with this little item here dividing line. See, that just looks a little more polished, doesn't it? Compared to this, and sometimes you want to use sharp edges. It depends on the brand and the company or you're doing, but this one needs nice, soft, rounded items. Picture that lines properly and always pop it on the grid and do that. We'll do lots of grid work a little bit later in the class when it comes to lay out design . But for right now, I think that's fine. I'm gonna put a little bit of a texture to it, putting a raster texture when we can always do it a vector texture. But for right now we're school. Do a quick little raster texture. I have this resource, and I'll put the link in here for you guys to have its spoon graphics washed and warned textures. I think these look really cool. We're gonna bring these in. I'm gonna bring in number six. I'm just bringing in number six and you can use any texture that you want that I was gonna pasted in here. Of course it's gigantic. Make it a lot smaller and work it up. Basically apply a layering mask to this. So we're just gonna bring the tech what we want to do when a group all that together, bring this in front worker to select everything more Good apply are layering mask. So to apply a layering mass, where to get our transparency panel out. And I know we're going over a lot of tools and some of you guys know these already Some of you guys have never seen these before. They're gonna try to go toe at a moderate pace when I go through all these tools. So I have everything selected, and I'm going to click on make a mask so this could be making a transparency mask is going to apply the texture on top of it. You can invert it to do the opposite. If you want to put this on a dark background or unclip invert mask, I think it'll look really good right here on the white background. If you ever wanted to release it, you just click on release and then it's back to normal. Or we can click make masks. So that's how you do apply textures. You could also do that with vector textures as well you don't have to use. This isn't just a J peg, so if you scale this to a large poster, it might blur a little bit, so you can always do the same thing. You would grab a vector, graphic or vector grunge texture and do the same thing. It will work just the same with Vector. I do find vector textures, do slow down computers quite a bit. So that's why I used a simple J peg. In this case, there's a there's our logo, you know, looks a little different than the one I did before. That's okay. Um, this one. I kind of shifted over a little bit, kind of broke that left alignment and shifted it to the right. And I was able to kind of have more of an opportunity to put the two there. So that looks good to kind of have this night space there. That kind of helps this fork breathe a little bit. Or, you know, you can kind of do the straight alignment I did there. So just kind of mocking up some logos. We also need to have a horizontal logo. If that works better on the package design, we don't know it's for the work. Best on the package of nine. So can always do this. Release the clipping mask and try to create a version of the logo that will work horizontally matter of just rotating this fork 90 degrees on having something kind of like this when this is done quickly. But, you know, you never know if you need to have horizontal version. We can put the fork between the two elements. We may not need the dividing lines. There depends on what we're looking for here, but the quick horizontal version I think we have what we need. We have a badge, we have a logo. Now we're gonna kind of hop into that package design. We're going to start to really start from scratch and do some of the photo shop work and editing so we can make that a reality. And then once we put that together, we already have some of these elements put together. So is this a matter of doing some layout design? 7. Package Design Getting Started: I'm gonna introduce you to our next project. We're going to do a package design. We're gonna go through the entire process and detail, including sizing, exporting final files. How to apply it on. Um, ak