The Branding Masterclass for Graphic Designers: The Entire Process | Lindsay Marsh | Skillshare

The Branding Masterclass for Graphic Designers: The Entire Process

Lindsay Marsh, Teacher & Freelance Designer 14+ Years ✅

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55 Lessons (8h 24m)
    • 1. Brand Design Masterclass Course Intro

      3:57
    • 2. Course Guide and Student Facebook Group

      2:20
    • 3. IntroductionTo Brand Design

      8:46
    • 4. Introduction to Brand Design - Part 2

      5:16
    • 5. The Client Brief

      14:36
    • 6. Conducting Research

      6:57
    • 7. Target Audience

      10:12
    • 8. Finding Direction

      6:55
    • 9. Putting Together Our Style Ideas

      15:08
    • 10. Stylescape - part 2

      8:04
    • 11. Finding a Brand's Position

      6:53
    • 12. Word Association

      3:30
    • 13. Word Mapping

      10:12
    • 14. Sketching Warm-up

      5:08
    • 15. Sketching Our Concepts

      14:29
    • 16. Logo Design Section - Getting Started

      9:21
    • 17. The Knife Concept

      10:37
    • 18. Seal Graphic Concept

      7:57
    • 19. Logo Typography

      14:49
    • 20. Choosing Between Our Concepts

      14:55
    • 21. Refining Our Concept

      10:01
    • 22. BONUS - Logo Mockup

      4:39
    • 23. Third Concept

      5:36
    • 24. Logo System - Perfecting Our Logo

      14:40
    • 25. Logo System - Gridding

      13:08
    • 26. Logo System - Alternative Presentations

      8:09
    • 27. Typographic System Introduction

      6:01
    • 28. Typographic System - Examples

      6:41
    • 29. Typographic System - Menu Project

      7:56
    • 30. Typographic System - Menu Layout

      9:05
    • 31. Typographic System - Type Scale

      5:20
    • 32. Color System - How to Choose Color

      8:31
    • 33. Color System - Psychology of Color

      10:57
    • 34. Color System - Flexible Color Systems

      6:34
    • 35. Chopstick Wrapper Mockup

      13:38
    • 36. Wrapper Layout design

      5:52
    • 37. Color System - Different Versions

      11:51
    • 38. Applying colors to our Menu

      9:36
    • 39. Brand Language

      14:31
    • 40. Photography Rules

      7:44
    • 41. T Shirt Design Project

      13:28
    • 42. Delivery Bag Concept

      10:59
    • 43. How to Present Your Work Introduction

      6:08
    • 44. Client Presentation Examples

      15:09
    • 45. Client Presentation - Sushi Club

      11:49
    • 46. Part 2

      7:36
    • 47. App Icons and Misc Projects

      10:46
    • 48. Client Presentation - Exporting

      5:26
    • 49. Portfolio Case Study

      10:21
    • 50. Part 2

      10:03
    • 51. Part 3

      11:54
    • 52. Loading Our Case Study on Behance

      6:49
    • 53. Behance Template

      0:34
    • 54. Brand Standards Manual Examples

      9:49
    • 55. (The template is in the download section of the course) Brand Standards Manual - Sushi Club

      12:11
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About This Class

(Downloadable Files can be found in the Project & Resources Tab of the Class)

This course covers all aspects of the brand design process. From sketching to portfolio presentations there is not one thing this class leaves out. It is massive covering topics such as:

  • Understanding Client Briefs
  • Learning to Ask the Right Questions
  • Client and Competitor Research
  • Finding a Target Audience 
  • Creating a Customer Persona
  • Finding a Style Direction
  • Finding a Brand’s Position in the Market
  • Word Association Exercises  
  • Word Mapping and Other Brainstorming Activities
  • Sketching Concepts
  • Learn How to be Creative 
  • How to Select Concepts for Further Development 
  • The Entire Logo Design Process
  • Picking the Right Typeface
  • Gridding and Finalizing Our Logos
  • Creating a Logo System
  • Creating Typographic System
  • Creating a Flexible Color System  
  • Understanding Color Psychology and its Effect on Brand Design 
  • Working with Projects and Mockups to Further Develop Color Palettes 
  • Applying Our Brand Systems to Real World Projects 
  • Learn How to Write Ad Copy for your Brand  
  • Creating and Writing your Brand Voice and Language 
  • Creating Photography Rules for Brands 
  • Developing a Full Client Presentation 
  • Creating a Behance Portfolio Case Study
  • Understanding the Basics of Brand Standards and Brand Guidelines 

The brand development process plays a critical part of the marketing and success of a company. I want to show you not only what successful brand design looks like but also how to brainstorm these concepts and ideas to finally turn that spark of an idea into a fully finished project ready for the client presentation, your portfolio and the world.

This class gently guides you through this process with a practical real world branding project using a case study for a sushi restaurant and delivery service. I created this course so you can start to offer branding packages to land bigger higher paying clients and propel yourself to the next level in your design career. 

This course gives you the tools to know how to spark creativity, ideas, concepts and put them into motion. We go over several tools to help prevent creators block and to make it easy to come up with ideas that are relevant, authentic and meaningful.

Looking at blank pages never have to be scary again. You will feel confident filling those pages with finished polished content that will wow your potential clients.

We will work on building a finished case study presentation for you to start building a strong portfolio. We will work on creating both a client presentation and a brand guidelines manual to help people know how to use your brand design and identity system you developed.

This course has a nice balance of theory and practical software projects. This class is for those who have taken any of my software courses or have basic knowledge of Adobe Photoshop and Adobe Illustrator or Adobe alternatives design programs as we will not cover the beginner level software basics. 

This course comes loaded with a 50 page brand design guide that details the entire class in an easy to read accessible pdf. This course comes with style presentation Adobe photoshop template, an Adobe Illustrator brand presentation template and an Adobe Photoshop Behance portfolio template and more.

Ready to start changing more, elevate your design offerings and change the direction of your career? Want to be a designer that understands both the business and design aspect of the branding process to craft strong brands. I will see you in the first lesson.  

Transcripts

1. Brand Design Masterclass Course Intro: The branding masterclass. This course covers all aspects of the brand design process, from sketching to portfolio presentations. There is not one thing this class leaves out. It is massive covering topics such as understanding client briefs, learning to ask the right questions, client and competitor research. Finding a target audience, creating a customer persona, finding a style direction, finding a brand's position in the market. Word association exercises, word mapping and other brainstorming activities. How to start sketching and sketching out different concepts. The select concepts for further development, the entire logo design process, picking the right typeface, gridding in a finalizing our logos, creating a logo system, creating a typographic system, creating a flexible color system. Understanding color psychology and its effect on brand design. Working with projects and mock-ups to further develop color palettes. Applying our brand systems to real-world projects. Creating and writing your brand voice and language, creating photography rules for brands, developing a full client presentation, creating a Behance portfolio case-study, understanding the basics, a brand standards and brand guidelines. And so much more. The brand development process plays a critical part of the marketing and success of a company. I want to show you not only what successful brand design looks like, but also how to brainstorm those concepts and ideas to finally turn that spark of an idea into a fully finished project ready for the client presentation, your portfolio, and the world. So this class gently guides you through this process with a practical real-world branding project. Using a case study for a sushi restaurant and delivery service. I created this course so you can start to offer branding packages to land bigger, higher paying clients and propeller to the next level in your design career. This course gives you the tools to know how to spark creativity, ideas, concepts, and put them into motion. We go over several tools to help prevent creator's block and to make it easy to come up with ideas that are relevant, authentic, and meaningful. Looking at blank pages never has to be scary again, you'll feel confident filling those pages with Finish Polish content that will wow your potential clients. We will work on building a finished case study presentation for you to start building a strong portfolio. We will work on creating both a client presentation and a brand guidelines manual to help people know how to use your brand design and identity system you developed. This course has a nice balance of theory and practical software projects. This classes for those who have taken any of my software courses or have basic knowledge of Adobe Photoshop and Adobe Illustrator and Adobe alternatives, as we will not cover beginner level software basics. This course comes loaded with a 50 page brand design guide that details the entire class and the easy to read accessible PDF. This course comes with a style presentation, Adobe Photoshop template and Adobe Illustrator brand presentation template and an Adobe Photoshop be hands portfolio template and more ready to serve. Charging more elevate your design offerings and changed the direction of a career. When to be a designer that understands both the business and design aspect of the branding process to craft strong brands. I will see you in the first lesson. 2. Course Guide and Student Facebook Group: Welcome to the course. I'm so glad you decided to join me for this adventure through the entire branding process. I wanted to quickly bring up a few important things. First of all, I have a new student Facebook group. This course has its own private group. I have around 20 thousand students in my man graphic design group, and it can be a bit busy in their this way with a smaller group, we can post our projects and have more personal branding related discussions. You can find the student Facebook group by typing in the branding masterclass student group and the Facebook search bar, you can post your progress there as well as in the Q and a and Discussion sections of the course. If you don't have Facebook, that's okay. Those community and discussion areas of the course we'll do just great. You can also tag me on Instagram at Lindsey marsh design so I can see your work that way too. I'm also active on Behance. So when we get to the Behance case study at the end of the course. I'd love to see your work there too. Secondly, the course project. I'll talk a little bit about this throughout the first section of the course. But I want you to do one of two things for your student brand design project. I want you to either download the sushi club client brief document and work through your own version of sushi club for the class and put your own spin and research with it. Or you can decide to use another client brief or make up your own. Ibm had students work on real paid client work throughout my courses as their student project. Either way, the goal is to have a nice portfolio case study for you by the end of the course. Lastly, downloadable resources. There's some pretty important downloadable resources in the class. Make sure to download them as you work throughout the course. We will start off with some theory and introduction sections and then move into some practical software portions of the course. I will use Adobe Photoshop and Adobe Illustrator in the course, but you can use Affinity Designer or Affinity Photo as your alternatives. If you feel like that works best for you. There may be some Adobe specific tools I referenced, but most projects you can still work through with affinity tools. So let's get started with the course and I'll see you in the next lesson. 3. IntroductionTo Brand Design: The brand development and brand design process plays critical parts of the marketing and the success of a company. I want to show you not only what successful brand design looks like, but also had a brainstorm these concepts and ideas. First of all, a simple question, you might think you know the answer to what is branding. The word branding comes from branding and animal. So a farmer or caretaker can take claim of their stock. This would include a series of numbers or another way to identify the cow. When you saw that number, everyone knew where that Cal belonged, even if it was found miles from its home. The same as the case for modern branding. You can take a look at any company asset like fliers, mobile websites or social media posts, and perhaps already find yourself familiar with the company that created it. We know this by looking at very memorable brands like Apple with their distinct Apple icon. But we also recognize Apple products and their user interfaces by its simplistic design and distinct look and colors can play big parts of this recall or brand memory for viewers, which, for example, uses his very unique bright purple colored icon. It only needs to be that purple icon on its homepage for w0, instantly identifiable, even without the company name being next to it. We mostly think of branding or identity design as the following items. A logo, you know, maybe a color palette, and some various marketing materials like letterheads and business cards. And while all of those play big parts of the overall brand design process, they just show the outer layer of the many layered brand onion, if you will. There is also brand language that needs to match the visuals. For instance, Ben and Jerry's ice cream, they have a heavy focus on social issues and sustainability. You cannot unwrap their visual branding from their brand language because they're one and the same. The headlines, words and phrases they use in their advertising's, and posters and flyers and social media are equal in importance to their appearance. We communicate with the viewer with both types. One, your brand language or how you write and communicate to the viewer and your visuals, which is going to be your graphics in your design. And this is why as a designer you need to think about this brand language. Because working with the client to write it, or crafted, or working already with written copy is important to be able to do so. All these are developed in tandem and they both harmonize. Along with a text and language that appears with the visuals. There's also emotions that brands evoke with their visual branding. Take for instance, the popular home exercise company called Pilloton. A quick review of their website and brand presentation gives us a higher end clean look, which caters to their target audience, which is mostly those with the ability to afford the almost $2 thousand bike and the monthly subscription fee. Notice the whitespace used throughout their layout. I noticed even their bike design is simple and clean and their videos are packed with quick transitions and energy. So the brand needs to echo that energy and all of their visual branding. In some cases, brand packaging can be very effective at communicating the brand's emotions, feelings, and language. This can be done by having a unique package size or form. Take for instance, the language they use on this. Can. I loved this brand? And they have a cute little simple phrases at the top and sides of the can that gives you this kind of youthful and playful vibe. Experience can play a big part of branding. The big unboxing craze that hit YouTube Many years ago, perfectly explains how important this experience can be for consumers. Take for instance, the unboxing of a subscription box. What does the outside of the box look like when I open it? Is there a greeting card that kicks off the unboxing experience? How is everything wrapped up? What type of paper do they use? Designers are the ones who help the crap all of these items and being able to develop and adhere to the brands feel and ethos is important. The quick takeaway to all of this as brand design, as multifaceted with so many different factors at play outside of just how it looks and what you as a designer to be able to think about and focus on all aspects of branding process. So you can be effective working on a team to do this, or crafting brand designs all on your own. We just reviewed how brands are more than just the logo and tagline. There's a brand language, there's product presentations, there's user experiences, and there's just so much to think about. The roles most graphic designers take in this process is the visual branding and trying to communicate the brand language with visuals. Your final deliverable or what most clients will expect from you, is a standard, predictable assets like logo design files, but it could range from package designs, marketing materials, the entire social media campaign. We're gonna take a look at fantastic looking visual branding examples to give us a little bit of inspiration Before we get working on our own example for the course. Most strong brand campaigns includes something called a unifying theme. That means all visuals are connected somehow through words, language, colors, shapes, or patterns. And take for instance, this one for a mall called River Mall. All visuals share a similar pattern throughout all the materials. What's great about this particular brand design example is they created a flexible design system that can adapt to so many different projects, sizes, and types. Instead of eliminate, limiting the client to a restricted set of usable assets, they expand that out to an infinite array of possibilities. You can see the unifying theme throughout this brand presentation. Not only does it feature set color palettes throughout, it has a geometric shape system they use to create patterns and shape of any type of size or surface. You may find that some designers even developed a custom icon set like for this coffee company brand. There is consistency in the thickness of the lines throughout the icon set that matches the more thin typeface used for the main logo type. The style of the logo can also echo and other design elements as well within the same brand system, this restaurant has a typeface as their main feature of their company. But it can also exist with a visual element, the chicken. It can exist as a vertical presentation or a horizontal. When a designer starts to extend the brand onto other items like menus or the interior wall design here, they need to have other brand elements to incorporate and tie everything together. Solid brand design has both structure and guidelines. You can see here with his clothing store company the rules of how to properly use the type size with a subheadings being set to 54.5% of the main header type size. There's some structure there. They call these brand guidelines for reason, it helps other people who may be involved with the design of future items for the company to know how to properly use it and to stay true to the original brands design, LFOs. We had a chance to see some great examples of brand design. And we're going to get more chances to see inspirational examples as we move throughout the course. We're going to be working with the entire Boolean design process. So make sure you download the 40 plus page guide. There'll be super-helpful for those who like to learn with offline materials or like to have something nearby to reference. The brand design process can be intense, but fear not. There are logical steps we walk through to go from this. Just an idea in our heads. Does something like this. Where it's welded together, it's finished, and it's ready to be executed. And we're going to walk through an example brand design project using a mock sushi restaurant called the sushi club. And we'll start with a good amount of research before we get started with any type of visual design work. 4. Introduction to Brand Design - Part 2 : I believe that some of the best concepts and ideas are not thought up at random. It, it's not like you can sit around a table and just brainstorm the perfect idea in the first five minutes. Well, maybe sometimes it can happen, but mostly it's about asking the right questions and receiving proper feedback from the company. And it's required to get that feedback to have a successful branding campaign. I encouraged deep and intense research into the industry and company before starting the brand design process or even touching the visuals. This gives you data to work with ideas and at least a general starting point. Without gathering proper information from your client, you will mostly find yourself guessing what they might like. When you guess you assume and fill in the blank with improper information. Research can go even further, especially in industries which you may not be entirely familiar with. Knowing what the company's competitors do can help you find those unique approaches to the visual branding that can help you stand out. Also understanding the unique proposition or unique offering the company has can help you spin your visuals and language to show off that advantage. We're gonna go into more detail on this later, but I love to visit or experience what my clients competitors offer firsthand. For example, are sushi restaurant example or work through throughout the section, I visited several different sushi restaurants in my local area. This was not to copy or emulate what they do, but to experience their process. In this case, experiencing the sushi consumption process. There are some enjoyable parts of the research base that could be nice surprises. If you allow yourself to be open and the experiences. You should never be expected to come up with an idea from thin air. There's always helpful starting points that can be generated by brainstorming. But most importantly, that research, there are several steps you can follow to gather enough research to start the brainstorming and concept development stage. But first things first, let's get the information we need from the client directly so we can move forward. And how the process usually works is one of two different ways. First of all, the client could have already done their homework and provided you with a fully written client brief that details a history of the company, some goals, perhaps a mission statement, maybe some desires and expectations for the brand design and development process. You could answer some of your questions before you even have to ask. That's great, but not all clients have this all figured out yet. There might be some clients that have just one person startups, or they could be the first time they've ever gone through this process. In that case, I like to send them a series of custom tailored questions that help to fill in any information gaps about the company, the goals, their missions, their desires, and their expectations. Questions will be different for each client. Sometimes you'll start off with some prior knowledge of the company if you already know it or it's already well known, or you may not have any information at all because the company hasn't really gotten off the ground yet. The goal of the questionnaires to ask questions that help you get familiar with what they offer, why they're different, discover possible target audiences, and any detailed information that's required like taglines and other unique situations. For example, we need to know if the client does not want us to use the color red. We do not know this. If we do not ask, imagine going through this whole brand design process with intense research to finally found out during the presentation that the CEO hates the color red. And guess what, you used red. Without gathering this information, we're making a tougher sell for us. There was a great show that streamed on Netflix called the pitch. And it was about two competing ad agencies pitching their brand concepts to a client that had a long history in the adult beverage industry. The owner told both agencies in the brief to not change the shape of their historic bottle design. It was very important to maintain that history and their package design. Let's just say one of the agencies pitching totally ignored the client's request for that. And they pitch this cool, wonderful looking advertising campaign and brand refresh. But they totally changed the brand's packaging bottled shape. They went against the one thing the client requested to remain the same. And let's just say they did not get the job and it didn't go well, you gotta listen to the clients. It's important and it's the only way to know what they're looking for is to simply ask. So now that we establish how important is to get that initial information from the client, let's go to our mock sushi restaurant client that we will work through throughout this entire class and ask them a series of general questions so we can go ahead and get started. 5. The Client Brief : You can download this client brief as an example in the downloadable resources in this class. So let's get started. This is the client brief, and this is a series of questions I asked to get some further information from the client as they did not provide a formal breed. So simple one, what is the company name and how would you like it to appear on your logo? Sushi club, authentically prepared. And it's kind of important to understand, authentically prepared is a little less important of the logo then the sushi club, it's kinda like a tagline and that's something we need to establish and get back with the client just to make sure authentically prepared isn't official tagline and not part of the full company name. Also, what industry are you end? We plan to start out as a full sushi delivery restaurant. We went to open a physical location shortly after launch to complement our delivery service. So that's really interesting. So they're going to start off as a full delivery restaurant. They hoped to be able to have patrons inside of physical store. So it's really important to kind of think of this branding process, of thinking about how important the delivery will be for them in advertising a delivery service. So we gotta think about in-store branding, but we also have to think about how they're to go items are going to be branded as well. So it's kind of a little bit more complicated and I'm glad we have that information. So they'll offer Mackey, shisha, Amy, and Nigeria style sushi along with traditional sushi side complements like at a mommy. So they're going to have a pretty simple menu. They sent us a sample menu. That's another great thing to ask for. What is their, they have a restaurant, you know, ask for a menu. If they're an online company, asked for the list of products. So it's really good to kind of know what they offer and become pretty familiar. So if I didn't know what Mackey was, you bet I'm going to Google that and figure out what's the difference between Mackey shushing Amy and Nigeria style. And it was able to find out that Mackey is the sushi roles that you traditionally associate with sushi. And she, she me is raw fish without any rice. It's just raw fish on a plate. And the jury style has the raw fish on top of rice, usually wrapped with seaweed or sometimes not wrapped it all depending on the style. So the next question is a standard question I put in all questionnaires because I think sometimes the client doesn't even know what their unique selling point is until you ask them and they have to think about it sometimes they know right away, but you really have to find this information because I think it really plays a huge part of positioning the brand design. So what is the unique selling point of your product? What makes them different? They say we promote a more authentic way of eating and preparing sushi that you might experience in Japan. We would like to bring that more authentic sushi preparation to American consumers. This is a great article that details some ways in which Eating and preparing sushi, the Japanese way, might be different from what you might have seen or practice yourself. So that's pretty cool. They gave us a nice detailed article. You bet I'm going to read that entire article. And it really kinda do some research about different ways you call sushi different ways to prepare it. This is the type of research that we need to be involved in. We really need to absorb ourselves into the Client Product and the industry and what they're offering. It's all a normal part of the research process. We will also prepare a sushi using Japanese made high-quality sushi knives called Inaki. Here's a basic website that details the look in function of the special knives. Okay, so there's another awesome article. And it's also nice if you don't know about the industry, you know, just just be blunt. Ask the client. Okay. I don't understand this part of your industry. I'm not familiar with it. Be honest. Let them educate you because they're the ones that are going to be able to educate you the best about their product. Sometimes if you go straight to Google, you're gonna get some misinformation. So it's better to go right to the client for that source. And the fishes freshly source to maintain quality everyday of operation. So when I'm reading this, I'm reading the feedback. I'm also starting to notice trends and common words that continue to prop up. And we're gonna get to some word mapping next. And we're gonna be able to take a lot of the words that the client is saying over and over. And we're going to be able to do this word mapping to help us find connecting words. And it's going to help with our overall brand design process. But I can already see authentic is obviously a word I'd like to explore further. And fresh. I've seen fresh, fresh, authentic to starting to see those kind of themes in their feedback. This is another required question of mine, is the target audience. And if you don't know who you're designing for, you're not going to be able to know how to properly put everything together. Is this going to be young millennials? Is this could be Gen X, Gen Z, all those different kind of generations. Is this an older population? What is your target audience? How much money do they make? What kinda discretionary income do they have? What do they wear? What? All these different things we want to know about our target, target audience. It can only be helpful. So they said their target audience is those who want good Japanese style sushi. Mackey, she, she, me and a jury style. They prefer the taste of fish over the flashy extra stuffing. We do not offer volcano roles and I've, I'm no sushi really well, but if I did not, I would definitely google volcano roles and find out that they're not really authentic Japanese sushi. It's just almost like a tomato sauce poured on top of sushi. It's very Americanized and silly. But they taste good. But that's not who they're trying to target too. So they don't offer volcano roles. And they, they, which is what you think of when you think of sushi. We do offer rice-based roles, but they will be made with simple ingredients and never more than 31 role. So visiting and doing research and go into different sushi restaurants. I discovered that they do kinda pack their sushi with lots of different ingredients. Which is usually kinda complicates the taste and you can't really taste the fish anymore. So that's kind of a unique selling point that I'm starting to see more with their target audience answer. Another good one is what is your price point? That also helps determine our target audience if they're super high price point than they might need to have a different reserved, higher-end, simple, elegant brand presentation. If there are more casual and they're the cheapest in their industry, is probably going to be kind of more fun, bright, casual kind of presentation. So this is important to kinda know where do they fall price point wise. So they said, we spend a good amount of money making sure we source organic fresh fish. And I'm noticing the word fresh again, so I am just making a note. Okay. They mentioned the word fresh a lot, but also soy, ginger, and other required ingredients to maximize the tasting experience. It's interesting they use the word experience and definitely going to take a note of that. This means we need to charge a slightly higher price than most other places that prepare sushi. That makes sense. I would say we do not have an ultra high price point, but higher than most. So they're not going to be the top and the industry, but they're going to be up there. Since we deliver, we're able to pass along the savings of low overhead to the consumer and still maintain our high-quality standards that sets good. They're gonna be competitive with other restaurants that might deliver, but they might be maybe 10% more. So we're not talking about a drastically expensive price points, so that's good to kind of consider. So another question I'd like to throw out there because he never know what the client's good to give back to you. They may not answer a question that happens a lot. But sometimes they answer and they, they, they give you some good feedback. But in this case style preferences. So they said we have no clue. We love a very traditional, simple, elegant look, but we also fear we will be seen as pretentious. So they're worried about looking to high-end and two, unaffordable and too expensive. So that is a very interesting statement they made. So I'm already starting to eliminate certain design looks and feels and experiences because they said that we can go this ultra sleek, simple look, but they're also don't want to be seen as too expensive either, so we have to be careful here. So they say they want to educate and offer this experience to all consumers interested regardless of their knowledge on the matter. So it sounds like they kinda want to be approachable. Approachable would be like a really good idea were to kinda think about. So as I'm reading this, I'm highlighting words, I'm copying and pasting into a document all these words and writing little notes about it. So I'm just going to write down that word, approachable and eye-catching. Of course, every client wants to be eye-catching who doesn't. So that doesn't help us too much. But perhaps when you present concepts, you can try out two different approaches so we can see what might be the best fit for us. So it looks like they're wanting to kind of have us experiment with styles a little bit to kinda see what they look Sounds like. They really don't know where they wanna go. Which can be a little challenging because we have to figure that out before we move too far into the process. So it sounds like I might need to develop a couple of style escapes are a couple of little style presentation. So they can kind of figure out where they land or where they think they belong style wise. So we have some work on our hands do and that is not a problem. So number one, they want to try a bright hip, fun, kinda like a power when you see it. We are delivery service and will most likely attract a younger crowd with this more fun, vibrant look. They're kind of dropping some hints about style ideas. Number Two, more reserved black used SIL graphic, something that would cater more toward our traditional routes. So those are two totally different styles and I think they're still trying to figure out where they land. I would love to find one in between to that can really cater to both 12. I think we can find and compromise on something like that. I think that they can have their cake and eat it too. And I think that our job as a designer is to find the right fit. So it might not be one, it might not be two, it might be a blend of the two. And I think I'm going to be the one to help them figure that out. So I know these two are totally different styles, but part of the branding process we go through with you will also help us shape our marketing strategy, price point, and other business decisions. So it sounds like they're at the very beginning of this process in terms of opening this restaurant. And we are going to help them figure out a lot of things already. So there's still not a 100% finite on everything about the company. And that's okay because that happens. What I like to do is I'd like to turn the tables and I want them to brainstorm a little bit too along with me. It's not just me that's responsible for brainstorming. I want them to get involved in the process as well. So I asked them words you think of when you think of your restaurant concept. So they went ahead and got back with the word authentic, which doesn't surprise me because I've seen that throughout the answers and it's a part of their tagline. So that's going to be an incredibly important word when we come up with their ideas and concepts for the logo design preparation. So the process, I guess the process experience, I guess would be a better word for prep. Preparation. Taste over quantity. Once again, I'm noticing the word taste come up again. So I'm going to write notes about the word taste. Fresh. Again. Stay authentic and fresh and taste are repetitive words. Delivery. So convenience and then less is better. So maybe not too crazy of a design, maybe kinda more of a simple look. Maybe just kind of started to think out loud and think through, through all the answers that they've given us. Outside of the logo and kind of some brand ideas, what else will we be needing? But they said menus for sure. Our menu will also need to be online, but also eventually in a printed form. So we gotta make sure we design a menu that's flexible for both formats. I would love to have an infographic detailing the authentic way to eat and prepare sushi. Maybe a bit of an education and different styles and names of sushi. Okay, that's interesting. Maybe in a format where we can place it on social media, but also on our website. I will want to see the brand on chopstick wrappers we have accompany already that can place the graphics on these, as well as other items that will come with a delivery kit, like boxes, bags, and napkins. So it sounds like we need to really work on some delivery branding. So bags, boxes and those chopsticks on that could be where we can test out our logo design once we get that finished as kind of a presentation for them so they can see it on the things that they need the most. So I already have some raw ideas and information and be able to write down from all of this. So I'm going to keep that on the side as I continue to gather more and more research to add to this. So next I like to kind of study the industry a little bit more. And the best way to do that is some competitor research. We talked about this before, how maybe visiting sushi restaurants would be a great way to experience this. But if your company isn't online company, there's fantastic ways to do some competitor research by just simply Googling the industry or Googling their name if they're already a business and finding out can comes up second, third, on Google. And kind of going through their competitors process. If they have an online checkout process, go through that online checkout process, you need to really be able to know what they offer and how maybe you can present something different for the client that you're doing. So competitor research is incredibly valuable. 6. Conducting Research : Experiences are a funny thing. Sometimes you can use a company's product or service and be able to quickly drum up interesting research. Sometimes you have to go out and just soak in the experience yourself. There's nothing like a holding a product in your hands and feeling the texture. Notice how it feels. Isn't heavy. Is it light? What does the packaging like? Is it rough? Smooth? Let's say we have a client that sells body wash. What other body wash bottles, what do they look like? Standing back into IL, which one catches my eye first. What flavors are they using? Cents. Am I seeing a theme among other bottle shapes? Do they use photos of the flavor or sent? If so, how big are those photos in relation to the rest of the bottle? How about, for example, a clothing brand? What does the fabric feel like? How did they place the logo on the TAC? What colors do they use? Recycled tags, plastic or the tags high gloss. How? Because the company name on the labels or the tags. This can also be applied to research in companies that are purely online. For example, a client that is creating a new streaming service that caters to dog lovers. I may browse One of the bigger, more successful video streaming services like Netflix. How's the experienced browsing and watching videos there? What does the logo look like on my phone? How does it compare to the experienced dreaming on TV? These give us clues to types of branded items we may need to produce for our client. And may also want to research web sites that cater to dog lovers to see how they presented their colors, logo, and brand elements. Combined together, we can find a way to create something blended and unique to our client. Since our sushi restaurant in delivery service will eventually be a physical store location. Let's research by visiting several restaurants to see how they handled their brand design and visuals. And, you know, I'm going to enjoy this process. One of the first things I like to notice is the restaurant signage connect easily read it from the street. Do I know what type of store or restaurant it is? Just by looking at their signage. What type of other visual aids like posters, wall silage are there on the outside of the store. What type of physical materials do they use for their interior design? Wood, bamboo, steel, concrete. Is it a dark or light facade? When I walk in, what is the vibe I get from the restaurant? This one, for example, had some beautiful architecture that really became a neat centerpiece. This one also had an online only menu with no physical menus present. And it is that most Asian restaurants had fairly complex menus and our client will have a much more simple menu. So I'm keeping track of all these different observations. This one had a really neat full color chopstick wrapper with a logo and some social media information on it. Most to go or take away bags I received when I order sushi online where the standard white plastic bags with no branded visuals on there. So I'm starting to see a really neat opportunity to add something to our delivery bags to make our experience more visually exciting. I'm also seeing the importance of a digital fully online menu as well as most places we're switching to a touchless menu system. Another sushi restaurant had a very unique concept that I've visited there called Cow fish burger. And funny enough, they serve both sushi and hamburgers. This is quite the opposite of our client, who wanted to just focus on sushi and keeping it peer and authentic. The dish I got was a bento box with sushi and other familiar items, but with a big burger in the center. It was odd, but it was an interesting experience and it was good to check out what others might be looking at when they Google nearby sushi places. Once again, I'm noticing the chopsticks had a wrapper to them and it was an online menu only as well at this restaurant. So I'm jotting down some of these notes and observing and both of these places in my notebook that may be land on my final restaurant to visit. It's a sushi place called becasue. It seemed like they took their sushi much more serious and it seems to have a similar ideas. Our client, they had a wonderful, slick-looking menu with reflective simple logo on the top. The inside pages, the menu used a special paper that had a really glossy, pearlescent quality to it. It was a very stunning and very nice. The price point was higher just like our client, but it wasn't out of this world. Hi, I'm really taking notes at this place. Their logo seems almost contemporary with a stretched out look to their lettering. And it gives it a very unique look from the road. I would not know it was a sushi place by just looking at the sign though. And I'm not sure how I feel about that. It could be a disadvantage. Our client has the name sushi in the name. So I feel like we're not gonna have that problem. The sign had very interesting topography presentation with that super long stretched out condensed looking custom typeface. The reddest striking from the sign and I liked how the black and red stood out. The great thing about Googling these restaurants is Google remembers your searches and it tries to re-target you with online ads. This means we'll get to study some of our competitors. Restaurant Ads are what people are looking for when they're looking for sushi or they enticing, do they work? What can I do different to make mine more appealing and focus on our unique approach to the authentic fresh tasting fish. I'm already starting to think about what type of photos with matcher unique concept as well. So let's do another competitive research example. Let's say we have a client that has an expensive restaurant that caters mostly to professionals that want to have a nice place to meet for business lunches. I'm gonna visit similar restaurant types and take notes. I happened to visit this one place for lunch and has the most stunning atmosphere. I notice there are many design, the typography in the layout of it. They also have really amazing cookies. Overall, the food match the brand design and I come away with a great perspective of what it might be like at my clients restaurant. This helps me put ideas together by brainstorming process. Remember ideas and concepts are never developed at random. These little nuggets of information we gathered through this research project process will all come together to form wonderful ideas with ease later on. 7. Target Audience : This next research idea can be optional and it's heavily used when doing user experience and user interface design, our UX UI design. But there's something we can do to help us establish our target audience. And that is to create a user persona, or in this case, a customer persona. We want to take the information the client gave us to put together and profile that lists basic stats about this potential customer, as well as possible goals, likes and dislikes. Being able to put a name to a face helps when we get to the concept and brainstorming phase. When we create a brand design, we always picture ourselves looking at the logo, but the client's product and services may not be for us. I think it is important to recognize that we may not be our client's target audience. I think a lot of designers assumed this role, but we need to step back and realize who we are designing this for. I want you to be as detailed as you like with these customer persona's. They need to feature possible age and job titles. A big question I get from people is due just make all this up. Well, you're going to need some data and hopefully your client has provided you with some or you can ask for it. If not, you can always research trends and certain age demographics as well. You can do surveys, you can make calls to those you know, who might be close to this target customer? Multiple user persona's? Yes, you can have multiple different customer types. Therefore, it's natural to add multiple user personas that help you better represent your varied target audience. The goals for these user personas, or in some cases, you can call them a customer persona or a client persona, depending on your client's industry. It's to help us see a person behind our design decisions later on. Our brand design is meant for someone or a group of people. And it's great to be able to visualize them. And it goes a long way. I am here in the brand guide and I'm gonna go ahead and get into this page that talks about defining your target audience. We talked a little bit about the user persona's and how it's great to develop a couple of them before we get started into the brainstorming process. But I wanted to talk about mood, just showing you kind of an example of a user persona in action. And I almost always like to put a photo on these because I think it's important to be able to put that visual to a name so that when we start to brainstorm, we can just have them in her head and have them in our mind. So you could just go on pixels.com or on Splash.com and just find someone you feel like would connect well with the brand after you've done some research. So of course, with a photo, I like to put a name, give them a name, but give them a name that's popular among their age group or, or, or whatever we want to do there. And also loved to give them a title. What are they, you know, and it doesn't always have to be a job title. Sometimes it's nicer but a job title, but sometimes it could just be the kind of personality they have. In this case is it's the professional foodie. So she just loves to kind of go out and write about food experiences. She loves food. But it may or may not be an actual title and could just kinda be a personality type. So I like to list some general facts. So she's has an age, she's 36, she's single. Her occupation. She's in banking, and she makes a pretty decent income. And that's really important because people who are making under 20 thousand a year, they may not be our target audience, and those making over 200 thousand a year might not be your target audience. So we need to figure out who are we targeting. It's gonna really help when we're coming up with marketing campaigns and when we're coming up with social media campaigns, who are we targeting? This can be really helpful to try to figure this out. Location. She's in the United States. Our restaurant is going to just start out in the United States. So it's kinda, kinda helps narrow things down for us. Education's important. So she has a bachelor or greater, and that kind of matches up with our income. I mean, none of this is set in stone for her, but it's this kind of helpful to guess kind of the education level she might have. That doesn't mean that we're stuck with only targeting people who have a bachelor's degree. That's not the case at all. There could be multiple user personas and this, this is just one example. So another thing I like to do is talk about their goals in life. What are their goals? This is when it gets a little bit more creative there you're kind of writing a story for her. You're, you're writing it's more of the Xi's is more than just facts. She's more than just statistics. There is a real person who has goals, insights, and passions in her life. And this is where we want to kinda write and craft that story. So for goals, just an idea is a professional who wants to reduce time cooking and preparing food. So she's she's busy. She doesn't have time to sit here and have a really good food. But she's a foodie and she wants high-quality food, but she may not have time to cook it. So that's where this kind of restaurant can really help her, especially with their delivery service. She desires a high-quality fresh food. Notice the word refreshes and there you're starting to see these words used repetitively on purpose. She has a desire for sushi and visits a sushi place at least once a week. So she's already kind of a fan of sushi. She understands it already. It's not new to her. She is a foodie by the way. So it all kinda connects values. So she wants to have work-life balance. And so being able to get fresh sushi delivered or go for a quick bite to eat at lunch is valuable to her. She also likes health and nutrition and raw fish can be some of the healthiest food in the world, along with rice and the other side items they offer on their menu. This is a very healthy place to eat. Food is an experience, and it's not just for sustenance. So this kinda goes back to her personality being a professional foodie. She eats food because she really enjoys it. She doesn't eat it just because it has a certain amount of calories she needs each day as an important part of her life. And some people are built that way. Some people just love to eat food and I'm one of those people, I just enjoy the eating experience. And so this really helps us figure out who this person is and some of the motivations behind her going out and getting sushi. So everybody in life has problems, and that means they have some problem-solving opportunities. These are problems that we can solve with our unique concept and product or service. So if you have a client that walks dogs and you have a problem of not feeling like your pet gets enough attention when you're gone at work. Well, that's a problem that I have, that you have a solution or product for that can solve it. So that's how you have to think what these problem-solving opportunities. So she wishes she did not have to spend so much time preparing and cooking meals as she already has just a few hours of the evenings to hang out with friends and she didn't have a lot of downtime. So we're going to be solving that issue by providing a delivery service. She loved sushi and visits to fantastic places in town she thinks has the best sushi. She feels like she is missing the quality component of the sushi she eats. So she's eating at these places that have really Americanized sushi. And our place has that unique idea of just really focusing on really high-quality fresh fish and now putting a bunch of junk on it and, and all these other ingredients just really focusing on high-quality sushi. So that would definitely solve one of her problems. Another opportunity is she would love to have great quality fresh sushi delivered, but she's a little wary of trusting a local place to deliver it. There's the idea that delivery sushi is not going to test taste as fresh as visiting the restaurant. So this could be an educational opportunity for us when we're developing our brand language, we're writing our ad copy. Perhaps we can position our company to resolve this idea that delivery is not going to be as fresh. And so we have to find some way to maybe think about that in the future to say, okay, we are fresh, even though it takes 20 minutes to get to your door, we can use an app called door dash, which can really get your order super quick to you. And the fish is still going to have a slight chill to it. It's going to be nice and fresh. So that's kind of an education opportunity that we discovered by kind of walking through this user persona exercise. So why did we take the time to put all these user personas together? I like to craft it in a really nice professional way because when I do my presentation to the client a little bit later on, I think this really helps to add professional layer to my presentation because once again, I'm proving to my client I'm more than just a graphic designer. I'm thinking about the whole marketing branding strategy piece and that's what makes me different and that's why I can charge a little bit higher prices. Because I worked through all these different steps that other graphic designers are just not doing with their work. So if I can provide this, this is what ad agencies go through all these little detailed steps. It seems like a lot of extra work, but you can charge more money, can get bigger clients this way. This is the kind of stuff when you start to get large clients. This is expecting and this is what big ad agencies tried to do as well. So I'm just trying to show you this little bit more expert level presentation. I think this goes such a long way into to proving to the client, you're really thinking through this, that you're not developing concepts at random, that there's a process and there's a little bit of order to your creative process. 8. Finding Direction : If you're lucky, the client is very detailed in how they describe what they're looking for. But in our case, our client pretty much admitted that they don't know what they want and they don't know what they're looking for style wise, which is very common. It's gonna be up to us to help guide them through figuring out what they want. And as they say, clients do not know what they want sometimes until they see it. And this is where something called style escapes. Our brand style presentation was come in handy. You may have also heard the name brand boards, mood boards, and inspiration boards. All of those basically are the same thing, that they quickly and clearly defined and show a particular design style. The presentation is simple and almost always shown with one large image or page. At this stage, we have not tackled any sort of design tasks ourselves. What we need to do is curate our photos and items from other sources. This is mostly just between you and the client to find a general direction on style and look. So legally, I would not encourage you to use other people's work without giving them proper credit or post to get publicly. I get asked this question a lot by students. If they can use their inspiration boards or mood boards used with other artists work. And they say just for internal use to be super safe or give the proper credit for each piece of work used. I can even take my own photos and incorporate them into my style scape or style board if I'm worried about it, but I would definitely keep it just between you and the client. And if you do decide to put it on your portfolio as part of your presentation, make sure either give proper credit to the artist for each of the items you used in your style scape, or tried to find alternatives that you created yourself or you have the rights to use. And as I've said many times before, I like to find photos from free stock websites first, like pixels.com and splash and pixabay, to build out my style scapes or my brand style presentations. So let's look at two brand style presentations I put together quickly for a casual fashion brand. These are two totally different styles. And one seems more simple and clean and sophisticated, and the other one more casual, bright and fun. And if the client was struggling trying to find a style direction, presenting these two different style options may allow them to give you valuable insight moving forward. They may want to have a blend of both. They may want to see another style represented. They may fall in love with one. And that gives you a huge head start in coming up with your own logo topography system and brand colors later on. So how many of these should I put together? I recommend two or three in different styles to be the most helpful. Offering. More than that can start to confuse the client and bring up more questions than answers. Offering just one will not give the client a chance to choose between different styles. Based on your research, you should already be able to pick two or three different design styles you think the client might resonate with. Since you're using other sources of the client does not connect with the style you send. This can prompt them to bring up suggestions to you. This gives you a chance to quickly present a different style. You should not spend too much time putting these together as it's still firmly in the brainstorming process and nothing final husband said. There are also style escapes for finished concepts. After you move through the entire brainstorming phase and come up with different logo ideas. There is no wrong time to present a style scape or a mood board or inspiration board. Sometimes earlier on in the process, it's necessary to establish a direction with a client that may not know what they want. And it can be helpful and deciding between two different styles they might want to go for. Also for presentation and portfolio presentations, you can take everything you're going to create throughout the class and put it into one final style, border style scape presentation like this, for example. And we're going to work through that project and talk about key characteristics of strong presentations a little bit later on in the course. So don't worry, we're going to walk through this and we're slowly working our way through this. What feels like a long research process, but I have just a few more direction binding activities we could do to further establish our style direction. And once we do a couple of these projects, we're going to be very close to one of my favorite parts of this entire process. And that is the brainstorming and sketching phase. So please hold tight. I have a little extra student project for you if you want to participate. If you decided to use the sushi club brand, great. Or if he decided to use your own different company or client brief, that's great too. But I want you to practice creating a couple of different styles, scapes or style presentation boards, mood boards, inspiration boards, whatever you want to call them. I want you to pick a hero image, somebody to kinda represent the target audience or the user persona that you came up with. I went them to be the star of your style scape and the center of your style escape. I want you to build the whole presentation around that user persona and deriving colors from the photos as inspiration. I also want you to think about a main typeface example. So you can see in this style scape, I have two different typefaces chosen. And I think each one helps to tie along with kinda the styles of the photos as well. Everything's kind of connected. As you can see, the first style has a san serif type face, but it's a more FUN, youthful look. And then the other one is a Serif typeface. It's an, a more traditional look and as well for these two different high fashion brands. So I want you to do the same thing. And once you find your user persona image, put her or him right there in the middle and build everything else around it. You can go on Behance.com, find some great example logos. Maybe put a series of different logos on there that you think have a similar style that you think the user persona would really resonate with. And same thing, you go to pixels.com, go to find some inspirational photos to kinda help build this and put it together for either the different client brief that you're using or if you're going to go along with the, with the sushi club and do kind of your own brand building with this. So hopefully I look forward to seeing your work. You can just post it. I would love to see it on social media. Look to see what it looks like. 9. Putting Together Our Style Ideas: Welcome to Adobe Photoshop. We're gonna take the next ten minutes to create and brainstorm some of these style scapes, inspiration boards, just a way to help our clients pick out a style. So I wanted to walk through this technically how I did it in Adobe Photoshop. So I like to do these in Adobe Photoshop, but you can use any photo editing program. You can even do these in Adobe Illustrator, but I just prefer Adobe Photoshop because its easy to modify, crop, and isolate images. What size do I make these? Well, as you can see, a lot of style escapes comes from the word landscape, which means kind of a horizontal presentation. Which can be nice if you were ever to print it out on a foam board and bring it to a client to show off. And it could be even nice if they have a tablet, if they're viewing it on a tablet or they're viewing it on a desktop. Because all of those screens are mostly kind of a horizontal orientation. But I've seen a lot of great brand presence style presentations done vertically. You see a lot of mood board, inspiration boards done vertically as well. So don't feel like you have to do it horizontal. You can do it in any way as long as it's easy for the client to see the style at first glance, they don't have to scroll a whole lot to see at all. They can kind of get a good idea of the style. Quickly make a determination on whether they like it or not. So let's get started by opening up a new document. And I have one right here. It's 4 thousand pixels in width by 1200 and height that seems to be kind of a nice ratio, gives you enough space horizontally to put stuff, but it's also not so long horizontally that they're gonna have to sit there and scroll to really see the entire style. So I'm just gonna do 4 thousand by 1200. I like to keep it in a nice high resolution. You never know if he might need to print these and bring it to a client presentation or if it's just going to be a digital presentation. Always nice to do higher resolution. Here we are, and we have a blank canvass and I think a lot of people freeze and they get a little bit of a panic attack because they don't know where to start and how to start. What do I start with? I feel like I can't come up with a style if I have nothing to go on, but just some data that we've gathered so far. So the client and the client brief said they had two different styles that they were still trying to figure out. One was this really pop, bright Pao. They said they even used the comment, I want it to feel like a power when they see it so they can bright vivid colors, more fun, soft topography, maybe even illustrations. I'm not sure we're going to see how that looks. And they also wanted to see a reserved one with maybe a seal graphic, just reserved colors. They even mentioned the color black. So it'll be easy to determine between the two styles because the clients already kinda given us little bit of a direction. So let's get our art board tool and let's create two art boards. Are going to go here and click on new work to be able to pop a second one, ride on there. So we have our two our boards. Let's start off with a fun, bright pop of color. So when we get started with these, the way to fight that panic of, I don't know where to start is to start out with your user persona. You might have Howard who haven't image of her or you can find a like image, doesn't have to be exactly her. Find a similar image, similar age, demographic. And possible titles. So let's go ahead and get our user persona outlets find someone very similar to the r star. So Amman pixels and I'm going to type in professional woman. We're going to scroll through and we're going to try to find someone who matches our user persona. So this is going to be a bright fun one. So I want to see if I can't find somebody with a smile. So it has a nice smile, very inviting and very warm. So I think I found the perfect one. She kinda has some clothes that are more casual, but yes, she's professional chances Smile, tour. She seems about the right age, kind of inner Thursdays. So just try to match that as best as I can. So I'm gonna bring her enemies going to copy and paste her right into. Let's go ahead and put them in the top art board. Let's right-click. Let's go ahead and make this a smart objects so we can make are smaller and larger and not worry about pixelation. And I'm going to press Enter and I'm going to quickly select her. I'm going to cheat. And the newest versions of Adobe Illustrator, I'm gonna do select subjects I can quickly masker. I'm gonna go down and masker really quickly down here, layering mask. And just like that, she has her background removed. I love that option in the newer versions of illustrator, it's worth the upgrade if you guys have an older version of Photoshop and don't have that, so she's going to be the star. I like to do it in the center and everything kind of fan out around her. So the topography and some of the other photo choices around her, but that it's not always the case. I've seen people do style escapes and they start off with, these are persona like they're reading from left to right and they kind of tell a story as they move over to the right. So there's no wrong way to build these, but I'm gonna go ahead and start off with her living maker a little bit bigger. Just like that. I don't want to make are so small that you kind of lose her and the background. So let's go ahead and put a nice bright vivid background art on her. I'm just gonna get the Rectangle Tool. And I'm just gonna put a pop of color here. Let's do a nice bright vivid orange. I'm going to put this in the background. And with his bright fun version, I also want to maybe add a little angle. And don't spend a lot of time and doing your own style here, or spending time on design because it's really just giving them an idea of a style direction. It's not at all making any recommendations for what it, what it's going to look like, just kind of a general idea. So now that we have our hero image, I like to start with topography. What typography choices are we thinking is going to work. So there is a couple we can just go through maybe some current type choices that we have in our software. Or if we want to explore different type styles, we can go to Google Fonts and kind of get an idea of style. So I'm thinking fun when it comes to typography choices. I don't want a lot of sharp, pointy right angles. I want to have some soft, rounded fun angles, but I also want to have it be chunky, easy to read. So very chunky typeface. So we can go up here to font properties and We can go ahead and increase this thickness and see what some of the thicker type choices are and kinda scroll through. So there's a couple of sans serifs. There's commit. Commit looks really good. So that can be something I can easily download. So you can download that font family. And you can even type in a headline. To kinda help you see, well, what is the name look like, what Islam company named look like in this topography choice. A lot of people show their font choice and they show the entire alphabet and how each letter is shown. And that is okay when you're doing branding guidelines and you're doing kinda some more final stuff. But for this, we're just going to kind of keep it some nice simple topography, maybe a little headline. And this case I'm talking about the style, the bright, vivid one, number one styles all about that pop of color and vibrant color. So I feel like the clients could connect more with that than they are seeing every letter of the typeface that doesn't really connect with them. They're not graphic designers. So you're designing this for non designers. So keep that in mind. So I'm trying to continue to define bright color palette doesn't have to be perfect. So another thing I can do is bring in some local designs that are from other designers that I thought would have the style that I want to go for. So I'm going to go on Behance. And I'm just gonna type, I'm going to start really broad and just type in logo design. And we can get more specific about what kind of logo design after we start to see some examples. So I really like these bright colors. Let's check this one out. All the colors are fantastic, but not all the typefaces are things that I think would resonate like that, not at all. It's two traditional. So there might be just one logo design out of this whole bunch that I think might match. And that's okay because we could just take a quick screenshot. And what I'm gonna do when I take a screenshot, I'm also gonna go up and make sure I copy and save who the artist is. Sometimes I like to get the link and I can go up here and I can have a whole series of different links to everything I'm using so that if I need to put a little credit, I can put a credit to the artists because you never want to take a logo and assume that it's yours. You always wanna make sure you give proper credit to people, especially if this is going to be made public. But once again, I prefer this to be just between you and the client. So I've collected a few logos. Let's go ahead and see what else we find. This one has kind of a lot of fun kind of shapes and angles to it. It's got this monoline. Look too at motto line, meaning, meaning single thickness. So it's got the same thickness throughout his feels very uniform, but it's got a lowercase presentation which is softer and more approachable, which we'll kinda go with their bright and fun look. So I'm just gonna take a quick screenshot of this. And I usually like to cluster the logo designs together so they can kind of see all of those together to get an idea on style. I'm just doing that right now. But it's also nice to see it on something very practical, or mockup or product. So restaurants, what would be something that they needed for the restaurant or every restaurant needs and would like to kinda see what a style looks like, a menu. So I'm going to specifically look for a menu that would be in this bright fund style. And I did this a little bit last night and I had a really hard time finding a menu that really matched our particular style. I found things that kinda were bright and fun. But they had this kind of illustration on it. And I didn't want to go into illustrations with this particular brand, so I had a hard time finding the right one. But after about ten minutes, I even typed in yellow because I wanted to kinda get something that had yellow in it and was bright. And so this is when you can start to be very specific about what you're looking for. And I liked kind of the simplicity of it, but I had that nice pop of yellow. Took me about ten minutes to finally find the right style that I thought would match everything. But sometimes some things are easier to find than others a logos I've found really quickly. So let's, I also ran across this topography option that I thought was also fun. It is a little bit different than kind of what we have here, but it's good to kind of introduce that because you're trying to get feedback from the client. They may go, I love the hand lettering, we want to have that. So it's nice to kind of throw something that's in the same category. It's bright, it's fun, but maybe a little different style that you think could work. So just kinda presenting all these in this fashion. I think also adding a little more bright color. Let me get a background here. Of course, we can modify these colors at anytime. It's very easy to do. Let's see if we can't find a little inspiration from her shirt. We can even help her pop out so she doesn't look like she's lying. She's a standing up against nothing. We could do some little small effects. Once again, don't spend a whole lot of time, but this doesn't take too long. I'm just gonna do some shadows is creating a layer underneath her. And I'm gonna paint with a brush tool, soft around brush. I'm just gonna paint on a little bit of shadows. So it looks like she's standing up against that background. And I'm going to reduce the opacity quite a bit. So it's a sick, a little shadow. So that's kinda before, after, just kinda adding a little bit of realism and pop here, let's add pictures of sushi, the kind of food photography we feel like we want to use with this style. So it's going to be bright and fun. Sushi photography. So let's go to pixels and let's look at sushi and try to find one that I think is very vibrant. See these are kind of washed out looking, so I'm looking for lots of color. Maybe a pop of the red and the orange. So that one looks really, really cool. So this got a lot of color to it, a lot of vibrancy. So I'm going to bring that went in. And remember, we need to use photos that's going to resonate with our target audience and with a kind of held that the client wants to be portrayed. So they make sure you don't get the volcano roles or the, the american ice sushi get very simple sushi because that's what the client is asking for. So when you do a style scape, getting the type of sushi they're gonna make or the type, the more traditional, simple sushi like this would probably be a more desirable photo to use than something like that. So I am just bringing this photo in. This is really just to set the mood for your style board. I want to do one or two more things here. I feel like something's missing. I wanna get to know this person a little bit more. She's probably what, mid-thirties. And this is kind of moreover, as almost feeling like more of a retro pop early nineties, almost kind of vibe would if we were to bring in some, something fun from that era. That is, just, just try to add a little personality. So I thought, what if I did a cassette tape? And this one's kind of fun. So I'm going to download that, see the bright colors that are used even on this and even on the cassette tape, just thinking out loud. So here's our cassette tape. Let's bring this in. This will be very easy to isolate. It's already smart objects. I can make it smaller and do our little cheat. And do select Subject that'll select it super quickly. And let's just do a layering mask. I'm going to bring this down to the layering system. I want it to be covered up by the logo, maybe just like that. And maybe there's a second one kinda floating around. Let's make her a little bit bigger. I want people to really get to know her. She is our hero of the day. So making her a little bit bigger and just doing some small tweaks to kind of finalize the presentation. And there's an opportunity to bring in maybe another logo over here or some kind of different type style with sushi cloud is kinda seeing what we could do with this little extra space. So that style one. And you know, spend about ten to 30 minutes on each style. And so maybe an hour total with two or three different styles. So let's tackle the other one. It's going to be way more traditional and reserved. So we're going to call it the reserve provided. 10. Stylescape - part 2: So for this one, we want to kinda keep our same user persona and will want to find a different version of her. So it doesn't have to be the same exact woman because you're not going to say find the same model, but she could find someone very similar age wise. And for this one, she's more serious and she has more reserves. So it's going to match the overall style. So we're going to build everything around this woman. So I'm gonna do a select Subject and quickly masker. I think I even wanna make her black and white because this is not a bright, fun, vivid one. This is more relaxed. So let's see if I can go to adjustments and add a black and white layer, my black and white layer. And it's gonna do a quick Black and White. And I'm gonna go and mask this black and white. So it only affects the layer below. So I'm just holding down option. Holding down option. You see that little arrow and I'm just going to connect this Black and White Adjustment Layer is connecting it down there below, so it only affects that layer. Let's make our tiny bit smaller so we can have some room for some topography. So let's bring in our type choice. Let's see what kind of type choice might work well here. And you don't have to just use Google Fonts. If you have the Adobe subscription, you could do Adobe fonts and do the same thing. And has a little area where you can do the thickness and thinness of the topography. You can browse fonts and they have all sorts of cool tags that might be helpful for brainstorming different types of typography. So we can go to font properties may be reduced the thickness quite a bit. Woo Monserrat is really nice. There's a Montserrat, It has a lot of different weights. So the more font weights you have, the more flexibility you have a love a typeface that has lots of different fall weights. So I finally ended up with the typeface for tomorrow, PT. I used a light and I also showed contrast by using a Dhimmi bold. So just doing a simple headline, the reserved one, elegance and sophistication with a focus on tradition. So i'm describing what that is, but also showcasing and tight choice. So let's do the same thing and put her on a background. Let's do a nice dark background for this. Let's expand that over the entire document and bring that down below. When I also want to do, is when you doing styles, there's also talking about textures. So for this, I thought maybe a gold texture would match really well with the black and kind of this color that I've picked out. So let's see if I can't go and type in textures and pixels and gold texture, so you buy, can't find something I could put over the typography. So let's first try out this one mixture here. So I'm gonna do the same thing on my texture on top. You'll hold down Option and clip it to the topography choice or the topography layer below it, flip it. And then I think that's a little too bright orange. So I can simply do a simple adjustment. Bring down that saturation a little bit, just to bring in more of a deeper rich gold just like that. So it's not as orangey. It a little bit. So I thought that added a little texture to that. We wanted to play around with texture for a style. So let's do the same thing. Let's bring in relevant photography. So this photography might feature darker backgrounds and might feature slate materials that sushi is resting on it might feature of our stone. So I found two photos on pixels that could really fit. This is that slate stone that it's resting on that I was thinking about. And here's another one that focuses on that traditional sushi fresh. It's expensive, it's valuable, that type of look. So we can arrange these in a certain way to kind of you're really telling a story here with these. So however you feel like you can best tell the story. I'm going to bring that in the background. And I don't want this sushi to distract too much. Let's see if I can't bring her up a little bit so that the type is not covered up too much. And let's start to pull maybe a few colors. So let's get a rectangle tool. I'm just going to cut. This is a good area to maybe add some color boxes. And I want to do kind of a darker gray. And I'm just gonna hold down Option and drag and its gonna get another copy of this. Let's bring out some of the gold color that we used. And let's make another copy. What other color, maybe kind of a cream, light gray color. We can even adapt something from the sushi colors that could be a possible inspiration for colors later on is bringing out the color of the sushi. So just kinda showing a, a brief little color palette here. We can also go for some logos that's going to match the style. So let's go to Behance and they talked about SEO graphics. And so I'm going to search for that right away, kinda see what kind of options we have come up. So here's an example that uses gold. It doesn't feel like a sushi place does. This feels more like a Steakhouse. So you just need to be careful about what we're choosing to make sure it matches. Gonna take you a few minutes to kinda find something. This is interesting. I really like the line art here and everything has the same thickness, so it's kinda monoline. And this has a wonderful seal graphic. So I'm going to scroll down here. There is an excellent example here that I can use. And you can just take a screen shot like a, just like a little screenshot to give the client and idea of the look and style. And once again, make sure you give this person credits. So Kevin Kraft, I'm gonna go ahead and copy his link and have that nearby so he can get proper credit for this awesome look. Since I like the monoline luck, I went ahead and typed in monoline logo and I found one that I thought would look really good as well. So among these seal graphics, I thought this one kind of had a nice traditional seal look to it, as well as this one kind of the circular topography presentation looked really nice and professional. And I want to bring out that gold idea too. So gold foil logo. So gold foil is kind of that gold that you see printed. And it shines its an actual foil that they can imprint just like this. That's kinda of gold foil stamping. So that could be an example that I can show and my style presentation. And that one's a great example too. It would be great to find one with black used as well. So I spent a few more minutes and found a couple of logos I thought were kind of seal graphics and also some really nice type treatments. I thought all kinda went well together. This, this should take less than an hour and you can even come up with a third one if if that's your client's needs, you may feel so confident you can skip this stage entirely if you feel like you really know what the client once, but sometimes clients say what they want, but they don't really mean it until they see it. So this can save you so much heartache by doing this and sending it to the client. You'll be surprised what they say. They always surprise me with their responses and go on. I like this style and you weren't even thinking of that as an option and they really just fell in love with it. So this is so helpful, it's gonna make the brainstorming process so much easier. So instead of having all these different style possibilities will really hone in on a particular style. So we don't have to sit here and sketch thousands of logos and wonder if they're going to like it. We're going to know, have a better idea that they are going to like it and have some direction. So that's the whole point of this section is to find a direction so we can start sketching and brainstorming. 11. Finding a Brand's Position : Capturing a brand's position, find ways to rate and quantify certain company characteristics and personalities. So sure some of this might be very subjective, but all these exercises can still be valuable in helping you find a style direction isn't required. Absolutely not. But each activity brings you closer to having definitive reasons for making certain design decisions. So you pick rating scales that pertain to the company, industry or target market. What's important to them? Client interaction and feedback can be very helpful in gaining valuable insight into the company. Is the company cleaning company would a rating scale that shows where they stand on price. It might be very meaningful when you're doing competitor research. Sharing these scales with a client and discovering where they land on the scales could end up sparking great conversations that can lead you down the path of certain design styles and decisions. So we're gonna do a quick example using our sushi club. And their scales can be made up depending on the industry. So like I said before, if it's a cleaning company, price would be really important to show. And so for this example, we're talking about a restaurant, we're talking about sushi, we're talking about takeout and delivery. So a lot of things are matter. So one thing could be how fast they are at delivery. Are they going to be faster than their competitors? Are they going to be slower? Then you're not gonna be able to find the perfect position on a scale. So some of that is subjective, that's okay. This is just generating conversations and generating ideas. So that when we go to the brainstorming process and we will finally get there, I promise. When we're brainstorming, we have these scales in our head, you know, so price point, where do we fall based on what the clients already said? They're not the highest, but they are a little more expensive than average. So I'm gonna put them a little bit higher on the price female. Another thing is talking about our target audience. Do we wanna be more masculine, feminine, gender neutral? So that's a really good question. Our user persona happens to be professional woman, but that one person doesn't represent everybody that could be our target audiences, just kind of a helpful visual for us. So that could be a client question, you know, do you want to go more masculine with your design? Do you wanna go more feminine? And a lot of these are being challenged today in our new world where, you know, we're, we're challenged to ourselves to be more gender neutral with everything we do. That it's really important. A really interesting discussion that you can either have with your client or have with yourself. Kind of figuring out where you think this this company would be best suited. In terms of that style, I worked for a company that had a 100% of their audience were min. So obviously I had a more masculine style. I used grunge. I know I hate it that a US grunge, but hey, it, the client liked it and that's kinda what they use. Darker colors, richer color. That's kinda what I did for them. So you will have some clients that will only target women and only target men. And it's good to know that. Okay. So here's another one is entry-level or retired. Where are they professionally? That that's a great question for us. Is when are they going to? Who's going to be most interested in delivery people that don't have a lot of time. So that's going to be probably people that are going to be kind of in-between. Some are going to be retired, some are going to be entry-level. I would honestly probably put this closer in the middle of kind of a career path because our user persona, she's in her mid thirties. She's kinda just starting to get some extra income. So style, this is another good one. So you have modern, transitional and traditional SO transitional is right there in the middle. You're not modern, you're not traditional. A lot of this, you can even have a home design and interior design. This is kinda some tags that they like to use. So do you wanna go more modern and fresh and simple and clean or traditional unreserved. And that's exactly what we were trying to figure out with our style scape and brand presentation. So I think they're gonna kinda sit in the middle and then it's not going to be super helpful for us, but it's good to know whether they're going to be ultramodern are also traditional. That would kind of change how we approach the brand to. And you don't have to use these for your client. I just picked these because I thought they would be relevant to my industry. So Bolden, reserved style, design. Are you going to be reserved? Are bold and that's exactly what the style scapes we're helping us figure out. So bright or neutral. Once again, that's another style. If he were to present and have the client rank these and put it on a scale one to ten. And trying to figure out where they are, this could be very, very insightful. So desired audience characteristics. Who do we want to be our client? Not who is our currently our client, but who would we like to be our client? Or they could be rule-breakers or rule followers. So that would change your whole design. So if you're a useful clothing brand and you want to target young people who are interested in changing society and going out there and just kind of being a rule breaker in a positive way. That would be an interesting care insight to the audience. What if they're rule followers and what if it's a financial institution? And then you have people who feel like they do all the right things and they're going through all the right steps. So this is all very open-ended and open. This is a way to open discussion. So risk-takers and risk averse. So that'll be interesting in the financial industry, Ru, have risk-takers who are going to be getting into investments that are very risky, like cryptocurrencies. Or you have people who are risk averse and they are scared to invest in the stock market. How we design using colors and color psychology might really get some good ideas of how to approach color two and psychology and making people feel safe with cooler colors, cool tones for the risk averse and for the risk-takers using some of those, Brett bought bright vibrant greens and oranges. We even have one for extroverts are introverts, are these people that are social or they kinda keeping to themselves, well, this is a delivery service, so you might have a little bit of introvert, introversion here. But this is just, once again, this is a lot of subjective stuff. But anything helps when when coming up with the brainstorming process. Do you have to do this? No, I'm just giving you a set of tools to use. You can choose to use all of these tools. You can choose to use just a handful. Whatever you feel like is going to be useful. 12. Word Association : So we are getting ready to do our word mapping exercise, which will be the precursor to sketching. So when we do a word map were coming up and generating words that neither the client has mentioned that member we wrote down in the client brief how repetitive words like fresh and authentic kept coming up later, some great word bubbles to start off so we can branch out and come up with other associated words to those main words. But if you don't feel like the client really provided you with a lot of content. Sometimes you have to kind of generate some of these words on your own. So we're gonna do this quick word association exercise to kind of generate some other words so we can help brainstorm associating words. So then we can get some concepts jotted down. So one thing I like to do is have two columns, list tangibles. So these would be things he can hold, touch, or see in your client's industry. So for an example, a home improvement company, some things that you can touch see hold. When you think of home improvement is a hammer, roof, maybe a work truck, tape measure, blueprints plans, a hardhat, just coming up with things very quickly. Wood, stone, brick, just kinda of raw materials. A house because a lot of these people are going to be improving their house, yard, a construction zone. So just kinda listing some tangible words is helps me brainstorm some words. Uh, we sketch. I got a couple of things in my mind that I can start to sketch. So there's also intangibles. These are gonna be experiences and feelings and emotions. So how did we come up with that for home improvement company? Think about when you improve your home or your apartment, or wherever you are living and you get something to make it better. How does it make you feel? Does it make you feel overwhelmed? Because when you walk in a home improvement story like wow, what do I, where do I go? What do I do? How do I even do this? Lots of people in my house doing construction work, just kinda writing down general ideas. Loving my home and liking how it feels after I put all the hard work into it or have other people come in and do the work for me. There's also homeownership pride. You know, I'm proud of my space and I'm proud that I'm able to make it better. And also owning my space. If you own your own home, which most people who go to home improvement store, they either own a home or they're trying to eventually their own home or apartment. So this is just a really quick word association exercise. We could do the same thing with our sushi restaurant. We can write sushi, wasabi, soy sauce. Just kinda brainstorming things right off the cuff. Intangibles will be the experience, how it makes me feel the rich, deep texture of the fish. How it feels to connect with people in an intimate space. Those type of things would be good examples. Words we can brainstorm. So with some of the word association exercises we did and some of the repetitive words that kept coming up that the client mentioned that we went ahead and jotted down earlier on in the class. We're going to take all of those words and we are going to make the map. We're going to do a word mapping exercise. We're going to take all those were bubbles and try to find associating words. 13. Word Mapping : There is not an exact science when it comes to work mapping. I've seen it done different ways. I do like to start off with a main word. Bubbles that are best associated are commonly used when describing the company. And those are my first words. But from those words, I can dig deeper and come up with additional words associated with those first few main words. You can continue to branch off as much as you'd like, or even come back and write down another main word, bubble as you think about it. So down the rabbit hole we go. The brainstorming process is a series of jumps you make from one idea or thought to another. You cannot get to the final concept without working through several steps. First, it's like jumping across stones of a pond. You can't skip ahead to the final stepping stone. You must slowly work your way through Vinny stones. Before that final idea becomes clear. Think of word maps as pathways to concept ideas. For instance, we write a life coaching here as the main word found frequently and the client brief for this life coaching company. What do we think of when we think of life coaching? Words begin to appear and from that additional words can branch off from those ideas and so forth and so forth. So let's write our sushi clubbed right there in the middle. What is the word that is not only in the name of the tagline, but something that came up really frequently in our client brief. Well, that was the word authentic. That's going to be a very easy word to start off with because it was so obvious. So when we think of the word authentic, know what other relative words are. Words that are also associated with authenticity come up? Well, I think a lot of traditions and history. So I think of a history. There's a reason why it's authentic is you have to have a history first for something to be traditional and authentic. And of course, traditions with the sushi place, there's certain traditions that they do where they keep the fish as the focal point. And they're trying not to Americanize the sushi. So there's a lot of traditional there and the type of knives and the way they prep the food is very traditional. So those are just some quick words that are coming up. So when I think of authenticity, I think of timeless. So something that we're drawing from her history. So I'm just going to write down the word timeless. So branching off from history. So now I can go to those secondary bubbles and start to brainstorm branches off of those secondary bubbles. So what I think of history of the word rooted cups to mind. So we're rooted in history. So all of these are starting to be connected and we're starting to kinda see some themes. So another word I'm thinking of outside of traditions is a ritual. So we're thinking of the ritual of sushi preparation. And that goes back to traditions, and that goes back to the word, all this stemmed from the word authentic. So the other word that kept coming up was the word fresh. So I'm going to jot that down as a, another second main offshoot of sushi club. So that'll be this Odin bubble. And so what I think of when I think of fresh, in our case, I think of raw. So fresh equals raw, it's not cooked. There's something very nice about that. Also, it's healthy. And going back to our user persona and how they kinda more of the healthier crowd of fresh, raw sushi can be very healthy. Lastly, a word that comes up is safe, that was also brought up as a problem-solving opportunity for our user persona or customer profile is safe. They want to make sure it's fresh and, but also it's safe to eat because we are talking about raw fish and it's important that, you know, we feel safe eating it. So that brings us to another word I jotted down after reading the client brief and that was experience. So I'm gonna type in experience. What does, what is part of the sushi experience? Well, you know, the first thing you do is you open up a packet of chopsticks. Either you have your own chopsticks that are nice, or you open the package that the delivery comes with, and you snap open those chopsticks. So that's kind of part of the first part of the experience. I think about slow food. Sushi is not something you rush. It's something, you know, you take your chopsticks and you just eat it one bite at a time. And that also popped up. Another word in my head is savour. So we're savoring or food, we're taking our time, it's slow. Food. And remember the list of tangibles and intangibles we just talked about. I just wanted to jot down some some tangibles. So some wasabi, it's part of the experience that's definitely different. You don't really see that in any other type of food that you eat and also soy. So always plays a big part of sushi where you have the soil and the salt from the soil. So just kind of writing down some simple items that are also relating to it. So another main word, bubble or ideas preparation. So there's a preparation that kinda came from me thinking about experience. There is a preparation process of preparing sushi. So I'm thinking, okay, they have the sushi knife, which are going to use really expensive, high-quality sushi knives to do all the preparation. They have really good high-quality ingredients. There's rolling and cutting of sushi. That's kind of part of the preparation process. So I'm really thinking and MR. To starting to kinda conceptualize some ideas and already kinda thinking of a sushi knife somehow involved in possible sketch or a logo, symbol or idea. You can also go back and add bubbles as you think about it. So I'm gonna go back to authentic and going to just write down Japan because I'm thinking we might want to study or bringing something with Japanese culture history into the logo. That's also a possibility. And I lastly thought of flavor, which I think would probably fall into the experience bubble. So I wrote that down and I feel like after about ten minutes or so I have some really good words, associated words that can really help to form some sketches and concepts. How do we turn these words into real concepts? So we have all these words that relate to the company name, the brand, LFOs, the client brief. But how do we translate these just words and shapes and symbols and to ideas for our logo and our brand design. So sometimes connecting several words together helps you to form a concept. For instance, if I came up with the word exclusive or high-end are rare, it might start to shape how I present the brand. I could have it be clean and simple and exclusive with simple symbols and elegant typography. This can also help us in picking out our color palettes later on down the road to. So I'm just gonna go through each main word bubble and see if I can't find a symbol or a topography treatment. We can start to sketch out and I'm just going to write these ideas down. So for the easiest one I think is the experience. I see chopsticks and that's the first part of the sushi going experience as the first thing you do. So I think people associate chopsticks, sushi. So we can explore that as a possible idea. Some square write down chopsticks and gonna start are researching how chopsticks look and how I can best sketch and draw those. So another thing is, let's go up to preparation. So the sushi knife, they even mentioned that in the client brief was kind of important to them. So when if I went and I studied sushi knives, I have no clue what they look like or how they differ from other knives. So I'm gonna go on Google and just kinda see what those divs look like. I think they even supplied us with an article and kind of study that and take a few, grab a few photos that I can use as references. When I go to sketch sushi knives, I can figure out how to work the sushi knife and the name together to see if I can intertwine them somehow and make it really cool. So when I go down to fresh, I see raw, healthy, and safe. So none of those words are really drawing up any concepts to show visually. And those are kind of more abstract. But I'm going to keep those in mind when doing it Healthy. Might be interesting. Do something with health, with leaves. I don't know. I'm gonna kinda keep that in the back of my mind and then safe. So perhaps having a logo that, that shows confidence. So maybe some bold typography, really chunky topography that makes you feel confident and safe, authentic we have, we can look at the Japanese history or culture. What about using a circle? As, you know, that's the Japanese flag. I don't know if we can explore that or not. Maybe we can look at Japanese characters that mean the word sushi or have something with like maybe the word authentic in Japanese characters. That's something we can explore, that's really neat. So I think that's something I'm going to write down and figure out. Okay, so I have some rough idea is we have a knife. I also want to play around with the word sushi Club and also want to play around with the first, almost like a monogram and take the first letter of sushi clubs, so SMC and want to play around with that knife, play around with the Japanese history and culture, and play around with chopsticks. So I have a couple of sourced images I can use as reference points. So when I go to sketch, I kinda know what chopsticks like already and you kinda know what the sushi light knife looks like. So I could just get sketching. So yay, we're finally here. All the hard work is over and now it's going to get really foreign. So I'll see you in the next lesson as we start to really sketch all this out. And we're going to first start doing some practice sketching exercises to get your creative juices flowing. 14. Sketching Warm-up: We're gonna do a couple of brainstorming activities in terms of helping us get ready to sketch. And so these are to be very basic worker to study letter forms. And we're going to just write down a letter and kinda see what we can form out of that letter. Lots of different things. We're not going to really do one specific company. We're just kind of brainstorming ideas here just to get us started for when we're ready to sketch. So let's start off with the letter a. So we're gonna do a. And so we kind of have this crossbar in the center and two legs going down the right and left side. So trying to see what can we make out of an a, what are different ways we can sketch an a and it's still maintain its readability. So what if I were to fill in this top triangle? Does it still read as an a? Would if I were to have one leg go down and have the crossbar go all the way across. Kinda reminds me of the Aerosmith logo, but that's where they kind of came up with that. So what if we stopped the a short it filled in the triangle and we didn't complete the other leg or we did complete the other leg, but you just see the bottom. So there's kind of some negative, interesting space there. That could be an opportunity to put a letter B there. I mean, there's all sorts of crazy stuff and come up with what if we did like a really thick side? And we did like a really thin side. And then we were to overextend the crossbar. We can make that overextension of pointy thing or we can take our eraser tool and flatten it out a little bit. What if we were to take the letter a and fill in the bottom half? Would it still ciliary doesn't a I don't know. We can take the a make him really thick legs. We could take our Eraser tool and do negative space where the bar would be. When it's still read as a. Let's take the crossbar, make it go out. Like this. We can even have this go ouch. Can make a wavy crossbar. That kinda gave me an eight aware I got to the wavy crossbars. I kind of went up on this one right here. And that kinda gave me the idea of wou would if we do kind of this really interesting wave. So see how one idea kind of leads to another. But didn't quite look as good as I thought it would. But I think for some time I can work on that one. So this is just the letter a. And we can keep going and going and going. And this is just some little sketching exercises to kinda get me started because the worst thing to do is look at a blank canvas and be like now what? But if I can take some letters and explore letter forms and kinda see what I can come up with a cotton gets my creative juices flowing and gets me a little bit into sketching, assist a little exercise to help get you excited and into sketching. We could do the same thing with the letter B is what makes a b a b. So we have kind of the straight leg and then we have these two closed counters. Are these two closed areas? They're completely closed. So you can challenge that a little bit and still maintain its readability. What if we were to fill in the bee completely, but it's still look like a bee. What if we were to separate the two areas? Would it still look like a B? There's a lot of wonderful negative space opportunities with the letter B two. Because we have all this open area to build something that can even put like a heart. And the letter b, just like this. Okay, let's try it with the letter C. Here's a letter C. What makes a letter c? L, letter C. Well, this little open gap right here, you have to have that R. It looks like an O or some other RQ or some other letter. So we can push the boundaries of that. Pushed the boundaries of that. So that starts to look like a g when I do that. So you can keep going with these if you'd like. But whenever you feel ready to start sketching, let's go ahead and get to our sushi Club of sketching ideas. I'll see you in the next lesson. 15. Sketching Our Concepts: So this is the most intimidating part of the sketching process because we're looking at a blank canvas and it's kinda scary. But we've done a lot of research so far. We've already have some words that an items and symbols we can start to research and sketch. So it's really not that scary. So a couple things I want to do, a lot of times I just like to write the name and maybe even write a monogram of the name. So Sushi club is sc. So just kind of getting an idea of the lettering to see what kind of opportunities might arise. Just writing out.s. And then C is kinda seeing what opportunities might arise from that. And another thing I'm gonna do, sometimes having grids on can really, really be helpful. So I'm in an app called procreate, which is a digital sketching out, but you can use Adobe fresco. You can use all these different digital sketching apps. You can even do pen and paper, and pencil and paper as well. And you could even get grid, gridded paper or a dot grid paper, which can be helpful in keeping your lines a little bit straight. But I'm a messy sketcher. I want to kind of get out concepts quickly, so I am not super precise when sketching. A lot of people like to be, and they're very, they took a lot of time writing the perfect sketch. But to me I end up vectorizing it and Adobe Illustrator and retracing over the whole thing. So I end up doing really rough sketches as feel like that's kind of my personal process, but yours could be different. So I'm just gonna go over to Canvas. And I'm going to do the drawing guide. And I'm going to edit my drawing guy because I like to have a nice tight grid. And I went out to reduce the opacity so it doesn't get in my way of sketching. I can also switch my pen or pencil if I want to, to get something bigger. Let's do, let's try out a few here, c, which would spill, right? That one feels pretty good. So let's see what that one is. That is the HB pencil. So let's, let's start sketching with that. I'm going to use my grid now to be able to make little bit more even letters. So just following it down to the grid, keeping it about the same thickness throughout. So notice how having the grid was so much helpful and making that see a little bit better. So I'm saying, see you just kind of exploring monogram ideas. I could even put, you know, kind of a big sushi item or really a and the jury, which is a big thing of fish with seaweed and the rice on top of it. And I could take my eraser tool and go back and erase all. That's what's so great about digital sketching, sketching apps, it's not as messy when you erase. So if you have an iPad or a way com tablet, digital sketching is usually really good. So undo the striations of the fish. We can even draw us and get some pictures of Nigeria online. See if we can't illustrate a little one. Just to kind of explore that. Notice how I'm kinda hopping one thing to another. It's just whatever my brain decides to work on at the moment. Follow that. Don't feel like you have to go 11 and some kind of order. There is no order when it comes to brainstorming. I mean, it got some helpful hints. But really it's you just getting everything out of that brain as fast as you can. And also have some chopsticks we can look at. Let's take a look at these chopsticks. So what if I did the S and the C? And what have we had like chopsticks coming, like a cross coming down C, that has some potential. So now I can do that again and maybe sketch it a little more clean. We can also just try the S on its own and then try the chopsticks to make it more clean, I guess, because it looks a little starting to look a little busy. Let's take the letter S and see how we can incorporate perhaps the letter C And make almost like an emblem. Monogram, monogram emblem. So I see kind of this little empty space. There were a C could go. So it's kind of like a really interesting shape that it's creating. There's also an opportunity for a C here. And I'm exploring the letter forms. The letter forms the shape of a letter and just kind of seeing opportunities. And so that is interesting how, how the S and the C can intertwine like that. So I might want to explore that a little bit more. Maybe make a nice long S and see how a c would wrap up in there to see that my, I might need to do a FAQ S. I get real wide. Then I can maybe get an opportunity to make the C defined because you wanna make sure you can define all the letters and your monogram. It'd be a shame if one letter was unclear because then your logo would be pointless. So that could be really neat if I had an S, head of S And then I did the sea, then I can get my eraser tool and have all areas where it crosses over. So I'm just gonna erase that little area. Kind of give it a shaded look. So let's go back to our keywords because we're right now we're just having a little bit fun with it and exploring the letter form. Let's go back to some of our words if we get a little lost and like okay, I'm starting to run ideas. Let's focus back on the chopsticks a little bit more. Let's continue. Let's do r, s. And let's see if we can't get a chopstick incorporated by just using one of the letters. So what if we had a chopstick that went all the way through the S, almost like a snake wrapping around the chopstick. But then again, this is one stick doesn't relate. It looks like a dollar sign to me. So we can incorporate another chopstick. And the kind of realized, well, that didn't quite pan out like I thought it would not as defined, that's okay. That's why we're sketching. We can even make an S Adam chopsticks. But I don't think that's really strong. It's kind of a weak S. I don't, I don't see that as a standalone symbol, looking really modern and trendy and traditional. So let me do the S over here. And you know what I'm starting to see? Remember when we said the wasabi bowl and the soil where you put your soil. What if this bottom of the S and almost kind of reminds me of a bowl, maybe a bowl holding, something could be holding with Asahi bowl. But once again, that's kind of that's hard to show and define for users. If I can't tell, that's a bowl, that's going to be a hard story to tell. So let's continue to have these crossed chopstick idea. I think that has a lot of promise. And let's see if we can do kind of a monogram, do the SNCC. And then what if we put the year it opened? So let's say 20202020. And then maybe down here it feels kinda empty. So I thought maybe we could put like a little Sushi. Sushi roll down there, super rough, but we can probably go to a new page and do some different iterations of that one to clean it up and to think about that one more, we also have kind of this round shape that a sushi mix when you look at a top-down view of a sushi. And we have kind of the seaweed wrapper. And what if we were to have that kind of be the seal? And then we had an S and C existing inside a little sushi roll. What if we did crisscrossing chopsticks? And what if we did the S and the C on the top? And what if we researched and found some character or some Japanese characters going back to the heritage that can exist on the left or right. So we could do a little bit of research on that. And you might want to run it by someone you know who speaks Japanese just to make sure it's correct. There's also the seal graphic and let's go ahead and toggle off this layer. I'm gonna do a new layer. So I'm keeping this all in the same document at as kinda need a fresh start, a fresh layer. So I still have all that other stuff saved. And I want to try the seal graphic. So, you know, seal graphics are basically circular in nature. So what if we had, if we had sushi club and we had our crossed sticks here, we completed our circle somehow. And we have like different types of sushi. So have Nigeria, we have she, she, me, we have the Mackey sushi roles. So that's a possibility. So as you can see further down in this process, this and can take a couple of hours. So I'm not going to show my entire process. But now I'm exploring the knife, the sushi knife. I went online, read that article trying to figure out what a sushi night looks like. I tried sketching that. I wanted to find a way to incorporate the knife and maybe the chopsticks all in one logo. That might be too complicated. So as you can see, I was starting to explore different ways to incorporate the knife and the letters SC. I wondered if I can do the knife and have the intersecting chopsticks and the sc and be able to clear out some negative space that the chopsticks create when they intersect the knife to kind of create this one. And kinda shading and end to show color. And as I was drawing the sushi knife, I noticed an interesting shape that the top of the blade created and I can see how you can form an S out of the blade. I continue to see if we can make some kind of icon. I can go on a lot of the branded materials by forming that ass out of the blade. So this was me trying to figure out how do I incorporate an S in a C and also make it a blade? And I started to realize when I started to work the Sea into the blade, it got too complicated at I kinda had to stop. But I think there is some potential and maybe this one with the with just the S and the blade, it could maybe if I turn it horizontal, it can be kind of a really neat compliment to the logo. So within about 45 minutes I'm filling out all this extra space with as many iterations as I can think of. And then I got to this one when I was starting to draw out the name sushi and I was using this really condensed long kind of topography. And I thought, hey, that's an interesting idea. See how the S and the middle of sushi looks like the knife, the sushi knife. So that was kind of the catalyst to get me to this next idea. So I started to sketch out that idea and thought, hey, I can't even fit club underneath sushi. So this would be really something that we're not going to know if it's gonna work until we vectorize it and see kind of how it looks. Vectorized. It looks kinda really cool is a sketch, but is it going to be readable? Is the topography to condense to looking as it get a read well, when it's really small. So this is something I think is a really interesting concept, but I just wonder how viable and workable It is. So we have some really interesting ideas and we have a kind of a couple of pages of sketches. And what I wanna do is start to circle the ones I think have the most potential because I don't want to waste any time vectorizing any of this artwork unless I think it has a shot at being liked by the client, but also being readable, legible, and matching up with our target demographic. All those have to have green lights. So when I'm looking at all these, I definitely want to take of that idea with the knife in the S. I want, definitely want to see what that looks like because I feel like that could look really awesome, but it's gotta be executed, right? So I definitely want to give that one a try. I feel like I want to give kind of this seal graphic with the chopsticks, a try with a monogram, because I think that kinda hits everything that client was looking for. It's simple. We can easily put it on chopstick wrappers. We can easily do little symbols and icons out of that. I think that's a very flexible logo. I think it could work. A lot of these are just too complicated to work and I just have to let them go. And we can't we got to pick out what we think will work and let some go. I think this is interesting with the S and the knife coming down through it. That has a little bit of potential because it's pretty simple, simple and sleek. And it has a sushi. But it also has the S of the first name of the company. You can also make sure you post these on any kind of graphic design or logo design forums you are part of and say, hey, what do you think? You might get some really interesting feedback that can help push you toward one direction or another that she just didn't think about before. So let's grab the five or six different final sketches and bring those than to Adobe Illustrator. 16. Logo Design Section - Getting Started: Welcome to the software portion of the course. I'm going to be an Adobe Illustrator for the next couple of lessons. But you can use any vector creation software. So you can even follow along with me and Affinity Designer if you'd like as well. And this is not going to be, of course, is gonna focus on how to use the software tools, some of the basics. Hopefully you'll already know if you're in this class, but I will go over some more intermediate or advanced tools as I run across them. But the whole goal for the next couple of lessons is to go through how I take these sketches and how I vectorize them to make them work as a logo. So sometimes you have these really great sketches, but when you start to vectorize it, you lose some details or you lose some qualities. And so there's kind of an art to be able to take a sketch and to vectorize it. Sometimes it's up, it's more complicated than just tracing over it. Because there's textures of the lines and different strokes and different things we have to think about. So I'm going to take all the sketches that I got. I just took a picture of my procreate screen and I brought them over here in Adobe Illustrator. So I'm going to open up a new document. When it comes to sketching. There's not really a urine, a vector program. So size is not really a big deal right now. So I would make sure you just do an 11 by 8.5 inch or you can do horizontal, you can do vertical, however you best like to work. I'm just gonna do horizontal. It's not a big deal. So we're going to create and we have our blank document. And just to make sure our screens match, I'm gonna go up to window workspace and I'm going to reset my layout. I'm gonna do a layout workspace. And I'm just going to reset that. So if you're curious to see kind of how my tools look, I'm just going to reset that so our screens can match. So here we are just pasting in some of the various screenshots we had. So what do we want to work on? First? Let's go to our first sheet and figure out what was one of the concepts we wanted to see how it worked. Let's try this concept are right here, so I'm just going to bring it over, make it a little bit bigger. And I can go over to my Layers panel right down here. And I am going to just make sure I lock it and then add a new layer on top so I don't have to mess with anything. Pop it around. So here we are. I'm going to get my pen tool and I can even reduce the transparency on this layer. I might have to unlock it to reduce the transparency. Let's get my transparency window. I don't know why that's not on there by default. That's no problem because I can add it and just reducing the opacity so I can kind of see a little bit more of my vector work. Relock that layer and let's begin. So this is going to be, we did a lot of study of chopsticks. I got to hold them and feel them. I got a couple of packages of these to go. Chopsticks. I can kind of understand what's the thickness of them? What do they look like? So I'm having that in my head to get even download a photo of chopsticks to trace over. And what I wanna do is I make sure this is some crazy bright color. I can able to see what I'm doing. Maybe just stick with the black. And notice how that one's a little bit longer than the other one. I didn't want it to be too symmetrical because I didn't want it to look fake either. And I went to round out those sharp edges. So I'm just gonna select both of my chopsticks, get my Direct Selection Tool along a, see if I can't round those sharp edges a little bit. And might have to do them individually, select one of them, Direct Selection Tool around that edge. So just going through all of this to try to vectorize it the best I can't I'm making, it's not going to be exactly like the sketch. There may be things about the sketch that aren't perfect that I want to try to address. Okay, so let's draw a little sushi roll. I'm going to get a picture real quick from the internet. So here's my little sushi reference photo too. So I can get an idea of kind of the main characteristics of a sushi roll. So let's kind of see what we can do here. Let's see if I can get the Rectangle tool. Just make a rectangle shape. And let's see if we can't get the curvature tool to help bend it down both lines just like that. It's clicking in the middle and bending down. Now I can go ahead and add the circle. And we can take our direct selection tool that is loved around those alleges. Maybe just round the bottom 2S. I'm gonna click twice. That bottom left. Click twice around the bottom right, just kinda adds a nice smoothness to it. And we can think in that line because you see how thick the, the rice is here. It's a lot thicker than kinda had the idea I had in my head. So let's look in that. It's good to our Stroke panel. I might have to do something in the middle, 1.5.8. And what I can also do is instead of it being this perfect little circle, we can get our curvature tool. Make it a little less of a perfect circle because it just looks almost too perfect. Sometimes you have to zoom in and get the right block. There we go. So there's our little sushi roll and now we just need to do in S and C. So I can sit there and try to trace an S by hand. Or I can see if I can't find a typeface that's going to be pretty close to that style of an S. I remember when I was doing my studies and I was looking at some font and typography choices a little bit earlier in the course. There was one I ran across that had a lot of different font weights and I kind of enjoyed kind of how it looked. It was called Montserrat. So Montserrat, let's try a medium and let's go thicker. Let's see, you know, a little bit thicker. So maybe extra bold. I think black. That could be too thick. It might take away from the readability, but this extra bold seems to be nice and chunking I know we talked about, and this is really when we're making these kind of decisions, these design decisions. We've already gone through all that research. So when I'm doing all this in my head, I'm thinking of the client persona. I'm thinking of some of the research stuff we've already established and came up with something in that bold, thick, confident chunky choice might be good for the typeface. To all that hard work has been done, analysis meters, making it come to life. Okay, so looking at this roughly, I want to also firing move these. You can see how there's a little bit of a shadow cast there as they crossover. I can emulate that easily. Let's make sure this ones on the top. And what I'm gonna do, I can even do probably easier to draw an area that I'm going to cut out with a shape builder tool. So I'm just gonna almost cut out that the shadow area like that, a different color so you can see. So I just drew a little box here and I'm gonna take this one right here and select my little box. Take that shape older tool, you'll hold down Option or Alt and just clip all that out. So what that does, that little cash shadow without having to cast a shadow. And so what I see here is in my sketch and this is why sketching and vector art sometimes needs to be tweaked. So that looks great as a sketches close it as, as it is. But now that I have a little bit more of a wider typeface, see how this is more condensed and shorter and width and this one's a little bit wider and length. When I do that, when I took it really close to the object that seems very almost too tight and it needs to have a little bit more space and breathing room. So because of this, because it's a much more stronger character here, I'm going to move this slightly over from the object. And that is going to create just enough of that extra space to let the element stand on their own. Of course, you don't wanna do it too much or it's just gonna feel disconnected. So it's trying to find that right. Tweak space and sketches or guide. You don't have to sketch over it perfectly. It's just there to give you the concept idea in this case. So now I'm doing a visibility test and I'm slowly zooming out and saying, okay, can I read the SC, Can I make out the objects? Can I tell those are chopsticks. So far it's passing the test. And I almost wonder now that I'm zoomed out here. Just going to try the black. Just gonna try the black which is the thickest to see how that works out. It might even be better that I'm doing a visibility test. So there's one concept down. We can do lots of different versions and iterations of this later, let's move onto a second concept. I know we wanted to try one with a knife. So is there one down here with a knife we wanted to dry. 17. The Knife Concept: So this one with a knife coming down through, it was interesting. Let me see if I can't find a typeface that might match that. Let me do a capital S. Let's try Montserrat and tries going to be a lighter weight, maybe irregular. But it's going to be it's a lot more condensed, so it's going to be taller and lower and less than width. So let's see what else could match that S strand to make life easier on us, we can hand trace that S if we wanted to. Looking for a nice condensed S NEW quicksand, that S could work. So what I'm gonna do is I'm gonna hold down Option and drag Create a Copy and see if I can't find something even better. When for a nice. And I want to have that. See how the S kinda comes over here a little bit more. It doesn't stop early. So if I do this S, So this S kinda wraps down and this S kinda ends. So the terminal is right here and it doesn't bend down like this one does. So that's how I know that that's not what I'm looking for. I think that one's a nice match because we can always round the edges, are self. And I like the little bit of a thicker presentation. So this is virus ends book, just happened to be firings sands book. I only have one way to that. Let's see how that looks when I put this over top, it's not an exact match. But let's see if this concept is viable. So we also have this sushi knife. I can go get a picture of a sushi knife. I'll be right back or is a sushi knife I found? So I'm just going to get it in the right orientation. I could even trace over the basic outline of this and that could be helpful to getting the most accurate night. You can see my sketch. It probably put more emphasis on the length of the blade. That's okay. I'm, I might've seen another sushi. There are a lot of different styles of knives. So let me get my pen tool and see if we could just do a very rough basic trace of this. We really want to simplify our objects. We never want to be so detailed in our logos at those details get lost when a logo is really small. So that's why we want to simplify complex objects. We never want to get too detailed. So clicking at the apex and dragging, just doing my pin tool practice that I've done all these years, clicking and dragging. So trying to do it in the least amount of anchor points as I need and I can go back and tweak this real quick in the direct selection tool. So there's a rough outline, let's make it a solid. So there is our knife and there's our.'s. And what I'm gonna do instead of sitting here and trying to use the shape builder tool to cut all around here, all these little edges. I kinda want the S to look like it's a wrapping around. So what I'm gonna do for right now is I'm just going to add a white Stroke. It's adding a white Stroke and putting it on the outside. So Align Stroke to the outside. So now there's an outside stroke. So I can get an idea of how these will interact and look together. And I kind of prefer a longer blade. I think the longer blade might look really good too, but let's just see what we can do to trace over the longer blade. So now we have a long blade and a little bit of a shorter one. In looking at sushi knives are kind of all over the place in terms of blade length. So it's not like there's one specific one that wouldn't we'd have to use. So we're kind of a little more open-ended. So which one has better balance? I feel like the handle on this is just so big. It put so much emphasis on the handle and not necessarily the blade. But I do feel like this one is softer. It doesn't seem as now the one on the right seems like it's a murder weapon. It's this long, intense, sharp blade. And this one on the left feels more like a cookie knife. And I think that's a really interesting perspective and I think it's worth showing it to some colleagues, just kinda see what they think. We don't want this to look like a murder movie either. We want it to look like a restaurant. So that could go and determine what blade length or blade type we use. We can also, if that is an issue, we can take our Direct Selection Tool, double-click on this and just round out our really, really sharp corners. So it doesn't look as much like a murder weapon. It looks more like something approachable. So just kinda surrounding those corners. But there's something I'm concerned about what the concept that we'll continue to explore. So let's see if I can't wrap this S going in and out are weaving in and out somehow. So I'm gonna do that next. Went back to the skinnier As here with the quick fan and dusted a little modification to it. I felt like with a thicker one when I tried to weave it in and out of the knife, it was almost too thick and it was kind of covering the thickness of the stroke was covering up too much of the knife when I received it through. So you can tell what it was. So decided to go with thinner looking S. So let's have the knife handle B on top here. So that means this could reverse and be on the bottom here. So how do we cover this up? What we're gonna do is we're going to outline this path. So I'm going to go up to Object path outline stroke, and I can right-click and I should be able to Ungroup this. So I've ungrouped now I have the main knife and then I have the strokes of the fill. And the stroke is separate elements. And this is going to really help when I want to be able to use the shape builder tool, took, took, cut out an isolate items, get the shape builder tool and we'd hold down Option or Alt. I gotta punch out this smaller areas it is punching that out, punching it out, punching all this stuff I don't need out. So it's gonna look like it's going to come through the knife. Not gonna touch this because I want this to kinda come on top of the knife. Gonna go down here and punch this out. And you just want to have one in colour used. That would be really nice with a logo design, very flexible that way, or punching all of that out. And now we want to look like this is covering, this is going on top of this is going, if the knife is on top here, we want the night to look like it's on the bottom here. So I'm just going to remove this. We did not cut that out using the shape builder tool, so that would work there and see how a very One distinction of the blade is covered up. And when you have it all as one object now, it's really just one main color. I'm not seeing that really defining part of the blade. And so it doesn't, it's not defined that the blade is not standing out from the F. Let's try something a little bit different here. I'm going instead of doing a stroke around it and cutting it out. Here's what I'm gonna do. I'm gonna make these two different colors to show contrast and give it a layered look, because right now it looks like it's just running right through the night. There's not this layered look where the S is wrapping in and out of the knife. So let's make this a little bit of a lighter gray color. Just to give it some defining characteristics, we know where the S is in relation to the knife. And here's what I'm going to do. I'm going to duplicate this nine because I wanna keep the original knife. I'm going to copy and I'm just going to go up here and do a paste in place. So it's gonna make a duplicate, but it's going to paste it right on top. So now I have two of them, and one is right here on top. Now I'm going to select the s And I'm going to take the shape builder tool and I'm going to punch out the top and everything about that top one, but leave this little section there. I was just interested in getting this little shape right here so that I can make that gray and give it this instant weaving in and out effects. You can see I may have the knife here fully intact. And I have my S here with just this little extra item on top. Draw little shape I'm, all I'm doing is I'm intersecting objects, so then cut out. So it looks kinda complicated. But in the end I'm just trying to get a nice little shape. I could have just drawn that with the pin tool, but wanted to be precise automatic casting a little bit of a shadow there. So that means I would cast a little shadow along the blade so I could just use the pen tool for this one. I got my smart guides on. You can always go up to view. Put your smart guide on, it'll help you snap a little better. Two objects. So I'm just clicking and making a similar shadow. Make sure I have a nice curve to everything. Make it look like a realistic casted shadow. So just little shadow casting details that I think make a difference. We can also try this on black just to see how it translates. So we'll bring this over, just giving it a copy. And I can go down and do a little trick. I can go down to Edit, Edit Colors. And I'm just gonna do a quick Invert Colors. And what that's gonna do, it's gonna make my blacks whiten my Whites Black. So it's going to reverse everything out for me. And I might need to tweak my shadows a little bit and make that slightly darker than the gray it's resting on. Kinda seeing how that looks on white. We could even get the c in there. And this was not part of the original sketch. That's okay. This is when we're still concept doing some concept developing. So I can even get the pin tool or even take that same font and see if I can't do a lowercase c. And somehow work like a C in there. Somehow in that space. I can even right-click and create outlines and then add a similar color. Stroke. Groping gonna increase my strokes and make it thicker to kinda match the thickness of the.'s. 18. Seal Graphic Concept: So this is what I finally came up with. I did the same method of cutting out, just made a duplicate of the sea and brought it down slightly to make it look like it's a cash shadow onto the blade. And just change the direction of the shadows a little bit to cast on the right and then cast down. So just trying to create a weaves in and out effect, just seeing how that looks on dark background, seeing how it looks and white backgrounds, and seeing what kind of AES works. So let's take a pause on this one. We're spending a lot of time on this. We probably should continue to move on to other concepts. So we don't spend too much on a concept that's not net may not even work. So low, we have two of them developed so far. So it'd be interesting to challenge, do this one, this knife right here. And what's great is we already have sketched a knife. Let's get this one so we can copy and paste it. Some of the hard work's already done. And we have our little knife here. We already have crossing chopsticks. We already have crossing chopsticks right here. So that part's already been done. This is really just a same concept, but it's a different arrangement. And we have an essence. See already. Let's get that back to be a full shape. Right here. Let's move that out of the way. And it looks like let's make these a little bit more of a crossing position. And it looks like on the original sketch that I would carve out this little section using the shape builder tool. And that gave you kind of an open space to kinda lock in the monogram. And let's bet one seems really strange. Now that I look at it, it looked really cool on the sketch. And let's see you maybe is there something I'm doing wrong? It's just not quite translating really well, so I'm going to abandon that one. That concept is over. So let's see what else we have. And this one looks really cool because I researched kind of sushi in some characters that I can draw. So what I'm gonna do is I'm going to redraw this one. We have an S. Let's try to find a different typeface for this one. Let's try to find something really uniform. So let's go in similar to the S that I sketched. Have a near looks pretty good. Let's lighten, whiten it a little bit. Let's do and did my bold, did my bold Avenir. And sometimes you can modify yourself so what I could do, and I'll make a copy. And I'm going to take the original, going to right-click it. And I'm going to create outlines so that I can then soften all those edges. Ok, so let's just quickly go over these characters. And I want those to be nice, straight. Lines. So I'm gonna click, I'm going to hold down Shift and then click again. And I'll be able to turn the corner. And as holding down shift gives you that perfect line here and just kinda unify that. I would like to round all of these little edges here so I can select all my Strokes, go to my Stroke panel and around those caps. So the rounding the caps, I can even round the corners to that softens everything a little bit. And let's do the same thing with this character. Click to a nice angle to that. Once adapter, Same Stroke thickness. Click shift. I'm gonna hold down Option click off and then I can have a new line. I don't have to sit there and go all the way up here again. Well done option click off and then I can start a brand new line without having to go anywhere. Those are my characters. Let's see how that looks when I take away the sketch Player, I did that on a black background, so I'll have to reverse the colors here to see it. So lots a little tweaking things I can do. I can even add the shadow here. Intersecting the chopsticks. Who's drawing a box, just doing it really quickly this time. And now I can make it a light gray that look like it's a shadow cast. And just make sure I get my Direct Selection Tool and I'm a perfectionist. Just go and make sure all that looks good with the direct selection tool. So let me do a matching typeface here because I don't think those were matching up. Like I thought they were. I didn't like the c of the first typeface I used. So let me just go back to Montserrat so that both of these match. So I'm gonna make sure they have the same height. All these little things that you go back and forth on in logo design. So when I go back, the balance is completely off. So these characters probably need to be thicker and stroke. So let's increase the stroke on that, but not quite as much. It'll split the difference. And let's make these characters bear because right now these characters are too small compared to the other characters. And the highlight of the show is sushi clubs. So S and c should be slightly more prominent than the other characters. So we wanna make sure that lines up nicely. It's getting a sense for size. We can perfect it when, if it ever gets chosen as the concept, we can really get nitpicky, but right now I'm just trying to see if it's viable. So you can see two different typefaces I explored. I also decided to do a cold cocking. And even if that's the right way, say it, but that's how it's spelled. Decided to, to explore a Serif typeface as well to see how that, IF that made it a little bit more elegant or traditional, I'm not sure. So I have two different kinda aversions happening here. So I'm gonna keep those to the side and it's making me want to move on to another concept that's similar, where we have the different sushis all the way around. And we can have different varieties of this as well. So kind of more of a seal graphic where sushi Club is going to be around in a circle. So let's take this concept is already developed, so I can just take a copy of this, bring it down here and make it happen. Let's eliminate the S and the C. Let's put these two characters together. They're supposed to mean sushi in Japanese, but that's another thing I'll need to research even more and put those on the tablets. Come up. We have the three right here. I have four different sushis, but really the client talked about three and a jury, Shi, Shi, Mi and Mackey. So let's see if we can't find some pictures on the Internet that we can trace over. The great thing is, Hey, we've already done some work on this. We already have a Mackey role. Let's bring that Mackey role in and I might need to do some adjustments on color. And so let me, that's a, that's a path. So let me just go and do an outline of my path. So outline stroke. So now they can all be united as one thing. Let's get my shape builder tool and just, just bringing, making that all one little object. And I can just get the eyedropper tool and make that white. So I have my Mackey at the bottom. So this is very similar to the other concept, but we're going to draw a little Nigeria and a little fishy me on the right. So let me go find some good reference photos. I'll be right back. 19. Logo Typography : A chance to study what nigeria looks like. I'm seeing some half seaweed wrapped around the middle. And they have a pretty big block of rice there on a thin little piece of fish. So I'm getting an idea to studying what it looks like. I think I like the idea of seaweed wrapped around that I think I can create an icon that looks like just like this one right here. I think we can do something like that. So let me keep that reference photo. Let's make a so this is very simplified. So let's do a very simplified version of this. So let's get our rounded rectangle tool and do our bid of rice. And that's a pill shape so we can extend that out to make that a little less like a pill. We can take the curvature tool that's a kind of an unnatural shape. So let's kinda make it a little more natural looking. And then we can do a piece of fish and do the rounded rectangle two on top. And it'll be a little slice of fish. What's around those corners, but not a whole lot, just a little bit nice square piece of fish. And now we need to do the little seaweed wrapper. So we could do the seaweed wrapper can go right over top. And that could be the same color as the background, just like this. And this up and out, we can always use the shape older tool to carve that out. We could do horizontal lines to indicate the striations. You see an Ra sushi. So creating a diagonal line and just holding down option and duplicating it. Because before it didn't quite I really want it to look like and the jury I don't want it to not look like that. So this is a straight line. Everything has a slight bend to it. So let's keep the same curvature tool and just add a little bit of a, just a tiny little bin. So it looks more natural light gets curving around to wrap around the sushi. And so when I zoom out, here's the problem. I'm zooming out those little details, the striations on the sushi, they look almost you can't even tell what it is. It looks like a mistake. So it was, it's almost as not too simple. So what we need to do is probably get rid of that little detail. So what I may have to do is since that's not looking at all like Nigeria, I'm going to have to go to a fixed stroke kind of illustration just like this right here. So instead of doing a solid shape, see if I can't do a stroke and get the top, I need a little contrast between the sushi on top and the bottom. So let's add a stroke there. So just changing it to a stroke kinda helps define the outlines a little bit. Let's make the seaweed smaller. So there's no jury. And then we need to do she she me, which is really just fish. It's just fish. So that's going to be a little bit harder to illustrate. We could do it a couple of ways. We can get our pin tool. And we could do it like this. So you have these different icons and we just need to make sure everything. Feels balanced with them, that they're all appropriately sized with each other. That may mean making some of these smaller AND tucking it inside. And making these all a little smaller compared to the chopsticks. So now we want to do sushi Club around it. So we're gonna get, we're gonna do that next. And we're gonna get our Eclipse tool. And we're gonna do our type on path. And let's type out sushi flow. So one thing I noticed is this feel so tight up top. So let me just kind of change the angle of these just lightly. I think that looks better. And let's change the shadow that's casted. Let's have this be kind of a diagonal. Almost like drawing a triangle. And it looks like the shadows, the shadows casted down. So let's do our topography. We did a ellipse tool and we just did a simple type on path tool and I just wrote out the name sushi club. So let's figure out typefaces. So let's try a slab typeface. What I love about slabs is they have equal contrast throughout the characters. And I think it adds a nice consistency. I think it would work really well with this brand. So there's one I can even go to my filters and filtered out. There's my slabs. There's one I really like in its robot to see if I can't find it. Well, let's do it thick enough where we can see it. So let's do a slab bold. And so there's a lot of things we can try. We can try all uppercase. We could try wide spacing between the characters. Let's see what an all caps with wide spacing looks like because that's a very nice when you put white spacing with large capital letters, it gives it a nice elegant look. So let's do a nice white spacing. Let's do something really dramatic. Let's try 500. And we need to go up and go to Character and do our dropdown menu and make sure it's all caps. So that's very, very dramatic. And what's great about having wide spacing between all cap, all capital letters as I can make it a lot smaller so that the type does not overwhelm. The type size doesn't overwhelm my icons because we want everything to be balanced. And instead of continuing to type on this line, I want to create a new circle. Because if I were to type on this line and keep going, the keeps going along a line, it'll be upside-down. So let's just duplicate this. And I teach this in my basic masterclasses, but I'm going to go through it again. I'm gonna go over here, I'm going to reverse it. So instead of being on the outside, it's going to be on the inside of the circle. So I'm gonna go around and see if I can find C, that little arrow down there. I'm going to click and hold and bring it on the inside. So now I can do our little tagline. And I decided to keep with that Montserrat typeface that we've been using just to kinda be consistent on once you like a typeface for a brand and just continue to use it until you're told otherwise. So I thought that could look good. And I wanna make sure these circles make a complete circle when put together. So I'm going to have a base circle can make it a different color. Just making sure these match up really good. Right about there. So now I can bring in my little elements and make sure I have the right balance between everything. With everything I love to duplicate it and tweak and find the right balance. This is what I had before. I thought that was the right balance, but once I increased the company name, I felt like that was being able to be seen first and then authentically prepared was seen more as a tagline, which is the truth. So I felt like the one on the right worked better because sushi Club was way more prominent. Even though I kind of like the icons. I did two different versions of each icon just to kinda see what I can do. And I kinda like the icons on the left better so I can probably make a combination gets icons on the left with the topography treatment and seal of the right. So we have a couple of great concepts developing. Let's do one more. There is this one with a knife I thought was really interesting. I didn't know if it was going to work or not. But let's try the one where it's just the knife and the S. And then let's try to do the one where it's kind of it's own kinda typography based logo. So let's start off with a knife. So we're gonna get the pen tool and start doing the handle. And I'm making sure I'm adding lots of curves to the handle. And now I'm going to trace around this S, clicking and holding and getting my corners and getting my s. And then I'm going to need to get a stroke. And then change the thickness may be it may get thicker and round the cap and round the joint. I do that quite a bit. This gives it a nice soft appearance, so that looks really cool. Just real quickly sketching that out. The one I've thought with the sea and it looked neat, but I didn't think that it was gonna look too busy. So that's why I ended up picking this one. This is interesting because I think we can do something with the topography we haven't S here. And we can put sushi across here. We could just have this as an icon. So let's go ahead and take, let's do a sushi club. So if I had the company name. So the problem with this, this is very tall. I probably have to eventually do the topography like this to be able to balance it out so it didn't look, there was a Washington, a whole lot of white space on the top and bomb fell more balanced. And this could end up being a totally different type face and just doing something really quickly. So that's interesting. I don't know if it's worth pursuing further. I want to try this one before I move on. So this one will be a little bit more challenging. I might need to get the grid on this one. So what I'm gonna do is I'm going to turn on the grid view show grid. You'd have my grade on. Just want to get a general idea, I'm going to see if I can't line it up on the grid, the illustration itself. And it was taken a screen shot on the grid, which is going to be kind of confusing. I don't want that old grid. There we go. That's pretty lined up. So here's what I'm gonna do. I'm gonna hold down, shift, just kinda trace all of this. Make sure that's a stroke. And I got my round cap and round join on. Let's do you Let's do this S. And then club could probably just be topography doesn't have to be hands gash. So let's see if I can't find one that has some good characteristics. So here's what I ended up with. I softened all the corners like I have been doing consistently through all these other concepts. And just put a little wedges was called literally dial Alito one as a, a nice chunky contrast to the thinner strokes of the sushi. I think this is interesting. Once again, this has to be really obvious that that's a sushi knife. And I just, I don't think it's obvious. I think there's ways I can maybe try to get that to work as more of a knife right now, I don't think it's working. Perhaps this also needs to be a different color so that people really focus in on the knife like this. I think even the handle, See the handle. I want to close up that Handel make it look more like a sushi handle. That's all great. It looks more like a knife, but then you lose the S. It's not a nasa anymore and needs to be very readable as, as, as cools. I think it's making a great t-shirt, but I don't think it's gonna make a great logo. And that's kind of the difference between being able to distinguish what's a good logo and what's a good illustration. And sometimes things are better off his illustrations. And other times it's better to be more simple with the logo. So as neat is that was I don't know. We can continue to look at it for right now. We have some very basic things outlined. This kind of process of what we did together. This is what I did when I was doing some planning for the course. As you could see, I was really trying to explore the knife concept more. I tried to even do a different version where the AES was way more obvious and it can have a more distinct handle right here. And I even try the one with the C. I pretty much vectorized everything, just kinda see which concepts I wanted to do. And what was great is once I sketched out a couple of knives and a couple of characters, I was able to combine a lot of those things to come up with a different versions and variations of the same concept to see if they would work. So you could see how I did the laid, laid down the knife with the S and tried to do a presentation here. And you can see how I did this kinda more youthful, funky topography up here and then decided, having some nice contrast between the lettering worked a little bit better to make it look more polished, which I think would be our target demographic would appreciate. We always got to think of that target person we did not develop, did all that research for nothing. We've gotta continually ground ourselves and remember, we're not designing something that looks cool. We're designing something that's going to work for the target audience. So you can see all these different versions and iterations. Here's kinda the S that we discovered with the C. And then the.'s. You can see different combinations. That was actually a sketch I did and realized that would be really cool to watermark. But as a standalone symbol, I felt like that wasn't translating. So now that we have all of this, all of these vector assets that we can do. We need to be able to take our concepts and to refine them further to see which ones make the cut. Because with the client would want to present two to three great concepts. And I'm gonna go over in the next lesson. When do we know which ones are the right ones to present to a client and how do I go about choosing those? It's a very important question and we're going to address that next. 20. Choosing Between Our Concepts: So before we spend the time to refine our concepts, we need to keep in our mind that we need to have two or three different concepts that we can present to the client before we move forward to other branding exercises and activities. So how do I choose and present the concepts to the client? Clients need a choice, but not too much choice. Choose two to four design ideas to present to the client. And we will bring the client in several times before heading deeper into the branding work. Clients do not know what they want until they see it. I tried to pick three different concepts there. First one is a safe choice. This concept, you know, aligns perfectly with a client expectations, feedback, questions, and all the research you've done. Second, I like to do a pushing it concept. The starts to challenge what is predictable and safe for the client. Lastly, a more extreme left field concept that really challenges what they thought they needed. A lot of times those out there concepts do not get picked and the safer concept decisions are made. But there are cases when clients felt drawn to the more extreme concept because it was something that challenge what they thought they needed, bringing in fresh new perspectives, which is why they hired you. You are a creative person, right? And remember you didn't lots of great research already. So all of your concepts are based on data, meaning and client appeal. Ready? So now that we know we need to kinda get three different types we want to present to the client as we continue to refine four or five main concepts we have, let's think about what final three might be. Which one might be are safe option, which one might be are pushing IT option in which one might be one that we're going to be a little bit more testing them. But it's going to be something that could start some great conversations. So let's get started with refining our concepts and getting those presentations ready for the client. So let's take each one of these concepts, work through them one by one, make sure we have some final typography choices before we show these to the client. And remember, we're not mess with color too much. We're just going to show them the idea and the concept. So let's go back to basics and once move all of this out of the way. And let's talk about our first concept here. This is the chopsticks and the SC. Well, this is going to need a full company name and a tagline as well. So I'm gonna go ahead and type in sushi club. And let's go ahead. I believe this is Monserrat. So let's go ahead and take the eyedropper tool and see if we can't make that consistent. And let's just do a quick duplicate and put our tagline. And our tagline is to be a lot smaller than our main name. So it needs to be, it's the tagline, it's not learning the main name and the domain name is a sushi club. So now's the chance that we can really see what kinda typography choices might work. So let's make this a lot smaller. Let's duplicate this. I do this in a lot of my classes, but this is the process is the same, no matter what logo you do, it is the same process. So let's try and all caps. Let's try in all caps for the subtitle. Let's also make that a thinner awake because we wouldn't have some nice contrast somewhere because all that is the same weight and it all blends together. So let's separate this through changing our weight. And we can even have this all be all caps. And let's do this all lowercase just to see what that looks like. It's all lowercase can be very approachable. So you see how this looks almost like you're yelling authentically prepare. You already have sushi club all caps. So if you make authentically prepared all caps, it just seems like both of them are screaming at you at the same tone. So if we make this lowercase, it softens it and really helps to soften the top as well. Don't worry about alignment yet. We'll get to the grid and all of that once a concept is chosen. So weird, sticking to this typeface that we discovered earlier in our research process, but we don't have to stick with that typeface. We know we want a chunky typefaces. It's going to be kind of an easy choice. Rubato slab was one that we used with another concept. So it's worth taking a look here. And I have a lot of students who use really thin waits for small type and logos, but they don't do the visibility test. And they zoom out and if I can't read it, I can read this one really well. But I cannot read that one really well. So you gotta be careful with using super thin waited typefaces that are going to be taglines or something really small, save it for something bigger. So we can go to our filters and say, we definitely want a heavyweight. I think a condensed typeface CL condensed is shorter and width. That could work really well because we do have kind of a skinnier width icon. So if you have a really skinny with ICANN is, it'd be nice to have a nice condensed typeface. And I think I want to continue to do the san serif, so just kinda helping us filter that out. So I don't feel like we have too many font choices to cycle through. That one is interesting. I wonder how that would look, all caps. So switching that to all caps and making that bigger. So that's a condensed liquid. Look how much taller the topography is. And it really helps fill out that vertical space because you have this very vertical icon. If you look at how vertical that is, it's not a square, it's not horizontal, it's very vertical. So pairing a vertical typeface with a vertical icon really kinda works well here. If we were to use this as well. So we have. Two very similar typefaces here. That is a lot, that is a lot going on. My eye is having a hard time differentiating between these two line types and there's only one weight of din that I have hearing condensed anyway. So let's see if I can't soften that by using a different type face. Perhaps a lowercase would work really good. Even at a metallic might look, our script could even look good there. Once continue, we have our filter on silicon, so we have a lot of our typefaces already filtered. So I only have a very short list here that matches everything that I selected. And this one's called omnivorous condensed. So omnibus condensed, that's almost a little too childish with almost two rounded of the edges. And I worry that that's not going to resonate with kind of the higher end. Slightly more expensive than average price of our product. So as cool as that could look for that more bright, fun, vibrant Look, I want to kinda kind of split the difference between those two styles and do something that's not too fun and not way too reserved. Something right in the middle, which is what the client wanted. So sands, it's always a tried and true one. Will see if I can't keep it in the same font family for the tagline, who had lots of different font weights, which makes me excited. Let's see if an metallic looks good here. And a little worried about the thinness of that type. But I do like how it pairs well with a thicker on the top. We're doing media metallic if I'm too worried as do medium. And just making sure I have enough space and breathing room between everything. So there we have it. We have a couple of really good options for this first concept. And I feel like this would be our safe option. This is very safe. You have an S and a sea of chopsticks. You have a Mackey role and you have some very safe type choices. Of course I need to center align all these at some point. So for our safe option, maybe we should stay pretty safe with their type choice. I think there's something a little bit missing. I can go ahead and eliminate some that I don't think are working really well. So let me just eliminate the, I think the all caps for the taglines not working. So but I think this works really well here. This is kind of too thin. It doesn't have that strength to it or that confidence. So I'm gonna get rid of this one. The serif or the slab serifs, I think compete with icon. We have nuts, not a complicated icon, but there's, there are some things going on with it. So when you have a slab, its it also competes. There's different elements going on in the topography. It makes it more complex. So in this case, maybe not a slab. A slab might work better in the seal graphic. And the lowercase doesn't feel as strong on the main name. It feels too strong for the tagline, but for this lowercase, it's feeling very weak. So I like the idea of staying all uppercase with. The name and lowercase with a tagline. And I like the contrast here between the main name and the tagline. So I think we got things, some things narrowed down, but I'm not happy with it yet. So let me make a duplicate of this. And let's see if I can't make this a thinner wait, let's do regular. And I'm just trying to find contrast opportunities. And what's great is you would say, oh, that looks like one word. But when you have such a high contrast between two words, it almost gives it its own separation that way. But I do want to have a little bit of a separation. And this is one when I did this entire process, before I did the class to plan it out. So I kind of knew the general direction I was going, so I didn't look like I was lost. And I this is the one I ended up going with in my own personal journey through this whole process before filming class. But this one is interesting. This is kinda one I discovered while I was doing this again with you guys, is this more condensed typeface? I like the way this looks. The only problem is you have a mismatch between the letters up here in the letters down here. So I mean, one thing you can do is get the same typeface so that there's at least some consistency here. Between the top and the bottom. You don't want to use two totally different typefaces when they're sitting right there next to each other. I think it's interesting. I would love to even bold if there's a boulder, wait, there's not. So let me see if I can't right-click. I'm just creating outlines. I'm just adding an artificial thickness to it. So what I'm gonna do is I'm going to go to stroke panel and then adding some artificial thickness two just by adding a stroke to see how that looks. So that looks a lot better, just those couple of tweaks I did with making the typeface consistent and also kind of artificially thickening the typeface. So now that I'm looking at these, the condensed makes a lot of sense because you have a very condensed icon, a very condensed. So there's not as much of a difference in ratio between the width of the typography and the width of the icon. Here you probably have more bigger of a ratio. So let's say that one is wider. And this is more narrow. So yeah, you can tell the difference between there's a lot more space on the left and right here. And this seems more even. So when it comes to this, this is one concept. This is our safe concept that were presented to the client. So we don't want to confuse them too much. We don't want to say, well, here's one concept, but two different versions and here's another concept and five different versions. And so we need to simplify what we present. So if we really are having a hard time here, and we're just down to 22 variations of one concept. I would present these on the same page to the client. So I would make sure to put a lot of separation between the two and present them like this and say, You know what? I'm not a 100% sure which direction to go in, but I really, the concept, you can look at all the research I've done. The concept is strong. I'm having some trouble deciding a specific typeface. So if I were to present all of those different versions I had that would overwhelm the client and they get frustrated. It's up to you to make those choices of what to present to the client and it's a lot less, a lot less is better. So if I had any kind of choice, I would, I would love to present one concept for the safe version and not have to present two versions. So anyway, I know that's complicated, but this is how I would present it. Very simple. I would put it on an 8.5 by 11, just a one page PDF document. And I would tweak it slightly and just tell them, hey, it's not the final version, we're just exploring concepts here. Showing the original sketch. You can show them all of your research that you've done. You can write that out. There's my profile that I developed here, some brainstorming word mapping words. These are the associated words that I came up with like authentic and fresh and ended all the stuff we did. We can kinda put that in a couple paragraphs of an email. We can even attach the user persona you came up with. You know, there's a lot of ways to present this concept to the client. So this is going to be our safe version. We're going to come up with one that's pushing it a little bit, maybe incorporating the knife. And then the more extreme option, which will most likely be the one that I felt like was really hard to work with. But let's see if the client likes it, if they want to pursue it. Great, if not, we can easily eliminate that and narrowed down to our final choice. 21. Refining Our Concept : So for this concept, we're a little bit more finalized with all of this because we've already worked in some topography work, but we're never done. So let's make some copies and see how we can make it a little bit better and tweak it. So let's try. We have this rubato slab, which is kind of inspired us to play around with the last one. But let's, you know, there's thinner weights that we can work with. And there's other slaps, aerobes. There's also serifs. And what makes things even more complicated is you can even change the spacing between the characters more. So let's edit the tracking. Let's do 200 this time and we can make it even bigger. So I'd probably do this for about a page. And what we need to determine is which won a writ would resonate best with our target audience. B, be the most flexible logo that we can create. And C, be very readable and of course liked by the client. So all these decisions we may like the elegance of the top one, but maybe the sushi cloud is not strong when you zoom out. These other three are strong. So it could be that we stick with the original and present that as our kind of pushing it concept, although this is kind of a little bit more on the safe side, but the fact that we're using all these little icons, perhaps it's a little bit different than what they originally expected. There's also the fact that we can put this and to more of a seal orientation. So right now it's a seal graphic. But what if we were to add a border? Would that change? The strength of the logo would be more obvious from a distance? Would it feel more like a complete logo if we had had it in the traditional seal. And there's even the option of duplicating this. And instead of just having a straight line, what if we added a little bit of a wrinkle edge? So we can go up to Effect, go to distort and transform. So effect distort and transforms a really cool trick. I teach this in another one of my classes, but I'm going to show you here. I'm gonna go down to zigzag. And we're going to be able to create a really neat, rounded zigzag. So instead of a corner, I want to do a smooth and I want to reduce the size. And I want to increase the segments of that. How many little ridges there are? I just want a little bit of a bump, which is like that. So that could add a little character. We can go back through and continue to do different iterations. So let's eliminate 1s two then that's not going to work. This one doesn't seem to have the flair of personality and the typography. And this is when the clean chunky san serifs aren't working because we have this wonderful details here. And then there's a very detailed logo. So the font is not matching with that detailed nature. So I'm just going to eliminate this option. And there's kind of a big difference between these two. There's only, I mean, the differences, their spacing between the characters here and it's smaller. So this is more readable like I see sushi club quicker. So that's good, but it loses a bit of its elegance and grace when you put it so tight together and so big. This one seems more balanced so you can see like we, it doesn't feel so top-heavy. This one feels more balanced. So for that case, that one's gone. So for this one, we really just have a difference between straight are without a border, with a border with a critical border. We really just have these whales all the same concept, all the same consciousness. The second concept, this is are a little bit more pushing it concept. But when I present anything to a client, I like to put space between them so that they really are defined as separate items. They don't get distracted by looking at the other one. They can see them all. And there's enough ample whitespace here. So this would be probably a really good way to present it to the client. And hopefully through this whole process, you have brought the client in on some of this. You've been asking them questions, you've been going back and forth. So when you send these logos, hopefully they've already kind of seen some of the research you've done. Maybe they've even talked to you about the user persona. So all that you've both on the same page. So when you present these, There's not going to be as much explaining to do. You're going to be able to tell them about the concept and why it is the way it is, and what are the characters mean and why you're doing these three sushi as well as the three main items and why this type choice. But you don't have to go in too much detail because you've already been on this journey with a client. So it should be a very simple presentation. We have the first one, safe. We have this one a little bit pushing it is still within the boundaries of what they're expecting. And then the third one is going to be that really pushing it. You never know if they're going to like it, but it's worth doing it to start those conversations. So we're gonna do a third concept and then we would have three almost totally prepared concepts to send the client. They're going to get this down to one. They're going to be able to pare this down to one. So that moving forward, we start doing brand elements and brand language and really start to get into this where argued to have a logo kinda picked out. And so that's going to help us. So I had some time to submit my ideas to a group of other fellow designers in a Facebook group. And I got their ideas on what they thought of the three concepts I picked so far. They did mention that this concept looked a little too busy. And after some thinking about it for a few days, I can kind of agree with that. We need to go back to something more simple and clean as always. So I had an idea. We have a couple of these elements we could combine together to create a better concept of present to the client. So what I'm gonna do is I have a knife here. Have a knife here that I got from this other concept. And I'm going to take one of these chopsticks. And so I have a chopstick and I have a knife. What if they were to crossover? So it's the combination of the preparation and the combination of the experience of eating. Coming together, crossing over and becoming one entire experience. So that was the thought process about this, but I really want to continue to keep it simple. Let's have the blade be down. So I'm going to have a crossover this way. And let's do the chopstick. Crossing over this way, just make like an X. And right now they don't feel like separate units. So what I can do is simply add. But the pin tool kind of cut out this area. We can add a shadow or we can cut it out entirely. What I like about cutting it out entirely as I can keep it one ink, if you were to draw a little shadow here, just like this little shadow and make it a little bit of a darker gray. It'd be a great shadow. You see Nali look like they're crossing over. But it's two inks. So I have a gray ink and I have white. Well, as simple as you can make logos the better in terms of how many colors you have to use. So if I were to take this little object and get the good are shaped builder tool and cut out that tiny bit. Now it is one and color, which of course will be much more simple to use just one in colors. That's kind of just thinking, how can I make a logo simple, as simple as possible? And then instead of having the monogram S and C here, let's try to simplify because that was the problem with the last logo is all low. The icons and stuff were kind of cool, is too complicated. Well, we already have some topography that we liked in a circular seal version. So why not adapt that and save a lot of time? So we have this seal logo. We can even do the same variations that we did before. So that would be really easy to do. We can just de-select all de-select the borders and see how it looks with these various borders. Here are some final modifications to that logo. I think it is. Still got a little bit some elements in there, but I do think it's a lot more simple and loved the idea of the crisscrossing knife indicating preparation, mixing with experience of eating. So I think this is a great idea. So what I'm gonna do is I'm going to use this one instead and present this to the client just like this. But really at this point when you're talking to the client, it's about the overall concept. There. They know they're gonna, you're going to clearly communicate this is not super final orbit of really perfect whenever concept it is. Later down the road, we're just getting an idea thing like the general shape and elements and typography and below bill. So we have a lot of Logo options here. So I wanted to kinda do a bonus section because a lot of people have seen on social media when I was planning this class, they saw my kinda copper gold kinda colored mockups to present the logo. And I wanted to show you how I've gone about doing that. 22. BONUS - Logo Mockup: So I'm really very graphic burger.com, which I recommend to my students a lot because they have a lot of great free to use mock-ups. And there is this gold foil business card that I absolutely love the gold texture that they use here. So I'm going to use that to basically modify this mock-up to make it a logo presentation mockup. So I have that opened in Photoshop, so I'm in Adobe Photoshop. Unfortunately, if you have Affinity Photo or for using affinity products, it's a little bit harder to find mockups, but you can still do, make your own very easily. I'm just really kinda borrowing the gold texture a little bit and modifying it. So this is great gold texture. Let me see if I can't find it here. I believe it's under effects there, it has gold texture. I wanna copy that layer. I'm just going to open up a new document. And so when I do a logo presentation, I'm gonna make this a little snazzy. It's not just going to be solid colors is just a little way to elevate the presentation a little bit. I like to keep it as high resolution as possible. Let's keep it in a nice square format for right now. It all depends on kind of where you're going to present the logos. But I'm going to just do a 3 thousand by 3 thousand pixels because most of the time clients see it digitally these days used to be able to print things out and they would look at them, but things have changed and everyone is kind of viewing things digitally. So 3 thousand by 3 thousand. And let's do RGB. Don't do CMYK yet. That's later. Let's bring in our logo. Air in the middle. I want I want to bring in this color too. I thought this grey colors really nice. So let me unlock that layer. And bringing in kind of it's not black and it's not grey. It's kind of a really, really grayish black color kinda adds to everything. I want to paste. That gold texture in there. I just bar, you can grab any gold texture from pixels.com or anything you find haven't been able to find a gold texture quite like this on some of the free photo websites. If you find one, please let the other students and community now because I just really find this texture quite realistic in nice, I'm going to bring the gold texture on the very top. And I am just going to hold down option. And you can see what you would hold down for windows right here on the upper right. And I'm going to just hold it down and you have this little clipping arrow or you can clip the top texture down to the bottom. So I could click it in. It's going to clip it down and it's going to be able to just show on whatever's on the layer underneath, which is our sushi club logo. So there it is. I can continue to make it a little bit smaller of a texture, have more details. And I can even change the texture color. So this is kind of gold, and I'm right here on the Gold texture. I can go up, I can go to hue and saturation. And what if I want to make it more like a copper color? I can do that. I just reduce the hue a little bit and kind of added more kind of reds in there. And you can make this a little bit smaller. I'm not a big fan of having. So this is your presentation space. A lot of students, they will do a logo this big. And unlike here's my logo. But it doesn't have a sense, doesn't have that clean margins around the edges. And it doesn't have that professional look because no one is going to have this logo this large. So what I end up in one given space. So I like to kind of make it a little smaller right here, maybe, maybe a little bit bigger right about there. And that's it. It's as simple as that you can switch out the texture. And if you ever wanted to unclick a texture, you just do it again. Hold down Option and you see the little kind of diagonal line over the arrow. Now, now you click it and it's removed. And now you have your layer back and flip it back. Holden option to the layer you want to clip it to. I just love clipping. Clipping mass. They're so easy to use. So you can see how you can do this over and over with a lot of different combinations of concepts that you developed. It just gives it just a little extra polish isn't necessary. No. But I know I'll have some students asked WHO had you had did you add the texture there and how did you kind of put a little polish on it for presentation purposes and that's how you did it. 23. Third Concept : So far our final concept that's really going to challenge our client is this one. And this one is a little bit harder because it's not super obvious. We have this kind of knife, blade that also kind of is in the shape of an S. So I've already vectorize this and tried out different orientations based on our sketch. So which one do we think would work? And I did the same topography process I did with the others. And I even adapted almost the same exact typography choices and presentation with these, since I've already feel like I've gone through that process with the other concepts. So I adapted some similar choices. So as this was really, really quick to put together, I can already say I've already talked about that one. I think that it's almost a little too playful. So just kind of getting rid of that one. As I talked about earlier, I think trying to get the C and the S all making up the blade no longer looks like a blade is not working so good. Eliminate that option. This one looks like a really high-end steakhouse, but it doesn't feel like a sushi place. So for that reason, I just have to, To eliminate it. And so now it's the orientation of the knife. We have the knife line down. You can still tell it makes up an S, but it's not super obvious. And then we have to sit there and tell the viewer about the story of how an also shaped like an S. And there are some educational stuff we'd have to do to let them know that shape is in there and we need something really easy to understand. I didn't like the balance of this one. I think it's got a lot of empty space on the top and the bottom. So it's a little clunky. So see you later. I've tried many ways to get this to work standing up and I couldn't and the only way I could get it to work standing up as if it was part of the name itself. So the name in the icon was together. This is a typography based logo. This one had the handle within the S and I felt like it was harder to show what the S looked like when it was all the handle is wrapped up in there too. So having a separate Handel made it more obvious that it was a knife. So for that reason, I think maybe this one could work. I love the way the type is split here by the blade. I hate to see it go, but it's really about the concept and how viable it is. Does it matter how cool it looks? We can always do something else with it a little later on. So that's how I drill down to this aspect and let's make a duplicate. So once we get kind of a final approval from the client, and there's a couple things that are gonna happen. They're gonna come back and say, We found one, we love it, it's the second one or it's the first one. Let's just go with it On edited. But most likely they're going to come back and say, okay, this is not fitting right? With my brand. I really loved number one with tweaks. So there could be a total, I love it. There could be, I love it with some tweaks or some modifications. And sadly there could be a third response. And that is, I'm not feeling any of them, which will not be the case most likely for you if you've gone through all of these different steps with me, with your brand, because you would have done so much research, you would have done so much sketching, you would have done so much brainstorming that all of that presented with these, you're gonna sell your concepts so hard to the client with data and facts and research that they're gonna have to say yes. If you were just to do some logo designs, like most graphic designers, they don't go through any of this process. They just create what they think looks great and they send three options. Yeah, that's a lot quicker, but the client is going to go back and say there's no story to these theres, no those there's no origin. There's I mean, where did you come up with the idea outside of just sketching? What is, what is your reasoning behind your concept? Because you've gone through this process and I know it's been tedious and hard and maybe a little bit boring at times. But if you've gone to this, I can guarantee you that that third response at that client has where they say they don't like any of them is probably not going to happen to you because, uh, but it's still can't because clients can just be awful sometimes, but most of them are going to go on board with you with your recommendation. It was a resounding choice of the first one. And it's because it's because it's simple and it's because we can break down the symbol and this is what we're gonna do next. We can break down the symbol and adapted to different variations of the logo. So we can have a responsive logo that can scale down and work really good in mobile environments. We're going to have a detailed logo that can look really good on a menu with gold foil stamping or whatever we want to do. So we have this amazingly flexible logo that can become a really flexible brand. And we're gonna get really deep into this with color selections and being able to get brand elements and packaging all this together. We haven't even talked about brand language and, and in an ad copy and all these different things that we're going to end up putting together. So this is just at the very beginning of the process and I'm excited about where it's going to go. 24. Logo System - Perfecting Our Logo : So we have an update from the client. We said three strong concepts to them and we crossed our fingers and we were definitely nervous about how they would respond. And the whole time through this client, I actually have somebody else that's the client that's a business partner in mind and he's acting as the client and he's doing it based on a client situation. I a real client situation I had a few years ago. So he's kind of acting in the same and interests to try to make this project class project as realistic as possible. So it's not me saying, oh, the client pick this. It was someone else who had some opinions and tried to make this as realistic as possible. So what they determined is they liked this one the best. It was probably the more simplified version of all of them. They love the seal idea, but they were just afraid of how does that seal adapt to digital stuff. They're going to have online ordering app, all these kind of things. And they just didn't see it as a very flexible logo for the seal. And for the other concept, they thought it was really trendy. They thought it was really neat from a design perspective, but it didn't feel like it really connected with him personally. So he's the owner of the company or the Pretend don't or the company in this case. And this is the one they decided to go with. And I'm happy with that. It's not my personal favorite pick. Most of the time, a client will not pick your favorite. And there's a lot of great reasons why we get really into our designs and sometimes we lose perspective and we forget that it's about what the client needs and connects with, not what we think is the best. But the great thing about this is save all of your declined, denied unused concepts because you could end up using some of these elements for another client project later down the road. I've done that many, many times where maybe they didn't like the knife, but I needed, happened to needed knife or some other type. A little illustration and you can adapt it. It's all yours. You're the one who created it. So now we're going to spend a while. We were not perfectionists before we were really brainstorming and coming up with some general ideas for the client. Now we need to be perfectionist because we need to get a logo ready. And the logo will be the basis of our brand and everything will build around that. We're going to be coming up with typography systems, color systems, photo systems, all these different systems that's going to help us build our branding standards manual. But right now we need to perfect this. We need to put this on a grid. We need to find out the spacing between every all the elements so that we can start to maintain and get a logo system going. The end game for all of this will be to develop an incredibly flexible logo system. This is what a logo system looks like. You could see horizontal and vertical presentations as well as square. You can also see mobile application usage as well. So a really tiny icons. How can we take our full logo with the tagline? And reduce it down without the tagline, how do we reduce it down to just the topography? How do we reduce it down just to an icon? And finally, how do we reduce it down to something that could fit on an app icon or anything like that. We also want to find out alternative presentations of the logo. So will the logo exist on top of a circle, for example? So it can easily be put on packages for delivery. Will we need to have a different version that's really skinny and vertical. So once again, we can put it as a sticker on top of bags are on the menu or all sorts of different things. It's going to be really nice to have options because with this logo, it's great. But what if we want to put it on a chopstick wrapper? We need to have a logo that can fit on narrow spaces, wide spaces, tall spaces, small spaces, large spaces, different spaces on busy backgrounds, on simple backgrounds. So we need to develop this entire system so the logo can be used anywhere. So let's get started developing our logo system. We're going to perfect our original Logo presentation right here. We're going to perfect that by putting it on the grid. And then we'll keep going and reducing that logo down further and further. So on the left is where we last left off. This is what we came up with. We didn't find tune any of the details yet. We haven't put it on a grid yet. We haven't perfected it yet. The one on the right is where we're going to end up. You can see the differences of the size of the icon and the size of the topography. They seem more matched on the right. And that's something that is part of this process for getting ready to go through. How do we size the logo mark and the logo type together. Also any kind of sharp edges and tiny little things. When I zoom in, am I happy with the sharp edges of the S? Am I happy with how this is curving? We're gonna zoom in 800% and really perfect all the edges. Also the difference between the spacing here. So you have some spacing between the logo mark in the logo type, and there's also spacing between the logo, Maine company name and the tagline will let's determine that spacing. There's a grid system and a spacing system we can set up to determine and help us determine how much space can be there between all those different type and symbol elements. Let's get started. Make it this logo as perfect as we can. So one thing we need, zoom in, zoom in and take a look. What you wanna do is you want to have consistency with your edges. So if these are sharpen, these around, those aren't very consistent. So I just want to add some subtle roundness to all of these elements. So what I'm gonna do, because I'm getting ready to create outlines on all of this topography. So I'm going to right-click creating outlines. So that will give me a chance to go in and modify this a little bit. So let's get our direct selection tool. I wouldn't wanna do very small, very small corners. And you notice up here on corners, you'll see a radius. So this is how much it's curving. So I can increase the radius and make it really, really almost like a pill shape. Or it can go back to how I had it, which is 0.0077 inches. I'm an inches. So you might be in centimeters or another type of measurement. But what I'm gonna do is I'm going to copy that number. And if I want the C to be the same radius, I can simply get my Direct Selection Tool go over here to my corners. I can paste that in there and I have matching radiuses. Let me go ahead and paste that in there. After I did Ball did all those. And same thing with our logo. We want everything to be consistent. Just click once and dragged. It will do all of them for you. And then I can go back up here and paste that in so they can all be SO that S right there as the same radius or angle. We can also ungroup these. Think about spacing between sushi and club, and think about all the spacing between all these little elements. And so let me do one more thing really quickly. Let me just kind of soften. This one will be much, much softer of a radius, just barely, just kinda cleans it up, mix it to seem more polished. There is probably something I could do to fix the curvature there. Let me get the curvature tool. If I can't get a better unifying looking. And also the sushi needs to be fixed. Let me make sure I've outlined the path on here. Outline any paths you have to outline stroke and see if I can't combine these elements together. Or if I can get the direct selection tool that just want to make sure everything is a smooth edge. And moving over here smooth edge. And if things are the light color like this, you want to see if you can't combine these two different, these are two different. That's a circle and that's kind of a shape below it. If I can't select both and try to see if I can't combine elements to simplify them. So instead of having two overlapping elements, I now have this one and that'll make life a lot easier for you later down the road. But how do we feel about the spacing between the characters? So we have automatic tracking here. Do we want to reduce the tracking and close that spacing or do want to keep it at the default 0. We can manually do the tracking by isolating each letter and changing the spacing between each letter, that's called kerning. We can current this manually too. So there's a lot of different options. I like it a little tighter and spacing. So I wonder if I tighten it just a little bit, maybe a negative ten or negative 25, I think that looks really little more cohesive. Are we happy with the weight? We have a lot of weight options. Regular, medium, semi bold. And it makes me wonder if medium semi bold. I think we would have a problem if I did a visibility test on this that is really thin. It wouldn't hurt to increase to semi bold. It really would not hurt in this case because it looks much stronger as a semi bold and sizing. How do we think about the size compared to sushi club? If I were to make this much smaller and tuck it underneath, you lose it. And it seems like an afterthought or looks like a small print. So we can't have it be too small. If I make it bigger than the one below, it starts to fight for sushi club. And we don't want off that. We want authentically prepared to remain a tagline. So I think in terms of sizing, I think that was probably the Goldilocks right there in the middle size, not too big, not too small. And we can manually Kern these Now that we created outlines and we right-clicked and we ungrouped these, these are all separate characters now. So we can go back in and find out, is there any kind of manual kerning we need to do, define kinda some really good, consistent, consistent spacing. So if I were to make this a really bright color and make it a stroke. And you can see how the S is in the way of kind of starts to encroach on this little space. If everything were to have the same spacing, it doesn't look like it is, but because of the weight of each character. So in h is a really balanced character, has the symmetry. So h assymetry, so it's easy to put symmetrical letters with the same spacing between them, it looks correct. But when you have letters that are not symmetrical, so if you were to draw a line, Unfortunately, we don't have a lot of asymmetrical characters. An L, If I were to draw a line right down the ELL, it is way more left heavy than it is right heavy. And so you have to be careful when you have a left heavy. So this is left heavy in This has nothing here. And so if I were to put the same as x spacing to the left and right, it would still, it would have that left heaviness. So when you manually Kern typography, you're helping to balance that awkwardness of asymmetrical letters. So if I were to put the same distance here, so this would be a very small tweak, perhaps nudging this very slightly to the left could help. It doesn't have to match perfectly this way because then you're gonna start getting that awkwardness. So this is where doing some optical adjustments really helps. So optical adjustments is how does it look and feel to your eye? It's a little bit less technical. Okay, I'm moving it over ten pixels. It's a little bit more how it looks. And this is sometimes has to be done because characters are not all symmetrical. The computer's not gonna be able to align this perfectly for you. So it's nice to kinda see your spacing because sometimes the default spacing does a pretty good job. But with this whole, I think this is a different type. Wait, so what we wanna do here is kinda have consistent spacing from the leftward sushi to the right word. So maybe this needs some adjustment. And this is where kerning comes into play. So remember L was an asymmetrical left heavy character. So that may mean instead of having the same spacing of the C and L, having the same spacing twin, the L and the U. Perhaps I might need to over adjust and bring this U0 over a little bit to make up for that kind of gap you have in this asymmetrical letter. So the spacing might even be more narrow. So let's take this default. This is asymmetrical letters here. Will be, is not symmetrical. It's very left heavy, but it's also very balanced on the right. So it's not like one's knowledge, like an L, Let's totally unbalanced. But this has weight on the right, Similar to the left. So now there's similar spacing between these characters. And you can kinda see that here, that asymmetrical, it's a, such a gap here. And it makes me want to move that closer in sleep. I can't bring both of these letters over just a here to make up for that awkward gaps. And now feels this feels more tucked into the hill, making up for that, that gap. So there's a really, really small details, very, very small details. And also making sure everything is has the same x-height and Cap Height. So