Type Design: Introduction to Effects in Illustrator | Evan Huwa | Skillshare

Type Design: Introduction to Effects in Illustrator

Evan Huwa, Art Director

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11 Lessons (2h 17m)
    • 1. Research & Development

      12:07
    • 2. Sketching Process

      7:30
    • 3. Getting Started with the Type Tool

      13:37
    • 4. Finally Some Effects

      15:25
    • 5. Some More Effects

      26:41
    • 6. Some More Effects (continued)

      9:46
    • 7. Type Around Shapes and on Unique Paths

      22:53
    • 8. Finishing Touches

      11:40
    • 9. Finishing Touches Continued

      11:05
    • 10. Saving Your File

      5:57
    • 11. Explore Design on Skillshare

      0:37

About This Class

Illustrator type effects help logo designers achieve dynamic typographic treatments through a variety of simple steps. These treatments can stand as logotypes on their own or as type that fits around an illustration or mark to make a complete logo. The tools I teach in this class will give designers an array of techniques that will help them style type in ways that are often used when designing logos. While I believe designers of all levels will pick up some helpful tips, these concepts will especially be helpful for people who would consider themselves unfamiliar with Illustrator or type in general.

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What You'll Learn

In this class you will learn how to use Adobe Illustrator type effects to their potential while working on a project of your own. Follow along with the screen captured videos as I walk you through the process of manipulating type using shapes, paths, and effects. We'll cover: 

  • Researching and Sketching Type Effects. How to find successful examples of distorted type and sketch out initial concepts before working with Illustrator.
  • Using Basic Shapes. How to manipulate type around shapes such as circles, triangles, and diamonds.
  • Utilizing Illustrator Effects. How to use the toolset of Illustrator "effects," from free distort to arc to shear and everything in between.
  • Finalizing Your Design. How to add highlights, shadows, and texture to your type designs, and outputting properly when finished.

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What You'll Make

In this class you will come up with an arsenal (3-5) of type treatments that can provide the foundation for logo designs of your own or your clients. Similar to my work for "Native Sons" shown below, these treatments can contribute to an identity package for various applications of the brand.

The techniques I cover in this class are the foundation of the identity design work that I do on a daily basis for clients in a variety of industries, like North Yard Supply Co. and Native Son Alehouse. I want to help students get familiar with using type in Illustrator so you too can achieve awesome results for your personal projects or businesses.

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Transcripts

1. Research & Development: Hey, everyone. I want to start off by saying thanks for signing up for my class, Type Design Introduction to Effects in Illustrator. It means a lot and I really appreciate it. The end goal of this class is for you guys to walk away with an arsenal of logo design. By arsenal, I mean, three to five logos that you guys feel comfortable using for your brand. Just to break it down a little bit more, this class is going to have four units. The first, is going to be on research and development, which I believe is the most important unit in this class just because that's the foundation of everything that you're going to do. From there, unit two, will cover Illustrator effects, and the third unit, will kind of be a carry over from that. You'll be able to use what you've learned in that section to use type around shapes, different shapes, whether it's a square or a circle or diamond. You'll be able to properly use type around those shapes. Lastly, there's going to be a brief unit on finalizing your logo design. So, let's go ahead and get started with the first unit on research and development. I'm going to move over to the screencast now just because I want to show you guys some examples of logos that I think works really well. All right, let's go ahead and get started. Hey everyone, this is the Iceberg that I had put together, so this is my mood board. Don't worry, I'm going to go ahead and share all these links with you guys. I don't want you to worry about where it is or trying to read the URL on the video. I'll include all of those links in the unit. So, what I did though, I went ahead and put together a mood board for this class. I put together examples of brands that use multiple logos really well and I also put together a separate section that kind of has dynamic type. The type of manipulation to type that we're going to achieve by using the effects in Illustrator and then thirdly, I put together a little section on type moving around shapes. I know that dynamic type and type moving around shapes are probably going to have some overlap, but I'm just going to break down those separate things in the class and show you guys how to do those in two different units just so it's not all at once. But when you guys are compiling your mood boards, I want you to be able to come to this Iceberg and use some of the examples that I have as inspiration, and I also include some links of other places that have really good examples of these types of logos. So, I want you to just spend a lot of time looking amongst would I have put together and then amongst the links that I've sent or even taking a look at your own stuff. If you guys have a good sources of inspiration, please share. I want everyone to just be able to have a lot of different things that they can look at. Because one thing that I want to stress is making sure that you don't rip anyone off. I want you guys to instead of stealing, take some of the effects that have been used in some of these designs and compile them and make them into something that is unique to you. I know that nothing is truly unique. Maybe an argument can be made against that but I just think that there's so much that's borrowed that you just have to be careful about what you're borrowing. I want you guys to be able to borrow ideas or just some of the effects that are used and put them into your own thing, and come up with your own concept, and make your own logo just to have a story behind that. Yes, I just want you to be really cautious about that. So, when you start sketching, just making sure that you're not just taking exactly what's done. I want you to really just to try and create something unique to yourself. Yes, that's just important. Let's go ahead and just take a look at some of these. I've put together a few brands that I think use multiple logos really well. One of my favorites is Deuce Ex Machina, I clicked on the wrong one, is just a great brand they do custom motorcycles and here's just a sampling of a few of the logos that they used. I just think it's really cool because while there all different, it feels cohesive and it feels like they're meant for the same brand, and I think there's something really cool about that. I want you guys to be able to achieve that for your brands as well. Another one is Mexout, Bravo Company did this for a restaurant, and I think it's based on the same premise of multiple logos and they use them throughout the interior of the restaurant. So, I give you visit these links, you can go and see some of the interior and see how they're using them. Another one is, this Puebla 109 Identity that Savvy Studio did. Here's just kind of a sampling of a few different things, and I'm going to show you guys how to do this, how to a move type around the circle or on an arch like these various effects. I'll show you guys how to achieve something very similar to that but here's that branding in application and you can see that the wine bottle uses something different than the bath salts or whatever those are. But yes, it's just fun to see them use this approach to branding that's just different, it's just cool to see multiple things be used. So, some of the work that I've done that uses an arsenal of logos is Native Son Alehouse in Santa Ana, California. They wanted something very similar to do. They wanted to have multiple logos that could represent their brand, and he also had some illustrations that he wanted me to include. Things like the the glasses, and the tulips, and the wheat, and so I took what he wanted and built out a brand for him that has multiple aspects, and that he can use on different things throughout the brand, whether it's coasters or beer glasses or shirts and whatnot. So, it's pretty fun just because there's a wide variety of stuff, but all relates back to the same brand. Another one that I've created is North Yard Supply Company. It's an online store that I'm working on and again, same approach. It's an arsenal of designs. I wanted to have multiple logos that I could use on different objects, different items that I'm selling yet, they can all tie back together. So, like the tissue paper that I wrapped the items in when someone purchases something will have kind of this pattern of all the logos together so they can see how the brand is all tied back together. So, going back out just some examples of dynamic type, I'm going to show you guys how to do things like setting the type on this arch or arc. There's a few different effects in Illustrator that can help you achieve this or using the type on a path tool, is another way to do this. With this example, I'm going to show you guys how to free transform type so that you can set one side wider and have it, in this perspective, view of getting smaller as it goes to the right. I'm also going to show you guys how to rise your type and put it on an axis like this. Let's see, there's going to be a few other things. I'm going to show you guys how to move just by compiling a few of these effects, get type on an angle like this, and then have it also set on an oval around it, just going to kind of show a few examples of how you can achieve something similar to this. Then, if we move specifically, the circles are type around shapes. You see how this type fills these shapes, and I want to show you guys how you can do that and achieve that by mixing type around shape and then the dynamic type together. So, I want you guys just to spend some time digging around in this Iceberg, and taking a look, and start compiling your own mood board. I want you guys to just get a bunch of examples together, and then I want you guys to again, just remember to position yourself to have something unique. Don't rip off something that's been done in these mood boards or the links that I'm sharing with you. But instead, try and come up with something that hasn't been done. Something that's just different than what already exists, just be mindful of that. Then, from there, I want you guys just to start sketching. I want you to just start putting together a lot of sketches that you feel like are ready to build out and I know that sketching can seem daunting but don't let it be because it doesn't need to be pretty. Some people sketch really well and have a very close to finished piece in their sketchbook, and that's great if you do. But I, on the other hand, I have very loose sketches and they're very rough, and if someone saw them, they would questioned whether or not I was a designer just based on how my sketches look. So, I know there's going to be a wide variety of what all of that looks like, but don't be stressed about it. Just spend some time researching and then moving into the sketching phase. But another aspect that I want you guys to really spend a lot of time doing is looking for the right typeface. I want you to take a look at the links that I'm sharing and go in there and dig for the typeface that you want. I think that you can use the keyword search function on the MyFonts website and search for an emotion or a certain feeling. Then, it has a really good search feature and we'll come up with a lot of different typefaces for that or a certain timeframe. If it's more of a heritage style logo, you can search for low typefaces from 1920's or whatever era you're looking for. So, please look through the fonts and see if you guys can come up with something that you really love and start sketching out those letterforms as well. If you feel like that is something that you want to use moving forward into the development of your logo, I want you guys to go ahead and purchase those, because just that it's very important to own the license to the font if you're going to be using it for commercial aspects. So, that's just something to be mindful of as well. But anyway, I'm going to stop there and in this next section, we're going to go ahead and take a look at some sketches that I've done, and I'll show you where it started and what it became and then from there, we'll move into me showing you guys how I created those things. So, thanks for bearing with me through this mood board lesson, but let's go ahead and start with the fun stuff. 2. Sketching Process: Hey everyone, I just want to talk with you all briefly about my sketching process and also I just want to point you guys in the direction of finding fonts that are going to work well for the type of effects that I'm going to cover in this class. So, I'm going to move into the sketches portion of my mood board and again, the link to the mood board can be found in the resources section of this unit. So, go ahead and go in there and dig around and you can take a look at what my sketching process looks like. Like I said in my previous video, nothing is pretty that I do in terms of sketching. It's very rough but it's just the idea that needs to translate. So, don't be stressed about sketching, just get the idea down and then we can move forward from there. But like you can see, this North Yard right here, how it's built on this line, that's the topic I'm going to cover in class and you can see that I created this based on that sketch. Another one is, see how this type is arched over the top of North Yard? That eventually became this, so those are some types of effects that I'm going to cover. Another one here, super rough, horrible sketch but again, it's the idea. So, you can see that this one ended up becoming this and it's just a matter of choosing the appropriate typeface to get a nice look. So, I chose two different fonts that have nice contrast, short in stature, thick and heavy and then a tall, ornate typeface for the center part. The one on the right here was based on a sketch that came from some of these gather and trade explorations that I did. It was something that wasn't used by client, so I was able to build it and use it for this class, but you can see here, this circle with the end going at an angle and the gather and trade became this. This one right here with the plus and the gather and trade became this one here to the right. So, don't don't be stressed about this, it's nothing to worry about. It's just the idea and you guys should have fun with it. Get dirty, sketch out a ton of stuff and if there's bad stuff, you leave it but what you gravitate towards, you'll end up taking to the next phase. So, this was something I put together just to show some of the things that we're going to be covering in class. I was able to skew this type by using Free Transform and then just a couple other effects. I sheared this to get the four set on the angle and then the type on a path to set this Adobe Illustrator type on that curve. So, I don't know, just have fun with it. Sketch what you want and with the techniques that I'm going to teach you in the next couple of videos, you'll be able to create what you've put down in your sketch book. The next thing that I want to just briefly cover is choosing typefaces that are appropriate for this. I think going back to something like this, I think if you skewed a script typeface, like four, the way that type is done here, I don't think that's going to work very well just because it's so ornate and there's thicks and thins and when you start to do that, it adjusts the letterforms enough to where it's not going to look good. So, in terms of moving forward and thinking about what types of fonts you want to use, keep that in mind that something a little more geometric and rigid is going to work better for something like this. And going back to this, it's anything, set on this line, just think about script fonts need to be connected and all run together. So, if you do something like that, how it's an uneven baseline, that's really going to start to make your script font look weird. So, just keep those types of things in mind and based on the typefaces that I have in these examples and how they look once they're blended like this one with the slight arc. Again, it's just a heavy Sans Serif font and it doesn't change the structure of the letter form too much. You want to keep that in mind if it starts to really change the structure of the letter form. I think you want to stay away from that because you want to keep the integrity of the letter. Typefaces are designed to look a certain way and so while we're going to use some tools and effects that are going to change those things, we don't want to make it illegible. We want it to still read and do its job of communicating information to the client, or the viewer at the audience. So, keep that in mind and again, definitely take a look at some of those links that I put into the resources section of this class for looking at fonts. I've included my fonts in there and you can search, you can see what hot new fonts are, you can go to find fonts and do tags and then just click around in here for something that fits what you guys are trying to brand, whether it's antique, bring up some rough vintage looking fonts. So, the tag section is really helpful and letterhead fonts is a great resource for ornate vintage looking fonts as well. This one has relatively pricey typefaces but like I said, if it's something that you imagine using moving forward, it's definitely worth purchasing. But also I've included some links in there that have more affordable typefaces. Lost Type Co-op, you can click here on browse and dig through here but these are pay what you want fonts, so just be generous in donating. Some of them do require that you purchase a separate commercial license if it's going to be used commercially but that's something that will come up in the license when you download the font. But, definitely take a look through there. Ten also, $10 fonts as a really cool resource with a bunch of unique display typefaces. Display typefaces are going to work well for things like logos whereas like text weight typefaces are for copy. So, just keep that in mind as well. You can have fun with this, it can be something that isn't going to read if you put a bunch of it into copy but just know it's going to be big and it's going to be a display faced typically that you're going to look for, for these types of projects. So, I just wanted to share some of those resources and definitely dig around at the other ones that I've shared and just have fun looking for something that is going to fit the project that you're going to work on. Thanks. 3. Getting Started with the Type Tool: Hey, everyone. Welcome to the first video of the second unit. In this video, I'm going to just talk briefly about using the Type Tool in Illustrator so that you guys can familiarize yourself with that tool and know the ins and outs of it before you move into making your sketch and actual logo. So, let's go ahead and get started with that. I'm going to be in Adobe Illustrator and if you guys don't have that program, don't worry because I've included a link in the resources section of this unit for you to go to their website and download a free trial. So, from there, I'm going to go, File, New, make a new document, I just have it set right now for 8.5 by 11 just because the size doesn't matter at this point just because I want to show you how to use this tool. So, if you hit T on your keyboard or come over here to your tools, you can see the Type Tool is a little t. If you just click on that, and then click on the artboard, I always like to make the font a little bigger just depends on how zoomed in you are, but you can see there's a couple of different places where you can see your type window and there's one on the top, and then if you don't have it set up over here in your palette, you can go to Window and then down to Type, and then Character Styles, right now you just want character, and I had that opened so it's denoted by an A over here. If you click on that, you can change your type here and it will give you a preview of what the font looks like. But you can go ahead and play around with some of the system fonts that you have on your computer or, if you've already purchased your font, from one of the websites that I've shared with you or from another website, you can install that font, and then come over here and find it. So, for instance, one that I've used recently is Bourbon. So, I'm going to go ahead and just click on it and you'll see that there's different styles for it, which you can experiment with using those, if they do have different styles, if not, if there's just one, that's fine too, it just depends what the typeface was built with. So, once you've clicked with your Type Tool, you can begin to type. So, your cursor will always be there and tell you, either hit escape to leave it or if you double-click on it, you're back there with the cursor blinking. You can come over here and hit your selection tool and then click off and now you can click it and drag it around. So, a few things that I want to show you with the character palette over here is, once you have something typed, you can choose a different font if you want. I'm going to go ahead and Command-Z to go back. Like I said, if there's multiple styles for it, you can click through those and see how that changes depending on the font, and then from there, you can see is the set the font size, you can click up one at a time or if you hold shift and click, it will go by units of 10. You can also use the drop-down menu and choose whatever size you want. There. So, that's one way to adjust it or you can hover over it with your selection tool. While it's selected and click and drag this but one thing you want to be sure of is that you always hold shift because you don't want to change the type because that looks horrible. So, I'm going to go ahead and back out by hitting Command-Z. If you want to drag out the size, just hold shift and it will keep everything proportioned. So, yeah, be mindful of that and then another thing is, if you hit return and go down and then you have a second line of type like this, you'll see that there's this space in between the letters and that is your letting. You can come right here in your type palette, and again, adjust that one by one or hold shift or use the drop-down. So, that's one thing to be mindful of, and you just, be careful because you typically wouldn't want to do something like that because it makes it really hard to read. So, another thing is kerning. Just to give you a brief demo on what kerning is, kerning is the space between each letter and, there's specific instances with certain typefaces where you need to adjust that, because it looks a little loose, whereas like in the word class here, you can see the space between the C and the L is a little bit wider than the spaces in the rest of the letters. So, if you double-click in between those letters and come over here to your kerning, you can adjust that and play with that until it looks optically correct and this one is a little loose here too, so I'm going to go ahead and just bring that in a little bit and there's just going to be some problematic instances and certain words or letters or characters that are going to give you fits. Typically, these are going to be hard or if you go ahead and delete these A and W can sometimes be tough. My name, in particular, is tough just because, this space here is always tricky, the V and the A but, you can go ahead and adjust that a little bit so that everything starts to look a little bit better, I took it in too much. You'll start to see that there's certain characters that are problematic but, if you just adjust the kerning so that letters look relatively spaced out, you're going to be good. Go ahead and click again and type this out. Another thing is the tracking and this is helpful if you want to set even spacing between all the letters whereas, kerning it's just specifically between two characters, tracking is amongst all of them. So, if you click up on this, you'll see how it's evenly adjusting the space between them. So, that's one thing that can be helpful at times and another thing I want to know is that you shouldn't mess with the vertical or horizontal scale of your letters. It's essentially the same thing as clicking and dragging it out like this. You'll see over here now that my horizontal scale has changed, just by doing that. Like I said, it's essentially pulling it, and we don't want to do that, we always want to keep everything at 100 percent in terms of horizontal and vertical scale. Simple thing is just always remember to hold shift when adjusting the size because that will do that for you. Another one here is the baseline shift, this will be helpful when we're going to set type around a shape which I'll show you guys in videos down the road. Especially when you have type going around a circle, the way I do it is, I'll have type on the top and type on the bottom but when you adjust it, the baseline shift is helpful because we'll make sure that in one instance of the circle, the baseline of the letter will be at the top but then we want to adjust it so that the actual top of the letter sits on the circle. I know that sounds a little bit confusing but it will make sense when I get to that video, down the road. But again, just get familiar with some of these tools here and the character palette. The paragraph palette is helpful. Like, if we have this and you want it to be centered, you can click on align center and it's kind of tricky right now how to set. But if you pull that back in and I'm going to adjust this, just because that's a little wide, you can play in here and adjust type, whether you want to align right, align left, center, justify, this is more so just important if you have a paragraph of type and you want it to be a set width, then it will place the last line, just to the left if you have or the center or the right here or if you want to fully justified type. These can be tricky just with spacing and paragraphs but for the purpose of the class, we're not really going to work with those but if you guys just want to play around in here, this will really help you get comfortable using type in Illustrator. So, I would definitely recommend playing around in here and really starting to familiarize yourself with these tools. Lastly, one other thing I want to talk about is OpenType. If that's not there, you can go Window, Type, OpenType and same with paragraph. If paragraph is not opened for you, you can go Window, Type, Paragraph and pull that open. But certain typefaces are built with OpenType features in them and they can be fun because there's alternate characters and it gives a different style so that it's just not out of the box typed font. So, I would always check to see if the typeface that you have has any OpenType features like this one. You'll see the stylistic alternates, if you click on that it changes, the P and the S that cross bars in those, as well as the A. So, say you wanted the A and the S's to have that but not the P, you can always come in here, double-click, highlight the letter, and then turn that off so that you can start to be picky and choosy about which characters are doing certain things. So, make sure you play around with that and another thing is with Script typefaces. That looks really crazy. You will see that I don't have the set to its original default figure but there it is now. So, this one has a lot of really fun OpenType features and if you just click on these and cycle through, you'll see how different these characters were designed and, I would just be cautious about just hitting this because that's really hard to read. So, if you want one particular letter to do something, again, if you just double-click and highlight that letter and then come hit the specific buttons, if you want your S to have a swash on it, you can go ahead and click that. If you want the T to have one too, you can have that fancy crossbar there. It's something fun that obviously, gets insanely crazy but there are certain instances where you would maybe want to use one of these to finish off the word and have a little swash come down below it. If we hit that T again and then do this, No, I guess this is not going to work. But yeah, just spend some time playing around because there's a lot of, depending on how the typeface was designed, there can be a lot of unique alternatives to the characters and another way to access those, if you go to Type, Glyphs, you'll see every character that was designed for the font and that can be helpful sometimes if you're trying to look for an accented A and if you have, you can come over here and highlight that and then if you double-click on the character that you want, it will make it for you. So, the glyph palate can be helpful just to help you guys sort through and find the letters that you're looking for especially if you're looking for highlights or accents. Just be mindful of that but anyway, just spend some time playing around with some different fonts especially the fonts that you've purchased and just see if they come with any of these extra features. When you're looking for them on the website, you'll see if they have any of these extra features. So, yeah. Just enjoy this, spend some time here because it's going to be really important for you to feel comfortable before we move into actually creating the sketches in the digital format. So, have fun with it and check back in for the next lesson, thank you. 4. Finally Some Effects: Hello, everyone. I hope, now that you've had some time to familiarize yourself with the Type tools and the Illustrator, that you're ready to get going with some of the fun stuff. So, this is an image that I sketched on the left and then designed on the right in Illustrator. What I want to do is just walk you guys through, how I ended up manipulating the type this way. So, the first thing you want to do is either hit "T", on your keyboard, or come over here and click to "TypeTool", and then just click off to this side. I've already come in here and made my type a little bit larger so, it's not the default Myriad pro. But, I know that the typeface that I wanted to use for this is actually Gin, which is just a slightly heavier and wider typeface than Bourbon, but designed by the same designer. So, I'm going to go ahead and click that, and I'm just going to type out what we're working on here and then "Escape" will always get you out of your TypeTool. So, if you hit "Escape", and then if you click this, and then hold "Shift", and "Option", on the Mac, and drag this down, it will duplicate it. So, now what you're going to want to do is double click into this, and just type "Effects". What we're going to do now is, I'm going to change it up to, well actually I think what I did for this is, change this to Bourbon, because it's a wider word and I wanted it to not feel like I was squishing it down really far. So, I'm going to go ahead and just click "Bourbon" here and from there, I'm going to zoom. If you do Command-Plus, that will zoom you in and also if you hit the space bar and then click and drag yourself around, that's the easy way to navigate your artboard or your file. So, if you wait until the little arrow, the double arrows pop up on the corner, hold "Shift" and "Option" and drag this down, you can get it so. It's just about the same width as type or another way if you really want to be a perfectionist about it is, I'm going to go ahead and undo real click, but what you can do is, you know you want it to be the width, this top word. So, select that, come up here to the transform panel and you'll see the little "W", is your width, if you just double click in there, do your Command-C to copy it and then click off, then select the word you want to change to that width, go back up to the width value and paste it in there, go ahead and hit "Enter". Now we know that those are the same width. So, it's just a quick, easy, mathematical way to make sure that everything is aligned and perfect. So, now we want to make this type, actually do what I have over on the left and so, I'm going to make it just a little bit bigger, bring it over here, I'm going to separate these, just a little bit and so what we're going to do now is select the word "Type" and I would wait to kind of kern things until you put the effects into them so, you know how it looks. Then we can go back and make sure that things are kerned and kind of set properly. So, go ahead and select this, and then come up to the Effect drop-down menu and do distort and transform and then Free Distort. So, these little corners are kind of tricky but if you just click around in here, you'll see that there is a grid that is set and then you can click and drag each of the corners, where you want. I would just recommend that you be cautious here, because I don't think you're going to want to do things like this. It's not readable. So, just be be cautious with that. Again, it's Effects, Distort and Transform and then Free Distort. So, I am just going to click and drag this corner down a little bit and when I do that, I'm just going to want to bring, see these little corners are kind of tough to grab, just drag that up a notch and I think there might just be attached too much. So, once you kind of have it somewhere where you like it, you can go ahead and click okay and that looks pretty similar. I think I have a little bit steeper angle over on the left, but don't worry about that because, I'll show you how you can get in there and edit it. If you click on that and come over here to your Appearances Palette. If that's not up, you can do Window, Appearance and then that will bring up the palette for you. So, if you click on "Free Distort", it will bring up what you already have done. So, now you can just edit it. So, I wanted that just to be a little bit steeper. There you go. So, now with effects, we're going to want to do the same thing, come to Effect, Distort and Transform, and then Free Distort and we're just going to do the opposite. I'm going to bring this top, top right corner down and the top left corner up and we're just going to have to do a little bit of guess and check on this, because the angle isn't going to match unless you just get lucky. So, again appearance's panel, come over here and click on "Free Distort" and you'll notice when you do that, it changes it back over on the artboard. But don't worry about that. Just adjust it and kind of keep playing around with it and so, you can bring it closer to see that the angle really isn't quite right. I don't want to spend too much time on this just because, it can sometimes take a bit but that actually looks pretty close and so I'm going to just separate that a little bit and like I said now that it's done, we can still cut it because it's still editable type. So, this is bugging me just a little bit and so I'm going to come back to my Character Palette. If that's not up for you, do Window, Type, Character and just adjust the kerning on this a little bit, so that it feels right. So, I don't really have any qualms with this effects, maybe just around the T, it could be tightened up a little bit, and so you all notice that this is going to slightly change the width of the words. So, if it really is drastic and it looks like they're not the same width, you can go ahead and do the same thing, copy the width and then paste the width to the bottom mode, but I think this looks fine for now. So, the next thing that we're going to want to do is set this type around the oval. So, I know I'm kind of combining a couple of things that I'm going to show you guys in the next unit, but just take what you learned from this and apply it to that, and you'll be able to get going just that much faster. So, what I'm going to do, is I'm going to come over here to my ellipsis tool and it may be defaulted to rectangle for you. So, rectangle for M, and if you want the ellipsis, you can click and hold it, and choose it or just hit L. But I am going to look back at my sketch and try and match the kind of the arc of that circle that I have, and you can always adjust it if you want it to be more shallow or more steep, just depending on what you're after. It gets up to you guys. So, once you have that, I would recommend coming over here and changing the fill to the stroke, and you can do that by this little swap fill on stroke. Then, we'll just kind of position this where we want it, but a new tool I want to show you guys, is if you come here to the type tool, click and hold it, and do type on a path. They will give you this little squiggly line in the cursor, and just ignore that first thing that came up. I might've clicked on the wrong spot, but if you click on the actual path, it will look something like this, and you'll see that these handles are really large just because my font size is still set to the same sizes up here. So,I'm going to adjust that because I know I want it to be smaller, somewhere around 15 and I think I actually went back to gin for this, and if you click on it with the typed tool, you will now be able to type around the path that you have set. So, we wanted to say, this actually did not change to gin. It's still bourbon, but that's fine. We can change it later. Type out what we're after which is Adobe Illustrator, and you'll notice that it is nowhere close to where we want it. So, again it's still too large. I noticed before I made these changes in that character palette before I had clicked on this. So, that's why I'm having this issue. But let's get it somewhere close to the size that we want, and again, that changes back to gin. So, you'll see that I have it spaced out a little bit and I tracked up. Come over here, and I'm just going to adjust that, and these little handles are important because if you grab on, it's going to move your type for you and so, this is giving you the width that you have to actually type. If you have this little red X come up, that's just because you're width isn't that wide enough. So, if you grab those handles and set them to as large as you can here, you'll be good to go. Then, there's also a third handle that I am going to back up just a second because, this is the third handle that you should see. This will move all the type for you, and you'll see it coming down on the inside here, and it's a little bit finicky. So, if it's not going to line up perfectly where you want, just try and get it somewhere close. It's really giving me issues, but there you go. It's a bit finicky, but if you get it somewhere close, you can go ahead and do that. One thing I like to do is get it close and then, drag it back so that it will align to center. So, just by dragging this center, and now here you're going to be able to align it where you want it. Then, we can kind of zoom out a command minus and position this where we want, and it's a little bit wider than I have it here, but I am not going to spend too much time. So, I am just changing the size, too much time kind of adjusting that, but you'll notice that there's some cunning issues. So, you'll just want to go in there and adjust some of the things that aren't looking quite right, but you know, you get the gist. It's close enough for showing you guys, and then, I want you guys to spend the time making the adjustments. But, the last one I want to show you is this for, how it's set on that kind of angle. I'm going to go ahead and just use the type tool again over here or T, click after the side, and type the word FOR. So, I'm going to escape out of that and change the font. This is Letterhead Packard Script Regular, and you'll see that it's all caps. That may be one of two things, I think I was holding shift when I typed it, but there's a quick way to make type all caps if you want. That's by coming over here in the character palette and using this dropdown and clicking all caps, and if it's checked and you don't want it, you can uncheck it. But since I just held shift, I'm going to go ahead and click into that, and then just type it like I want it to appear, and you'll see by zooming in that this is kind of broken right here. When you guys are using scripts, I want you to be very careful about your tracking. When using a script, you should never track it out. You should always make sure that, that sets zero. So, the next thing that I did for this is, I placed it and kind of sized it, positioned it how I wanted it. Then, to shear it, if you come over here, you'll see a scale tool. If you click and hold that, and then use the second option which is shear, and then double click that. It will bring up a little window, and I always like to use the preview. So, check that so that the preview is on, and you can just play around with angles. So, if you click out of that, you'll see it in the kind of toggle back and forth. It's shifting the script angle and we don't want to do that. It's most designed to be set at that angle, and so, what you going to want to do is play around with the axis. So, I knew negative would put it up. So, just by trial and error, if you put eight in, you would go down. So, just put a negative in front of that, and you'll be good. So, those are kind of some just basic tools and effects to help achieve this look, and I hope that it was helpful for you guys. Don't worry because I'm going to do another video and break down a few more effects. So, thanks for tuning in. 5. Some More Effects: Hey, everyone. Welcome to the next video in this unit. In this video, I'm going to talk about a few of the effects I used to achieve some of the logos for the Native Son Alehouse brand. I'm not going to cover some of them. For instance, this one in the top left, bottom left, just because it's going to get a little bit more in-depth for how I altered those letters and changed them to fit those angles. So, I would recommend if that's something that you really wanted to do, I am teaching another class on Skillshare and it's called Let the Type Do the Talking. In that class, I will go over some parameters and some demonstrations on how to achieve this. So, the ones that I'm going to focus on for the purpose of this class being more beginner-based are these three that I have selected on the right. So quickly, I'm just going to walkthrough some of the effects that I used to achieve this starting with this top one. I'm going to go ahead and hit T to bring up my Type tool. I'm going to click that. I know that I just want to work a little bit larger, so I'm going to make that larger and I'm also going to come over here to my Character Palette. The font that I used here is something that I altered a little bit but the basic font is Cyclone. I used the Background version. This is a unique case font, unless you use all caps. So I'm going to type my name, you'll see that all these letters are the same height. There's no center or decenter. I didn't want to use characters like that for this brand, so I just hit all caps and typed it. Another thing that you could do is come over here, click this dropdown and go to all caps, and then that would go ahead and change that so that they're all uppercase letters. So that's just one feature that I wanted to show you, but let's go ahead and type this out. So we have Native Son. I was already in here, tinkering around, but typically this would be set at zero. You want to make sure it's set at zero because this is how the foundry intended for it to be used. But I wanted it to be spaced out a little bit because I added these little spurs on it. That's something that I can show you guys once we're done, or that's something that you can do on your own. But just getting back to the effects that we want, I'm going to go ahead and make this similar to the size that we want. I'm going to come up here to the effects dropdown. I'm going to come to warp. I'm going to do arc lower. You'll see that there's a few different things that you can change. Again, I always have the preview on or off, but by signing these around, you'll see how it just the letter forms like we have selected here for the style arc lower. So if you're doing positive, it's going to obviously drop that below. If you go negative, it's going to bring it up. So you can also distort it, but like I said, I would stay away from doing stuff like this just because it's, I don't know, just starts to get really funky and illegible and hard to read. So you can go ahead and I guess Command+Z doesn't take that back, but just take those. I wouldn't mess with these. I would keep those at zero. When using the bend, I would just be really careful and not use something that big because once you start to really change stuff, it alters the letter forms like how much wider or heavier this E is at the bottom and how this N is just really odd. So, I would just like I said be cautious here. Don't do it ton. If you do go like you want it to be more noticeable, I can show you a trick to alleviate some of the squishing into letters. I don't think I had it quite that high, maybe somewhere. Let's just go ahead and do 10. So that's arc lower, but it's set to negative 10 so it's going to bring that up. I'm going to go ahead and click Okay. Again, if you need to make any edits to this, you can click on your Appearance palette by either selecting the note here on the right or going to window Appearance. But if you want to edit that, you can just click on the arc lower. I don't want to edit that. So I'm going to go ahead and just leave that, but what I do want to do is come back to Effect, do Warp and do Arc Upper. It's going to ask you if you want to apply a new effect, and I do. So it should default to the same. It looks like. I thought I went with negative 10, so I might go back and double check the other one. But let's go ahead and just do negative 10 and come check here see. I did do nine so I'm going to change it to 10. So, one thing that I might do here to just help out, because some of these letters start to get a little squished or squaddie and so, I want to try and alleviate that because you can see it's a much taller typeface when you hover over it. So what I'm going to do is select it. I'm going to go to a Effects, distort and transform and go to Free Distort like we did in the previous video. So I'm going to click these up, just a couple. You really don't want to take it very far because it's going to start to look stretched. So, just make sure that your line is straight across and not at an angle when you're doing these. I'm just going to do the same to the bottom. So, once you have that, you can see it looks maybe a little bit too high from what I have over here, but I'm going to leave it for now just because that's going to be all personal preference for you, guys, and how steep you want this. Another thing that I could always do is come back here and adjust this number on both ends. That would help also, but you can either adjust it by messing with those or coming back in here to Free Distort and adjusting that. But I'm going to leave it just for the sake of showing you guys. Then, the next thing that I did was just I used no effects but just the Type tool and paired it with contrasting typeface. So, this particular blurry or Alehouse is set in Santa Ana. I used Filmotype LaCrosse here. I'm going to just go ahead and you'll see that it's set to all caps. I'm going to change that. If you go back into it, it will default back to what it was. I'm just going to start over and now type Santa Ana. Again, you'll notice that the tracking is set to zero so I'm going to go ahead and just adjust this because it's too big. Bring it down here similar to where we have. Then, another thing I'm going to do is just click this and then shift in option Drag it down to duplicate it. I'm going to change this out and type Alehouse. So, I know that I don't want it to be the same font, although that doesn't look bad. I think I just want to add a little bit more depth to this and the font that I chose over on the left was Quadron. It was just the regular. So I had it set all caps. It was a bit smaller and tracked up, so something similar to that. One thing you want to do is make sure that these are all aligned. There's a simple way to do that. You can just select all of them and you can come up here to the Transform palette, or you can select it over here Align by doing Window Align, but it should be up here in the top for you. If you do a Horizontal Align Center, it will bring those all centered for you. So, then just adjust them to your heart's desire. Then just real quick, if you want to add spurs, you can select this Type, to Object, or to Type, Create Outlines. Then you'll see that it has this outline but it still has the effects applied to it. So, what you want to do, once you know it's set perfectly, go to Object Expand Appearance. Then that will make that an actual object instead of type. So to add a little spurs, what I did was I found the center of this. Then, I drew these little spurs on there, and you can do that by coming over here to the Ellipse Tool. Grabbing, not the ellipse tool, but holding it, going back to rectangle, making a little square and what I did was, zoomed in on that and wait till your little corner comes, hold shift and drag it to a 45. You can see that this is a little bit taller, and so you can do that by a few different ways. You can click on this outside corner and hold, oops, it's going to adjust it. You can actually, I'm sorry, I had my little brain dead right there but we want to do is come here and grab your Direct Select Tool by hitting A, and go ahead and just select this one corner, and nudge it over. But just remember, how many times you nudge was your keyboard, and you can just do that to the other side. Then, where the center is on this, you can go ahead and hit command R and it'll bring up your ruler, but you can see there's this little open white square there. If you just come up to your ruler and drag this down to that, that will be center for you. Then, go ahead and grab the anchor and it will align to the path for you. Then, you can zoom in and pull this around where you need to. But then, drag them out through the rest of the letters, and that's a quick way of doing that. There's going to be some problematic letters like the S, how it's set at an angle, and the A. But what you can do is just shift, option, click it to bring it over there and just drag this until you get the angle right. Then, place the edge of it. You can do the same thing for the S, which is going to be a little bit troublesome. But that's how I added those two to just to give it a little bit more depth. So, let's move on to the next one. This one is really simple. It really is just a basic type treatment. I'm using two fonts to give contrast, the first one is the same that I'm using up here which is Filmotype LaCrosse. I am going to go ahead and type out, Alehouse, and you'll see that I still had All Caps selected, and this is tracked out to 80. So, I'm going to bring it to zero, make it larger, and we're going to go up here to Effects, Warp, and Rise. Again, have a preview on, don't mess with distortion, and we want this to be horizontal rather than vertical. Let's go ahead and just bring this up until we have it at a nice angle. But again, don't stretch it too much because it will start to get a little bit funky. But to an appropriate angle, and then we have it like that. So, I made a couple alterations to the letter forms I connected the S to the E, and then added this tail to the word. Those are some things that will take a little bit more time and some use with the Pen Tool. But for the purpose of just showing you the effects, I want to just flush these out and then, I'm going to go over some finishing techniques on the last unit of this class that will hopefully help you guys do some things like these little spurs and the tail on this. So, the next thing I did was just had the word "THE" there. So, I typed that out and the font that I used was Gill Sans Bold, and just adjust the size. It took me a while to figure out what font I wanted to use there, but I ended up having a family of fonts that I use for this whole brand. So, I stayed within those just so that it wouldn't stray too far. That's another thing you want to keep in mind is, as you're trying to come up with multiple logos for your brand, multiple logos that work well together, you'll see that your characteristics that time together like using the same typefaces and some of the same treatment. Now, this is on a rise and so is Native. So, I used Gill Sans here as well as here. So, you just to keep that in mind when you're trying to bring your company. You want to keep consistencies throughout each of the logos. So, let's go ahead and move down to this one. Actually, in the last video when I showed you guys how to type around the path, we're going to go ahead and do that again get Alehouse and Santa Ana set here. So, I'm going to grab my Ellipse Tool by hitting F, or holding this down and figuring out which one you want. But for the sake of this, I wanted a circle and if you hold shift, it'll drag out a perfect circle for you, and remember that, unless you want it set on an angle like this, shifts will keep it a circle. If you hold the option, it will pull out from the center. So, just going to get something close to the size that we had and again, come over here to your Fill and Stroke. I'm going to go ahead and just swap those. Then, I'm going to grab my Type on a Path Tool, and you can do that by holding down that Type Tool button, and coming to type on the Path Tool. So, I'm going to go ahead and it says, "You must click on a non-compound, non-masking path to create text," and I just didn't have it close enough. So, I already had Gill Sans set, since that was the last font that I used, and it's bold. So, I'm going to go ahead and type out Alehouse, and so I'm going to hit Exit. If you come up here to paragraph, right here, click Paragraphs or Window, Type, Paragraph, I am going to set this to align center. You see that that threw it down to the bottom. So, I'm going to grab this handle and then drag it around top and you'll see, if you bring it inside the circle, it's going to bring the type inside. Like I said, this is a little finicky so it'll do some weird stuff for you, but just be patient with it. If it's not what you like, you can always undo. But see, it's not quite going where I want. I'm going to get it here at least, and then I'm going to zoom in, and I know that I want this hand to be straight up right. There it is. So- I have that, and you can see that I tracked it out quite a bit, and it's a little bit bigger. So. I'm going to come back to my character palette and then, I'm going to track this out and, you'll see that there are some cunning issues between the O and the U, and U and the S. It's a little tight but just for the sake of showing you guys, I want to get through this without taking too much time but just always be mindful of the space between your letters. So, what I'm going to do to get Santa Ana set on the bottom is I'm going to click and drag this, and hold shift and option to duplicate it and I'm just going to go ahead and double clicking here, highlight the whole thing and I'm actually going to come over here and do all caps and do Santa Ana and you're going to see that it's now at the top and I want it at the bottom so I'm going to bring it in here, and I'm going to go ahead and click and drag this back but, you can see it will snap to for you. You'll see that this type on the top is above the baseline and on the bottom, it is inside it. So, what you can do is select that, and do type, type on a path, and do type on a path options. So, align to path is what we're going to want to change. If you go ahead and click ascender, that will move it so that the ascender of the font will align to the top of this. So, that's what we want. You'll see that there's a little bit of space there but there is a way to fix it by coming over here to set in the baseline shift in your character palette. You just want to adjust that until it is back where you want it. It looks like I'm right in between. So, I might just do 2.5 to bring it where we want. Again, just be mindful of the kerning always. So, next thing I did was have native typed. I know I don't want it as all caps, so I'm going to change that. I also don't want this baseline shift or it tracked out because I know I want it to be a script font. So, I'm going to go ahead and change this to Filmotype LaCrosse again. I'm going to go ahead and just highlight the whole thing and retype it because I had it as all caps still. I'm going to make it bigger, put it in the center and you'll see that like I did in the top option with adding some spurs towards the end, I dropped the dot on the I down so that it was also the cross on the T, but those are some things that I can show you in the finishing video. But, I want to come up, here again, to effect warp and rise and just set this at the angle that we want and another thing to keep in mind is you may want to just keep it at the same angle that you have here just to keep consistent throughout the brand. So, I'm going to just back out of there and then come back to my warp and to do rise just to make sure that I'm matching that angle. That looks about right. I'm going to set it just a little bit higher because we still need to add the word son in there. What I did there was I just drew a square, so if you hit M or come here to your rectangle tool, I guess this is more of a rectangle than a square but don't hold chip this time because we want it to be a rectangle and you'll see that this little blue dot denotes the center of it. I'm going to drag a ruler over to it and you can bring up those guidelines by doing command colon or going to view, guides, and where is show guides? Right here. Where is it? I am missing it. I'm sorry, I can't find it here. If we go to help and do guides, it should be able to. That's where I was, but for the sake of saving time, if you just do command colon, it will toggle those for you. So, bringing that to the center and then I'm going to actually switch over to my pen tool by hitting P and you can do right here. I don't want the pen tool yet. There's a few different tools in there and actually, we do want the add anchor point tool. So, I'm going to come right here and you'll see that it will intersect where I drew that guide out. Go ahead and click that and it will add an anchor there. So, you'll see that it has this point over here that comes down a little bit. I'm just going to, all that selected, nudge it down and then the next thing I'm going to do is another effect if you, so like that, go to effect, stylize, and to rounded corners. Again, turn preview on, and that looks to be a little bit too much in I don't want to do either of those, so I'm going to come in here and adjust that and see if I can get this number to do what I like. So, I'm getting closer, something similar to that. Another thing that I did was, I'm going to move that away now and if I just use my direct select by hitting A, and grab this left corner, I'm going to nudge it out. If you shift in hog nudge, it will move it 10 units or you can just nudge it a couple of times and that's what I' going to do there. So, once you have that. I didn't mean to do that, I'm going to come back out of there actually, hit the zoom button instead, but once we have that where we want, I'm going to go ahead and bring it in to position and from there, what we're going to do is just shrink it because it's just a little bit too large. Then I'm going to bring my type tool up again, click and type son, the font that I used here was Eames Century Modern, I believe it was just regular, and I'm going to actually come here to my color palette, swatches palette and turn it white and bring it on top, and if it's below, you can always do, "Shift command+right bracket and that will bring it up, more left bracket, and it will put it below. But, we're going to, I'm going to adjust the kerning here just a little bit and then actually going to, just so that we can get these properly centered, I'm going to go to Type and I'm going to do create outlines, so that'll make it an object in here. This still has the effect on it. So, anytime you want to make it an object rather than still have the effect applied, you can do object and expand appearance. So, what I'm going to do is select not those but this and the type. You can click on one and then click or hold shift and click together, and then if you do horizontal align center and vertical align center, it will put those in the center for you. But since I dropped this down a little bit, I want this, it visually looks like the space is higher here. So, I'm just going to nudge that up, and one place you can adjust your increment of nudging is if you hit command K and come over here to- well, where is it? Wasn't just that general keyboarding increment right there. You can adjust that by point or inches. So, if it's moving it too far, you can always come back and adjust this and make it smaller. But yeah, those are some of the effects that I used to create this brand. I want you guys to play around with those and have fun manipulating Type this way so that you can start creating some of your own logos. Thanks for tuning in. 6. Some More Effects (continued): Hey everyone, I just want to show you guys a few more effects before we move into the next unit which will focus more on using type around shapes. But let's go ahead and get started with taking a look at these logos that I did here for my friend's production company. So, to create this one I used a couple of different effects. The first been are lower. Then I used another effect called bulge to get brothers to kind of extrude from the middle out. So, I'm going to go ahead and pull up my type tool and the font that I used was Forza bold and I'm going to go ahead and just type out salt and make it the size you want and again when you drag the corner out, hold Shift, and if you hold the option, it will pull from the middle. If you let go of optional and just pull it from the corner you're grabbing your thumbs. So, it's just a little helpful tool and make just a little bit smaller. I'm going to go ahead just copy this shift option, drag it down, and just go ahead and type brothers so that we have it. I know that I used Cyclone again but the in line version and my client wanted it to be a little bit thicker. But just for the purposes showing you guys I'm going to leave it as this thin in line. I'm going to go ahead make that smaller but a little bit too small somewhere around there. It's pretty good. So, I'm going to go ahead and select the word salt and I'm going to come into effect. I'm going to come to Warp and then it's arc lover and it's a negative unit. That looks to be a little bit too much. Let's do something like 15, that looks good. You'll notice that it's a little bit squaddie and some of the space between the S here, it's just a little bit tighter than it should be. So, I'm going to do is select that again into effect, Distort & Transform and do free distort and I'm going to just make it just a touch taller to try and help out with that. So, once you have that kind of where you want then you hit Okay. Again, you can always come over to your appearances palette, and adjust that and I think it's looking okay but I might just make it a touch taller and you can find your effects here, and if you always want to throw it away, you can always click and drag it to the trash. But instead, I'm just going to click it and edit what I have and just bring it up, just touch more. So, I think something like that looks pretty good. Then from there, what I'm going to do is click on brothers, I'm going to come up to effect, warp, and do bulge. See, one nice thing you can do is if you want to do both of them, you can put a negative effect down and get something like that which is a good look but not what we're going for here. I want to put it in the positive and I'm going to match the percent that we did. So, that the space between them is parallel. So, I think that looks pretty good. Then the next thing that I did was to use a font called Radio. I think I used the AM for the word "The". In the end, I ended up adding a little tail to it. But that's something I can show you guys how to do in the finishing video. Again, select all three of these and in your align pallet over here or up at the top and your top bar here, you can do a horizontal line center and then just want to make sure that the space between these is just similar, and you can even go as far as zooming in, grabbing your shape to hit M, and just draw a little square here, match the space and then bring it down and see if it matches here and if not, you can just select one and adjust. So, something like that. That's how I came up with the first one. Second one is something that I've already kind of shown you guys in previous videos, so I don't want to spend too much time on it. But what I can do is instead of just typing it all out again, I'm just going to drag this over here and make a copy and then I'm going to show you what appearances I have on it. So, it's grouped, and I'm going to ungroup it. So that's something to be mindful of if it's not showing the appearance that you have then maybe grouped and you can ungroup them by going to object ungrouped or shift option G. So, I'm going to select the words salt, click on work arc lower and see I set it to 14 percent. Just what we're working on kind of above and then on the word brothers instead of doing arc lower, I did arc upper and match the same percent like that. So that's how I came up with that and then down here, I just want to show these briefly. The word brothers was a vector when I was working on it. So, I am going to focus more on how I did the salt in both of these. So, I'm moving in here and taking a look. It just depends on what you want, if you want your letters to be upright rather than coming out across this access. There's two different ways to kind of get this look. The preferred method is to do type on a path like we've already chatted about by coming over here to your type tool, doing type on a path, and having your shape set that you want to type on. So, that's how I came up with this one here which I think is the better way to do it if you want that look. But there is also another way. If you go ahead and just type out salt, I'm going to ungroup those shifts option G, and I'm going to click this and you can always use your eyedropper tool and click on the font that you want and it will change it to how that is set exactly. So this is Berthold Akzidenz Grotesk Bold Condense. If you come up to effect and do warp and then you do arch, not arch but arc that's going to give you a similar look to what we have there. For the reason I prefer kind of doing that type on the path route versus this is because this starts to why didn't the letter forms, I give you look here the age starts. All the letters get a little bit wider towards the top. Over here, the letter maintains its structure. So that's why I prefer you don't use the arc method and if you exaggerate that you'll see how it really does alter the letter form. So, I would refrain from using the arc but instead for the but instead I would use the type on a path option. But the other option or the other effect I wanted to show you guys was arc. Arch, sorry and you can do that under the Warp options when you have that window open but you can also just go effect warp and arch. So, you can play around with this either do negative or positive. But that's just another simple little tool to kind of help you guys use type differently. I think as I've started to show you a few of these effects, now you can start to combine them and use them differently and come up with some pretty cool options for how you can start to treat type. So, I hope this was helpful for you guys and I appreciate you as always tuning in. 7. Type Around Shapes and on Unique Paths: Hi everyone. In unit three we are going to focus on using type around shapes and I know I've kind of gotten over that type on a path tool a little bit. But, I want to just show you guys how you can start to combine that with some of the effects that I've taught you as well to really come up with something dynamic. So, the two examples that we're going to look at in this lesson are the teaser images that I did for this class and one thing I'm going to have to go into just a little bit is using the pen tool to create this path. If you guys are unfamiliar with the pen tool. I've posted some resources in this unit that you guys can go to. That explain it really well. I just don't have the time in this class to cover it just because it can be a little bit daunting. But if you follow those links, those are good resources that are going to help you really understand. Also in my second class, I have also gone over a little bit more. So that's always an alternative as well. But I can walk you through creating unique patterns like this. And so I'm going to grab the pen tool by just hitting P or you can come over here and grab it. But, what I'm going to do is create this interesting line and so I'm going to click one spot and come over here. Just a little bit because if you look at this line, I had a little bit of straight before it starts to curve on the bottom and the top. So, you want to hold shift when you click again because if not it'll be up a little bit higher than you want it. You want it to be a perfectly straight line. So if you hold shift and click and hold and drag out a handle. Again, you want to hold shift while doing this otherwise you'll start to make that line curve and we don't want to do that just yet. So, hold shift and bring it out just a little bit and you can always adjust it later. But somewhere around there and then I'm going to come up here and not hold shift before I click, but after I click hold shift and drag that out. So it starts to be somewhat close to the trajectory of that path that you want. So I'm going to come back over here and switch the filling stroke and I'm going to go ahead and hit V to grab my selection tool and what I want to do to make sure that this is symmetrical is highlight it or just select it and then I'm going to drag a guide down to half way through it. And if your guide down on command calling we'll turn those on and you can see I already had one turned on there. So we're going to disregard that one. But what I want to do now is come over to my pen tool, click and hold it and do add anchor point tool. I just want to add an anchor right where the halfway point on that line is. And so now I'm going to grab my direct select tool by hitting A and just grab this top point, this top anchor. I'm going to delete that. So, I want to grab this and shift option click it so that you can make a duplicate of it and then I am going to rotate it and hold shift while you do this. We will do in 45 degree increment. And once we have it where we want. Next thing you're going to do is I'm going to turn my guides off, zoom in and then I'm going to use my selection tool. I'm going to hover over this anchor and I'm going to click and drag it till it says intersect. Once it's intersected, we're not quite done yet. We want to grab our direct select tool by hitting A and I'm going to just grab both of those points in the middle because we want to make sure that this is a continuous line. You can either do command J or do option, Path, Join. And that's going to join those so that now we have one full path. So, that's a way just to show you how I came up with that style of line and you guys can get creative with this and start creating all paths and doesn't just have to be this shape it can be different shapes. So, have a little bit of fun with that but the next thing we're going to do is go to our trusty type on the path tool. I'm going to click on this and it may be weird at first. This looks like it's going to be upside down but the font that I used was a letterhead font and it's billhead 1900. So, I'm going to go ahead and just type out. See and when that happens what you can do is, I know that it's too large for my path. So I'm going to make it smaller and I'm going to go ahead and since it's upside down just grab this handle and bring it up here. So, you'll see it has these N handles and that's going to keep us from being able to type our full phrase. So I'm going to click and drag those to the end of my path. So now, I know I can type on the full length of that path. So, I'm going to just get back here to what I was doing, finish typing this out. And you'll notice that some of the characters are a little bit different and it looks like it's tracked a little tighter than I have it over on the left. So I'm going to just space that out a little bit. One thing to be careful of is where paths curve, you can start to get some weird cunning issues. So, for instance right here this I looks isolated. So, you want to go back and fix those or just be careful on those areas where the path does bend because type will start to do funky stuff sometimes. So you'll see that the caps that I used here are a little bit more stylized and that's a good thing about this font is, there's three different styles. There's 1890, there's 1900 and 1910. 1910 gets really crazy and it was a little too much for what I was wanting. So I just ended up using 1890 and I just selected my capitals and change those over. So, I'm going to go ahead and just do that really quickly. We get a little bit bigger. Of course, my lines are a little bit different than the one I had over there, but you see now the D and E are giving me fits today. We can make it a little bit larger. But, yeah, that's how you can come up with type on fun and unique lines like that. To go ahead and do this, it's like we've done before with the circle. We're just going to grab our ellipse tool by hitting out or coming over here to the shape to holding down and finding the ellipse tool and just draw an oval that looks close to what you want. Again, let's go over here and flip this, the fill-in stroke and then just get this. So, it fits where we want that type to go. I like it somewhere around there and then just click and drag this out over here so that we can type on it. I'm going to grab my type tool, type on a path. Click on this, and the font I used here was Letterhead Old Stock. I believe it was one regular. I'm going to do crafting, and I know it's smaller, not that small. I'm going to just grab the handle here and rotate it around where we want. That looks about close for now, and we can adjust it later. I'm going to make a copy of it by holding shift option and dragging it down and do typography, and I'm going ahead and drag that over here. You'll see that the one is set at on the baseline and one is set on the ascender so that's something we're going to want to change. Over here, I had it so that this is on the inside and then this is also on the inside. Whereas over here, sorry I said it wrong, ascender and descender that this is just sitting above it and this is sitting inside of itself. I'm going to grab the crafting one and come up to type, type on a path options, and I'm going to change this to a ascender. I can turn preview on, and I'm going to come over here to baseline shift and just adjust that. Now, we can grab these handles and put the type where we want. So, something like that looks pretty good and then you can just visually get it so that it looks properly spaced. Again, on these curves, you have to be careful of some current issues. But more or less, this is how you combine and use the type on the path tool to really create dynamic typographic layouts around shapes and using different unique paths to come up with something fun to look at, something pleasing. Another thing to keep in mind as you're coming up with your multiple logos for your brand is a lot of these tools and effects pair well together. So if you're keeping some type of consistency between what effects you're doing and type choices you're using, you will be able to better come up with a better collection of logos for that brand, that feel fitting. So, down here, let's go ahead and talk about how we came up with this. So, the first thing I did was I drew an oval. I'm going to go and just flip that and grab my type on the path tool. Click here and just type the word "type" and you see my baseline shift. You just want to be careful of this. It will stick to what it was last used, and I'm going to change that. I'm going to bring it up here and going to make it bigger. I know that the font I used was Gin Round, and I did not have it dragged out that much. Maybe we did. Sorry about that, something like that. Again, I'm going to shift option click this out and do craft. What I did here was I used round oblique, just to give it something a little bit different and then go type. Type on a path, type on a path options. I'm going to go ahead and change this to ascender, preview and I'm going to adjust my baseline shift so that it sits right on that line. In here, I didn't have them. You can either put them straight back on top of each other like that, or you can bring them closer, pull them farther apart. It just depends on what you're looking to do, whether you need type in between it. But I believe I had it like that. It just depends. You can always scoot them in. It doesn't matter, but I guess we'll just start with that for now. Then, the arrows, what I did was I use my pen tool for those. So just a quick way to come up with something like that, I'm going to grab my pen tool, hit P. I'm going to draw a guide, command con and I'm just going to click on the guide, hit shift and then click somewhere above it and then don't hold shift and just click somewhere over here. So, from there I'm in a shift option click this, and then I'm going to right-click on it, and you transform, reflect and have preview on. Instead of vertical, we're going to do a horizontal. I am just going to grab this anchor, bring it up here until it says intersect, grab both of these, come over to my pathfinder pilot. You can click on that or just do window pathfinder, and I'm going to do, under shape mode, unite. So, now I know that is one full shape, and so the next thing, there's already a guide there. I want to do is use my pen tool and do at anchor point and add one there. I guess there already is one because that's where I started the first anchor. So, if you grab your direct select tool, if there wasn't one there if you drew your shape by just clicking here, here, here and here, you could add nikal point tool to it there. But if you go grab your direct select tool and just push this in a little bit to get an arrow, there you go. You can do that. What we can do is size it appropriately, and if you want it to be a little bit longer, don't do that. You can click i, t nudge it out, get it to where you want it to be. What we're going to want to do is just grab this in. I would just lay it over the top of this just to see if you are getting your angle right, and you can just reverse that so you can see a little bit better. I'm going to go ahead and change it back. I'm going to make it just a little bit smaller, and I'm going to bring it out over here. You have to just kind of adjust this angle until it feels appropriate and then I'm going to Shift Option click it over here. Do right click on it, Transform, Reflect and instead of horizontal this time we want to do vertical and just kind of bring it out until it is centered. So, that's how to come up with the arrows. The next thing I'm going to do is just get this a guideline one figured out. I know just use your straight-up type tool. Then I used another letterhead font. I used Egyptian and I'm going to just type out what I need. What I did here was I just put a few spaces in it and then just put them directly in the center. You can nudge them if your words aren't perfectly symmetrical. But yeah, let's just get this down somewhat close to the size. I'm just going have a few more spaces. One thing if you have your type set to Align Center, when you add a space it's going to put it directly in the center. But if you have align left, for instance, and you put a space you're going to have to readjust that back to center. So, that's kind of just an easy tip. You go ahead and backup to where we had it. Then going to grab my type tool again, come over to Character. I used another letterhead font. I used Packard Script regular. Again, when you're using scripts, just be cautious of the tracking. I'm going to go ahead and set that back to zero and then we're going to put that in the center. What I used here was shear. If that's not there under your scales tool you'll find shear and negative eight set to vertical with preview on. Always you have preview on and kind of adjust this. Just get it to the angle that you want. I might do 10 just to- maybe it was, I don't know. Well, I didn't want that. Ten somewhere like that seems pretty good. What I'm going to do is just Shift drag, Shift option drag this out because I know I want the type for two to be set to the same shear angle. So, I'm going to go ahead and just type two and make it smaller. So hold Shift and Option or just Shift and let's get this to kind of nestle in here. Looks like it still just a touch too big. So, we'll put that there. So, that's just a simple way to have a little bit of fun if you have smaller words like established or two or the or and. Just try and come up with something creative for that and have fun with that. Also another font that has some cool built characters like that is Brothers. If you take a look at Brothers they have a BrothersWordLogos and then if you go to Type in Glyphs, you'll see all these kind of fun glyphs that they have. So, when you're looking to purchase fonts you can always take a look at what fonts have as alternate characters as well. So, that's one thing that's pretty fun. So lastly, with this, I'm going to go ahead and group these and also group type. Then, now what we want to do is select them all and just come to horizontal line center. Sometimes fonts have a little bit of extra space at the end, so something's not quite right. You can always just adjust things so that they visually are looking correct. Just be careful with it, maybe a couple nudges to help. If you're moving it this much you just will realize that it's not actually centered. So just be careful in doing that. But yeah, those are some kind of fun ways to use the type on a path tool and some of the effects that we have to come up with some dynamic type treatments. I think these two things look really, really good together and so just keep those things in mind as you're moving forward. Lastly, one other tool that I want to kind of show you. You can play around with some of these, but the vertical type tool. If you do this, hope we're going to want to change our font. Let's just go back to Gin because I've been using that one a lot, and just do type effect. So one thing I notice about this is this space is always just a pretty shallow space and it's not going to kern the font how it's supposed to be kerned. So, you can always adjust the tracking on these or the kerning just to bring the spacing a little bit tighter so it's not as loose. But there's obviously, some fun things that you could do with this type tool as well. But I hope that this lesson has been helpful for you guys in showing you how to mix a few different things. I know I only showed you this one effect here or the shear or you could use rise. But yeah, I hope that these, I don't know, that these treatments or these type on a path styles can be mixed with what you guys have already learned in this class, help you create something really cool. So, thanks for tuning in. 8. Finishing Touches: Hi, everyone. Welcome to the last unit of this class. In this video, I just want to show you guys some finishing techniques for how to get some nice little stylized elements like these inlined here and kind of this sort of drop shadow look. In this video, though we're solely going to be focused on this in-line look. I just want to show this to you guys so that you can potentially apply some effects like this to the logos that you're working on. With this, you're going to need to be relatively comfortable with the Pen tool. So, I'm going to go over some basics with that. But like I mentioned in the last unit, there's a resource in that unit that you guys can follow to get some basics for the Pen tool. I know it can be a bit frustrating at times, but just keep persevering because the more time you spend with it, the more comfortable you're going to get with it, and it's going to really help take your design to the next level by being able to achieve some of these works. So, this was a beer label that I did for a client of mine, Wylie Roots Brewing Company. For this type, I wanted to just spice it up a little bit. I wanted to add some in-line details in this drop shadow. I'm going to go ahead and show you guys how I did that. So, I just have the basic type over here. I'm going to grab the Type Tool by hitting T. The font that I used here is Appleton, and I'm just going to go ahead. Do not change that and type out Super. So, I'm going to click and drag, hold Shift always, make this bigger. One of the little effects that we've already gone over is Sheer. For the sake of this being Super 77, I'm just going to do negative seven. So, go ahead and escape out of that, click off. What we're going to do now is use our Pen tool. Like I said, I'll mention a few basics. What we're going to do is hit P to grab it. Over here, you want to make sure that your Fill is empty, and your stroke contains the color, so you can swap this. I had that selected, so you don't want to do that. Click off of it, and then swap it. So, now hit P again, and the Pen tool is all mathematical-based drawing. So, it's not going to be a natural stroke, where you move your mouse, you're going to have a line up here. So, what you do is, it works off anchor points and handles, and that will help you be able to create the curves that you're looking for. So, if you go ahead, just click, and then just for fun, click somewhere else. If you let go, it will be just the line from point to point. But if you click, and then click somewhere else, and drag out a handle, you'll see that it's going to make a curve for you. The further you drag to handle, the sharper the curve, the more drastic the curve. Then, from there, if you click again, since this handles drawn out wherever you click, it's going to automatically apply the curve to the back side of that. If you don't want that, you can come over here, hover on it, and option click it to make that one side handle go away, so that you can now draw a new point. So, like I said, follow those tutorials, and get comfortable with the Pen tool. But, once you guys feel like you're at point where you're ready to maybe tackled this inline, look, what you want to do is get your Pen tool again. I synthesis this is set to black. I want my pen to be white, so I'm going to hit X to bring the stroke to the front, or if you click on it, it would bring it to the front. From there, I'm going to go ahead and click White, and so now I will have a white stroke. So, what I'm going to do is, I'm not going to show you every letter just to save some time for you guys enough to sit through all of this, but I'll go ahead and demonstrate, coming up with how I did those line. So, if you look back here, I have this kind of little star shape in between each point, kind of where the letter naturally bows out where there's kind of spur. What I did to do that was, I took my Ellipse tool and drew a circle. Let's go ahead, and just flip this back. Then, I'm going to hit X, to bring my Fill to the front, make this black. So, I know this inside from the Pen tool, but I just wanted to show you guys how I did this. What I did was Shift+Option, click it over, and then I'm going to select both of them. Shift+Option click them down until they intersect. I'm going to select all of them, and I'm going to hit K, which will bring up your Live Paint Bucket. While those are selected, you'll be able to either change a different color. Change them like that, but you'll notice that it also filled the inside of the circles for me. So, what I want to do from there is select it, and come up to the top and hit Expand, and then go to your Pathfinder palette. You can find that in Window Pathfinder, and what you're going to do is divide. Once you do that, go ahead and click Off, and let's just ungroup it. So, select it, Ungroup, Object Ungroup. We're going to delete what we don't want, and we do want this. So, I'm going to go ahead and make it white, bring it up here where I want it. You'll see that the angles off, but that's an easy fix. You come up here to Sheer. Set it to negative seven, and it's going to set that to the same angle as the letter. So, I'm going to go ahead, and put this down where I want. Then, one thing that you can do is, if you grab your Line tool at backslash, or come over here to line Segment tool. If you click and drag this, you can do it across the whole word. If you go to View, Guides, make Guide. Then, if it's not on Command column, will bring that on for yourself, just so you can make sure that these line up. So, when you click and drag this, that will line up for you. But anyway, we have one more thing to do. We just want to nudge these over. Because there, if you look, they're going straight up. This angle matches, but this one does not. So, let's see if we can do that in here. It's not looking like we can. So, I'm just going to do Command K, and make my keyboard increment really small. I'm going to just nudge these over until they're kind of where we want. You'll see that this is looking a little funky. There we go. Let's look in a little bit better there. When you click out to your Guide up, you can see that kind of fits, the forward slant of the letter as well as the upward side. So, with the Pen tool now, finally getting back to this. I'm going to go ahead and switch this, and make my stroke white. I'm going to click here to here, and just make a simple line segment, no curve there. What I'm going to do is grab my Width tool over here. You can do Shift+W, or come over here and click it. I know I want the end to be zero. You can either do that by clicking and dragging these two pretty nifty tool, or if you double-click the Enter, it'll bring up this little box here. For your total width, you can go ahead and just type zero. You'll know that will make that just a point for you, and so back with your Width tool. With this, I'm just going to click somewhere in there, just a natural drag because I didn't know what number I wanted it to be. So, you can always come back to Width tool, double-click that, and see that it's set to 0.004. Now, with every other line that you draw, you can set that end width to 0.004. So, what I'm going to do here is drag the handle up because I know that I want this to curve back this direction. So, I'm going to do just something like that. You'll see that my Fill are set here, because the last thing I selected was a letter form. I'm going to switch that, go ahead, and turn my stroke to white. I'm going to grab my Width tool with Shift+W, double-click here, and change that to 004. Then, over here, I'm going to make that zero. So, it looks like right here since there was an anchor point there. It's going to keep the width that it was set out when it was like a one point stroke. So, if you just double-click that, and let's go ahead and change this to four. Then, now our line looks more appropriate. So, that is just a simple demonstration of how to use the line at the Pen tool, then your line Width tool to come up with creative, kind of nice-looking interior Fill for the letter form. When you're doing this, just you know how to draw it again over here. Since this is the same, don't hold Shift because you don't need to go straight [inaudible]. You'd be a little higher. Just Option click it. Turn on your Guide and set this where you need it to, and then nudge it over, so that it's centered in that part of the letter. Then, here you need to see, we might need to adjust it a little bit. So, I'm going to, if you select with your Direct Select tool, and click on an Anchor, you'll see these Handles appear, and you can click and drag those, and adjust the the curve so that it fits a little bit better. So, that is just a brief demonstration on couple of in-line Fill tricks. If you guys just practice this, and spend some time doing this, and apply these finishing features with what you've already done, it's really going to help take your logo to the next level, give it that extra punch. So, stay tuned for the next video where I'm going to demonstrate how I come up with like a little drop shadow like this. We'll try, and get creative with one, and do something just a little bit different rather than just a clean backdrop. So, thanks for tuning in, and I hope you found this helpful. 9. Finishing Touches Continued: Hey everyone. In this video, I just want to show you guys a few techniques to help you get a dynamic drop shadow like this. Certain fonts have built in styles. For instance, this one does. But if it doesn't have something like this and you want to achieve that look, I'm going to show you how you can. So, to create something like this which has that style built, the first thing I'm going to do is instead of dragging that over I'll just use my type tool, hit T. I'll also come over here and then the font that has this style built in it has lines, lines of bleak, bleak regular. All those. I want to go to regular and just type out Skillshare. So I'm going to escape out of that and zoom in on it. So, the next thing that I want to do is create a copy of this to place below it. So, you can do Edit, Copy, and then Edit, Paste, and Back because we want it to be below. Just so we can see what I'm trying to do, I'm going to change the color of it to pink and you'll see that nothing changed because it's below the black version of it. So, what I want to do now is nudge it and this depends on how you want the shadow to look but I always like to do it so that it's a equal nudge both to the right and down, or if it's going to the left that way or if it's going up that way, just keep it equal. So I think somewhere around there is pretty good. So, what I'm going to do now is Edit, Copy, Paste and Back again. You can follow the keyboard shortcuts over here, makes it a little bit easier but what we want to do now is change these to lines because it has those nice little lines built in. I'm going to change it back to black and nudge it over, and nudge it down. So, what we want to do now is change the pink to white so that it looks like there's a drop shadow. So I'm going to select this top version black, and I'm going to hide it and I am going to do that by coming to Object, Hide Selection. I'm going to select the pink version now and turn it white. Now what I want to do is do Object, Unhide and it looks like it's not there, but the Show All is unhide. So, that will bring back what we just had hidden, and now you'll see that it looks like we have the drop shadow. So, that is a way to do that when there's lines built in. But what I'm going to do now is just lock the top two versions, select the lines and even if you want a regular shadow and then go and just unlock. Do Option command two, or you can do Object, Unlock All, but that will give us the appearance of just a solid drop shadow. So, now what I want to cover is if the font doesn't have lines built in and you want something like that, I'll show you guys how you can achieve that. So, the best way, my preferred method is grabbing the line segment tool and I am just going to click and drag and hold Shift so that it's at a 45 degree angle. You just want to make sure that the height of it is enough, like is just a little bit taller than your letter forms. So, I'm going to switch over here to my stroke. I'm going to make it black, and you guys can change colors and experiment with all types of stuff like that. But just for the purpose of showing you, that's what I'm going to do. So, I'm going to click, I'm going to Shift option drag this over so that there's a gap. Then after you do that, all you have to do is Command D and it will just replace. But you'll see that this is going down, and I don't want that. You want it to go across. So, that was my mistake. I'm going to backup and is because when I was dragging that, instead of dragging it to the right, I drag it down at a 45. So you just have to be careful when you're holding Shift when you drag these. So you'll see that's below. That's to the right. That's above. So, just make sure you're going directly to the right. Once you have that again, it's just Shift option click it over and when you have this facing right you're set because now if you just do Command D, it's just going to duplicate this for you. If you just keep holding that so that it's the width of the word, that's great. Another quick way, just to show you, is you can Shift option click it over here, and then if you have both of those selected, come over here to the blend tool and just hover over this, click on each of the segments and you'll see that it will put a certain number across. If you double click on this, turn preview on and do specified steps or specified distance, your choice. But specified steps there's five segments. So if we make this 100 and click preview, you'll see that it will give you the similar effect. So, just depends on what you want to do for your method on that but it doesn't really matter. If you do it this first way, go ahead and group of those by Command G or Object, Group, right there. So what we want to do now is, I'm going to go ahead and just show you guys this effect with a different font one that doesn't include the lines. Let's go ahead and just do, for the sake of showing you, Brothers. I'm going to do Brothers Regular and it's a very similar font but you'll get the gist. Always be mindful of your kerning first because it's easier to make the adjustments first rather than after you have your effect set up. But, just for the purpose of showing this, what you're going to want to do is let's go ahead and create outlines on this. So you do Type, Create Outlines, and is going to make that a four shape and it should be grouped for you, so you should be set. So, what we're going to want to do is make a copy of this. You just option click it, place it so that it's over the lines that we have, and you always want to make sure it's on top. So if you do Object, Arrange, Bring to Front, that will absolutely put it on top. Then if you select both of these things and do Object, Clipping Mask, Make, you'll see that it didn't quite do what I wanted, but that's because sometimes you might need to do Object, Compound Path to the shape you actually want to use to clip it. So, I'm going to do that and it's still on top of the line. So, now we can do Object, Clipping Mask, Make, and there you see that we have our lines. So, what we're going to want to do again is make a copy of this, paste it in back. Command C to copy, Command B to paste the back. Just to see it change color we're going to nudge it and then from there I'm going to grab this. If you just grab it on an anchor point and come place it right so that it lines up, you'll see it's on top. We want to send it to back. So, you can do Shift Command Left bracket could do that or Option, Arrange, Send to Back. So, now that that's back, we're going to nudge it and what we want to do is grab the red version and you'll just see over here that that's what we have selected and change it to white, and that is a way to come up with a nice drop shadow. So, if we make a copy of this and reflect it and do vertical so that it crosses it, you can always come up with a different pattern in the back. So I'm going to make a copy of this, bring it down here. Going to Do Compound Path, Make, and just change the color so I can see it. I know it's on the front of these. On top of them, and now I'm going to select all of them, Do Clipping Mask, Make, and you'll see that we have a different pattern inside of there. So you guys can get creative with what patterns you use. You can use dots, you can use little squares, whatever you want. Just have fun with it and just show you again. You just can create fun little drop shadows just to give your artwork that extra little punch. So, just to show you. You'll see certain things work a little better, but if you need to expose a little bit more, you always can and just always keep messing around with these until you kind of get something that you like. But that's just a quick demonstration on how you can do this and these effects can be applied to almost any font. So you can use it with scripts, you can use it with something more modular like this or San Serif, whatever. So, I just want you guys to have fun with it. Experiment, try and come up with something unique, something that you haven't seen before, and if you mix like the in line features I taught in the last video with something like this, you can really come up with something pretty great and that's just going to help differentiate what you've done from what someone else has done. So, enjoy all these features and have fun mixing and matching your effects and your type on a path tool. Just enjoy. Have fun with this, and now what you can do is really combine all aspects of what you've learned and come up with something great. I look forward to seeing them, and I appreciate your guys' time as always. Thank you. 10. Saving Your File: Hey everyone. Welcome to the last video of this class. In this video, I want to show you guys how to make sure that your logos are clean and ready to be saved. Then, I'm also going to just go over a quick steps to make sure your logos are saved out to certain files depending on who you need to give them to. So, for the purpose of showing you guys, I have these two examples that I did and you can see that there are still all type and that's something that we want to change. We want to make sure that these are outlines, that they're objects because when you save them, and send them off to a vendor for instance and they open this file, and they don't have these fonts on their computer then, it's not going to display right. It's not going to be how you designed it. So, we just want to make sure that it's a piece of art rather than editable types. So, with everything's- with all of these selected, all you have to do is do object or sorry type, create outlines. You'll see that each piece is grouped together. One thing we want to do is make sure that it's all group. Because if you're sending this off to a vendor and he grabs it to move it and that happens, and then he's like, "Oh, I'll just put it back," and it's wrong, we want to make sure that doesn't happen. So, if you just select it all, do object, group, you will be set and they'll be able to grab this and take it and use it however they need. So, again for this, you'll see that these are already set to objects here. Because we drew those with the pen tool, but again it's as simple as selecting all of this. Even when there is an object in there, you can still select all and do type, create outlines. Again, you'll see that we want to group it. So, that is a simple easy way to make sure that your logos are going to be used properly when you send them off. So, another thing that you want to do is, save them out so that they can use them. I would say if you're sending this to someone who doesn't need to scale it, who doesn't need to adjust anything, you can send them a JPEG. But if you're sending it to someone who needs to scale it to make it bigger, so it's best to include the original vector artwork. So, there's a few different ways you can send them an Illustrator file, but if you're going with the ladder and you need to send them the editable artworks so that they can adjust it, I would recommend saving it out as an EPS. Say, you want to send both of them in one file, you can. This is your art board here, and if they're both in here the EPS will save out to this art board. So, say you just want one, you can- I'll hide this for now and typically, if they're just asking for a final logo, just send them the logo you don't need to send them your art board of how you created it, you can create a new file and place this in there. Then you just go to File, Save As, and under your drop down here, you just go to Illustrator EPS, then save it as what you want in the location that you want on your desktop, somewhere you know it's going to be. That's the way to save our EPS. If they ask for a PDF, you can always do Adobe PDF as well, and that will that will keep the vector intact for them so that they can still edit it. But, if you want to send this to someone that you don't want to adjust it or be able to work with your file, I would recommend saving it as a JPEG. And you just do File, Export and you can do PNG or drop-down this menu, and you JPEG. I would recommend just clicking use art board. That way it gives them this full size rather than cropping down to the logo. Again, you just pick your location and save it as the name you want. That is how you export JPEGs or flat image files. So, the last thing I want to kind of go over is just a look back at our mood board. If you go into the dynamic type using effects, and you see some stuff in here that you wanted to do but didn't know how to prior to this class. You can come in here and just take a look at these and see how these were created. You can tell that this Frederick the original was used with the type on a Path tool. Same here. It's just set smaller inside of it. This, you can use your type on a Path tool and make an upward line. Yeah. I think by after watching all those videos, coming back in here, and taking a look at some of this, I think you'll be able to see how some of these were created. Like this for example, type on a path, then arch upper and then here, arch lower, and again type on a path. So, I think just looking back in here you'll see how some of these were created. I really think that you guys are at a good point now to just have fun with this, and enjoy the process of mixing and matching those effects and inline treatments and drop shadows. So, again I thank you guys so much for taking this class, and I look forward to seeing the projects that you post and critiquing them and helping you guys further your logo knowledge. So thanks again, I appreciate it, and I hope you enjoyed the class. 11. Explore Design on Skillshare: way.