10 Amazing Logo Tutorials in Adobe Illustrator on the iPad

1. Introduction to 10 Amazing Logos: Hi, my name is Tim Wilson from Red Rocket Studio. In this course we're going to create ten amazing logos. Have a look. This is the sort of thing that we will be creating in this course. Although some of these projects look very complicated, I'll be taking you through them step-by-step in really easy stages. If you have no or little knowledge of Illustrator on the iPad. One, I do my illustrator for beginners course before starting this one. Why not start right now? I can't wait to help you create these amazing logos. 2. Fun Shop Logo Introduction: For the first project, we're going to create this fun shop logo. Now we're going to be using basic shapes. The monkey, for example, is just a whole lot of circles. We're going to be doing some interesting texts, and we're going to be sampling colors from photographs as well. Let's get going. 3. Creating a New Document: We're gonna start by making a new document. I'm going to click on the Create New button that opens up a new area like this. Now, first thing is along the top, there are recent, this saved Print, Screen and illustration options. Those are just presets. What they do is they give you preset sizes and color modes. For example, if you're creating something for print, you can click on Print and you've got the basic print sizes in there. Of course, you can create your own as well. Now, let's House creating 70 footprint and I chose a four in there. What it would do is it would put those A4 settings onto the right-hand side. Over here, I'd get the right width and height in there. It also puts in the correct color mode, CMYK for print. If we went to screen, screen, generally if I click on one of these here is RGB. So it changes that to RGB and changing my units to pixels. And having chosen that, I'm going to click on Create File. And that then opens up my document directly for me and I can start working on that document. 4. Three Circles to Make a Monkey Head: Let's start off creating a new document. And with this document, I'm going to make it portrait mode. I'm going to start off with my screen option. I'm going to go into myself 1920 by 1080 pixels. But I'm going to then go across here and just flip over to portrait orientation. It's 1080 wide by 1920 high. Now, these sort of things are ideal for anything like Pinterest. What that long thin look that you're after. Gonna click on Create file, after checking that I'm in RGB mode over there because I'm doing something for screen this time. I'm going to draw two little animals. I'm going to do a monkey and a giraffe and then have some text on the text is going to say the fun shop or the fun experience, whatever you want to put in yours. But I'm going to start off by doing the monkey shape. And I'm using mostly squares and circles for this. Certainly with the monkey, it'll be mostly circles. Let's start off with an ellipse. And I'm going to draw in my elliptical shape over there and I'm holding down once again the center option. And I can always draw these bigger and then scale them down. It's not a, not a problem. And what I'd like to do is just have a bit of color in here so I can see what it is that I'm doing. We can change those colors later if you don't like what you see there. I've got this shape here, and that's going to be the monkey's head. Now, I also then want to kind of cut out where the face will be. I'm going to have two versions of this. I'm going to make a copy of this. Let's try that again with the correct tool. Make it a duplicate copy, and duplicate that again. Over there. What I'm looking at here is just to be able to use these two shapes to cut out from that shape in there. Now I better have a fourth shape as well because I'll need another one for the background. We're doing this pretty free hand at the moment. You can see I'm not lining things up correctly. You know how to do that from previous courses or previous lessons. So you can line it up yourself should you wish. But I'm going to select those three items. And then what I'm going to do is to go along here to the usual space. And I'm going to use the cutting out the front minus the front object and convert to path. And that's gonna be the monkeys. So I've got this over here, that'll be the monkey face and that'll be the fern I'm doing the for in blue. Let's just move that across now. It's in the wrong place. If I click on this little icon here, this allows me to just move it above the other shape. Let's take that shape, drop it down onto there. You'll see they will snap into the right position. Very quickly. A bit of a go get the get the face and the third done. And then we'll come in, we'll put in some ears. 5. Make Ears & Face: Let's do the ears. They're really easy. I'm going to take the elliptical shape, draw one year, once again, holding down the center to get a perfect circle. There. I'm going to give it some color as well. So let's just pick up the same blue that I had to make a copy of that. And the copy I'm going to scale down once again holding down little button. And I will then use the same color that I had there, orange for the moment. We'll sort out all our colors later on. Let me pop that in the right position. This is my first year. I'm going to group it and then duplicate the group. I've got a second year there. So my first one will go on that side. And the second one, which I'm going to flip. So let's go across here to the align options and flip it around. He's going to go on the other side. Once again, we're not worrying too much about being that accurate. In here. I'm gonna take these two shapes, which I will group together. And I'm going to go up to my layers panel. I'm going to drag that group above the other two groups, so the head is coming in the front. We can select all of those and get rid of the stroke just left with the monkey itself. Now, we need some eyes in there as well. And that's going to be really simple because that's just gonna be circles. So a little circle over there. I'll make mine. Well, I'll use black, I think. Duplicate that and then take the duplicate and pop it in there. Another duplicate. We need some sort of nose area here, and then a mouth and a little, a little nose. I'm going to do something similar to what we've done before. Take the same shape, may be dark and down the color a little bit. And I'm going to draw in an ellipse to go in that area. That will go in there. But I do want a little mouth at the bottom. I think what I'll do for the mouth is I actually use the shape to make the mouth. I'm going to just copy that shape. Just put the original back where it's going to go. Somewhere down there. You see it's not quite in the right position, needs a bit of lining up, but we're going for a more free hand. Look. Let's take this, make a copy of that, pull the copy up just a little bit. I can select them both and then go across to my combined shapes option. And I will then minus the front from the back and convert to path down there. There's the mouth. Let's make that red. So it's obvious what we've got. Now, of course, with this I could just scale it down a little bit. So we just have a little slither. And let's take that and then move it into the right position. And finally, we just need a little circular nose. So that's just gonna be a little nose like so. I'll make that a dark brown or black as well. Go with black for that. As I said, will change all of these colors later on. Now the top of the head looks a bit better. So I wanted to have two tufts of hair. But before I get to that, if you'd like to do some ears and eyes, and nose and mouth. And then we'll do a bit of Tufte for the top of the head. 6. Create Hair Tufts: The top of the head or the tough to the header will be really straightforward because I just need a few shapes, a few circles. Honesty, I'm going to take one of these circles over here. It's grouped at the moment. But if I just ungroup it temporarily, just ungroup that. I can then take this little shape. Let's make a copy of that first. Make a copy of it, and take the copy over there, select both of those and regroup them again. This will be for my tuft of hair. Let's make it a bit bigger. I think so we'd have a slightly bigger Tuft. I'm going to copy it. I will change the color of the copies that you can see what I'm going for. So over here, what I'd like to do is to have some sort of little tuft, little round bit like that. I don't want to hormone-like. You might have to experiment with the size and say, Well actually if we go with something maybe a little bit smaller, and then maybe this could be a little bit smaller as well. And I can move that one up that you just experiment and see what you get. I'm going to select those two and cut the front from the back. So the usual going over here to the right-hand side. And we're going to minus the front object and convert to path. I want a second one of those. So I'll make a copy of that. Pull that down. This is gonna be the tuft of hair. Over here. We'll select both of those together. Same again, we're going to now make these into one. So combine all, divide, sorry, combine all, and then convert to path. I do want to get rid of this bottom section. Fastest way to do that, we just take another shape and just put that other shape on top of this one. So it doesn't have to be exact. We're just getting rid of that, that shaping their encase it overlaps onto his eyes. And then same again. We'll go in and book cut one from the other. We'll just say minus the French front shape from the back convert path. And this can then go on the top of his head as little tuft of hair. If you wish, you can then still select that one. And this one, although don't forget you've grouped it with the other shape as well. You might have to ungroup it. And you could then make that into one shape if you wanted. 7. Giraffe Head from Squares & Circles: We undertake the monkey and just scale it right down. Once again onto my center touch and scale it down and just move it out of the way for a bit. But I'm also the integrated my layers in the Layers, I'm going to lock that layer downs are contact should, and we need to make a new layer over here. So this is my monkey layer. And if you wish, you can just double-click and give it a name. Likewise with a new layer. This is going to be my giraffe. I'll just call that J for speed. I'm going to go onto my Giraffe layer and lock that layer so I can't put the wrong things onto that layer by mistake. The giraffe, once again, very, very simple shapes. I'm going to start off with an ellipse. And let's just start with a very vivid yellow for now actually, let's go with a slightly darker yellow. You won't be able to see it properly and click and drag. Get a perfect circle app of them. I'm going to do two of these circles. So one over there and one over here. I wanted to join those two circles up with a line or a little rectangle. Now, we could do this by going up to the rectangle, making a rectangle in trying to angle it around correctly to get into the same direction. Sometimes though, it's just easier to work in a different plane. So for example, here, if this was down here where it was lined up perfectly on there. That way when I drew in my rectangular shape, I can just put the rectangle shape in alike so I know it's perfectly lined up with those and I'm going to select those and then make them into one shape. One more thing before I do that, I want another copy of this shape, so let's have another copy. We'll just leave that over there. We're gonna make them mouth with that. But I'll select those. Go once again up to my combined shaped options. And I'm going to combine all of those into one shape and convert the path. Now I can just Angular round. For the giraffe's head. This is going to be the mouth. So what I want to do here is to make another copy of that. I've got two of them. I'll just change the color of the front one. You don't have to, but I just want you to do it so you can see where I'm going. I just want to create this little crescent shape. We'll select both of those. And I'm going to copy, sorry, I'm going to crop one from the other. So as always, up to combine shapes and we'll just say minus front convert path. Just move that into the right position angular round. And there's the simple little graphical mouth shape in there. I'm going to select them. Both. 0s are not coming for accuracy by any stretch of the imagination. I think we'll just go back in here and combine them all into one shape, like so. There's our basic giraffe shape. And the next stage we'd put in some horns and some ears, and some eyes and nose or whatever you want. But for now, if you'd like to get to that stage and then come back and we'll do the other details. 8. Ears & Horns: Back onto this will zoom in a bit to that. And I think I'd like to actually Angular to round a little bit more. Something like, like so. Some horns out here, then some ears. The ears will do pretty much the same way that we did those, but keeping them even more simple. So just some circles. So let's do that very quickly. So we'll have an ear over here. And we'll make a copy of that one. Another ear. On that side. Then the horns, we'll get them coming up. So once again, let's go in here and just do a horn shape. So that'll be a little elliptical shape relaxer. A line down from that. Did say this stuff was gonna be really simple. This one. Select both of those and I can either grouped them together or I'm going to go in and unite them together into one shape. So combine all, convert to path. I want two of those. We're going to have one there, and we have another one which will angular around. They're looking more like an alien actually. But hey, when we've got the neck and it looks like a giraffe. Same as always. Go in here and just combine. The whole lot of them. Combine all. Convert to path. The eyes and nose. Really simple once again. But to have a bit of a go with those, then we'll come back to the eyes, nose, and the neck. 9. Use Pen for Neck, Pencil for Patches: Let's make some eyes and noses. So I'm simply going to use spheres. Go to the sphere. And we have a little eye over here. I'm going to just fill the eye with black. We can get rid of the stroke from that as well. If we don't need it, we need two of them obviously. So I'm going to make a duplicate copy. And let's zoom in and put those in the right position. Now while we've zoomed in like this, sorry, I've made that one a little bit too. If for some reason I'm going to have to make a copy again, it will duplicate that one and move the duplicate over. We can angle them around as well if we need. While we've zoomed right in, you can see we've got some sort of corners over here. If you wish. What you can do is you can select those corners using that direct selection tool and just grab the little circle and pull it out to round them or forbid, same over here, I can just select these, grab that and just round that off. If you need. I'll do this one just a little bit. Over there. It depends on your design and how you want to work. So I've got some really wacky looking eyes here. I think I might need to rotate that one a little bit around a bit better. Then in here I want the nostrils and I'm going to do the same thing again. But this time I'm just going to have a stroke, no fill and I'll make the stroke a little bit thicker. Just scale that down, getting into the right size. I have one that's going to go. Now this is where you can get into trouble. If you're trying to select something by dragging it by the line. I like to de-select it and then click and drag it straight away. There's the first nostril. Make a copy of that, de-selected, grab it, and move the copy into the right position over there. If you need to arrange them a little bit better, just move them around to how you feel there should be no right or wrong here. These are just animal symbols that we're creating. When it comes to the neck, the neck is going to go down over here. You could do it with a rectangle, but it's going to be so much simpler. If I just use the pen tool. I'm going to go and get the pen tool over here. And really quickly just go click, click, click and click. Like so. Fill that with a color. So let's change that to yellow fill. I'm going to then get rid of the stroke as well. So over to the stroke and choose none for my stroke. Of course, we can then still select those two shapes once you've got it instruct position, of course, and go into your combined shape options and just unite them together as one shape. I'll just say combine all and convert to path. Now of course it's gone in front of the eyes. So we can click on this little icon here and just move it back behind the eyes as well. Of course we do. This is a giraffe, so we need some spots on the giraffe as well. I'm going to do that using the pencil. With the pencil tool, I will just draw a little shape. Let's have another one over here. That's a really weird shaped. Let's do one bit smoother. That maybe another shape that comes in there that you can see what I'm actually drawing. I will change the color of those, something different. Then once again, I can then click on those shapes and just adjust the color to something different. Now, these shapes need to be straight, well lined up with the neck. I'm going to select the shapes. And I've made sure by the way, that I haven't selected the eyes and the nose or the nostrils. I'm going to go in over here to the usual options, the combined shapes. I'm going to say divide all. Then I'm going to ungroup. What this would have done is it would've cut those out. So I can then delete these bits, which are the extras over there really quickly. Like so. We've got our two animals. We need to sort out some color soon as well. This is obviously a children's graphic that we're creating, but we still need a decent color sky color scheme for that. 10. Sample Photo Color: Now you might think you've got the wrong video here because all of a sudden we've jumped into the web. I've gone to a website called Unsplash. This is royalty-free images and I've done a search for toys because I want to use colors from the toys. Down here. I've just scroll down until I found something that I liked the color scheme of. And they've got some really nice colors. In this particular image. You can pick any image you like for the colors. But I'm going to download that. Choose this over here. And it asked me if I've got an account. No, I don't have. So let's just try that again with a click on the picture. There we go. You don't have to have an account. And in here, I'll just choose to download it. Now, honestly only need the very small file sizes are good with medium in here, because all I'm going to do is use those colors and sample those colors. Let's download that. You can see it says give thanks to that person. So I'm saying thank you to max. Then I can go back to Illustrator. And I'm going to bring in those colors. I'm going to go to my place. I'm going to go and find that file in there, which I've placed, which should actually appear in my Downloads folder. And in here I've got that picture somewhere. There it is. That brings it in. It's pretty large, but I can just scale it down because all I'm interested in is sampling these colors in here. Find yourself an interesting picture, and then we'll sample some colors. Now that I've got my picture here, I could go along over to my panel and use the subtle sample tool. I can move that across and sample exact colors that I want. You can see, especially as it's so small, I'm having difficulty picking up the right color that I'd like. Another way that we can actually do this is to actually vectorize the picture first on the photograph. Let's just get rid of that color panel. If you have looked at the bottom with a photograph, you've got this little icon here, which is a vectorizing icon. And when you click on that, what it will do is it will convert those pixels into vectors. Now this is a great way of tracing, if you like. It could be called a trace item. And you can see now it's got some options in my Properties panel here. So I could go into these options and I can change the number of colors in that vector shape. Now, I'm going to take down the number of colors. So I just wanted to look at about 20 of those colors. I don't want to be too limited, but 20 or give me a nice option. If I zoom in, you'll see how it's all flat vector colors in there. If you don't like, the colors, just increase the numbers in there until you find the ones that you want. It's just a great way very quickly getting flat color from an image. There we go. I think I like those colors in there. And now my life would be so much easier if I go and sample those colors because I can just move it onto there and that's a flat color that I'm sampling from. I can then save that color. Once again, I'm gonna do the same thing and we'll just work my way through all of these colors in here, sampling the different colors that are like, I want to get a few colors going in here. Now remember I locked down the monkey because it was in a different layer. So I might have to just unlock the monkey. Then I can go and sample or change my colors in here. When it comes to the color scheme, I'm going to be probably using similar blues and pinks in there. Don't forget with these things. Very often you'll find you'll have grouped items together. You might need to either double-click them or go into the group over here where you can select pieces individually. So I'm just gonna do a few of these in here. So I'm going to go with heads of greeny color for the monkey. And once again, I will go through the ears there, just selecting the areas that I want to do. And we'll make it that color there, same with the top. And then finally into the face as well. In the face is going to be, although it is a pinky color in there. Anyway, I'll finish up those colors that would get you to watch the whole process. And then once again, the same thing on your giraffe. Find a color for the giraffe. And I decided to use this orange color that I've got there. And then some different colors for the spots on the giraffe. And that way we would have used the colors from that interesting looking photograph. Try it out, get your colors going there. 11. Add Text & Customise: I've created three little bits of text over here. The fun and shock, they're all just standalone bits of type. I found a very bold typeface that I like to use for that because this is obviously all about fun. What I'm going to do is just put these together. So I think I'm going to have the fun fits really nicely. Just on top of the word shop in there. And I can take the, which is not very important. I'm going to rotate it around. I'm holding my finger on the touch control so it rotates in 45-degree implement increments. Just going to pop that. I think over there, we can make this just a little bit bigger as well, maybe that a bit smaller. You can try this out on your own ones and see what you can do. I think I'm happy with that, just about there. Just get this earth word fun, sort it out a bit, maybe a fraction bigger than that. That's gonna be my text. It's select all of those. And I'm going to scale it up to go to the edge in there. Now, the next thing I'd like to do is I'd like to change some of the type in here because this p, I'd like the pH be a lot longer because I'm going to have the giraffe coming up at the top. I want to balance that with a longer P in here. Once again, adding to the fun, I'm going to go and I'm going to select the text. I'm going to go and find my Create Outlines option. Now you can see at the moment it's come up and it doesn't show any create, outline or create options in there. But because I'm in the wrong area and I need to do it in the type. You probably knew that already. Good to outline text in there. Now outlined. And I can then use this little tool here, the direct selection tool, to select those two points. I can move them down like so. Once again, I'll just hold my Shift key so I can move them absolutely. Straight down. I do a project, sometimes I call that the Shift key because it works like the Shift key in Illustrator on the desktop. Bit of a go get some text in there. And while you do that, I'm gonna cover up my texts in different shapes. If you have a cost done as I've done with the PI outlined, it'll create a create outlines. You can still go in and you can just double-click and select the letters individually and then color them up as you need as well. As you can see, I've got a bit of fun going on in my colors here. I'm just gonna take these two and I'll get to move them around. You can see there are grouped together. The giraffe needs to be flipped around. The monkey probably needs to be done as well. Let's select them both. We'll go over here to the alignment tool and flip them. I can move them into the right position. Try that again and we'll move just the monkey by itself and the giraffe as well. And I'll just increase the size of the giraffe a little bit in there. Move the monkey out and maybe scale that down just a little bit. Of course it needs to go on top of the giraffe as well. I'm going to have to go to my layers and then just move the entire monkey layer up above the Giraffe layer. There. I think that's pretty much done. You can just keep fiddling with this as much as you like. Tricolor variations as well while you're doing it. 12. Iris Logo Introduction: Everybody loves the iris logo at it. So easy to create all weekend to do is we're going to create a circle, subtract another circle from that, and then spin it around using one of the new illustrator tools. Let's get going. 13. Rotate the Crescent: What we're gonna do now is we're going to create some interesting shapes using repetition. And these are great for a very quick but quite effective logo. Me, show you how this works. I'm going to take a little circle, like so. And I'm going to make a copy of that circle. And when I move the copy over just slightly, Let's just change the colors that you can see what I'm doing. I'm just moving it over a little bit. But when I'm moving it, I'm holding down the touch control. So it kind of moves at 45 degrees. So if you hold that down, just move it in 45 degree an angle. Now I've got a shape like that. And then I select both of those. And I'm going to go in and I'm going to subtract the front object from the back object. So use minus front and convert to path. This little shape here is kind of the one that we're going to do different things with. I'll make a copy of it over here. So let's just copy that and move a copy out to there. So I've got a copy to play with. When you try this out yourself, just make a few copies that you are lots of things to try out. So let's start off with this one here. I'm going to go across into my repeat. I'm going to choose radial repeat. And then I can just change the number of copies in here. Now you can see immediately it's just an amazing shape. But if I go here to this little one, I can then adjust how those shapes are, the OD, the distance from the middle of those shapes there. So I could start off with something. Maybe. Let's take this down to here, along that line in there. So there's my first shape that I've got. Now, if I want to make more shapes, I can kind of get a whole series of colors in there. What I need to do is to make another version of this and rotate them slightly. The problem is that I can't rotate this because this is an effect that's on that shape. It's the radial repeat effect for want of a better word. So what you have to do is you have to go along and you have to expand that. By expanding it, it gives me the rotation option and I can rotate it around. So I'll make a copy. I'm going to rotate another copy around just a little bit like that. And let's go in and change the color on that one. Let's get a slightly lighter color over there. And I'll do it again. Make another copy. Move across a little bit, and change the color of that. Let's go with a bit of a green on. There. Might need to work out your own color scheme first. And once again, over here, make another copy and pull that around a bit more. So then get a full range of my colors. Let's have a go with a different version. I'll just move that out of the way. Let's go back to this one. Over here. I'm going to go to radial repeat. And this time, once again, I will add more in. I'm gonna move this out a bit. Let's add a few more likely had already, it's looking kind of quite cool with that in a bit. So you've got this doughnut shape. Same again, I want some different colors in there. So I'm going to go up to the Object menu and expand it. Let's pick some colors for this one. Over here, I'm going to go with the red. And then I will make a copy. It's duplicated. I can rotate the duplication or the duplicated one a little bit. And I can just keep going with as many of these as I like. Let's duplicate that again. And a blue duplicate one last time. I think that's the last one. Usually we still got some lines in the middle with a little bit more tweaking, we could get get rid of those. And then let's pick a different color for for that one. Oh, no, that's awful. I was getting worse and worse. I'm going to stop while I'm ahead with the green. Anyway, do have a bit of a play with those transom different shapes. Then come back, will take something like this one over here and give it a bit more roundness and depth and shine to it. 14. Transparent Gradient Darkening: We can make the shape look more rounded, almost like a marble, by adding another shape on top of that. So I'm going to take another ellipse, and I'm going to start right from the middle with this ellipse. And I'm going to start right in here and draw my lips from there. So starting in the middle and drawing out, I'm gonna make sure I hold down my touch control and go to the outside to start drawing. And I'm going to zoom out a bit. I zoomed right in soccer, get it started right from the, from the middle. And now once again, if I go back to my touch control and go to the outer rim, I can pull that out until I can get that to fit perfectly around the outside. Now that I've got that, I'm going to just use black to start off. So I want a gradient and I'm going to use a radial gradient. Now for my radial gradient, the inner side is going to be black. The outer side of my gradient is also going to be black. But the inner side, I'm going to change the opacity to 0. And you can see how initially it gives that darkening to the outside. Now we can move this point around to get the dark to go further to the edge or closer to the middle. And even within here I can go to this edge one and maybe adjust the darkness or the transparency on that. And you can see how it's just then given us a really interesting darkening on the edge of you doing for example, the iris of an eye. This would be sort of idea of one of those really wacky eyes on Mac clowns that you see. I'm going to stop with that, try that out and then actually how we can put a shine on it. 15. Transparent Gradient Highlights: Now the Schein's going to be the same thing but opposite. Show you what I mean. If I took a shape like that, which has got a gradient. And this gradient here, this time is going to go from white through to white. And I'll just put it in a little bit like, like that, but the outer white, so I'm going to take the transparency down to 0. And you can see now how we've kind of got this lighter bit in the middle. Let's get this middle and reduce that a bit. Now, if I then take that and rotate it maybe and popped on the edge there, you can start to see how we get the effect of a shine. Now you might need to adjust the size of this. You might also need to go back into gradient and then start playing with some of these settings. You don't get something quite so harsh. And maybe the middle one, we can take the whiteness of that up and make it a little bit more white in there. Let's move that up to the edge. When you've been looking at these things for so long, you you don't see the highlights anymore. You just see it as, Oh my goodness, there's a weird shape going on. Another possibility for doing highlights is to actually make just a pure white heart-shaped to go over the top. So in here for this instance, what I could do is I could take a circle. And this is going to be at the moment, pure white. So let's go back to our solid color and just make it, make it white. And then I'm going to go and just take a little section of that. So first of all, I'm going to make a copy of this. I'm going to reduce the copy. They're like, so select them both and use my Subtract option 2 minus the front. And then I want to get rid of some of this as well. And one of the easiest ways to do that would be to just take a little shape and put the shape over the bit that I want to get rid of. So I want to get rid of that. Same again, select them both, and subtract the front. Of course, as I'm sure you know, you can probably do this. You could easily do this with a divide all option as well. You wouldn't have to go backwards and forwards like I'm doing. So I'm going to do that. I'm going to rotate this to a bit of an angle and use that cutoff and other section over here. Same again, minus the front and convert path. Let's bit on the small side, but we can just scale that up a little bit. So think of a little bit too much on there. And then if we reduce the opacity of that. So once again, I'm going to go in here over to the Properties this time. Just reduce the opacity right down, and that gives us this little highlight as well. So now you can see a combination of those two. This, the civilian reflection over there plus the lighter area, given the roundness. If you really want to go further with this, you find that another little reflection on the side here, maybe a bit less or smaller, will help to give the illusion. So in here, for example, I could make a copy of that, take this copy rotated round, maybe cuts it off a little bit, and then adjust the settings. Let's just pop that over there and reduce the opacity even more on that. Take this one up a little bit. She's got a second one barely visible down that. 16. Shadows & Reflections: Now with a shape like this, if we wanted to float above the surface, we need some sort of shadow underneath it. And obviously, the more you wants to float, the more the shadow goes to the ground and the lighter the shadow is. Shadows are really easy to create for simple shapes like this, I'm going to take once again an elliptical shape. Then I'm going to put it on the ground, making it pretty big. So and that is going to be filled initially with black and black. So I'm going to go to a gradient, a radial gradient. And we'll pull it out a little bit like that for them. And the middle is going to be black. And a bet you've guessed what I'm going to do already went to the outside now going to reduce the opacity of that. Now that's a pretty harsh shadow that we've got in there. So a few things that we could do. We could go back again to our gradient and we could adjust the inner transparency so it was a whole lot lighter. But what I like to do is I'd like to give almost a little bit of a hint of the color of the object. So it's almost like the colors reflected into the darker area of the gradient itself. So once again in here, rather than choosing black as my main color, I could pick something like a blue or dark blue in there. And you see how it goes from blue to gray. You have to do both sides. So go to the outside. Now I can pick blue for that as well and reduce the opacity in there. I don't actually like that blacks have chosen the wrong blue here. Just make sure they're both the same. And it will reduce the opacity on that and the inside one. I could reduce that down as well. You can always build up your shadows. Oh, incidentally, there's a stroke around that by the look of it. And I know there isn't. You can build up your shadows, but taking one of these, making a copy of it, making the copies smaller in there. And then the copy itself could be a secondary color. So you could have a darker black to black for the middle one, so long as it goes out to transparent. That's the most important thing. Fine, if you want to do a reflection. Well, I'm going to select this area here, this little shape that I've got. I'm going to group it, I'm going to copy it. So reflection is just this squished down. Moved underneath and reduce the opacity. You barely see it. But there we've got a little bit of a reflection underneath that shape given us a shine on the bottom. I don't take it like the reflection there. I'm going to remove it from mine. So do have a bit of a goat that is plenty of shapes that you can create, whether it's with repetition or different ways. But if you ever want to get a shine or a shadow on items, you just use your gradient tool. 17. Organic Fresh Logo Introduction: For this organic fresh logo, we're going to be using a lot of gradients, as you can see for the fields. We also could be using repetition to get the sun to go round the outside. And then of course, the usual putting in some text. 18. Set up Guides: With this project, what we're going to do is to set up some guides before we get going. I'm going to go along. I've just got an A4 page here. I'm going to go along to the properties over here. And just below the properties, you will find the precision options. Now what I'd like to do is I'd like to add some guides on the middle of my page so I can just click on Add Guides. By the way, you can add rulers if you like, and you can drag guides from the rulers if you want. But I'm not going to worry about Rulers. I'm just going to go and add guides and add one guide that way and add a guide that way. Now, my guides need to be centered, so I'm going to make sure that the guide is selected. And then I'm going to go along to my line options and align that one this way. And this one over here. Let's align that one. That way. Oops, I've got them both selected lips. Make sure that I just have this one selected and align it that way. Then once again, go in here and we will lock all the guides in the US. I can touch them by mistake. I like one more guide and that's a circular guide. So I'm going to take a circle. I'm going to draw from the middle outwards. I'm going to go to the outside of my touch control here, which will then draw from the middle outwards. So let me start that again. I'm going to start from the middle, go and draw from the middle outwards. There we go. You can see that I haven't got quite in the middle. So I'm actually going to go across here. And I'm going to just align this both horizontally and vertically. Then we can go and we can convert that into a guide. So I've clicked on the object panel and I'll convert that to a guide like so. Just get rid of that. And then you can see that little item is locked as well. Set up some guides like that, and then we'll start drawing our shapes using those guides. 19. Create Your Fields from Circles: What do I need to do now is draw an ellipse, and I'm going to start it from the middle over here and draw outwards holding download out attach ring. So it'll draw from the middle right out to the edge. Just to be sure, I'm going to go along to my Align option and just align it horizontally and vertically just in case it wasn't quite right. I don't know whether you saw it moved a fraction in there. So there's my first shape done. I'm now going to copy that shape. And I'm going to move a copy. Try using the right tool. So we go to the Move Tool and we need to move a copy it down to here. What I wanted to do from this copy, and I do want to make this copy slightly bigger. Let's just make it a bit bigger, like so. I'm going to move it in there and I'm going to align it. And there we go, you can see how it's now perfectly aligned. The little red line was going up and down. And if you zoom right in, if you're not sure you can check it when you zoom right in there. Now I want to more of these shapes in here. If I make another copy and pull this one in, now I'm going to move it over to there. What's good I'm getting oh, I'm making sure that it's crossing in the same position of this. I wanted to cross right in the middle for more accuracy. If you go to the top right-hand corner and go to outline mode, then you can see exactly where things are crossing and where you want your lines to be. I want my lines to cross on this one right over there. Let's just take that back to preview mode. Let's have one more in here. So I'm going to take this one and I'm going to make a copy of that. And the copy for this one, I'm actually going to make it bigger. I'll just make a little bit bigger, like so. And then move that again. Over to here. Gonna go biggest still. These are gonna be my fields that I want coming through. So I'm really looking to get something to line up on there. If it's still needs to be larger, not a problem, we'll just scale it right up. That's about right. So we want these three fields. Let's zoom right in and check that it's in exactly the right position over here. And if you're unsure, go into your outline mode to make sure it's correct. Have a bit of a go put in your three fields are circles in there. And then we'll come back and we'll do the other side. 20. Copy & Divide: Now the other side is going to be really easy because we're going to take these ones. We are going to make copies of all three of them. And then we're going to flip them. I'm going to go to the Align option and choose to flip them over and then move them across into the right position. So they're going to be moving across to there. We'll zoom right in. I'm just gonna make sure that they also go on exactly the same position. Just lined up on that one there. Right? There are my fields. I know that don't look like fields yet, but bear with me. I'm going to select all of those items in there. And I'm going to go over here to the, you guessed it, combined shapes and I'm going to divide them all up. Now what this means is I can now go and remove lots of these shapes. Remember, it is all grouped together, so you're going to have to ungroup it first. I nearly forgot. And then we can select those and been those. We can bend those. We can bin those. I think that's all the other ones bend. You can start to see my fields are appearing. Now over here there might be another object. Let's get rid of that one over there. I think that one is part of that. If you're not sure, just go in here, it doesn't really matter too much. It's probably the stroke sticking out but we'll check it anyway. Go into outlines. Yeah. So as you can see, that's the stroke sticking out. We're not going to have a stroke on here. So it won't be an issue. But I will just get rid of this little extra bit on the side there as well. So have a go with that. Go in and delete or sorry, use them. Last one in here, which is going to be dividable. Take divide, divide, divide all up, and get rid of the bits that you don't need that all the stuff around the outside. 21. Combine the Various Parts: Now comes the fun part. I'm going to select all of these. I'm going to go and give them a fill color. Fill color. It doesn't matter at the moment. We will change the colors later. I'm just doing that so I can see what I'm doing. This field and this field, these two parts of the field are going to be one. We're gonna go and we're going to combine all and convert to path for that one. This next field is going to be one as well. So it's gonna be this one. Hold down the little touch control, that one and that one. Once again, we're going to combine all those together, convert to the path. Now, on this side here, I think we're going to have this one. And this one also going to be one. Combine all and convert path. Now here we're going to have this being one, so we'll select those two nearly there. Combine those, convert to path. And finally, this one and this one, that one there. And that went over here. It was sort of almost interlinking each other. And then we're going to combine those two and convert that to the path. You've got these sort of fields which are coming down one and then the other, the other to get this amazing hill. What about this bit at the top? Well, we're going to just delete that. And our fields already. We're gonna have a sun coming through behind the hills and environment, but have a go with that. Try it out. 22. Create the Sun Rays Using Repeat: Let's create the Sunshine. I'm going to go along and I'm going to lock this layer down and make a new layer. I'm gonna be working on the second layer. The reason I'm doing that is because I can then easily move the sunshine behind the fields. And the sunshine of course, is going to be a little circle. I'll draw in my circle, hold down the touch, the outer touch or the inner touch depends on which one you want to use. I just want the inner one for now. Then I'm going to go and align this right to the middle of that whole document. Now, the little rays of sun that are going to go around the outside. Let's have a look and see what we can do with those. If I were to draw in one of those rays. And I'm just going to draw it in up here like that. And I'd also like to center that. So we'll just make sure it's right in the middle. To start off with. Going down to my repeat, I can choose a radial repeat in there. And I'm going to just scale this out a little bit. Like so. Now when I'm scaling, I can scale from the middle out or I can scale across like that. I'm just going to scale that up and move that over to the middle. Once again, we just need to move this whole thing across to the center. Like so. I think they look a little bit too big to be perfectly honest. I liked them a lot smaller when I first started out, and they're not quite in the right position either. So how can we do that? Well, if I go along to this one over here, this was the first one and I scale it down. You'll see the old scale appropriately with that. Just make it a little bit smaller. Like so. In fact, I can then still go back because I'm looking at that thinking, You know what, I need some more sunbeams. I can then just increase the number of Sunbeam's. I suspect that just might be that it's probably about enough having those five around the top. What about these ones over here? Do they actually matter? Will then make any difference at all? Well, not really to be honest. I can actually hide them behind the fields. Or we can actually take this and just expand it and then delete them as well. But I think I'd like to just make this little Sunbeam slightly smaller so they actually are going to be hidden all the way behind that field. Just a fraction smaller. If I take that whole layer, I can then drag it below the field. They'll just disappear out of sight. If we wanted them to be bigger and they stuck out over there. As I said, all you'd have to do is to select it. You'd go along to your object menu and just expand them that way. Putting some sunshine's, but put it onto a new layer. 23. Color-up the Fields: Now, for the coloring, what I've done is I've made up some colors here that I really liked. Some sort of two shades of green, two shades of brown, and two shades of yellow. And I've just unlocked these layers in here. Let me start off with the Sunshine. First of all, I'll just get the middle son over there and I'm going to make that sort of a a darker yellow. Let's make sure that that is unlocked. And I can actually select it. And I'm going to just go and pick that bright yellow that I had in there. Then same again over here with this, I'm going to then choose the lighter yellow head. I should have two slightly different yellows in there, to be honest, they look the same. I might have to look into that shortly, but we're gonna be talking gradients soon anyway. So it's not, not a biggie. Then on this side, these ones again to be green. For now, I'm just going to pick the greens that I've got. I'll just have a maybe a lighter green. They're darker green here. Just, I'm just getting some colors into this now to see how it's going to look with the final result. Darker one and maybe that one there is also going to be a lighter version. And this is in case the client wants a flat version rather than the gradient version that I'm about to do. Let's have that as a lighter, That's a darker green. And this one over here, that one should be the lighter green. Same over here. I'll just do something similar over there with a Browns and I've got two shades of brown in that. I've got that one there. Maybe a lighter brown and a darker brown. Lighter brown. And this one here is the darker brown. I could present the client with something along that line. Let's move remove these little color areas over there with some flat color. But really I want to give it more depth and create some more gradients in there. But if you'd like to find some colors that you like for yours, and then come back and we'll put some gradients in and make it look a little bit more exciting. 24. Add Gradients to Fields: Let's start out with the green gradient. I'll just click on this one to get going. I'm going to make a new gradient. And it's going to be a linear gradient. And I'm going to get it to go from my light green over there, which is that green there, through to my darker green, which is that one over there. I can then adjust it because I've changed from my CMYK sliders into my HSB sliders. You do have to be really careful here. If you start using these, you could end up with a color which is not CMYK compliant. So if you're not really sure about those, you might be best staying with CMYK and just darkening things down by using the black. Like Sir, I've got my first one. And what I'm gonna do is just save that gradient in there. I can now go and apply it to the others as well. So let's go to this one here. Once again, choose the gradient. But I might adjust it a little bit more. Maybe the lightest coming over the top down there. And I can even go in there. If I need to brighten it up. I could lighten up a little bit there as well and maybe go for something a little bit brighter there. Once again, for the final one of the same thing again, gradient. And we'll just change it down here so it's gonna be really bright at the top. Now be careful if you do go to these colors here, you might end up with something which could be non CMYK compliance. So do watch your, what your colors. If you're going for print this the three gradients, I'm just going to select those three and get rid of my stroke from them. I don't want any stroke is set to black at the moment. So we can see how that's gonna look, That's looking really, really nice. Now I'm going to do exactly the same thing with the browns in there, but I won't get you to sit through that. You've seen me do it with the greens. You can do the same thing with the brown and then maybe with the yellows as well, possibly with a sunshine. I couldn't see much difference in my last gradient. I'm going to go over to my gradients in there. This time I'll use a circular gradient. Interesting going from, from yellow to green. But I wanted to go from a maybe a sort of a darker or more orangey yellow because this is the morning coming up over the fields out to something which is more yellow like so. And we just lighten that yellow up a little bit there so we get the nice orange down the bottom. You can just play with these until you get something which you really like the look of. And then don't forget with these ones here, I can then go in with those. I'm going to make those really quite a light light yellow. But you have a go with those and see what you can do. I will fix this, come back and then we'll have a look at putting some text along the bottom. Okay. 25. Create Design Variations: There's my final piece. I've got my text in there, I've got those bits, and I've got some guides in there as well. Although what I really wanted to do is to just get rid of the guides. I'm going to just hide all the guides in here. For the client. I might want to do another art board and maybe a different variation on there with a flat color. If I go to my art boards down the bottom here, there's an option to just copy an artboard into copy it with the artwork on it. So I can then very quickly do a color variation on there. Maybe I'll do a third one over here and do a line version and maybe have the strokes on that one as well. So very quickly going from one piece of artwork to all the rest of them. Let's just put a stroke on there so we can see what it looked like with a stroke rather than just the standard non stroked version. And the same over here. We can have flat color, that one. Anyway. Have lots of fun with that. Do some variations on it, and get into using your gradients more. 26. Celtic Knot Logo Introduction: For this Celtic knot project, well, it really shouldn't work because it appears that the gradients go above and underneath each other. But it's a bit of a trick. And I'm going to show you how to do this type of thing. We use the gradients and get them to appear to go under things, will use other gradients on top to give a shine to the object. But as always, I'll take you through it step-by-step. 27. Use the Radial Repeat: To create this Celtic knot, we're going to use circles. So I'm going to go along to my circle tool. And I'm going to click and drag my first circle and holding down my touch. So I get a perfect circle. And I'm going to move it up to here. Now, the way that this works is that you have three circles. If I make a copy of that circle there and a copy of that one over there. And I'll select all three of them. If I get rid of my, my fill. And I'll just go to my stroke and increase the stroke. You can sort of see this is the area that I want to be left with. Those three in there was a could be the other way round so that this one goes at the top. It's up to you. You can rotate around. So how did we get to that stage? Well, I'm gonna get rid of this and start again. So we're going to use the circular tool. And I now want to more of those. But rather than making a copy and trying to do it by eye, what I'm going to do is I'm going to go along and we're going to be using the radial repeat. Now you can see immediately that I do that. Upsets. Try that again with the right tool. I've got a number of different shapes going around the outside or another different circles. What I'd like to do is to change the number of them. And I'm going to go down to three of them. And then the idea here is that I can use this little circle and pull them together. And you can see there how we get that perfect shape, because all three of those are lined up absolutely perfectly. It's so much easier than try and do all this. I now, once we've done that, we're going to go along to the object panel and just choose Expand. And that will then expand them into the three separate shapes. And if we have a look at the layers panel, there, they all are in a group. Try that out. 28. Outline & Divide: I'm going to ungroup these shapes. So click on that little button then you can see now I've got my three ellipses in there. I'm going to change the stroke weight to the weight that I want for my final designs, I'm looking for something. I think along that line there quite a nice thick lines in there. Now that I've done that, these are all just strokes. You can see I've got black strokes in there. What I'd like to do is I'd like to go in and I'd like to change these into filled shapes instead. Because when we use the Pathfinder or as it's called the Shape tool, this little one up the top here. We need to work on filled shapes rather than just on the strokes for it, for this technique to work. Anyway, what I'm gonna do now, I'm going to go along to the Object menu over here. And I'm going to say create stroked outlines. And then what it's done is it's converted these shapes here from strokes into fills. You'll see if I click on one of them. It's actually a fill color. If I choose the fill color there, it's a filled shape, like so. I've got three circles now, which are all filled shapes and it makes them into something called a compound path. A compound path, by the way, is one shape that has multiple strokes to it. For example, here, if I've got a shape like that, and I've got another one over there. And I've selected those two shapes. And I've cut one out from the other one. Let's just do a minus front and convert. Now, what we have here is a compound path. I will get rid of that. But a compound path is something where you have more than one stroke. This has got a stroke around the outside and a stroke around the inside, making a compound path. Let's get rid of that. While we didn't need that was just to show you the compound paths. Now that I've got these compound paths or circles, what I can then do is to select them all. And I'm going to then break them up into their individual parts where they overlap. And I'll do that by going right up here to the combined shapes. And I'm going to say divide all. Now I've divided all. You'll see there's a group there. These are all the little bits that make up this shape here. What this group actually does, what this lots of objects actually do is we've got these black shapes here, but it's also made up some white shapes in-between. We don't want those. You see if I select all these and I just fill them with a color. You'll see that it also fills those in-between stages as well. The lines are still there. If I put a stroke on there, you'll see that there. What do we have to do is to ungroup this and then go along and remove these little bits in here. It doesn't take long to get rid of them very, very quickly. He says, pressing the wrong button. There we go. Let's try that again. That one, That one, This one, That one, That one. Just delete all of those like so until we have this broken shape, but they're all strokes. And then we can start working on this property. We say, let's remove that. This one. This one. I'm going to stop there so you can try this out and get to this stage here we've got the sort of broken up shape. And then we can start to add gradients and mix some of the bits together to make it look really cool. 29. Combine Shapes: Now I want to add some of these shapes together. So for example here I want to take this shape. I'm going to hold down the center of that little circle, that touch. And I'm going to add that one. And that one and add that one. I'm not going all the way around just this little section here. And then I'm going to go over to my combine. And I'm going to just combine all those shapes and convert to path in there. So that then makes that one shape. So this shape has gained over that one, but underneath that one. So this one here, Let's do that one. That one. That one, that one. This will be one long shape like that. Same again over here. And we'll just combine those and convert to a path. So that goes over there, that goes there, and this one will go over there. So we'll take same again, that one. Oops, I just move that by mistake. Hold down the touch. This one, this one, and this one. And then combine those together. Convert path. So that goes over there, that goes over there, that goes over there, but it goes under, under and under. Now, I deliberately haven't done these ones over here, which I could if I was just going to leave it like this as an outline shape, I could quite happily do that. So for example, to show you, if I were to select all of those and just make a copy. So I'm going to duplicate the whole thing and move a copy over here. I could now take those two, and I can go in here and once again, just combine those. Again. Combine these ones. And one last one over here. Combine that. And then when I add a stroke to this, should look pretty good. I've got a stroke on there. I'm just going to increase the stroke width or weight. And you can see it works. So I've got those shapes there which I'll just group together. And that's working really, really nicely. But the reason I haven't done this one is because I didn't want to add a gradient in there. So I'm going to show you that very, very shortly. But do have a bit of a go with those. You might need to go back and watch this part of the video again because it does get quite confusing as to which bits I'm actually selecting and joining together. But hopefully from there, you can sort of get an idea and see which way it's going to go. 30. Create Gradients: I've made up some, some colors or we have got some sort of dark purples and pinks and an, a darker pink. And then I'm going to make gradients with those. So I'm going to go to my Gradient option and I'm just going to build a little gradient on the side here. So I'm going to go into my gradient option. And I'll just choose a linear gradient. And I'm going to have one color here, which is going to be the dark color. And on the other side I'm going to have the light color. And in the middle I'm just going to click to put another color that'll be the middle pink in there. So I've just made up the subtle gradient here and I'm going to save that gradient there. And now we're going to use this gradient to color this up. So let's start off over here. So I'm going to click on, on that. I'm going to go into my gradient. And I'm going to adjust the gradient so the dark area is where it's going underneath the other one. And I'm going to just stop just before that end there. And this bit here, I'm going to pull it out so you can see it so it looks light and then it gets darker pink and it goes really dark in there. So that seems to be working there. Let's try this one over here. So if I click on this one, and once again, I'll do the same gradient but the other way round. So pull that around again. I've said there, that can move into there. And this one can kind of go up to that. Let's do this one here. Same gradients again. This will be dark down there. The lightest part, you notice I don't get it right the way to the end, stop it sort of just before that point there. So you won't actually see the difference between those two gradients. I'll pull this one down in there. That's working. Let's try this one here. Same again. Dark. Stop that one before it gets to that point and pull that up to about there. Oops. Now, sometimes it does go horribly, horribly wrong like that and you can sit and fiddle and get these right. Or to be honest, what I normally do is just go in and just choose a solid color. And then I go back to my gradient and start again. Just sometimes it's easier to do it that way rather than sitting and fiddling. So pull it up to them. Think that's just about it, right? So two more. This one here, same again, fill that's going to be dark there, it's going to be light over there. We're going to move that up to them. And a last one here. One last one here. Same once again, that's going to go in there, that's going to go down to two there. And you might find that with some of them you need to sit and change some of these little settings a bit like this one here, for example. It's got a really funny angle to it. So I think I might just pull that back a little bit so it's a bit softer. In the, if they do look a bit too harsh, just going change the gradient after you've done it. Like that. This one's looking really strange with that sudden line through the middle. So same again, just back into the gradient tool. Let's pull it up a little bit. Like the skin, as you can see, I'm sort of having a few problems with that gradient getting it just right. You might need to sit in fiddle with that or just reset it. Okay, let's select everything. Go to stroke and just say none for the stroke. And there we go. With all the colors in there. It looks like it's going under and over and under and over. Even here, there's a little problem with that gradient there. And I can still go and change that now. But more on that. Back a little bit. Okay, that looks a whole lot better like so Looks great like this. But remember if you want to put a shadow underneath it, just use a shape at a shape in there. Once again, fill that with a gradient, but it's going to be a gradient which goes from dark. Let's get rid of that one of the two lighter tones. So we can just do that. Maybe this one here is set to 0. I think I'll take that one down little bit as well. In once you've done a gradient like that, you can always go up to the properties and change the opacity. So we've just got a fraction of a shadow underneath it. Have a bit of a go with that. It's all about the gradients. 31. Celtic knot 5: As a subtle variation. You can go in here and you can adjust your gradients. So now I've got mine going from dark to light through to the medium, plum color. And then this one here is just plumbing too dark. Once again, dark highlights and dark. And this gives the effect of this getting taller and going over the, the other one because the light areas tend to come towards you and the dark areas on shadow and they're going away from you. But there's no right or wrong. Try whatever you like. 32. Flame Text Logo Introduction: The flame logo comprised of two parts. The one part of the flame itself will actually be doing with gradients and transparent gradients, the text, we're going to have a look at putting a texture into the text. And we'll combine the two together to make the final logo. And we'll do some variations on that as well. 33. Make a Custom Brush: Let's start drawing this flame. What are we gonna do is we're going to draw it using a brush. And we're going to make our own custom brush for this. So to do that, although we are going to be using the paintbrush in there, we're going to start off by creating a brush using a shape and I'm going to use an elliptical shape. So I'm going to go into the ellipse. I'm going to draw in my elliptical shape, like so. I'm just going to fill it with black and get rid of the stroke. So I don't want any stroke around the outside. Now my shape, I want to adjust it so it's actually got points on either end. So I'll use my direct selection tool to select the point. And then down here underneath I can just remove the handles, same over there. Remove the handles to make it into a point. Now I don't want it to be just in the middle like that. So I wanted to have a large error once hadn't into taper off over to the right. So I'm gonna select these two points here. And I can then just move those points along like that until we've got something that vaguely resembles an aircraft wing. My shape is now done. All I've got to do is to make it into a brush. And I'm going to do that by going down to my brushes. I'm going to click and hold until I can get to my paintbrush. With the paintbrush down here, we're going to click on the little plus. And that will make that into a new brush. Now I'm going to choose the new art brush rather than the calligraphic brush over here. And in here, I can then choose which way the brush is going to go, the angle that is going to go the direction, shall I say, in there. We've got two other options. One for the brush scales, proportionately wanted scales or goes to the stroke length. I'm going to keep it on that for now. I'm also going to go down to colorization. Within colorization, the method I'm going to choose is going to be tints and shades. Now, having done that, it means that when I use the brush, now I'm just gonna go to my paintbrush over here and just paint a stroke. What it'll do is it'll take that shape and it will extend it along that line. Now the great thing about this is because it's set on a stroke. I can adjust the stroke. I can also go along to my stroke color. If I change the color than the brush will update as well. It should update. Let's go and have a look. Why. If I go up to the brush options again, so I'll go to my paintbrush. I'm going to click the Options down here. When I went to colorization, the colorization I chose was tints and shades. Let's just try and tints instead and click on save. And there we go. We've now got the tint of that purple. And if I change that purple around, I get any color that I like in there. So do watch that is a subtle difference between tints and tints and shades. And the one that I'm using in here, he's actually going to in the colorization is actually the tints in there. Let's just cancel that. However, I want to make another brush because I think that that one is a little bit too wide. I do want it to scale from one end to the other. Let's get rid of that. I'm actually going to go back to my original brush shape and I'm just going to squish it in a little bit like that. Then same again. Let's go up to the brushes. I'm going to be on my paintbrush. And I'm going to add that in as a brush. It's going to be a new art brush. And in the colorization method, I'm going to choose tints over here. Hopefully that's on tints. There we go. Now if I use that brush, you can see I've got a much thinner brush coming through there. Experiment with some brushes like that. Once, once you've done one, I tend to just leave it on the sides. So if I need to squash it down to try to slightly different shape, I can do that easily. Make the other brush. Once you've got your brush in. Although I've shown you the tints and tints and shades option, we're not going to be using that. We're actually going to color this up independently. But try it out, see how you get on with that. 34. Outline Brush: Now that I've got my brush correct, I'm going to draw in the flame, so still going in there and using my paintbrush, I'm just going to try and draw a flame shape. Now you might need to do a few of these and to get the shape right, I'm just going to start here and do this sort of almost S type of shaping it. In fact, my first one was absolutely perfect. I'm really happy with that. But you might want to try a few other variations on there. And maybe a bit more of a round one like that. Just see what you can do. I just used a gentle shape to do that. I think I'll get rid of these ones here. We don't want them and delete them. Now that I've got this shape in here, I want to take that shape and instead of it being a stroke, I want to change it into an outline stroke. We can do that by going across over here to the panels and go into the object panel. And then I'm going to say Create stroke outline or credit stroke outline over there. What that's done now is it's converted my brush from a stroke into an outline. Let's have a look. If I change the fill color there and I go to my Direct Selection Tool, you can see it's now got all of those little dots around the outside. If I just undo that. If I were to go in my original brush, which was a stroke over there, I would actually, if I went to the direct selection tool, have the line through the middle and that could actually adjust that if I, if I wanted to, I could select those points and pull that brush around. Anyway, I'm going to go over here. Let's do that again very quickly. Back to my object. Create a stroke outline over there. So to stroke outline now. And then I've got a fill in there. Have a go and make a fill for your brush. 35. Splitting Your Brush: We're now going to use the Pencil Tool to cut this flame in half. So we can be doing it manually. And I'm going to go along and find my pencil. There it is. Over there. Just de-select that 1 first. So I'll just go and get my pencil tool. The pencil tool, I really just want a black stroke so I can see what I'm doing. I don't want to fill color in there. And I'm gonna start over here. And you'd have to be too perfect. Just get it roughly down the middle where you think the line will go. I'm gonna go all the way out and back to the starting point. Now remember, if this doesn't go perfectly where you want, this is made of points. So we can use the direct selection tool and I can select any of those points and pull them in little bit. I'm gonna zoom into that area there. I'm kind of getting it roughly to that pointy bit. And if I go to the top up here, I'm going to select this point and I'm gonna move it around to get to that pointy bit over there. If when you're drawing this line looks a bit rough, remember, you can change your smoothing on the pencil before you start to draw. Once we've got that shape, we're then going to select both shapes. Go up over here to the Combine Shapes option. And we're going to use divide all. Now, divide all obviously groups things as I'm sure you know by now. So let's ungroup them. You can see I can remove that section there and delete that. And I'm now left with two parts. There's this part here and that part over there. And then we're going to put some gradients onto those parts individually. But do have a bit of a go with that. Use your pencil tool to draw up the middle and go all the way around back to the beginning again so you get a shape. Once you're happy with the shape and you've adjusted using the direct selection tool, select them both and go and break up the shape would divide it up. And to do that, remember you use the option over here, which is in your Combined Shapes. And it's this one called divide. All. Have a go with that. And then we'll put in some gradients onto our flame. 36. Flame Gradients: I want my flame to start off at the bottom with some bluey purple, go into an orange and then goes slightly to a lighter orange at the top. What I'm going to do here is just to start off with this one side. I'll go in here. I'm going to go and make a gradient. So I'll click on the word gradient and just choose a linear gradient and then puts it a basic gradient in there. For me, I'm going to move the gradient around by dragging the top and the bottom. So it goes from the bottom to the top. Like so. I'll start at the bottom over here. So the bottom, I'm going to go with a purple color in there. Then I wanted to go maybe about here towards a darker orange. And then over here, I'm going to have a lighter orange. And right the way through at the top here, I'm going to choose that orange again, that one. But I'm going to make it lighter still. There, maybe make it a bit more of a yellowish, orangey color. You can always go and adjust any of these at any time if you feel that you need to adjust the coloring on them. Now once you've done the one, make a copy of it by clicking on the plus and that will say that gradient in there. If we now go to the second shape. So I'm going to select my second shape here. Double-clicked by mistake. Let's just get out of that. I'm going to select this second shape over here. Then I've got that gradient to apply automatically. Now we don't want the gradient to look the same. I'm going to adjust the gradient slightly. Maybe pull this orange down a little bit over there. Maybe move that in there a bit. That orange up to there. So we just get a slightly different variation of that same gradient. Feel free to go in and adjust any of those colors. You might want the lighter gradient to be on here. So if I went back to this one, back into my gradient there, I can click on that middle orange and say, well, let's make that more of a brighter, lighter yellow type of color. Then we have on the other side, it's entirely up to you as to what you want to do. I'm gonna go with more of a yellow there. And this one will be the darker version. So we'll just darken that down. Like so. No right or wrong. Just experiment and get the field that you want from it. 37. Keyline Gradients: Now to create her interesting look to my gradient because it's okay but it doesn't have that certain humph that I want from it. I'm going to add a little white line down the middle of my flame here. Now, I'm going to actually draw that in, although it is possible to use one of the shapes and then cut it out and just be left with outline there. But I'm going to manually draw it. I'm going to use my pencil in here. I will have no fill and my stroke I'm going to make white. Let's go right in here. I'm going to draw this in really carefully. So from about here, down the middle, over to there. If it's not right, use your direct selection tool, select the point and you can pull it around if you hold on that point like I did there by mistake, you'll see it'll actually delete the point. Let's just undo that. I'm just going to move it around gently to there and pull that one up. It doesn't have to be perfect. Now that I've got that, I'm going to increase the stroke weight on that line. And we do that just over here. Increasing the weight, like so. Then I'm going to apply a gradient to that. So I'll start by going exactly as we did with the flame itself and creating that into a stroke outline. Now I can go over to my fill color. I'll choose a gradient and fun for now, just choose the black to white gradient so that you can see what I'm getting. I think I'd like a radial gradient. It's going to go fundamental, which is white to the outside, which is also going to be white. So it goes white to white. But the outside one, I'm going to reduce the opacity. And we'll just make that a little bit bigger. I don't want to go too close to that edge in there, but that'll just give us a nicer color coming through or highlight, shall I say, coming through onto our flame, you can see that's what it looks like over there. Once again, try that out. You can make this land thinner than mine. You can make it thicker. It's entirely up to you. 38. Copy & Flip: To do the entire flame shape. Now, the rest is easy. I'm just going to select that. I'm going to make a copy of it. So I've got a copy there. I'm going to go over here to my align options and just flip the copy around. We can scale that copy down. So I'll grab a corner, hold down my touch and scale that down. And that'll move down to here. And I can just adjust it around until I get the sort of shape from after. As you can see, I can sort of pull it around until I'm happy with what I get. Now, this might take a little bit of doing until you get this type of thing that you want. Once you're happy with it. We'll select them both and then group them together. So if I'm moving one, they'll both move at the same time. You might find this stage that you might also want to go back in and flip the gradients over. So the darker side goes onto the right-hand side. It's entirely up to you. You can change the gradient on here. You can do whatever you want with that. I'm going to scale mine down proportionately and just rotate it a little bit, like so. Then the next thing we're gonna do is we're going to bring in some text into there. And they will put a texture inside the text. 39. Add the Text: Now as you can see, I've started putting my text. I've used the type tool click, put in the word flame there, type that straight in. Now going to go and adjust the text. So I will use my selection tool, grab a corner and pull it up. Like that type to be a lot thicker. In my Properties, I'm going to go down to the text options. Over here. I'm going to choose a typeface which fits with the design. India. And I'm really looking for just something very thick, like so. Let's go back again here. So I'm on the bold setting, and that's absolutely perfect. I can then move into the right position. This is going to be a lot smaller. The flames are gonna sit on top of the L. Once again, I might need to tweak the angle until it's absolutely spot on bringing your text. And then we'll put a shape inside the text. 40. Texture in Type: Now I've gone into Unsplash and I've looked for a particular burned background and lots of them in here for you to choose from. So find something in there and then download it. And then we'll have a look at how we can actually put that into our text. Something dark with a bit of texture. I found the one that I want to use. And I'm going to go along to my place option. I'm going to go to Files and I'm going to find it. I've got this one here that I want to use. New seats, just brought in that picture. That's the texture that I'm looking for. Now at this stage, I'm going to actually just change it around a bit. I think I'd like to rotate it around over there and maybe move it down. This is going to go on top of my text, like so. Now I want to change it. So the text is actually above this photograph. And we do that by going to this little option here and just drag to change the stacking order. As you can see, I can just drag it down until the flame is above the picture. It doesn't matter about that tall. We're not going to be affecting that. You can of course do this by going up to your layers and just changing the layers manually. Now that I've done that, I'm going to select both the photograph and the text, not the flames. Going over here to the Object menu, I'm fairly simply going to choose make clipping mask. That's it. It's done. The texture is now inside the flame and you could try various darker areas. There may be a little bit of maybe some burning coals at the bottom to adjust it to see what you get. But have a bit of a go with that. Try making some other shapes using this technique as well. It's not just flames. You can do all sorts of weird and wonderful bits and pieces with it. Why not experiment with some different flames? So over here I've gotten rid of one of those parts of the flame. So it's just the little individual Flickr going up in here. I've replaced the L from flame with the flame as well. There's so many things that you can do a lot to just show you how I've done another shape in here. Although we're not going to do it as part of this course, but hope you'll just inspire you to do some other interesting shapes. Now this shape, once again, similar technique, but I've used different gradients to achieve it. I've got, you can see the little white line down the middle. And then over here, these are just gradients, little white gradients done in exactly the same way that we did those lines in there. At the bottom. Shadow. This is a gradient going from purple out to transparencies. Actually two of them stacked on top of each other. There's so much stuff that you can do with gradients. Try it out and do some amazing things. 41. Negative Space Bear Logo Introduction: Logos, one of my favorites. It really is about triangles. There are a few triangles shapes. For example, the base knows the base head, baby bear. They're all grounded triangles. And then we're going to use circles for the noses and the ears. It's actually a lot easier than it looks. 42. Create a Triangle & Round the Corners: Let's make a bear logo now and I'm going to be using triangles and circles. I've got my page up in here, minus 1920 by 1920 pixels. But you can do any size you like. It doesn't matter. But what I'm going to do is I'm going to start off by finding the triangle tool. Now, although we say triangle, It's got a picture of triangle on the tool. When you click and drag to make your triangle shape, you'll find that you can actually change the number of sides by just dragging up and down on this little circle with the two arrows on the right-hand side. So it should really be called the polygon tool. Up the top, there is a little circle. And if I click and drag on that circle, I can round off the corners on my shape. This is going to be the top of the baby's head over there, and this will be its paws around the child bear. Let's move that up. By the way, the color doesn't matter tall at the moment. I'm going to make a copy of that. I've clicked on the duplicate button and I'm going to pull the duplicate down and I'll just resize it, make it a little bit smaller. There. Something along that line there. Now before I go any further, I want to reuse the shape. Later on. I'm going to duplicate it and just move the copy out to the side. If I select both of those shapes, I can then go across to my align options. I can choose to align them. While I'm in this area. I'll then go up a few panels and I'm looking for the Combined Shapes panel. And I will use minus front and convert to path. And that gives me the basic shape for the bear. I'll stop there. Have a bit of a go with that. Don't forget to make a copy as well and then come back and we'll do the ears. 43. Ears & Clipping Paths: Let's zoom in a bit over here. To do the ears. We're gonna do circles really easy this one. So let's go and find the circular tool over there. And I'm going to click and drag to make a circle. If you hold down the center touch, you'll get a perfect circle. They're going to move that across over to there. Now I want to copy on the other side is so I'm going to click on the duplicate button and move this across. And I'm gonna hold down the center touch that you can see as I'm moving, it doesn't matter as I go up and down. It will move it absolutely horizontally to the other one, I think will take those in a little bit like that. This one here can go in just a fraction. I'm not worrying too much about getting this absolutely perfect. If you want, you can set up a guide and grids and get it perfect yourself. I'm gonna take those now, select them both. And I'm going to go once again over to my options for combining the shapes. And I'm just going to say combine all and convert to pass. What about the little ears for the small bear? Well, what I'm going to do here is I'm going to do exactly the same thing, but I wanted to do it in a slightly different way. So you can see problems you might have. Take the smaller beer, smaller Bears Ears. And I'm gonna move that across to there. Let's give that a different color. So it's obvious what I've done. I'm going to make a copy of that. I'll duplicate that. But you could try this a different way rather than actually duplicating it and moving across. What we could do instead is if you select this, you could go over here to the repeat option and you could mirror it. Now when you're mirroring it, if you click on this little circle, you can then just move it across into exactly the right position. And it means that if the size was wrong on this, you might go in, you might adjust the size and they'll both adjust at the same time was going I can also move one and the other one will move together. I think I'll just move that down just a fraction, like so. Now if you want to cut because I wanted to take those two shapes and cut them out from the back bell-shape. I'm going to go up here. Before I do any cutting, I'm going to say I want to expand that shape. I went to let me expand. Well, I need to select it again so they're both selected. And then I can go in here and I can choose Expand. Now they've expanded them. I'm going to do what I did before, but I want to show you the problems. I select those objects. I'm going to go up to my Combined Shapes options. I'm going to say minus the front object. And look at that. You see when it gets rid of them, it actually doesn't with a square, not the circle. So let me undo that. I'll just use two fingers to undo. The reason that happens is because these shapes here have been expanded from there. Mirroring area. If you have a look in the layers and I go to that group, you'll see that they're actually clipping group. And in there is a clipping group path or a clipping path. And that path there is square. What do we have to do? Is it's not doing anything really, is we have to just delete that square, go in here into the other ear and delete that one as well. Now it doesn't matter that they're in a group. I can select all three of those objects, go once again down to my combined shapes. And I can then minus the front shape from the back shape and convert to path. And it'll be all, well, once again, have a bit of a go with that. Try either method or try both methods just so that you get used to the fact that you've actually got to go in and remove that clipping path. 44. Combine Shapes Panel: Now we need a nose and Zhao's or whatever they are for the large bear. That's why I've got this one here because I'm going to make it a lot smaller. But unfortunately you can see as I'm making it smaller, little circles are changing so I might have to adjust those circles as well. I'm looking for a shape like that. And I can just adjust that circle until I get the size and the shape that I'm after. I'm happy with that. Let's see what it will look like if I'm move it across Onto the bear so can't see it at all. I suppose, to try different color. That's sort of the shape that I'm after in there. But I want to put a nose in there and the little split that goes between the nose and the mouth. Do that. Let's do that a bit. Let's zoom in a bit to here. I'm going to use a circle over here and I'll use more of an elliptical shape really than a perfect circle, which I'm gonna put in there. Same again, let's just make it visible. It's going to go in over there. And then once again, we'll just use a little rectangle in here to draw in the split area between those two. I'm going to select all three, go over to the Align option and just align them centrally. Then, while I'm here, also up to my option to minus the front object from the back. So it's Minus Front in there. And convert to path. And there it is. That will be the nose of the main bear. I'm going to center align that. Once again. That same thing. If I select both of those, I can then go in and I can just minus the front object from the back. So let's choose Minus Front over there and convert to path. We're getting there. We just need some eyes and the ears, eyes and nose as well. I can use the circular tool. I'm going to click and drag to make a small eye. Over here, I'm holding down my touch control. And let's have a look and see if this one will be the right size. I'm going to zoom right in. I kind of like the idea of sort of smaller eyes for this Big Bear. We've got one over there. You can duplicate them exactly the same as you did with the ears. And I will duplicate that one and move it across whilst holding down the center. Select both of those. Finally, go over here to the Minus Front option, sorry, my voice there for a second. And minus the front and convert the path in there. Now for the child bear pretty much the same thing, but without the whole gel thing going on. So I'm going to use a circle. Make the nose nice, easy one. Then two eyes to go in there. One I like that holding down the center to make it a perfect circle. And we'll just move them into position and duplicate that. And move the duplicate across to the right place. I didn't check that this was in the center, so I'm just going to select both of those. I'll select that and those, not the eyes, but just those ones. And go across to my Align option and just check that that is centered. And once again, I can just move my eyes around a little bit until they align. Move that across a bit. I'm going to select all of those and make it black and get rid of my stroke. None for the stroke, and a black fill over there. So have a go with the last few little options in there, come back and we'll put a line around the outside will look at other colors as well. 45. Add a Background Shape: I'm going to select all of those objects. And once again, I'm going to just group them together. This little item down here, I'll click on that to group them. And that means that if I move one, they'll only have around at the same time. Likewise, if I scale, level scale together, I want to draw in my shape to go around the outside. I'm going to use once again the rectangle. Just draw a rectangle in there. I'm gonna hold down the center to get a perfect square and just round off the corners. So I'd like that to just be a stroke. And I'm going to increase the stroke weight down here to make it a little bit thicker to tie in with the rest of the feel of that graphic. Now, if I selected all of those, I can then go along to my align because I've grouped the bear together, it will treat it as one shape, so we're not aligned centrally. It will take all of those items and they will all move relative to each other. Now one of the things you might be thinking about is why have I continue to cut things out? Why didn't I just use white shapes in there? Well, the reason I did that was because it gives me so much more flexibility. I'm going to take this shape and I'm going to move it right away underneath that group. In my Layers option, I'm going to pull it down. It's underneath the group. And then you can see if I now go to my fill, I can then fill that with any color I like. And I've then got that color coming through the bear. We can just choose whatever we wish for that final graphic. But I'm going to choose none in the right that's ready to go. Well, I've got to do is go along to export, to export it out. But haven't bit of a go, not just with animals like bears, try different animals where you've got the positive and the negative, especially if you're doing a parent-child type of graphic. Most importantly, have fun with it. 46. Organic Life Logo Introduction: For this very effective logo, what we're going to do is we're going to use a few tools. For example, we're going to start off with a circle. Then we're going to use the pencil to cut a leaf shape out. And then another shape to cut the little bit between the stem and the leaf. And then we'll reflect that over. And then put in some text in the middle. It'll be awesome. Have a look. 47. Make a Custom Circle Guide: I'm going to start with the elliptical tool. So I'll go into my elliptical tool over there. If you can't see it, you just click and hold on the square or whatever one comes up. I'm going to draw my lips, so I'll start in the middle here and draw my ellipse. But then of course I'm going to hold down the touch control, which gives me a perfect circle. And move to the outer attach, which means it'll draw from the middle outwards. Now, I've got my circle in it. I want a copy of the circle. One of these is going to be the guide and the other one's going to be the shape that we're going to cut out. I'm going to duplicate it by clicking on little duplicates icon there. And I'm going to move it the copy out there. Let's take this one. This is going to be our guide. First of all, I'm going to center it by going into the align options and centered in the middle horizontally and vertically. So it's right in the middle of the page. Then I'm going to go along down to the object panel. And I'm going to say convert to guide. So now we've got that as a guide and you'll see if I click on it over there, I can move it around. So that is a problem. Let me undo that. So I'll finally go over here to the Layers panel and lock it. 48. Draw Leaf with Pencil Tool: Let's get this shape into the right position. I'm going to start to move it in. But rather than trying to actually center it myself, I'm going to go along to align. And I'll just choose my two alignments. And there it is, right in the middle, just above the guide. So what are we going to do now? I'll just hide this for a moment. Is we're going to draw in the leaf shape. And we're going to do that with the pencil. I'm going to go along to my pencil over here. Now with the pencil, I don't want a stroke in here because that'll just make it difficult to see what I'm doing. So I'll choose none for the stroke and I've got a fill. I'm also going to go into my smoothing options and I want something really smooth in here, maybe around about the nine mark. I'm now going to draw in the leaf. Now I'm going to start right out here. And what I wanted to do with my leaf is just drawing this little S shape over there. And we're gonna go back around today. The area I'm interested in is this section over here. I'm not worried about that outer side, so don't worry about that. But do make sure you cut through that circle. We're looking for a leaf shape in there. Of course, if you don't like it, just use two fingers to undo and draw it again. Let's just get rid of that. Once again with the pencil. I can start over here. I can start to draw the leaf. I'm going down and up again and back out to there, and all the way around. Back to the beginning again. So as I said that this is the area that I'm interested in. The second area that I'm interested in is going to be the little end of the leaf. I don't know quite what it's actually called that the little stalk. For this. I'm going to start over here. And I want to draw in this little stalk which is going to go there and it's going to go into the leaf like that and kind of cut it out. Let's start over here and I'm going to drill into the leaf like that out again. That's going to be where it's gonna cut out there. So it's going to cut that out and it's going to keep this piece of that. Once again, if you don't like it, two fingers to undo, Let's try that again. Over here, I'm going to start drawing a bit further this time, go into my leaf and back again. They're kind of trying to keep it sort of running. So it's a nice smooth line over there. I'm happy with those two, and I will stop in there. Try that one out. 49. Leaf Cutouts with Divide All: Let's cut out the final leaf. Now. Using my move tool, I will select all of those shapes. Just check and make sure in your layers panel that you haven't actually selected your guide, if you've forgotten to lock that, you just want those three shapes selected. Then I'm going to go down to my combined shapes option. And I'm going to say divide all, which will divide each of those into individual shapes. Now they do come grouped when you divide also, I'm going to ungroup them. Let's see what we can do now. So I've got a shape here. I don't want that shape. I'll get rid of that. What about this shape over here? What I don't want that shape, so I'll get rid of that. I don't want this little one in here. I'll get rid of that last year. I don't want, oops, I don't want this top shape over here. So I'll get rid of that. Now these two shapes, we can just add them together using the combined shapes option and just combine all. Then convert to pass. This is now my one shape. And you'll see if I now go in here and just put a color in it. There is my leaf. We're not finished yet because we're going to make a copy of that underneath, but have a bit of a go with those ones so far. 50. Copy & Rotate: Now you'll notice that I've got a funny little thing over here. Just a little leftover, so I'm going to delete that bit as well. Here's my shape. And now I want to flip it over. Flip a copy over. I'm going to duplicate it. Then I'm going up here to my align options. And I can then flip a copy that can move that down. If I wanted them both to be at the same angle like that. If I didn't, in that case, it's just a matter of rotating one of them around. You can see if I do that. I've then got them going at opposite sides. Then it's a matter of actually putting this right up to that guide in there. Now I've got to that stage there. I can select those two and accurate tape them around into the right position. I think something like that might work quite well. The other thing that you can do with this type of design is, let's move this one out the way for the moment. Here's you can actually select it and then go and have a go with some of the options in here, like the radio. I'm gonna make this smaller to show you what I'm about to do now. I could then take my radio over there and just have multiple copies there. We can then move them further apart or closer together depending on what you want from your final piece. I'm just going to undo all of those and get my other leaf right back. Make a copy of those two leaves. Once you've done that, select them both, get rid of the stroke. We don't want a stroke on here. We just want to keep it really nice and clean. And just that I don't move them once I'm happy with them, go up to my Layers panel and I'm going to lock them down. I'm also going to hide the guide, which just leaves the graphic. Try it out. 51. Text Color: I've gone ahead and put in some texts that was fairly straightforward. I just popped in the text and I used a typeface called a Georgia because it's got that really nice organic feel to it. But if I didn't want to move the logo round, I might have to unlock it in there. And then I can actually go in and start changing. These are moving them around individually. I would actually like to rotate this one around a little bit. So I might need to show my guide at the back and then I can still move it OR and rotate it. I'm just doing this by eye to get it roughly about about right. Place it back in based on that, that guy. That's why we've got that guide this. We can always come back and make any changes that we need to it. Now that I've done that, I will just make sure that I take these two shapes, this one here, this one here. And I'm going to group them together. When I start to move them, they'll move as one. And it also means I can now rotate it around. Like so. Let's go back here and just hide that other guide. I think this needs a little bit more scaling. So I'll click on here and just scale it up using my touch, the outer touch. So when I scale, it will scale from the middle outwards in there. Now about color. I've got the green for the leaves over there and I'd want something which is similar for the text. So I'm going to click on the text in here. I'm going to go into my fill. This was the color that I used for the leaves. So I'm going to choose that color. But then up here, I'll just maybe pull it down which gets slightly darker version of that color. The same with the established date. I'll go in here, choose the green, and then once again, go even darker still. Or I could lighten it up if I thought it wasn't that important. There. Let's go with slightly darker because it's smaller and easier to read down there. The rest of it is just up to you to sit and play with and get it looking as you like. Remember, you can always go back in, edit any of these bits. And I'm getting to just take this organic in here. And I'll get to make that a little bit bigger as well because I think it would be more sympathetic to the overall design. I can go into my sizes here and adjust the sizes very quickly. Just on that. Let's make that a bit bigger. Like so. Once again, tweak it around. Now, one last thing that I want to look at, I've got to the stage where my design is so big on my art board. I could scare my whole design down. Or I could go to the Artboard Tool over here and I could just change my art board size to make my art board a whole lot larger. That's looking better. I'll just move my text and throughout position over there and it's pretty much done. Try tout. The leaf is a combination of a few basic shapes in there, a bit of text in there. And it really actually looks quite, quite impressive. Lack you've taken a lot longer than it really was to create. 52. "Pink" - Flamingo Logo Introduction: For this crazy pink logo, we're gonna do two things. We're gonna be using texts with reflections. And we're also going to be creating our flamingo from photograph. So we will redraw the flamingo. Now, don't worry if you can't draw, it's fairly easy. We're going to just trace it very, very quickly with the pencil tool. 53. Find Flamingo Photo: For this little logo, I wanted a flamingo. I went along to Unsplash and I found this picture over here, which is kind of a nice shape. There's a lot of detailed input. It's not too much, It's just the lovely traditional flamingo shape. I then downloaded that. So you click on the picture, you go up to the top right-hand corner and we don't need a huge file here, maybe just large or medium. We're just going to use it to get a rough idea of the shape and how download that very quickly. Have a go find a flamingo. This one was from Unsplash and it's by this person over here. It's easy to find if you search for flamingos on Unsplash. 54. Redraw Bird with Pencil: So I've made a document which is tall and thin. I went for 1920 by 1080 wide, but it doesn't matter what size you choose. What I'd like to do though, is to go along here and bring in the picture. So I'm going to go and I'm going to go to file using Place. Find that the image of my flamingo, which I'm going to bring in. And then we're going to trace around the flamingo. I'm going to make sure that I've locked this down so I don't move it by mistake over to here. We're just going to lock it into position. Now, although there's an auto trace option in Illustrator, we are going to be doing this manually by just drawing it with the pencil tool. Let's start off over here with the legs new. Don't have to be accurate with this. I'm going to go and I'm going to find my pencil. And I'm just going to choose a color. I'll go with this sort of really horrific pink in there. I'm going to draw around that. So using the pencil, I'm going to start drawing up here, as you can see, I'm not being that accurate. This is one leg in there. Now, if you find that things are not going the way you'd hope for them to go. You can, of course change your smoothing. If you're smoothing is too high, you might find that things just look really weird. Monkey, I'm going to stick with eight. Same again, up to the next leg there. Like I said, you don't have to be accurate tool. This is just very rough tracing. Let's do some of these other bits. I'm going to do the body over here. So just very roughly around the body, up to the neck, over to the head. I'll do the beak separately. I think. As you can see, I've missed out a bit on the head, but I'm not worried about that. I'll come back to that in a moment. If I've missed out on something like that, we can always use our direct selection tool. Select those points, and just pull them around to get the shape. This is going to be quite small. This flamingo. I'm not worried that it's not going to be quite perfect. We just getting the feel of the bird. Move these around until you feel happy. Once again, we'll pull that up like so. Now the next thing I want to do is the wing in here. I can't see what I'm doing with the wing. So I might need to go to my layers and just hide this temporarily. Let me do this wing here, and I'm going to do it in two sections. So we're gonna have tried that with the pencil. We're going to have this section here. And then on top of that, that section, by the way, it's going to be black finally. But then on top of that, we're going to have this section here, which is going to be pink. So I will do this one here, roughly round like that. And once again, as I said, that one will be pink. So we'll end up with something which will look a little bit alike that will change the colors. As we go up to the beak. I should actually have gone further rounded because I'm doing this bit in here as black. But as you know, you can always use your direct selection tool. I can click on that and I can actually go and change it. Or I can actually add points into that. Even use the pencil tool and just draw another shape down to there. Like that. We can of course then take those two shapes and just to unite them into one using the combined shape option. So I'll just combine all convert path and that makes them one anyway. I might still have to go in, in my case because I've made a bit of a mess there. Move some of those points around. Let me do this last part of the beak. And unfortunately that's in the way. So I will just move it out the way. Get my pencil, go for black. Wrong one. Let's try de-selecting that first. Once again, use my pencil. And I'm gonna go down here, around there, around that. That's going to be black. And then this bit here is also going to be black. It's going to go there. And we've got a little eye over there. If I make those items, they're black. This is going to be that violent pink for the moment. I can then just move it back. So start to see what we've got. As I said, the exact look doesn't matter yet. I'm going to remove the picture in the background now why can't I get rid of it by just dragging over to lift? Well, it's because it's locked. If I unlock it, I can drag over to the left and I can bend the picture. And that leaves us with this little kind of strange pink flamingo shape. Let me stop there so you can try that out with a flamingo or anything else that you want. To be honest, I've really bright color. 55. Adjust Bird Color: Now, as we can't see the wing properly and I don't like the pink that I've got there. What I'm going to do is I'm going to select the body. I'm going to go over here. I'm going to adjust my pink, so I'm adjusting the hue to make it a bit more. Well, quite a nice pink now actually, I'm happy with that. I'm going to save that color in case I need to come back to it. The legs. Well, once again, I could use that pink there, but I might want to maybe darken them down just a little bit or even Latin them up. I think the flamingos legs are slightly lighter. And with the wing, the top of the wing here, same again, our pick that pink. I'm going to lighten it up a little bit. Now that I've got the flamingo done, I will select it all and group it together. That was the hardest part of this whole little mini logo. Just doing the copy of the photograph. Try that out. 56. Text & Transparency: Let's move this out of the way. It's all grouped together, so it'll move around quite easily. I'm going to bring in some text now. I'm going to use my type tool, click over here and I'm going to put in, well, amaze will use the word pink. And we now need to make that a whole lot bigger. Pull it out. Like so. I'm also going to go up to the properties and just change the font family to something which is a little bit more. Well, I suppose it depends on what you're after ready. You could go for delicate because the flamingos are seen as delicate animals. Or you could just use a great big old chunky pink like that. We can go for something more delicate like one of these type over here. No right or wrong, you choose what you would like to use. I'm going to go for something sort of in the middle like this. I'm going to change the color of that. So here I'm just going to choose the same pink that I had for the flamingo. I wanted to have almost a reflection of this pink underneath it. I'm going to copy the text and drag it down. I'm holding down the central touch. When I'm dragging it down, It's going to drag it perfectly in line. Let's try that again. I'm going to drag down perfectly in line with the upper letters. Now I'm gonna take that and I'm going to flip it upside down over here in the line option. I can then flip that. It's not quite in the right place, but I'll move it up there. Lastly, I wanted to add a gradient onto this bottom pink. Now, if I go over to my gradients, you'll see they don't exist because this is type and it doesn't use gradients. Unfortunately, what you have to do is you have to go to the Type panel on the right, outline the text. And now we can go in, just make sure the text is selected. And I can go to gradient in there and I can apply a gradient. I want to get a gradient that goes from maybe from that pink down to something else. And you can see we can do this on a letter by letter basis. So at the moment it's going from pink through to orange. But what about if I went to the orange instead, said make that pink, but then fade that back a little bit as well. I'm going to go to these ones here and make them pink. Let's try that again. That should be pink. This one here should be pink. And that one should be pink as well. When I click on a gradient, I don't know what you'd call those 3D the dots. I can then click the little opacity button down here, and I can change the opacity on that as well. This is another way to adjust your opacity. Clicking there. And I can adjust it down like so. Try that one more time. One last one over here. Because it's easier to just make a gradient and saved the gradient with the transparency. The butt. There we go. I think to make this more of a shadow area, we can pull that down. You could even still go back into your gradients in there and adjust the gradient. So maybe we had less of the pink going all the way down to just lighten up like that. I want to bring in the bird. I'm going to select it. I'm going to scale it right down to make it quite small. And that's just going to sit on the top. Over there. The P. Haven't bit of a go with that. You don't have to do obviously flamingos, you could try other animals or other shapes. Just do a quick redraw on them, on the photograph to get the basic shape and then have bit of a play with some texts to see what you can do with the text. Remember, if you need any sort of reflection over here, and let's say for example, that this pink move that across so you can see it if that pink there wasn't quite so transparent at the bottom. So we can actually see a bit of it. We would also be wanting to see a reflection of the flamingo. In that case, you just copy it. Move it down, flip it upside down using the aligned option, and change the opacity in the Properties panel. You can barely see it down there. Do have a little bit play with that. Smith's not quite in the right position. Try different animals. Some reflections, see how you get on. 57. Isometric Grid Logo Introduction: This logo, we're going to create an isometric grid. Now, if you haven't used one of those before, I'll show you exactly how to set it up and we'll be doing it manually. And then we'll create one block. Then the whole of the rest of the logo, we will use that block and just repeated a number of times. You'll see how it works as we go along. 58. Use Blend Tool to Make Custom Grid: For this example, we're going to make a isometric grid. Now, isometric grids are great because they enable you to draw things in isometric 3D. Well, they're not true 3D, but it looks like 3D. Isometric rather than standard 3D means that there is no perspective to the 3D. To make a gradient here. What I'm going to do is I'm going to use the Pencil tool. Now with the pencil tool, I don't want any fill, so I'll get rid of that. I just want a stroke in there. And I think with my stroke I'll make it a grayish color. To draw straight line with a pencil. You just hold down the touch and you can then click and drag your line down like so. Now that I've got the line, I'm going to use the Move tool. I'm going to move it across to the left-hand side of the page, so it just snaps into there. I'm going to make a copy. Then I'm going to take the copy and move the copy across to the other side whilst holding down the touch so it moves it absolutely parallel. Then the next thing I'm going to do is select both of them. Go over to my repeats. I'm going to choose blend in there. With blend, I can choose or change the number of blend States between those two. So I don't want too many. I think I'm looking for something. Oops, I've lost it over there. I'm looking for something in my case, which is going to be around about that. I've chosen 15, but you can choose whatever you like for yours. The more you have, obviously, the higher the grid will be. Now that I've done that, That's my first grid done. I wanted to then create two more grids which I'd angles. But I can use this grid here. I'm going to click on duplicated to duplicate this grid. Now I want to rotate the screen. You can see I can't get to the corners to rotate it. There's no little Rotation icon like we have normally with a normal shape. But what you can do is you can actually go up to the top. And in here we can put in the angle directly. I'll click in there and you can see how I can actually angle it around now to whatever size angle I wanted to be. I want this one to be 60 degrees. Again to do to 60 degrees. There's my first one at 60 degrees. And then I want a second one. I'm going to go back to my original, make a copy of it, and have a second one here. And the second one is going to be 60 degrees, but it's actually going to be minus 60 degrees. And you can see now how they're starting to appear. Of course, if I go to my first one here and just drag it into the right position, you can see where all of this lines up. Let's just move this over here a little bit until it lines up perfectly. There is my grid ready for isometric drawing. Now, normally at this stage, if I've done a grid like this and it's taken me a little while to do it. I would actually go and save this as a document that I can always reuse later on and then save out a copy on top of it. For me though, I'm going to stop there. I'm going to go into the Layers and I'm just going to lock that layer down for the drawing. I'm going to choose a new layer. Now, one of the reasons I've locked or I've gone to the separate layer. Because then I can go to my Properties and I could change the opacity of that grid should I need to if it looks too dark? But let's lock that down so we can't touch it by mistake. If you'd like to build your grid up. And then we'll go and we'll do some 3D boxes by drawing directly in there. 59. Make 3D Boxes with Grid: So to draw in the little shapes themselves is going to be really simple. I'm going to just start down here to show you how they work. Now I can either do them by making little box. By the way, I'm working on a new layer, not on my original layer of lock that layer down. I can either actually create a little rectangular shape using the rectangle tool. Let's get a different color in here. Something quite bright. I can make it little shape like so. Then I could use this tool to kind of move those points into the right area. Again. Then, then I can make my next shape in exactly the same way. Or I could just copy this shape. Make a copy of that. And then this could then go up and be rotated around into the right position over there I went to perfectly at the moment, you get the general idea and I can repeat that and take another one down. And this can be rotated over to there. And this would then give me my basic box shape. The other way that we could do this is to use the pen tool and drawing the shape with pen. Exactly the same. Again, I'll use the pen. I won't have a fill for the moment. I'll just remove the fill. So I've just got my stroke on there. And then exactly the same stop there, there. And there. And the more accurate you can be with this, I'm not being terribly, terribly accurate, but the more accurate you can be, the better and the better it will look in the long run. Once I've got those into the right position over them, There's my first shape. Then I can then start to build the boxes up from there. So let's just flip this over and go in and put in a color for this box. So there's my first box. I'll do the same thing that I did before by rotating it or rotating a copy. Should I say? I'll make a copy of that. Now I want to retain the copyright. I'm going to go up to the top and do it a bit more accurately by using this little spinny thing. Over here. You can see the angle that I'm looking for. This is going to be a 120 degrees. Once I've got 220 degrees, you can see it fits in absolutely perfectly. In the same again, I can make another copy of that that goes down there. And same again, I'm going to just change the angle around to where I wanted to go. That's going to be 240 degrees. Once again, we'll get that absolute fine. If you can't remember those numbers, doesn't really matter. Just spin it until it gets right into the vague into the right position. And you'll see, oh, yeah, 239 and you realize it's gonna be 240. Then of course all we've got to do is to change the colors on this. So I've got three colors here. I've got a dark green in there. I've got a medium green here. I've got a light green for the top, and that gives us our 3D box. Now, the reason that one should be really accurate for the first box is because once you've made one, you don't have to go and repeat and redraw all the other boxes. You've got one. So you might as well make a copy of that box and you can then reuse that box elsewhere. We just lining it up with the grid. Once again, I can make another copy. I can go upwards in there as well. It's good to up over there. And we can then start to build our shapes. From that. Anyway. Do have a bit of a go as accurately as you can, create one box like that. And then we'll put them together and we'll do some 3D lettering. 60. Color & Duplicate: To make a second box here. So I'm going to select all of those. I'm going to make a copy of it and I'm just going to move the copy across a little bit, doesn't matter where I place it from. Now. This copy, I'm going to choose some different colors again. So I'm going to go with a darker pink and medium pink, orange and a lighter orange. Orangey pink in there. Once again, I'm looking at three different shades, but all in the same angle as those. I've now got two boxes. I'm gonna take this box and group it. This box and group it. These are my main building blocks. Really, by the way, I'll show you how to do something which looks like child's building blocks later on without mentioning any brands. Now that I've done that, I'm going to build a few bits and pieces. Let's start with this one. I'm going to take it all the way down to over there. Then I can take this one and I can move it across on top of that. I went to another green ones, so I'll just copy the green one and move the copy on top. Now, this is where the problem lies, because I've got to the green ones behind that one. So if you click as long as it's grouped together, if you click on this little icon here, you can then change the stacking order very quickly, like so. I think I'm going to take those two now and copy them and move them above those. Now of course, if you want to go left and right, you can do exactly the same thing. So I'm gonna take this one here, copy the orange one. And I'm going to move it to the side next to that one. And once again, I want to bring it to the front, so I'll move this there. Let's have another one here. I'll take a copy of that. Move it across to there. I want to move that behind that one. There's my tea. And I can just keep going with these and build other very simple letters. Let me do a little eye over here. So I'm going to take all of those, make a copy of them, move them across. I can get rid of that one over there because I don't want it and get rid of this one over here because I don't want it. And the middle one. Well, I think I'll actually change these around and put that one up there. Let's delete that one over there. I could keep going with my word in there. I was going to do tile over there. So I'll just stop there so you can build some blocks. Remember, you can obviously only do letters which are sort of straight rather than EMS and D's and peas and etc. Unless you think in terms Of once again, children's building blocks and how you build it with that. But do you have a go with that? And I'll show you how we can actually make these look like they are actual blocks themselves. 61. Adjust Type: I've gone ahead and I finished my word in exactly the same way that I did the t in the I. And I've done the L and E. Because I want to show you something else on this grid. I'm going to make another of these art boards. I'm going to go to my Artboard tool. And I'll just use an A4 there and pull that out on the side. I'm then going to copy this tile across. I'll do a full copy of it and just move it out to there. Now, when you look at this one, you can see it doesn't look quite right because the, the I and the L of very, very close together. Technically it is absolutely correct as it should be because it was made on the grid. This is something that we have in topography where things might be actually, actually correct, but they don't look right. What I'm going to do here is I'm going to do within typography is called kerning. I'm going to move the distances of these away a little bit. Now it won't be correct for this grid, but it will look better if I just pull that across a little bit up that way to give it a bit more space in there. And the same with the E, because the E is really close to that. Maybe a little bit more space in there. And then I'll copy that and move that across to that side over there. And that should look a whole lot better than it looked before with those things slightly more spread out. Or I can move them much closer together. Once again, that would give me a better look. If you'd like to finish your word and maybe make a copy of it, and then come back over here. And on your grid, make sure you've got a copy. Remove all of those except for two of them. So we just want to those little boxes in here. And we then going to make these into little toy bricks. 62. Create Block Connectors: Let's look at putting some little circles on the top where the bricks joined together. I'm going to use my elliptical tool. And I'm just going to draw in a shape. Now, obviously I need some color here, so I'm going to pick a bit of color. They're using my Move tool. I'm going to draw this in by looking at the grid in here. Just going to move this in until it fits inside one of those shapes that can come down a little bit. Then I think I'll just pull it out a little bit. Now that it's sort of fitted into that shape there, we can just keep going for ages. With that. That space is actually a 3D circle. Well, not true 3D, but it appears 3D. If I now want to give it some depth or height, all of them got to do is make a copy. So let's start down here. I'm going to move these up a little bit instantly if you are using Illustrator on the desktop, this process is a lot easier because of the, especially with the new tools, you'll always, always been able to do it. But the new tools are really cool where you can actually make things 3D very, very quickly and very visually. But as we're working in here, Let's see what we can do. I'm going to copy that and I'm going to make copy which is going to go up like that. So I've got two of them. The bottom one, well, I'm going to change the color to a slightly darker orange. And you can probably see where I'm heading with this one. Now need to join up those two areas there. I wanted to join from here to here and from here to here. And then I could put maybe a bit of a gradient on there to give it that slightly three-dimensional look. Now, possibly the easiest way to do this is actually to use the pen tool and just go from there down to there. Let's do another shape and go from there up to there. It's not quite in the right position. Use your direct selection tool and move it around until it is. This one needs to be in front of that one. So I'll just change the stacking order to get this in front of that. There we go. Now, I've got this weird shape over here and I'm going to select it all. I'm going to go over to my Pathfinder equivalent or Shape Builder equivalent. And I'm going to combine all those shapes together, convert to the path. I've done that because now I can really easily just make a gradient for that. Let's select this. I'm going to go over to the gradient tool. I'm going to use a linear gradient. I'm going from that side to that side. Both of these sides will be maybe the darker color. In fact, this one here might even be the very dark color. And the middle. I'm going to have the lighter color there. We can just move that around. Like so. There we go. There it is. All I've now got to do is to make it a lot smaller because I'm going to have to fit in four of them on the top of my brick. I'm going to scale it down. Then once again I'm holding down the touch control and I'm going to group it together. There's the first one. You can see the problems I've got with a color here. You can't actually tell what's what. On this. I'm going to double-click on the top and just lighten it ever so slightly in here. Not too much, but just a little bit enough. So when I put it back on there, you can see the difference. We've got 1234. Now that you've made those, you don't need to worry too much about remaking it again for the green ones because you've already got them there. All you have to do is to take one of these, make a copy of it. I can then go into my copy. Over here. This is going to the top bit here is going to be the light green. And I'm going to make it slightly lighter than it was before. And this gradient, well, I've had double-click to select it. I'll go into the gradient and that's going to be the dark green there. The light green on that, medium green on that side, and the light green in the middle. That one is then done. And once again, I can then go and place them. Now, let's just make sure the whole thing is still grouped together. Think it is. Yes. We can have one and then copy those two. Then we can select both of those. Copy both of those, and move the copies across into there. Now we can always take those, the tops and put them onto our existing artwork. So I'm going to go along, move this box out the way, that box out the way. I'll select those, group them together. I'll group those together. And I can then start to move these across. Now you'll notice that I have got two sets of type here. I did another one to show you where actually moved the type closer together. So it would look a little bit different. Let's move these into the right position. I'm going to move them to there. And I'm going to get the green ones. I'm going to move them across as well. If you have problems selecting like I have just de-select them. And because they grouped issue, then select them again quite easily. Let's go in here and then just do some copies. So this one here will go on top of those. Try that again. That's going to go over there. And then once again, you just copy that. Move the copy across does get very annoying when it does that. So just de-select it and then move the copy across. Again. Make a copy and move the copy. We've got a few more to do here. And obviously when then have to move the ones below. Let me just do this one over here to start off with that one goes on the top of that. Make a copy of it, and move it across. It's good down to there for now. Try that out and then I'll finish this while you were trying yours. 63. Adjust Stacking Order: I've just finished off the rest of my logo by making copies of the little connectors and putting them in. Now, the only issue that you'll have is when you want to put them into some of these ones down here. Because you're going to have to go into your layers and you're going to have to figure out where they go in the groups because you can't just put them underneath a whole group of items. So you need to figure out what is, what may be switched. Things aren't enough to see exactly where they are. And then drag them up and down until they go behind somebody in front of others. Finally, I've just put in a little bit of text in there to finish it off. But do you have fun with that? Obviously, we've done certain things. We've done letters in a row. But of course you could start building out this way as well if you wanted to go a little bit more in the 3D mode, try it out and enjoy it. 64. Floral Text Logo Introduction: This is one of my favorite logos. I really like it. And really it's about creating a few leaves and hiding them inside some text. It is actually very simple and all we could do is create one leaf and repeated a number of times. Question another leaf, repeated a few times as well. It's not as difficult as it seems. Have look. 65. Draw Leaves with Pencil Tool: Let's start off creating some leaves. I'm going to go along and I'm going to be using my pencil. But if you prefer to use the pen, that's absolutely fine. And I'm going to do a large leaf over here, so big one like that. You can redraw it as many times as you like until you feel happy with it. If you didn't like this shape, Let's go with something a bit more simple like that. Now that I've got my basic leaf shape, just give it some color in here. And I want to kind of cut some bits out of that. Same again, I'm going to use the pencil and just draw in the shape that I want to cut out. So where the leaf sort of separates. There, we'll just do another one down there. Maybe a thin cut. The little one over there. Now that I've got all those cuts, I can select them all. And I'm going to go up as we normally do to the combined shapes and just minus all the front objects and convert to path. That'll give me my first leaf. It actually looks a bit feather-like, but that's going to be a leaf in there. You can try some variations on that. So maybe you can make a copy of that and flip the copy round in here. I'm going to go into my properties are known or can go into my properties. I'm going to go into my alignments and I'm going to flip it that way. Let's close those down. And then I can still keep adding. And maybe this one's got a bit more of a one there and another bit coming out there. Well, let's subtract those two to make a subtle difference on there. So I'm going to once again minus the front convert path and we're gonna slightly different shape leaf in there. If you want to get rid of some of these. What you could do is you could just go in here, use the pencil tool, draw around the shape that you wanted to get rid of, been reasonably accurate over there. Select them both. And then exactly as before, go in and we can then combine those together and convert to path. If you find it a little bit wonky on the side, use your direct selection tool. And you might need to actually go in and just remove some of those points by clicking and holding on them. I'll just go over here and click and hold. Now that's a bit too much. So maybe we need to just pull them around. Like so. Make a few leaves like that, a few different shapes. I will make one or two more. And then we'll start on the other leaf areas. 66. Use Width Profile to Create Leaf Veins: Once again, I'm going to use the pencil and I'm just going to draw a shape, a long shape like that, which is great by itself. I could have just like that. But I think I wanted to put a some veins down the middle and maybe a few running out. I'm gonna make sure that I de-selected, get my pencil, go over to my colors. No fill and the stroke, I'm just going to make it yellow for now. We can change all of these colors later on. And I'll just draw a line up the middle. I need to change the stroke weight on that. So let's go and increase the stroke weight to something along that line. Now, if the endpoints bother you because they are kind of, well, if I select them and just move them out a bit here, they're kind of straight. Because what I'm getting at, I would like to round them off a bit. And we can do that by going over to the Properties and go down over here pasture stroke, you can get to the profiles. And in here I can then choose to round off the corners, like so. Once again, if I go to the width profile, I could then actually choose some of these Width profiles as well. So maybe I want to start off with a thinner bit, getting thicker and then getting thinner. At the same time. I quite like that. And in fact, I like it so much. I'm gonna keep it and I'm going to actually increase the Try that again, increase the stroke weight on that a bit as well. What about some lines coming off of that? Well, simple once again, the same sort of thing will just de-select that and get the pencil and maybe do a few little lines, some strokes coming off of it. I need to change the width on those. I'll select everything, making sure I select all of those. I'm going to hold down the central touch. I'm going to de-select the big green leaf and again to de-select the yellow vein down the middle. And that way I can go in here now and just adjust the width on those. Once again in here, round them off. If I wanted to change it and have a different width, the width profile. There's one leaf there. In fact, this looks a little bit too thick for me, so I'm just going to narrow it down a little bit like so. There's my first leaf. Let me select that and I'm going to group it together. There. We'll move that out of the way as well. Let's do some leaves now on a vine. So very, very simple. Again, we want all the leaves to look slightly different. But if we draw one of those leaves to start off with, I'll just make sure that I've deselect everything. Go to my pencil. Draw the one leaf to go in there. Like that. Really simple. I will give that a fill color over there. And then maybe some simple veins in the middle of that. Now, I'll use the pencil for that Gupta stroke. Change the color of my stroke. You can see what it did that I forgot to de-select. It's so easy to do in Illustrator. I always forget to de-select. Let's de-select that. Let's go back again to the pencil tool. I'm going to go over here and go to Stroke, change my stroke color. And just draw some lines in exactly the same as we did before. This time I can select all of them, de-select the leaf, then adjust the weight on there. Once again back to the properties over here. And I think I will, well, let me just deselect that again. There we go. Just go down here and use a width once again on that to get an interesting look to those. There is my first leaf in there. And I'm going to create variations on this new can see how quick it is. Once I've grouped it together, I can make a copy. I can rotate it round. I could squish it around a little bit like that. We've got to ever so slightly different leaves. You can still go into that leaves. You can double-click and go in. And maybe you want to change something around in there. Or I could even get rid of the line down the center. Have a little bit of a go with some leaves like that, just do two of them, will have lots more later on. And then we'll copy those and put them onto a line and adjust the colors. 67. Sample Photo Colors: I like to find some colors for this graphic. Now, I've only got a few leaves in there, but I really should start to set up the colors correctly before I start replicating these ones too much, I've gone to Unsplash and I found an image of some leaves just to get some sort of ideas of the autumn colors that I'm off to. And I really liked these sort of oranges in here. Now, the thing is that I can then always go into my fill and I can then sample the colors of that leaves. I'm going to go in there and find That's sort of orangey color in there. I'm gonna save that color. So I've saved that into my swatches. Once again, let's have a look and see if we can find some sort of darker red. Maybe something along that line might want to brighten it up just a little bit and save that in something maybe from the branch over here. It's quite a darkish read. I might want to make it even more of a brown color. I'm not sure. We'll go with that for now. Add that one in. I think I also want to have some grays in. He had like a very dark gray color but with a little bit of red in it. So just a fraction of way to warm up that dark gray color in there. Now, if you've got colors like I have from one side of the color wheel, It's always looks good if you've got some complimentary color in there somewhere. Going across from the sort of orange areas here, the complimentary colors are these ones in here. Maybe I'll pick up or one of these colors doesn't have to be exactly across like that because we're using a range of colors in there. I'm going to go across and pick something along that line. Maybe make a darker version of that, and even a gray version of that as well. Lastly, going back to my orange, I'm also going to have a much lighter version of that. And I'll save that. And maybe this orange, I'll have a lighter version of that as well. Once again, I'm going to say that, but basically just set up your colors that you want to use and don't forget to try and add in something which is complimentary to the main color system that you're actually using. All the main color set that you're using. That. 68. Color Leaves, Make Vine: I'm going to color up some of these leaves now, I'll select both of these. They are grouped together. But if I go along to the fill, I can then just change the fill color on them. If I go along to the stroke, I can then change the stroke color on them as well so we can get a lighter stroke inside there. I might even change some of these other ones as well. Now there's no right or wrong here. You just pick the colors that you want to use with your design. Over there. I'm going to go with a darker red for that. For the stroke. I think I'll pick us a bit more orange color in there. And these leaves, while I'd like them to be maybe darker or gray or something along that line. So I'm sort of thinking this type of gray in there. So I'm gonna have to gray ones and two lighter gray ones. And there were even a blue, who knows what kind of plants we've got here? Anyway, just cover up your leaves. Once you feel happy with them. We can then start building this almost a vine of leaves. What I'm going to do is I'm going to use my pencil. What would I do without the pencil? It is really lovely. It's so nice to use on the iPad. I do mean that the Illustrator pencil and iPad pencils, great too. I'm going to get rid of my fill, so I've just got a stroke on there. I don't want my stroke to be that light, pale color. I'm going to just draw in a shape like that. And I think I will have to actually just increase the width of that stroke only so that we can actually see what we're doing. Now I'm going to go and put my leaves along here. Let's take these ones. First of all, I will duplicate them, move the duplicate across. And again to kind of go down like that, they don't have to be accurate. We are going for a look over here. Let's duplicate those again. And I'm going to put one there. That one's going to go over there and I'm just going to change them around a little bit. Basically just keep going until you've got something you like the look of I might adjust that one, put it on that side. Take this one and make it a bit bigger. To go. They're not too big. We want a nice look down there. Anyway. I'm going to run all the way down this whole shape. Then I might do two slightly different shapes, once again with the leaves all the way through. I won't get you to watch me doing the whole thing. You know how it works. So try that out, get some leaves on a vine, and then we'll move on. 69. Create a Flower: I've got all my leaves on the vine now. I'm going to select all of them. The one vine. Let's try and get all of those in there. I'm going to group them together. So that way I can just move them out as a group. Let's do the same with this one. Select all of those groups, them together. And then I can select that and move that out the way as well. Let's draw the little flower shape now. I'm just going to go with something. It just a little bit weird and wonderful. It's probably actually going to end up looking a little bit like a sessile, although it won't be. I'm going to draw with my pencil tool. I'm going to do something which kind of goes round like that. You can tell I'm drawing really big, almost like a crown us pose. Like that. I'm going to fill that with color. Now. I want the bottom part to be a separate color. What I'm gonna do is I'm just going to take an ellipse over here, draw my ellipse into cover the area that I want to be the different color. Select them both. And Let's make sure I don't select that by mistake. Select those two as well. Now, I've got a problem here. When I select that, it selects this as well. So let's have a look in the layers panel. You can see for some reason I've actually gone into that group without realizing it. It's an easy mistake to make. What I'm going to do is I'm just going to pull the ellipse out from that group. And I'm going to pull this little funny shape out from that group as well. If you do find that you have that and you select something in more than one item selects chances are it's probably because you've managed to put it in with another group. I've got selected both of those. I'm going to go up here to my combined shapes option and I'm going to use divide all. Now I can get rid of the bottom section. If I ungroup that, I can ungroup that, I can remove this section, you can delete that and that there will now be a separate section. I'm going to give that a different color. Now, I think I'd like some little little balls on the end over there. There'll be really easy to do. I'm just going to make a circular shape, hold down my touch control to do that. And we'll have a few of those around. Now. We'll make that same orange color may be as well. I've got no idea what sort of plant that says. It's a really weird and wonderful one. I think I will take that one. Copy that I can then move that across to there. Let's do 123 more copies there. I can take that one down too there. That went over to there. And this one too, then there's my plant. Select all of those and group it together. Now of course, this can be scaled and will be scaled down quite a lot. It's only going to be about that size, but it's easier to build these things when they are larger. Happy to go make some sort of plant head and then we'll do some stems for that. And the most top putting together this whole project. 70. Custom Stem Brush: For the stem on this weird little flowery plant, I want to actually have something which goes from thin to thick. I'm going to do that by making a brush. I'm gonna make a custom brush. So I'm going to go in here and I'm going to start off by using a triangle. I'll just get a little triangle like, like that. I think. I might rotate it around there because that's what I'm sort of thinking. It's gonna be across like that. You can't do it directly upwards. You'll just have to change your settings when you go into your brush. I want to make that into my brush. I go up to my in my case, my pencil tool, down to my paintbrush. I'm going to click on the Plus. I'm going to make a new art brush out of it. And over here you can see it's going in the right direction over there. So it's going across that way. And we're going to use to stroke length on that. Now, colorization, I'm not going to change because I set up my coloration first. Let's see what that will look like if I just move this out the way and I draw the shape. So once again, I will just click and drag to draw a little shape like that. And you get this sort of nice line that goes from thick to thin in there. If you didn't like that, of course, you can just change your initial brush to make it a bit more interesting. For example, here I'm thinking that that is a little bit too narrow on the end. So what about if I did this? Maybe instead, I used a rectangle. I took my rectangle, drew the rectangle in. And then I'm going to go in here using my direct selection tool, selected this point here and pull that in, select this point and pull that in up to there. So we've got a little bit of a an edge. They're not quite pointy. I will make that filled with color. I've got my correct color in there. Then I'll go to my brushes. Same thing again. Go to your brushes, go down to click on the plus, their new art brush. And I'm going to just save that brush there. What about, whoops, undo that. What about this line? If I click on there, I can then choose a different art brush for that. I don't have to redraw my line at all. As you can see, there's a number of pre-made art brushes in there that I could choose from. I'm just going to use that second one that I've drawn in. I don't need to keep those two. I can just delete them. And my plant is almost ready to go. I'll make a few more little strokes here. So let's have another one that comes out over there. And this one is a little bit too thick. I might have to change the stroke width on that. If I go in here and adjust the stroke width, take that down quite a lot. It gets a little bit wonky when you're working with this. So I've got two points in there. I've got 1 in there. If I went up to my Properties and I tried to change the stroke width in here. I can click on that stroke width. And instead of just 1, I could do nought 0.5 there and get the size exactly right. So if you find that you struggle with that, just try doing it numerically from the properties panel. Got that. So this is my copy that I'm going to drag down, changed around, maybe resize it a little bit over there, and I could do the same. I'll do another one. David. Once again, you have a go with yours and I'll do mine very quickly in a second. Try it out. 71. Add Your Type: I think we're ready to start building. I'm going to bring in my letters in here and I'm going to use a G and a Q for gardeners questions. So this could be a little logo for somebody's gardening website. Go and get my type tool. I'm going to click in there, put in my GQ in there, so capital G, capital Q over them. And I think now I'm going to go up to my properties and I will just change the size. I'll click in there and just whiz this app. Now, why isn't this changing? Well, it's because it's not selected. So let's make sure that that is selected first. And then I can go in here and adjust the size. I do need to change the typeface and find something suitable in here. And i'm, I'm actually going to go with something which is a fairly heavy duty, that sort of thing there. But I want a bit more in the way of a depth to it. So I've got somewhere to put the flowers in. Have a look through your typefaces in here. Don't forget when you're going through these typefaces, you can always go down to More Fonts. You'll find all sorts of weird and wonderful fonts and typefaces down here. Don't worry about if you can't see the ones that you want, have a look in more typefaces in there. I'm going to keep this nice and clean. So I'm going to go with something along that line there. And I will just pull it out to make my typeface a whole lot bigger. Just go with large one, like that. Get your typeface in. 72. Create the Composition: Now you'll notice when I talk about these things, sometimes I say typeface, sometimes I say font, sometimes font family. To give you a rough idea of how it works. Something, for example, like Arial is a typeface or a font family. Debt includes bold and italic and regular and light. Whereas a font would be Arial, 12 points, bold. And that's how it's worked, how it works. But you'll find that most people tend to just say fonts. Anyway. I've got my type in here, and I want to start by bringing some of these. Now there's no right or wrong for this. I'm just going to start moving things around to see what I can do. And I will have to actually scale some of them down because they're a bit on the large side, it's not a problem. I'm going to start off with some of the big things over here and maybe we're going to have that in there. Now, as you can see, it's difficult to see what you're doing with the type in the way. I'll go back to my type. And just temporarily, I'm going to change the opacity. So once again, up to properties. And let's go down over here and just reduce the opacity in that way I can see exactly where things are going and what they're doing. Now I'm not too worried about getting things exactly in the right position. Over here. It doesn't have to touch the bottom. We can cut that off with another shape later on. So just make them look good. The trouble, as you can see, it's every time I go to get that leaf, I'm picking up the typeface, font type. I am going to go to my layers over there and I want to just lock that down. You could also move it below everything else if it was easier for you. Like so I'm going to leave mine over the top so I can see exactly what I'm doing. But I have locked it. So now when I click, I'm actually going to be picking up this item here. Once again, I'm going to start building a few of these things and moving them around. Let's pop that one over there. And same again. Let's put another one in here. Maybe that can go like so. You'd always move them around later on. If you wish. There's no right or wrong over here. Then with these ones, once again, I'll start doing the same sort of thing. I might stop making them a little bit thinner, copying them. And I could have one. We'll just scale that one down proportionately. One in there. That's actually what's happened. Another one. Then I'll just copy it as well so I can put another one elsewhere. Let's do another one. Just pop them in as you, as you like. And it's exactly the same when we start to bring these little items in as well. Just make a copy of them and we can then start to scale them down. I think I'm going to move that one into there. Don't forget, you can always copy items to do another one. I could take that one, go over to my Properties, sorry, not my properties, to my Alignment, and I could flip it as well. So I've got another one going in the other direction. I'll make that one a whole lot smaller. Like that. Remember, a lot of this stuff is going to be cut off later on so you don't need to worry too much about it. Just move things around as you think they might look quite good. And of course, you can always duplicate an item. And once again, we can change the size, moved around, scale it, and flip it if we need. Now I'm going to carry on over here and just put a few more of these plants in there. Once I've done those, are then do the same up here. So I've grouped this whole thing together. I'm going to just scale it down to something sensible. And we're gonna make a copy. I'll start bringing in the copy. In the, we just want some sort of interesting look. The plants and don't worry if things are sticking out the bottom. Same again over here. Copy that one, bring that through. Maybe that's going to go over there. And I'll have a last one over here, which I'm going to flip. So I'll go once again to my align. Choose to flip it. And that one's going to go across up there. You might find it might look better if you take some of these new almost move them so that you don't get the gap between those two items. So we can just move that across to there. Just almost links them. If you'd like. I've still got a few to-do in there, few more of those to bring in. But I'll stop there so you can try those out and just get a few plants going on in the bottom. 73. Create a Shape to Hide Unwanted Areas: Let's create something to mask out some of these flowers. Now, I've got the G and the Q over the top. And you can see I've moved him on my leaves around. I've changed the colors a little bit in there, just been playing really. What I'm going to do is I'm going to go up here to my layers. My GQ is at the very top in there. But I want to just lock everything because at the moment only the GQ is locked. I'll just unlock it for the moment. Select everything in here, and then choose to lock the whole lot. I don't want to touch anything at all. What are we going to do now is we're actually going to draw very carefully around the bottom of the p and the q. Just make a white shape which will hide the objects which are underneath. If I zoom in. Here, I'm going to use, well, we could use the pencil, but I think I'll use the pen this time. I'm going to zoom in a bit. Here. I'm working up here above the, the queue. Just gonna start over here. Click, click. And I'm going all the way up. And then here I'm gonna click and drag to get something which matches the bottom there. You'll see that mine is not perfect at the moment and it doesn't have to be yet. That's the area that I want to mask off or I want to hide. Now once I've done that, if I zoom in a bit more in here, Let's get rid of the stroke from, from that. So we've just got to fill, use the direct selection tool. I can always click on there and I can move that point around if it's not in the right position. I can also adjust the angle of the curve using the handles. There. I've gone right up to here, roughly to where that meets that shape. I've got a stroke around that leaf. I didn't see that earlier, so it's quite good to actually go in like this. Over here once again, move that out and pull it in. Like Sir, I think that's it. I want to cut off that leaves there, but I don't want it to be cut off over here. I want them to sort of flow out from the bottom upwards. I'm going to do the same thing over here. I'm going to use my pen tool. I'm going to start over here with 1. And then I'm going to go right to it, up to the bottom of the queue. Just click and drag until my curve meets that. Now let's just flip that over so you can see what I'm doing. I want another one that's going to go from here out to the end of that queue. So I want to get rid of this handle. So if I click on that last point, that gets rid of the second handle. And that means I can click and drag now to make a nice curve up to there. That's pretty much as far as I want to go. I just want to go all the way round here. Back to there. And let's fill that with white. You can start to see how that's going to mask out some of those parts. Now here is a problem. I'm going to click back onto there again and maybe move that up a little bit because it wasn't quite in the right position to make sure it cuts off properly. This little thing over here where it gets really weird. I can then just pull that in to fix it. It's not really that important, to be honest. Now that I've got that masked out, what I'm gonna do is I'm going to go and I'm going to take my GQ, I'm going to unlock it. I'm going to take that and I'm gonna move it right the way down to the bottom under everything. Let me start to see it coming together. Now, select that. I'm going up to my try that again, properties over here. Let's take that up to a 100% and then I can give this a color. So I might go and find something totally the opposite side of the color spectrum from the oranges I've been using. Or I can just experiment with different colors now and see what will actually work best for this particular logo. Quite like what I've got there. Let's stop at that point. In. This works so well with a number of letters it, but it's certainly works really well when you've got letters which are rounded at the bottom. Tried with different fonts or different typefaces as well. I've got another one here that I did before, this one to show you a different shape using very similar colors and similar plants as well. But the characters are a lot taller and the plants seem to grow up them almost like a vine, a lot better. Bringing bit of text at the bottom until you're happy with it. Mostly just to enjoy it and try it and number of letters and numbers that way as well. 74. Well Done & Thank You!: Thank you so much for doing this Illustrator for the iPad course. We've come to the end now, but we will have some more courses coming up very soon. If you've enjoyed this, you will enjoy our Illustrator for the desktop course. Take care and keep illustrating.