Branding Culture: Making Your Event Stand Out from the Crowd

1. An introduction to event branding and setting up your project.: all right. Hello, everyone. Welcome to my skill share class called Brandon Culture. This is a class on event branding design. My name is Tom. I'm a graphic designer and I have been one for the last 15 years. And in those 15 years, I have had the opportunity to work in a for a wide range of clients in a very different client industries and in very, uh, in a whole variety of creative disciplines. Out of all those disciplines, I think event branding on culture. Culture branding is quite interesting to me because it gives you, as a designer, the opportunity Teoh dig a bit deeper and, um, look at the bigger picture off the project that you're working on. It's not really narrow as, say, like designing a an identity or designing a website it's designed. It's about coming up with a graphic system wherein you can design both and design mawr. Even because event branding income passes a lot more than all like single elements, it's it's designing that whole brand world, as it were for for an event. The nice thing about that event branding is that your no, you're bound by a very specific time frame in very specific location because your event won't last forever. So you have the chance to design something that is maybe really current or, you know, very focused on what your event is all about without having to worry how it's going to look 5 10 50 years down the line broken this class up in 40 units. And this first class is this first lesson is about, you know, getting started with your revenge, friend. Um, uh, we're going to set up what we're going to do in the next lessons. And I also want to give you a couple of examples of what I think are very successful event branding projects. To give you an idea of what? What what's possible on day, all their very different in terms of scope, creative approach. But they should give you a, um you know, enough inspiration to get started on your own thing. But before we do that, I just want to talk a bit more about what constitutes uneven ground. And to do that, you kind of have to dissect all like all the levels of what you what you need to design and build from the inside out. Um, your revenge brand will start with the logo, and your logo will be the linchpin of everything else that comes after it. Branding isn't just the logo on its own, but it's the world's that will be built around the logo. And the logo acts as almost a pure distillation of everything else that you're going to design. The logo can be. It can be a word mark. You know it can be a typography based. It could be a graphic market can be a combination of both, but that is basically the essence on Do the first thing that people also will see when, when, when you're pushing your event out into the public. Um, your logo is supported by the key visuals. Now your key visuals are things like graphic devices, photography illustration, things that are really important to support your logo, and it's the logo in combination with those the visual elements that start to build your brand identity. That is what you're going to use to start further growing your your event narrative and build your event geographical world. So it's those eyes, those things that you know, go to building your event grant these the brand applications. So these are the things like your event tickets your posters your way. Finding signage can be your website application. It can be a mobile up for your event, but it's all informed by your logo and your key visuals. And it's everything. Is those three things combined that create your event brand? It's not just the single things, but it's, you know, it's really the bigger picture. Your revenge brand lives or dies with how coherent and cohesive your whole narrative structure is, from logo to key visuals to your brand applications. Um, so I want to show you some examples of event brands that have been are very successful. You probably know most of them, but I think it's it's always good to have, ah, quick reminder of why, and you know, just specific, specific things on what makes these so great. This is obviously the London 2012 Olympics branding, and I I find this very interesting, a very strong event brand, regardless of what you might think about the logo design or, you know, the visual aesthetic of it. But I think it's a it's very successful because for one, it was the whole off 2012 Olympics was not designed by just one agency, but by different agencies working on different elements. Eso you had one agency that came up with the core logo in the core visual identity and in the court colors and those things informed and were used by other agencies to expand that into a global brand. Narrative and design elements that you know that are applied to everything from, you know, the design of park benches to the library on cars, the ticketing designs, signage in the Olympic venue and so forth. Another agency doing the sports, uh, sports sports icons and, um, visual elements for that, then get applied again on tickets. So it's it's a very it's a massive, massive project event brand, but it is incredibly consistent and incredibly cohesive and instantly recognizable. Um, the few other examples that I'm showing here this is for the Green Man Festival in the UK It's again very different from the Olympics, very different in scope as well. But it's, ah, think graphically very interesting because you know where the Olympics were instantly recognizable, for example, by the bright magenta color that was present throughout this eyes very is instantly recognizable because of the very spoke topography and the very characteristic illustrations and artwork that support the festival brand. Um, everyone should know this. It's the exhibition, uh, identity for builds, 11 year retrospective. Um, this is perfect example of almost minimal reductionist, very modern, very clean event brand approach where you have just the one single thing like the red running through everything from the scientists to the poster. The catalog design, Um, do flexing on the, uh on the invites to even the power cord of the lamp that is present in the exhibition venue. So again, this should give you some some nice ideas, hopefully off where you can go with your event design applications. Um, this I threw this one in because it's a bit of an oddball, and it's it's to show you that even seemingly boring events like, you know, Royal Inauguration can be visually very interesting on very nice. As as an event brand, you can tell how everything all that there's all the library designs, the flags, the Cy image, the building shelters in the posters all flow from this simple, very, very minimal and clean award mark. And then, lastly, I thought this was a very, very contemporary. Um, festival brand also has a very tactile feel. So again, just another idea. You don't have to do everything digitally. You can do stuff, you know, manual design. You can do hand drawn type. Or in this case, you know how they designed the logo logo mark printed it, scanned it, distorted it, and then used as a basis to build the whole event brand and applied to everything from posters do tote bags and, uh, you know, outdoor posters. So having said old is, um, now your first tasks to get started on your revenge print is firstly, you need an event type. So what I need you to do is choose your event, and that can be again. Anything that you want, you can. It can be a local gig. It could be something completely made up that you want to design for. It could be your local charity Or, if you have, like, your friend's birthday party or a wedding. Um, you know, anything goes, it can be small. It can be big, it can be made up. If you think you want you want to redesign a new existing event. Go ahead. That's all possible. Once you have chosen your event, you need to choose your event name. Um, mainly because without a name, you don't have anything to build your brand identity on and your needs. Obviously, you need to communicate what your event is going to be. So, um, come up with a name. Try to be. Don't try to be too. Um, they tried to. Your event name needs to be clear and quite specific, so people instantly recognize it. As for one is and then lastly, once you have those two elements you're talking of event in your name, you need to set the scope of the event. Now, Um, by this, I mean that obviously, you need to You need to know what you're going to design. There is a minimal obviously. So, um, you should design your lower your brand identity in the key visuals because otherwise you don't have anything to design. You're in your visual, your brand visuals, basically. So you design your brand identity, your key visuals, and then based on the event that you've chosen, you design your brand applications, so that could be anything from poster designs, tickets, invites brochures, leaflets, um, to merchandise, like posters, uh, again. Posters or T shirts, tote bags, stickers, pin badges, anything you like. And, you know, you don't have to be, uh you don't have to feel limited if you really if you want to go out and say, like, I'm gonna do, um, even sign Ege, I'm gonna the way finding systems. I'm gonna delivery. I want to see how my event looks. My Venn brand looks on trucks and airplanes. Please, go ahead. You know, the world's your oyster and the mawr. Interesting things you can come up with to build your your little visual Brandon's. You know, the more interesting the project is gonna be true to yourself. Um, in the subsequent lessons, I'm gonna show you how you build your event brand going from sketching the logo to developing the key visuals, putting those together and developing your brand identity and then rolling them out to you know, all your brand applications. And I'm going to do that by looking back at a few case studies projects have worked on where I can show you how I did it. Why? I did it show you what the clients freed that wasn't was on these things. And, you know, obviously the things that it wrong And hopefully that will inspire you and, you know, show you give you enough information to design your own friends. So that's it for now. And I will see you in class too. 2. Designing the Identity and Key Visuals: - Hey, - everyone, - welcome back to the class. - This is the second lesson. - And now we're going to look at, - you know, - designing the identity and the key visuals for your event brand. - I'm gonna walk you through the process that I went through to designing the brand identity - and the even branding for the global fashion warrants of 2012. - We're going to start with designing the logo. - As I said in the first lesson, - this will be the key element. - Your your your hook basically on where every l, - everything else in your design will hang on to. - In this case, - the Global Fashion Awards have been going on for a few years, - and they're organized by a company called W GSN. - There, - a global fashion forecaster and database, - Really. - And they organized their fashion show Fashion Awards every year where they award the best - in class in ah whole range of categories in the fashion industry, - from fashion designers through to fashion retailers. - Um, - to start with my the task for it for in this case, - was to radically redesign their awards branding because they felt they needed to update it - and needed to be more modern. - So when you start on the on a project like this, - uh, - which even though, - and this is a scenario that you will. - You you might find yourself in many times when you designed the branding for an event. - 11 case. - The event will have been going for a while, - and there isn't existing brand or you start from scratch. - In this case, - it was a bit of mix of both because even though it already existed, - they wanted to get rid of it and basically start a new start fresh. - When you do something like that when you start on an event, - brand, - um, - in any project of this kind, - really, - it's good to start with mood boards. - A mood board is basically a collection of inspiration, - inspirational visuals that kind of guide you and declines into the direction that you want - to go. - Um, - it's basically it's It's a visual pin board, - and it's just a sketchbook where you collect, - uh, - the things that are out there right now that might be relevant to the project at hand. - So you might look at what the competition is doing or what you're You know, - if you feel like you have a specific idea for, - You know, - the kind of the kind of narrative you wanna you wanna pursue in your brand. - You know, - you collect, - it's you collect a scrapbook of ideas that will kind of that will inform you once you start - designing your, - uh, - your event logo. - Um, - once you kind of have a mood board that you're happy with that you can see ideas emerging. - It's time to start sketching, - Um, - in this case, - a central idea I had when I started on the logo in the word Mark because the logo had to - include the words Global Fashion Awards is that there are 3 to 4 A's in the logo. - And I thought those would make a nice basis as a visual hook in the wort mark, - kind of, - uh, - kind of invisible pattern within the words that you can then use as something Teoh build - the rest of the logo. - So here in these sketches, - I'm kind of trying out rough word lookups I'm using. - I'm trying to abstract the A's into hooks, - corners, - triangles, - that kind of form a prism kind of form mosaic. - And while I'm doing that, - I'm also looking at possible typefaces to use. - It's important that when you're designing your logo that while you're sketching, - you kind of start thinking about how would this look, - You know, - when I start, - when I eventually move into illustrator Photoshopped, - Um, - you know what kind of typefaces would fit the the brief in the event? - So here I am. - I'm, - you know, - starting to design process. - And immediately I'm looking at, - you know, - lining up the A's creating a word. - Look up where everything kind of like flows around the similarities in the type and using - using empty space using empty space. - Um, - to counter that with a graphic element that may be referencing, - say, - an actual awards that you, - um you know, - im these roll development sketches and you see that you know, - it's all it's all very open at this stage, - and I'm trying to kind of come up with different, - different typographic avenues while using, - you know, - ah different different treatments of the triangle and the A into, - you know, - flat colors creating prisms, - creating like kind of abstract shapes that form into what could be like an award statue - trying different different type approaches going for contrasts with thick, - thin, - soft, - hard, - Um, - and always like the throughout all the ideas you see, - there's, - like, - one visual element that keeps repeating, - um, - you know you once you once you kind of reach a stage where you have enough, - um, - logo design ideas start thinking about color because the color has to come, - In my opinion, - secondary because colors can mask a lot of inconsistencies. - And if you start designing and color straight away, - you might miss, - for example, - imbalances in the words in the current ing, - Um, - and you know, - you need to have a strong basis to start adding colors. - So here I am, - you know, - You see, - I have my black and white versions, - and then I apply color. - And the idea is that even though the color really gives an extra dimension to your logo, - it shouldn't really. - Your logo should still be strong enough on its own when you take away to color. - So here again, - a couple of ah design ideas still using the prism. - I'm kind of trying different lockups here now as well. - Um, - and I'm reaching a stage where I think I'm happy with, - you know, - the proposals for Global But as in many cases, - your client will have feedback. - And after sending these off, - we start talking. - And it's actually at this stage that most of the you know the dialogue starts because now - you have grated something and your client sees things for the first time. - And now both parties can start to discuss what works, - what doesn't work in which direction to go into. - So after the feedback, - we started to think about something, - you know, - maybe a bit more soft, - maybe a bit more subtle, - less aggressive. - Um, - but I come to the conclusion that in this case of bespoke type solution would be the best - way forward. - So in your case, - you might as well think for my event. - I need ah spoke typeface. - Now bespoke typefaces aren't a must. - There are many, - many perfectly fine typefaces and fonts out there beautifully ones, - beautiful ones even. - But having the option of a bespoke word mark in a custom funds gives your event that just - little bit extra fee nous and little more that extra character. - If you look at the first video lesson, - you'll see that the London Olympics and the Green Man Festival for example, - both have bespoke funds, - and that really helps in time together everything and really give your brand a unique look - . - So I designed Bespoke fund here, - and I start to, - you know, - use that for my logo lookups and see where I can go with it. - Um, - this obviously takes a few more revisions, - but in the end we agree, - and we find our final look up our final logo. - So, - as you can see, - it's still it's using the bespoke typeface, - but it still has the motive off the different ace. - Each a in the logo in the world market says Global Fashion Awards is different, - and that hearkens back from all the way in the beginning. - But this thing has organically evolved through different designs through a bespoke typeface - into this. - So now that we have a logo, - it's time to think about the key visuals. - How are we going to tie up everything to create a cohesive brand identity that we can then - roll out to all your brand applications? - So as you saw in the previous slides, - the idea of the prism we still there and I'm now using this as something that can start to - support my logo, - starting to experiment with different colors and in this case, - go for quite a bright, - very cheery, - very contemporary color palette ends instead of using them as a triangles, - I'm starting to think more about, - like, - fabric treatments, - um, - Azaz, - an abstracted solution and using those ribbons to create patterns that can then use that - can then support the logo. - So here I'm trying to, - you know, - thinking about how we can how the logo can look, - um, - supported by you know, - the ribbon patterns as almost a vignette. - Or can the ribbons be used to cut up the cut up the logo mark? - But this all, - you know, - takes stages of many alterations. - And then finally, - after many, - many, - uh, - trial and error, - this is you know what we what we came to this is the final color palette. - We have our logo, - and the key visual is this these shards of off fabric treatments, - as it were. - So then what you do is you have your you know, - your your logo applications and your call your logo variations. - So here we see. - Um, - how the logo can work in gray scale how it works. - if color is applied black and white. - If the logo would be used as you know as shards, - how it would break up, - Um, - and how the logo would You know how it will behave. - And if there are, - like, - graphical treatments that you can apply that can be part of your key visuals. - So can your logo maybe be broken up in certain cases? - How would it look if it was printed on like, - you know, - a piece of white fabric, - And it would be all, - like, - distorted or, - you know, - how big are the shards in relation to your actual words? - So these air these air like these become a a almost a tool kids of parts that you now have - as, - um elements that can start using to think about your applications. - So here I am kind of thinking, - OK, - we have our logo. - We have our lock up. - We have our colors. - How would they have what they behave when we're using fashion photography? - How they, - you know, - How would they look on? - You know, - if that footage Waas live action, - would that be a sting? - How would that work on, - you know, - printed material? - How what that use. - How would the logo work if it maybe was animated on a flat color? - So these are all these air wealth elements that we're at now, - In this stage where you have your logo, - you have your visual, - your visual elements, - your your brand identity as it waas. - And now we can start thinking about how will this work in, - you know, - the real world. - How will this work when it's applied? - So after all this, - your tasks will be a to start sketching your logo ideas. - Um, - start thinking about how your name, - your event, - how these things can work together, - how you can come up with, - you know, - simple ideas that really, - you know, - uh, - in capsule what your event is about once when you're sketching your ideas. - It's also good to start thinking about fonts in colors. - So give a thought about you know what's appropriate for your event. - What kind of typefaces do you think would work here? - Um, - feel free to design a bespoke typeface or even go as far as doing hand lettering? - It's all up to you. - It really depends on what your event is going to be. - And then see, - it's about, - you know, - designing the logo you need to design. - Um, - you know, - we come up with a logo design and your key visuals. - So you have at the end of this unit, - you have your logo and, - you know, - a set of sister, - a set of elements that we can use in the next. - Listen, - um, - I have a few resources on the site. - The links that I have included will give you a couple of opportunities to look at, - Let's say, - free funds that you can use for your event for your lower design. - Um, - there are I also listed the flicker Commons page because you might want to use photography - , - and they have a wide range of topics that you can freely use for your event design. - I also listed the, - um let me get my notes. - Um, - I enlisted the adobe cooler because it's a really useful tool. - Um, - when you want to quickly come up with color schemes, - which is quite important for things task. - So, - um, - that's kind of it for this lesson. - So I hope you, - um, - have seen how we walk through these, - um, - the different stages from sketching to initial designs to find tuning your initial logo and - creating your logo and key visuals that we're ready for the next lesson when we're going to - take everything that we have made now and start to apply it to the rest of your brand - materials. 3. Creating a consistent look and feel.: - All right. - Welcome back, - everyone. - Thistles! - The third Listen now and here we're going to look at how do you create your consistent look - and apply your identity and visual designs to your brand materials? - And you start to build your event brand To do this in this lesson, - we're going to look at two more case studies the Global Fashion Awards for 2013 and the - comic book that two event branding. - But first going to the fashion awards before we dive in. - I just want to quickly do a recap. - In the previous lesson, - we saw how I explained how I created the Global Fashion Awards 2012 branding going from the - initial sketches through designing proposals and eventually building, - um, - the key visuals in the logo, - the local mark for the event. - Now I haven't really shown you how that eventually turned out, - And the interesting thing for this particular project is it has certain similarities in the - set up off the how the London 2012 Olympics were designed. - In such that I am on, - Lee delivered the key visuals and the local mark and work together with the creative team - at W GSN to really produce built the whole brand identity. - So they worked with me to create all the graphic applications that you see on the screen - now going from brochures, - um invites, - um, - the projection, - graphics and everything. - So it's ah, - it's a good example to show how you can often work together with other designers and other - agencies and work on different elements off the same project, - but still come together and create something that is quite unique and consistent throughout - . - So after having done the 2012 branding, - I was asked to come back and look at how the, - uh, - awards for this year could be updated in terms of look and feel, - even though the logo that I designed last year was now pretty much set. - So before starting on, - um, - no, - creating the the updated look, - I had to obviously update the logo, - so it's now it Now it's 2013 instead of 2012. - Um, - and even though we've already gone through the whole process of creating a logo mark and - we're familiar now with kind of event, - it is, - and how what kind of what kind of visual atmosphere we want to create. - It's always still good to do like a couple of refresh sketches and kind of look at how you - can evolve your designed to be applied to, - like, - you know, - a new it's aeration off your idea. - In this instance, - the rewards are going to be held this year at the Victoria and Albert Museum in London. - So immediately we were starting to think about you know, - what kind of what new textures and colors can we introduce into into the brand. - So we're trying to explore things like marble structures and stone textures and such and - but still keep it quite fresh and modern. - Because even though you know, - the Vienna Museum does hold a lot of antiques and is an art history museum, - we still need to keep the brand against the very up to date and very modern. - So we're looking at combining what you could describe this classical textures with clean, - modern and contemporary topography. - Um, - and again, - what we're doing here before we start assembling away the elements is looking at typefaces - , - making choices to work out what works best for this occasion. - And it's always good as well. - Once you once you're working on an existing brand on an existing event. - How you can keep things interesting and how you can update a brand graphic without - deviating too much from the initial idea. - So, - um, - one of the ideas I had here was due to really, - you know, - maybe try to think about how can how can things explode? - How can we use the facet idea from the previous branding and updated for this year's events - ? - And, - you know, - I'm just going through a few slides now, - where I show how I keep the logo and see how it works with new textures and new backgrounds - and colors and, - more importantly, - how it works in conjunction with new typography. - Because, - um, - in this case, - you have to, - or the main issue here with updating something like this is that even though you have your - identity mark, - oftentimes you'll find inclined projects that that is the one thing that cannot be changed - , - and you have to work around that and create additional materials that really complement - instead of clash with your central central identity. - Mark um, - so it's really here, - you know, - on this screen, - you see me playing around with, - you know, - how can I add different layers of typography to the main brand mark and then combined that - with the imagery that is quite central to the Victoria and Albert Museum. - And we're kind of going for a much grander approach, - this time much more refined but very, - very luxurious, - as opposed to the branding I covered in the previous lesson, - where it's much more in your face, - much brighter, - much more optimistic. - This is a very refined approach. - So once we've gone through these steps of basically reiterating the existing mark, - see what works in terms of type treatments with the existing logo we've chosen are key - visual elements, - which in this case are you know, - quite, - um, - self color palette on and you know, - photography that mixes both, - um, - art history, - the marble materials of the venue. - And so now it's time to basically start assembling everything Now. - Usually, - when you start assembling your event brand, - you will create something like a style guide. - So it's important to go through the list and specify what kind of colors you will use, - how they would work in different values. - So on screen and in print, - for example. - And if you have, - let's say in this cream you see on the right hand side, - there is a visual motif that kind of returns from the previous branding, - where the stitch that Line CO. - Is covered by what you could say little fabric boats. - So again, - we're keeping the idea alive, - that it's about fashion. - It's about fabrics about clothing, - and you know that that is the the consistent undercurrent here. - So then what we do is apply all these ideas in a consistent way to all the event materials - that you need to produce. - So in this case, - we're looking at invitations. - And again, - the consistency here is the placement off the logo that type treatments are bringing in the - visual hook, - the graphic element. - And really, - in this case, - what you'll start to see in the next slight as well is that you're really you're iterating - the same the same approach on two different materials, - and you have to be flexible enough to keep every single element quite unique and quite - interesting. - But at the same time, - they all need to live together. - So you're looking at here is how your brochure might look, - for example, - and we're bringing in. - We're keeping. - We're keeping used off the existing five or six based colors and keep combining them with - the imagery of marble textures that flat colors fashion photography. - And we keep building each element onto the next one. - So you create a bigger and bigger and bigger event brand materials group. - So as well as if you go back showing how this might be how a brochure looks, - then this is penetration, - how your on screen graphics at the award ceremony ceremony might look when they start - announcing or categories. - And how can that then be applied to on screen graphics on screen bucks? - When you know that's the bit on screen when credits are run, - Um, - and we keep building the same approach onto, - let's Say, - cards and little award booklets. - And the fun thing about a project like this is that you can start thinking about physical - designs as well. - So what we do here is on this screen. - Take the 2013 awards and that brand idea and see how it might look on an actual work statue - . - So in this case, - the idea is that we get little marble block with perspex sheet stuck through that has the - name off the award winner printed on it. - And again, - it is quite consistent in your approach on these screens. - And you know, - it's thes textures that keep coming back and get repeated. - But you know, - they all slightly different. - So it's not 2030 different products that all look exactly the same. - Um, - going from awards. - You start building things like the signage in the actual venue, - and again you can see the consistency in color approach. - The marble strip kind of becomes, - ah, - hook that runs throughout everything. - Then lastly, - you know, - we start looking at how these things might behave in the actual space. - So we have massive banners sign it's hanging into, - you know, - the big warts all over the ceremony will be held and we keep repeating that marbling, - that marbling texture. - We keep consistency in the colors, - the choice of photography and how this then you know, - would translate online how the website look and again, - the website here. - This feels kind of all these various elements into one place. - So we've got the imagery, - the graphical elements, - the colors, - the typography, - all coming together to create this immersive experience. - Really? - So looking back at everything in your style. - You see that each and every element links together, - and there's nothing that really falls out of the biggest big brand group. - So this is basically your whole, - um, - fashion event branding. - You have a complete set of elements that you can now push into the open. - Um, - another example I want to show you is the event branding for comic book. - That, - too? - This is kind of a different example, - because it comes from a different background. - It is not necessarily a nev ent on its own. - A such because the coming that to started out as a graphic novel based on Tory A Mrs Lyrics - . - And it started out from the angle of a basic publication design. - So I was working on and basically creating the book layout design, - Um, - which is basically all it's a 500 page coming as they work. - Um, - what we see here is, - I don't really want to go into much detail. - Here is pretty much straightforward book design book designed. - That kind of fits with the lyrics fits with the general gist of what the book is trying to - be. - But a pretty soon came clear that the book would would be launched in quite a big fashion - at the San Diego comical Convention with Tori Amos in attendance and doing book signings, - panels and basically appearances. - So it became clear that book on its own wasn't going to be enough. - And it was being being pushed into a big launch event that needed, - um, - event branding as it WAAS because we needed to basically create a set of tools to announce - the book to celebrate the release and basically create these pockets of off advertising and - events. - I'm It's basically for wherever Tory would be and where wherever the book would be on sale - . - So as opposed to, - let's say, - the WG ascend branding where we start from scratch, - we come up with, - you know, - an avenue that you want to explore. - The basis here was the book design, - which was already done, - and it was really important to take the graphic elements and the look and feel of the book - and used that to a za building a za platform and building blocks to start rolling out the - then branding and all the merchandising, - all the brand applications without straying too far away from the actual book. - So everything needed to be very clear, - very recognizable and very, - you know, - very good. - Coherent. - So this year is the main book over design, - which, - you know, - incorporates various elements. - You have the logo, - the masthead kind of tattoo pattern and the cover art that was created by a new illustrator - called Stun Cake Stunt Kids Jason Levesque and another piece of quite important key art in - the book, - which was created by an artist named Jock. - So it was basically using these two or three elements and then start to combine them into - all the various brand applications that you can see. - So on this screen it's primarily poster designs and banners on magazine ads, - and in the top top right corner, - you see what is, - uh, - called a shelf talk, - which is basically a piece of cardboard that gets stuck on bookshelves, - where the book is on sale in stores. - So again, - it's all these different various applications, - but we're trying to stay really consistent and thorough in the look of the application. - So wherever you go, - this is immediately recognizable and relatable to the book. - Um, - another thing that we designed is these 21 poster that you see, - So the top and bottom half is basically the flip side of the poster and its defining in - three pieces that could be Tauron apart. - So it's It's a little bit of, - ah, - merchandise gimmick that you can hand out in store and what what store owners could display - as well and kind of tear it up and show it around in different avenues, - different locations. - But in the store we did stuff like sticker designs, - bookmarks and again, - it kind of gives you a whole idea how, - with just the fuel limit limited elements two pieces of really great illustration type - treatments and the book masthead you can create a really big event brand that can be rolled - out nationwide, - as it were. - So, - having seen all this, - your tasks now are to start applying your designs that you made for your brand identity and - your key visuals. - So now you take everything that you've created and apply it to the things that you've set - out to design for your chosen events so it can be your even posters, - your tickets, - leaflets. - If you want to do on event website, - then go ahead. - And that's basically the main task for this for this lesson. - Once we've done that, - we will come back in unit four and will basically wrap up everything and we talk about how - you would publish your event brand into the public. 4. A class recap and publishing your work: - Okay. - Welcome back. - This is our last lesson. - And in this lesson, - we're going to do, - ah, - project wrap up and talk about what we've covered in this class and see how you go about - now pushing your work into the outside world. - Um, - in this class, - we've seen how you create your event branding, - starting from scratch and going through the whole creative process of initial sketching and - concepts. - To visualize in your ideas in the creative proposals than developing those into your core - logo. - Mark your brand expression. - Start designing the key visual elements that support your core identity and then see how - they get applied through your, - uh, - throughout in your event. - Brent. - So we've seen how we take a logo and then how it ends up being applied on merchandise on, - uh, - signage, - video, - graphics and so forth. - We've also seen how we can take an existing event brand and existing even logo mark and - update the whole event branding that surrounds it without deviating from the core - principles that we've set out in the in the first place and how you can be flexible enough - and how you can approach an event that has an existing logo type and really create - something completely new around it without really, - you know, - without without losing sight of the consistency and and what the event is all about. - We've also seen how we can create an event brand based on on designs and materials that - have nothing to do with the event at the start. - So in we've seen how we can take a book designed, - for example, - and use those design element from the publication and use those to roll out a full event - brand and see how these various elements get applied to posters, - postcards, - merchandise, - stickers, - advertising and so forth and create again a very consistent look and feel for a nev ent. - So we've seen all these things, - and we've come to a point where we have now are event brand identity, - and we have, - you know, - our various elements we have our logo's are key visuals and all the various materials that - you designed for your project. - So now what you need to do is start sharing your work and you uploaded to the skill share - page and you start sharing it with people and you get peer to peer feedback, - which is another very important step in the whole creative process. - Now that he's created your work, - it's out in the open. - And what people How people respond to it will be a good barometer of how effective your - design really is. - And you can take those, - though, - that feedback those lessons and take it on board and apply it when you start on your next - project and see where you went wrong. - What worked? - How people connected to your brand into your event. - Um and secondly, - please do publicize your work uploaded. - Teoh. - You know if you have a blawg, - if you have ah, - be hence portfolio. - Keep pushing that work out in the open. - The bigger walk your audience, - the more feedback you will get. - And you know, - the more you will learn of how something like an event brand lives in in the public domain - because, - after all, - running for an event is not something that you do in isolation. - It's something that needs to live and breathe out in the open any to oh, - you know, - with the with and for the public. - So that's it. - We've come to the end of the class, - and hopefully you made your events stand out from the crowd and you know you've had fun - doing it and hopefully you've, - you know, - learned some some cool tricks and tips on and you can apply those to your next project. - Thanks.