Design a Chocolate Bar Wrapper - Package & Graphic Design | Lindsay Marsh | Skillshare

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Design a Chocolate Bar Wrapper - Package & Graphic Design

teacher avatar Lindsay Marsh, Over 300,000 Design Students & Counting!

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (1h 16m)
    • 1. Class Preview

    • 2. Getting Started

    • 3. Working with Patterns

    • 4. Finding The Right Fonts

    • 5. Sourcing and Editing Our Photo

    • 6. Mock-ups

    • 7. Mock-ups - Part 2

    • 8. Exporting and Preparing Our Designs For Professional Printing

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About This Class


Who loves chocolate? I most certainly do. Who wants to learn how to design a chocolate bar? 

Packaging design is an essential part of being a professional designer, and going through the whole process with me, from idea to finished product is the whole idea behind this class.

I wanted to walk those who have not done a package design through the entire brainstorming process, and getting you to think in 3-D. We will look at a real chocolate bar wrapper to get a sense how to design a front and a back and create a layered and sophisticated design.

We will block and layout our design using Adobe Illustrator and we will work with patterns to create one that will match our theme for our chocolate bar. We will even use a mock-up in Photoshop to apply our bar design to present in our portfolio or to a client for approval.

Lastly, we will take our final design and make it ready for the printer, including how to export files and how to separate our design so we can get our stickers and wrapper sent off to become a reality.

I recommend this class for any aspiring designer who is interested in packaging design and how to create tactile product that is both eye-catching and reaches it’s target audience in terms of appeal and design.


Meet Your Teacher

Teacher Profile Image

Lindsay Marsh

Over 300,000 Design Students & Counting!


I have had many self-made titles over the years: Brand Manager, Digital Architect, Interactive Designer, Graphic Designer, Web Developer and Social Media Expert, to name a few. My name is Lindsay Marsh and I have been creating brand experiences for my clients for over 12+ years. I have worked on a wide variety of projects both digital and print. During those 12 years, I have been a full-time freelancer who made many mistakes along the way, but also realized that there is nothing in the world like being your own boss. 

I have had the wonderful opportunity to be able to take classes at some of the top design schools in the world, Parsons at The New School, The Pratt Institute and NYU. I am currently transitioning to coaching and teaching.


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1. Class Preview: who loves chocolate, I most certainly do. And who wants to learn how to design a chocolate bar? Packaging design is an essential part of being a professional designer and going through the whole process with me from idea to finish product is the whole idea behind this class. I wanted to walk those who have not been a package designed before through the entire brainstorming process and getting you to think in three D, we will look at a real chocolate bar wrapper to get a sense of how to design for front and back and to create a layered, sophisticated design way will block in layout design using Adobe Illustrator, and we'll work with patterns to create one that will match our theme for trouble bar. We'll even use a mock up in photo shopped to apply our barb side to present it in a portfolio or to a client for approval. Lastly, we'll take our final design and make it ready for the printer, including how to export piles and have a separator design so we can get our stickers and rapper sent off to become a real reality. I recommend this class for any aspiring designer who's interested in packaging design and how to create a tactile product that is both eye catching and reaches its target audience in terms of appeal and design. So let's learn together. 2. Getting Started: So the first thing we want to do with their chocolate bar design is center theme. So right now I'm doing kind of a high end chocolate. Or I would say the price point would be anywhere from $6 to $10. It's artisan chocolate bar and it's gonna be single origin. So there's gonna become from the cocoa beans, they're going to come from one place in the world. So this is kind of the example I came up with working to do the next one in the series. In this class, this one is a South American single origin, and the one that we're gonna do in the class is gonna be African single origin. So you kind of take a different approach. But it's gonna have a very similar look and feel. And I love chocolate bars that have a really simple pattern. I know that masked. Our collection has beautiful geometric patterns and shapes, and it's a its simplicity of the shapes and the design that makes the chocolate bar so appealing, cause it's so simple and clean. That's kind of the look I want to go for. But I also want to go for a little bit more of a traditional look than a high end look, especially gonna be charging 6 to $10 for a single chocolate bar. We want to make it look like it's a 6 to $10 chocolate bar. So that's the whole goal of this chocolate bar design. So in keeping with the same theme with this next version, this is the illustrator file where I have the finished chocolate bar design. And I have this kind of repeated pattern. This is kind of the original kind of pattern shape. I'm gonna go ahead and zoom in so you can see this. I'm that it developed with it for the South African one or the South American one. And I was inspired by South American kind of more triangular kind of patterns. So I'm gonna do the same thing with the African. The first thing we're gonna do is kind of develop a pattern the African use on the background. Um, so I go ahead and click over already have kind of a document set up. I believe this is six inches, but go ahead and check the dimensions. I think I actually measured the chocolate bar that I bought to kind of get the right measurement. But if you are working on actual chocolate bar design, the printer who will be printing the rapper for you will will provide a template that will have that sizing information. But just in general, I kind of have some general settings here. Courses could vary a little bit for the actual chocolate bar design, and of course, is is I have it in inches. You might want to dio centimeters this kind of her basic kind of Ah, I guess dimension of the chocolate bar. Bigoted designed. So let's get started with the pattern. So if you're not sure how to do repetitive patterns and illustrator urine looks, that's exactly what we're going to do. And there's a couple things I want to set up for my pattern. I want to be able to have a grid. I want to do this very geometric in style. Eso What helps you with that? As we go to view, Let's go ahead and show our grid. So just go view show grid and I'm also gonna go back into view and do I could do snap to grid, and so that's gonna help me be able to uncle had show you what snap to grid does. Kind of snaps to those points in the grid. Kind of helps you make more, um, structure, geometric patterns. So now what pattern do I do? Okay, So I had this one for South America. What do we do for Africa? Well, I need to go to Google because I have to get some inspiration and some patterns, so I can kind of study just for maybe 10 to 20 minutes, some different patterns. So I'm gonna do that right now. Go ahead, pop in to Google, and I just get a type in African patterns. Kind of gets a little bit of inspiration. I would have a very simple, repetitive pattern. So when I go here, I'm kind of looking for overall themes, Kind of an overall style that I think is kind of reflected over and over. And one thing I'm already noticing is triangles. Um and I'm note noticing lines, so the triangles kind of going in opposite angles. This is kind of a really good example of what I'm kind of thinking. I'm going back, and I'm looking at kind of these chunk feeling, so that would be a little more complicated for the little subtle geometric background. So I want to find a way. How do I simplify all these complex designs into one little simple line shape? I'm just getting a little inspiration. I think this is really neat, really complicated for what we need, but I think it's super cool. I'm going to just spend some time kind of sourcing some sort of inspiration. And I'm I'm continually seeing diamonds. I'm seeing triangles so similar to our saw Salam could pull up my South American kind of. I was kind of also inspired by something a little bit similar. But I want to do kind of a more modern take on it. So let me go back to the drawing board and play around that I've spent some time kind of looking. This has been another 20 minutes before this video, kind of, ah, looking at these patterns whose go back to our blank template and let's ah kind of think about emulating those triangles. So I'm just gonna click over here to see if I can't distraught simple triangle, and I'm gonna go to my stroke panel good. Drag that out now to do a rounded cap because I like the way rounded caps look. So if I have take off rounded caps sees got it kind of got this awkward cut off there. But if I do rounded caps, you'll notice it looks really nice and smooth. So I'm gonna continue, perhaps to maybe do another triangle inside this triangle. You make sure my around the cap is on. And I thought maybe maybe reversing this, So I'm gonna copy and paste. That's another theme I was noticing. And I have these two lines selected and gonna goto object transform. I'm gonna reflect those transform, reflect. And I can always do a preview to do vertical. So preview, There we go. You just will line this up right above, because I also noticed with the African pattern, it kind of went down in vertical lines like the different types of patterns. So this kind of just a basic shape. I want to try to get the stroke right in the size, right? So this is already are size of our chocolate bar, so we can go ahead and kind of source, figure out what size we think would be good. I mean, this would be a really big, chunky pattern, or it could make it really small. I don't have it be more detailed. I'm thinking I went a little bit of a bigger pattern, so it's not overwhelming. It's not too detailed. I don't want toe think about my stroke here. So if I would have a really nice thin stroke, I could do that. Or a nice, thick junkie stroke. We can always adjust this after we do the pattern to see if we like the stroke. You can always go back and edit this pattern. So now I want to start to repeat this pattern. Go ahead and select. This could go toe object down to pattern, and I'm gonna make 3. Working with Patterns: So this is where we have the power to mess with matter. But so I'm gonna go. There's a couple of options. He have tile type. You could do a brick by column, but I think I'm gonna go with just a regular grid on this one, and we're also gonna be able to adjust the width and height, and this is trial and error just to find the right pattern shape for what I'm looking for. So I'm just gonna kind of do trial and error. That's too tight. So now I'm gonna expand the width to instead of 0.5, maybe a 0.8 and then get a trial. Ah, trial and error the height that let's do 1.8. Make it smaller. And I like that so far so we can do the with, maybe tighten the width a little bit. Working might get elected a looser, looser style, so that could be one option. So I'm gonna go ahead, name this pattern option one, because I think we want to maybe try allow tsum different ones. So I just did save copy. And so now it's gonna be saved over to my swatches panel. Is a pattern. There's a couple of my pattern options on Slim it. Let me, um, try some different spacing and see if I like a different type. Just trialling an error. Five. That's tight. Interesting to go back to seven and let's go back to to do some wider spacing and let's do wire spacing. So I think the pattern we had was good. I also kind of developed a couple other patterns very similar to this, that I also have right over here my swatch panel that I can play with. Let's go ahead and save a copy or do this option to his press. Internal savory can do. Save a copy and then title that a new pattern. So you create 10 different pattern types with different spacings to kind of figure out the pattern you like. So now that we're done, we can kind of slide our pattern over here, and we can go ahead and remove our guides, smart guides and also removed um, I'm sorry. Snap to grid. Go ahead and remove that because we don't want snap to grid for the rest of the document. That would just get in our way and hide grid but hide grid. So now we're to start to apply the pattern to the chocolate bar. We're gonna go ahead and do a full box here, just kind of see how it looks. I'm gonna select on a couple of my different patterns that I developed a summer tighter, somewhere more loose kind of figure out the one that I think would work the best so far, kind of like this tighter pattern I made if I ever wanted to adjust it, I just select my pattern double click it and then you could make some adjustments. You can go ahead and select, kind of get the select box. There's my original pattern right here so you can actually take your direct selection tool and you can even add it this original pattern and it'll edit all the rest of the patterns. So it's a very quick way to be patterns. You can ship that over anything. We can also change the colors well and the stroke love with Let's go ahead and cancel. So there's kind of our pattern so far. So now we gotta think of the overall composition of the chocolate bar. I want to have this pattern. But I also need to have some crucial elements, like the name of the bar and the percentage of chocolate that's in the bars. Well, so I'm gonna look back at my previous design here, and we're going to emulate this little bit. So now I'm starting to think of the overall blocking and layout of the design s Oh, I wanna have something similar to what I have with my South American bar. Um, somebody could go ahead and start kind of creating that same look and feel what kind of talk about what I was thinking about when I did the original one. So I think chocolate bars really stand out when they have this nice, dark, deep black color we start out with kind of a It's not necessarily black. It's got a little bit of gray. It's not just a stark black like this. It's got that nice charcoal gray kind of has a nicer appeal to it, do a little bit darker. And then I also wanted to have kind of, and this is when you have to start doing some research and go to maybe ah kind of organic market or somewhere that's gonna have more artists and chocolate bars and kind of do some research. Eso I have right here a mask bar that I grabbed, and I wanted to kind of show you kind of how packaging design works and kind of how I thought about this design that I did. This is kind of what I used as my research. This is the fun part because you get to kind of open up a chapel, partied it, so that's always fun. But anyway, so here's kind of the packaging, how the front and this is kind of a geometric pattern that Mass does have a kind of liked, and I really kind of have, like how this is kind of a sticker. It's like a little adhesive kind of square. It's not printed on the front itself. It's just an extra sticker added on top. And it kind of adds a nice layered feel, and that's kind of what I wanted to do with Mine is kind of have some kind of sticker adhesive on the top that felt like it was tactile, that it could feel like there's a layer there. It's not just one printed sheet of paper wrapped around the bar. There was some complexity to it. I'm same thing for the bottom. You'll see kind of in this example where I kind of have the dark cocoa. Go ahead and show you the photo shop here. I kind of wanted to have a little sticker that came around the side and wrapped around, and maybe you had the bar code on the back. And so this is when you really need to think about, um, packaging design. But it's three D, and it's something that you can turn around and you can look at. So for this chocolate bar, I have to think about how it's wrapped. So this is kind of your standard rapper bar that folds in half, and I was thinking of having the adhesive sticker go down, But also it goes over around and down here to seal the bar and then the other having a sticker that goes across and on the back because you have to think about the, um, the contents, the ingredients. All these bar code will definitely need to be there. You have to think about all those elements when you're doing the design. It's not just the front That looks pretty, but it's the entire package and rapper. So I'm gonna go ahead and open this up right now. Some kind of see how the packaging design works was opened carefully. That looks really good. If you can kind of see this design mock ups, or right now we're just kind of looking at the front kind of getting a good, good idea of what we want the front toe look like. But how does that how do we design all the way around so we can set that up usually if a printer supplies of Ah, a chocolate the wood Whoever's gonna be printing the rapper the printer, they usually have a template for this. But if you have to create your own, you can ask for sizing guidelines and you can create that and your own an illustrator. And so there's a couple ways we could do that. We can do that by, uh, doing going to document set up going to edit art boards, and we can create a couple of different art boards to kind of show the back, or we can go ahead and get the final sizing. So in this case as the front of our chocolate bar. Um, and let's say it's double the width. So you have everything that wraps around eso the width instead of, ah, 2.63 before, you know, kind of double. That s so we're just gonna do kind of a rough doubling. What we could do is you go ahead and copy this, and we're just gonna make kind of Cem marks for us. This is just for us personally. So we know where the center is. You know, that's gonna be the center of the bar and the left Quinn slider text away and the right and the left side is gonna be where it wraps around the back. And they were gonna have to have a separate put on a separate area. This is course when we do final print print prep, we're going to create a new art board over here for the two adhesive stickers that would go on the chocolate bar. But for right now, it's going to a final design over all of this. And we can always separate those elements for the printer later. So let's get started with the layout, so I have all of my text right here that I know needs to be on the chocolate bars. And now I need to arrange is in the very appeasing, appealing way. So let's go ahead and wrap our little black over the sides. Trying to do our little adhesive sticker courses will be a separate element. But we're just doing this to show a mock up to the client to show what a final design would look like. I would like to kind of feature kind of an image that kind of represents Africa, but kind of in a traditional artistic sense. So I would like to feature that somewhere in this area. And I'd like to have chocolate bar featured on the top and the South America are This would actually be African African single origin on the bottom. And I'd love to go ahead and put my chocolate contents Click Click on this down here in the bottom, go ahead in a range and bring that to the front who were on the bottom in another adhesive sticker. Yes, we want it kind of roughly there. Maybe about that sizing, Uh, what chocolate bar to be the very first thing people see Liko had select all my text elements and make sure they're on the top layer is going to arrange, bring different announcer students and basic blocking and doesn't have to be perfect. We just kind of getting an idea of layout where our text and type should go. You go ahead here 90 to start to think about four choices. So I'm gonna do kind of a mixture. I like to mix up sand. Sarah and Sarah plots together because I think they paradise nice together. So let me go ahead and kind of look to response and kind of figure out some wants to use. 4. Finding The Right Fonts: I found this alternate Gothic number one D, and it just for some reason, I just cycled through probably 100 thoughts. And I found this to be a really nice sand. Sarah thought I thought it looked nice. It's condensed, so it's kind of got a taller, taller, more condensed. Let me go ahead and collapse this space in here to zero. So you notice how kind of has his tall, lengthy kind of appearance it does. It's not very wide. The characters are not very wide, so it tends to kind of, ah, fit into smaller, more narrow places. Condense Montes are really good for narrow places, and this is a very narrow This is only probably two inches across. So having a nice font that's tall but not necessarily stretches across so great, I go ahead and play around with this. I went bar to be a little bit bigger. I love to have contrast with my type like have small type paired with big type Sarah's with Sand Saref. Just lots of contrast. Contrast is the key to good, solid design, so just kind of messing with those also wanna have consistent with consistency with my fonts so I'm gonna also make this alternate. Doesn't mean every phone has to be alternate Gothic. And this is where we can maybe have fun with South America. Or actually, this would be a switch that to Africa. This is where I love to play around with. Maybe so we already have a lot of Sand Saref. So let's do a Sarah font and a very high end elegance. Sarah Font would be died out. So let's check out, died out and see how that looks. Died out. Looks nice. But you know what? I think I need even more contrast year. What if I were to change it to italic? That's a really nice traditional look and feel to it, doesn't it? So now I'm gonna play around with margins and making sure have enough white space between all of my elements, and this is too tight here, so I'm just gonna take these elements, create a little bit more margin and white space here. I'm leaving open space for that little photo that I wanted to bring in. That's gonna be similar to this bird that I use and I'll show you where I get those photos and how I go into photo shop and get those prepared. We're gonna do something very similar to the size. So I think I want even mawr space. Definitely want breathing room. I keep saying that when I do critiques of people's work, I'm like white space is your friend more, more more horses too much. But now one also make sure I have enough margin here on the top. I'm just gonna slide this down ever so slightly. So now we're starting to see our design kind of being blocked out. So now we have this other adhesive sticker. I'd like to have it The bottom. I'm just gonna create kind of a white box to represent what that sticker would be When we get this ready for print will have to put this on a separate element, have it as a separate image so they can create the sticker out of that. But for right now, we're just creating our mock up, so to speak. You change around color. I like to use kind of that charcoal color instead of a stark white try to get an idea for about. Sometimes I zoom out a lot when I look a design to kind of get a sense of how does it look far away when the product would actually be in your hands? This is probably kind of the view you'll see from the store shelf to get an idea of balance of elements. So when a kind that kind of have this at the bottom, I won't have my pattern shown somewhere that beautiful pattern we made. So you want to have lots of room here to cut a make room to show off a pattern? So now I'm gonna finesse this a little bit. I want a really interesting fought. So these pair well, together, But let's come up with something really chunky. So down here in my other example, I took a while to find this font. But this is mighty slab one, and it just looks really beautiful. So I'm gonna go ahead and apply mighty slab one just really bold, chunky, beautiful slap Sarah. And I'm just zooming in. I'm just making sure have the right alignment. Click on both. Go to a line, do like a vertical line. Also want to make sure that the same size So that's Ah, 31 point you're a little bit different. Sizes could take my eyedropper tool. I could l seduce a manual adjustments. I could go ahead and draw bar or a box and make it a stroke, just making sure they're lined appropriately. What this kind of fought, sometimes aligning it perfectly, doesn't always look aligned. Kind of optical illusion going on. And so what I like to do. I originally had I think I had this. I was originally experimenting with having the percentage sign also being that chunky slap Sarah. But it kind of competed a lot with the numbers, and the numbers are very important. That's what I think people look at the most when they look. A chocolate bar is. What's the percentage of cocoa or Cacau or everyone say it. Um so that's very important number. I didn't want this percentage to take away from it, so I decided to find a believe a little bit of a skinnier version. Can a pair. It's died dot so it's great about that. As I'm using pulling a font that I'm already using, I'm not adding a new font to the list of what I'm using, so let's go to die dot and we can go in and make some little adjustments there. And I also want to bring out, um, a similar style appear sums could take the eyedropper tool for the dark cocoa. And I just brought out the same spacing that I have up there. This is the alternate Gothic. So now I'm gonna play around with spacing. Margin will make sure of nice margins. Nice white space here. This will eventually wrap around the other side. Too little wrap around and this will rapper out the back. So this is just giving us a good idea of the kind of the pattern how everything's gonna stretch across to the rapper, and this will wrap around the back, so that will be a separate design element, which we'll talk about later. We're gonna zoom out again, kind of makes you have a right balance, and I'm just cycling between. These two have already worked on this quite a bit to get the right balance on this version . And since this is a Siri's, we want to have some consistency with spacing. I think that's good. I can always make sure that's even straw bosses. My will cheat way to do it The straw box, copy and paste. And that's pretty close. It's gonna bring this doing some small optical adjustments. So now I think I'm ready for my little picture, and then I'm ready to get my pattern looted in. So I think what I want to do is get my pattern loaded. And now So I want to get, like, a little bar where I could show my pattern. And so on my other version, I can have a green color. Good shape right here. So have that green. So what I think about after this might be where I need to go and do a little bit of research with color and patterns. But I noticed a lot of warm toes, oranges, reds. So let me go ahead and see if I can't find kind of an orange when you really, really, really need something brightened. Vibert. We have a very dark color palette so far, so this will be our pop of color that will. We gotta think about consumer shelf. What's gonna pop out? What designs gonna pop out to them? It's gonna be something that has a nice streak of bold color. So don't think about settle here. Think about really grabbing the consumer's attention. So I'm gonna do that with kind of ah, red orange color. We can experiment a little bit. So what I'm gonna do is I want to apply the pattern to here. So I'm just gonna copy and paste this box. That's the pattern where we need the pattern loaded. It's gonna bring it right on top. So that's the second box here. We're going or pattern. Actually, our your color. Okay. So I could go and apply the pattern I think will work well. And I'm just going to do a command in the command and a left bracket stew in my layers, sending it back in a layering system, a little shortcut instead of back to the brackets. So I kind of like the black pattern. But we can also double click our pattern and highlighted, but we can also change this from black to white. Everything quite well look good, too. We can save done, but I kind of like it. Relax. I'm just gonna go back. And every time we want to edit the pattern, you just double click. So this is when where do we want our pattern to start end? No. We could play around with that by just kind of adjusting where loads. Kind of like how it cuts off a different angles there. That's very bold. Go ahead. I'm gonna make this instead of red. I'm gonna make this kind of Ah, really dark gray so it doesn't interfere with my design. It's a little more space, Martin. Margin there, make small adjustments. There we go. That makes me feel better after just a little bit more white space. Okay, so now I think we're ready for our little graphic. We want to kind of represent Africa. And so, for my other one, I have this bird that it was able to isolate and let me show you where I've found that burgers. 5. Sourcing and Editing Our Photo: so that flicker and I found this resource just kind of browsing around on a forum one day I'm talking about open source photos that she can use and he can using freely and commercial projects. And this is one of the resource is that I found is the British Library, and I looked this up and you are free to use the's on anything, even commercial projects. So double check. I always tell people double check. Those things can change. But you can use these as, uh, anything in your project, their open source and free to use. So I stopped. Thought some of these really cool has that traditional look. I kind of like the hand drawn with the pin and I wanted to do. That's where I found my bird. So I wanted to find something with Africa. So it's good type in Africa, and I'm not the type it down up here because this will search all a flicker. You want to go down to here to this little icon and search that way? Of course you confined your photo anywhere. Doesn't have to be from the British Library. You may want a more modern style You may be fine without a photo, and you just want to stick with a cool geometric pattern. Then we were almost done and he couldn't do kind of a different arrangement. But go kind of go through my whole process. So let's go search and I just type in Africa and see what pops up when you make sure we're culturally sensitive, that we don't use anything that's offending our offensive, that we use something that's really classy and classic. We could use a map. Um, we could use a zebra, something that kind of represents Africa and the single origin cocoa beans that are harvested. So we kind of want to think about that. We could do the interesting lots of different options. So one had found a couple had a time, and I'm going to see when photo shop where we're going to prepare those images to be able to be placed on our design. So these are the three photos that I found that I thought would be kind of neat and pair well with the other version, the other bar of a Siri's. So I'm trying to think which one would maybe work better. We go back to this. Um, this one's good. I've have to do some Photoshopped to cut out. It could tell this was taken a picture out of a book. You could see kind of where the type is, and all these voters will be perfect, but they're free to use. So thankful for that. This looks like could be really cool and interesting. So I'm gonna go ahead and double click will use this one if we don't like it. We have a really cool second option. Eso how we're gonna prepare this toe. Go on. White background. This kind of has this kind of old book texture. It was just a picture taken from an old book. So we need to be able to remove that with a couple of ways. We could do that. We could kind of see what we can grab with a magic wand tool, glenn selector layer and click. And see how how good it removes everything. Which a couple ways. There's also a way where we can isolate that color. So we didn't go to select color range. We're gonna isolate that Fenella color. Go ahead and take the eyedropper tool sample. This maybe hold down, shift and sample a couple of colors around of it around it kind of adjust the spiciness have the pickiness of it. I can click on. Okay. And let's see how well that removed everything. Somebody go ahead. Just delete. Go ahead and add another layer underneath transparent layer I was gonna delete. And now I'm just left with the ink. Let's go ahead and do a solid color. Just gonna do a color to test out how well that removed. So I'm just taking this bottom transparent layer and just adding color to come to see how that looks. Let's go ahead, do White. So that's why so that that did a pretty good job. I don't like how it removed too much of the plant, but it did a really good job of isolating. I guess that's a antelope or whatever. That is a white problem. It looks like antelope to me. Um, so I could take the racer tool. I could remove the elements here and just not have the plant. That's always an option. I could have just added a mask to just kind of erased it. Oh, let's go back, See what it looked like before. So yeah, it did. Didn't select all that as much as I want. So we could go back and do the color picker again and see if we get some better luck. We could go back and manually, kind of kind of erase it arm. So let's go back to color range. What's uninsulated? Let's try again. So let's go to select color range, go ahead and select. Um, this general color No wonder the image selection. So that's gonna select less so maybe kind of reduced the fuzzy hair click on. OK, let's see how that works. So that keeps a little bit more of the background intact. It's doing a white color to see how much it removed. I was gonna take the eraser tool. He was gonna race some of these kind of erroneous kind of parts of the photo things that I just think is too much unnecessary. I think that's probably good. Keep that Great. So I'm gonna go ahead and remove this little solid color I was using just to see how it looks. And so we're gonna export this as a Photoshopped file or save as so I just went to file, save as type in photo saved to my desktop. So I'm back here in voter shop. I imported it to illustrator and realize You know what? That ain't color is a little too light. I want to have a little bit more like a darker ink stamp color. That's no problem. I have our little isolated graphic here. I'm just double clicking on this top player, and I'm just going to a color overlay. So it's gonna call a go ahead and color Aral the ink on that layer, the same color. I'm gonna make it a dark color. Not too dark, but kind of a little more grain. A little darker, maybe right about there. So we're able to darken it. So this is the original, and this is us isolating it. So now we don't need this colored layer anymore, cause we wanted to be transparent. Now I'm ready to go back to Illustrator. Okay, so I opened up our little transparent Photoshopped file, and I'm just gonna drag it over to our illustrator document course. It's humongous, which is also a good sign. That's a high resolution. Ever want to know what the resolution is on imported photo and illustrator. Let's go ahead and I have it just selected. We go up here. It says it's a 578 p p I, which is excellent. I try to shoot for 300 if I can for printed projects, so sometimes it's 200. I'll let it slide. But anything lower than 100 and 50 you might want to start to seek a high resolution photo cause it's gonna print a little less crisp. Then he like. Okay, so I'm just doing some positioning and sizing. Just play around with some positioning. Make that a little bit smaller, perhaps. So overall, I like that I can select this. I can reduce the transparency a little. If I do think the ink is too dark, I want to make it smaller. I can, So I'm liking how this is coming together. I think I wanted maybe tweak the pattern a little bit more, and, um, I'm thinking the sticker of this adhesive sticker that's gonna go on the front and go up and back into the back and become the ingredients list and some in the barcode. I want this to be like a linen texture. So when you think about product design, you got to think of the textures and the type of paper that you're gonna be printing on. So I'm thinking of this linen blend on day. I want to show the client this, but I can't exactly get this printed yet because we're just not that far and the approval process. So I'm gonna try to emulate and kind of make it look like there's a little texture to kind of give the client an idea of kind of what textures I wanted to use for the sticker and also for the actual rapper. So I'm gonna go ahead and find a white linen texture I wouldn't hadn't found one for this one that I'm just gonna adapt. I believe I found it on pixels dot com. It's gonna go ahead and just copy and paste this little guy right here. I'm gonna go ahead and release the clipping mask. I'll show you how I did all this and make it harder for services. The linen texture I found right here and all I did was kind of make it a little bit smaller . A copy and pasted the size of the box, This drug it over. What I'm gonna do isn't a select both elements, right click. And I'm gonna make a clipping mask just so it's in that perfect square. Zoom in and I'm gonna send it backwards in the layer and system. I'm just holding command and doing a bracket doing the left bracket. When you do the right bracket to send it up and back and layering system and I'm gonna go ahead and reduce the transparency just a little bit. You can see how when I reduce the transparency, it gives the effect of maybe a linen texture, but it's not at all. This is kind of the effect when you zoom out, but it's got some sort of texture to it. It's not just a, um, a glossy finish. So now I feel like there's something missing with the design. Um I mean, I like it, but I feel like this top part. It just needs a little kind of ah, blocking out. So I thinking about putting a nice border around the white sticker to kind of give it more of ah, a distinct, layered look, I'm gonna go and highlight all my elements here selecting all my elements, and I'm gonna just reduce the size because I want to make room for the line the border. So I'm just gonna take a simple box, a job order, make it a stroke. I want to make a thin, thin, elegant stroke. I don't want it to be thick and chunky, and I do want to do, like, rounded my joint round joined corners and my round cap kind of gives it a polish look. So now I may have to play a little bit with the stroke. I don't want the stroke to overpower anything in the design, so I want it nice. And then I also want to make sure have a thick margin between everything, including this line. I can't even make it even thicker. Make sure I don't have snapped a point on view. Smart guides. I will do everything manually that will roll off to the other side when we do that. Okay, so I want to add something else to this. I think it needs a little bit of ah, pizazz to it. Instead of just being a simple box when you make it the pattern of the stroke a little more complex. It's gonna add another box. I'm gonna hold down shift as I make this box to make sure it's even box. You get my eyedropper tool sample my stroke. So it's the same style. I'm just gonna bump it up. So zoom in here is bumping it up to this right here, maybe make it a tad bit smaller, consume in men. There we go. The corners, Ted. But smaller. Make sure the stroke stays the same since I dropped a tool. That's good. Copy and paste. Bring it on over to the other side. I was gonna select these two elements and go down to a line and make sure they're aligned across perfectly since Could do maybe a bottom align click on that. So there we go. We have kind of a little bit of extra element. I could even maybe bring in this white part just a little bit so great. So let me bring back my linen texture. And there's another thing we could do. Just cut and make give the client a good idea of kind of the layering we're trying to do with adhesive sticker. Select this white element adds very tiny bit of a drop shadow. So I'm gonna go down to stylized drop shadow to do Preview stood a very subtle drop shadow , not too much. And I want it to be very close. I don't want it to be a long cast in shadow on to be very tights of the heats of sticker. It's not gonna be floating in midair, so we'll have a nice tight cash. Shadow very settles that maybe just 33%. That just kind of gives the idea that that is not printed on the wrapper, that that's something that goes on top of the rapper. Let's bring her linen texture. That's not gonna actually be on our final design we sent to the printer, but it is on the mock up that will send to our client. I want to add kind of a texture that's gonna be printed on this black, sometimes having a solid charcoal grey. Let's add a little bit of a texture, and I sourced around for textures for a little bit. I believe I found this on pixels dot com. Go ahead and make this you almost a beautiful little texture. It's like a slate rock. I thought that was really cool in the black. So let me go ahead and release the clipping mask so you could see what it looks like. This is what it originally looked like. We're going to a little transparency mode on this to get the right look over the black. Let's kind of reduce size on that right click. I get all It's kind of my little trick toe kind of do layering a arrange, send it to the back, and then I'm still doing my little command, right bracket, kind of bring it forward until I see it appear. They write about their Of course. You can always go to your layers and have a background layer. Have said using everything in one layer, so just depends on how you like toe work. Sometimes I'd like to just have one layer. I know I'm crazy. It makes sense to have multiple layers here so that you can lock layers and not accidentally select the background. So want to do more complicated designs? I definitely like to use layers, but for this I'm gonna keep it all in one layer. That's up to you. What you want to. Dio and I have do some transparency modes because this is way too way too much. We just want a very subtle texture to show through the black. So I'm gonna play around with some different transparency overlays. I believe I had soft light. Some played a hard light, hard light. I think I kind of reduced the transparency a little bit. It's great right there, so just add a little bit of texture to it, missy. Kind of what I did here. Hard light 62. So let's go back. Hard light, make a little bit stronger. So 62 opacity. There we go. So let's play around with Pattern. I think that's the only thing kind of missing here is the pattern. And then we're gonna apply this chuckle bar to a mock up so we could get this approved by the client. And then, lastly, we could go ahead and do our backside Go ahead sticker as a separate little thing we can export and sent to the client are to the printer. So kind of that's kind of what's coming up. Jobs State 6. Mock-ups : So now comes the really fun part where we get to make it kind of come to life for our client. So I downloaded this template or marca Photoshopped mark up. I'm gonna go ahead and provide the week for you so you'll be able Teoh, See that link to be able to grab that the same template or if you want to find another template. But this one was really easy to work with that I didn't have to sign up for an account to get it either. So that was nice. So go ahead and check it out. Download it and I haven't opened here. If I don't want to see any of these kind of blue guides, I just go to a view and just click on extra off. So go ahead on Click Extra. And now I have this nice, clean pallet to work with. So this is how mock ups usually work. So this is a little bit of a different sizing, So we're just gonna have to kind of, ah mess around with that a little bit just for client presentation, because this the whole point of doing a mock up is to get client presentation or to have a portfolio peace. So we want to make it look. We're really, really cool and kind of extend the design and brand outside of the chocolate bar. Eso. Here's how Photoshopped mock ups work, so I'm gonna go ahead, click on the mock Ups folder right here in my layers panel, Go and click on 01 Go ahead and toggle that it looks like there could be a couple of other different versions. So there's kind of a slanted version and there's bar stacked on top of each other. And there's the two bars here, which we may end up using now that we have two in the series. So let's go ahead and do this 1st 1 So I'm gonna go ahead and un collapsed this number one and go to believe It's templates Folder, when I'm looking for is right here, says Rectangle. One. Go ahead and double click that this is gonna be what populates this section so it can always find it by toggle ing toppling on and off the view. You can go ahead and find that layer and good double click this layer. It's gonna open it up and a new folder. Our new window. This is wearing a dragon. Drop my design. So I'm gonna go back into illustrator I could export as a J. Paige and bring it over. Or even better yet, it's a little bit of a different size. What I'm gonna do ISMs could expand this out just a little bit. Kind of give me some leeway. With the size of the bar on the mock up, the best thing to do is find a market that has it Zack sizing that you need. But that doesn't always happen. So we're just gonna work with this for now. We're just expanding everything out past the sides just a little bit to give us a more room to fit on this mock up properly. There we go. Who's got drag it over, Strack everything and drop it in. Let's see how this looks. This looks a little wider than our designer designed. Seems taller for some reason, so this could be a different looks like its European. So 40 grams so it could just be the difference between American bar sizes and European juggle bar sizes. I'm sure there's definitely a difference, so you can ask your printer or ask around What is this right size for a chocolate bar rapper And that will usually be supplied by the client. So yet it's a little wider than usual. That's okay. We're just doing this for presentation. We can kind of get this approved so we could start working on the backside and have a complete design and theme since Could drag that down, get it to the right sizing. But now when I got to do is I'm gonna close this window to click on clothes and I'm gonna save it. And when I saved the window, it's gonna automatically populate in the mock up would be like Magic is gonna pop on there . So updating smart objects on my computer fan was whizzing away there would go. So I love to tweak mock ups a lot, and it's really when you know, photo shop, it's really easy to do. So I'm gonna go down. I'm here kind of in this folder system. I'm in mock ups. I am in the template. So this is the file that are the layer that we just modified, and I'm gonna un collapsed that I'm gonna find lights and highlights. And this is where you can kind of mess with the lighting. So I like to toggle to see what the heck I'm doing here. Some ta going that and I'm just gonna reduce the capacity. I don't want so much glare on mine because it's not gonna be a high gloss finish. It's gonna be kind of a Matt finish and a linen finish. So I'm just reducing the light. You could toggle it to see the effect that's it's really having a huge effect, this layer. So what I could do is reduce the A pass ity on it, have just enough gloss to show a little bit of lighting showing on the mock up, but not enough where it looks, you know, crazy, shiny. So template. I'm school. I go through each one a toggle. I see what affected half see shadows. I think those shadows are too harsh. So just gonna just reduce the capacity of the shadows. It's a little bit and there we go. So I want to kind of extend and show my client kind of the texture we created. We spent some time kind of researching that what was your inspiration. I'm gonna kind of apply it to the background. So I'm gonna go and bring in some of our texture and elements. So I'm just I'm just gonna release my clipping mask Bringing are bringing our dark charcoal gray. I'm going. It's like just that. Let me see. I think I need to move this higher up. Ah, there we go. You to bring this into the background, Boulder since could drag this below. There we go announce behind the chocolate bar. That's her charcoal color. I want to bring in our texture here. We used, I think my Okay, I release the clipping mask already. So this is the full texture. Make sure it's higher as enough. That's bringing it in sometimes. And it brings in smart objects from illustrator. It takes a little bit of time to load. I'm just gonna do this. Aiken, stretch the texture out a little better without blowing it up so much in reducing the resolution, press enter and since all the way back, right above the bottom layer, I want this to be settled, etc. I believe I applied a hard light 62 transparency setting. So let's do the same and better shop go here to buy blending modes. A soft light are hard light, I believe. There we go hard light. Bring that a little bit more so it looks like it's almost laying on top of a cool slab rock table, which is kind of what I'm going for. So let's bring in our cool textures. So it's good to make this bigger with this very big that we could bring the send us a smart object. But what I'm gonna do some just double clicking on the layer I'm just doing a simple color overlay. I'm just doing a gray color tract this all the way back down, down, down, down down here and maybe I want to angle it. Maybe I don't I don't know is right. You have it straight up and down to have this pattern straight up and down. But if I angle it on the background, adds a cool contrast, and I could show how the pattern could be adaptable. So I'm gonna zoom in on the patterns of people. Really. I kind of see that it's not too detailed, and I'm just gonna reduce the a passively a little bit on it. Oops, I did that on the overlay of accident. Go back down in my layer. Toggle Sure Got the right one Looking for the texture. Look, with this award naming it really helps texture OK, to produce the capacity on that just so people could barely see it. And I could even add a layer mask here. I just grabbed my great Aunt Tool have a black and white Grady int. I'm just gonna click and drag like some of it. Transparent, maybe. Was blending a little bit like that. I think I like it awful like that. Play around with the blending mode here on our texture. Haven't name now doing overlay. I could do soft light, but they understood normal. You don't want to texture to overpower the bar. The whole point is showing off the bar. So now people can see the pattern and I'm gonna change my mind. I never do that right. I'm gonna select pattern and go back. And what What helps if you right now I have. It's just a little trick is I have auto select on. So each time I select an object, it's gonna select the one on top or wherever I click, but it go and click Auto. Select off and you go ahead and select your layer and it won't automatically select the one on top. So if that ever bothers you, just go up here to auto Select. It will select the one on top I'm selected. It will keep with what you selected are the layers and I won't automatically select another one just in case you didn't know that or that was driving crazy. How waas double click and do our color overlay produced the transparency. So now it's showing the same pattern. I think that might work better. I think the other pattern it was just just didn't work with this one this much as I was hoping, There we go. So I think we're done their presentation. So that will be kind of how we present it to the client. Of course, we have our other one that we can show too. So we have this one that has a very similar pattern, just like that's is very See it across the board. Good consistency with those. So now we could even do remarkable. We show both of them together. So It could kind of show them how these bars are. Always look on the shelf together. We're going to do that. And they were gonna do the backside of the design, and then we will be done. 7. Mock-ups - Part 2: So how do we make this design complete? How do we do it so that there's a backside and have all the elements we need? What we have the front done. So let's go ahead and do all the other elements. This is where it does get a little bit tricky because we're going to start to separate elements for the printer. So we need to design the back side of this. So if we looked at our chocolate wrapper are massed, Um, example we kind of had the rapper fold around, which will be the left and the right side that will fold around so that that part is done and screen line is just for me to indicate where the front that begins Onda left and right is the outside. But now we need to go up and do kind of this white section up top that will end up being upside down because it's gonna flip and and go over the bar and be behind on the label. So when we do, the design will actually gonna have it end up upside down. So it'll all print is one sticker that this whole area will print is one sticker and will be put on the front and then will be wrapped around. So what's upside down will now become right side up eso that we're going to do that. But I'm not gonna do that Design upside down on the design right side up, and then just do a, um ah, a transform and flip it 180 degrees and then I have it where I needed to be. So let's start thinking about the backside design. I am just going to copy a couple of these elements. I'm gonna just take this entire portion right here. Un select UN Select should have this on another layer. That would be smart. Gonna copy and paste it up here. And this is where we're gonna work on the back. We don't need that anymore. We don't need some of the drag some of these elements over to the side cause I would like to use some of these thoughts, but I like to continue my line to go all the way down. We also have to think about having a little bit extra for the top part of the bar that actually gets wrapped around that little small portion have to adjust for that. And so now we gotta think. Okay, what do we need to have on the back? We're gonna need to have an ingredients list in a barcode. So I'm gonna go ahead and put those elements together, and I'll be right back. So I'm back. And if this was a real project, I would contact the client and say, I need to get some information of ingredients, and we need to know what legally you have to put on the back, and they're gonna go ahead and give you that information. You don't have to figure that out. And also, they'll give you the barcode because they have to get the barcode from the manufacturer. So here we go. So let's is the back label. So we're gonna kind of play around with blocking a little bit, kind of already adapting my died dot font choice. We want to go ahead and adapt as many fonts as possible and carry those over to the back side. And I'd like to do maybe a center alignment, since this is a nice presentation here just to center, align with, put some nice wide spacing make it nice and elegant little spacing there between our, um, objects. And this is 33 point size. So, yeah, we don't need it that big. Great. And so I also have to probably place the barcode right in the bottom there. We don't want that to be in the top. We went all the good stuff to be on the top, and we have to have her logo because that we have to have a company name. So I kind of made up, Up Kaba, Quick, take one. Maybe put that toward the top and let me I might even make this. I think that is our charcoal gray. Okay, Just making sure that's the same. Oh, that is actually black. So let me take my little skinning of a sample here is getting our eyedropper tool. I want to make sure everything is the same shade, this kind of dark charcoal color. Make sure that's the same down here. Just make sure that those are all similar. So now we have some kind of contact information that were required to have It doesn't need to be large. I wouldn't make it less than, um right now I have a 10. I wouldn't make it less than 8.5 because then readability becomes an issue. So best buy may that's important. Let's make that a little larger. Maybe make that, um, this wider font that's 700 spacing of the very wide spacing. Let's just to 300 and make make 18. We really want people to see that so they know it's not expired. Okay, so it's good a kind of center. Align everything here and kind of a quick way to center align from school. Dropbox. Let's select my box where I wantedto line. I'm gonna select all these elements. Let's do a center alignment up here, center line, and then I'm just gonna just it all together. So now they're all aligned with each other, probably should do the same thing with that. Uh, make sure that's aligned. So yeah, just go back through and make sure you have center alignment on all objects, so I need to make sure the ingredients list is aligned as well. Airline panel on the line. Make sure you have enough space here for the bar code. You don't put anything close to the barcode because there could be problems with scanning so great. I think I'm happy with the back of that. So now what we're gonna do is we're gonna put these elements together to make one big sticker that's gonna wrap around. 8. Exporting and Preparing Our Designs For Professional Printing : so I'm gonna make it easy on me and stay in the same file, but just create new art boards. So I'm gonna go file documents set up, gonna go to edit art board. So I'm gonna be able to create a new art board. I gotta create it the same size. Has this been gonna end up doubling it? So now I'm gonna go to edit our ports again. I'm gonna I'm sorry. Document set up at our ports to adjust. My are pouring in to double the size and you'll have it Zack Sizes for the sticker. If you do that, if you go through the manufacturer. Okay, so this is going to be the back, so that's actually gonna be upside down. So I'm going to go ahead and flip all of this upside down. I'm going to select all go to object transform. Just gonna do a 1 80 rotate. I could do it manually, work and just do it exactly like that. And do it rotate where I could just take this tool and rotated that way. So that will be upside down. And now we got to go Grab are right side up. Portion we need to un select. I should've group this and have on different layers. But that's OK. We all have our own way to do stuff. It's not always perfect. So instead of copying this, I'm just gonna drag it up because we no longer needed on the bar anymore. Don't bring that up here. I need to make sure I double it. Of course, I don't have the exact sizing because I'm kind of doing this as a kind of a personal project. So I'm just gonna make sure I get pretty close. Was to show you guys you would have the exact size and pop it in the document. Okay. And so now I would ask the manufacture kind of where does it fold? And he'll tell me, Oh, it folds five inches or whatever measurement used. So it folds five inches on the top. And so I would measure that. You kind of put like a little indication of where it would fold right here just for me. So I can know spacing how to do everything. So that's where it folds on. Make another line to indicate, um well, hell, thick is the bar, and they'll go. It's 0.25 inches. And so I would just measure to fund 2.5 inches between the spacing. And I would know that that's the top of the bar. So you're not going to see that from the front of the back that will be on the top. And there we go. So we have these two kind of extra boxes. We get it, we're gonna need to combine those because we don't want to have this line here that ends here because we created a box to create this little line so we don't want this line anymore , So let's go ahead and get rid of it. We may need to re draw some skin on group going delete this box. The numbers could take this top box and drag it down here. So this is for our backside line. So now we have some nice consistency. The here, have a go and delete this. You can see how there is the good zoom out. There's the bottom. There's the gonna be the top, that little area, and then the back will fold backwards. So this is exactly how you present it to the printer, not really the client. The client will see a proof from the printer, so and they've already approved your design. You're just trying to make it actually come to life. I'm just making some small adjustments I've had to make for sizing because what we had before was just a mock up. It wasn't exact. Now we have to be exact. So there we go. There is our first adhesive label sticker that will go on the front of the bar. And so now we're gonna do this sticker that wraps around. But first, go ahead and prepare this. We don't need the drop shadow that was just to present to the client. So we want to bring our pattern all the way up to the top. So this will be the what's actually printed on the wrapper. So we're gonna provide it just like this. The green indicates where the center is, which we, the front and the left and right indicates what will be wrapped around and you'll get the sizing from the template. So that's ready. This is just for my own use. So I can put this on a different layer. I can cut and same goes for this little indication. This is just for me as a designer to know where things fold. So I'm just cutting those elements out and adding a new layer and just pasting them back in hopes I'm going to paste in place. So it pace right where I cut it off, paste in place. I'm just gonna lock that layer. And I got a name. It, um Let's see, indications were bleed is or so what? Whatever you want to indicate. Okay, so now I can toggle that often on if I don't want that to get in the way of me studying the design so I could talk all that off and go. Okay, great. That's where cuts off. So now this is ready. That's ready to go. And so we do have to do one more element. And that is the sticker that goes across. So it would get the sizing of the sticker. And how much? How much? How was the link that needs to be to wrap around appropriately and we would work on with the printer on that sizing and with the client, we're gonna go to edit our boards. We do the same thing we did before. We're going to create a new art board right down here, but a double size where I think it may need to wrap around a little further because we want it to seal the chocolate bar. So it may need to go out a little further on the back to seal the bottom part of where the chocolate bar folds. Okay. And I don't think these are the same color. So I'm just kind of doing some final tweaks here when I'm noticing things like that on making that the right shade, making sure alignment this proper XYZ when we do all of our really final tweaks. And so that's pretty much it. I would find the center point of this and find out how thick the bar is, which we would know from studying the thickness of the top of the bar appear. We know it's gonna be about that thick, so that means it's also gonna be that thick here, So it's gonna transform rotated 90 degrees. You have, ah, vertical up and down. I would find the Zak centre of that point. Put it there. So this is just my indication of where it's gonna fold. And it might even be thicker than that in real life. You know, it could be a very thick chocolate bar. Could be that thickness. And that will help me determine where to place my 82. To know how far it wraps. It'll be stuck on here. And then we removed all the linen texture because that was just for presentation purposes, and we would talk with the printer and the client. About what? What's the quality of the sticker adhesive? Do we want to do, like a linen blend for the sticker and have a cool texture on it? Do we just want a slick? Um, UV gloss? Finished? Do we want all these different kinds of finishes you can get with printed materials and products? And you would work that out. But we don't have to put that in the design because that's gonna be the material. This could have naturally create that texture. But we do want to keep this because this will be printed. Uh, just a printed, uh, Matt kind of finish. We don't need this little highlight anymore. So they would go, so I would just go back in. I would make sure this is perfectly center. Along with this, I would just kind of double check my guidelines. Send this to the printer. Happen, do a test run to see how it looks because you may be off a little bit and you have to go back and do some adjustments. That's very common. So I'm gonna delete all this extra stuff and I have my things ready. I'm gonna go ahead and toggle the lines off because the printer does not need those. They already have that information. And I would go to file export and export as you do a couple things. A lot of times they like to have a better files to send them an E. P s and they would just have this file and they'll be able to adapt it to get a print ready . Or I could updf ah see file save as there it is. Pdf been said that to my desktop e gotta go ahead and unclipped preserve illustrator editing capabilities, cause that makes the file very, very large. And since this is press ready and ready to go, you don't need to have editing capabilities unless the printer requests like an E. P s and that will give them editing capabilities. So let's do I have a press quality. So it's do that, and one click. You can click on that. It just gives them the ability to go in and edit it. But if this is final, we don't need to edit it anymore. We don't need trim marks unless they request it. They may need trim marks around this rapper, so let's say they need a 18 inch bleed around the rapper. Let's go ahead and add that just just to kind of see what we're doing here. The document set ups it at a bleed will say that's 1/8 of an inch. Of course you may have centimeters and it adds 1/8 of an inch to that. I'm gonna go ahead and just make sure my document extends all the way out past the bleed so that when they printed, taken trim that little bit extra off and have a nice, smooth cut. Same thing with this. I'm just gonna drag it up, track it down, select the next object below, which is our red background pregnant down and bring that up. Okay, so now we can export. And here's where. Okay, so they may not need bleed uncertain on the adhesive stickers, but they may need it if they do need bleed on the stickers. Um, then that's great. I adding bleed to the one dot When you add lead to one document, it adds bleed toe all the art boards, even if you don't need it on a certain art board. So if you find out that your stickers don't need bleed, then you can open up a new document and put your stickers there and not have the bleed because I think with Illustrator, if you apply Bleed, that's it. It's on all our boards you can't like have one without one with Okay, so documents set up just kind of double checking my our boards. Okay, so let's export and be done. We're gonna save as pdf where she could also do ups. Whatever they request press quality and uncheck that keep the file size down. I'm gonna goto. Sometimes they like print Trump's remarks. I'm gonna use document bleed settings who already set that up. So 0.25 all the way across, or you could just do it manually. So 0.25 all across on each side. That's 1/8 eventual the way around. Um, trim marks. Um, I I usually do trim marks on printed products pieces, but I don't do trim marks on magazine ads. For some reason, people don't like to have trim marks on magazine ads because then they have to go in the room even. But for something like this, I liked remarks, but ask the printer. They will gladly share their preference with you. Click. OK, so it's gonna do, um, three p d efs, probably all in this name. Do it in chocolate bar. Let's see. PdF there it Isett. Let's go ahead and double click and see what it looks like and you're seeing my entire process. I'm not leaving anything out of this. All the nitty gritty details that air somewhat boring sometimes but necessary for a new designer to go through and learn. It took me a couple of years to learn how printers like things. How what bleed is crop marks? All those. It took me a while to kind of learn that, so hopefully you'll able to kind of see this applied to a real project. So there's our wrapper that will wrap around the chocolate bar. There is our and looks like there's a little bit of a drop shadow here. I just need to go in and remove the drop shadow That was just for presentations all removed that the Socrates of sticker label that will wrap around the bar top to the back and then our little it. He's of sticker on the front that will wrap around to the back. And there we go. This is our final bar design. I'm very happy with it and excited. I wish it would become a real chocolate bar. I would love that. My client would approaching with a chocolate bar designed project that be so much fun. But I've done a lot of other product designs very similar to this. So this is the process, roughly that I would go to say thank you for staying tuned, and it was a little bit of a longer course or lessons to kind of go through this project. But you get to see all the nitty gritty details of a really practical project that you would have a good chance of doing and your job So let me know what project you want to work on next. I love creating extra bonus content and new projects all the time. So just let me know what you're curious about creating and I had a lot of fun. Thank you so much for tuning in.