Logo Design: Creating A Vintage Mascot Logo From Scratch | Kitsch Harris | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Logo Design: Creating A Vintage Mascot Logo From Scratch

teacher avatar Kitsch Harris, Graphic Designer & Illustrator

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

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

    • 1.

      Class Introduction


    • 2.

      Research & Client Brief


    • 3.

      Mood Board


    • 4.

      Sketching & Concepting


    • 5.

      Sketch Demo


    • 6.

      Digitizing Your Sketch


    • 7.

      Going From Sketch to Logo Part 1


    • 8.

      Going From Sketch to Logo Part 2


    • 9.

      Going From Sketch to Logo Part 3


    • 10.

      Coloring Your Logo


    • 11.

      Finalizing Your Logo


  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

In this class you'll learn to create a mascot logo from sketch to digital file. We'll learn how to properly prepare the digital file so it can be used in screen printing and embroidery. We'll also look at how this logo fits in with the past but still feels modern and innovative. Lets make something you'd want to wear on your clothing or see around your town.

Meet Your Teacher

Teacher Profile Image

Kitsch Harris

Graphic Designer & Illustrator


I'm a freelance illustrator from Louisiana currently living in Pennsylvania. After being inspired by Where the Wild Things Are, I decided that illustration and design is the life for me. I'm inspired by the idea of lost innocence, monsters that take you to far off lands, and a concept of home that never is as close as the stories have you believe.

My art comes from a deep, sometimes dark place. That place in all of us should be viewed with a child-like eye. The colors and shapes are way to vivid to to let the shadows overtake the light. In this view, all of my illustrations are brought to life.

See full profile

Class Ratings

Expectations Met?
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Class Introduction: At some point in every designer's career, you're asked to create a mascot logo, whether it's for Little League or professional team or a high school or even a swim team. Everybody needs to know how to create a big head logo. Ah, full body or an anthropomorphic animal or object Loga. What that means is we're not gonna create something that's just stuck in the past, and it feels like it's been around forever. We want to focus on something new, something that it comes from your area insurance fired by and it just feels a little bit more hand created in the smooth NFL in baseball locals that we've been seeing of late. I'm gonna teach you the lessons that I picked up in a screen printer and embroidery shop that I worked at because they have so many practical effects. And our goal from this class is to create a practical logo that people want to use my name as co chairs. I'm a designer from Louisiana, and I hope to see you in class 2. Research & Client Brief: now it's part of the course. I've included a client free for you. I want you to go through, and I want you to have a kind of a conversation with yourself. What do you want to accomplish? Who is your client base? You know what kind of logo's would come from your area for me? I'm from Louisiana. So the kind of locus that interests me or a crawfish and cattle and just neutral rats, which the weirdest thing in the whole world things that from my area, I would in focus sense of who I am because I know about those I've been and experiences with these types of creatures. I kind of know how they were spawned. Certain situations I can imagine seeing a cattle. You know, Aiken, I can look in my mind, and I know what a cattle looks like. I don't have to go do extensive research. I mean, I might have to look at the anatomy and correct it, but when I look at an animal from my area, I know what it is. I know the type of food it eats, the the way it responds to its environment. The impact that the culture has on it, and those things are very, very important. That's why when selecting a logo that you want to create, trying to do something that feels like it would come from your hometown, the sports seems in my hometown were the bear cats in the Bulldogs and those were two logos that over the course of my designing I've referred back to. They kind of have let me know who I am and designs by what I kind of grew up around. There were also the mud bugs, which are basically a crawfish. So, you know, I look at those things and I know there who I am because they're the things that I took part in. So you need to decide what animal or creature that you're gonna do. I say when we get to colors, we try to keep it 123 colors tops because we want to make this logo to be able to be printed or embroidered. So we want to keep it down and cost what has been done. Like I said in your hometown before for me, Like I said, it was the Bulldogs, the mudbugs bear cats, you know Do you want to do something along those lines? Do you want to really curate one of those logo's in your style, or do you want to do something completely new to your area? How will the logo be used? You have to think about it. We're designing sports mascot logos, so they're gonna need to be embroidered, sometimes full embroidery, so we don't want to make him super detail to that. They're super expensive. You know, they'll probably be on stickers, helmets, bumper stickers, just about anything, honestly, these days with logo. So make sure that whatever you do, it's not super complicated, and it kind of sometimes either stays in a rectangular square. We don't want something. It's like super weird to place on a page. You want something? It doesn't have to be symmetrical, but you want it to be even. Like I said, Just know your area. No, the logo that you want to create based on who you are. I don't want you to get through this class like I've done some of the other classes and, you know, I'm making something that I just don't enjoy. I want you to be proud of the slogan. I want you to be able to show it may be presented to the local high school as a redesign. Who knows? Just create something that you are proud of. 3. Mood Board: If you look under the class project tab of skill share, you will see that I've included a link to Pinterest. I created a vintage mascot Mood board, kind of for myself, but also, you can take it to use his reference. I would love for your project to include a mood board. You can either create a Pinterest board and linked to it. You can create an adobe like PdF and just drop the pictures that you like in there and save it and uploaded. Either way, I would love to see it in your project. Just conclude a link or upload a screenshot or an image of it. I just want to kind of see what you're working with. I made sure that I included the sports logos from my hometown. You'll see the bear cat, um, at the top, and you'll see the Bulldogs kind of at the sides, those air things that I grew up seeing. So they really impact kind of how I like locals. You can see that both of them are really rough and they don't really have clean lines, and that's something that I really, really have been drawn to you. I also included, like the New Orleans Hornets, which were, ah, sweatshirts that had forever. I just remember wearing those growing up. I was never really big into sports. I played soccer. But the iconography off sports really, really inspired me growing up. So I just included some you can see as far as this yellow guy here he is a human. Um, you know, like a full body. Um, there's also like an anamorphic last in the Florida gator. Um, and then you've got kind of just like these weird ones like the Mr Redlegs. My favorite, though, I have to say, out of all of them is kind of just the big head. I do a lot of big head Logo's. I find it there just a little bit more specific. I kind of like the weird ones, too. Uh, but as you can see, they all kind of have different characteristics. None of them are the same. None of them really at all are done like the other ones. I think it's really, really important to notice that they all are a least 123 colors, and a lot of them have a very good use of negative space. Um, for instance, like the Patriots logo there is white, so you can use paper behind that the Cubs logo as well. Pretty much all of them use a color that can be used as a paper that's really, really crucial in screen. Printing is knowing that you have a color that could be interchange for a T shirt, so you only had sprint two colors when there's three. That is a really, really wise use of money. Um, I never liked screen prints where there was three colors on top of a short color. I felt like it just added unnecessary ink to the T shirt. But also, you're paying for something when you already got a color. Their, you know, utilize what you have and your cost limits. Um, you know, a bigger team can use more colors, but it's always better stick to something that you don't have to keep adding costs. Teoh. This Pittsburgh logo is just really nice. It's two colors, and it just is easy. So create your own mood board uploaded. Let us see it. Um, make sure you include some of your local things. I installed a Pinterest button. Um, on Google Chrome and you could do something like that. And so if you go to Google search, you can quickly just hit that button or right click on your image, and this allows you to upload straight to your mood board on Pinterest. Um, I'm sure there's more information we have about that, but it's really helped me especially like cause I can Google like Louisiana Tech University and I could find this bulldog and quickly just added to my Pinterest board. So upload those, and I'd love to see what you got. 4. Sketching & Concepting: So we're gonna move to the sketching part. I'm gonna do a little bit of talking to you first about sketching, and then we'll kind of go over some of the sketches that I came up with. Now you ideally want to keep her sketches loose. It's a great idea. The thumbnail. I'm not the best time nailing in the world. I like to kind of do some sketching and exploring first and then go back and thumb now or maybe even do color sketches after I kind of know what I want. Eso I kind of work double time. I kind of, ah, spend a lot of time doing the second part and then coming back and redoing the first part. For me, it's a process that helps me understand where I'm trying to get to. Instead of just like aimlessly sketching things on a page, I never you know, I never seem to know what to do when the teacher was like, I need 100 sketches by tomorrow of thumbnails. Um, so a lot of them I would just kind of scribble stuff and I'd be like, Oh, yeah, and I would just kind of bullshit my way through what, exactly that logo WAAS. But for me, I discovered the start kind of drawing your logo out, maybe tracing images that you found on the Web. That something that really helps me when I start exploring is that if I don't know how animal or a person works and oppose, I will take that and I will trace it a couple times on a lightbox or with my tablet, and I kind of understand how that animal works and then I'll kind of just put those away. Um, I try not to ever use actual traces, but it informs me kind of how I need to set up my lines and how to reference it, cause a lot of times I don't have three or four hours to draw things from life. So in a crunch, all trace it. Move that trace of the side, and I'll use it as reference. That way of my muscles begin to learn how it works without spending amounts of time sketching and sketching over and over. No idea is too stupid to put on paper. I found that sometimes I would kind of venture a little bit off, but the good thing about creating a sports mascot is you don't have to just settle into one thing. Um, you know, you can take Alabama, for instance. They have I. I swear, it's a different logos, you know, it's the crimson tide and elephants and a so don't be too caught up and sticking exactly to the concept that you came up with. Um, feel free to. Like I said, keep things loose and kind of venture often explore, you know, follow attains and every once in a while, because supporting logos in a sports mascot are always beneficial. I don't know any sports team that has just one logo. They usually have their main one, and they have a couple offshoots, so don't feel like you're confined. Creating one logo. You may find that you're creating one logo and you decide the other one is so much better and your 1st 1 is used is kind of like a secondary logo. It's perfectly OK, and this is all the process for me. I like to overwork at the beginning so that when I'm ready to digitize and I'm ready to sketch are ready to color. It's perfect because I've done the research in the exploration before, consider phrases or slogans to accompany your logo. When I was creating the crawfish, when I had done a shirt with the crawfish for my screen printing company that I used to work at and it said Piterman pool, Well, I thought pinch, um, would be a perfect slogan for a crawfish or a mud bug team. So I included that, um, and it made a cool little button as you refine your sketches, the more you go when you kind of understand the process may be creature sketch two or three times to kind of settle into something remembered have varying line waits. In a symmetry. I find that as I was looking at some of these older logos, that is a crucial part that they don't look like they were created on a computer. They look like they have been run through the mod. They've been tourney up, pieced back together on do that, you know, they were payment with the paintbrush or they were made with an unsteady hand. Nothing seems to clinging onto computerized to remember that keep the sketches loose. I had a teacher in college. We were painting with ink in being, and I spilled ink on my page, and he talked about something that he called Happy Accidents. Um, and I think that he was referring to Bob Brawls, but it's where you create something unintentionally because you aren't paying attention or your pin straight. But when we're creating things like this, it adds character. Ah, lot of the old logos or kind of uneven and kind of lopsided. But that's what I love about him. That's what gives them their character. So but together, your sketches make sure you upload them. I want you to upload at least three different sketches, and it doesn't all have to be the same logo because you know, we're creating secondary logos if you want to. But think about uploading at least three of the same one so we can kind of look at it. And we can kind of decide as a class, and you can get feedback before you move on to the digitizing phase because it's good to have options. A lot of times I'm just when im sketching, I make sure that I have those so that when I go to digitize, I have one and If it doesn't work, I can fall back on the 2nd 1 So it's always great to kind of make variations, even if it's slight changes making variations are key. 5. Sketch Demo: Okay, so now that we are ready to start sketching, I've pulled up a couple of pictures of nutrients on Google, and so I'm gonna kind of go over some of things that I said earlier. Now, when I see keep it loose, say that we have a new track head in which I can already show you some kitchens that I've done. Um, I've already put together some new direct heads, some and different poses, some to look really, really bad. Um, this is the one that I ended up deciding on the final on Guy kind of like this one, but he was a little lopsided, so I just went ahead. And what would be better? Um, but when I say keep it loose, what I mean is a neutral redhead is made up of two shapes. You've got the part that houses the brain, which is a circle, and you can see that I am holding my pin lightly and sketching lightly. Um, and then he's kind of got this mouth shape, which it's kind of like an overlong, maybe like an oval or football shape and oblong shape. Um, And so when I start sketching out this Nutra rat. I can start filling in details based on the shapes that I've already created. And I know his chin probably has to come down a little more. Um, and this is his mouth. There's his teeth. Um, that's the kind of shape for could be a rabbit or a neutron or a chipmunk, um, or anything. Honestly. So you need to look at your creature, whatever you decide or if it's, you know, a tree like they're the spruces, I don't know and kind of break it down into simple shapes. Um, the stronger shapes are always the circle. The triangle in the rectangle you can pretty much if you know your shapes, you can make any creature. How did your shame? You know, say your teams, the Gators, which I don't exactly know alligator looks. But, you know, it's just something to think about that I basically give you the initial impression of a gator just off of a circle and direct tingle. Um, and so, yeah, just keep your pin light. You know, um, when I'm trying to discover what a shape looks like or how to make it, you know, I just I scribble until it's right. Because you can always take the lightbox later and define it more. Um, kind of like, you know, my muskrat are my neutral right here. Um, he started off with just the basic shape. He is 1/2 circle and an oval that I have over time refined, added some years added knows. And you can see really quickly how this one shape becomes this. And once I kind of did this. I really liked it. He had a lot of things working for him. So I just put a light box under him, shine some light and then redrew it on another piece of paper. When you can tell they're the exact same thing, this one just has a little bit more definition. Um, I redefined some of lines especially like around the nose that Ah, I didn't feel working. I need a little more shadow. Um, but yeah. So when we're looking at these and we're trying to figure out where your line should go I have a general rule of thumb. How I add thicker shapes and how I know have thinner lines. Let's pull this back up. You can see around the outside the round curve, simple stone. You can see how around the curves and the in insides line with kind of changes on guy have a simple rule that I try to follow, and it's basically simple volume. Septus over. We'll start with a new page. Let's just go with that general shape because most animals actually kind of follow the shape this arrowhead shape. I guess you could call it now when I look at this and I want to give this volume I know already based on my lines that it takes a couple more lines to do an outside curve, and it doesn't do an inside curve. So I know to give it volume. Any time that my curve goes on the outside, this shape is going to have a little more volume and feel free to turn your papers. You adjust this, um, I always do. It helps a lot, Um, and so I already know that I can go from thick to thin just based on the fact that I have outside curves and they have you already got a shape, um, and say there's for we can add little toughs to further emphasize that it gets darker as we go along. Things that are further forward and space, like a nose are always going to be thicker. Then your thinness line. We can say that this gets thinner as it goes back into space, and that's just a general of thumb. It works the same way with, like, a cube. Your thickest point of this cube is going to be this front part because it is the foremost , and as it recedes into the background, your lines are gonna get thinner. Something that I also always try to do when I'm doing lines like this is where these points connect, it's gonna have a shadow, probably so I can make these a little bit thicker and then therefore these will be a little thicker. I think it will be a little thicker, but as you can tell, this line is going back in space. So say you have I don't know. Let's go ahead and give him a body, and we're just going to do. We'll ship here and maybe his arm comes out in front and he's got hands. And as you can see, I always break things down into basic shapes. So maybe He's like, Ah, fighting rabbits or something, I think a jackrabbit who knows whatever he is. I know that because I've started basically in these lines, the line under him, he's going to be a little thicker because it's got a shadow from his head, right? And I also know that coming around this arm is going to be a little thicker as well, because it's in front. So let's make this a little bit thicker. Remember, Shadow. So this will be thicker and bring it down. But you always want this Ford line to be a little bit thicker. Let's give him some tough these Tufts, we're gonna have a shading. Um, this is gonna come up front, so that's gonna have a little more shading. Give him some legs. We know that because this is forward, his stomach a little bit forward, it's gonna have it, and he's gonna have a little shadow, so it's gonna be a little thicker at the top where that shadow attaches. So as a general rule, that's kind of how I go about shading it for the outside. Now the inside. Um, I just try to follow natural lines. We can look back here and we can see Okay, He's kind of furrowing his brow. So let's make a little crunchy lines there. Um, he's kind of squinting his eyes, So let's do some lines around there and his for is gonna wrap around that snow. So that's kind of how I start informing myself if they've got whiskers here. Actually again. If you think out whiskers, it's gonna be a little thicker to the side and kind of move in. You can look at references of animal drawings, classic animal drawings, or you can look at references of animals, and you could kind of begin to inform yourself where there might be shadows. For the most part, I kind of just do something that looks cool. I very, very much so. Take it and I ain't neutralize it to shapes. Um, and that's just how I work. But as you can see, like no drawing is is great. And of drawing is bad. It just is about finding something you're happy with. Like, I really liked this drawing. Um, I found this photo Google of this new Toronto, Um, just sitting and I really liked it. The only thing was, I don't know enough about a neutral rants anatomy to kind of make this believable. I wish I could say I did, but I didn't, so I didn't follow along with us. I felt like doing this kind of smushed in 3/4 head was something I was more comfortable with. It was something that was more classic, but I would love to come back and figure this sketch out later, possibly as an alternative or possibly to put the body behind the head. That I did. Um, because I don't want you just to think that you only have to do a floating head. You know, there are different things that you can do. Um, like, here we did the head and we started doing the body. And this is just traditional anthropomorphic body, that overtime we've just kind of refined. And like I said, he's like a jackrabbit. So let's give him some teeth. Maybe an open mouth. Maybe it's hung some whiskers, you know, like furrowed brow, which I don't necessarily know if that's far, you know, I don't know. And then we can start playing around with kind of shading on him. Who knows, You know, like everything can be done differently. Um, you know, like Mr Red Sox is just a ball. Um and so we know that at one point or another, his ball is going to be a little thicker where the shadows are so like, maybe has shadows to the sides and the bottom so we can come back in and we can kind of like them the rest of it out. Um, you know, give him a little face. So that's just a little thing that, um, I learned in our class. Hopefully it will help you out. Kind of understand where you should be placing shadows because I feel like as a beginner, that was something that really, really frustrated me. I wasn't sure how to get from my basic drawing, um, to something more defined. And as like I said, older sports logo's are just really a symmetrical. They're not always even in their lines, air varying and wit. And that's something to really, really think about when we're moving on to the next stage is, Does Milon does my lines or do my lines? Very. It might be beginning to show shaped like Is this tapering from small toe larger on, and it's kind of hard to tell in this sketch. But when you look here or you look at my final in, you can definitely tell that this is a lot thinner than this outside line A Sfar as this one is, too. And my inside lines are not even nearest because my outside lines. So just think about it. Let's go in space. These lines are probably the thickest on his nose, just for the sheer fact that it's further in space. So I do basically my lines broken down into two ways. The farther est in space, forward gets the thickest line, and then the outside line is usually thickest as well. But the outside always varies way more than like the nose would. So just keep that in mind and I will see you in Illustrator 6. Digitizing Your Sketch: Now we've come to the point of project where it's time to digitize For me, I try to make this is effortless. It's possible I don't want to spend hours redrawing the logo with ink and scanning it or, you know, just doing stuff over and over. I want something simple, easy. I want it from my paper to the screen and the quickest way possible. Eso I simply just take a picture of it. I make sure it's clear. I make sure it's well lit, and I just dropped that picture in tow. Illustrator. I've got the final steps that we did earlier. Um, just don't wipe newspaper. I make sure that it's completely white, you know, Um, just somewhere that it's bright. I guess you don't want it really dark because it's hard to see. It may make your image fuzzy, and so you could take just I have a little point and shoot. I think I paid $50 for this refurbished. It's just ah, power shot, Um, or you can use what I use. I just use my digital camera, Um, and on here I have the dropbox app, and so I literally just take a picture and put it on my dropbox app. And I also have my dropbox at linked to my computer. So once I just take that picture, I just did it directly through and dropping an illustrator. I find that that's the quickest way you can scan it if you have a scanner. I don't have a scanner or printer, for that matter. I just I like to get things printed professionally, so I just never bought a scanner. Um, after I broke my last printer scanner combo. So, yeah, just take a picture. It doesn't have to be a great quality picture. I've got an iPhone six. It takes really, really clear pictures on, and they don't even have to be that, will it? Let's see if I can pull this up for you. Yeah, so you can see there. I have just taking my picture, um, of a logo and there's actually logo finished. Um, and you can see how close they are. I'm going to try to get from here to here, So let's move on to the next stage and I will see you in the next class. 7. Going From Sketch to Logo Part 1: Okay. Now, once you pull your logo into Illustrator the quickest ways just to paste it in. But here's the catch. If you ever move your file and illustrator um, it says linked file up here in the corner, it is not going to be there anymore. So what I always do to start off with is I will hit in vetted. And that means that if I move the original file my original scan or photographed, it will always be in this document because it makes basically a second dairy photo and it stage just here in Illustrator. So make sure you always do that. You can always click it, and if it's not able to be clicked, it's already embedded. You can see that this changes from image right now. Our documents, it said, to see him like, Hey, um, the color mode. I like RGB that way that if I export it to the Web or I print it, I know that it's always going to be the right colors. Um, a lot of times I use like these neon colors, and so when I put them on like the Internet, I realized that I left him and see what c M y que and it's just completely the wrong color . So my screen is calibrated rgb um so that's what we're gonna use. So I'm gonna start by zooming in just a little bit. I can look at this logo, and I know there's a couple things wrong with it when I look at it, Um, it's a little bit too long, and this side over here is not white, right? They're not really even which it doesn't have to be. And I kind of like a symmetry asymmetry, but at the same time, it needs to be adjusted. So I can actually do that a little bit by driving this original image and kind of stretching and shrinking it. See right here, I'm a lot more happy with it. The the left side is still a little wide baby compared to the right, but we can adjust that once we get to drawing it. So I'm going to start by going into my layers. If you're layer pallet is not there, you can go in the window and layers has checked. F seven is a shortcut. We just name this original. If I can learn to spell. And right here, I'm gonna lock the layer. The eye turns later on and off. The next one locks it. So I'm gonna create a new layer, and I'm gonna call this lines or line. Was he lines? So I'm actually unlock this one. The original layer. I'm going to select it and you'll see you have opacity. Now we can change this capacity, settings and everything, but right here, we're just gonna use the opacity, and I'm gonna turn it down to about 20. And I am going to lock that back, and I'm gonna look at the lines now, Say we were to use this original color A lot of people. Well, just take this copy and they will live. Trace it in. The image is very large. I have my board, I think, set to 8.5 by 11 which is standard paper size. If I was to trace this, I don't always like the results I get, so I hardly ever trace if I'm in a hurry and I'm trying to draw something like this sometimes it is an option because you can go in and you comply, Ron and pull certain lines. But if you look at it because it's in pencil, the trace just doesn't always do a good job. Let's see what kind of looks like when I turned out with Threshold, which is the amount of black the screen shows, and you can see I There's probably somewhere in between settings that I might get a happy accident and find something that you know looks really nice. So we'll just try that first. But most of time, Not really happy, kind of with the result that I get. And yeah, like I said, since it's a pencil drawing and I kind of did sketchy things, it's not really good. So we're gonna believe that, and we're gonna go in our lines now. There two ways to do lines, and my biggest thing when creating a logo is nobody likes to really do a logo correctly. Um, they would do the black lines. Um, you can either do that by the pin tool, which I used on occasion but don't really care too much for it because I'm kind of anal in that sense, like I want to know what I'm doing. Um, and the pencil just always isn't as easy to use as I would like to be, So I literally take a tablet. Mine's broken right now, so I'm losing a mouse. So don't let that ever stop you not having a tablet to drawn. But I just use my mouth's. And when digitizing, I never, ever, ever start with the outline. So I would never take a black and just start drawing like I would never do this. And the reason behind it is that if I was have this logo don, I would have to come back and I would have to draw in all of this shape behind because I have to draw in the shape all behind here. So when somebody's coming to change my logo, it's just sitting behind here. Um, and it's just really unprofessional when you want a professional logo that people are going to use. You should always start with the interior color that way that they're different layers. I am a huge, huge fan of layers naming everything, keeping in words that organization system. So, like I said, we're gonna start with the interior, and I know that I'm gonna break this down because this is a new draft, so I'm gonna probably break this down into a couple of colors. And when I'm done, I might not even use all the colors because we're trying to go to go for a vintage effects . So I would start off doing the nose of color. I would do the teeth of color, the tongue of color, the skin of color and possibly the air. A different color. And I can always go down in colors, but it's always good to have a little bit more and to work backwards. So I'm gonna zoom in and with these things, like I said, it does not have to be symmetrical. It doesn't have to be perfect. That's why I like using a mouse over the pencil, because there is a little bit that is going to be different. And when I'm doing this, I will kind of just but against the lines as best as possible. And if they're not good, all interpret home. But right here I'll just fill that in instead of making this something different and one of my best friends and this is in the Pathfinder again. Goto Window and Pathfinder and I used the United all And so let's take this to a color that's a little bit easier to see against that. Let's see all these air kind of this weird Teoh show you. Let's just do a blue and I'm gonna actually come back into my original layer. I'm gonna lock it, I'm going to select it, and I'm gonna bring it the passage just slightly, so it's easier to see for you. So let me walk that back, and we're gonna go back into our lines. And we're gonna change this to knows, because that's gonna be its own layer. So make that knows, and you can see right here how I left that open because in this sense, this nose is gonna be a layer and everything is going to be a black base later instead of having a red base which does not fit in. So we're gonna just continue along just kind of figuring out what we want this to look like . We can always change it. If you don't like it, you can come in with the direct selection tool or just the white pencil. Um, and you can move them point by point if you don't like home If you're really familiar with the pin tool, you know that's the way you would do it, too. My favorite tool. Right now I'm using the pencil liberal instead of the brush tool because the brush tool kind of makes things on even and it does paths. Um, and I don't want that. I want a path that follows my line so you can go into the pencil tool and there is a smooth tool. And so if you select that shape, use the pencil, We can kind of start shaping this. Um, it's kind of like a a ne bis what we call them in art school. But when you're using charcoal and you kind of need Samir something, that's kind of what it So it's a smear tool. Um, so let's go back into the pencil tool. And if you ever come to the point that you're thing is drawing like this or you gonna shape like that, just select this and you can hit these arrows and it's going to switch it for you. So let's room out, Okay, that knows is looking good. So let's keep going. And so when I'm doing this, I kind of look at the imperfections that I have from when I was drawing it, because I want this to be original. I don't want this to be anything. Anybody else is done. I want this to be perfectly my own drawing. And so I think that he needs a little bit more shape on that side of the nose, and that's looking good. So I kind of got the note was done. I can always go back in and add a little bit more definition. You make a couple more shapes, but I was pretty happy with that. So let's zoom out. So if you're having problems with your mouths or your tablet and you feel like it's not cooperating properly something to look at, it is your fidelity and your smoothness. When I'm drawing, I always keep my new pencil strokes build. That's how I make sure that I have, you know, the proper amount. Whatchamacallit is why, when I do this, it feels it, um, I keep my fidelity at two, which is how closely it follows the mouse. I keep my smoothness. Zero. I've got a pretty steady hand. If I'm using a tablet, I've turned up my smoothness. Sometimes I find that it just kind of hinders me. Especially one of doing love was like this. But if you find that your mouse is not necessarily smooth or you're having a little bit of trouble keeping up dry turning a person reminiscence yell that helps. I never keep my past selected just because it's just a pain. And I don't edit paths because it will move your path if you're drawing on top of each other like, say, this is selected. If I draw a path that's to color the white I draw a panda read and I doing here, and it might not do it. It may only work when you do like things like that. I don't know nothing in the past that selected it could mess things up, but that's my tool preferences. You can always change it. I think even when you go into your smooth tool, you may be a change. Yeah, see, you can change it. And my my spoon. This is a 25% and as much as I used it could probably be turned up. But that's where I keep things. Um, OK, now the nose is done Let's go unlock that and we'll go into the teeth. And again, it's the same process that looks bad. So it's just kind of on the shape a little more. We can use the Pathfinder tool, unite, and then smooth it. And for me, this is just a process that I've kind of developed over time. I didn't always know about the smooth one, the smooth tool. But it is literally my best friend these days. Um and so, yeah, like there these just happy accidents like that straight there, like are really like, really, that looks it adds to the whole made effect, and we can zoom out and see that it's starting to take shape. If I turn this off, you can kind of tell those of the teeth. And those were the nose, and a lot of people might wonder why I'm working this way. But the truth is, it's so much more professional. I worked as the screen printer for two years, and the problem was people would send me logos and I would have to redraw their logo because it wasn't correct. We would go to change a color, or we would go to put like, say, we put this logo on another logo, say its text behind it, There'd be places that people would make, like, say, this outline here they would take this outline, but their bottom layer would kind of, like, not fill all the way. So when you go to zoom in 300% or whatever, so we can work, you can see that there is white space there where this like black would be and then this bottom layer. So it was just always so frustrating. So we began to make a workflow Is that while it may seem like it takes a little bit more time, it's perfect. You know, I didn't ever have to worry about. One of my logo is needing a color change, Um, because it was readily available. Let me change the color of this going on the tongue. And with clients, especially in the screen printing business. They would change their shirt color three or four times, and they'd want to see it this way, and they would wonder what it would be like with three color inning or two color ink and our motto waas do it right the first time that we can make changes because the customer is never going to be happy at first. And our goal was to make them happy with the cheapest amount of ink and the least amount of colors, because not only was it easier for us, but it also gave a quality product for less. Now, looking at this, I really want to try to make the muzzle white or a paper color. And so this is gonna be hard because I've got to decide. I've got to make a couple decisions here. I know that I want to keep it to three colors, so three colors. But I've already got a color here, which is my outline. I've got a color here, which is the for, and I know I want my teeth orange because it's Nutra rat. The teeth have to be orange, so I've got to make a decision now. Making it three color can mean two different things that give me that there three colors total in the image. Or it could mean that I'm only using three inks and having a paper or shirt color show through. Now. I really, really want this to be white, but when it comes down to it. I don't think I'm gonna be able to do it because I want the teeth orange, Like for me, That is something that I will not budge on. So I can either make the snout orange as well, or I can try to use, like, half tone powder or something. I'm not really sure what I want to do. I may just forgo that's now being color, but for now, that is kind of what it is. So let's go ahead and name because we didn't name it earlier tongue. We couldn't lock it and we can keep going. So what I'm gonna do and go ahead and switch over to the next video is I am going Teoh, while you're going, I'm going to outline all of these shapes here. I'm gonna go ahead and give a shape to the muzzle in case I ever want to do another color like a white. I wouldn't do that. And then I am going to come right back, and then I'm gonna show you how I do the whiskers. So let's not worry about the whiskers. Just go ahead and drawl over the whiskers. Have whiskers Um and I am going to show you how to do this outline. So let's break and I'll see in the next video. 8. Going From Sketch to Logo Part 2: Okay, so we have our drawing done. So I'm gonna go over a couple points of clarification. So everything is locked right now, but the for so let's like that. And something that may not have been clear earlier is if I have a shape. That's kind of weird. I make sure that I draw around at a couple of times. Um, you know, every single shape is kind of just me filling in, But there's this one. And I didn't really quite like the way that I drew the first time, so I would have just kept rolling. So that's not gonna do is all droll on drawing, drawing on top of it instead of using Li like this much tool for smooth tool is that they call it. It's just something that I like to do, because I know that my in skills are a little better. But yeah, you're more than welcome to use the smooth tool. But like you can see if you look how close like how many times some of these things overlap just trying to fill in this space around my outlines. So let me go ahead and unite all that because it's one shape, and I'm pretty happy with it. So I'm gonna do that. And what we're gonna do now is we're going to just unlock everything. So for the original, I am going to select it all. And I am going to hit option and I'm gonna click. I'm gonna drag, Don't let go of option until you've dragged it. Let go of your mouse and I go option. I find that I don't know if it's every single illustrator I know that this version I think this is version five. I think there's 56 and then Creative Cloud. If I'm not mistaken, not sure, but I find it it doesn't work unless you do it all the way. So let's take this and we're going to go over here, and what I'm gonna do is I'm being pretty new layer and recall this base. So I'm actually take this and we're just gonna go ahead and united all that and then let's take base and let's move it all the way to the bottom right above the original. And I don't think it is. So I was trying it again. There goes so select that Command X or Apple X and go to your base command v happily basically so my favorite tool to use And I even uses when I'm doing text. So let's just type something we can tight new dress So it's doing nutritious. And let's just pick something. Um, I have a lot of athletic fonts on here. Doing teacher designer fail like That's probably the thing that happens the most is that I use is athletic. So let's see, um, I think I have some up here. Athletic regular. Honestly, I found that when we did stuff, you know, it's Priven, a porn star kind of me was the most popular athletic thought that we actually used. I used this one over and over. Um, I don't know. There's just something about this shape that my balls just law over. Like athletic regular. So just, I don't know, use whatever you feel comfortable with, but you just don't that this works better. It stretches a little bit without losing its consistency. And while I'm never a fan of stretching type, when we did like numbers and stuff for jerseys because we used thermal plex, which is basically heat breasts material with sticks so When we did it, we found that sometimes the numbers need to be a little wider, so this one stretched when we were just really happy with that. So let's do this. Take your your mouse and click, and you can do create outlines where you can go to tight create Liz. It's also shipped command. Oh, so let's just create outlines. And what that does is this. No matter what computer it's on, if they will have that fun, it makes it basically you're drawing. So that's something that's really, really crucial when you're changing systems that also in screen printing, it's something that's great, because I hated when somebody gave me a file and I did not have the fun and I had to go search for it. So anyway, so what? I was gonna show you so you can go to object in path. And there's something called outline stroke and for some reason you can not set a short cut to it. I don't know if you can go into like the you know the actual preferences. I know there's somewhere here in the provinces that you can set like certain certain things but right male I have not figured it out, Um or haven't looked front Lindstroem. So you have to go into path. So its object path, how one stroke. And so and that didn't work for somebody excusing Now instruct all set path. So we go in and we can actually making outline. Um, sometimes I find that miter makes some 20 points, as does Bevel. So I I like, stick with around. It's using pretty happy. It makes me pretty happy, at least. And what it does is it makes obviously another path. So I agree that so let's make this by different color so instantly I've got an outline we could group this back together. So, Commander Apple G No, we do that with the back commander, Apple G. And so let's go ahead and just make this orange and then so yeah, I use this a lot, and you really just have to play with the depending on your size. Your page, Um and I am going to man bracket to the left. And what that does is that just sends it all to the back. Um and I think you can do that in objects. Arrange something, Cindy back Um and we're just gonna, you know, unite that instead of worrying about making a group. So that is just a quick, easy way to make nice type in sports logo's I find, especially vintage sports logo's. They are all a couple colors, so you just keep that in mind. But anyway, so what we're gonna do is we're going to actually do that here. So path all set path on. We can just do stupid one with this one. That should be fine. Let's see that. Let's go ahead and united all and you see that we missed a couple pieces. So let's just take that here. Mr. All Shape covered up and when you night it and OK, so that's on the base. So let's go ahead and look at this and we can make it black and no, for some reason, in your default palette. The black is not black, so let's look here. See, it's like 69 70. So let's just drag this because I like perfect black. Um, and there's just a weird shape in here. I don't know. I guess I just missed it. Wonder if you could just delete that. Um I had totally but on my keyboard. So just trying this here, Okay? Already. You can see you have your outline almost done. And in some instances, this might work, you know, just leaving it just like that. But for me, I find that it kind of looks weird. And I would be happy with it if it wasn't for here. Just this if it wasn't for this area looking weird, but okay, so actually, it's under that. So if it wasn't for this area, this area and all of this up here so honestly, like in some cases, this may be perfect If this was a, you know, more even logo. Um, I would totally use that with the reason I use this is it starts me off with my base being somewhat even. I'd like to have different line widths, but I could like this and no, that it starts off kind of the same way. So I'm looking at the So go now. And what strikes me is weird is a machine like all this is the for is too far over. Something that I kind of mentioned before. But what we've been doing, I like to call an additive process and you can also use a subtracted process. But since we've made this as certain layers, I can't actually take this and I can select this and I can't erase the pieces that I feel don't quite work and I can take just subtract from it. And sometimes since this is a group because I've erase it, you have to go in and you have to select its leader. So did that. And one thing to remember is, when you're going in here, if you don't touch all the way, it is just going to erase. You have to touch overly here and all the way down here to completely erase that to cut that section out. So if it doesn't, if it's not clickable like let's go forward again. It's not clickable like this. You didn't race always. So I had to rights here in the race here for it to be deleted. So, looking at that, looking at the better, it looks so much better this way. So I'm gonna go in, actually, and I am going Teoh, just kind of even this out so suitable here. And that's just kind of get rid of that harsh line that I had. I don't like anything to hoity kind of like everything of mine too. Just kind of flow. So, like, looking at that, we need Teoh. I'm not gonna redo the base. I'm actually just going to take a little bit of it away. And that's fine, because we're gonna come in actually, and do all this anyway, So let's take a little more and I'm just erasing it. All of your layers are unlocked and you just make the speaker so you can see it and you just erased. Let's get ready, Top player. Like I said, all these were like to. So if I just was on the top layer and I erased, that's gonna race everything. So But if you lock everything, you've been building it on layers, it will Onley erase the layer that your own war If everything is a lot, you can just select. It's hard to see because of this great land. But if you just select it and it only races that So we're up here on this now and these don't touch. If I'm on that layer and I race is only gonna race what I've selected. But if you're working in layers and you're locking everything, really just don't have to worry about anything. So we're on the space and we have offset the path. And I'm really happy with it. I'm really having with logo looks, I'm happy. This is a little bit thinner. I feel like it's a better shape for him. He's not so just wide all inside. So what I'm gonna do is I'm just gonna come in in the places that I am not happy with. I'm going to take black. You just suggested here. I like to do 100% black. I know it's kind of crazy, but when you add a color find here and you're working so like, say, this little red if I had it right here, there is no artifact ing. But when I have this regular black, I don't know what you but is it artifacts? Sometimes Sometimes it makes these really, really weird lines, and it doesn't happen all the time, But I have found in the past that it does, and it may be my screen it maybe my computer. I'm not really sure, but I know that when I used the full black. It is always right. So that's what I try to use. So let's go here, and we're just gonna fill in our shape. It doesn't matter if you draw over part the for I guess where I'm looking for you draw over the per doesn't matter because you're on a lower layer and we're gonna unite everything. So it's all fine. I don't really like this. When we do it again, I find that a lot of times I do things multiple times because I want right, And so that should be something you're never afraid of. You can't get it right the first time. Delete it, try it again. You know, whatever it takes when I'm going Fuller, I just You know, if I do this and it's not what I wanted to be, I'll just do it again until it is right. Malice that are. So I'm gonna keep that. We're guys. So looking at that, that's OK for now, I may go back in and make the for fit in a little better, but that's kind of my option. So let's keep going. I'm gonna add a bull, but more just trying to keep everything. Philae's handmade as possible. I'm not really worried about, you know, exactly following my lines because it's my drawing, and I can change it if I need to you. And that is way too wide on the side. So I can actually just drag it and bring it in just a little bit since we went ahead and we changed the for over, So I just followed that line, Just pulled it, okay? And I'm really happy with this. So let's finish office here. Um, Kasam are just dragging all over here. Okay? I'm happy with that. Make sure everything is lot. It is. So let's elect on well, united. And there you have it. Like I said, I wasn't quite happy with the for once. I added outline. So let's lock the base, go back into the for and changing color around, and we'll just draw a little more, and then they just want to put a touch here. Kind of break up this black. Um, I find that older logos kind of have this, like, artefacts looking thing. So let's see that that simple We should make this a conviction. Yeah, Yeah. I'm really happy with that. So it's selected and what does unite that? And then if you ever come in and you find that something is just weird, So I say this face like You don't like it, just going think that's move, tool and just move it and just real quick we can actually, just since we're happy with that, we can actually just you just click it and drag turn everything off. When we walked the base to come back on the original and for the whiskers, I like to use the pin General, Where's I don't think there's anything on there. It's like that. It was turned off. So it says she's a pinhole I had to do with Bruce. I will actually control, and we'll swap it. So that is an outline. Um, walk it out, which is that maybe a little bit too much. But I'm happy with that. You can go into stroke, and that's that account on it so that it's round. And if it's not the right size, you can always just play around with it until it is. So I'll just do that a couple times and you can option drag like we were doing before. It's kind of drag him into police. You can use your anchors and self. There's a lot of good classes on skill. Shredded teaches you how to use the mental or their story ALS. And so if you don't want to use the control and the anchors for me, it's just kind of like playing around. So it's right, Um, and you can do that. And what I'll do is once that is done, I will just select him. It's hard to see because it's layers Black has changed this like orange. Okay, so accept it and we'll get objects and we'll go Teoh, you got a path and you can outline stroke, which was what I was confusing it with earlier. Yeah, on your stroke on that makes it a drawing, and from what I'll do from there is, I will just cut off the bottom corners with my razor and on the next video, I haven't finished, and we can talk about what we can do with the logo 9. Going From Sketch to Logo Part 3: I didn't create these exquisite Hers is outlined yet. Um, sometimes I like to just go ahead and move this over in case something happens. You know, you probably never need on blood just in case I do. Something happens. They're not thick enough when I finish it. I don't know, but I just never know. So I always tried to keep him. So let's go ahead and outline these so path offsets are outlined. Struck? Excuse me, and we can unite on and you're good to go. And you can kind of look, it's your drawing and you can see that the whiskers up top are thinner than the other ones . And I do that to give a little variety. You know, if you look at an animal, those are either not as numerous or they may be a little thinner on actual animals. And so I'm just gonna kind of a race around these so that it just fits a little better. Now I realize that my eyebrow is not quite right. So let's go into the for and we're going to use this tract of method. Let's make my brush a little smaller, and we're just going to erase some of this odd for Let's get out of that little he's there and they haven't. So remember, there's always the additive and this attractive, so don't feel like you're stuck in one place. So I'm really happy except for this knows, Um, I thought that it would look better, but I want to make a thicker line for that shadow over there. So he's not even fully united. So let's go and unite him, and we're gonna do subtracted again. And we're just gonna raise this point. I'm just to give the little break. I don't want to touch. And so I love this orange against this brown. Um, so I think I'm going to stay with the brown for this logo. We'll go Maurin the color in the next video. But for right now, I'm really drawn to this for this local. I had an idea of what I was going to do for him way before we ever started. So So we're just gonna lock everything. Um, but we're gonna lock, lock the whiskers, make sure their full 100% black, Um and you can keep the base locked because it's black, and that's not gonna change. I know for a fact that's gonna be sane. So we're gonna take this now, and you can do command you to group it. So I'm just gonna make this brown, um, And the reason that I, you know, left this apart because I may in the future, we want to make this logo more colors. And this now, of course, would be, you know, a different color. So we're just gonna create, um, a unified shape and colors, and we're gonna come and g and make that a group. And so we're gonna make that orange, and we're gonna make the tongue brown. And there you have it. And I think I'm gonna make that oranges. Well, so there's your logo. The good thing about it is that we can move any part of it, and so that separates it, and And when you're going to change it, you know, it makes this process so easy. I can't tell you how easy it is to make changes with your logo made like that. So if you don't like the nose, you can pull it out and redraw it. Um, so this is kind of the point that you can look at this logo once you start adding color to kind of change things. And like I said, we'll go over a little bit of color theory and why I choose colors the way I do in the next video. But for this drawing, it is just I know I won't orange teeth and I know I only want three color, so I'm just kind of settling and let's see this little, uh, paler orange because the other one is just way too me on. So there's our logo and I will see you in the next class to talk a little bit. 10. Coloring Your Logo: Okay, so let's talk about color now. I randomly Googled most popular sports teams colors, and I found this chart, and I don't know how accurate it is, but I think it's a good representation to kind of talk to you a little bit about colors. So, like I said before, I worked at the screen printer and we did not mix colors. We did not do spot colors of process colors. We stuck to the basic colors that we had if you didn't have a You know, if your logo had a color that we didn't have, you could pay $50 for a bucket of ink. Well, we could try to mix basic colors that we had, but we weren't gonna go out of our way to please you because for the simple fact is, most color stick within about probably 8 to 12 colors, and this is a really good representation. We did. We had ah three or four greys. We had probably two or three greens like Dallas Green and like a neon green, we had the Keret in a maroon. We had like a royal blue and in a navy blue, and we had like a yellow, and we had, like me an orange regular orange and I think a purple. We might have had a pink or two, but so just saying we did not have a huge selection of color. So when you're designing logos, that's something even to think about. Is this an easy color ink that I could get if it's being embroidered, you know, do they have to order special thread all these air gonna add cost to your sports team and your client in general? So that's a good rule of thumb to think about when you are deciding on what colors to use for your logos. Um, I mean, yeah, it's great to add Grady INTs and, you know, drop shadows and stuff when you're creating logos. But we have to always think practically can this be reproduced in the real world? And that's more or less the thing that I'm trying to accomplish by showing you why vintage logo's air so crucial and so important because they stick to these rules that they were practical and that they could be used for anything. Embroidery, screen printing posters. Um, you know, we have to look back and we have to always think that like, Yeah, there's some cool things we can do now with sublimation and new kinds of printing. But those aren't always affordable and the runs are usually in the hundreds. You know, said that we have a Little League team we're designing for and there's only 12 players. You know, we have to think, Can we produce 12 in a reasonable quantity and for a reasonable price? So, yeah, just always keep that in mind when you're creating logos, especially for sports teams and people that don't have the means. You know, if you're running an ad campaign from Target and they need you to, you know, produce a new logo for them, they're gonna have millions of dollars to spend on, you know, making this logo the best form whenever they use it. But for a Little League team, they're not gonna have lots of money, and they're going to keep things down. Um, so just always keep that in mind. So, yeah, these were some of the basic colors. I think it's important to say that there's not orange in there. There's not maroon. You know those air colors that are generally safe to use So just things like call your local screen printer when you're designing a logo. If you're that they're gonna be printed and say, Hey, you know, what kind of base colors do you have? What is my range? Um, and that's something that just really is good to go talk to a screen printer, go talk to somebody that doesn't bordering, you know, see what they have on hand. You know, that's not gonna cost, actually, that they're not gonna order special for you. Um, I think that's a great you know, I like I said, I work for screen printer and that's such valuable knowledge that I had, So I kind of pulled some logos off of Google. Um, that is just I just typed in vintage sports posters, and you can begin to see that it is greens. It's yellows, whites, threads. It's blues. I'm just really the symbol stuff. And while these colors have kind of faded over time or gotten grimy, these are you know what you need to be looking for. Um, but they're also a good idea toe pull like this khaki down here in this yellow like that's a really nice color combination with this red. So don't always look at the conventional. You know, um, they're just options. Like, I love this, like, pale green with this blue. And while a screen print is not gonna have that green, you know, having one special color, as opposed to having like three special colors is completely different, you know? So just think about if you're gonna have one special color, that's not a base color, you know? Think is it worse? Is it worth the cost? And sometimes it is, you know, especially with the green compared with this blue. Like that's just such a nice combination. So just always keep that in mind. Um, And like I said, if you are getting it printed, think about, you know, see how much it's gonna cost. So now that we've kind of gone through there, I've pulled together the logos that I have done, um, for this project. And since we already kind of looked at the nutria rat, I'll just show you some other ones that I kind of, you know, just doodle up for the mock ups. It's let me to keep in mind. All these are like I said, in layers, so they're all able to be moved around and changed. But I think it's so crucial that when you're doing mock ups for these logos while this one is going to be, you know, full white and full black when you're printing when you're doing mock ups and you're kind of showing people that these logos have been around forever, Um, I go ahead and pull this away from the 100% black that I would normally use. You know, I made a big deal in the last video about it, but for this, since it's going to be part of a mock up, Um, I go ahead and just pull it back, and I make sure that this is an off yellow. I mean, that's just for the mock up. You know, if you want to get that printed that way, that's fine. But you also have to remember that some people may not have an off white. They may have a khaki that we had a khaki, so I just thought about that, And this is a maroon and not necessarily a read. Some other things that you can think of is say that this is going to be printed on a white T shirt and you have to save costs. Well, what are our options? You know, dropped the read out. And so when we printed this will print as a shirt color, so there'll be nothing there. So we were literally just printing one color that black, um, or, you know, we can keep that red. Let's command Z under that and we can take this blackout and we can print. Just is the red, you know, and it doesn't quite look as good, but say that it's on a black shirt and it's just read when we get the full just of what that logo is. You know it is the same logo. It just doesn't quite have the outline. But I don't think you lose anything by putting it on a shirt that's color the outline. And in this one I used a royal, which it's not quite royal, but it's close enough say that I used to royal and then I put in this navy, so I'm getting two colors but their basic colors. But you can see I did the offset path here. This is his original online, and I've offset his path twice. So if we just delete that for a second, you can see what he looks like like that. But adding a couple more layers makes him look more vintage on. Guy could even do it with the crawfish or, you know, the cow. Um, but I try to always try to out outlines what I'm doing vintage, just to come to see what it looks like because you never know. But we can look at the cow, and you can also see that his nose is a little offset. Um, and it's his own layer. So we could, like, drag his nose back in and, you know, it would be perfect, but we just delete it and change it toe, you know, this one to read. It's grouped in right now, but the reason I haven't offset is because it gives it the look of we printed this logo, but the red didn't line up properly when we're printing it so that something can look at a lot of the old vintage. I don't know if any of these posters over here have it, but a lot of old vintage printings you're layers don't always quite line up properly, and these are like the best of the best. Of course, they're layers were gonna add up, but just let me think about you know, there are so many options that we can replicate to make our logo look older. And for me, this is one that it's really, really subtle, you know, doesn't move far, but it is nice. So just kind of include enclosing, You know, you want to look at what you can do. Practically. You know what colors are already out there. You know, look at your sports teams at home. Look at professional. You know, NFL teams are Major league baseball. Um, look at what their logo's air doing. Look at the colors that they're using and then see how those logos can be applied. I'm not a big wine in like saying that, you know, let's use complimented colors. Let's use ones that are on the opposite, side the wheel. Now, while that works, I would rather do something that I know that I can have printed, you know, than worrying about like saying that I've got this like neon orange like what is the opposite of that? And so knowing what has happened and what's come before is a really good way to indicate what you're doing. You know, I'm not trying to create something that's new and never been done before because that's not the point. The point here is to do something that seamless, and it fits in with history. But it also feels new, Um, in which I think that these logos, except for this one, you know, this was just for fun. I wanted to make, you know, an anthropomorphic ah logo. But, you know, we look at these two and thes look timeless, um, that really well constructed. You know, they've got a little bit character to him. You know, They feel like you may have seen them before, but you haven't because their new. So that's just something we want to do. We're creating identities for these teams, and, you know, you can always add stuff. Say that we didn't like the crawfish because he wasn't, You know, he wasn't good enough. Well, I can come in, and I could just kind of create some shapes and add another color. Um, it looks like we still got maroon selected. Um, so you can do that, and you can give him a little bit more character. Um, and this kind of makes him look like he was almost stamped at some point. So that's an option. You know, um, is once you get until colors is to start adding more layers, Um, and so we can even make this and we can make these highlights, which I actually like, you know, them room better. I wasn't expecting that to be the color, but yeah, so just think about your options. Think about, you know, can I add a different color and we could come in and we could make this a black half tone, and that's really easy to show because it's going or swatches and let's go to I always forget where this is. Patterns, basic graphics, dots so we could go in and see if there's any smaller ones. See, that's the problem with these. Is all these air so large? Here we go so we can go in and we can do this. And if you ever said this to a screen printer, you know, make sure that you have actor half tones like nothing's worse than having dots into you or pattern because I can't do anything. Is a screen print with that? You know, um, so, yeah, just think about what you can do. Um, your logo is in layers, so you can change things. You know, like, I may get in here and I mean, decide that this crawfish is just to plane like he is, so I can come in. I can duplicate it. We can, you know, a new group, it breaking apart, Say that I just want his claws to be a color. Well, and I already united this one because I knew he was only gonna be one color. But normally when I created, you know, all of these, these claws would be different and his eyes would be different in his tail would be different, like we did on all the shapes of the Nutra rat. But I've already joined this because it was one color. But just for the sake of, you know, say we want something special, like they're the I don't know, the fiery crawfish or whatever, you know, whatever weird kind of thing it is. But, you know, we can add that and we can, you know, make him a different color, so don't feel stuck in anything. Don't feel like you have to be traditional, like the crawfish is red. So I have to make a red crawfish. No, like, you know, it's like a ah blue crab there, tan or, you know, a brown color, but they have blue claws. So I just think, you know, like, what can I do to make this logo different but still fills like it's a part of the past, but moving forward and actually like looking at this like, I really like this. I would go ahead and make this last segment, um, yellow. I would separate this from here, and I would make that yellow as well. I really like it. It's cool. It's just something I just saw him win. Decided to try it to see what it looks like. Um, and I end up really liking it, so don't feel stuck. Um, you know there are options, but, you know, try to keep her logos a few colors because we're always thinking about how much would this cost to be printed? How much would this because to be embroidered on? And that's something you always have to ask yourself when creating longer. So thank you for sticking with me. Ah ah, Upload a couple sketches of your colors. Um, even if it's just blocks of color, you know, say that you're you know, you've got your logo finished and it's just black and white right now. But say you want us to look at your logo choices. Your color choices. I'm just make a couple blocks of color. Put him by here. Logo black and white or, you know, make a couple mock ups or do both. You know both. It's helpful because we can kind of look at we can see how they're working together, said Cover up the crawfish with my hand. I can see all those colors are working, but I can also move down and see how they're working with the black. So upload a couple of those. Let's get some feedback on him. I'd be more than happy to look at your logos 11. Finalizing Your Logo: So I've pulled this file into Photoshopped. It's, um, occupy curated. I've included three of them for you to use. You can go into the Project tab on skill share, and under Resource is there's a link to download them. I tried to upload them his project files, but they may be too big. They didn't seem to ever want upload so you can download them for my Google docks. But yet let's get started. Basically, you just download him, open him up in photo shop, and they're ready to go. I have, like I said, included three. But you're more than welcome to make your own. I've included a couple of links to other mock ups, whether they're posters or coffee cups or whatever, and I've also included links to royalty free images. So if you need like a football team from the past, that's, you know, able to use this part of remarkable. You can do that because you can go to one of those links now loaded, but let's get started. So I have already taken a logo. It's the cow logo I created, and I have copied it into my clipboard from illustrator. So when I paste it, It can be a vector file. Um, and that's always really useful. The way that I've broken these down is you kind of got a vignette on the top or like a lens flare or something to picking on which mock up urine. And then I've broken it down into each individual item so you can go in and you can turn on and off items to see what they are. But basically, the general rule is, if you see a black lock on there, that means it's locked, and you probably shouldn't touch it unless you really know what you're doing. Um, but yeah, Like I said, if you want to see what it is, you can just click the eye or read the description. I think they're pretty descriptive. But so with this one, we have three different things that we can change. We can change the small pin, the large men and the pennant. Just depending on which mock up your own depends on what you can change. I know that the other one has, like a little toy that you go in. You can change the color of depending on your football team, but you know that we just do this one to get started, and I'm gonna keep this kind of shore because I'm sure you're tired of hearing my voice and you just want to finish your project. But let's get started. So let's start with the pendant because it's the largest logo and you can see there's like clipping mask and there's layer mask and there's a little bit of everything. But I have kind of highlighted things that you should change. It's either gonna be like green, red or orange, but you can see right by the eye where they're highlighted. So let's go and get started by changing the color of this pennant. My bovine logo on my head is like a green color. So, as you can see, you can just play around dragging until you get your color right. Looks about right. That looks good. So we'll make that green, and we're going to change local well if you notice the logo is a smart object, so weaken DoubleClick, the smart object, and he'll tell us basically that any changes we make in this smart object will need to be safe for them to appear. And so that's fine. So let's hit. Okay? And you can see that this layer set to 91% and it pretty much fills up the whole screen. Well, we can just take this paste it. Let's face it is a smart object, and it may take a second for it to load. There goes so we can pay set in. Ah, if you hold shift and grab a corner, you're not gonna distort your logo. So let's do that. And let's make sure he's a little centered. He doesn't have to be perfect, but let's make it centered and you can hit inner and it'll apply that. So for some reason we accidentally created a new layer, which is fine. Um, and since this layer is that 91% let's go and make this layer of 91% I did it so it fits more seamlessly into the background. Um, but that's fine. So you could just delete the old logo that I have in there, and then you can go to file and save. Okay, so I say that. And then I came back into this new logo and you can see your logo is in the mock up and you may have to move him down a little bit. I'm just doing my arrow key. Then we come down, but then we can go in and we can do that to every single one. Um, and it's just a simple is that if it's text ah, you may have to re typed text. I know, like in the logo with a hand. Ah, they're not smart objects, but you can just place them in is a smart object of layer and just delete the old artwork. It's really, really simple. Um, but yeah, you're more than welcome to use these mock ups however you like. Ah, I just prefer you not used them to try to sell anything, but you can definitely use them for demonstrations or put him on your website or in your portfolio, whatever you need to do. So Ah, upload your mock ups. I want to see them exist in the world world because the most important thing about these logos is that they're functional and they're realistic. And thank you so much for um joining me through this process and in this class. And if you have any questions, feel free to post it on the discussion board. Um and like I said, I would love, love, love to see your projects. Thank you so much. My name is kitsch and I will hopefully see you in the next class. I teach, so thank you so much.