Transcripts
1. Introduction: Hello and welcome to my course. My name is Martin Per he niac. I'm a freelance graphic designer illustrator and also and it'll be certified expert and instructor. In this course, I'm going to show you my approach on how to create a typographic design using for the shop and illustrator, I'm going to work you through the whole process, step by step from finding inspiration to drawing concepts and then finalizing the artwork in vectors. Using Adobe Illustrator, there will be lots of useful techniques I'm going to explain on the way like how to use three D filters in illustrator how to work with text in general. And once you're done, how to do different color versions quickly and also how to show your work to your clients in the form of more cops or visuals, like a poster or a T shirt. So I hope this is something that you're interested in learning about. And I hope you will be also interested if you joined my class to do the class project where you can really practise the techniques I taught you. And also you can show your work to me and everyone else on this class and then it's always great to get feedback on your work. So I'm looking forward to working with you on this project and without any further delay, let's get started.
2. Workspace: There's one last thing I would like to show you before we start working on this project, and that is my workspace. So the way I prefer to work is to have a reference monitor on the side on which I can see lots of useful things, like my pin transport, from which I can find the inspirational elements. And, of course, I also usually use that screen for bridge. So whenever I work on a project, I would have my folder open, and then I can see exactly all the elements that I'm going to use and all the fires that I'm working with. So that's very useful to have off course. You don't have to have such a huge secondary screen. You can have a smaller one as well. But it's definitely useful to have one, um, the one. I'm using it as an easel 27 inch screen, and this you can see. I turned it 90 degrees to the side. The reason why I like it that way, First of all, because I don't have enough space on my desk for more, um, like another landscape format screen, but I can use a port, a former to Seymour vertical details. And it's grateful websites, even whenever you ah, checking your emails or just simply browsing on a website, even for blog's. If I just open up another block, you can see I have so much more information visible at once. So that's a good thing to have. Also off course, very important. Your my primary screen is actually a vacant 27 inch Syntex screen. This is obviously an amazing tool to have, but this is not necessary for any anything similar to what I'm doing here. You can always get and into us as well, um, or in into a spro from vacant, which are both really useful. They are not like this where you have a screen and you can use ah stylist to draw directly on the screen. But obviously this is the high end product from we can. So I'm just going to show you that I use the screen sometimes, as you can see it now, and I sometimes use the mouse to work on. For example, when I'm just doing really fine details, let's say using the pen tool and precisely drawing something in vectors, then I would actually use the mouse. But most of the time when I work on a design, especially when I'm doing ah, drawing or sketching, I would get this screen closer to myself so I would bring it all the way out here. And then I can even turn this using this stand and be able to start drawing on it more on a flat away like that. So if I start doing now, you can see it's much more convenient, and I can then create whatever I want from this point on. So having a screen like this is brilliant, especially if you are good at Freehand drawing. Ah, but it can also be used as a normal screen. So if I want, I can always just turn it back, put it back in the background, and then it becomes an normal screen. And all of this is connected to my computer bearing the background, which you can see. I'm using a Mac Pro, which is again amazing fast performance. Every application opens up very quickly. Saving is very quick, and it's a very reliable computer. I prefer to work on Mac Will do I use PC for many years, but Mac, I think is a bit more reliable and I have less problems with it, so that's my set up. But as I said, you don't need these high end products to create great design with the cheapest laptop. And ah, even a video was cheap mouse. You can do much better work them while I I'm doing off course. It really depends on your skills and your creativity. So that's all I wanted to show you in this video. And then in the next video, I'm going to show you a couple of additional things that's useful to know how to set up photo shop for sketching.
3. Finding inspiration: before starting a project. It's always important to find some inspiration, so sometimes you might have an idea, and then you can start sketching straight of a. But it also happens that you're just stuck and you don't have any creative ideas. So in these cases, Andi, I would say, Even in general, it's a good happy to get into looking on websites like Be Hands and check out the recent work off other creatives so on. Be hands Apart from sharing your work, you can research and find inspiration very quickly and easily. That's in our case. I'm looking for typographic or typography just in general topography. There we can find lots off examples already and the whichever we like we can just click on . Let's say I would like to see this, and then we can have a closer look at the design. Sometimes I'm Behan's. There will be different versions off the design, or maybe even the Vaid that these designs being created will be visible so we can see here the original design on paper with ink. It's a beautiful, beautiful, creative work there, but then, when you like something, you can appreciate that project of course, what also added to a collection so you can create a collection for a project that you are planning to work on. And that way you will have all these different designs in one place so you can always come back to it, reference something and get inspired. Another website which I highly recommend to uses Pinterest. Um, once you registered there, you can again follow other people and get feed from them. So, for example, if you follow me, my name is yes, I'm a designer on Pinterest and that's by the way, my website as well. So if you follow me on the interest, you can find all these boards here that I created. Let's say we go to typography and these are different designs I liked and ah, safe for myself for future reference so you can see a lot of things are coming from B hands , dribble or other websites, which I usually check for inspiration. And once I like them, I can just pin them onto these board and I can always come back to them and find inspiration for my work. There are also some useful blog's, one of which is my all time favorite, Abda Zito. Here you can find very useful articles and inspirational collections. So once again you can search for different areas. In our case, last use typography and then within that you will find again amazing examples that tutorials as well and so many useful things here. Last but not least, you can also use 99 designs, which is ah, crowd sourcing website. If you are again, not sure what you should design when it whenever you are just practicing. If you want to find a project work on here, you can find something that you might get paid for at the end. Obviously, these projects will be very competitive. There will be a lot of designers working on the same project. But if you are the best or your design is, ah, the closest to what the client wanted, then at the end you might also get paid for it. So why not earn money while you are practicing, so I can highly recommend to check this website out as well? And last but not least, whenever we talk about inspiration, I would like to also mention that not only the computer is a good source of inspiration. I recommend to read books and also, of course, go outside, take pictures and socialize. Meet other people because it's not good to be always in the room and just look online for inspiration. Sometimes you might just be inspired to do a great design, but just simply go for a hike in the mountains. So all in all, it is completely up to you. What you feel works for you. What makes you inspired to create some great design, but definitely considered this getting inspiration as part of the whole workflow?
4. Setup Photoshop for sketching: before I start sketching, I would like to show you how I set up the document in photo shop whenever I want to draw. So first of all, I go to file New and I normally start with the default for the shop size, but you can also change that. Let's say if I want to work a little bit in the bigger size, I can type in 3000 by 2000 pixels and then I click on OK, so there's the new document, but I straight way going to edit, feel and choose 50% gray. That way, I don't have to stare at a very bright background. It's much easier to draw on a bit more faded grey background, and I normally work on a separately year. So I also created a new layer here, and it's up to you whether you prefer to draw weight of white or black. But if you have the default colors, you can always press X on the keyboard to switch between these two colors and then off course. If you use a tablet like Sinti Koran into us, you can use the pressure sensitivity off the tablet to be able to draw that option is here on the top. If it's not turned on, you might not be able to use the pressure sensitivity for changing the size. But you can also use the same pressure sensitivity for the opacity off your brush. That way, you can create even mawr fine drawings. I'm just going to increase the size of the Russian, show it once again. So with both um, Properties said to pressure sensitivity, I can change in within one brush stroke both the capacity and the size of my brush by just simply changing how much pressure I add to the stylus on the screen. Obviously compared this with a mouse, you will never be able to do that precise drawing. So that was when I when I use the mouse instead off the stylists, if you want to do freehand drawing digitally, I would highly recommend to get a tablet and waken products are probably the best because they are very reliable, and also the into s tablets are really affordable as well
5. Sketching concepts in Photoshop: in this video, I'm going to walk you through one off the sketches that I created for this concept. This is not the 1st 1 and not even the last one. And actually not the one that I selected to go with and to create the finalized version from. But this is probably the best to show how to approach a concept sketching in photo shop. So first of all, here I decided to go with a shape that is easier to do with the vector shape. So although I'm sketching, ah, I still use some geometric shapes and it's easier to do this by using the rectangle tool in photo shop and then just to simply draw it by hand. So once I have that shape crest, basically, I started on a separate lier, drawing the taxed and then designing the ribbons on top and on the bottom. So obviously I have the court ready. So I know exactly what text I'm going to work with. And based on that, I'm trying to create a nice, symmetrical composition where I have the main words, um, like, highlighted with the ribbons. And obviously the skill is the focus off the whole text year, so that's in the middle. And it's been really big. And I came up with this idea of using a star for representing excellence on the top and the hand like a fist representing attitude. So this will be like a little illustration. Will elements video the old Crest design? And then I'm going to try to play with the placement and size off these tax and also additional little decorative elements you can see. Sometimes I'm selecting parts of the text, move it around, using the free transform tool, even re sizing it like here. I duplicated the shape, and I created a little bit of a depth or a frame from it. Now I am actually redrawing the text because I like the placement. I like the size and composition. So now it's time to give it also a little bit off depth, because this is going to be that, um, with probably I'm going to go for And at this point, I'm not worried about what typeface to use, because I will decide later whether I can use an actual existing time face or I will have to do the actual tax manually so if I do this nicely, I mean, the concept is well drawn. Then it will be easier later on. The decide whether at high face will be fitting or whether I will need to draw this manually by hand in illustrator, which is also not that difficult. And you will actually see that the finalized concept that I decided Teoh create an illustrator. The main text will be a manual design, so it won't be an actual tie face. I will design it using many of the pentacle within illustrator. So I carry on adding more depth and detail on each of these elements. So I'm really highlighting, um, the ribbons and obviously the main text. And I'm giving a little bit more detail on every detail, off the text as well, and just really find the strength of each and also try to find a hierarchy. How Teoh get things in the right proportions. So obviously here I'm working with one color and on a grey background. But its still can represent that what is going to have a stronger visibility or priority in in the whole design itself. So by increasing the line weight or changing shading, changing colors, obviously, later on can always help to bring out or hide some details back further in the background. So I'm still deciding on some decorative elements here. But generally speaking, this is the final ice concept. Now I'm just really going to refine all the details. Like the star on the top. I decided to redraw it. Odo. Again, this is just a sketch, and it's not the finalized vector art. I still like to tidy it up just to be able to compare it with all the other designs and decide whether this is the one that I'm going to go for. So I'm trying to convince myself. That's why I add some details altogether. Obviously, this is a speed, ah version off the whole thing. So I spent this up around three times compared to the original speed that I was drawing it . So it's around probably 15 minutes I spent on each of these sketches. There's no point of spending more time than that, but it's good to not to rush as well, so it's still good. Teoh refined some details like you, so I remove some of the lines that should should not be visible so the lines off the crest or that frame is now hidden behind the ribbons, so it looks a little bit better and cleaner. I also added the name of the person that I quoted this tax from. And now again, I'm just adding a bit off the tail on the text and decided that probably the excellence and attitude will use Ah, serif font. So I'm adding little serious details just again very quickly. Ah, just to make it more similar to the final tax that I'm going to use their and then I just idea of the text as well. You can see I'm using the less O'Toole and then free transform to move the characters closer to each other, balance it a bit more evenly within that ribbon there at the bottom. And once again, I'm just refining the line weight on the details on each of these most important elements. Again, the outline. I'm giving a little bit more depth. And although I started with the vector shape now you can see I actually drew over it using the Brush William photo show to just have that overall ham drone quality to the whole design. So here. I'm not worried about a vector style. Ah, drawing this should look like a hand rowing because this is a sketch and as the finalized version. So I'm happy with this, but, ah, I will have to see all together all my concepts to decide which one I'm going to go for, and that's what we're going to do in the next radio.
6. Selecting the best concept: once I finished my concepts. It is time to decide which one is going to be the Vina, which is the one that I'm going to take into the next stage when I'm going to refine it and turn it into a vector graphic. Now, this is a big decision here because although I only have six options, it is still not easy to decide which one will work best. So at this stage, it's important to have ah, nicely refined illustrations or sketches to be able to compare them to each other. I also prefer to keep them in one document. As you can see it here, I have them on separate layers so I can select them easily. And I can also steal the use, like a free transform tour and the holding down command or control. For example, I can play around stretching each of these designs, see how they work, maybe rotate them around, um, on all kinds of different things, even using the warp feature on it. If I want to add like a curve into it, So there's still a lot of things I can do here, and the check whether a design that I created work better with some modifications. But essentially what I am doing here is to have a closer look at each of them, compare them to each other and decide which has the most impact or which is the truest to the original meaning off this court in this case. So which one represents the message that I wanted to achieve? So here you can look at again lots of different things, like the style itself, the funds, um that I I used for the taxed or just the general composition. And in this case, I created six concepts. Sometimes I create more. Sometimes I create less. It really depends on how much time I have and how quickly I get to something that I really like, and I impress myself. So it's always good to have more options to choose from at this stage. But I am going to decide between these six options, and also it's useful at this stage to have some rest. So after you created your concepts, your sketches, you have some rest. Go do something else, then come back and with a fresh eye, look at them again and then once again decide which one you want to work with. Also, ask someone you can send this BB is the or just a J pic version off this to a friend or show it to other designers or creatives or even any people really that, you know, and just ask their opinion which one they like from these Now you shouldn't base your decision entirely on what others will say because it is your design, so you should be responsible enough to be able to choose your favorite. But it's always good to have others opinion as well, in this case, although I like most off them my favorite to were these two here. So the one on the top and the one at the bottom both in the middle and the reason why I like these because they are really nicely balanced. So as an overall composition, they are really strong, the one on the bottom I like because it has some nice touches, like the star and the fist, um, which is a nice little ah iconic element there, which also goes with the whole message off the court. But then finally, the reason why I decided to work with this on here on the top because I just really like the strength of it, the unity off, the whole design, and here, the skill, the word which I wanted to really focus on is definitely in focus. So it's very powerful, very strong, and it works nicely altogether. So this is the one that I decided to go with, and from this point I will have to prepare this for tracing an illustrator, and that's what we are going to do in the next video.
7. Setting up tracing in Illustrator: Currently, we are stealing photo shop, but we need to take this sketch into illustrator to be able to trace it over with vectors. So what I need to do here is first of all, flattened this whole composition. And I can do that by going to the layer menu and choose flatten image. This will turn everything into one layer. It's just a bit easier to work like that. And then I'm going to make a selection with the rectangular marquee tool so I'll just make a selection here. And then I'm going to go to Image menu and choose Crop that will crop the image based on my selection. Then I can go to file menu, and I can save this as a separate file. So I'm just going to save it into the folder in which I have all my other files and I will probably just save it simply as J Pack. So I would just give it a underscore and tracing. Just leave it like that save and I use the maximum image quality ocean for this j back file . Click on OK, and once I'm done with that, I can switch to illustrator I use command tap to switch between applications on Mac or Old Tab on PC, you can do the same thing. An illustrator. I'm going to create a new document, so I goto file new, and then I'm going to work with default a four size, so I select profile to be prince. Then I make sure scientists at a four and then here I can decide whether I want a portrait or landscape format. In this case, I will start with landscape format and then I'm going to click on OK, so now that I have that ready, I can place the image in that I just created in for the shops. I goto file place and then I'm going to look for the file. So I go to the type poster course and select the quote tracing J pic file. Once I click on place, I can now click and drag to create the placement off this image, and once it's in position, I can see it. He is here in the layer one as well. All I need to do is the double click on layer running the layers panel, actually not on the name but close to the name somewhere here to get the layer options, and then I can actually call this sketch but also turn on the option called template. Then this will be deemed 50% so it will be easier to work on top of it. And also the template feature looks this layer automatically so I won't be able to move it around, which is exactly what I want. So once I click on OK, you can see it's a little bit them now, and I can now work on top of this. But for that I need to also create a separate layer. So I create new layer hearing the layers panel, and then I'm just going to call that one illustration. So that's on which I'm going to work and maybe lost. One thing I would do is to use the art board tool, which is here on the toolbar, and just drag it to match the edges off this design. Maybe have it completely snapped to the edges off the actual tracing image that I just brought in. Of course, I can always change this later, but that might be actually better anti dear to start working on so that's all what I needed to do. But of course I need to also save this before we continue working on it. So I go to file, save as and then I can save it here. And I'm just going to call this quote design and then I save. It doesn't illustrate their file when I save an illustrator file. I also have the option to back save it into different ah, legacy formats. But I'm just going to stick with the creative cloud version, so I will click on OK, and now the file is saved and I'm ready to continue working. But before we jump into drawing any of thes details, I would like to decide which funds I'm going to use for the taxed. If I find any phones that's going to work for all of them, and also I will have to decide on the color theme. So first of all, in the next video, I'm going to decide on phones and I will see if I can find anything that's fitting for this design
8. Selecting fonts: for a typographic design. Choosing funds is obviously a very important part off the project. At this stage, I'm still deciding whether to use funds for all off this text or whether to create a custom fund for the word skill, for instance, So what? I'm almost sure that I will use an existing phone for is the excellence and the attitude. It should be the same formed and then the rest off the tax. The smaller bits should be also fine with an existing fund. So let's just have a look for the accidents. I usually what I do is to use the type toe, and I just type in the text as I need it. So with an upper case starting and lower case for the rest of the characters, I have to, of course, make sure that I don't have any type was in there. But once I have the text, I can select it and then I can decide which fund I will like to use for this. So from the character panel here on the phone selector drop down, I can see the current text or current funds that I have installed on my computer from which I can easily select one. If I click on any off thes and then I just simply click in here in the fund selector, I can use up and down arrows too quickly. Togo, through the existing phones that I have. That's also a fast way to preview all these options. Now, if I know that I'm looking for, let's say in this case, a serif version. I can also try typing in Serif, which will look for not just the first word off the front names, but anywhere where the serif appears in a fund's name. It will give me the options for that. So that's also a way to search saying way. If I want to look for Sunseri funds, I can just type in sun and then, as you can see, it will come up with all the Sunseri formed options or most of them actually, which has the sun in their name. Now, of course, there are better way to search for funds as well. If you are looking for something that you don't have currently installed on your machine, you can add them from type kit. If you're using Creative Kyle version of illustrator. So if your subscriber you can click on add fronts from type kit and then it will open up, um, the browser where you will already be logged in if you are locked in an illustrator. So from here you can download and install funds both for a desktop and Web use. Most of them are good for both. Some of them would be only you useful for desktop or web. So from here I can, uh, typing again. Text that I'm working with excellence, and then I can see a couple of options here already. Now these are the oceans I already have installed on my computer, but we can also look for particular options. Let's say I'm looking for Sarah if I know that already. And then I would like to make sure it's available for sinking, which means it can be downloaded and used on desktop. Then I can decide Ah, other properties like the bait off the text and, ah, whether it has standard or only caps, capitals and so on and so forth. So here I can see where the a couple of nice options and then I can also decide how big I want these previews to be whether I want to see them in the current view, or maybe just beginning off the tax and compared them that way. So there's many, many options year and just to show you how it works when I download something, I'm just going to download this one here and they'll be tax pro. If I click on use phones, all I need to do is to click on sink selected funds and then if I go back to Illustrator, so I just have to switch back to Illustrator. I can see the creative cloud is sending me that Two phones were installed. So now if I just type in here in the phone selector Adobe, I can see that it's their text pro so I can select it. And then that's the way it looks like. So that's quite nice fund. But what I prefer to use for this is a different one. It's called Super Clarendon Light, so that's why I'm going to use maybe the regular version of it. So I'm just going to select that and now I'm going to do is to select the rest of text, and I'm going to reduce the size off them. I can also use that shortcut command shift and then the less then or greater than keyboard shortcuts are common, and full stop is going to change an increase or decrease the size off the selected text. So I will probably use something similar to this for the word on the top. And then I will do the same for the attitude tax at the bottom. So I prefer to keep these reference text on the side and then duplicate them when I want to start designing them. That way, I always have a reference on the left side, which I can come back to if I want to make any changes, because sometimes an illustrator you might need to outline text, and then you might forget what was the actual phone that you used in the beginning. Of course, if you don't have creative cloud, you can also use other websites like Duffen would be a good one where you can download lots of phones and you can also search for phones very easily. So these air again free to use and um, you can find hundreds or thousands of fancier
9. Choosing the colour theme: The next important aspect of the design is the color theme. Now again, this is something you can decide to do later or do it right in beginning. As I'm doing it now, I prefer to do it in the beginning and that maybe make changes or maybe do a couple of color variations at the end. But what I prefer to do is to use the adobe color themes. And you can find that in the Color Themes panel, where you can click on this icon in the panel to go to the Adobe Color website, which used to be called cooler but actually works exactly the same way. So here you can create color themes very easily, either doing it from scratch or even use, um, an image to start with. So you can going to explore and then find color themes, and these are created by other designers using the Creative Cloud Service. You don't actually have to be on Creative Cloud to be able to work with colors like this because this is service. This is online that you can use and download and even using previous versions off illustrator, but it's easier to handle it if you have creative club. So once you find something here that you like, you can download it. You can say that you would like to save it to the library or even continue to edit that. So in this case, I'm just going to go to create because I have a good idea of what I need. So first of all, I would need a darker blue color, so I'm just going to drag it out here. And as you can see, when I'm changing this color stoke, it actually affects all the other ones because there is the analog color rule selected that can be useful and you can actually choose different ones here. But in my case, I'm just going to choose custom because I want to change them manually. So, as I said, I would like to have a darker blue color, but even much darker than this. So I just reduced the brightness, something like that, maybe a little bit closer to purple Shade, something like this. Then I would like to have also a Turk wise color. So I'm just going to try to find something among that line. Something like this. Then I will use a red color, which is already pretty much the one that I need, Maybe a little bit further to the orange area, something like this. And then I need a very neutral color as well. So I'm just going to drag that down closer to this area here. So basically, we are de saturating this color. Almost make it white. Something like that. And then maybe as an additional blue color, I wanted to change this one here. So maybe another blue. Another shade off the similar color. Something like a brighter version. Yes, something like this. So once I have the colors now I can download this so I can save it, first of all, And I'm just going to call this, um, skill court design like that and save it into my library. So once I click on save, we can go back here, and this should update once I click on this refresh option. So once I refresh it, you can see it's already dead. The skill quote design, The next step is to add this into our searches. So if I go to switches, you can actually see it's already there because I double clicked on it, reading the color themes panel. So now it's in our swatches and all I need to do now is to create a couple off squares here . This is not necessary again. But I prefer to do it this way so I can just see all these. Ah, squares away the colors together. So I just duplicated the first crack and then using object transform transform again which is command the or control the I will create four out of these five colors and I'm just going to select each of them. So I will see these colors together. So this is going to be the color theme I'm going to work with. And with that now we have everything ready to start our design. So in the next video, we are going to trace over the skill vert.
10. Drawing with the Pen Tool: Although there are lots of phones that you can use in your designs, sometimes it's better to create a completely custom and unique formed from scratch. Of course, you don't have to create the older characters for that fund. Only the characters needed for your design before I designed them and I go over them. I make sure I'm on the illustration lier, And then I'm going to go to view and show the rulers or go to rulers show rulers because I would like to define a couple of guides here, first of all, a guide for the top and then a guide for the baseline. They're so that's the cap height and the baseline defined. And then I would like to also create particular size for the Sarah ifs because, as you can say, I'm going to use these little Sarah riffs on the tax itself. So I want to make sure that this distance is equally the same on the top and on the bottom as well. So to assure that I am going to use a very quick and easy way. So first of all, I check the guide here, the height off that which I can check in the vie. Well, you so there. I can see it's around 75 let's say 75 millimeters and this one below is close to, let's say, 80. So there's five millimeters difference between the two. If I select this one here at the bottom So that one there, I'd say this is 1 30 So then the other one should be 1 25 You can create a guide by just again dragging it out and then roughly position it there. But then you can use divi value to be set to 125 was the guides are in place. You can always look them. We can go to view guides, look guides. That way we won't be able to move them around or even so, like them. So once they're in place now I can switch to the pentacle, and what I prefer to use is a red highlight color. So the stroke color to be set to something like red like that and no fuel color. So that's the way I prefer to use the pan tool and set to one point stroke size. I will zoom a little bit even closer and I would start with the s character. So this one, I'm just going to currently follow the way it is going. And if you are not familiar with the pentacle, I would highly recommend for you to check out my other course about mastering the pen Tal because this tool is not that straightforward. So if you are not used to working with it, you might find it a little bit difficult to figure out how to work. But I'm just going to concentrate on this design now. So I will create the outlines is you can see I'm a bit free. I'm not following it entirely the same way as I had my original on drawing because I would like to refine the design while I'm drawing it. And, ah, for example, here I go a little bit below the baseline and then I go back. Maybe I just have to change that a little bit later. You know, that point will have definitely have to change. Something like that is going to be my first letter. But I can always come back here and I can make changes on that bottom. But there something like that for now and then. Once I have this ready, I can swap the colors pressing Shift X. I turned a stroke color into field color, and then I can also change that. Two different colors. Let's say two white, for example. So the first letter is created. But of course this will need refinement, and the best way to refine it is using direct selection tool and then realigning each off the handle points and sometimes maybe even create new anchor points or delete or the existing ones. So, as you can see here, what I'm going to continue doing is to refine the design itself and decide where these points should go. So, like that curve there can be improved as well, until it gives a nice, continuous flow in the character. So I won't spend too much time on this because I would like to show you another example again, using the pen tool for the character. I I'm just going to draw one side off the character, and instead of completely starting from scratch, I'm going to actually create a rectangle. So using the rectangle, I designed half off that shape again. Pressing shift tax. I quickly swapped the stroke and feel colors, then used a pen tool and define where I want the series to be. So I will need another point there and another point there and the same thing on the top as well. I will need one point. Um, probably here again, somewhere in the middle and another point there like that. And then what I'm going to use is the White Arrow tool and so, like these two points and just simply dragged them along. Um, the guys that I already have in place. So that created 1/2 off the shape. So now I can use the reflect tour, which is under rotate. So there's reflect toe click on the center line and then click and start dragging this shape and hold on old and shift together that will constrain it and also duplicated so not only reflected the whole shape but also duplicated it. And now I can select the two together, and I can use the shape, builder, shape, builder tool. It's this one here, me that I just have to simply draw over these two parts, and that would join them into one. And once I'm ready, just press shift X. Once I have the whole ship selected, just press shift X, and that will solve the colors once again. So you can see there's ways to create, um, your custom characters either from scratch and drove over them with the pencil. And then we find them by using the direct selection tool or even use shapes in some cases, but definitely is good to use guides to just simply guide you and have the tracing in the background to also just show you roughly how the original sketch waas. But as I said, you shouldn't stick to it in exactly the way it looks like on the original drawing. It's an interpretation off that so you are refining while you are tracing it over, and I'm going to show you how this part of the design turned out once I finished all the characters. So these are the finalized characters on the main text, and we can have a look at the outline of you. So if I go to view outline, we can see that I considerably changed a lot of details. So I decided that I'm going to go with the curved Sarah ifs in self straight ones. And also the s changed quite a bit. Instead of having a very long detail and Sarah Fear on the top, I reduced the size of that and also spaced out the characters a little bit more. So now that the main text is ready, we can use the phone that we selected earlier for the top and the bottom parts. And in the next video, I'm going to show you how to kerf them using divorced feature.
11. Warping text: for the secondary text in the design. I already prepared the phone that I'm going to use, so I'm just going to old click and drag to copy this tax on them. I'm going to change the color off this So the fuel color. Let's just use White just like the rest of the text, and I will place it somewhere here in the middle. But to make sure it actually falls in the middle, I'm going to align it to the other taxed. So, first of all, I select all those characters together and group them, So I go to Object group. So now it's one object. If I go to the layer panel, I can see it's of one item. But of course I can still access each of the characters easily if I double click on it. That's isolation more than illustrator. I can select them and move them around or make changes on them. If I'm ready, I can double click outside to go back to normal view. So thanks to the grouping, I can see like these to text, and I can go on top and choose align Horizontal Center. Once I click on that they will be aligned to each other so they will be centered. So now if I said like the accidents, I can always hold on old and shift, dragging it up or down. If I want to change their size but still keep it centered, I'm going to increase the size slightly, something like that. And then I have to create the warp effect on it. Before I do that, though, I'm going toe old click and drag and ah, rewrite it to attitude and the bottom. So once again, I will just type it in with Lower case selected all and then go to type change case upper case at the fast way to do that and then select these characters here and using the same shortcut I used before, reduced the size slightly. And I actually going to check what fun size I use for these ones here on the top. So this one is 33.22. That's actually not like a very ideal size. Maybe let's increase at the 34. That way I can just use the same thing here as well. So 34 that way I use exactly the same size on top and on bottom as well. But one thing I would do also here is a bit off turning. So I would click the two characters, which I would like to change and hold on old and impressed, left and right arrow to move them closer or further away. This is called turning, and it's again another very useful feature to customized the text. Maybe I moved D and E slide league ulcer as well, Something like that. Now, of course. Ah, I can also use current ing here on the top before I use that. So see can go a little bit closer. And, um, probably that's all I need to change on that. You need to Duke earning, especially if you use all capitals. So in our case, that was necessary. And once again, I just aligned them in the center and maybe slightly moved them in the middle as well. Something like that. So now that they are both centered, I can also designed where the attitude she should be. Maybe a little bit higher excellence. Congar lived with higher as well. And whenever you see me nudging things around, I also use the keyboard shortcut up, down, right and left arrows. So now that it's ready, I can start warping. They're taxed. So what I'm going to do is to click on make envelope here on the top on the options bar that gives you the warp options. You can turn on preview, and then you can see it in the background. How is going to turn out? But I would like to reduce the band down to probably 20% so you can see again. It can go both directions, but I'm going to stick to 20%. That looks similar to the original sketch I did, and then I'm going to click on OK, so that's done, and I can move it slightly down. But if you want to make sure you don't move it left or right, hold down shift while you are doing, moving it that way, it will only move up and down, or you can again use the air was on the keyboard, so that looks fine. Now let's do the same thing with the text at the bottom again, click on make envelope and then in this case and just put minus 20% so that should curve in the other direction. Click on OK and then drag it slightly up to match the position in the original design. Now that this part of the Texas ready before I type in the rest, I'm going to first create the ribbons, and that's what I'm going to do in the next video.
12. Designing ribbons: drawing the ribbon can be done again in many different ways. But I'm going to use both the pen tal and shape does in this case. So I'm just going to Zuma with closer and first Well, I create a rectangle, so just click and drag to roughly create the size I need. And for this rectangle again, we can use the white feel color for now, or we can use something different just so it stands out a bit more from the text. Once it's ready, we can go to the object menu and from the envelope distorts we can choose make with warp. This will give us exactly the same option what we had on the taxed. So I'm going to use 20% on this top rectangle and then click OK, that would just help us to have the same curve what we have above it. And now I can see that I might need a little bit more space here so I might move that higher up. And then this one can always overlap the main tax as well if I want it. But note is that if you use the same percentage and use different widths, then the actual curve will look different. So because this shape is a bit narrower, we will have to use less on the band. Otherwise it just looks different. So if we want to keep it the same, when I select it here on the top of the options bar, I can reduce it. Pressing down Aero a couple of times, maybe down to 15%. I think that will be close, maybe even Mawr. Let's say 12%. That should roughly have the same curve on it as the text above it. I might want go even down to 10%. So just a very slight angle there and that will fit quite nicely. So that works. And now I can change the color off this. I've just go back to actually editing the contents. So click on this icon here and then I can change the color so that bit is ready. Now we have to draw the behind details and we can actually do that a little bit further away from the design so I can drag this out. Now that the curve is fine, I can zoom closer and then I'm just going to use the pen tool. Now, before I do that one last thing I would like to do is to expand this so going to the object menu and you'd choose expand, and then I click. OK, that way. Now, for example, if I turn this around, it won't cause any problems. The reason why it would have caused problems before is because it's still using that warp feature so we find would start turning it around. You see, of the Warp will be recreated based on the position and rotation off the object. And if I used the expand feature than it would just seem returning to normal outlines, so I won't be able to use any changes on it anymore, like changing the percentage off the band. But now it's good shape that I can work with. So I'm going to use the pen tal now and first, a war for that ribbon to work, I will have to have a shape which goes behind something like this. So I'm just going to draw a triangle here, and I'm going to change the color off this just selected and change the color to a darker shade, and I also going to move it behind. So I go to arrange send backward. You can also use shortcuts for arranging I temps. So within the layer structure, you can move things closer to yourself or move things behind other objects by using the shortcuts Commander control and then this square brackets on the keyboard. So if I use that just showing showing it to you, I can move up or down here in the layers panel. You can actually see how the selected shape goes up and down. So I'm going to move it behind something like that and then using the pencil again, I'm going to draw the last bit I need here, and that is going to be the ribbon itself for the end off the revenge. So I'm just going to create ah, simple ending here, something like that and then another side. And then I can go back and probably finish it off somewhere around there. And then I can close the whole shape up, just going to close it, and then I'm going to change the calorie of this once again and make it a little bit brighter, something like this, and move it behind the other shapes, so that looks quite nice. But I can always increase the size of it if I want to. I felt like it was a little bit too and narrow compared to the original one and the zoom closer and make sure that this point here is aligned to the other point. If you want to make sure that these things snapped to each other, you can go to the guides and make sure smart guides is turned on. So if if it's turned on, then that way you should be able to align things quite easily on Just use the direct selection tool and sell at that point, drug it of A and drag it back that way. It was snapped exactly in the position. So now that this part is ready, I can select both off the shapes, shift clicking on them and then using the reflection toe, which we used earlier. I'm going to click on this shape on the top of the shape. I'm trying to select the center. Actually, it's even better. So click on the center point and then click and drag. Hold on, hold on, shift together and then let go. The mouse that way. The ribbon is created. Now. Will I need to do is to sell like this, make sure the tax is not included in the selection and group it together. You can either go to object group or press command G or controlled G on the keyboard. Once that's ready, I can now aligned this year in the center something like that. And then I can also all to click and drag all this down and then just use rotation and rotated completely around holding the shift. You can make sure the rotation stops at 180 degrees, and then everything is in place now. So we have the ribbons. We have the main part of the text ready as well, and I can always move things around later. So if I decide to move skilled taxed, I can move that further down and have roughly equal space there on the top and the bottom as well. And then one last thing I would do here is to have taxed. Placed on the ribbons as well. Or you need to do is to reuse one off these texts that we created earlier. So old click and drag double click on the text and replace it with is not I'm using all capitals already, and you can see that now. This is obviously too big. So I'm just going to make it smaller. Something like that. And then So what I need to also make sure is that the envelope distort in this case again is going to be reduced probably down to 10% just like that ribbon itself. So also, to make sure that we can see this, I'm going to use a darker shade of gray on the text itself. Maybe something like that, and then move it over and make sure also, it's in front, off the ribbon. Something like that. Now, that's just normally with closer. I will make this a little bit smaller altogether, and then also go back to the bend and ah, just refined that. I think I might need to use even less like 8% on this. See? 8%. Ah, well, just move it back down. Something like that? Yeah, that looks quite good. Maybe a little bit higher. Yep, that looks good. And now again, just like this old click and drag, and then move it in the bottom there I will change the text. I just type It is and attitude, of course. And then I'm going to switch and ah, change the band Tu minus eight. That should work already on the bottom as well so that I can again move it into place using the up, down right and left there was I nudge it into position. Something like that. I think that works quite nicely now if I double click, I go back. So I'm not in the isolation mood and I can select everything. Now together I can select all the text and again used the line center option or his entire line center option That way. Now everything is centered because the whole design is centered. That just works well. So now that all the elementary in place in the next video, I'm going to start applying effects starting with the three. The extra the fact
13. Adding depth to text: to emphasize the whole centralized composition. I'm going to use three D effects on both the avert excellence and attitude. So I sat first the accidents and go to a fact. My new choose three D and Jews extrude. Once I select that internal preview, I can see already how it's going to look like that can use this cube to move it around, and then it will refresh above and shows the word itself in three D. But I'm going to use a lower amount off depth. So probably around 30 should be enough. You will see it will be less, um, depth on it. Maybe 35 will work better, so I just increase it up to 35. Yep, that's good. And then I don't need any rotation on it. Also, I don't need any degrees that way. I only need to change in one off these directions, and it is going to be tilting up and down, as you can see. I'm tilting it up now, and I'm going to remember the amount off rotation I'm using here. So I'm using 15 degrees there, so 00 15 degrees and I don't need to have perspective on it, although I could use some perspective to make it even more realistic. Three d, yeah, that actually looks quite good. So I can leave it on that and I'm going to click on OK, so again, this is something we can always change later if we change our mind, because every effect that you apply, an illustrator becomes alive effect so we can find it Here in the appearance panel can turn it on and off, and we can also click on it to make changes to the values that we used. I'm going to actually use 50 degrees on the perspective as well. Just so it's easy to use the same on the attitude word. So I'm going to select that now and go to effect three D extra than bevel the same way and then went to turn on preview. And I will use 35 for the depths 50 for the perspective and then minus 15 in this case for the degrees on top, and then the other two should be zero and zero. So there you go. There's the text at the bottom. The only thing I will do here is obviously changed. The colors, but I will do that later. So first of all, I'm just going to decide whether this is ah, the way I want to see it. And maybe 15 degrees in this case might be a little bit too much so. Although I wanted to make it equal, I actually reduce it down and probably keep it or nine degrees or minus nine degrees. In this case, I think that is enough tilled for the bottom tax, something like that. So now that they are created, if I want to change their colors, I can do that. But I have to expand the object. I could change the color off the main text. So if I said like that, using the styling option again here on the top, we can added the contents and then I can change the color off that and that changes automatically the darker details as well. But in my case, what I would like to use is this shading for the text, but a different color for the for the actual depth details. So to be able to do that, I will have to go to the object menu and, um, have to expand this so goto object expend appearance. That means now this is a group in which I can make selections, and I usually use the magic want will in these cases, so I can very quickly select all the similar colored elements. Also use with the double Click on the Magic wand and check the tolerance. Here. I usually use a zero tolerance. It's similar to filter show, but in Illustrator the Magic wants you works a little bit differently. If you set it to 0% it will still be able to find exactly the same colored objects video in that selection. So remember, we are in isolation mood. That's how I could quickly separate this from the rest of the design. And then I'm going to use this color that we saved from the adobe color rep side. So let's just have a look at this. That looks quite nice, and I'm just going to repeat the same thing on the bottom taxed. But one last thing I would like to do also again, double click on this text, use the Magic one, select all the front faces off the text, and then I'm going to change that. Um actually not the field color, but I would like to change the stroke color to White and also make sure sure, the stroke is said to be inside something like that. So that's how I look once again. Yep. Maybe the only thing I'm going to change here. Once again. I need that same selection. Ah, is to reduce the stroke to 0.5 points. It just needs to be a very subtle highlight. But I can also see that a couple of things are not selected because off my magic one selection, the tolerance was too low. So once again, I go back and maybe I increase the tolerance up to 10 and then try to select all the gray details and yeah, now you can see why it's so useful. It can include all these different shades of gray that's included here, and I'm just going to use the eyedropper and click on that color that we already used around it. So that way it is perfectly fielding now, everywhere. So we have all those details in place, and I'm just going to repeat the same thing on the text at the bottom. But before I go any further, I'm going to also create another layer. I'm going to call that layer background so I just create that new layer because I don't really need to see, um, the sketch in the background anymore. I'm just going to change this layer to background, and then I will feel that background in with a big rectangle. So using rectangle tool, let's just feel that in and use probably this color here, the darker color. That's what I'm going to work with. I might change it later on slightly, but that's what I'm going to work with currently. So it's just easier already to see what we created. So I like the effect now. I just have to repeat it on the bottom, a text, the attitude. But we will see that in the next video how it's going to turn out, and we will also see another way off, creating three D effect for the main tax year. The word skill
14. 3D text with perspective: for the primary text, the word skill. I'm also going to use the three D feature, but in a little bit different way. So if I go to affect three D extrude and bevel here, I'm not going to use any off the rotation options. So I will set them all to zero because I would like to keep the front face off the tax the same as it is now. I would like to see the effect on Lee behind it, and also I want to make sure that it's goes centrally. So the distortion happens centrally and that the easiest way to see that if I increase the depth so you can see what happens if I increase the perspective, then it's going to stretch it even further in the back. I don't need that much. Probably around this will be working, and I might just increase or decrease the death a little bit. But I think that looks quite nice. The only problem, sometimes in illustrated depending on what shapes you have, is that it won't completely create the effect on all off the shapes like here. Some faces off the text are not created correctly. Also we can see some missing details there. So once this is created, we will have to do some manual adjustments. So, for example, here we will have to use the pen tool to connect these lines. But before we do that, I'm going to also object. Expand this appearance fact. So now I can actually see those points. So using the pen tal, I can now connect these easily so it will snap to it. And that way we can easily feel this in and using the eyedropper tool, you can just pick the same color. So that's just a quick fix. Their, but then some other details might be a little bit more tricky. So, for example, this one here to be able to find that point in the background, I might need to estimate that point. So I will probably just click somewhere, bear click on the top and then create this shape so that we I roughly have the three D shape in place. And then I can just pick a color. Let's say this color here, for example. Sometimes it might be a little bit more difficult to find where to create these anchor points, but Generally speaking, the task is to make sure that we fill up or these missing parts. Once I have everything in place. I just would like to change the color off the taxed, so I have the whole thing in one group on the illustration of the year, I'm going to double click on it, so we enter isolation mode. Then, using the magic wand, I select the front faces first of all, and I'm going to change the fuel color off them to the color that be brought in from the adobe color. And then I'm going to invert my selection. So I go to the selection toe to select my new choose inverse that was select everything else of video in this group. And instead of using re color option, I'm going to use the re color artwork feature. So instead of changing all the field colors to exactly the same color, I would like to keep the differences in the shading. So I go to re color artwork and that will pick up all these different colors, and I just have to make sure that they are using by default the original color that I have there so I'm just going to drag it in place like that. So as you can see now, it looks similarly to and how it looked before. And then I just go to the edit menu and ah, here I can start dragging these points around and, ah, pick whichever color I prefer to use for them. So I would like to use something darker a detail, probably in this case, I will use a dark blue something like this maybe closer to the purple area, and then also reduce. Ah, the brightness even further down. So that looks okay. Let's just click on OK, and then double click and we can see how it turned out that this is just temporary. We are going to change this later on. But for now, I'm just going to keep this as it is because there will be more effects assigned to the text. So that is what we are going to do in the next video at additional effects for the main text
15. Applying effects using the Appearance panel: in this video, I'm going to add a couple of additional effects on the front face off the primary text. So first of all, I'm going to check where this is in the layers panel so we can see that that's the group that we are going to work with. And within that group we have first award from face characters and then all the rest off the depth details in separate clipping groups and groups. So if I double click on this, I can isolate it, and then maybe I can work with it a little bit better. We can probably simplify this a bit. So what I'm going to do is to sell like the front faces, first of all, and I'm going to group them together, so that will be one group. Now I'm going to go to the select menu inverse meaning, selecting everything else apart from these. And there's one detail here which was turned off, which I actually need. So I'm just going to select that as well and check whether everything is selected. Yeah, now I can group these also together, but making sure that they're all on the same level, so I group them. So that is what in one group as well, the depth and the front faces. So now it's a little bit more organized, and then I can also get rid off unnecessary grouping. So, for example, this one here is unnecessary because it's grouping in a within a group, and there's no real reason to have that like that. So I'm just going to go to object on group. So now it's group within a group, but there's no unnecessary grouping. So if I double click outside and now we can see it here, that's our group. And within that it's much more organized. So I can also rename these just to make it easier to see what we're working with. So I'm going to call this primary text or I can even right here skill. And that way I can now type in front faces and then depths for that. It's always good idea to do this, and it's much easier to work in the future, and I'm just going to double click on this again. So now it's much more organized. The reason, on main reason I did this is because we are going to add a lot off more additional effects here, starting with the Vied strokes. I'm just going to choose White Stroke, set it to be inside, and I'm going to just increase the size off This maybe 23 points. The next effect I would like to add is another stroke. On top of this. I'm going to click here in the appearance panel to add new stroke, and I'm going to change the color off that to the same color what we use for the field. And I will also make sure that this joke is set to be inside just like the other one, and I will change the width to it. Um, I'm going to probably reduce it down to one point. Then I turn on dash line, and if I zoom even closer in the design, you can see how it looks at the moment. So going back to the effect here if I click on stroke, I can change the dash line all the way down to one point, or maybe even less than that. It probably like 0.1 point and then the gap I can set up to be three points and also I would turn on round cap and that created this little dotted detail on my design. That's exactly what I wanted. But I want to make sure that this goes exactly in the center off the white stroke. So no matter what I do is not going to work like that, because I will have to offset this path. So while the stroke is selected in the appearance panel, I go to the Effect menu and choose path offset path on. I turn on preview. You can see this effect will only change that selected feature or attribute. So now all I need to do is just to fine tune the effect and probably settle for something like 0.2 or three, depending how big that white stroke is. Maybe 0.4. So leave it on 0.4 and then click on OK and you will see this offset path effect is now on the stroke attributes, so we have to stroke attributes. We have that dotted line which is using the offset path to be able to move it further in, and we also have that white stroke which we created earlier, so both of them are created, and I would like to do one additional effect as well, also in the same selection. And that will be another feel color. So I go toe ed new feel similarly to adding new stroke. I can add and you feel, and I'm going to make sure this is here above the original feel, and I'm going to change it now for just a different color. Let's say something completely different. Um, like this purple. But I will also use why that is selected, that feel another offset path effect. So go to path, offset path, turn on preview. And then, once again, I am going to minus this probably up to something like that minus two millimeters looks good to me. So I'm going to click on OK now. So we have two strokes and to feel colors. The great thing about using multiple appearance options on the same selection is that you don't end up having duplicates off object, so the Layers panel will be much easier to see what you're working with and also easier to go back and make changes. That's why I have the layers and the appearance panel both always visible because these are the options that I keep on changing all the time. So now that I have that color, I'm just going to go back and go to the Grady and panel and click on Ingredient. So I replaced that field with a Grady int, but I would like to change the angle of this Grady into minus 90 degrees. So that way I have it from top to bottom. And then I used the swatches panel and drag the original feel color on both sides off the ingredient, just like that, replacing those colors. And then I double click on the Grady and slider and make one off them darker, the one at the bottom, dark, darker and then double click on the other one and make that a little bit brighter. Something like that. So now I can put the swatches panel back where it belongs somewhere there, and we can have a closer look at this design. If I double click outside, we go back to the original background color, and you can see the effect here. Now, Once again, the colors might change, but the overall effect is already there, so we refined the front face off the primary text, and in the next video, I'm going to do the last affecting the background a burst detail.
16. Designing a star burst: I've done some refinements to my colors and even the proportions off the elements of the design. But there's now one last task I would like to do, and that is a burst affecting the background. The main aim off this, in fact, is to elevate the text even more from his background, and they also emphasized the centralized composition. So I'm going to do first of what is to draw at Triangle. You can draw triangles by using the polygon tool, so all you need to do is to start drawing and then press down arrow until you get to three corners. Once you have that, you can hold down shift, and that will keep the triangle straight. Once I let go, there's the triangle. I'm just going to change the color off this to a brighter green or turquoise color, and then I'm going to stretch it or disagrees it into a very narrow and long trying or something like that. Now, I might change this later on, so that's why I'm going to keep Von copy here. So I'm going to keep that they're an old click and drag the other ones somewhere around here again. The placement off. This might change. So once I have it in place, I'm going to copy this. And it might be easier to see what is happening if I turn off my illustration layer while I'm doing this. So once I have this in the place, I am going to ah ko p eight while rotating it. So the best tool for this is the rotation tool. So if I select rotate toe first of all, I would like to make sure that I am going to rotate around its centre point. So I just simply click here in the center, at the bottom. And then when I ready with that, I was start dragging this around. And while I'm doing that, I am trying. Teoh, aim for six degrees. Now, this is against something that if you want to be precise, you can do it in a different way. For now, I'm just going to get something close to six degrees, something like that. And also make sure you hold down old or option while you are doing this. So I let go and you can see we have our first copy. But then to repeat this step, I will use a shortcut that transform again, which is command or control. The that will repeat not only the rotation but also the duplicate feature. So even if I just hold it down, you can see how quickly I can feel it up. And, as you can see, because I wasn't accurate enough, there is like a gap there. So if I'm just trying to fill it in, it won't be accurate. So if you want to be very accurate, you should use six degrees or to have degrees or a number that you can use to divide 360 which is the full circle. So I'm just going to go back and show you how to do it. Ah, exactly with six degrees. So instead of using the rotator will in this case, I'm going to go to object transform. And although there is a rotate instead of that, I will use transform each because this has much more options. So if I select that here, I can first of all select the anchor point or the reference point, which are set to the bottom, then I'm going to select angle and type in six degrees. I want change anything else. If I have preview when I can see exactly what's going to happen now, I can go minus or plus six degrees. It doesn't matter. But instead of simply just clicking on OK, I will click on copy. And once that's done, you would expect to use the Transform again feature. But unfortunately, in this case, it doesn't work because if I would start using that, you can see that it goes in a different direction because the bottom point is always changing. So the reference point is not accurate in this case, so I'm just going to keep one copy that First GOP is perfect, so they are aligned at the bottom. So now that that is in place, I'm going to against, like, the original one and use the rotate to once more and said the reference point to be at the bottom. Centrepoint SoHo images Zoom closer to make sure it's in the right place. That's it. And now if I start dragging this again, if I hold out old, I can actually align it to the previous one. So that is almost like a guide for this. And then I let go holding down old again. I duplicated it. And if I now use control or command E, I make sure that this is perfectly aligned. So if I go all the way, you will see that it was perfectly evenly created thanks to that six degrees rotation. In the beginning, of course, we have to here, so I can delete one off them on that side. And then once I'm ready with this, I can group all of these together. So it's like them and group them together. Now we can turn back the illustration, Lear, and we can even delete this one here on the side because we probably won't need it. Or we can just place it here on the side. So now we can turn back, illustration Lear and then see how it looks. And I can decide whether I like this color. I would like to try something else, and also I can change the size of it and, of course, the placement. But I think it's currently in the good position. It's scented, but we can check it a little bit smaller, maybe or bigger. I actually like it when it comes a little bit above and below the words. Maybe it can go a little bit to the right somewhere there. But just like before, if we select everything so I select everything, we can use the align horizontal center option and that will even out everything and make sure everything is centered. So that was the last effect I wanted to add. Now, in the next video, I'm going to experiment with different color versions.
17. Recolor Artwork: once I get there stage when I lying the composition and I like all the details. I still prefer to create a couple of extra color versions just so I can compare them and decide on the final colors. So the best thing to do in this case is to use the art board tool and create a couple of duplicates off the whole art board, including the artwork. So old click and drag with the Art board tool will create the duplicate, and in this case, I'm just going to do two extra copies off the original art. And now I'm going to keep the original one as it is, but select everything on the second art board. So once I selected them, I'm going to click on re color artwork. And in this panel, you might need to click on the eyedropper to get the colors from selected art. Once you do that, you should be able to see all the colors used, and they will use exactly the same color as they vert. Now, here in the auto option, you can decide how many colors you want to replace. You can, of course, always use all that way. You will see all of them together there in the list, and you can also decide what order you want them to be so you can choose. Let's a dark to light and so on and so forth. But I'm just going to go back to the original colors because what I prefer to do is instead of changing the colors here, is to go to the edit menu, where I can see all the colors on the color of eel. Now there is a very cool feature here. If you link the harmony between the colors by clicking on that little chain there, then you can just drag any off these colors and move them around on the color wheel. And that will change all the colors but keeping the relationship between them so keeping the same relation between them as they were originally. So you can see already in the background that with a slight change, I already created a completely different look on the colors. So let's just say I move them further down. Ah, this side and I have a look at the colors. Compare it to the original, and if I want later, I can unlinked the harmony colors. And then I can start selecting individual colors that say, in this case, I'm changing the ribbons. So maybe I'm going to change the ribbons. Ah, two more blue. So all the colors making up the ribbons and maybe also the text. I can start shifting more towards the blue area. Something like that. Let's have a nice tent on there now. The background color is probably this one here. Yeah, I could find it quite quickly and easily, so the background color again can change and maybe another darker blue. Or maybe it yellow or something like that can work. I can even try completely different colors by changing the brightness at the bottom. You can even change the overall brightness with these options here. But I think with this one, I'm going to go for more for a brighter purple background. And then we can also play around with the other colors. Here at the darker color values, we can also make them a little bit more purple. So let's just say that this is at option or this is a color version that we also like. If I want to then use this in my design, these colors, I can decide to turn this into a color group. If I click on this new color group, it will be saved. So if I click on OK here in the swatches panel now I will see that new color group has been created. And there's a lot of additional colors here, which it created based on the colors from this artwork, which I might not need, so I can always delete the ones that I don't need. But it's just a fast rate to save them. It's watches as well. What I would do around at the end of a project is to have several versions and then compare them to each other and see how they work and then pick the best color option from all these different versions.
18. Creating mockups: usually also at the end of a project. I prefer to create a couple of visuals with my design. So if I work for a client, I can tell them that this is the way would look on the final product even without actually going into production. And for this part of the workflow, I use usually PST mo cough files. So I would go back to photo shop and you can find free mocha PSG's on the Internet. I will show you to off these. First of all, I'm going to select my artwork without his background. So I shift like on the background, just the artwork itself. And I'm going to copy this. So I go to edit copy. Then I can go back to photo shop and then I already have to 40 show fires open. They are the Fremaux caps I downloaded. And this one here on the left is ah, poster. And usually these more cops would have a smart objecting them where you can place the image . So if I double click on that, you can see we entered the smart object itself. So I'm just going to place or paste. Ah, the illustrator artwork that we cupid. So once I do that, I will have the option to paste it in as a smart object. Big source. Parts of shapely here, best to do is to save it as a smart object or place it in as a smart object. And then we can make it slightly bigger, something like that. And of course, we will create another layer here for the shop, and we will feel that in with a color, we can use exactly the same color we had before. If we go back to Illustrator and choose it from there, I'm just going to quickly pick something similar. So once I have that color, I'm going to feel it in the whole layer with that color that's old or option backspace to quickly do that now, although I like this color, I might want to make some changes to it. So I go to image adjustments, hue, saturation, and this is the way I like to change the color. Once I have something in the background, I can play around with the values, so I'm just going to go for something like this. I think it's guide similar to what we had in Illustrator, then I can click on OK and all I need to do is to goto file safe. Once I do that, I can close this smart object and going back to the poster. I can see how it would look in context so I can even zoom a bit further out. And that's how the poster turned out. Now let's do the same thing with this T shirt here again, we can place in the design itself on this smart object layer. So let's just double click on that. First of all, I'm just going to turn off the original artwork there and again, we are going to paste in our smart objects of paste, smart object and press enter to accept. Now here I even have a safe area. Leer, the author of this mockup created that which is a really smart way to tell in which area should I place my design and because it's a T shirt, I will move it further up summer and there. Now I will turn off the safe area and save this again file save. And then there is a displacement filter on this smart object for which I have also the displacement map again created by the author. I'm just going to click on Open. And that way when I close this document, I can see it not only, ah puts it on top of the design, the T shirt design, but it even creates the displacement so we can see the creases on the design, which is really smart. So I just show you that that's the displace option using a displacement map which was created for this design. So that makes it look even more realistic, which is great. But then off course, I can change the color off the tee shirt for which I have the change T shirt color here, which is a photo filter. I just click on the Color Bear and I'm going to pick a different collapse. I'm going to go for something more dark, something like that. And then here there is a field value which I can use to adjust the contrast in this case, I'm just going to reduce that down, do something like that and maybe go back again to the color option. And maybe I'm just going to go for a little bit less intense. color something along the lines off that and I click. OK, so we have two different versions. Of course, I would be able to match the colors exactly, but I was just playing around with the background color. But the best thing about doing these mockups is not just that. You can show your client that this is the final product. But if you save these PSD files and let's say you want to make changes to the artwork itself, you can actually have these linked to the original illustrator artwork. So if you change that, these can update. The best way to do that is instead of just copy pasting to use file and then choose place linked. So when you have your final artwork and so just pasting it in use place linked, and that way the artwork will be linked between these two more cups or as many more cops is you want to do and even the original illustrator artwork so that can make it faster. If you make changes and updates to your original artwork, it will update in these more cops as well. This feature, the place in induction will only be available for the creative cloud version off for the shop
19. Sharing the design on Behance: there is one last thing I always do whenever I finish a project is to share it on Be hands again. This is something that you would get in the creative cloud version off illustrator and photo show that you can go to the file menu and choose share on Be hands. Of course, if you have earlier versions, you can still do this because Behan's is a free portfolio website. So you just have to save your work as a J. Paige and then uploaded as a new project on your behinds account. But since Behan's was acquired by Adobe now it's part of the creative cloud. So there's a really nice seamless integration so I can just go to fire, share on be hands, and then all I need to do is to give a title to this project. I can just call it Type Apple graphic poster design. Then I can add some tags or keywords and is going to call this, um, type. Ah, poster quote designed, um, maybe, ah, just typing illustrator. And for the show and so on and so forth. So if I click on continue, this new work is going to be uploaded on Ba Hensen. It's already life, so I can click on view and share on be hands. So once I do that, it should open up in B hands so it will see it's here on the my profile So I can edit anything later on, of course. And I can also do revisions if I want to. So I can always go back, make some changes on Let's just say here in Illustrator I come back and I just change the background color. I'm just going to change it. Ah, something Teoh Bright a color, something like that. And then if I decide to go back to file, share on be hence again I can say this is going to be actually a revision of a previous project. So if I click on revision, then I can choose my previous one. And if I click on continue, it will update the project on Behan. So if I switch back Teoh, be hands and refresh this page. You can see that now we have a revision and as you can see, this is not only useful to share you work Ah, video fans, but also to share it video clients, so you can show them the different versions, or you can show them the revisions. So in each stage, when something happens, you upload a new revision. And that way you and the client can keep up to date and also check each off. The stage is off the whole process. Off course. Having your work on beings doesn't mean it has to be public. You can always make sure it's only visible to a certain group of people, but the part from sharing it with clients. Of course, Beyonce is probably the best way to get exposure and get your work out there. People will start sharing it, and it might end up on all kinds of different websites. Cosby Hands is probably the best hub for sharing creative work on the Internet, and you never know on B has. Maybe some potential clients will see your work, and they contact you. Teoh ask you to do some contract where for them, Or maybe even you can get hired on Behan's. I heard of many cases and actually what I was worked in a creative agency for a whole year , and they found me through be hence so I can definitely highly recommend sharing your work. Don't feel shy. Make sure you get your work out there. I also make sure you reply to any comments that you get on your work. I honestly consider sharing your work as an integral part off the whole design process.
20. Conclusion: And that is all I wanted to cover in this training. Hopefully, you found these techniques useful. Make sure you don't forget to do the class project because I'm really looking forward to seeing your take on a similar project like this. So thanks a lot for your attention, and I hopefully see you next time.
Martin Perhiniak, Design Your Career
