Abstract Logo Design Mastery™ - Learn how to Design Minimal Abstract Logos that Tell a Brand's Story | Scott Adam Lancaster | Skillshare
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Abstract Logo Design Mastery™ - Learn how to Design Minimal Abstract Logos that Tell a Brand's Story

teacher avatar Scott Adam Lancaster, Branding Expert, Fiverr Pro & Coach

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.

      Welcome to the Abstract Logo Mastery Course

      2:05

    • 2.

      What is abstract logo design?

      2:01

    • 3.

      What makes a logo memorable?

      2:21

    • 4.

      How to make more memorable abstract logos

      2:25

    • 5.

      Step 1: Finding the story

      7:11

    • 6.

      Step 2: Search, Sketch & Select

      5:12

    • 7.

      Step 3: Perfecting your design in Illustrator

      5:41

    • 8.

      (Bonus Lesson) Wordmark Design & Kerning Lesson -Refining a students logo design

      35:02

    • 9.

      Bonus Lesson: Refining a Students Logo (Unedited & step-by-step)

      36:34

    • 10.

      Bonus Lesson: Creating mock ups (Unedited & step-by-step)

      35:38

    • 11.

      Showing your logo in mock ups

      3:57

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About This Class

The Abstract Logo Mastery Course is for ambitious designers who want to learn how to create logos that can symbolise a brand's unique story.

In this course you'll learn everything you need to know to be able to create memorable brand logos that communicate the core message of the brand.

   

You'll learn:

  • What makes a great abstract logo design
  • Why some logos are more memorable
  • How to create super memorable logo design
  • How to find a brands core message & story
  • How to sketch ideas & choose the best ones
  • How to refine & perfect your ideas
  • How to take a logo from sketchpad to Adobe Illustrator and make it digital
  • How to present your logo ideas with world-class mock ups

   

This class is for designers who want to understand the logo design to a level only 1% of the world's designers will ever understand. 

You have to understand what makes a logo memorable if you are going to create great logos for clients. 

This can help you better serve your clients and provide more value, also meaning you could charge more for your design services. 

    

In this new course developed by the Lancaster Academy of Design & Brand, you'll discover the 'why' behind abstract logo design, and be able to use it like a designer super-power!

Over the past decade, myself and my design team at Clementine House Branding Agency have fine tuned my creative design process and kept it very close to my chest.

Until now...

In this course, I share a decade of Abstract Logo Design experience to teach you how to create world-class designs for your clients. 

   

This course is for designers who want to be among the best in the word at abstract logo design. 

   

I've give you all the guidance, tools, mock ups and templates to make professional abstract logo design presentations for your clients. 

Everything is prepared and ready for you to download and get started.

    

Meet Your Teacher

Teacher Profile Image

Scott Adam Lancaster

Branding Expert, Fiverr Pro & Coach

Teacher

Our mission is simple.

To make world-class design & brand education accessible to everyone.

All revenue made from our courses will be reinvested into creating new educational content, courses & resources to help you.

Any questions should be sent to admin@laodab.com



See full profile

Level: Intermediate

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Transcripts

1. Welcome to the Abstract Logo Mastery Course: A perfectly designed abstract logo is like a little piece of magic. And that's the trick. Once a client understand is that you know how to design a logos that can stick in their customer's mind. That's when you can charge a whole lot more for your logo designs. After learning the process and whether teach one this course, you are gonna be able to Design Logos That connect with customers and clients. Instantly. Create a brand is like a jigsaw. You have lots of different pieces, all doing a certain job to create the bigger picture and the logo you designers of the very center of everything that you do. Forget everything you thought you knew about the logo design process. In order to create truly incredible abstract logo design, you need to understand the message that you want to convey before you even start putting pencil to paper. Creating world-class logo design has nothing to do with how good of a designer you are. It has everything to do with your ability to think and understand what the messages that you want to convey. Myself and my design team at Clementine House Branding Agency of Design, the thousands of logos for brand's all around the world. And I feel extremely lucky, but I've been able to teach over 20,000 students, the strategic Branding with my online school, the Lancaster Academy of Design and Brand and everything that both myself and my team has learned over the past ten years of developing abstract logos. Ambulate teach you in this course. Now we both know there are millions of designers out there, but you are going to have what? 99.9% of those designers don't have the ability to boil down everything about it. Clients brand to a single message and then symbolise that in the simplest way possible, beautifully designed abstract logo. I'm Scott Lancaster and this is my Abstract Logo Mastery Course 2. What is abstract logo design?: If we are going to get really great at developing abstract logo design, there is no better place to start than drinking coffee. Swiftly followed by understanding exactly what abstract logo design actually is. Now if we look at some of the most well-known logos out there, you'll notice some common trends. First of all, they're simple and minimal. This is important for two main reasons, which we'll cover a little bit later on in the course. Secondly, you'll find that they can work in any one color if required. This is a mistake that many designers make when designing logos for clients or unexplained why? In a little bit. Lastly, and most importantly, every logo hotels as simple story. And that is what makes abstract logo design so special personally, that's why I love abstract logo design so much because you've take all this information and boil it down to what's really important and then communicate it in the most minimalist way. And the grid thing is that logos can actually be great conversation starters. For example, true story. I was once in the park and I saw the most beautiful woman sitting down in a park bench. And I just saw her and I was mesmerized by how beautiful she was. So I took a deep breath, stood up, push my shoulders back and walked over competently. Look during the eyes and just out of the blues said to her, What do you think about the Nike logo? Now I know what you're thinking. You'd assume that that type of pickup lie wouldn't work and you'd be right. She called the police but they didn't arrest me because they thought I was crazy. And that is the power of Abstract Logo Design. Now I know you're here to learn how a developed, incredibly memorable and beautiful abstract logo designs. And you're definitely not here to listen to me talk about my terrible dating life. So on that note, let's continue the course with the next lesson. 3. What makes a logo memorable?: As the famous quote course. If you give a man a fish, he lived for a day. If you teach them on a fish, then you'll probably spend all of his time fishing. But the real question is, why is that caught so important? Well, it is, but that's the best I could do after thinking of an intro for 4 h for this lesson in the course. But I do want to teach you how to make your logo designs super memorable. And it all starts with yuriga. Who was yuriga? Nobody knows. But the yuriga I'm talking about, is that feeling when a light bulb goes off in your head, you know that feeling when two things just flick in your mind, everything becomes super clear. And the thing that you have just realized as being staring you in the face the entire time. Well, that is the single thing that separates the good logos from the grid. And those light bulbs going off in your head are created by little, simple yuriga moments such as the FedEx logo having a little are hidden. However, when it, the basket and robins lobe or having a hidden 31, all the hidden message in Wendy's color. These clever little stories help to make these logos more memorable. Now you may be thinking, big deal, why is this so important? Well, when the customer is thinking about buying something, the company that comes to mind is often the one that they end up buying from. Therefore, the company that comes to mind first is more likely to get more sales, which then means more profit, which ultimately helps that business to grow faster. Which also means there'll be acquiring new customers for far cheaper than their competitors, basically allowing them to get more customers for less spend. Now canon logo alone makes sure a business succeeds, Of course, node, but can it give the business a better chance of being remembered and therefore give it a better chance at being successful. 100%. Under the next lesson of this course, you're going to learn the simple science of how to make you logos far more memorable. Don't worry, we've made a super simple and easy to understand. But the next lesson in this course, and I mean, this is going to put you in the top 1% of the logo designers out there in the world that actually understand the science of what you're doing and how to make sure that you clients can start to become remembered far more easier by their target audience are saving the next lesson 4. How to make more memorable abstract logos: Let's address the elephant in the room here. Science and neurology isn't fund for most people. But you know what is Fun? Getting paid a lot of money because you want the best logo designs in the world that can Design Logos to help clients as businesses become more memorable. So let's keep this super simple. Now, our brains can do many marvelous things, but it does one single thing super well. And that is to keep us safe. That basically means that it has to help us remember the most important stuff. And this tends to be things that have impacted us the most emotionally. For example, you probably can't remember where you have for lunch last Tuesday, but you can remember an instance or an experience or maybe a bad breakup that impacted your life years ago, whether the experience was super scary or sad or happy hour Brand remembers that we felt a certain way and then experience, therefore, it can help us to make bad decisions in future. And none of those thoughts, feelings, and memories and experiences are stone that little pond in our brain called the hippocampus, which ultimately is our long-term memory storage. And the little section of the brand called the hippocampus looks a little bit legacy horses till now is that important law. But the next part is, so remember how I told you about creating abstract logos that have eureka moments or little moments while we realize something. Well, this is the magic that helps Logos be stored in the long term memory. This little spark gives our brain or reason to remember that particular visual mock. Now as the brand girls that are more opportunities to reinforce the initial memory. Now we don't need to go into that right now because it's not important. All we need to focus on is how to create an initial spark of that initial memory with your brand's logo design. Now rain now you may be saying to yourself, okay Scott, this is all good and well, thank you so much for this science lesson. What is the process that I can follow that to you? To develop an incredible abstract logo design that can be remembered by clients. And well, today's your lucky day because that's exactly what we'll be covering and starting in the next lesson. See you soon 5. Step 1: Finding the story: We're finally here the style of the Abstract Logo Design Process. But why do we begin in creating and developing a truly memorable logo? Well, it all starts with a message added. By message, I don't mean slipped into someone's D atoms. That as an OT, I am yet to master. What I actually mean by message is, how do we want to be perceived by our target audience? And if you cast your mind back to a few lessons ago, you remember that the key to incredible abstract logo designs is storytelling. A great abstract logo should symbolise the important point, the key message behind the brand and the communication strategy that that particular company wants to execute. But how do you do that? Well, there are two main ways. The first way is up me a lot of money and I'll do it for you. And the second way is to follow our simple process that I'm going to lay out for you in this very course. Now the process has three simple steps. Firstly, we need to find out what makes the brand special. Next, we'll check to decide which of all ideas have the most potential. And lastly, we'll boil everything down to a Story so that we have complete clarity. This will make it very easy to symbolise that message later on in the process. But the first step to developing a great abstract logo is to understand warming message. We want to communicate with the design. And I actually have a really simple exercise which I've used the past decade and pretty much works every time to help me find this key message super quickly. So just follow these really simple steps. Now, it may seem a little bit weird at first, but bear with me, it does work. Now, take your fist and clench it really, really tight. You can use this to any type of creative endeavor, right? Whether it'd be designed or strategy or anything, as long as you're thinking creatively, this works really well. It always works. So clench your fists pretty tight. The pointed away from you, if possible, do it north, but it doesn't really matter to be honest, pull your forearm bucket at the same time is pulling your former arm back. All you need to do is just pull out your hands like this so your fingertips are pointing outwards. Okay? Now, what you've achieved here is a very charming hand puppet. And what this does is, if you ever lose hope or need some support, emotional support throughout the creative process, you always have someone here to support you. So we have to ask ourselves a very simple question. What makes the brand for your design in a logo for special, unique? Now if you feel a little lost and confused right now, do not worry. I'm gonna go through the entire process with you from start to finish with a real life clients or you can still on track the entire process. The real company now we'll be developing an abstract logo for is called Sky wells. And they ultimately provide sustainable energy solutions to people through the likes of solar panels and other creative energy-related products. So what type of positive impact could this company have on the world? Well, a couple of ideas could be sustainable so that energy, some power combs, longevity. Infinite power, cheaper electricity, saving money, renewable energy, a lower consumption. So with that single question, we've managed to come up with a list of incredible terms that link to how sky wells could positively impact the world. Which leads us on to the next step, which is to actually develop these ideas further, which we can do really easily. But first, we have to check to make sure that none of these positioning strategies are terms or words are being used excessively by competitors. The reason for this is we don't want to be a copycat, so we don't want to basically copy while the competitors are doing if there were that first new and logically, if a brand is known for a certain position or a certain way of communicating, It's best to stay aware and let them Pioneer that particular message. That means that we have to think differently and do something a little bit more unique and distinctive. For example, if you're a sports brand and you're thinking about leading with the message of just do it or do it now for example, then your insulin, you going to be linked to 90 who've been doing that for many, many years already, choosing the exact same positioning, strategy and communications as a competitor that has already very much established, is a little bit like going to a wedding and wearing the exact same dress as the bright people may look at you, but they're probably going to think you were a little bit weird in that instantly go to turn our attention back to the original person who was supposed to be wearing that white dress. So remember this super important lesson. Never wear a big white dress. So once we've removed any positioning strategies are terms that are already been excessive be used by competitors. The next step is to start the gain clarity as to which ideas we want to move forward with. So we want to drill it down to just two or three ideas that we can really start to develop. Now we need to see which ideas have the most potential. And by potential, I simply mean which have the most potential to connect with our target audience that we're trying to communicate with. So we need to start thinking from our target audiences perspective. And by doing this, we can start to highlight which two or three ideas from the list that we have left to basically see which are most likely to convert or motivate or encourage our customers to buy or try our product or service. For example, I think we can all agree that pretty much every single customer out there who is looking at sustainable energy or solar panels, for example, is going to be interested in saving money on their energy bills. So in this case, I would see that as a grid potential direction in regards to communication strategy and the positioning of the sky wells brand. I would likely merge renewable energy and saving money together, then maybe merged together energy with some powered homes. And lastly, I would keep infinite power as it is because it suggests that the customer can have unlimited power without ever running out. And that my friend is step two. Now the great news is you've actually done most of the hard work. The next step is just polishing things up. So now we have to take each of the directions that we have an refine them so there's no fluff. And by fluff, while I basically mean is a mansion, each idea is a piece of cake. All we want is the beautifully sweet IC. So for example, renewable energy and saving money would become renewable energy saves money. And that's the story that we're going to try to create with the logo design. Cheaper energy with some powered homes could become cheaper. Some power energy, and then infinite power would become in. They would just stay as infinite power, I guess. Okay, perfect. So now we have the three stories ready to go. The next step is to start sketching our ideas and really getting the creative juices flowing. So grab a pencil, grab some paper, and I will see you in the next lesson. The pencil and paper for drawing, obviously 6. Step 2: Search, Sketch & Select: So in the last lesson, we focused on Finding the Perfect message, the message that we want customers to remember those by now it's time to bring those messages to life. But what do I mean by bringing them to life? Well, I still we see seeing is believing unless you're blindfolded and you read it, being kidnapped or you haven't have a very interesting evening with your partner. Now what we need to do is to symbolize those messages in a visual format, which looks rate. After all that is all abstract logo design is. They are simply a Story which has been refined and presented beautifully in the simplest way possible. Now, well, you're going to find this throughout the process of developing different logos for different messages is some messages just work better than others. We need to find peace with letting some of the ideas that we love personally go in order to make room for some other ideas which mid just work better visually. So the question is, where do we actually start? Well, a great place to start is usually at the beginning. So I've heard, and the beginning for us right now is how can we communicate the messages that we have in play through ships design? We'll do this in three steps. Searching, sketching as selecting. And because I know you're time is valuable and I need to get the shot before lunch. Let's get started. So I'm going to use the Infinite Power idea to show you how the process works and how I would do it personally. Okay, so I'm going to start by going to Google and looking at infinite, how our logos and icons. Okay, then we're going to go to images. And this is where we're going to find some of our best ideas now, some of these own bad, but we need to think like a world-class designer. And world-class designers have one single attribute that no other designers have. A NAT is restrained. For example, you have logos here which aren't directly relating to both infinite and power, and that's fine. But do you know why none of these logos are really capturing our attention and why they don't look captivating. Well, it's actually pretty simple. When a logo is too obvious and direct in loses its mystery and mystic, it's not magic. That curiosity that builds up and those to think about, okay, what does that mean? That gives it the attention than it deserves? These logos here at telling the full story on the front cover. And we don't want that while we want is to grab the person's attention and then make them curious enough to actually learn more and getting them on want to read the book. And this approach should also allow us to create a logo which is more simplistic and minimalist. So if I'm looking at these ideas, what if we took the infinity symbol and just design it in a way which made it look more dynamic and more powerful. Now that to me, seems like a good idea because we're going to have the infinite symbol, which is the most important element of the message. And then we want to have the power elements through showcasing the infinite symbol in a powerful way. So let sketch some ideas and see how it goes. Now before we start sketching, there's something really important I have to share with you in regards to how to approach the sketching stage. Now what happens with the law of designers if they do actually use sketching as part of that process, which if you are in a good Then you should ultimately the very precious about that paper space. So they don't want to put any bad ideas down on paper. But the thing is, that's what PIB is full. You should get all of your bad ideas out because out of the ten by D is that you sketch, there's gonna be one idea which has a lot of potential when you're sketching your ideas. It doesn't matter how good or bad they are. What matters is you do not stop sketching until one of two things happen. Either you fall asleep or you stumble across something that has potential. Now instead of UBC watching me for hours sketching and crying and having little breakdowns and have a naps and then come on back and sketches some more until I find something good. I'm just going to show you some sketches that I did a little bit earlier. Now, as you can see, there are some really bad ideas here, but we need to get through the mud and breakthrough ground to eventually find the gold. And when it comes down and Select and an idea that captures my attention, I really like how this one is standing out to me. It looks dynamic but professional and it looked powerful without trying too hard. I'm feeling confident about Higgins design to the next stage because it communicates the message that we originally intended to communicate. Now, usually a nice little trick that a lot of creators use is before they decide to take something to the next stage, they usually go and take a little break and then come back to review it with a fresh pair of eyes. So I usually fixed myself my folding of a cup of coffee, come back and then see if I still feel the CMB about the design before moving onto the digital stage, see in the design with a fresh pair of eyes just keeps you that confidence that you are choosing the right idea to take forward into the digital stage. And speaking in the digital stage, we're going to be taking your sketch into Adobe Illustrator in the very next lesson to show you how to perfectly presented to a client so it looks professional and trustworthy. I'll see you soon. 7. Step 3: Perfecting your design in Illustrator: So right now with our sketch, we have a piece of coal that is thriving to reach his full potential. Now, with a little bit of time and refinements, we can turn that piece of coal into a beautiful diamonds. And it took be 3 h to come up with that analogy. So I'm going to have a celebratory sip of coffee. So now it's time in this lesson to take our sketch and to make it beautifully professional in the digital world, the first step is to refine the icon. Next will pair with a complimentary wordmark refining the typeface slag need to make sure that you're abstract logo and wordmark shares a common style and DNA. Lastly, we'll organize your logo into a branding system so that you can show your clients each version of the new logo and how it should be used. The first way is to use the golden ratio method, which is quite good and it works quite well, but takes a little bit of practice. Another way is to freehand it. But to be honest, it doesn't really give you that professional field that we're looking for. And the last year, which is my personal favorite, is to use the pen tool on Illustrator. Now what we want to do is to draw around the sketch lines as best we can. Then, once we've outlined everything, we can start a fiddle around with the anchor points to make sure everything looks great. The smooth tool usually comes in quite handy here as it allows you to get a nice, clean curved edge, which is seamless throughout all your designs. Once you have your icon outlined and you're happy with it, fill it in with a color. It doesn't matter what color it is just yet and then check out once more. That just makes sure it all looks great. Now, moving on to step two, we need to find the correct hi face to match well with our icon. Now there are two things that you need to remember when trying to find the right Typhoeus to match with your icon design. The first is that it needs to be roughly the same thickness as your icon. The second is it should be super easy to read if you choose a typeface which is a lot thicker or thinner than your icon, then you're going to run into trouble later on because they're just not gonna match very well. And you also need to make sure that your typefaces super easy to read. Otherwise it's gonna be hard to scale it down. And also it's gonna be difficult to make out what the word mob actually says. Making sure your logo is scalable simply means when your logo works great in any size. So if you're typhus isn't easy to read or it's too thin, your logo won't be able to be seen clearly when small. Now once you find typefaces that you like, experiment with upper and lowercase, generally, you need to see a couple of different options to see what feels best. Uppercase letters generally feel more dominant and corporate, all lowercase letters tend to feel more approachable and friendly. And using caps and then lowercase can also work great too. Experiments layout all options and then see which one you feel most attracted to. I think we want to go with all lowercase for Sky well's purpose, I really want to make the brand feel more down to earth and friendly. So now we selected our typeface. How can we take our word mark to the next level? Well, at the moment, our icon and I'll word mock aren't really related. They don't share any common DNA. Now I know you may be wondering, what do you mean by common DNA and why is Scott so outrageously good-looking? Well, the answer to the second question is my mum. And the answer to the first question is that we need to find a way to make the word mark and icon feel like family. So for example, my mom's tall and she has blue eyes. I'm tall and I have blue eyes. Therefore, we look similar, we share common characteristics. So in order for the word mark and the icon to feel connected unlike family, we need to find something that we can do with either of them to make them feel more related. Now there are tons of different ways to do this, but the width I've found that the easiest is to take a distinctive elements from the icon, then refine the word mark with this particular characteristic. I usually do this by taking a curve from the icon and then basically adding it to each letter of the typeface. So for example, if I take this distinctive curve from the icon and start to place it at the edge of each of the letters within my wordmark. You can start to see how the word mark starts to adopt some of the character of the icon itself. Now be careful to make sure that the base of your word mark is relatively flat as we want to make sure the logo still looks sturdy and trustworthy. But once you've added a little bit of the icons DNA to each letter, you can then see that the word mock me. I can start to feel far more connected to each other. This is great because when you start to create your branding system in a minute, you will see that you have your full brand mark, your word mark, and your icon. And no matter which one is being used, they all have the same shared style and look which helps the brand to feel more consistent no matter which version of the logo is being used. And now we have at your sketch, that fumble piece of code that we had in the beginning is now a beautiful diamond ready to present to a client. Now presenting your designs to a client is a little bit like proposing. There are a few ways that you can do it. The first is to just take the diamond ring and just handed to them and just see, do you like it? Or the second option is to take the diamond ring, put it into a beautifully elegant box. Dress. Incredibly, get down on one knee and look the person in the eye and tell them how much they mean to you and how much you want to spend the rest of your life being committed, loving that person. Now if you want to be the best to do things, right? Obviously the first option is the second one. The second option is the best choice. And if you want to learn how to perfectly present your work declines in German. The next lesson where we will be covering exactly that. I'll see you soon. 8. (Bonus Lesson) Wordmark Design & Kerning Lesson -Refining a students logo design: Okay. Hey, so I have a very exciting lesson for us today where we'll be taking this brand identity design by Steven kami. I hope I'm pronouncing your second name correctly, but Steven, ultimately, who has just started a graphic design, and he is knocking out work like this. I love so many things about this brand identity design so much. I also have some things which I feel, you know, I personally would change if I was managing the project and this was like a first draft. I'm going to go through all of this in this video. So this is going to be completely unedited. I may make some mistakes. You're going to be working through the process with me. To see how I think about things, how I would approach certain decisions when it comes to actually designing this logo, and yeah, we shall go from there. So I have just taken and I really appreciate Stevenson the go to me. I really helps me to understand how our courses are kind of helping designers, which is great. When I'm looking at this logo, First, I need to understand, take a step back and understand who the brand is. Who am I what is the perception that I'm trying to create? Now, the Little Lux kid shop, I could be wrong. Steven, please let me know if I'm wrong, but it seems like it's a luxury kid store, so it's going to be doing high end products like clothing, maybe bags, a little little baby grows, stuff like that. Things for babies and little ones that are more luxurious, they're not the more basic products. We're looking at high end. The question is, does this give off a perception of being high end of being a little bit more luxurious, of being a little bit more premium. I would say it does. It does to a certain degree, it does. Now, in regards to the actual formatting of this very logo, there's something straight away which I could just put out there. And it would make it far more easy to work with. What do I mean by easy to work with? I mean, if you add this logo to a website, for example, and he actually has a version of the website here, but he's only using the little looks logo here, but say, for example, if we were using this logo because he uses it on the bag here, and on the business card. We've got this here. Can you see how the just looks a little bit out of place? You see that? What I would do. I love the actual slogan as well. One gigilin a time. That is awesome and well done, well done. What I would do here, just in regards to logo design alone, I would take and I would just place it somewhere else. I'm just going to again, this is just all off the cuff. I have not planned any of this. I just wanted to arrange it while I had a little bit of time spare. There we go. I'm just going to literally just move my big stupid head over there. Okay. Just get the. There we go. This should look a little bit better. You can decide, but ultimately, this is what I would do. This just brings the logo in a little bit, so it's more of a square. For example, we want a logo to be in shape a little bit like this. This is the easiest shape to work with. I just want to show you guys what I mean when I say shape. So to be in a little bit of a rectangle like this. The more tight we can have things, the better because then it's going to be easier to work into certain other environments like the business card, like bags, for example, without it looking a little bit out of place like here. So if this was up here, then it would look at it would look a lot more compact and a lot more tidy. Now there are other things here like the spacing. Spacing, I think is one of the biggest things that are a lot of designers. When you're first starting with graphic design is one of the main things that I certainly struggled with for quite a long time. Let me show you a little trick when it comes to spacing things when it comes to logo design. Okay. So as a comparison? Those are the size of the logos. That's the size. Can you see how this is it just looks a little bit out of place? This looks a lot more compact. The simplest change in the world, but it makes all the difference. Now, another thing, which I think could be refined slightly and made a little bit better is the number of fonts and the number of different types of typography that are used in this particular design. What do I mean by that? Here, I think there are three or four different fonts in one single logo design, which is quite a lot and you won't see that in a lot of other logo designs that are done properly and professionally. That's another mistake that I've certainly made 1 million times before once I actually understood how to approach things in a slightly more minimalist way. But That's also something that I would, you know, I would consider here. So for example, if we were just let's just make another little board here. Again, this is completely unedited. I haven't pre rehearsed any of this. That's why I'm going to make some mistakes probably in this video, and I want you to go along that journey with me because that's the fun part. That's basically what design is all about. You test things, you try things. Some of the things that I try in this video might not work, and that's fine. So I'm not sure what fun that is I think it's been modified slightly. Looks like the edges have been modified slightly, but I could be wrong. But let's do this. Let's just redesign the entire logo. That's going to give me a little bit of an opportunity to change a few things. So if I did this as a first draft and I fixed so the has been reforms a little bit more compact. We've got a a nice little square like this, which is perfect. The next thing that I'm thinking about is, does this typography showcase the message that I want to showcase. Does it give off the impression that I want to give off. Now, when I'm looking at this typography, I love the fact that the little and the lux has two different weights. I love that. I think that's a great move. So really well done on that state. What I would say is this is, this is the store for kids. What do we associate with children and kids? We associate comfort, we associate, innocence, we associate, I don't know. Well, I've literally just had my first son born last Friday, so, you know, a lot of crying, that's something else you associate with kids. But I'm What else do you associate with kids? I see these sharp edges. I love the fact that it's bold and it's almost fluffy and it's almost like a teddy bear. But I also and this has a more luxurious feel, which I really like. But I think the sharp edges are taking this away from what it actually could be. What I would actually do is I would take away the sharp edges because sharp edges are more suited towards tech companies and very cold companies or maybe if I worked with a company a little while ago. Called tech blade. Go had to have sharp edges because it literally says blade in the name, right? So for a more kids focus brand, I'm thinking wouldn't round the corners make more sense. Let's redesign the logo. Let's see what the situation is. Let's use the same color, and let's do I've I love the fact that you use low cases as well. That's a really great move. Using lower case letters when it comes to logo design, it can have two effects. One, it can make the logo seem more approachable, and it can also make it seem more modern. For example, if we do what's that Let me show you an example actually on our website. There must be one on our website somewhere. Must be one on our website somewhere. Let's have a little look. So our broths. Sky wells, there's one there. Somerset, again, lower case letters. Another one, another one, another one. So well, another one, another great one. Yes, I mean, Using lower case letters can really help you to make the brand seem a little bit more approachable, a little bit more, a little bit more innovative. That's something else to keep in mind as well. So really great work on that, Stephen, really well done around applause for you. Let's make this. Gilroy, let's have a look at this one. We're going to make this a lot smaller, obviously. I'm going to I think this Wait a second. This is not how I expected this to go. So you can tell that this is not pre rehearsed. This is completely off the cuff, which, if you're not sure what that means, that's a British term, I think, for just going with the floor. This is a nightmare. Okay. I'm going to whatever. Let me do this. Okay. I'm going to do this in b not extra bold. I want bold. Extra boards a little bit too much. These in bold as well? Yeah, I think these should go in bold as well, I think Bold. Good stuff. Now, create outlines, perfect, perfect. We could do and stuff. I can do ing manually anyway through this so it's not a big deal. But now we've got this, right? We've got Gilroy, which is a pretty you can play around a lot with a front light like Gilroy because it is just, you know, it's got so much range. It can be modified and changed in so many different ways. For example, we've got a slightly bolder, we've got a more slim weight and we can manipulate the letters in different ways, which I'll show you in a second to really make it very distinctive. Let me show you what I mean, because it's a lot easier for me to show you. But let's for example, first and foremost look at how big we should have and the kid shop in this. A little trick that I like to do is if you take this L, it on top here. Then if you usually it's two or one, but let's do two. If I'm doing two, I think two and one is going to work best. If I do that, and I move this two here right on the edge, then I do the exact same here on the other side, Okay. Take this away because I've got the spacing there. We literally have a guide from where to put the other two words and it's going to be consistent. Now, you can see here that I'm using. Obviously here you've got one, two, three, four, maybe these two are the same. I'm not 100% sure, but you've basically got three or four fonts here. This is literally using one font, two different weights. That's it. That's why it's going to look a lot more simple and a lot more easy on the eye in my humble opinion anyway. From a design standpoint, it should look a lot more simple because basically when you think about design, at least in my humble opinion, Design is supposed to be aesthetically pleasing because it makes sense. When you have lots of things going on, it takes longer and it creates more friction in the brain for you to understand what's going on. How should I be perceiving this brand. When you have less going on, it's easier to digest. That's my humble opinion. That's especially important when it comes to website design because website obviously you come to a website and you literally have a couple of seconds. One's just going to click off and go to the other website, which an option on Google. That's something to keep in mind. We have this. We're going to line this up nicely. Or as nicely as we can. I'm not sure if it's going to let us still perfectly, but there you go. Then we're going to put that here. Then we're going to bring it up so it's the same size, and we'll see how it looks takes a lot better. I actually think it could be a little bit smaller. Let's just use that as a guide, and make that a little bit smaller. We've got the thing. I like the size of it, but let's just make it a little bit smaller. So let's just make and this is the best thing 123-451-2345. That looks a little bit better. I'm a little bit more happy with that. Perfect. Now, what we can do with this one is we know this is roughly where the actual letters need to go. But we can just throw this up here. Get this exactly the same size as this. I don't want to waste your guys time, so I'll just get this as close as I can. Perfect. Then we'll throw this down here. We just want to line this up nicely at the top here. So that's perfectly aligned with the E. And now we just need to drop it down slightly, there we go. Close enough, close enough. Again, we're not trying to win awards and we're just showing a few examples. Okay. And the curling seems similar so similar. Okay optically, I need to change that a little bit. I'm going to put it down a little bit through the way. I also think it should be a little bit smaller as well. I don't know why. But I think it should be a little bit smaller. Okay. You see, when you're designing something, mathematically, when you're kerning letters, for example, it shouldn't be done mathematically. Generally, from a type face standpoint, when you're typing out the typeface with the regular font, it will be done using an algorithm or using the software or the actual the rules within the font. But when you're actually designing, it's different. You need to check the n we'll do that in this lesson. Actually we'll just do the whole thing and we'll really get things tied up. I'm not 100% happy with how this is looking. I look at this as well. That's a little better, I suppose. Okay. That looks a little bit better. I'm a little bit happier with that. Let's just get things roughly where we need them to be and we'll super tie them up later. I'll show you how I do that. There we go. We've got this here, and this is basically this is the more simple version of this logo. Now, why does it look so different? The one thing is the actual urning If we actually did the urning for this particular logo, it should look a little bit more compact. You can see how this looks more compact. I like the fact that this one is more compact. Let's do that very quickly. How do we do? What we would do is we could take this. Take this down here. We would take this for this up here. Here we go. Then we can start to arrange. I'm going to just move that over there as well because I don't want to distract me. There we go. Okie doke. So we have this, which we're going to move closer to this. Good stuff. Move this one closer in. Okay. Then we're going to what I'm basically doing here, this is just manual curling. And again, I'm not the best in the world out there, but I understand it to a certain degree. While we're basically looking to manage the space between each of the letters, and you're supposed to do it three letters at a time. And so I'm looking here at the space here. For example, The space here is fairly consistent. The space here is a bit less consistent. It's a little bit more complex. We can see here how there's more space down here with the ts and there's a little bit more space here because there's not as much constricting the space it is with the. Mathematically, this is a closer than Let's go proper deep in this lesson because I really want to create the best lessons possible for you guys. I know these lessons won't be for everyone. They'll just be for the few that want to go super deep in regards to certain concepts. But it's going to help. There you go. You see how the tasing a little bit further away. This is because if I put it here, It's going to it's going to look very optimally optically, sorry. It's going to look optically very strange. It looks weird to the eye for some reason, and you can adjust that by simply adjusting the spacing between the t and the eye and just taking all of the space into consideration instead of just the mathematical distance between each letter. That's something that takes a little bit of time to get used to. But you do it basically three letters at a time because you don't want to be distracted by the other letters. This one here as well. I'm only taking into consideration these three letters. I'm not worrying about anything else. And as I move on through the letters, I take them in one half. And then I add another one here. So there's quite a lot of space around here. There's quite a lot of space. That's why the e can be a little bit closer than the t because there's so much space around it. Then we do this. This is why things might get a little bit more tricky because we've got two different fonts of different weights. Let's see how things look and then we can go from there. I need a little bit more space, so we have that distinction between the two words. On the two different functio I say. Let's see what this looks like afterwards, we finish little and looks Gilroy super easy typeface to work with as well. You can see how much space is see how much space is here. This means that the x can be a little bit to the, it should be the same with the E because the doesn't have Let's get rid of that. The doesn't have a long straight edge. So, there's a lot of space again. So that can fit quite snugly in there. Okay. Perfect. There you go. You can see how that looks 1 million times better after adjusting the curling optimally. Now, I would still probably tweak this a little bit, for example, what I would do then is I would take this, take it to a completely different place upside down. This is just literally just picking things apart in a couple of minutes. So this forces you doing it upside down. The reason that you do this is you're forced to look at the letters in regards to their shape and not just the letters themselves because, you know, if you're used to using English letters or symbols, for example, then you start to be accustomed to how far or how close it should be together. So that affects your perception when you're actually adjusting the letters and the curling. So you should be looking at things upside down as well. So yeah, quite happy with that. Maybe I can just be tweak slightly. One little one little nudge. Yeah happy with that. Okay. There's probably some, you know, some urning masses out there that are going to, you know, maybe send me a couple of nasty messages about how this, you know, how my process isn't industry standard or whatever, this is just what I learned from reading a lot of books and just from, you know, kind of well, this is the exact same approach that the brand agency that I've worked at ten years ago. This is the exact same approach that they took. And it's yeah, I think it's pretty close, but yeah, there's there's a very fine line between someone who just does urning like this like me and someone who is like a master of typography. I'm certainly not a master of typography. So, you know, if you need that sort of guidance, then, um, Maybe there are other courses out there. I like the spacing between the E and the slightly lighter L. I think that's a really nice amount of space just to give them both room to breathe. Pretty happy with that. Pretty happy with that. Just going with just that and then we copy and paste. Let's get rid of this one. This is the new one which I adjusted very slightly. Here you go. Boom. We've got this. We're all good to go. That should be one thing. Take this away. You can see the difference now. Look at this. Look at the difference now. That's crazy, right? We haven't looked at that for a while. Look at the difference between the first logo, which is here. The second logo, which was before curling it, and then this one here, which is, it's been, it's been arranged so that it's not as long. So now we just need to add and kitch am not sure which one is going to look better, but what I'm going to do is, I'm just going to put this over here because I want to never see it again, just kidding. Let's take this. I just want to see which I like better. Actually, I can just Just this. I want to do that. Here. I've already went through the whole coding exercise, I'm not going to do the same with the kid shop just because it's basically the same lesson. I don't want to waste your time. But I'm going to use Gilroy. I don't know whether to use Gilroy bald or the lighter version. I'm not sure what's going to look better. If I'm not sure that I'm going to. If I'm not sure, then I want to test them both and see which one looks better. We've got that. Okay. I'm just eyeball on this in a minute to be honest, so bear with me. Eyeball then we go. Then kid shop. So I'm going to be able to say soon, which of the two is the best option. So that looks not bad. A light. Yeah, I think I think this one looks better. And the reason that I think this one looks better is it lets Little Los shine through. Here, I think it's it's fighting with it a little bit. Do you see what I mean? Little Los is the actual brand name. It is the brand name. The kids shop is kind of extended word like it's it's the extension of the actual brand name. So We want little looks to shine three. Now, what I would do, if I was being detailed and looking at different options. I would put these both as outlines. Then I would add a very small stroke. Maybe a little bit of a bigger one, slightly bigger stroke. 0.7. And then I would take this. There we go. I didn't work very well did it. You see now this, this is in the middle between bold and light. So it's not as light as this one, but it's also not as bold as the other ones, so it gives me the best of both worlds. I think it's still a little bit two bolds, we'll probably make it five. Oh, I love that. Let's take this away. I'm also going to make this one less because I like how thin it is, but awesome. We're here. We have went from this to this. Now, there's one last thing that I want to do before I end this lesson. We're already 30 minutes in. Now, I mentioned at the very beginning, if you remember, the pointed edges of this. If you see here, we've got the pointed edges here, which were a little bit too sharp for me. That's what I want to do. These are not as pointy. Well, that's what I want to do. I want to make the letters as approachable as possible. What I'm going to do is I'm going to get all of the tops of the letters here. I'm going to do the lower case different actually. Now the reason that I don't do the bottom section is because the bottom of the typography needs to be a little bit more flat. It can't be as rounded. I'm going to do is. I'm just going to pull that in a little bit. Think about that should do well. Perfect. This this. Actually, I'm not sure what should happened there. Oh, there we go. I think I pulled it down a little bit. So I told you this wasn't going to be edited. This is going to be me just completely using whatever I know to arrange this, and this one is going to be a little bit less. The other one was this one is going to be a little bit. Perfect, do. Okay. What do I like about that? I want this one to have the same amount. I I want these to be just as we go. There we go. Let's just eyeball that. Okay. Let's do the bottom. Again, all the top. And the isn't touching the bottom so you can kind of do it. Obviously, we can't do it as much as the other ones, because it's a different weight. So we need to be a little bit conscious of that we go on the bottom. We need to be even more conscious because this is touching the actual ground There we go. There we go. So, you know, I this version? Is this logo better than this logo? It's subjective, right? Sorry, I need coffee. Is this logo bet than that one? It's subjective. You know, I it doesn't, you know, there's no right or wrong way to design a logo. You know, everyone's everyone's opinion is different. I work with some clients and they have absolutely, you know, a very, very different taste to me and to the rest of the world, it seems like sometimes. So, you know, it's just my opinion when it comes to this particular brand and how it could potentially be done a little bit better. This was the original logo that was sent. And then that's the new one up there, which is Just being tied up a little bit. So you can see here the curling the formation of the actual logo with their kid shop. It's just a little bit tier. It's just a little bit more neat and a little bit simpler. I hope that you found this lesson helpful. And if you'd like to see more videos like this, please let me know by leaving a five star review on the course and just telling me to add more courses to add more lessons like this. Message me. If you want to get in touch with me directly, you can also get in touch with our team at Admin at Lancaster economy of design and brand.com. You can also get in touch with us there if you have any questions or if you need anything or if you want some private consultation in regards to getting better at design where I can actually teach you in real time. I can also check at our YouTube channel as well. Our YouTube channel, it can be found. Let me just check. If you just Lancaster Academy of design and brand, you will find us. We've just started posting on YouTube and stuff. I'm not sure when you're watching this, but we do have some really great videos, and it also has all of our courses on there as well where you can actually find out what different types of courses we do have because obviously the abstract logo design is super popular, but we also have other ones as well, which are a little bit more new and they're more focused around brand building and other stuff like that. If you need anything, please let me know. I hope you enjoy this lesson. Take care, and I'll see you see. 9. Bonus Lesson: Refining a Students Logo (Unedited & step-by-step): You need to make sure that your logo does three things. It's relevant to the business in some way shape or form. It can work in any one color. Lastly, is it scalable. That's why we may run into a few issues because hey, another student logo redesign. I had Steven sent me a logo that he created after taking our abstract logo design course, and he basically redesigned this logo, which I can show you now from this So these two logos were the ones that were being used before into this. Now, in this video, what I'm going to do is I'm going to critique Steven's logo because I think he does a lot of things well. He's definitely improved on these two logos here. There's also some things that I feel could be improved. And I want to challenge his thinking so that he can improve and so we can all improve together. So that's what we're going to cover in this video. We're going to critique this logo, and then we're going to redesign it, and I'm going to do a really simple version which I think can communicate things in a much simpler way. Um, there's going to be no editing. It's going to be completely organic. So there's going to probably be a few kind of screw ups, much like that. And you're going to see my work flow. You're going to see how I think about certain things. You're going to see how I take this logo and turn it into a more simplified version, which I think follows the rules of design far better or at least abstract logo design because that's what I specialize in. So let's first look at the actual logo. Steven sent me pretty much everything. He sent me a full file, which was super organized, including everything for TPA. I think that's how you pronounce it, so it's called TPA. And he sent me these logos. Full guidelines as well, but we don't need those right now. But ultimately, I think that Stephen has done an incredible job taking these logos here and kind of bringing them together into this logo. So you can see here, you have kind of the mountain, which was here originally, you have, investment, which you can see here. You can also see, you know, kind of the A think, which was here, so he simplified things already. He's done a really good job. So critiquing this particular logo. Now, When we're looking at this logo, the first thing that I like to kind of ask myself is, does this logo, let me just hide these logos for the moment. Does this logo follow the three main things that every single logo should do. Number one, is it relevant to the business? Yes, it's very relevant. It's very descriptive actually, which is which I'll come to a little bit later because I don't like logos to be too descriptive. They should have a little bit of mystery about them. Number two? Can it work in any one color? Again, I think this can work in just one color. Although when we're working on the blue background, which by the way, I love this blue, I think this blue is fantastic. When we look at Steven's version to go on the white background or a lighter background, he has used three colors for the icon, which I don't really like very much. I think that if you can keep it all one color. If you can. It's not essential, but it's something which I tend to like. I like to keep things just one color just to keep things simpler and a lot cleaner. Now, one thing in regards to these colors when you're using them together, and this is just a thought that I've just had as I've been kind of reviewing this in my mind. These colors are The reason that this logo may seem a little bit childish from first sight is because these colors are very primary. So they're very close to colors that you would find in children's toys and colors that are very colorful and very bright. It doesn't seem like when the blue is just on its own, it seems more corporate, it seems more professional. When they're together, it seems a little bit more playful, which for this particular business, I don't think it works very well. Now, you look at someone's logo like Google, for example, Google's logo is supposed to be approachable and a little bit more playful, obviously, the word Google is quite fun to see anyway. But this is trying to be a very serious business. So this is why this doesn't really sit well with me, whereas the blue on its own works a lot better. So how are we going to fix this? Is simply by turning all blue and it works just as well. That's the second step. Third step. Is this logo scalable? Those are the three things. If you didn't know that already or you haven't taken the abstract logo design course on any of the platforms that it's available on, you need to make sure that your logo does three things. It's relevant to the business in some way shape or form. We'll come to that a little bit later in a little bit deeper. It can work in any one color. Lastly, is it scalable? This is why we may run into a few issues because when we are looking at this logo here, it works brilliantly. It works very very well. Let's just drag it over here actually just so we can be super clear about what we're doing. So, does it work well here? 100%. It's making it a little bit smaller. Does it work well here? It's still working okay, but you can see even now, those little rits on the top, I don't know what you call them on the mountain the mountain top ultimately. They're starting to get a little bit fuzzy, right? They're not looking too great at the moment. And as we get smaller, you can steal now. It's really difficult to make those out. And for example, your logo will essentially be its smallest when it's as a fabric. And a fabricons 32 pixels by 32 pixels. So if we pixels. So if we just take a box and just do 32 by 32 pixels, 32 by 32, This is a little test that you can do by yourself as well if you really want to. And that's the standard as well. You can't change the size of a fabric. That's just the standard that most website platforms will force you to use. So you can see here now that you can't even see these little ribs, so that detail is lost, okay? So that's my issue with this logo. That's my first little little little improvement point that I would make is the detail on the top. I think it's unnecessary. And if you can make that a little bit less detail and a little bit more kind of I I don't know. How would we even do this? Let's just really quickly try and fix this. I don't want to take up too much time on this particular lesson to I mean, that works just as well. That works just as well, and that's going to be more scalable. But let's say for example, if we did actually want to do I don't know, a little detail on the top. That's the pen tool. Does the pen to Let me just use this actually. That's fine. Okay. If I was, for example, using this just to kind of create here a little, you know, snow mound or whatever you call it at the top, you know, I may look a little bit a little I'm just doing this very, very roughly by the way. But, you know, that's kind of what it could potentially look like, right? So when you actually do this, and again, I know that looks terrible. I've literally done that in 20 seconds. But if you look at that, this is literally giving me a headache just looking at it because it's literally so bad. Okay. I didn't maybe done this beforehand, right, and then had pre set designs ready to go. But yeah, I wanted to be as organic as possible for you guys. Let me just use a smooth and smooth all these out. That might work. Okay. There we go. Now we're talking, baby. There we go. I mean, it still doesn't look great, but it's slightly slightly better. Yeah. So if we do that now, you know, and we make that 32 by 32, just roughly, you know, you can see it doesn't look as bad right. You can see the detail on the top, if you even wanted it there. I actually think it looks just as good just doing it like that because you know it's a mountain, right? It's not as obvious, but that's the first thing. So let's just keep that as that for the moment, right? It's not perfect, but it's better. So now we start to look at the typography. Now, the typography and typography in general, let me just weather the whistle because I'm talking quite a lot, as you already know. So with typography, I like to keep things as simple as possible. Let's work on this one, actually. I like to keep things as simple as possible. And this front, I think what Stevens trying to do, and I don't know yet, but I think what he's trying to do is a little trick that I like to do where I basically take the logo, and I shape the edges of each letter. With some element from the actual icon so that it makes it a little bit more unique and it kind of brings them both together. So essentially what I'm trying to say is you take an element or a curve from the icon and you use it to shape the edges of a really generic font, which you can, you know, which would look, you know, kind of very, very familiar. And it makes it look more customizable and more married to the actual icon. And It's just a little subconscious thing that I've been using this for years now and it generally really works. So I think that's what he's trying to do, but I think that the curves that he's created are quite harsh, and it makes it seem very sharp and it makes it seem like there's not a lot of balance there for some reason. So what I'd like to do is and I'm going to actually redesign this entire logo with my kind of version of it afterwards. This is just me kind of playing around my Stevens logo. So what I would do is I would that. Let's do heavy black let's choose black, right? So black. Let's use Kilby bans cool. Okay. Okay. Let's get rid of that. Let's just put it over there actually for a moment. We'll just keeps there. Okay So we've got this. We're going to work with this one. Okay. So first and foremost, we have this. Do my group. Okay. So what curve can we use from here to basically create a more unique font? One of them that we could potentially use is the We could use the side here. I think this is what Stevens actually done. But what I think he's done is he's just basically took it straight from here. I think this is what he's done. Let's check. It's actually changed the size. I think that's what he's done. Let's look you can see it fits this perfectly, you can see here, it fits it perfectly. And if we do. I think that's what he's done basically. He's basically just too at that. But what you should do to make it less harsh is you make it a b that does, is that basically give you I'm going to take this. I'm going to take that. I'm going to move my big stupid head over there. Then I'm going to capture that section so that the rest of it is just gone. I've got a little bit Well, I've got less of an asset to work with basically, so I don't have to worry too much about it. There we go. Now that's a little bit tighter and I can actually work with it. Now what I can do is I've got this curve, and I couldn't even make it smaller, but let's just make it about this big that seems a little bit more manageable, right? I think what Steven did is he cut it like this and then he cut it like this again. Let me make that outlines just so you can see what I'm doing. There we go. So yeah, he made it like this and like this, I wouldn't do that. I wouldn't do that at all. What I would do is I would probably alternate. So I would do it maybe like I even touch that? I would even maybe do it like that, you know. I would I would just do it super super subtly. Yeah. Maybe do it just super suddenly. And then, look, and then what I'm doing is, I'm, you can play around with it. You don't have to keep it as it is. You can play around with it. You can alternate the you can rotate it, you can, you know, flip it, you can do whatever you want. But you just have to try and get don't know why that's doing that. There we go. So you just have to try and get something which is going to change things and give you a little bit more of a unique look. But that's also going to make sure as well that you're getting that you're getting you're clipping off just enough from each letter and you're not clipping off too much or too little. Try and get around the ceil amount. It doesn't have to be perfect. I mean, you can be perfect if you want to, but, you know, generally, you can just do it by. Formally enough. I'm actually editing the I now not intended. And then I'll probably just do the same for that one. There we go. Perfect. Okay. I do. So right now, we just have the exact shape from here. We've chopped it up a little bit. We've made a few little changes, and now I'm just going to make a copy of this because I will probably screw something up and I want to have a reference when I come back to it. Now I'm going to do is go here, move my head again, and then just get rid of everything. You might be asking yourself, why you've done this to all of the other sides, but why have you why have you not done it to the bottom elements. Now, you can do it. But what I found is you generally end up making the logo look less balanced because the bottom of the logo is curved. Looks a little bit weird for some reason. I'm not sure why. You can see here. What we're going to do now is, we're just going to delete a top part. You see that it doesn't take too much off, but it just looks a little bit more unique. I don't know why that's happening, but we're still good also. Okay and then here, look where Stevens looked. See how that looks a little bit more kind of, you know, I does't look great. It doesn't look, it's okay, but it's not, you know, it's not groundbreaking. But you can see here how it looks different from Stevens, right? So this is Stevens. A Stevens. And this one, you can obviously what's happened there? Okay. Sometimes you have to do it like that, like this. There we go. No. It's good to have things all nice entirely while you work, you know, otherwise, you just end up leaving it and then afterwards, it's just an absolute mess and it's not good for anybody. There we go. So we've got something which, you know, before I still screwing up a little bit, right? I told you, I told you this didn't have any it. I was literally doing this from scratch on a Saturday just while I had a spare half an hour. There we go. So you can see the difference, right? You can see the difference. Now, you can see that subjective, right? You could see it around here. Yeah, I think Stevens is bad. That's fair enough. But I personally, when I'm designing the logo, I want to make the brand of the logo look as professional or credible as possible. I think that this personally looks a little bit. It doesn't look as well balanced, so it takes away from it. I actually like how unique this looks, but for me, that's what was a little bit off the balance. So this is my version. Now we get to this. Now, one thing that I want to show you guys is how to format the text in the icon because this is one thing which a lot of people a lot of people get wrong, there's an easy way to do it. Let me just show you how. Let me just put those two together. That'll drive me crazy. Okay. So we want to make this is the same color. I'm going to delete this again because I didn't do it the last time. Then, for example, how do we get the icon, the correct size for the word mark? That's a question that a lot of students ask me. I've covered this in other lessons, but I want to cover it again. So how do you do it? How do you get the icon on the logo the word mark to be the right size, so it looks format. A great way to do it is to take the word mark the size that you want it to be. Let's say this doesn't really matter what it is because the rule allows you to do it perfectly anyway. Take the first ladder, and then turn it sideways. Then all you do. Actually, let's do it an easier way. Let's do it easier way. This just a little bit more visable it's going to be a lot easier for you to process and just to get th you get the size of the word mark. You copy that. Copy it again. One more time. There we go, ideal. Now you've got that. Now the next step is to basically half this. For example, we get this half it. There we go. Now we have that. Then we'll put that, put it at the top, really simply. Then we can do it actually just to make sure because we're going to be turning it over anyway and then reforming it the other way as well. Okay. So now we've got that, and now if we switch this around, We have something that looks a bit like this. I want to just move this around a little bit here. Now, what you're basically left with is your left with a grid, which can be used center This is the center line and we want in the center of the actual icon, which is here apparently. We need to get this line here. Bit more. Okay. There we go. That should be right a little bit more. Awesome. Now we simply need to put the logo in the center between these two lines. Three, basically, so you go up one and then three is the height of the logo. Well, the height of the logo should be, then that should give you the proper height for the logo, that way. Then all you do for the other side is song like this. Drag this along, just drag this whole thing so I can get it. Then for this side, it's literally the exact same thing. I've got one there. Now, this is going to look a little bit wave because within the circle, you can have this arrow coming out and it's going to screw up the balance of the logo a little bit. But ultimately, what you would do is you would have again, just one here, section, then you would basically have three, and then you would put it in the middle. For example, this is the center, this is the center line, this one here. Basically have it in the center now. Again, it's going to look a little bit weird because because of that, but the overall icon, just think that's mi stick the overall icon, It looks well balanced. It looks well balanced or at least better balanced than what I did before. So that's a little tip to get the size of the icon right for the actual word mark and that works with any type of word mark or anything like that. If you wanted to add this extra text basically, to add it to this, you would essentially need to again, I would probably use that. I would even maybe. I would even maybe box it in potentially. I mean, I I don't like using this amount of text in a logo to be honest, but if you really, really have to, I would maybe try and box it. And then you would basically, obviously, you know, that's just really quickly doing it. And then obviously you will change this in correspondence with the overall logo. But, you know, generally, you would keep it like this, right? You will keep it like this and then add a little trademark simple at the end. Okay. So that gives you an insight ing to Stevens logo and how I would potentially change it. So how would I specifically look at redesigning this entire logo. So there's a few ways that you could do it. And. Interesting. How would I do? I'm going to keep the blue I actually quite like that blue. I like the fact that the icon is quite strong, you know, when you when you have kind of a heavyweighted word mark, sorry, at the front, I don't even know what I said that, to be honest. Lack of sleep and lack of coffee. When When the word mark is quite thick and it's got a lot of weight to it. It just makes the brand seem a little bit more trustworthy and established. I'm not sure why, but it just does. But how would I change the icons. I'm going to keep a circle. Let's just keep a circle for the moment. Circle. It's just a little bit of weight. And this is just literally making a logo in about 5 minutes, okay. Obviously, I don't want to take too much of your time and obviously, I've got other things to do as well today. Okay. I'm going to do that. Okay. So we've got circle. I want to make the circle, not the same weight, but it needs to have a little bit of weight about it. So I can't be as thick as the actual letters, but it has to have a little bit of weight about it. If if I did it like too thin, it just wouldn't fit. It wouldn't fit with the actual logo, right? So with the word mark, so you need to have it quite thick. Let's do that. Let's do that. That looks about right. I'm just eyeball in it. Good stuff. So what is he communicating here. Let's just take this and simplify it. He's got mountains. He's got investment. What about if we did mountains. But instead of just doing one mountain, we do maybe two or three mountains and they're going up, so it in shows progression. That could be an idea. Let's do this. Flip. I'm going to be using the same sides anyway. Okay. How are you want to do this? One, two, three, four, 567123, we want to do 123. Okay. So we've got that. We've got that. How do we work this into here? Okay. That works here. Let me take these two off here so I can just have a little bit more space to think you guys, see what I'm doing. So I know what my objective is, right? That's the first thing that you're doing whenever you're starting a logo design. So logo objective is to show mountains and growth. I don't want it to be more complicated than that because when you make things more complicated, that's when things start to get, you know, more complex in regards to the actual logo design. A logo design should never describe what the brand actually does. It should just suggest or, you know, kind of insinuate what the brand does, right? Look at the Apple logo, it's literally, you know, it's a picture of an apple. It's got nothing to do with computers, right? An icon is essentially a way to recognize the brand. Shouldn't describe what the actual brand does, right? So that's one of the main. Once you understand that as a logo designer or a brand strategist, Okay. You start to understand that communication. Instead of just looking at, you know, your logo is kind of carrying the whole message of the brand. It's not like that. A brand is like a jigsaw, everything's working together harmoniously. And that's how when you see a brand and it's like, this brand looks like it just looks credible, right? I don't know why it just looks great. Okay. So that's my objective. That's what I'm trying to achieve. And again, guys, usually with a client, I would take a week to do, you know, logo designs and, you know, do like 20 different designs and then give them the best two or three. I'm literally doing this in 10 minutes. So obviously, you know, you if you want, but try not to judge me based on just this alone. Hopefully, you want anyway. But obviously, you can do whatever you like. So, I'm just looking at this. So maybe two is got to be enough. So and then maybe if I can do it up. Does that work? Let's play a. Let's just play ramble and see what happens. Okay. So we want to break up. Okay. Okay. Well, I haven't done here. I just completely. A second. A, kept that. Okay. You know, is that the worst logo in the entire world? You know, maybe. But also, maybe not. I just need to tie it up a little bit on the side. That's the only thing I need to do I am well screwed. Maybe I need to just get the old. Maybe if I just u Okay. Okay. See, this is how you know this is arited, you know, I'm just literally just struggling here. Flit five. Okay. I'm just going to read. I'm just going to kind of I've got the concept now. I've got the idea. So we've got the mountains, and then we essentially have like this upward trajectory of growth, right? So we couldn't even make it more. Now that we've got the actual idea, we could even make it slightly more. Um. Even do a little bit higher. Just kind of it doesn't really work does it doesn't really work just because of the thickness of the land. I mean, it's quite noticeably going up, right? So it's not like I mean, I could probably just do this, right? Yeah. Well, I'll just do. That's going to be far. Scott, you are an absolute idiot, but right now, you're a genius. Okay. Perfect. And this I'm just doing this quickly, obviously. This is definitely not best practice when it comes to design, but, you know, I'm trying to show you guys, you know, just kind of how I would refine things to make things a little bit simpler and a little bit better. And this is, you know, this is the best I can do in the time that I have, fortunately. I'm sure you want to pay me, and I'll spend more time on it, but I'm pretty sure you don't want to do that. For some reason, that doesn't seem right, you know. Why does that not seem right? Okay. Actually it doesn't seem that bad. It doesn't seem too bad. But the question is, do I want to slightly pull these down. Do I want to slightly pull these down? Does that make it look a little bit better? Does, but I also think that does. It does, but also I don't like how when I pull this down. This part still has a sharp. I don't like that. Yeah. I don't really like factor. That's like that. Yeah. Okay. If I had more time, I would definitely play around with the curves, and I would curve this and curve this separately. But, you know, just to kind of respect your time, I'm just going to do this. I'm just going to keep alive this. Just going to match with the actual edges of the current model that we have anyway. Okay. So group. Okay. Okay? All right. So we've got we've got a logo, guys. We've got a logo, which communicates. Again, this is, you know, this is literally 10 minutes of work. So, you know, bear with me, guys, but we have a logo, which is a little bit simpler, and it still communicates the same message as the previous one. I you know, is a perfect probably, you know, well, definitely not actually. But it's this is literally killing me actually. It actually hurts me that I'm not spending a lot of time on this. But you get the idea. I'm I'm trying to show you how I think. I'm not trying to kind of, you know, redesign, you know, spend a week doing a single logo design. It's more about the message and how to, you know, kind of get the message across in a simpler way, okay? That's all I'm trying to show you. Because once you can do that, you know, if I give you this logo, you can make it better. Anybody could. You would, you know, the reason it looks a little bit off is because the shapes are just a little bit kind of Yeah, it's not refined. The refinement is the thing which makes it great after you've got the idea. So once you get the idea, it looks a little bit better there, but it's still not great. That's how you can really get the logo fine tuned and really get it to a really good place. To be honest, that's a part that I pretty much enjoy the most to be fair. But yeah, like, if I was presenting this, I would maybe do, you know, some kind of, you know, nice ingredient or something. Blah papa papa flies around, pop your uncle. You know, then not for see if I was doing it here. Do this, papa. Flip around. So you can just see here the difference of the logos, right? Difference of what is possible when you just take a step back and you think about things in a different way. So remember, your lobo is not supposed to explain anything. It's supposed to simply symbolize what the actual brand is and what what it does. So here, you've got the mountains, but you also have the kind of upward trajectory of, you know, the the investment or, you know, the authority, whatever the actual business does in Tanzania. So yeah, I hope that was helpful. If you want to see more stuff like this, let me know, in the comments or send me a message or something because I actually love doing this sort of stuff, like I literally love it. But If I'm going to spend, you know, 35 minutes going through a logo and, you know, dissecting things, if it's going to help you, I'll spend hours doing this if I have the time, but I want to make sure it's actually helping you guys. So please let me know in some way. Let me know the comments, send me a message, you know, anything we can do to let me know that it's actually helping you. That's what I need. So yeah, feel free to I'll post this on YouTube. So let me know the comments on YouTube. If it's on a different platform, then please let me know there or in some other way, maybe e mail me or something. But that is going to be the best way. If you, for example, haven't taken the abstract design course and the abstract local design course and you haven't taken that yet and you want to take it, then you can either take it on the website, just go to Lancaster Academy of design a brand.com. That's just one there, slash shop or you can obviously take it on other platforms as well. We're literally on pretty much every single platform. I just want to make sure that you obviously have the the education that you need. And if there's anything else that I can do to help you become a better designer and to design better logos, let me know and I will do it. Okay? Be we're going full peel this year, so we're really trying to help as many designers as possible and to help people ultimately build better and more credible brands. So anyway, thank you so much for your time. I really appreciate and I will see you in a future lesson, hopefully. Take care. 10. Bonus Lesson: Creating mock ups (Unedited & step-by-step): Hello guys for everyone as well, healthy and safe and enjoying the course so far. So we received some incredible comments from students who had taken the course and who wanted a little bit more of an in-depth tutorial on creating mockups and how to do it. So I am going to be creating a separate course to really go in depth in regards to how to create mock-ups. But what I wanted to do for this course just to help you guys is to create a simple example of what I would do for a real-life client. This is a real life client that I'm working with right now. And the process that I go through to creating mock-ups for my concept boards. So I want to go through that with you in this video. I'm not going to leave anything else. I'm going to literally let you watch me how I create the mockups from start to finish, nor edits, no shortcuts. I'm going to let you see everything. So strap in and get ready because we are going to start right now. So I have concepts here. We just figure out what's happening with this. See, I told you that wasn't gonna be any little shortcuts. Okay, Perfect. There we go. I have my three concepts here, and I'm pretty happy with them. Now for me to create two mock-ups, I'm just doing two mock-ups for this particular client because this client only secured a package which included two mock-ups in the actual presentation. So it says symbol here, but this is the actual symbol. I just changed them around a little bit. The next step for me is to choose which mockups I actually wanted to use. And by the way, this file is available on the Brand Identity Development Kit which is included in this course. So if you go to the last lesson in this course, the last one, then you'll be able to find this kit to download. All you need to do is just download this file and you get this completely free as part of the course. And this is the exact same concept board that I use for my clients. Now, what I need to choose is I need to choose which mock-ups to actually use for this particular clients. I want to choose something which showcases the designs in a nice way. So I'm probably going to go for this business card and I could do an advertisement, but I think I'll go for brand's signage just because it's very icon heavy. So each of the actual logos have distinctive icons. So I want to showcase this in a really simple way. I want the icons to shine, but I also want to showcase the, the actual full logo as well. So obviously we have the full logo, we have the word mark and then we have the icon. This is that Branding system. So depending on whether logo is gonna be used, in which environment that's, that is a logo that's going to be used. So for example, this will be using an advertisement on the back of the business card. For example. This may be used on maybe clothing or something. For example, this is the full logo here. This is the wordmark here. And then this, for example, here, could be the actual icon. It doesn't really work like that. These guys don't Africa actually have an icon, but these do so this product does. So I wanted to showcase the icon on its own without anything else, which is great and done very well with the brand signage example, which I'll show you in a little bit. So let's do that now actually. So let's go to the, the Brand Identity Development Kit, go to the mockup set signage. And we can go to kinda like, uh, kinda like this one because it looks like it kinda looks like a gym or something and this is a fitness brands. So I kinda like the fact that it's kind of looks, it looks a little bit kind of fitness related. So what I'm gonna do is because it's fairly simple. This is the template that I use when I'm adding a logo to the actual mockup. So all I do is just go up to here. Well, let's just select these actually, it's a lot easier. I haven't actually pad that. All you have, so go down here. Now all I need to do is just literally bring those a little bit closer and then just make them the right size. So let's get them all sized up nicely. So maybe a little bit bigger actually, just to get them roughly where I need them. So this one's going to be easiest because it's actually round. Ideal. This one. So I'm just using the circle in the background is kinda like, uh, kinda like a guide. The moment. If you're wondering why I'm stacking these on top of each other. All will be revealed very soon. Just for efficiency to be honest, because I'm wanting to arrange these the client as soon as possible. Good. I we go. So yeah, that works. Need to change. I didn't actually it's not actually centered. Okay, perfect. Now we can center, center everything, make sure everything's nice and centered. We go perfect. So now basically what I have is I have everything on this square, which is part of The mockups dimensions, right? So as long as I put everything in the middle of that square, then everything should fingers crossed hopefully, look quite good when we put it on the actual mockup. Let's just perfect. Good, good, good. We're good, right? Let's, let's dive into the mockup now. Should be downloaded. Perfect. And they should only take you about 05:10 minutes. You shouldn't take a huge amount of time on mockups. Although when you get to the phase where you're actually creating mock-ups for your client with the finished concept, and also making the mock-ups for your portfolio, your online portfolio. Sometimes I take always creating like a full homepage just for a website mock-up. It's worth it because you really need to showcase your work in the best way possible. So for example, I'll just take a, I'll just take this one done nice and efficient as to and then just delete that and that's three. So now all I need to do, these should be ready to go like size-wise. They should be ready to go size-wise. So I just put it on top of there. Let me go, paste it on top, save. And there we go, we're pretty much there. Now the thing that I don't like about some of the mockups is sometimes you need to heighten the intensity of the middle of it. So this is pretty realistic. But I like to have my colors pop in a little bit more. And the way they do that is sometimes they have adjustments on here where you can make the make the layer. Maybe this is a little bit of a now it's not really working. Okay, we'll just leave as it is. Sometimes they have like a highlight layer where you can reduce the highlight from 100% opacity to maybe 30 to 40%. And that makes the actual logo standout a little bit more and it makes it a little bit more saturated. But for this example, it's, it's not actually the case, so it doesn't actually add that. So another way we can do that is just simply by exporting, exporting this JPEG. We don't need it for thousands. We can make it around 2,500. I think that's gonna be more than enough exports. So just put a concept one just to keep things organized. And others like this tendency to just libeling anything, but just try to stay as organized as possible. It's you actually undergoing a lot faster over the long run. So next one, let's just get all these bashed out, nice and easy. So again, if you, if your work smart than you can get, you can get these arranged like super, super quick. And it doesn't look super, super nice to have these included in your brand's presentation. Concept to again, just seven, the desktop for now. And then I'll show you my workflow. I'm not sure if it's the best workflow, but this is the workflow that I use. You might have a better one or one that works better for you, but this is the one that works for me and my clients are generally quite happy. Okay. So see here how this looks a little bit too big to me. John. I mean, it looks a little bit like it's leaning towards that side a little bit, which I don't really like. So what I'm gonna do, I'm gonna pull this down just slightly. And I'm want to just do it by, just by eye, just to see what it looks like. Okay, so now it's a little bit further up there. Maybe it needs to be a little bit smaller. So you need to catch those things sometimes because one of the things which a lot of designers do, for example, let me go back to this and other show you. I'm forgetting the actual in Leon of this particular theory or rule. But basically if I take this logo, okay, let me just take the whole thing. And I'll just show you because this is a really great lesson which I Tell a lot of the students that work with us and who have joined our membership program at Lancaster Academy of Design and Brand. Not a lot of these guys actually know this. And it's quite surprising because it's one of the first lessons I learned when I was learning about Graphic Design like ten years ago. So for example, if I sent her this logo on the square, It's not dead in the center when I presented to the client. So why is that? Because when we put it dead in the center, so mathematically in the center, it looks like it's actually a lot lower than it should be. So this looks more central. This looks more central than this, because although mathematically this one is correct, this one is actually optimally correct. So our eyes perceive and this in the correct way. So the center line is just a guide. So what I always do is I always knock it up. So for example, I would always go to that roughly. I mean, I can just kinda do it from in you'll be able to do it after a couple of times. But like if you, if you really want to make sure I just center it so it's centered and then just knock it up by a little bit. Then you go, it looks ten times better because how our eyes are automatically drawn to this level as opposed to this which basically looks like it's sinking to the bottom. We don't want that. So keeping in mind for next time, because it works on websites, it's the same design in principle for presentations, for mockups are everything. So if you can just do one thing it's gotten, if you're not doing it already, then it's gonna be, it's gonna be a really simple game changer for you. I'm gonna make this little bit smaller, so I'm not happy with how much space that's actually taking. It looks a little bit better. There's still a little bit more space. I'm going to heighten it a little bit. So again, using your eye is actually really important in design. So never just take things as gospel like mathematically, this looks a lot better. Okay, see how this looks a lot better. Let's export now. Okay, take care. Then. We should be good to go to the next stage of concept. 344. There we go. Okay, Perfect. Okay, So we've done that. We've all out there. I'm gonna save this. Just why have it? And then I'm going to add all of concepts to the AI file. Okay, so now we've got this. What I need to do is I want to make sure that they are embedded. Because sometimes, for example, if you create incredible mockups, then you don't see it, then you add them to the eyeball and then not embedded. So usually sometimes they'll say, I'm sorry, I'm not going to do that. I was going to show you what happened when you put a file in the AI file and it isn't embedded already. But for some reason, when you just drag the file in, it embeds it automatically, which is great. But always check to make sure your images are embedded because if they're not, you're gonna lose them and they're gonna basically be all fuzzy. And it's just, it's a nightmare, it's horrible when that happens. So we need to make sure that these pop a little bit more because at the moment and look a little bit peeled, look a little bit worn out and kind of washed out to be honest. So I want to do is we want to just go to really simple, go to saturate. We're going to put about 9%, 10%, 10%. Nice round number. See what it looks like. It looks, looks good. I think we're going to knock another 2% on that to three per cent to see what it looks like. Yeah. Can we get a little bit more in that? Can we get a little bit more on that? I think I think it's getting there, but I think just three more percent is going to be 16 might be the magic number. Okay, cool. Okay, so we've got this now, let's just get these all around the same size. We can get that into here. Just organize this up. We want that, again, not in the center, but just above center. Perfect, perfect, perfect. And then we can just add these, get these all the same. Just knocked it out again. We go. And then obviously all we need to do is just basically drag these into the center of each and then we've got them the good ago. And it's going to look great. I'm not sure what's happened here, but that's what's happened. That's what's happened. That's why that's the thing that I deleted when I first started the video. I told you guys know edits. I'm not editing anything. I'm showing you my exact workflow. So you can see how terrible it is. Certainly not perfect when it comes to Workflow. I could definitely be better, but I think I'm not too bad. I'm not too bad. Okay, so I'm just going to add this. Okay, that's pretty central goal. Good. Again, I'm just doing things by, I'm not doing things mathematically correct. I'm just doing it by I, so I can actually learn how to do things from instinct as opposed to if I get it wrong, then I'll just take it back out and do it again. Not a big deal. None of big deal. You'll learn how to use your instinct and just get things done instead of centering everything and just doing things mathematically. It's not always the best way. Okay, cool. So I'm pretty happy with that. I'm pretty happy with that. I could probably cinema, I think we could probably take, so if I'm comparing this orange with this orange, It's quite a bright color, so I don't know if I'm want to kill it, but if I if I make a mistake, I'll just I'll just drag it back. It's no big deal. It I think it's too much. I think there's too much. We're going to drag it back. We're gonna do with sex and then we're going to leave it there. I think let's just do it. This is the thing about Design guys like you can't be scared. 55555 is the magic number, guys. That's the one. Okay, perfect. So we've got that there. That looks good, awesome. So with design, with creating mockups, you have to allow yourself to feel, you have to allow yourself to do things wrong To explore ideas which are not necessarily the best ideas. Because you could learn something. You give yourself the freedom to feel them to do things wrong, then you can learn more quickly. You'll learn very little from success, but you'll learn a lot from failure. And I honestly feel like if I took this approach and I let myself feel a lot more, then I probably have learned a lot quicker and it wouldn't have taught me so long to get to where I am today where I'm charging what I'm charging and also working with a level of clients that I'm that I'm working with. I think that if you can have the brief Rica, so just take a little bit of bravery, then. You can get a lot further than not faster. So we have this marked up now. That's all good. Perfect, Perfect, Perfect. So because I am probably not going to need this anymore, I'm going to save this because this is my V1 file. So what I don't want to do is to basically save this file and have my original file, which I'll show you again. Lots and lots of files guidance, I apologize, I'm in the middle of creating new courses, so my desktop is a mess. The mock-ups that obviously there's lots of different mock-ups that you can use. There's gonna be more that's added now keep adding them as time goes on. But in regards to the file, I want to keep these files clean so I can work efficiently. I've just literally made those three mockups and five-seven minutes, right. So it sounds really important that you keep your files organized, you keep them arranged so that you can do. For example here, V2, I know exactly which file I want. Download this that I can get started on the actual design. Okay, So for the actual design, Let's pull down the logos reach. Then. Let's go. What can we do this? What can we do that to fund? Can we do that? What's that? What's that saying that that people say when they go to the gym, right. What does it work out? Recover. Sleep. If Pete? That's pretty cool, right? No. You don't think so. Maybe it's just me. Okay. Then we want to put the guy is called Steven old. Then we'll put founder. Then I'll put the crosses to the three different names. So I'm recovery.com. Are recovered, recovered better. Better.com. You can obviously put apex. You can put like the the three separate brand names obviously, but I'm just showing you I'm just showing you this for quickness. So this, for example, would just be like, Yeah, phone number, then this would be 90, whatever. And then for this, I usually put like an address here for some reason, so I don't know. I'm not recovery. Let's do something else. Muscle. Oh God, why have I spelled muscle like that? That is not how you spell muscle dies. Do not come to me to spell in essence, step muscle then. Working Tim. I don't know what I'm doing to me almost 69 or be England is the guy from England. So okay. Maybe dress the let me go. That looks a little bit about okay, pretty happy with that. I think that that could be a little bit. Let's do the same list these as well because that is pretty, it looks a lot better. This is perfect. Good. Now we are here. We've got all this here. Now we should get this. What's often think it's really is it raining outside? Let me just check. I thought it was my air conditioning just about a block. It's literally running stupid. Be hot outside. I'm not sure if you can hear up and it's literally like thunder and lightning. So yeah, hopefully you can still hear me and it isn't too distracting, but yeah, Sorry about that interruption. Again. No edits. I'm not editing anything I want to do. Keep this as organic as possible. So once you have that, I'm going to probably go for black. I think what this looks really cool. You can do it. You could do it, right? Let's do it. Why Let's do it like let's be a little bit A little crazy there. So we'll do the front way. We'll do the random. Good, get this off. So now we have the logos, etcetera. So these are sized for that particular version. So V2, these are the sizes for this particular version. Open up. These should just slot straighten the business card long, reopen this. We take this for example. So let's just take these, excuse me. Let's say this for example. We could do it with all of them to be honest. And then we just need the size, all of the logos to make sure everything's good. But what's the right size? All of these and go out with pretty cool. Again, we're not doing in the center. Are we doing that just above the center, the number that super valuable lesson, because honestly not you'll be surprised how many designers don't actually know that sort of thing. You might actually know it and you might be thinking, Scott, why you're such a like I've no forever but not all design is no. Especially if you're just starting out. Lesson which not all people teeth. It's kind of like a, like a thing that you are often left to figure out by yourself. Although, although there are some really good implemented on the lights of Instagram and stuff, I've sold some really good graphic design influences and mentors. Really light It's logo for some reason. I don't know why. I really love how the angle of this particular icon is matched exactly with the topography and kinda look back. I think the clients can write this one as well. Okay, cool. So we've got, we've got this symbolise a little bit out. Again. You have to do this by eye as well. So don't just put the center, do it by eye. It's not always right? Well, it's always right. But for example, when you'll like that tiny the registration mock is going to impact. So let me just actually show you because I want to do this as in-depth as possible to really help. But these tiny little things make a huge difference to like the overall look and feel of your actual mockups and just show Branding overall. So for example, if I sent to this, I'm not sure how some of those is gonna be, to be honest. Okay. So it's a little bit off center, right? So this here, when I sent to this, okay? This here is mathematically centered. But the width of the actual logo is not the CME entire way. If the weight is exactly the same, start to finish. Like this. Like this, then you can do something like that. And it makes sense. But the width of this end and the way that this end is not the same because dumbbell or mock, so you need to push it a little bit to the left to make it look like it's in the center because you're not actually working with the whole mock. You have to weird optimum. You have to wait optically, not optimally. You need to wait optimally optically, I was a little bit of a cone crystal, but anyway, so make sure you do that and make sure you are doing things with your eyes and not just using these tools and being lazy with it. Again, like I didn't even realize that I did that. But it's just like you need to get others becoming a habit of putting things just above the center, weighing things up in your eyes and just know not just like send to me and everything because it makes a huge difference, guys. So let's start placing these in to the actual mockup and seeing how they look. Again, we're not take anything for granted that these might not look good. But we are tell how much I use Photoshop. I'm non Photoshop very much. So that fits in nicely. That stuff doesn't look too bad. Then we can get this, sorry, this one. So we've got this this color's getting all I can just this one. No. Okay. We've got this. I think this will look better when the in the the the trademark orange. Pretty cool. Yeah. I don't know if this look better in real not see. It's pretty good. I like to go I like that. I think were covered because this is ear recovery product. I think that's pretty cool if we highlight this is orange, the end, but it's pretty cool. No, I like that Let's put this on here. Okay, so now we've got this, you've got that. Everything is looking pretty sharp. Let's check it out. It looks pretty cool. Looks pretty cool, does not feel bad. So now all we need to do is finish things off. With this. Again, guys, listen, my workflow. Probably better people to learn from them Agusto workflow, but this is just how I do things. I can. Forbear still loved me to learn them Augusta workflow and work more efficiently. But I get I get the work done pretty fast and I'm pretty happy with how much time it takes me to actually compute something like this. But if you, if you want to read and learn how to work super, super efficient, and not the worst person to learn from, but I'm certainly not the best. So yeah, just to keep that in mind. So we have our first one complete. I'm going to explore that. We don't need it to 4,000 at all. We're going up to thousand just to keep it as good quality. Explore, Export, Export. It's going to load the left ear. So on set on Search. Concept one, concept one. But that's okay, right now that's breeze through this. We've got this one. Excuse me. This one. That's pretty sweet. This one? Yeah. This logo actually, I didn't like this logo as much in the beginning, but it's actually grown on me a little bit. On step three was my favorite. I think this one's kind of grown on me a little bit of a sudden we've done a Y. Let's see, Let's see which one the client likes best because that's what's most importantly, go explore. This one. Should be slowness 2000s, export. I can go out and just change this, are more efficient then I don't have to misspell concept again and look like Libya. The next one. Last one, guys, last one and we're almost there. If you want. Anything else added to this course because this lesson was added because of the students specifically reaching out and meeting more guidance in regards to that mockup process. If you need any additional health, let me know and I'll alcohols, I'll scream recall something like this, just in case you need the help. I wanted to make sure that you have all the guidance that you need to be the best, that you can possibly be. Really create great mock-ups and great brand's overall. So let me know. I'm here to help. Okay? Now obviously a McGautha this as well. Like if I, if I was really doing this for my portfolio or something, then I would take the time to change all of these letters to match the actual logo and stuff. I'll do that in the next phase. Once we actually decide the logo, I'm not going to go into too much depth Creating super, super intense and super detailed mock-ups. Just for this phase in the process versus the moment we're just choosing the actual logo design when notch. We haven't decided on it yet. So this is just the kind of show how the logo will live and breathe in different environments so that when the client chooses it, then we can start to really develop the really high details and you know, super, super impressive mockups. But this should give you an idea or macrostate kinda how you do it for a client. Perfect. Don't say it. But yeah, so like if you wanted like a really in-depth mock-up tutorial where I literally go through every single stage. Then let me know and I'm more than happy to recall that it's gonna be a couple of hours because if you if you really wanna do, uh, probably when it does take quite a bit of time, and I'm more than happy to do that without the help you. So just let me know that I can't even sure what that's asking you for, but it's fine. Okay, So these are embedded. So again, always check that and make sure they're embedded. They're not. Then there's a whole heap of trouble afterwards. This is a little bit small, I think so what I'm going to do is I'm going to probably These that I'm going to add them. Yeah. It's actually looks a little bit blurry. For some reason. That's alright, but this one looks a little bit blurry. Because the 2000s a little bit small. And it's not really going to show up on the final file, but it's keep an eye on that sort of thing. Last thing you want to do is to send a client, you're blowing mock-ups. It's not gonna be a greater, a great impression. So make sure you can see all the designs. Alignment, line them all up and down. Doesn't want to be super, super perfect. Don't, don't spend too much time on this sort of thing, but you go out. And then I can just look like That looks good. Looks good. That looks good, Perfect. All these moral ideal. And that's pretty much, that's pretty much it. So with this one last thing, guys, one last thing before let me go, makes sure that the saturation is correct. The moment. They still seem very this one's a little bit brighter than the other one, so I don't think it needs as much. These are quite blurry. So what I'm probably going to do is I'm probably going to redo these and just export it as a larger file. Because for some reason it came out and that came out a little bit blurry. As I said, there's no editing or anything for these is literally just me just showing you exactly how I do things. But I think I'm want to explore these again and do them a little bit bigger because of the moment. If you can see here, there are a little bit blurry around the outlines. So I would just say I'm going to export them again as 4,000 and then re-add them to the presentations. Okay, so once I finished this and I re-exported and everything, I'm going to basically add these to an e-mail and send them over to the client and just ask them for that folds. But I hope you found this video and quick little lesson helpful. If you want any more super in-depth lessons on any aspect of the course, please let me know. I'm here to help, I'm here to support, I'm here to add as much context as possible and ultimately support you to be the best designer and the best Brand Development Manager, the best brand developer. You can possibly be. And if I can help in any way than I am honored percent of the doing that. So let me know, send me a message, send me an email, anything that you want, just get in touch with me and God bless, have an amazing evening. And thank you so much for sticking around until the end of the lesson. I appreciate it. 11. Showing your logo in mock ups: We're now at the final frontier. To be completely honest, I'm not even sure what that means, but it sounded cool. So I'm running with it. But we've Kim, so far, we started off actually searching for the message that we wanted to convey and our logo, we sketched our ideas and we perfected it digitally in Illustrator. And now we have an incredible logo that our client is going to love. Now all we need to do is give it to them and how do we do that? Well, there are only two ways. The first include sophisticated 3D printing software where we actually print the logo out physically. We put it in a beautifully designed box. We drive to the client's house and we handed to them whilst also kissing them on the cheek. Or the second option is to create incredible mockups with the templates and files that we provide within this lesson and Senator them digitally via e-mail. Now if you want to actually drive to the client swarm and hand them their logo physically than good on you. But if you want to email them incredible mockups, there are a few things really to keep in mind when designing professional mock-ups for your clients. The first thing is you need to make sure that the mockups are relevant to that business. For example, if there quite a corporate company like sky wells, than we should include something like business cards, boots, if your clients or coffee shop, they're probably not going to use business cards. So it might make sense to design a loyalty card instead, if you're not sure about what types of mock-ups to do, just ask yourself as simple question of what the logo be used realistically in this particular environment, people often think that mockups are a waste of time. And in some cases, you could be right. But in most cases they're actually help to minimize the amount of revisions that a client will ask for. You see most clients on very visually minded soap. The more that you can show them, their logo in relevant environments, the easier they are going to be able to visualize the logo being used within that business. The better than mockups are, the easier the client is going to be able to visualize that particular logo representing that company. And lastly, mockups on just for clients, DAFfy you to remember that if you're creating incredible mock-ups for your clients, you can also use them on your portfolio to get new clients. Afterwards, the better your portfolio looks, the better quality clients who are gonna be able to attract in future projects. So make sure you really look at the finer details when it comes to mockups and create the best mockups possible, constantly trying to get better over time. And one show mockups are ready. Make sure you present them professionally TO clients using the presentation template provided in this lesson. Now, lastly, I want to see the incredible work that you create. I genuinely cannot wait to see all the incredible stories and abstract logos that you have designed. So what I want you to do is to make sure that you share a project on this particular course. So I can see the abstract logos that you've developed after taking this course. This is going to allow me to really make sure that you understand everything in the course and also give you constructive feedback if necessary. So make sure you share a project on this course is really going to help us to understand how impactful the course has been to help him you understand abstract logo design and most importantly, is going to tell us and also Skillshare that the Abstract Logo Mastery course actually works and it can help designers just like you to really Master the Art of Abstract Logo design. This means that we'll get more students to our courses and it's also going to allow us to reinvest everything that we make from all of the courses and all of our contents back into creating courses for you. So share your work. Don't be shy. Also feel free to leave a review on this course as well if you've really enjoyed it, and I cannot wait to see you in a future program. I'll see you soon.