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.
Scott Adam Lancaster, Branding Expert, Fiverr Pro & Coach
