Transcripts
1. Introduction: Hi guys, Welcome to my class. Allow me to introduce myself. My name is Ryan Thomas. I'm a graphic designer, illustrator. I've worked on a variety of projects across a variety of mediums with different line TO. And each project required something different, something unique. And I really like doing that design. It's really, it's really fun. Kinda dig into each project and kinda dig into the bare bones of what it is I'm making. With that in mind, this class is going to be covering topography among be covering how every single element of typography from your font, choice of lettering to kerning, et cetera, et cetera, really affects the way the message communicates across the viewer. In particular, we're going to be focusing on typography for social issues. I think this class will be very helpful for anyone, especially beginners if you're just starting out graphic design, I'm going to be covering a lot of the bare basics of typography will be a crash course and be well, and I think you'll come out of it with a much better understanding of typography. So if you're more seasoned, if you have a little bit more experience under your belt and ear, look in a cat, switch things up or try something new. This class we will do a lot for you. I cover basics but they're pretty brief, so the pre, pretty quick to skip and if you want to get to that, there'll be pretty easy. So let's get started.
2. Project: Idea in this classroom I have you guys create a project. The project for this class will be to create type, typography based design. Focused and themed around to social issue of your choice, grab design. Typography has been used throughout history to bring awareness important social issues and causes of the time to help promote awareness and change. And that tradition continues today, especially on social media platforms like Instagram. You're seeing a lot of people use their design skills to bring light to important issues that they care about. And I feel like nowadays with so many challenges facing us, that's so important. I know nowadays it would be pretty overwhelming because there's so many different causes and issues going on in our society, and especially with the Internet so easily be overwhelmed. But I really want you guys to narrow it down to what you're really passionate about. Like what change do you want to see in your community in the world at large? For TBI copy itself. You guys, if you use a popular like slogan, are saying from the cause you're choosing or like a notable quote from an activist or leader from said cause. The sky's the limit. Even use a PSA if you want. Just make sure it's well source incited, cited for my credible sources because I know that the Internet now so easy the firm misinformation and spread. So if you're spreading information and make sure it's well source and cite it. I mean, the sky's the limit, but at the core, I really want you guys to pick by copy that really communicates why. Because you're choosing matters to you based off your experience, based off your values. Because I feel like that passion will really come across not only to me but the viewers alike. And that is really what's going to cause change. So I hope I get learners just as much from you guys as you will for me. Let's get started.
3. Brainstorming & Inspiration: Now the first step we're going to take is the brainstorm and look for inspiration. Now I know it's all too tempting when you're starting on anything. They just jump around the computer, Jeff on the Illustrator Photoshop and get right to it. But it's really important before you do that to really sit down and brainstorm and try and figure out the general direction of what it is you want to accomplish with any given project. And it's actually really important to try and plan out and figure out the general direction of the project before you actually get to work on the computer doing it. Because it will save you a lot of time just having that clear sense of direction, knowing not only at your core, like what your topic's going to be, but to have the general sense of what the aesthetic is going to be, you're just going to know exactly what you're going to need to do and it'll save you a lot of time in the long run. Now the specific cause itself that I'm going to focus on for my version of this project is going to be awareness for mental health. Now of course, mental health is so important, just not only for your quality and well-being, for yourself, but your family, your community. It's so important. I feel like here in America, it's not really taken as seriously as it should be. On top of that, our health care system is kinda messed up. I'm very lucky that I could afford to get therapy and the help that I need to be a functional person. But I feel like a lot of people even now still have trouble getting that access. So I want to use this project to just bring the message out there that it's okay to have these problems. It doesn't say anything bad about you. We all have our fair share of problems, but they're not bigger in the US were able to overcome them. Now and I have like a clear idea of where I wanna go this project. The next step is to really brainstorm it out and try and figure out the fine details. Now, you could do this any way on paper or digitally on your tablet, on your computer, whatever works for you, go for it. But personally, I like to write it down on paper, just gives me in space if I make any mistakes or if I go in the direction that I'm not really feeling. Papers pretty forgiving. I mean, you could always just kind of move forward and it really saves you a lot judgment and gives you the free space to really explore your ideas and explore any possibility until you land on something that you're really a 100 percent sold on. So in my case, I'm going to use one of these little guys little memo book. I know Dr. Kaplan, you're on here. I've see your glasses on big then I've got, got your book here. Big fan, if you're in, if you're watching here, someone gives her up in the shadow, guys men. Now, the best part about this whole process is there's really no right or wrong way to go about this. Whatever works for you and your train of thought, however your mind works, go for it. I mean, you could even do this on an iPad if you want, but I like paper could just more forgiving. You have, have more leeway in or space to kind of hone in your ideas and. It's generally a lot more forgiving. So I'm thinking of using pretty common quote. It's okay to not be okay. It's pretty common bill will do. It's generally a good idea to kind of write out which phrase, which body texts you're going to be using for your project. Just to have a good idea of what it looks like on paper, how much space it'll take out and seeing it on paper, seeing in the flesh before you get started on the actual project will really help you kind of give you the space and time, the kind of figure out the possibilities as far as layout, all sorts of different things depending on what you're certain biotechs is. So let's go into that. I'm thinking, maybe emphasize words like okay, okay, and not seem like words that you could be emphasizing. And I like that. I mean, we can even do something like kinda justified kind of look where everything is kind of more even out in space. Kind of like those kind of like I'm thinking like when you go and get your eyes examined a kinda look at that chart, maybe that kind of same deal. I mean, not look exactly like the same layout. Okay. I'm jumping all over the place. It's probably a sign of ADD right here. But yeah, I'm kinda, kinda right out kind of like my initial ideas of what I want the general aesthetic to be like to me. I'm thinking pastel colors. One thing for the general aesthetic, like my initial idea is to kind of hone in on that whole Instagram ascetic, like a lot of the kind of slide shows and stuff you're seeing regardless regarding certain issues and whatnot. So I think I really want to hone in on that and explore that. So I'm thinking kinda more funky fonts that makes sense. And I'll cover that in the next video obviously. But yeah, it's a good idea to have like a good idea of what font you're going to have. I mean, it's good to be open, but just a general sense of direction. You're going in. Something like maybe some serif fonts. Think and maybe you like 70 some funds to on the phone with family and try and play around with that. And obviously like sky's the limit when you're in this process because you have the paper. I mean, you're free to kind of let your mind expand and go wherever it goes and explore any idea that comes across your head. Obviously, I have more work to do by just wanted to show you just how easy it is to really get started in and try to kinda start chaining things together. So obviously I have some more work to do. I really need to start expanding on these ideas again, like a more clear idea of what I want to do. So I'm going to start doing that. And once I'm finished, and we can start going over the computer, actually, certainly good for inspiration. So now that we sketch things out and we have a rough idea of where we want and go with our project. Now's the time to look for inspiration. And obviously you can look for inspiration anywhere. But I find that personally pinterest is a really good tool. It's just a really helpful site and really cool to be honest, like even outside of graphic design is just so easy to find inspiration for a wide variety of projects. So you'll find anything from all over year and down here and the aesthetic. The sky's the limit here. So I definitely recommend checking that out, which I'm going to be doing here. And I actually found, just to start things out, I found this guy over here, which is pretty cool. So I think I'm going to save that. I'm going to start a new board. These are from some of my older projects. So now we have this pin save to board that we can use for inspiration for our project. So now you guys have a basic idea would deal with pingers. I mean, it's not really that complicated is pretty easy site once you spend it, Goldman's navigating it. And really just guys, let me keep scrolling. Oh, I like this. Let's save that. I really like these kinda these kind of drop shadow things. They look kind of funky and I just love that whole 70s looks thing. We're going to try and dig more into that like yeah, this, I really like the font. Plays in that hole. I count funky seventies kinda serif type font. So I'm thinking, so you have a vague idea of where I want to go with for this project. So I'm going to start searching that and kinda see if I can dig deeper into it. So one look I really want to try to emulate is that Instagram aesthetic with a lot of these social justice typography, things that, that was definitely the main inspiration. I got me started this project actually, so I really want to go into that. So let's see if we can find anything in that. In that field. Again, I just really like have like the colors and that font, like they're a little funky. I feel like the last few years we've been kinda stick and just kind of like plain sans serif. So I kind of like that designers are kind of doing that. Expanding their horizons a little bit and bit getting a little funky. Yeah, the more I'm like figuring this out, the more I'm like going through to more I'm like kind of digging into assertiveness that I can look. I think I think I've found as much as I could from here. So like I said before, I want to really hone in on like to have the funky seventies kind of style type. So let's try and go into that field and see what we could find. Well, we, I'm Levinas, This is great. Here's something I'm noticing, like, notice unlike a recurring theme here, because I've kind of done this a few times first of our projects, but I'm really liking these crazy like kind of drop shadows here. Like I think we could try that out with the blend tool. And that's another good thing about this stage of the process, like kind of planning things out and then look for inspiration. You kind of get a good idea of what you want your project to look like. I'm not necessarily trying to explicitly copy off any of these guys bike I notice like this or drops shallow thing that AT uses the blend tool. So I know like right then they're like, okay, I want to use this, I'm going to have to use a blend tool. So in a way like this really saves you a lot of time because you'll come in Illustrator knowing exactly what you want to do, what you need to do to get to the stage that you want. It'll save you a lot of time in the long run. And i'm, I'm lump-sum this type right here. This is pre-read. I really like that. That's awesome. Well, there's another grappling fan I think. Yeah, it's traveling. Shout out then if you guys could get him to watch this video like, Hey man, big fan. So yeah, I just want to show you guys really the sky's the limit for finding inspiration. But pentose in particular is a really cool tool and really helpful. So personally, I definitely recommend you guys give that a try because I think it will definitely make this process a lot more simple. Okay, So I spend some more time just kinda go in through to saying, going through different things. I think I have a pretty good idea of where I wanna go. I definitely had a lot of inspiration to go through them. A lot of my mind, just like how racism this idea is going through this. I'm obviously don't want to like totally like directly like rip off this. Like you really want this to really be your own, but it really helps just kinda go through this step, just to go into the project knowing exactly what you want to do. So the next step from here is that actually start to get to work. And the shoes, the font itself for your project and for that bringing got dive right into Illustrator.
4. Font Choice: So now we sketch things out and look for inspiration. You should have a pretty decent idea of where you wanna go with this project. And now we can start getting the illustrator. And right now I'm just going to point out the elephant in the room. Yes, I'm using CS6, so rock in that older version, but for what we're doing here, it should do the job. So let's get going. Now when you're doing any project that involves typography, one of the most crucial steps is choosing which fonts are grand go with. For a lot of reasons. I mean, obviously, aesthetics play a big role into it, but also the type of fonts you use, the style, mood, the feel, really go a long way and to kind of dictating the whole feel and mood and mostly the delivery of what you're trying to communicate with your project. Now if you spend enough time, the earliest ages, kind of sketching things out and planning out how long ago about this project you'll have a pretty clear idea of what your messages and how you communicate it. And it's important to choose a font that reflects that. So in my case, the phrase I'm using is it's okay to not be okay. And the way I want to go about that is I really want to deliver that message and really kind of soft and like inclusive and comforting, sorted away. Kind of like a buddy telling you like, Hey man, you're having a bad day. It's all right. We've all been there. You know, it kind of makes you feel a little good. I really want that, that feel The communicate across when people view this, when it's finished. So what I'm going to do is I'm just gonna kind of show you guys just different fonts and how they affect the style and the mood. So obviously route again, I'm just going to type it in right here, just in a myriad Pro, just like the default, like font on any Adobe app. So I'm just going to type it over here. So K that be okay. Just like that. I'm just going to actually format it just so it matches one I'm eventually going to do. Here. He goes like the first step, kind of, obviously I'm not going to go to fonts like really basic and vanilla. And doesn't really communicate anything. I mean, this font gets the job done. But in typography, you really want to kind of push it over the edge. You really wanted to have that kinda extra flair and style. And obviously this isn't really doing it. So it's important that kinda branch out and try and choose different fonts and kinda get a feel for them and kinda digest what they're communicating to you if you catch my drift. So the next thing I'm gonna do, I'm obviously copied it over. I'm just going to kind of go through all the fonts I have right now and kind of find any catch my eye and apply them to this step texts and see what it does, see if it catches my drift and spend some time digesting it. God, this sore like varsity type of fallen and see how that goes. And that's okay. I mean, it's kinda cool, but it seems a little too bold too like extroverted. I feel, I feel like the whole field needs to be more kind of softer and more introverted. If you note, if you catch my drift. So that's pretty cool. I like that it kind of matches with the 70's feel. So yeah, let's count keeps out right now. And it's good. I've should've mentioned this by now, but it's really important to kind of, if you have like an idea on illustrator and you're not totally sure about it. It's good to kinda leave it and just kind of duplicate it. Now I have to do for that is just click Alt and click on this and just drag it over. So you do quit that way. You have that option. It's right there. You feel like your goal you want go down that route, you can have that the draw off of and yeah. And just scanned like sketching and it's just a lot more forgiving just to leave that extra copy over there. Just so you have like kind of another route to go down and you have more options to work with ultimately. I loved me Cooper black, That's a pretty nice font. If you can tell from a title cards and stuff, I'm really getting into that lately. If it's without us that it gets pretty soft. It's very air. Some of them really, I wanted to say, I mean, I feel like this font can be used in a lot of ways. It can be really extroverted. It could be really introverted. It's very, very friendly and familiar about it. If you catch my drift indefinitely, it kind of fits with the client retro Instagram like kind of seventies thing I'm trying to go for in this project. Suddenly go with that cable black fan, that font. Now it looks okay, it looks kind of cool. I'm not opposed to it. The whole thing about this is just be as open as you can. If you want to look for different fonts online or if you have a particular sky's the limit. I just kinda I have a pretty big collection over here. So I feel like I might as well just kind of make use of what I have. And I'm not so sure about that. It's kind of it's kind of in the same ballpark like it's kinda retro therapy. It has that self-configuring field, but I'm not so sure about that one. So honestly I think I'm just going to play so someone else and try someone else. Whole thing is just be opened. Just kinda explore any options that you have. Main things. Just take time with each font and just kind of just really try and figure it out like how it vibes with you. So I'm going to spend some more time going through my fonts and hopefully by Tom, I get back to you guys. We should have plenty of options to work with. So I have several more options to work with. Now, it's all a matter of just kind of narrowing it down to the one we want to work with. And now there's actually one I want to shade. It's not really something I'm seriously considering by kinda wanted to show you just a tip. If you're choosing fonts, you can really tell. I mean, obviously it's important to kind of judge it from how it feels with you, how it gels with you. But it really helps just kind of look for the title of the font itself. It really gives you a lot of insight into what kind of mood and feeling it goes into. So obviously, we're going for a more soft and kind of forgiving type of tone with our project. And when do you go about that route? You obviously don't want to use a font that's called destroyed Earth. It's just like, it's just like totally opposite to what we're trying to do here. So I think that one we can get up, get out of here. Now this one's kind of cool. What's this one called? Called Star Flour. Thank got this from a current and current club. If I'm not mistaken, it's really cool. Definitely fits with our software aesthetic, but I feel like it's too stylized, like it's kinda missing a posture, fees and stuff. I mean, it's cool. There's a lot to work with here. But for this project, I mean, I'm planning on kind of give him more of a custom touch. And I feel like this font, so stylize already, it'll be hard to do more with that. So I don't think we'll use that a little more bookish. I'm not opposed to this one. To me, it feels a little gentle or more bookish if you will. But it's a little too bold for my taste, a little too, uh, kinda plane, to be honest. It feels like a little playful, a little kinda playful with some of these letters, some of these forms right here. But for what we're trying to do, I don't think it works, so let's narrow that down. This one feels a little too sci-fi and that's kind of too blocky and kinda almost too masculine for what we're trying to do here. I think it's going to narrow down to one of these two. I feel like I can go either way with this. I mean, I'm pretty biased towards Cooper black. It's pretty good font to use definitely fits with that account retro software seventies thing are trying to go for bows, fonts per equal to definitely shells with that as well. So I feel like I can go either way with this. You know what? Cooper black, I'm pretty, I'm pretty sure offspring of that font is pretty easy to work with. Some of you are beginner. So I think I'm going to go with this font. I think it's going to really deliver what we're trying to go with here. Yes, I think that there's a fault we're going to go with. So let me see if I can make that a little larger. Maybe a little larger. Now let's go to 100 pixels. Maybe. I'm liking that. Well done 180 maybe. Yeah, I'm liking that. So we have our font choice. Yeah, I think that'll do. I think it's a really kind of communicate the field we're trying to go for. Just kept its kind of software. It's retro, it's cool. It definitely fits with that kind of Instagram aesthetic we're going for. So, yeah, I just hope you watch this and have a better idea of like how you choose your font for your project. And it's really kind of the big bare basics of topography, like the font you choose is going to go a long way in determining the tone and feel of your project. So from here, we're going to dig more into the bare basics. In the next video, we're going to color more about kerning and tracking the kind clean this up and make it more polished. And yeah, let's go for it.
5. Kerning, Leading, & Tracking: Okay, Now that I've chosen my font, next step is kinda clean, clean up the type itself with kerning, wedding and tracking. Now, if you're more familiar with design and typography, a lot of this already be familiar with you, but kerning and tracking, they're just a lot of it has to do with like the space in between the letters. And the guy helps to clean everything up and make everything feel more, kind of more polished and more intentional, if you will. Now, Kerning itself deals with the spacing between the letters themselves, which can be pretty important. I don't want the best example here. Let me pull up like, let me pull up a different font. I'm going to go to another font, actually the point itself. But a lot of these fonts like by default, like just when he typed them in like some of the letters, almost, I'd say about 99% of the time. There'll be spaced differently. And a lot of it will just be due to either the way the font itself has been designed or kind of like just, it's just kind of natural because of the space in between some of these characters, especially like between these more straighter ones like the T here on the edge and these more rounder ones like the O and bees and stuff like that. Like a lot of shapes like you see. This is pretty even space and where it here. But then once you get this as a kind of gets wider and a lot of SDI was like kind of more the curvature and the edge. So it's really important to really be on the lookout for that when you're working on your project because the kerning itself can make all the difference. Along. More seasoned professionals will tell you. The kerning makes a big difference between someone's amateur and someone that looks more polished and put together. Now thankfully with a font like cooper black, it's usually pretty forgiving when it comes to kerning, just because the way it's designed, I mean, the whole fonts pretty curvy by default. So thankfully, we don't want too much work to go through here. But obviously you can't tell this B and E and the O and the k. There are some inconsistency here. So it's important to really kinda look into that and really try and put to the place where everything feels more evenly spaced and cleaned up. And it's going to be from everyone's going to be, it's going to vary for you. The kerning itself, the whole process is going to be, and it's going to be more varied based on obviously your body text and the font you issues, it's going to be different from everyone. So I could tell right away that the O and K, yeah, if there's some kind of like a disparity in space in between, like here and here. So I could do is just press character and add the kerning. Just make sure you have the space between whichever space you want to kind of clean up selected. And then just kind of narrowed down. There's really no set rule for Kearney. I mean, just so many really kind of have the eyeball and judged by your own eyes. There's really no like, kind of scientific clean way of doing it just because the way these fonts are set up in the curvature of the. Fonts and stuff like it's kinda hard to measure by official standard geno, if he sell the kerning is 0. It doesn't necessarily ensure everything's going to be evenly spaced. So it's really something that you have to use your own judgment for. So I'm just kinda comparing the BMI on the left and the o and u k right here, just to make sure I have some consistency. So again, narrow it down a little bit. I'm not like totally worried about how spaced out they are because I can change that later or tracking. But like it turned it in a little more. I mean, I could be wrong. Obviously. It just goes to show like kerning and such. The process itself can be really subjective. It really depends on kind of like your experience in design. And all I can really do is practice. And there's actually a game on the Internet that actually kinda lets you practice like different phrases in different fonts to kind of practice on Kerning and see how accurate you are. I'll actually leave that Lincoln resources for you guys to practice on if you're more knew this. So an OH here. And it can be more spit, probably be narrowed and more. Here's kind of dig in and type, just dig into the fine details. And that's what ultimately it's all about a lot people think it's just about choosing a font and you're done with it, but there's really some more details that go into it. It's hard to know. It's hard to have a good call with someone like this, like the T. Just because there's an edge here and there's an edge here, it kind of makes it a little harder, judge, like how to evenly space it. Probably near that in a little bit. Yeah, I think that'll do just narrow it. Just a smidge and I think like name that. I think that will do. Yeah, I like that. See kinda clean this top, okay, with this bottom one. So minus 66 is the exact same phrase, exact same words, the same type. So I can just do that. Boom. Now that apostrophe and the S, That's a very common one. That's pretty common one that you'll find them most fonts. Let's get that one over there. I think I and the team, we should be solid from there. Okay. I think yeah, I think this works. I think that Oh, Nikkei could be spaced out a little more. I think it's looking a little too tight right now. Think, yeah, minus 50. Minus 50. Maybe minus 55 compared to partly minus 60 Actually. Yeah, I think that motion looks more consistent. Minus 60 will do. Okay. I think we're at a good place. I think the kerning sprays evenly spaced. All the love letters and characters are pretty even then consists in here. And right now I'm just kinda scroll down to where you are before just like cowed by default. I mean, you could just tell and it's just like compared to the default type. Compared that, yeah, just the type we have now compared to where it was. By default, it's a lot more cleaner. It's a lot more kind of tighten and polished. It just looks a lot more professional and just shows like we put it in more detail and work here. So yeah, I'm pretty happy with this. Now, next step we're going to do is dig into the wet ink, which is the space between these lines over here. This will be different for everyone depending on what your phrases, you might just be one line, it might be multiple. But if you're doing multiple lines is good to kinda tighten in you're letting because by default this is pretty spaced out. So I'm not really and that's pretty spaced out. I'd rather kind of tighten it. And I feel like there's more space between this line then, these lines. And that really so crazy about that. So let's just highlight all of this and go back to the character panel. If I can find some space here, that area. And you have the wedding right here, set to lead a. And just add just said it. Again, like with kerning, just kinda good kind of eyeball it and just kinda get a good feel for how it looks. It's hard to kind of judge. You could easily judge against other people's work, but I think it's just much more valuable. Vary here to the kind of trust your own instinct, trust your own gut, and kind of follow your eye. I'm kind of liking the spacing here by so few lake there's more spacing between these lines. It could be something to do with the way with these t's on the top maybe. But I'm not so crazy about that. I feel like we've tightened this a little more. I think this really kind of goes back in the kerning and just goes to show how born it as a kind of trust your eyeballs and your gut over what the program is telling you. Because we can go into the characters panel right now and see a jelly like the letting and Canada exact same on all three lines here. 191, 191. Yet 19, one. So on paper this should look per evenly space, but just like, kind of right now, my eyeballs looking at the screen, the space between these two letters are these two lines, I should say, is really kind of bugging me out. So I feel like we should tighten this one a little more. So let's do that. It can be a little fussy, just like in right there we go. Obviously we're going to pretend I'm just going to go tight in like absurdly. So Cao worked my way out until I feel like we're a decent spot. Maybe that's a little too much. We'd probably go more into zoom in and give you 24. Zoom that out just as much. Yeah, I think that'll do. I think that looks good to me. And that's letting I think we're pretty, I think we're in a good spot now tracking itself. It's kinda like kerning, but instead of like determinists spacing between each single letter, we're actually determining the space in between each, like the whole phrase itself, and how spaced out it is, how narrow down that is a kind of plays a big role in the delivery of this braids itself and the moodier communicating. So back in the Character panel, we have tracking set to 0 and see, see what it's like. Set to 75. It's kind of more spaced out. It's kinda more come more airy. Let's go like super extreme. I mean, it's a cool look if that's where you're going for, but for what we're trying to do, it doesn't really do the job. Now let's go minus a 100 and that's absolutely too tight. That's absurd. That is, yeah, That's wild. But I think I'm liking, kind of like the more narrow thing that's obviously an extreme. But I'm thinking, oh, because they're kind of spaces out kind of a more of like kind of an intimate kinda feel. Nothing too extreme obviously. Just like just barely in the negatives from where we were before. And I'd say I really like that. That's cool. It's kind of like space together. Not as extreme as it was earlier, but it's kinda like kinda together. It's intimate. It's kinda, it's, I think it definitely fits with the message we're trying to bring here. So I hope this video kinda showed you how born kerning, letting, interacting all are, is really goes along way to kinda make your type more polished as opposed to like can make him feel filmed in its little extra work. But it really goes a long way to make the final product much more polished and much more intentional. So now that we have type itself like the bare basics there, then we could go into actually given us some more flair. So we'll do that in the next video.
6. Stylizing Type: Okay, now we have our font chosen. We, we've cleaned it up with kerning, leading, and tracking. Everything is looking good. But obviously, we don't want it to turn out like this is looking for a vanilla. So I think this is the part where we kinda have more fun with it. We're going to give it that little extra edge. Now the last step was kind of more technical with kerning and tracking. They're more technical, they are more precise. But in this step, we can really have a lot of fun with this. And the best part about this is there's really no right or wrong way to go about this. It really kind of goes back to what your messages and how you want communicated, and what your initial inspiration for this project. Now, in my case, I've gone through my Pinterest board. And one thing I've really noticed, it's been recurring. And I've actually pointing this out is I really love like this kind of slanted like hand drop shadow thing going on. I think that looks really cool. So I think I'm going to try and incorporate that. And the best part is actually pretty easy to do with Illustrator. We already know how to do it, so I'm going to show you guys how to go about that. So the pull off that look, we're gonna use the blend tool, which is pretty simple to use once you figure out the bare basics of it. So before we do that, we have to vectorize this because I think we're at a point where we have our text edit out. We have, we have the kind of layout and basics like we go on the font when you're on the Kearney and everything. So I think I'm comfortable enough where we can vectorize this and start working on it. So to do that, we just right-click Create Outlines. And boom, that's all there is to it. Now for blending, where you have to do is copy the text and paste in the back or Command B. And then once the blending tool, It's good important to have kind of like a vague idea of which direction you want that sort of drop shadow the B. And I kind of wanted to be more towards the left down. So I'm going to do that. I'm just going to press Shift and kind of eyeball it to get an idea of where I want this to end up. So one and I'm just using the arrow keys to nudge it. Just there's no right or wrong way to do this, just whatever works for you. I think that'll be a little too far. I think that'll be too extreme. Thinking up or down. I think that would look at me, do that. Now we have the top obviously the top, the main texts on top, the most bottom portion like where we want the actual blending tool to end on bottom. So we're going to select both of these, go to object, go to Blend, and Make. Now obviously that doesn't look very ideal. That doesn't look too crazy. So we'll just go back in and blend and blend options. And it's kind of, in this case, it's kind of like kind of shows. For us, like kind of there's not really many options for you to have in this option. So spacing, we can have more specified steps. And I'm thinking maybe 50, it's important to really nail this. So there's kind of a clean line going between the top and bottom. So I think 50 will do. Let's see how that work. I'm liking that. I think that looks pretty good. Yeah. I like that. That's I think what I'll do. Okay, We have the blending tool. Now, the next step is to, obviously we need to kind of figure it out like we need to actually be able to add this so we can stylize it and make it your own. And it's kind of it's own shape right now. So I have to do is go to object and expand. So as you can see, now, it's not like so much, it's not under one effect. So now you have like all these different vectors in this case like 50 between top layer and bottom. And that's a lot. So what we're gonna do is we're going to take, I think, Forgotten, group it first of all. And we're going to hide the top layer so it won't be affected. I think we're going to copy the bottom because I want to do that rainbow effect. One of these pins like that one, I think that's pretty cool. I want to try and bring that in somehow. So I think I'm going to grab that if I can and paste in the back. That way. We can use it. Now that we have it. Now all this is like the space in between. So, and obviously it's like 50 vectors. You can, right now we can go about and change a color and stuff right now if we want to, but 50 vectors now obviously, illustrators a pretty forgiving program. It's a lot more forgiving than like After Effects and Premier Pro. But when you have this many factors taken up this much space and you try and add them all at once, bound the end up crashing the system. So what I'm gonna do is I'm just going to highlight them all and just merge them together as one shape. Unite. And this might take a couple seconds because there's so many of them. All right. Now we're good. Okay. So we have that. And don't worry if this is a commitment, but I'm just kinda like you use some sort of colored schedule idea of what's going to look like. That's cool. See, we've got that drop shadow effect right there. That's exactly like what we're getting from all this, from like all this design, these enzymes are made in the seventies we were able to do in like just a handful of steps. It's pretty awesome technology and it's the best. So we've got that done. I think in my case, I think I'm going to step out from there because I really like kind of like that multi-colored thing. And where was it? That multi-colored effect. And this guy, I think I want to try and pull something off like that, maybe not that extreme, but I have these different shadows can have like almost a rainbow effect. Let's try that. So I must show this, select the bottom one and my complicated myself, so it's supported. So we're kind of back to square one this case. And so this is going to be the topmost texts that's going to determine the path of the blend. So we're going to copy again, paste in back command B or control if you're on PC. And then just shift and nudge him around with your arrow keys just to get a good idea of where you want to go. And we're gonna do the exact same thing. Just Object, Blend Make. I think it has said, nope, we got to start over again. So let's go to Blend Options and specifies 50 steps. It looks good to me. Let's see how it looks compared to this one. I feel like that one could be spaced out more. So let's go Object Blend, Make. And there we go. Let's just see how it looks compared to the first one. I feel like I feel like we should space that up, one out a little more. So let's go back and shift. Couple. Object, Blend, Make. It looks now. No, I think that's pretty good. I think I'm happy with that. All right, So now we're gonna go back to where we were. Just expand it so we get all these vectors that we can work with. Fun the bottom most one, ungroup. Find the bottom-most one, copy, paste them back, so we have that one. Hide. It. Didn't mean do that. Now we can hide alleles and merging together and Pathfinder. There we go. We've got that, we got that. We've got the tape. Don't worry, These aren't going to be the final color options. This is just like an example. I'm just kind of having a good idea of where I'm going with this. Don't worry, we'll get that towards the end. But yeah, I think I want to do one more of these I think will be good. And let's hide this for now. And just once more, copy command C or control C, Command B, or control B for pasting back shift and tweak around with the arrow keys. Want make sure I have like some form of consistency with these guys. Okay, fine. I'm just kind of eyeball on like where you're going to end up here, the here, I want to make sure it's consistent angle. There'll be a lot easier to write counted like how many arrows I did when I started up. But sometimes it's like that you're just kind of going off the edge. You don't know where you go and do things happened. All right, so we're going to repeat again Object Blend, Make. And thankfully it has setting same for morning went before. Now let's compare it to this one from the back. And I think that's pretty good. I think prior to narrow that down a little bit. So let's undo that and just hone in and just a smidge. There we go. I'll just make that blend again. Plan make. Thankfully as an SEP saved from before. That saves us some time. And I'm like, I think that's looking pretty good. So altogether, we've got kind of this guy going on, which is pretty funky, weird, eclectic. I'm all about it now. So let's just expand on this group, all these together, because I think we're done here. So I don't need to save like this bottom one. All right. That's pretty good. I'm liking this one. So I'm pretty happy with how this looks, but obviously I'm not gonna keep this color like this crazy puke green and red and pink and yeah, it would just kinda looks pretty wild. I mean, it looks pretty funky. Yeah. I mean, that's kind of what I'm going for, but as a load to stream for my taste, some expand on this and kind of pick kind of a color palette. And I'm gonna go to my pin board to kind of look for some inspiration. First off, I'm going to make a background layer for the background color. You change the weight for now. Now, let's go look here. Thinking something more. I'm not really thinking anything like necessarily loud like this. Maybe some more soft and subdued, kinda of like this beige and only these blue dots are here and kind of something like this. I really like this page. I might kind of pull that from here. I know I talked about like not ripping off other fonts and other images or other people's work for inspiration. But I feel like with colored spray, find the sky's the limit. As long as you're being more, you know, intentional with it. Now we've got like these projects for inspiration. Obviously I'm not gonna rip them off entirely. I'm take a mound kind of mix and match some of these and figure out where I go. It's going to be entirely off to fly. But right off the gay, I really like candlelight. These beige Danes are not like totally white, but adds a little more color. Yeah, I like that one that's Molnar. Filling. This one's a little more, has like a patina to it almost. Now this one I'm taken, there'll be more pastel I'm thinking just because it's top texts is meant to me more comforting and subdued. And I'm really liking this orange here. I might try that for the background. Thinking, I might do the inverse here. So actually let's save this for swatches so we can keep track of overdue and maybe this is orange. This and yeah, I think I'm liking this more. This one. I'm thinking me go back in the Canvas, red territory. Ooh, I like I really like that. Now obviously like any other step does have a trial and error thing. There's no right or wrong way. Just like I am, explore all the options you have and see how you feel about it. And doing this. And what I had before. I feel like and I kinda like this a little more. I'm going to stick with this. Then for the last one, let's pull it in this blue here. Let's see how that will work. It's a little different as kinda I think it's a little too off from what we're trying to do. Got this red obviously. Well, let's keep it simple. Let's try orange. Now, I feel on that day maybe I can go through my other pin first more inspiration here. I mean, it's kind of wild mix and match the colors, right? This is just a matter of kind of honing in on inspiration and just kind of honing in together to enter something that's consists in that works. I like the purple on this one. So I think if I can copy that, Use that. I really like that purple. I think. Oh, yeah, I think that's what's going to drive everything together. So yeah. Yeah, I'm really liking that. I think that's good. All right. So you can just use, I'm thinking one more step to tie this together is kind of introduce strokes a little bit to kinda Bolton this and kinda tie this top player to the rest of these. So I'm just going to, for the stroke color, I'm just going to pick the color from here and do the same here. It makes it feel like more kinda ingrained, kind of more built-in. It looks a lot more custom. I'm not sure if I'm going to make an int that bold, but let's try that up. Yeah, arrow like that. So five. So I'll set five here and said to the same color, same color, sharp has a fill. And likewise here. That way it's got more consistent and clean crests board. So yeah, I think that looks good. I think we're going to type. I think my last step on my ad like a wheel board, this, I think I'm not sure if I'll make a multi-color, I might I might not think that will help tie things together. So it's not just like this text floating in space box. Actually kind of make it a little more bold. So it's more legible. I think in this pink color because it's helpline occur. I think purple and I do more of an anchor. And it's always like how little choices like this toward the end, like these little choices really make a big difference in how the end-product turns out. Unlike in the orange thing, an orange and orange and purple. Or maybe, you know what? Let's do. Another one. What the heck? Let's kinda a little crazy here. I think look good. I think having like kind of the colors come out just like the way they kinda come out here. I think that would be a cool touch. So let's do that. Let's have another one pen of in-between here. Make sure they're spaced out more evenly. 10 across the board. All right. And I think, yeah, let's go orange here. The reddish color here, and then purple here. I think that looks good. I think that really kind of ties it together. So this step, I hope, kinda shows you you can go from some of the more plain and banal like this to suddenly more intentional and stylized like this. It's really going to go a long way to kind of bring out some more flair, make it more personal, and the really kinda bring home whatever message it as you're delivering. So with that, I think we're all finished.
7. Outro: So if you made to this video, congratulations, you've finished the class. I'm really proud view. Just thank you so much for following me through this class and trust in me to be your guide. This is my first time teaching and glasses. He's pretty rad. I hope the main takeaway from this class is that you guys have much better understanding of topography and how every little detail can work together to bring, to really land an impact on whatever it is you're trying to communicate not only in typography, but in graphic design in general. I'm really look forward to seeing you guys as projects. If they're in progress, if you're finished, no pressure, however you want to post it. Totally. Finally, I'm just really look forward to seeing what you guys come up with. And once again, I'm just really hoping to learn just as much from you guys and as I hope you guys have flipped for me. I know it can be very frustrating and tedious to demand change. I know progress continue to be slow or grinding or just not exist at all. He could really be easy to feel overwhelmed and frustrated. But just try to move on to the passion of why it matters to you at your core. Am I experienced that passion is really what's going to carry you through the hard times and really give you that energy to communicate your message to the people. And that is what's going to help bring about change. Thanks again for taking this class and taking the time. Me. And again, I'm looking forward to your projects and go forth and be the change you want see in the world.