Create a stunning, detailed logo for a luxury brand | Jason Miller | Skillshare

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Create a stunning, detailed logo for a luxury brand

teacher avatar Jason Miller, Freelance Graphic Designer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Create a Stunning Detailed Logo for a Luxury Brand


    • 2.

      Objectives and Essential Rules


    • 3.

      Planning and Sketching


    • 4.

      Create the Logotype


    • 5.

      Develop the Core of the Brandmark


    • 6.

      Explore Decorative Elements


    • 7.

      Composition: Analyse and Refine


    • 8.

      Apply Finishing Effects


    • 9.

      Final Adjustments


    • 10.

      Usage and Guidelines


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About This Class

This class is for logo designers who want to offer that ‘certain client’ (perhaps a luxury brand) something really special. 

I’m a huge advocate of simplicity and elegance; particularly for luxury brands. 

However, for certain clients, a highly detailed logo can be the perfect solution.

Think the rich version of the Versace logo… Armani, Bentley, Burberry, Breitling… 

What better way to let your clients know you can offer this where needed, than to create a custom example to showcase in your portfolio? 

That’s going to be the class project; by the end of this course, you’ll have your own beautiful, detailed logo, to showcase. I’ll even teach you how to apply powerful finishing effects on the final mockup.

Many designers daunted creating something so complex for a number of reasons;

  • May have heard ‘Simple logo is more effective’. Well we're going to unravel the principles; what makes simple logos effective, and how can ensure those principles are applied to something a little more detailed.
  • Some designers are not sure how to ensure a more complex design remains versatile, ‘works’ at smaller sizes.
  • Some imagine it will take much longer! But by breaking this into manageable steps, and components; you can make the entire process suprisingly easy.

When you’re aware of the approach needed; which rules you can bend, break or must observe - you’ll be able to do this with complete confidence. 

And although we’re going to create a very specific example together step by step; This class will teach principles – so that you’re equipped to adapt and employ these techniques in a range of future projects.

There will be future classes on designing other forms of logo effectively, so be sure to follow my profile to catch those. Enjoy the class, post any questions or comments.

Meet Your Teacher

Teacher Profile Image

Jason Miller

Freelance Graphic Designer


Follow me on Skillshare to be the first to hear about new classes!

Hi I’m Jason Miller – a freelance Graphic Designer based in London. 12 years and counting!

How do you start building your professional portfolio? Or do you still struggle to consistently produce great results within a reasonable timeframe? Wonder how to scale the entire identity design process down to meet your clients needs/budgets?

The courses, tutorials and resources I’m sharing here are designed to help you answer these, and many other questions students and designers face.

Brand Identity Design, including the logo design process, running a business, and surpasing clients expectations – find it ... See full profile

Level: Intermediate

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1. Create a Stunning Detailed Logo for a Luxury Brand: So this cost is with logo designers who want to offer that certain client something that's really special Now. I'm a huge Africa off simplicity and elegance in design, particularly, however percent inclines deep loathe. Just name. It's a way to let your clients you cannot Purvis detailed design where needed to probably showcase ready. That's what we're going to cover. We'll take you through one step. Create your own. Now many designers are daunted at a prospect of creating something so complex for a number of very good reasons that many may have heard. Simplicity is best logo design of this untruth to Wigan to unravel the principles behind. Why simplicity? And so we designed something. What rules that you have to carefully observe which rules can be great. Some designers thought about how to ensure something complex remains first still going to work clear allegedly sizes design amazing in your great skill to records, I'm sure you're really going to enjoy going through the process Now. The future close is covering how to design other forms and styles of Be sure to follow my profile to make sure your first of course, the class project is going to be getting you to create your own version of face to your case piece. So if you're ready, hope you enjoy the crops. Remember to post comments, questions you have. 2. Objectives and Essential Rules: So I'm sure you can't wait to begin this project together. But to start with, we've got to look at some of the rules. The principles that are gonna guide us to doing this successfully now, as a general rule designed, shouldn't decorate. It should be a simple as possible clearer. You can convey a message to someone of a better. You've done your job as a designer. But of course, there were occasions where the message has layers on By using this layered approach, if you almost think off peeling back the layers of skin on the onion as you dig deeper, you begin to see and to understand more and more So a slightly more detailed logo, as long as it follows cardinal rules, is a great opportunity to convey something deeper about your client. Now, in most cases, you won't need to design something with this level of detail. It would be more powerful if you kept it simple. Now, why would I say that at the beginning, to a class where we're looking at creating a detailed blogger? Well, it's to make you aware you've got to use despairingly. It can be very powerful, but you shouldn't be decorating. If you have an opportunity to have some added meaning to a design on by adding these extra elements, you're actually creating something richer in meaning while still being clear and recognizable, then by all means use these techniques. But realistically, business, a technique are used in maybe 20% off the identity products I work on for the other 80%. A simple approach is what's needed. So when something like this is needed, what are some of the rules and principles that we need to be aware of now? One of the keys is that this needs to work with or without the finer details on this is where I compare it to the responsive design approach. It's so popular with Web designers. So the problem for Web designers content needed to look as beautiful on a desktop screen as it would when it's shown on a much smaller mobile device. So how do Web designers get around this? Have Web designers simply dumbed down along content so that even if you visit a website on a desktop, you see something extremely simple just so that it works on a mobile device? Well, no of course not. Sometimes we'll hideaway non essential elements on a mobile device, but ideally, we'll use responsive design. So we'll design a layup fluidly so it collapses down and you're seeing the same information portrayed with perhaps a little less detail on the mobile device. But the messaging is the same. So what's the parallel for logo design and brand identity when you need to ensure if you've added detail? But the design works, even if it's no clearly visible. So when you shrink for logo right down in size, are you missing anything essential? So if someone views your logo at the largest size, there's more intricate details they can appreciate. There's a design still work. If it showed that the smaller size where those details perhaps can't be made out, clearly is it Still recognizable doesn't identify the brand now. To ensure this happens, we have to use something called visual Iraqi. And that means ensuring the key messages are unmissable any size there clearly recognizable , and they come across before anything else. But this also gives us the opportunity to add decorative elements. But a further down for visual hierarchy, which enrich the brand, reached the view is experience but do nothing to distract from the key ends. And in fact, if this is done in the right way, it can actually make for brand more distinct mawr immediately recognizable. And you'll see many examples of this in nature. If we take for its own pool a tiger. Now most of us will recognize a tiger by its stripes, which, when you look of them across the whole body of the tiger, it's a fairly complicated pattern. But if you looked at just for silhouette of the tiger, you'd still recognize it just from the outline. It's fairly recognizable. I had some more detail after stripes. Well, now it's clearly recognizable. Perhaps at first you could see it was a cat, but you weren't sure which can. So in this example, a tiger stripes are actually helping to identify it. And if you use decorative elements at the right way is can actually help identify your brand, and we look at a specific test we can do as we go through a step by step procedure, just to make sure you're fitting your design within these boundaries in these rules, and I'll explain exactly how to do that. But although I've used the term decorative element that really, it's an element with greater detail, it should never simply decorate. So we're going to ensure whatever elements you're adding toe. Add some improve detail to this beautiful logo. It has meaning, and that way, as a client enjoys with design, the closer they see it, it's like peeling back the layers of an onion. Understand more and more about your brand, not simply be confused by something decorative that has no meaning. The vital principle of logo design is the sequence of cognition. So that's the order in which our brains identify fins. Now there's no two ways about it. Simpler. Something is, the faster our brains identify it, and that's powerful with logo design. So when we're adding an extra layer of detail or complexity, we've got to do in such a way that we're not slowing or bogging that process down. It could be no confusion as to what someone is looking at. So at its core, even a detailed logo design will need something that's easily recognizable that the brain can process as fast as possible. Our brains first identify shapes, simply reshape the easier it is for us to comprehend. Next comes color. That's the next thing we immediately identify. And then finally comes the form, and within that, for At some of the more intricate details, such as typography, we begin to recognize and try to read ledge a ball type. We'll also look for patterns, and humans are naturally pattern finders. We look for patterns in the things we see around us, so you used the right way. I think details but Foreman overrule a clear pattern. We can ensure we do as little as possible to slow down this sequence off cognition. In fact, if the details your addict Forman overall shape, it can actually increase the speed off cognition. So that's certainly an important design principle ever we have to be aware of. It can be Bennett to some extent, but that principle should never be broken. Another fundamental design principle is when your logo this identifies an entire brand. It has to be recognizable, and it has to be memorable now for simpler something. It is generally the easier it is to remember, but again very ways to Ben vis. So, for example, for silhouette off a cat is very easy to remember. But when you had a pattern to Vaca, detail becomes even easier to remember and even easier to identify. So we need to add for details in such a way that they make the overall logo more memorable , not less. Now this does address a problem in modern brand identity, which is what so many people are using monograms, and there are so many similar it's orations now becoming mainstream. How would you ensure a simple, monogrammed letter looks clearly distinct from so many offer versions out there? So adding an extra level of detail isn't crucial to identify the brand, but it adds extra depth, an extra layer of communication and aids in identifying the logo. But I can actually be a useful advantage to employ now, but we're aware of some of the rules and principles, and we'll keep coming back to these as we go through the future steps. Let's get started. There's an art to this, but we need to create something that's going toe work. Justus. Well, when you shrink it right down in size 3. Planning and Sketching: So I'm sure you can't wait to get started on. We're going to begin by planning on sketching out the ideas, the rial base off a concept we're going to be creating in this class. Eso to give you a reminder This is the kind of concept we're going to be creating. Onda. We're not going to look specifically at finding inspiration or concept generation. To be honest, we could have a whole class on those things individually and in fact, I will be posting a class on that in future. Onda. This also isn't going to teach you how to use each app specifically how to how to sketch again. There's some great courses on skill share already covering this eso. We're going to assume you've got some experience sketching, finding inspiration, creating concepts, and we're really going to just focus the efforts and to make the class nice and concise on achieving this detailed luxury logo specifically. But that said throughout the class are throwing some tips related to luxury branding. But I'm not gonna spend too much time on the basics in this class, So we're jumping into the point where if this were a regular project for a client at this stage, you've got a good idea. The approach you want to use and perhaps you've identified. After drafting some initial concepts, you might want to create something a little more detailed. So you've identified the fact you want to draw multiple elements on Do you want to add some secondary detail? And this is now the stage where specifically you're looking at planning that. Okay, so for this, I like to use my iPad pro with the apple pencil. I think it's got a lot of advantages to sketching on a pen and paper. So I'm really enjoying using this at the moment. But you can follow along on whichever medium you like, as long as you comfortable sketching eso to begin with, I add a grid positions to a basic document again. I'm not going to go for in detail how to use the app on. The idea is just to show you the planning and sketching stage, so I have to brush is set up one very fin and fine. We've reduced capacity and when a stronger, full opacity brunch brush to put in the details when I'm happy with them. So for this example. Please customize it. Please use a different brand name so that you can actually use this as a piece in your portfolio. And that way your example would look different of other students. So if you can tweak just a few things as we go through this together so that you get similar but different results, that would be good. But for my example, I'm going to uhm, I'm going to assume over it's a made up project. This will be a high end boutique interior designer based in Paris, So I've come up with the brand name, which is going to be Modell Andan, probably pronouncing that terribly, but that's essentially the French name for model on. It should see our purposes for this project so really roughly sketching that in that's gonna form the the basis of our logo type. And when I zoom in a little further on, I think we'll have a tagline beneath. So well put Paris on London. Let's have him as a an international brand. Okay, alignments off there. But this is just to show you how roughly you can you can sketch for us out really doesn't have to be perfect at this stage. And because I'm using the app, I actually have layers so I can add a new layer. And I can then create the next the next piece of the artwork above or below that I can delete. I can shift things around so it gives a little more flexibility. So one key element is going to be this which is V logo type. And of course, some logos consists just of the word mark alone. So you could use justice as a word mark on that would be V logo in its entirety. But for this example, if you think back Teoh what I showed you at the beginning for kind of logo we're looking to create, it's certainly gonna have a few more elements. So we're going to add as the core off a brand mark. Just a nice big letter, M. I'm thinking this is probably gonna work nicely as a serif, but you could use a sans serif if you if you desire and I think to match will probably will probably make this serifis well, just this main part off the logo type just at the service of them, we can tidy up and refine it further. So it's just to give us a rough idea what we're looking to create. Okay, so that's starting to take shape. So we have just annotating this for you as we go along. This is the brand mark on essential part off creating something detailed but works. And we looked at this in a previous video with rules. The principles we have to follow. We have to ensure that at its core, without the decorative elements, this works and actually looks quite good on as a standalone logo. But if you can't make out the finer details, it still works. It's still clearly identifiable. So I'm thinking for this example, we're going to add something circular to frame the M. And actually, I'm gonna use I'm gonna cheat. It's really hard to draw a circle on this, and I'm gonna use this guide to do a little neater, so we'll have some kind of circle around, and then I'm thinking we make up ahead with this. We may not, but I'm thinking it might be nice to add some some secondary type around the outside, So nothing that actually has to be read. But if someone does read it. He adds that extra flavor, a little bit of extra information about the brand. Eso it could repeat part of a brand name. Andi, you could say we've already got in the tagline where they're based. I'm irritating the the iPad as I do this again. Apologies. It's really rough, But speed is more important than precision. At this stage, that could say interior design could again repeat where they're based. Paris, London Onda, when we come to do it properly, will make sure this gap is is closed up, so we'll have that flow nicely around. So that's almost a secondary decorative tiger line. We are, and then finally the details. So there's a few different ways you could do this. And just to give you some ideas on this first idea, we're not gonna do it in this class. But if you wanted to experiment on yourself so you could actually add detail to the Seraphim, Um, by using this technique, roughly sketch it out again. Goodness, that's very, very rough. But you could choose to put details in the surf itself. So if you had some form of floral pattern like the mosque or even a pattern with meaning. You could choose to actually fill the main brand mark with your pattern on. Of course, if you were to zoom out, you would just see Eva Braun marked the M, and you be able to make out an indistinct texture. But as you zoom in as you look closer, you'd see our and edit on added a level of meaning there. And that's the whole idea. With this kind of detailed luxury logo, it's adding that onion skinned layer effect you're actually creating something you're gonna want to look closer. You're going to want to kind of take a second glance, and as you do your rewarded by seeing this, this extra hidden detail so you could create something like that. But for this video, I'm gonna create another. They are well, just strike that. This is one of the advantages. If I can get it to drag there we are over the ipads. We're going to create a pattern, I think, just behind the M within this circle to decorate it so really rough, really abstract at this stage, I'm envisioning something floral. Andi, we'll cover this when we come to compose were logo is really important. I'll show you how to do this after it's a first. Keep sketching away that random floral elements, so the answer kind of more or less fill this area and will decide the exact pattern to use later. And this is where in your inspiration stage, if you've kind of pulled out a few elements you might want to use, you'll have a better idea what, you what you may put here. So by all means, you know, watch the next few videos and then come back to this one if you like, the more you gone through this process and you're aware of what comes next, easier risk stage gets so some random four elements here. But a key part of making this work of ensuring its ledge abril when we zoom out actually makes it much harder to make out VM because we're floral element. It's coming really close to the M and touching it. So a key key part of making this work, you can adapt this depending on the project when they take me a razor here and we're on the lay of it has just the floral pattern, and I'm going to go can go a little bit smaller than that around the M and create this negative area by tracing a group but creating this negative space. Remember, it's an abstract floral pattern, so you're not losing any essential detail. But that ensures the M is much, much easier to make out. And we're also gonna make sure the end miss far more prominent eyes, perhaps rendered at a greater weight from the pattern behind. So you've got to make sure the decorative element isn't distracting from three key elements . And the brand mark is certainly one of the key elements, So we'll show you how to do that in illustrator when we actually come to build for logo. But this is the basis of our idea, and this is how it planned it out. So just to annotate about for you that there is oops decorative elements. Andi, I'll include this as a material you'll be able to download in the class. Resource is, he can zoom in, and hopefully you can read my handwriting here. I went to in this video. I think it would be pointless, but I would usually create another layer. I'd use V I guess it's it would be the equivalent to a thicker fine liner, and then I'd start to finalize the details. But I'm happy with, and we've got a nice guide there to enable me to do it. So, as I said, this isn't a class to teach you how to sketch, but you get the idea. Using these kind of techniques, we've now got a really good road map. Each of the elements we've identified here, we've been got to go and source them. So in the next video, I think we'll start by looking at the actual type of fonts we want to use again. We've got a rough idea here what we're looking for, But if if he's details change, that's absolutely fine. But at least we know we're looking for some funks to be laid out in this format. We're going to look for a decorative abstract element. We're going Teoh, look for perhaps another fun or a matching form for this secondary tagline here around the outside. Now, obviously invest example. I just want to show you how to get the end result were looking for to teach you this new technique to build a detailed logo. And then this is assuming your player office. In future, you can explore it. You can find what works for you. But to explain for this this made up brand. Modell Why I've chosen to do it this way, and we have a decorative element. If it's an interior designer, you know the kind of rich, opulent patterns they might use in high end interior design. Um, it's a little nod toward that. So if someone looks at logo where it's shown large enough to make out that pattern, but it's just strengthening the whole brand identity, it's that extra layer of detail, which usually you might use on the website as maybe a background element. But if you are able to inject some of that into the logo itself on dure, not taking anything away from how quickly you can recognize it, well, that's definitely an advantage. And that's what we're looking to do here. So, of course, you could choose to compose this differently. Maybe try to follow along just to make it easier for you to follow the steps in the video. And that way you can really learn some of the techniques and sharing but in future, you know uses much variation as you like. Try composing the elements differently. Try doing this. Perhaps we have a a pictorial symbol or graphic instead of the n, or the letter we've used here is the core of a brand Mark, you know, experiment. Find what works, See what doesn't and really have fun with this technique. 4. Create the Logotype: Okay, so here we are. This is the part of a product I really enjoy. In the previous video, we created this rough sketch which have now imported from the iPad straight into illustrator CC eso. I hope you can follow along on day. We're going to assume in this video your, um you know, at least fairly familiar with Illustrator. I'll point out any specific tips or tools I'm using that might be of benefit, but there's lots of other classes that will help orient you with illustrator and show you how to use it for logo designs. I'm not going to kind of repeat the basics here, but here we are in Illustrator, I've created a few art boards. I like to create just some doc grids Onda basic borders for me to work within, and I have those is locked layers. So if you're wondering why your upward looks different to mind, that would be why. But from this starting point in this video, we're going to cover setting up the logo type Onda, the fonts of it. We're happy with him. So if you look at the sketch here, we kind of imagined some kind off classy Serra Fear. This is a luxury Paris and London based interior design brand. It's a nice, classy serif, and perhaps we compare that with a you know something that says, You know we're luxury, but we're also modern. So maybe a San Serif tagline. But let's let's start off with the basics and I'll show you my technique for making this work and for kind of quickly exploring the options when we're looking at logo type for a luxury brand. So I'm gonna show you what I arrive at first. This is what I've gone for. Um, I think that's very strong. It's got a perfect balance between classic and modern on. It screams luxury on high end. But let's start from the basics and I'll walk you through the techniques I would use to arrive at that. So here we are, right down to the absolute basics. So we've got the brand name, the tagline, but there's no no kind of tweaking or customization at all. So the font is arial. The the size is the same. The tracking zero. There's really no customization here at all, but you can see how stunning it looks when we begin to add some elements of contrast, some custom tracking. So from this I would usually begin just with the fonts. But before that, get for sizing in the contrast to something that's going to give me an indication of whether this is what I'm looking for. So again, speed over precision at this stage, we can tidy things up later. So I'm using a shortcut option shift and dragging so that I can just freely drag with constraints in place. I'm going to make the brand name much bigger than the tagline, the tagline, the same shortcut option shift. I'm going to shrink that down, and I should say this needs to be while you have the selection tool at the ready. So you click with the selection tool, and you can use that short cut too quickly. You know, just drag and resize elements and see how they're looking. No, actually, that's no, not half bad. And there is a very popular high end brand of it used very similar fun activists, but it's not really the vibe I'm looking for. So first I'm going to increase for spacing. I think this looks a little crowded at the bottom here. And I think it's a pleasing way to distinguish for tagline from the main logo type to make sure it's looked at second. And we looked at sequence of cognition in a previous video. This kind of ensures the first word you see is 100% going to be the brand name Modell. And then because we've increased that spacing, this now becomes the you know, the secondary element. It's much softer. Your eyes are gonna view its second in sequence, so already that's quite good. I'm going to change the fun for the tagline on my way off. Let me show you this, I guess from scratch because I already know what I'm aiming for but to take you through the process when we're just exploring what works. So with that selection tour, you hold down option and dragon. You can duplicate as many times as you want. So once I've duplicated kind of a base version, I just run through the fronts and an illustrated really useful. I do it at the top, so it remains on screen and you can see as you look for your font library. You get this really helpful preview to the right. So at a glance, you might be able to see you know what you feel works and what doesn't. But usually you have some go to fonts for me. There's a few I I usually go to. So we're looking at a serif of the main brand name. Um Guidoni is quite good. Let's see how that looks. That's quite classy, and that's got enormous Parisian look to it. So that's actually very strong. We'll save that one on on this version for V tagline Again, I'm just going to scroll free fonts on by Mean area was just a little bit default system font. So maybe Avenir. Let's try a medium. Yeah, that's that's quite nice. It's got, I guess squarer, um, block your edges to its Ah, a little wider profiled vein scenario. So I like that That looks really strong as it is. Let's duplicate it again and basically repeat this process. And if you're not sure if you're not happy with V, I quite like the contrast here, and we're basically out, but you could always for each interational you could play with that. So, for example, you could shrink the size down on increase for tracking for the main brand name. So a little less contrast in the spacing now between the main brand and the tagline. Or you could further increase for tracking for the brand line you could even try. I just realized this is no longer Centered said. Let's drag about back. You could even try something like this, where it's more or less flush. And, of course, in your final version, you'd get that perfectly flush with the brand line of Bob Seacon. Try some, try some variations, see what's working best for you. You can try a variation where the fonts of the same you're just changing the contrast and have fun with this for me, this is, you know, this is one of the design stages where something will really jump out at you when a jump straight to a number of my go to fonts Treasure pro free. Um, it's kind of a classic with a modern twist on, and I really love it. There's really a brand. It doesn't look fabulous on straight away, Um, so see what works best for the project, and obviously this is an imaginary client. If you're working for real client. You know, you're weighing up the brand values, your weighing up the intended brand voice, and you've got other factors like that. But for us here, we're just having fun. And this is a portfolio of peace. I'm gonna Jeep lik eight that That's quite nice, I think. Maybe Goffin. Let's try Goffin for the font at the bottom. And so just another tip if you're taglines to light, so this looks quite cool. Let's go for Go from light and let's rink it even further. Now at this screen size, when they reduce for tracking there, that looks quite cool, but it's not practical. If you zoom out, it's just illegible. If you compare this to the other versions, you simply can't read the tagline of this site. Now. If a tagline was kind of an optional secondary element on, you know, you didn't need a client to be or to read the tagline. Perhaps you could make that compromise. But for this project, let's say you you really need that tagline to be sufficiently legible. So let's go back medium, perhaps over cooking it. But let's try book and just in large on bats. Quite nice. Eso Hopefully, that shows you my technique for for exploration. Once you've arrived at something you're happy with and I did this earlier here we drag it across to the right. I sometimes like Teoh, never work in color at this stage. Always black on white. But I sometimes like to pick a the dark gray, as opposed to black. Such a little softer, especially if I envisage the the final identity using something a little softer, a little less stark. Then that's quite useful. So working grey, not just black and white, and that can kind of help you gauge on the final impact. This is going tohave eso four v the core off the brand, but I think we'll look at that in a future video. But for now we've arrived at a logo type I'm really happy with. So for now, let's leave it there, and we'll move on to the next video 5. Develop the Core of the Brandmark: Okay, so in this stage, we now have a logo type, but we're quite happy with. Of course, if you're following along, please use a different brand name so that you can use this in your portfolio. It can be made up. It doesn't have to be for a real client, but at least you something different just so you can show this off in your portfolio. Eso I would suggest just the first time you're following this technique to do what I do, which is pull out the first letter of your brand name and use that as we're core of what's going to become a decorative brand. Mark eso We just used the letter m here. It's roughly, I'd say, 200% the size of the off the main local type. But you know you can you can adjust fat and you can tweak it to see what you feel is best. Eso That's really simple. What would do if you remember what we were aiming for from our sketch? And this is where, rather than becoming overwhelmed thinking, I've got so many different pieces to pull together, we just slowly take it one stage at a time and you'll find it comes together nicely. Eso let's do this secondary tagline But we have forming a circle around the M, so I will share a technique to put this together because it's quite useful. So you want to open up the lip stool and a short cut for the is L on drag holding shift on option. You can drag a nice ellipse. It doesn't need to have a stroke, so I'm going to remove that. In fact, it doesn't matter what it has, because we're next going to open up the type on a path tool with the type on a path tool selected. Simply click anywhere on the par for anchor of your lips. On it will allow you Teoh type on a path, which is the effect we're trying to achieve now. This could be a little bit of a fiddly and frustrating tall, so just a few tips on how it's used If I zoom in for you here, eso first of all, your circle is now gone. The type honored path tool converts for circle to this specific text object, and if you click it with the selection tool, you can see these fin little selection lines here. Now these for movies start and a finish point off the text, so because it goes rounds in a complete circle, if you drag the finish point, you see the little plus appear to indicate there's remaining text to come. And if you direct with stop point that forms were stopped off the text. Now this is important because we may need to rotate things or position things more precisely in future. But we're going to simply advert text would come up with in the sketch. So to remind myself, we had the brand name interior design on Paris in London. So let's add that here. We won't worry about the Funchess yet, so double click and in control later selectable. I'm gonna devis in caps, so we have a brand name model. I think a little hyphen is quite a nice way to space out the text here. Then we said we'd put interior design. Remember for your brand, this could be something different. So you're your brand name can be different, but you could perhaps, you know, be creating this for a brand that's a completely different profession. It could be a hair salon could be anything you like. And then we said we would put London. Andi, I like that little. I'm not sure what it's called, but the symbols, like a straight vertical divider. I think that looks quite nice and when by playing with the tracking and it's given me quite a generously space default. But I'm gonna go even further, some saying We're tracking over, weigh up to seven hundreds and then the size. And now, of course, So that's that's looking good. Now we need to choose a front. So again, a tip for luxury brands, consistency is still key. You don't really want to use, you know, more than two different fonts, I think especially for the logo. It can begin to look on a little incoherent, especially since we have a nice modern sans serif here. And we've got a nice serif here. I think let's pull in one of these or the over. So I believe down here we've used Coffin. You could use a different weight by all means, but at least use the same family and yes, here by default. I think it's given us for the last four we were using So Goffin, also in book. Wait So that matches nicely. And it's just a point out. The fact you don't want Teoh, you know, use a different font for every element, or things could get messy. So ideally, the plan is Look at that. It's almost perfect sized already. We're going tohave this sit No, just in larger. For some reason, when I've enlarged it, it's now cut off some of the type, so I'm going to go back and I'll bet under my preferences. My scaling is probably not scaling font sizes. I wanted to, so I'll investigate that later. But for now, let's just shrink this down and shrink this down. And then I have roughly the scale I'm looking for. We look at the overall composition in a future video, but for us, for our purposes and really, this the m with his nice secondary tagline around the outside that's going to form V corps off a brand mark s O. That completes the task for this video. Hopefully, yours will be something different again. And perhaps once you've run through V tutorial once, you could actually swap this out and you could create a symbol. Um to replace the M here. Eso you know, have fun and see what works for you. But that completes. We sent over Brand mark on in the next video. We're going to look at adding V decorative element. 6. Explore Decorative Elements: So if you're familiar with developing and designing logos but haven't done, something is detailed as the example recovering in this class, this is probably the stage that's going to be new to you. So this is where we're adding exploring and then adding and seeing what works in terms of decorative element. So if we go back to the sketch we created before you can see, we just roughly had the concept of some kind of abstract, no overly distracting but relevant if it can be decorative element to sit within a circle behind the brand mark. Now there's many different ways of doing this. And of course, you could compose your logo completely differently, so you might not use a circular element at all. You might have a background element to sit behind your main brand mark or symbol, but for the sake of this tutorial, let's design it specifically toe work within a circle and some of the principles we look out you can carry those forwards, and you could really make any kind of composition or arrangement work for you in future. So, first of all, for patterns now, I've picked some out here the kind of patterns that evoke, like a sense of luxury, maybe even royalty. Eso some familiar patterns here, and it could be something like this. But we decide for our interior designer, in my example, to put behind the letter M behind the brand mark on if we look across Another page here is some or is arm pores, so you can source V's on stock websites. If you Google search for it, you'll find every manner of shape and pattern that you can. You know you confined free licenses for free, unlimited licenses. Of course, for certain clients who have a budget, you may want to create a bespoke pattern just for them. So again, there's lots of other classes on skill share, but we'll show you how to create your own patterns. So if that's what you want to do for your client, you know, simply insert that as an extra stage. Perhaps start with something like this, just to see what works and then create your own custom pattern if you'd like before heading on to the next step. But for me and most of my projects, I'll saw something that I think is going to do the job on die may just customize will be spoken a little, but it's going to be such a an abstract element. You know, it's really the kind of overall feeling and the vibe it gives rather than the specific details in this case, Um, I will show you one example. I'm gonna zoom down here and you can actually create something like this. Now, this has a really specific, beautiful illustration, but I've sourced eso to lions on their kind of sitting. I've composed it this way. So it looks like this sitting on this ornate scroll work so you can compose elements together. You can actually create something quite beautiful. There's all kinds of possibilities using this technique, so by no means has to be an abstract pattern, but for simplicity, we're going to do that in our example here. So these are the kind of patterns I was looking for, and once you found the pattern, you think may work. I'll show you what we do with it. So this is for stage. We were rat without current design. Andi, I'm going to show you the thean result and then show you how to get there. So in this next art boards. Um, this shows you the effects we achieved using this pattern on this show GV effects. We achieved using this pattern, creating an outline of it and placing it within a circle. So let me take you through that step by step and again for more. You do this, you'll get a sense for what patterns may work. You know what's going to be too distracting or end up looking a little meaningless. I'm so first, I think, for example, here, let's just steal this element. I am going to give it a hard stroke around the circle. We can always remove it if we don't think that's working later. So you want to position this more carefully than I'm doing. That's it is intersected on will shrink it just a touch and then shrink this accordingly. So that's I did just a little separator. Asai say you don't have Teoh. You could insert the pattern and just leave it with a soft edge on the wording to go around the outside. So see what you think works best, but I've got this. This soft stroke here is a divider. I'm just gonna bring that down 22 points. Now next to get a patent to appear in the way we wanted to, we're going to create a circle. We want to find where it's a center and drag using option shifts, and you want it to end roughly the same place as for stroke. Just noticed. Obviously, the stroke was walked a little bit as I dragged it. So that's always a mistake to watch out for. And what we'll do is delete. A stroke will take how circle duplicated above in large it just a fraction and then reverse so that we've got the desired strike. So this layer here, this Plainfield Circle, we're going to use them a technique called drawer inside. Now, if you follow my mouse to the left here, you can see this button draw inside, and that takes you into a special mode and illustrator where you can place an object in an object. Um, really useful way off masking details because I don't want the pattern to spill outside of this circular area. So let's find a pattern we're going to use. You can see I here's a few I did earlier, the pattern itself on the preview stretches outside of the circle. You can see that's completely hidden that's massed away, so I'm going to see. Use this pattern to begin with so you just want Teoh. Select copy. Come over to your circle. Now you click that button I mentioned drawer inside and simply paste and you'll notice if I come away and de select that pattern appears only inside. The circle is completely mast. Eso were selected again. Andi, I actually want to remove any color from the circle. It'll I'm going to double click it, select it and you'll have to select from the path double click for path, and we want to very are CVA Phil so that we can remove it, escape to come out off isolated mode. And now if we select the pattern and so will simply move at layer right to the back. Now you can see I've cheated here because I'm sure in your version you won't have this stroke around your letter. That was something I played with earlier, so this is very indistinct. It's quite hard to make out the letter from the pattern because it's all overlapping. So a key rule in this method is to create this area of negative space, and you'll remember we actually sketched this. If we go back to the original sketch, we had mocked this up and sketched this negative area. So what we're going to do particulars was still working in gray Scale is just stroke FIS with white, so make sure white selected for me. It already is. And at a stroke, make sure the stroke. If you click this is aligned outside. If it's lined inside, you'll actually begin to lose your letter. If it's a line to center again, it's going to ruin the profile of your letter. Unless that's the effect you want to achieve. It's a stroke outside. Increase the weight fairly generously. You've got a nice area of negative space. Now you'll notice there'll be little almost glitches just here, just here on where you've got the edge of a shape on its almost removed by this clear zone we've created. But it's just creating like a messy little element that looks like a mistake. So obviously you'd want to tidy vet up when you come Teoh finalizing the artwork. But we've done this really quickly because the idea is that's one example, you'll select it. Duplicated andan. Try another pattern, so let's copy. Double click. Remove on paste this new pattern in, of course, you can shrink itand, scale it as desired and escape and see how that looks. And the idea is, you'll try lots of different iterations to see what's working best until you find something you know, it's it's really, really working, really doing it for you. Now. This space already looks pretty good. I'm just going Teoh. Place this in black because that's bothering me. It's not quite hoops, not the stroke for Phil, not quite matching the rest of the artwork on there We go already. That's that's got really good potential to really identify whether it's working on Mark. I actually add the finishing effect, and it's easy to do that. So in a future video when you've got a few of these, it's orations to pull on. I'll show you how Teoh bring this into Photo Shop to apply a finishing effect, and that way before you invest too much time fine tuning it. You can see if it has the potential toe work, and if it's something you want to take forward 7. Composition: Analyse and Refine: So in this video, we're going to talk a little about composition on granted. In the example we're putting together, we'd already decided on the loose composition back here, but this is a case off, sometimes needing to see where you're going to, then track back and make some adjustments and for future products, when you have a good idea off result you're looking to achieve, you may find this a little easier, and you'll have an idea of how to compose things. But this is a good stage to discuss it. Onda, with your own project you're creating, and hopefully you're following along as you're watching the video. This will help you just Teoh tidy up for balancing, and I'll give you a few tips. So for me, this is the version of arrived here. Let's make that nice and big so you can see clearly, um, Onda. At the moment, it's it's loosely shaping up, but it needs a lot of tweaking and fine tuning. So if you look at this and you think, well, that's that's perfectly balanced, then then that's wrong. And actually, there's a good few adjustments we we need to make to get this where it needs to be. So, first of all, if we look at this secondary tagline, we've got these hyphens between most of the words. But we've missed one here at the end between the brand name in Paris. So I'm gonna open up the end point a little, and we just want to follow the same pattern on at a space and then a hyphen. And ideally, if we can tie, be starting in points together, and we'll just increase with tracking until that's perfectly spaced. There we are now because this is a It's a secondary tagline is not essential that someone's able to read this. I'm actually going to leave it. I'm not going to look at Kern ing and tracking between each letter. I think that's sufficient. But what we do want to look at is balancing. Now. There are many different techniques you can use. You can look at using the golden ratio or rule of Firth's. You can have everything equally balanced. I like to begin by balancing things optically by eye on Ben. Just make sure and make sure it's not off. Anything that's supposed to be centered isn't centred. Andi, Follow some basic rules with this, so I'll show you a few techniques as we analyze this now eso Let's create a center point that we can work from now You could do This is a guide for me. I'm just going to stroke it. Oh dear. And I've done that with the text selected. So let's go back a few steps and actually, I will just create a guide that's going to make life much easier. Eso without guide. I need to make sure everything that's supposed to be centered on lines up to now our m you notice it's got a wider, um, a wide apart here, and it has its not perfectly symmetrical. It's wider on the left and the right hand side. So where it touches were baseline. That's actually not supposed to be dead center off the M. You can see if we zoom in. Can you see the little white thought there That's actually the central point off the M so at the moment is aligned optically, and I think I'm going to keep it this way. If I shift it to be precisely mathematically centered to me, that's quite off because this is where the eye is drawn to a central point, and that's significantly off to the left. So I'm going to drag it. So it's it's kind of halfway between the two. I'm also looking at the clear point here on the two sides that she wouldn't mind that clear point, just neatly taking a chunk out of the stroke. We've got around the circle there, and I think that's quite a nice touch. It has all of the elements playing with each other and interacting. If you wanted, of course, you could lift this path to the top layer, and that wouldn't be a problem. But I quite like for them. It breaks the circle in those areas. I think that's quite an effective touch. So the M centered? Let's just make sure our circle and Texas entered no shift them just one points of the right. And then it's TVM too much the pattern Well, whether that sentinel not is really up Teoh, the effect you're going for you might have something that's not cement recall. That's off center, but actually this is a symmetrical pattern, and you can see it's not quite dead center, so it's 12 that open select it that's now centered and will come out now you may be thinking there's a short cut for this. You could select all the elements and you could simply hit a line center for me that's going to throw things off, and it could potentially ruin some of the optical alignment I'm going for. That's and again, this is just a quick tip. When type is an outlines, the little I'm not sure what you would call them. Anchor points, perhaps, or these little handles. They won't be dead centered because it sometimes taking the tracking into account, particularly if we click on the tagline. Here you can see the tracking is making for bounding box and significantly to the right on the edge of a text so you won't be able to trust this to center it. Now. If you want, you could outline the text to center it and that she there's no reason we can't do that now , so I'm going to use command shift over toe, outlined the text, and now we can trust the guides and we can have that sit perfectly level with our guidelines so centering things. I think that's the most common mistake I see in brand identity. But something's not quite centered as it should be, and it just looks awful. It's really an amateur mistake. Eso definitely used tools at your disposal to make sure everything is precisely centered, if it's meant to be Now with spacing, this is more up to your judgment, Andi. Personally, um, I think if you have spaces with a similar but no equal, I think v I picks up on that. Andi, I just make some reasonable effort. I'm gonna show you a tip. Pierce. I've just created a simple rectangle to fill this space, which optically looks absolutely fine on. But I wonder is that space precisely? I'll have to drop this down and just re color it. Is it precisely the height of the tagline and is not? And I think that would work nicely if it were so. I'm going Teoh line that Okay, there's a little part sticks out there is being hidden at the moment. It's not perfectly aligned to this part of the type, and I want the space. You got to take care to you shift here, and if you have things snapping, just make sure you can see it trying to jump left and right. So just be really careful and sometimes drag it way off before going back up To make sure you're not being snapped off course, I'm going to re color that which I've just duplicated. And then when I move it into place, that's perfect. I know, I know. Um, the space between the main brand name and the tagline is exactly the Hyatt off a tagline on Been using that same level of spacing that strike that up on. This is where if you do it mechanically, if you do it mathematically, it might not quite look right to be I Because, of course, you've got the accent on the E here. So if we did it mathematically, we do this. And then again, you have exactly the same spacing from the top of the accent to the bottom off our brand Mark. Um, to be honest, I think this space should be larger, so I'm going to shift it up one on using rule of thirds. You don't have to, but it does tend to, you know, to result in something that's more visually pleasing. I'm actually going to draw this from the top of the letters, excluding the accent and we'll go once have been again. And that can be free times for space. If I color that, you'll be able to see so free times the gap. But we've used between the brand mark and the tagline Delete the guides. Does it work optically? Well, no, I don't think it. Thus, it looks a little detached and in fact, in terms of scale, I think the brand mark could stand to be a little larger in comparison to logo type. So it's put guides back on, perhaps will just have it as double the space. See how that looks. My guides off. That's looking much better. Let's scale it shifted up a little. Make sure everything's constrained in order to scale it on something around there. As I say, I start off optically and then I'll try. Teoh almost make it fit. The nearest mathematical, um, puts forward unit or boundary. So what? I mean by that to me optically, this this now looks good. Um, I wonder if this is 2/3 off a whip off the logo type. Sometimes you develop a NY and design and you just end up kind of doing that naturally without meaning to your I naturally finds certain design rules pleasing, Um, but it never hurts. Teoh put that to the test, so I just created free blocks going to line them up, some transforming them all at the same time to be logo type. But I'm going to remove one, and this basically would be 2/3 off a whip off a logo. Type Andi. Well, it's almost there. It's a hair off, so let's see how it would look if we did enlarge it to make sure it's precisely 2/3 on. That's pretty good. That's looking pretty good. I've lost it. Announced again. I'm just going to draw this. I think we agreed on double the space select and shifted up again. Andi. These are the kind of finishing touches to the composition that you should be making when you're really pleased with the idea when you're sure you're going to use it. And in fact, I would recommend skipping ahead to the following video, trying out some of the finishing effects and then perhaps going Teoh to this level of detail with a composition one final touch this isn't really composition. This is more to do with good turning on good, good work on the on the logo type. I'm quite happy with the way this is spaced, I think trading pro free, straight out of a box, the turnings really, really nicely done. But if, for example, which is isolate this if you use the font on, let's say they hadn't accounted for the so it was too much negative space around the Oh, you know you would be expected, especially for a branding job. You know, you've got to get this Kern ing perfect on. There are plenty of videos if you're not sure what Kernan years or how you determine the spacing behind the letters to make sure it's visually equal. We could find lots of videos on that from other instructors on skill share. So all in all, I think this is looking really nice on in the next video. We're going to show you how to test this out with some finishing effects 8. Apply Finishing Effects: so as promised, this is V finishing effect. We're going to apply toe what we've created on. Doesn't it look stunning? It really is an effective way to level up your design and that portfolio piece that we promised you have by the end of the class s O. This is a little different from if I flick back to illustrator. So this is in photo shot, by the way, Andi, if you look at the course, resource is I'm going to send a link s so that you can download this thing, this markup template from the source and is actually a number of others included under that link which are completely free to use. So I do customize this. I'll show you in the video how I like to customise it. But if you download directly from the source, I think that saves any any copyright issues. Eso please get hold of that link on download for PST and then you'll be able to follow along with this lesson. So if we go back to illustrator, you will be able to see here. This was the latest iteration off the logo that I had balanced and I was quite happy with, um now so I can walk through this with you. Here's when I created earlier in photo shop, but I'm going to show you now from scratch how to how to throw your design into this mock up. And it's really easy. So make sure you can see your layers in photo shop again. I won't teach you to suck. Eggs will assume you're partly familiar with photo shop. And if not, there are other videos to help you with that. And you can see here in this PSD it says logo here. Andi, if you ascended, it would say double click to place your logo. So do that Just hover here on the layer. Preview on double click. This man brings up an outline that the PST is drawing from adding effects, too, and it's creating that nice finished result. So I'll delete the version I created earlier, and you remember we had copied how artwork from Illustrator. Well, now you want to just paste it here. You can paste it as a smart object. I'm going to paste it with pixels because I haven't yet completely finished the artwork. This will save us some time on been scale it, you can hold all to scale from center. So they did. It feels a majority off this art board. Now you'll notice it's transparent, but because I haven't quite finished the artwork yet, very these elements where there's white which we would later take some care to remove with illustrator. So for now, just to achieve the effects were looking for I want you to use the magic. Want a short cut for that is W Make sure you're using the same settings is me at the top here and click on any portion of the white to select over white on the art board hit delete on command E to de select. So you want to close this PSB lay of its opened its nested inside a PSD So you click to close and then you want to select safe on You will see that mocked up in the PST and rendered with these very attractive finishing effects. So I'm quite happy with the result here. Um, I really like for wavy secondary tagline looks. The M is really distinct because it's a thicker element. It stands out a mile from the detail we have in the background. But doesn't the detail bring it to life? So this is already looking really effective? Some tweaks and changes I would make just service becomes a little more usable by all means . You could save this out right now and use this as you're at your portfolio piece to show clients what you can do. But here's some tweaks I would suggest making. So if you look at the layers, you'll see one of the layers. Um, it's a metallic effect, and it's got some highlights and some shadows where? So I would recommend tweaking that later. Um, if you scroll further down, you can see it's got a background, and if you turn that background off, it's a really heavy shadowing, which looks great on black. But if you want to present a client, a usable version of this so you're actually presenting them was a chrome version of their logo that they can use. Um, well, here's what I would suggest doing to make sure that that's usable so actually will come to that in the 2nd 1st Can you see where V. D. And London are just a little too dark? If you zoom out. It's a little bit difficult to read. Verse over It makes first look. Photo realistic. I like to remove for shadowing there, so if you look through the layers believe it's vis layer. Here it's adding that shadow on you can simply reduce via passivity to soften that effect. Or you could use the razor short Cai Zi Teoh. Just click. If you've got the capacity lowered, you can just reduce about effect on anything that's that's not quite eligible. So that's the first week I'd make to this. This particular markup file eso that's looking pretty good. If we change with background, it's turned this off and add a black background. That's absolutely fine as it is, if the backgrounds white of any notice a problem. The first of all, the drop shadow really isn't working. And to tweak that, it's these four layers here. So the bottom free. I think you can removal together or severely lowered the capacity on the top layer. You can even reduce via pass ity, but I actually you can't Yes, because I believe that's a layer where all of the renderings happening, so you need to double click where it says FX and then go just of a drop shadow section here on. This is where you would reduce the A pass ity off that drop shadow. Now, you notice if you got rid of a drop shadow entirely, you can hardly see the artwork. Eso Let's leave it off for now and I'll show you how to get around this on a problem is this layer here? You'll notice some of the The texture is rendering. It's almost completely white. So to get around that I use levels on a short cut is command l open levels on. I just pulled down the output level to about here. So what? We haven't got those areas that are completely burnt out. Um, then if we click open effects again, you can see we've got some bevel and emboss happening, and you could reduce the capacity if you wanted. Where you could dock in the bevel says a bit of a darker, creamy color. Those are some options, but I like to take this layer on open curves, so that's come on them. Andi, click and yank for curves right the way down so that we start to get this much darker almost a gunmetal gray and then, at some contrast, by clicking and dragging up of it higher end of curbs. And then finally, I removed the edge of it to remove the stock white and just play with this until you're happy would be contrast. But you want to make sure there's no areas where, you know things were really fading out, and it's becoming difficult to to view or to read elements of the logo, so that's quite nice. I'm happy with that there on the advantage Now, once you've made these adjustments to the finishing effect on this particular PSD. If you were to select these layers, you've now actually got a transparent version off the logo, complete with finishing effects. It's just undo that eso. If you delete the background altogether, you can. Now the group and contents provide this as a light version off a logo to your climb as a PNG transparent file. So they're still need a vector, which, of course, you'll have to work up in illustrator. But you could provide your client, and there's no reason not to. We have a beautiful rendered version with full transparency that they'll be able to use on a light background on. If we click on do enough times, we can take us back to this stage here where you could provide this as a transparent file on a client could use on a dark background. So these finishing effects are really powerful, and they give you the ability to give the client something that's just got that that extra special finishing effect applied to it. But of course, if you don't want to do that or if it's not necessary for the project, then you know by all means color or finish off the artwork in the usual way you would, and we'll look at that in the next video, with some final adjustments. 9. Final Adjustments: Okay, So in this video, what I'm not going to show you is how to how to color artwork in Illustrator. I think there are so many videos on that and hopefully already familiar with that part of the design process. But what I will show you is a few tips and considerations specific to the kind of detailed luxury logo, but we're creating. So let's do this together. And let's assume we've created this very attractive mock up in photo shop using the PSD that I've given you a link to download. Or perhaps you've used one of the other mock ups. So whichever you prefer, the idea is to create this very detailed rendered piece for your own portfolios so that you can show it off. But of course, you're always need to create a vector file for a client that they can use because what if, although this may look great, you know, as a hero picture on their website what happens when they need to have it printed on a T shirt and they ask you to supply that file well, you need to make sure they've got a clean vector, and at the moment this isn't a clean vector. And that's because if I place a layer behind just to aid us in working on this, we have all these elements of white. Andi. It's very simple. We just need to subtract anything. That's why we need to delete to erase it from the design. So I'll show you a technique. Make sure work of this. First of all, we need to select excluding that background. I've just added the entire brand mark and we need to outline them. And a short cut for this is command shift. So obviously, don't do this if you're still not 100% sure, or if your client, for example, hadn't signed off on the text for this secondary tagline, you know, then keep things life. But if you're able, Teoh, if you're at that final stage, outlined the text and you can see that's now outlined, its not life. I'm going to select again and we want to use the shape, build it all. I find this is the easiest way to complete this stage. Now, before we do that, you might notice at the moment as I hover over the pattern, it is highlighting parts. But it appears it's not selected and the reason is if we if we go into this to isolate it, it's still comprised off a fill, which is white on the stroke. So we need to break this apart now. First, I'd suggest simply remove the field. You've got a button to do that here with a short cut is a forward slash that's taken fulfill away. But we don't want a live stroke here, so we need to goto object, have been expand and with both options takes expand that so that you now have this outlined artwork for your pattern. If we come out of isolation mode by clicking escape, we've got just one more job to do, which is the same on this M. But if we simply remove a stroke, well, then we lose that negative area we wanted to create around the outside. And this is where the shape builder comes in. So again, making sure everything selected Steve about a sensible way. The shortcut for shape builder is shift, and now you're notices. You hover over different portions of the artwork. You can see almost ah gauze applied over these different elements on by clicking option. You see the mouse talk tipped changes to a minus symbol. It was. Subtract anything. You click from the selected design. Now. At the moment, if I want to do it like this, it would subtract the entire circle from the background. So we've lost that stroke that we had before. If I undo, you'll see it comes back. So you've got to take great care with this tool to make sure the correct shape so isolated . Now what we're going to have to do is almost inject this brand mark, um, the M inside the circle and then make us subtraction so it gets a little bit complicated. But I'll show you the best way to do it. So first, I'm going to need to outline this key line that's going around the edge, because at the moment the shape building can't do anything to to a stroke. It has to be outlined. Field shapes. So we fact Keelung selected objects expand. And now if I select the M and USVI shape builder, you can see it accepts that is not accepting the stroke around the end, and again, that's because it's not been expanded yet. It's using a live stroke. So the first time you learned this is a little tedious, and you think, What on earth is going on here? But this can save you a lot of headache. And that's why I'm just spending some time showing you these techniques. So we want to goto, object, expand appearance, and that's done it that's now given solid feel to the white areas around the M. If we now shift and activist selection our key line around the edge and again shift em for the shape builder. If I seem in fear, you can now see we've got the ability to add to these portions to a shape or what we're looking at doing is delete. So holding option you can click and drag on. It completely erases about overlapped area, and that's the desired effect on will Come over here. We'll do exactly the same, will erase that portion before we start removing all over white. We now need to select this circle on because this is ah, nested object. So if we double click it, remember, you've got for full pattern lying inside that circular shape to isolate the M from the pattern in such a way that you're able to use a straight build it all. It can be a really fiddly process. If you're not sure how Teoh release this shape from the circle, it's sitting within because it's mast. It means the two can interact. You can't directly use for shape builder. So to achieve this, you want to click to select the circle with the pattern within it and you're going to click release mask. Now you may think that's ruined, that we've now got these little bits sticking out of the edge. But what we're going to do without clicking anything else just immediately enter the shape , build it all so that shift em and you conceive a still a key line of a circle. But it was sitting within on. If you hold old, you now need to zoom in and you're just going to Delhi anywhere. But your pattern is overlapping on overhanging outside of the circle to remove it. So just take your time. Obviously, the larger order more complex, a pattern you're using, the longer this part will take on def is an easier technique. By all means use that. But I found this is the fastest way this little bit here. I spoke about this earlier. If it is just a little blob that might look like a mistake on the design, I just go ahead on remove entirely so every part of his pattern that we decide to keep. We wanted to look deliberate on Zoom out de Select on where we have it. So now finally, we can select three m shift click to select for pattern Andi. If you zoom in and use for shape build, it'll shift em. You'll see you're able to delete away these areas where the white negative space we've created around the M into sex with a pattern. Now this is the most time consuming part. I think of the entire process. Spent 10 to 20 minutes doing this. Make sure you're nice and precise on, you know, spend as long as needed to get the desired result. But work your way around and just keep deleting these sections away. So you're in the shape build it'll you're holding down old to make sure it's subtracting, and we're just deleting anything that's white. You may also, when you see them appear like this, want to delete away these areas of negative space on as mentioned something like this. Is this a little bit of a pattern peeking through or to leave? So let's jump ahead. 21 I finished off earlier, and I've gone in, and I've carefully tried to remove everything just to show you how easy it would be to miss a spot. I've left a few little areas that still need cleaning up, so there's a little piece of white but was sticking out there on its another one here, and you've just really got to go in. Zoom right away in on Be as precise as you can. But once you're happy, let's to leave a background away. Um, it's well worth the time spent on DA. Obviously, I've just done this to demonstrate you would keep the positioning off your logo type underneath. But the advantage is this is a vector on. It's completely field, so you can now change the color and perform any kind of color work you wanted on this. And importantly, you're able to deliver this as a file to your client Andi, because it's a vector. This could be used to cut a shape out of a T shirt or half it's engraved over kind of things your clients are going toe Want to do to this piece of artwork? Eso, You know, make sure you spend the time cutting this out, making sure you're providing a vector, not just for a bit more graphic. Andi, that's it. Those are really the finishing touches You need to place on your logo so I won't cover. You know how to how to color the final result. I'm not going to kind of cover the basics off taking a logo to finish because there are so many other video showing you that. But Askew followed along Congratulations. You've now hopefully created and finished off of a promised peace for your portfolio. 10. Usage and Guidelines: So congratulations. If you followed along, you've created your own version off off artwork here, which is looking very attractive and you'll have it in a vector format. I won't show you how to save out a vector file from Illustrator because it is already so many guides showing you how to do that. But this would just be a few tips and some usage guidelines on but a specific Teoh detailed logos such as the one we've created. Eso as always, this business for a client with your own portfolio piece. Of course, you can skip some of these steps, but for a client you've got to make sure they have a vector file, as we mentioned. And if you do decide you want to give them something bacon use with this kind of finishing effect, you know, make sure of a background. This is quite nice, but make sure they have it on a range of backgrounds and make sure they have it transparently in case we need to use it on Web. Perhaps the header of a website. Just make sure you've given it to them in a way that's gonna meet their needs. So as I showed in an earlier video. There's a way off off making sure this, you know, it works nicely on a black background. We looked at making some tweaks and adjustments, taking off the shadows. It works on a white background, and if you've used a different PSD to create a mock up, you know, just make sure your client understands this is kind of a hero version off the logo. It's something they could use, maybe on promotional material. But they do need a living, breathing vector file that they'll be able to use on letterheads, for example, what happens when they need to create invoices and use for logo? Well, if all you'd created with something like this, that's really not going to cut it, so that's that's a really important consideration then in terms of usage, and this should happen earlier on in the process. But definitely before you find the lives you need to make sure on, we really hammered without. In the second lesson on that, it's fit for purpose in, But when you zoom out, it has to be clearly legible. So I'm showing this pretty small on the screen at the moment and to me. The M is very clear. The brand name itself and even the tagline at the moment on my screen, I can read that quite clearly. So you need to perform those checks. Just make sure it's performing, you know, at a minimum size. And if you're creating brand guidelines from it for your client, test it and then let them know what the minimum sizes we need to use it at now. There may be a situation where you recommend, for example, the advertise on social media and that they just use. Perhaps you could say, in the guidelines, you know, just use this used for brand Mark. Don't try to fit the whole logo in on because you're gonna be sacrificing legibility over maybe situations where, you know, you say just usvi logo type by itself on omit the brand mark. But just make sure you consider those situations and clearly outlined to your client. You know how to use for logo and don't let them use it, you know, perhaps put it on a letterhead of the very small size and then have to come back to you and say, Well, I I can't read the type line. Make sure you've kind of considered these things first, and you let your client no. You educate everyone on how to use this on day. One. Last thing would just mention if you've created different versions off this yourself, or perhaps you play with it. You've created a different composition, a test you'll need to do to make sure it works. It's fit for purpose. How does the logo look? If you Dellin be unnecessary detail, does it still work? Could you still identify the brand now? Obviously, you don't want to provide this as an option to your client. You don't want to provide a version without the detail, but it just illustrates the point. It's adding something extra. It's enriching the brand, but your brand isn't relying on someone being able to see perhaps a certain shape in this service decorative pattern we've used here Onda. If it's an extra, not if it's if it's an extra kind of onion skin layer of detail, then that's brilliant. But just make sure the brand is strong enough with without those elements being, you know, being clear on being taken in by a client, because that way it was him out again. If it's at this kind of size, you can't expect someone to even be a to read this secondary tagline or to be able to make out what the detail is. But they get the idea. There's still a sense off this very opulent, detailed logo, and in fact, it makes someone want to look a little closer. I think that's always a good thing for a logo to draw the eye, so those are just some final considerations. Otherwise, you're good to go and even using this logo yourself or beginning to supply it to your client.