Transcripts
1. Introduction: Hi, I'm Chris. I'm a writer and designer and welcome to the second class on the golden ratio. The outcome of this class as a vintage style Mac or logo that incorporates the golden ratio that is Thea Outcome. The purpose of this class is a little different. It's about building a balanced design out of concentric circles. Now I'm not talking about concentric circles with the radio or a multiple of one unit. The concentric circles I'm talking about vary in size, using a geometric progression off polygons, for example, the Pentagon. In this example, the polygon is the hicks are gone and the ratio or proportion used. His bone is the square root of three. So in this class we will use a different ratio, which is commonly known as the golden ratio. Is a designer I really enjoy exploring the correlations between the forms that I see in nature and geometry. I like to study naturally occurring patterns and proportions for the purpose of establishing principles and relationships that can be used on design. And it can be a simple is looking at a flower, discerning the relative proportions off the flowers parts in using these proportions across a variety of designs. So I hope you will join me in this class to explore another aspect off the golden ratio and how to incorporate it into your work. So let's see you on the first listen.
2. Inspiration: for inspiration. Let's look at a few books you can find really useful books like this one at second hand bookshops. This one was published in 1939 and this book has a great resource for Han drone littering marks and posters. Plus, it's all in black and white, which is ideal as a resource for this particular class. The sort of things I'm looking for has some simple things like these two different widths of line. I also like the vertical hitching off the spanned, so that may come in useful as well. The similarly Streisand background there. I'm really interested in these page rulers here, and that is because the lines vary in width, much like the varying thickness of lines in this chiffon project from Class one of this golden ratio Siris of classes. Similarly, this border is made up of two lines that a different and width or thickness, and this one with the lines of the border are reversed. We will be working in black and white, so to get some great backgrounds, this simple treatment of parallel lines is something I'd like to use somewhere. Degradation of black and white stripes creates an into playoff light and dark. And these bands, and they impart in almost three D effect with a light falls from one direction and casts a shadow on the other side. Here we have a number of round trade max, which are built up from concentric circles. This is the overall direction we will be hitting for this class. The next book is this one. And again, I'm just looking for some of the max that in here, like the Northern Pacific Trade Mac, with the text arranged around the outer part of the Mac and symbol in the center. The circular Plymouth Mac is also of interest, with its concentric circles, ring of text ship in the center and rope textured lines. I like the way the black crosses separated from the surrounding Black Square with a white band and a thin black ring. If you don't have any excess told books, you can, of course, consult the great oracle known as Google, who will disgorge a cornucopia off early century designs at the touch for bottom. Here we can find a range of round marks and logos, many of thumb recent interpretations of early to mid 20th century designs skimming through some of the black and white ones, we can see that these designers are veering the thickness off their circular lines in bands . The interesting thing to note here is the interchangeability off positive and negative space of the design elements, primarily black, full points. And what about the negative spaces that black or white? So now we have had Look, we can close the stand.
3. Conceptualize: on this. Listen, we will be exploring the grid to see what unfolds. I'm not after anything in particular. I have a few ideas in my head, but the aim here is to show you how you can use the golden ratio to determine the balance of black and white space. When it comes to producing a design that is based on concentric circles, fist up, you'll need a pencil, a pair of compasses, any razor, some pains. And, of course, the script that you can print out that's good is available from the download Syria. So feel free to download it and print it out. So let's get started. What I have here is the screwed and above it, a slightly bluer version of the grid. I know this looks complex and busy, however, it is deceptively simple to put together the first ring that I want to draw as a fun one, and I'll use the screwed to determine the radius. Oh, Marcus said with the pencil. Something about this thickness? Well, actually, I'll go for something thinner by marking at the point of the top. I'm not during the whole circle, just enough to get a feel for the proportions off these rings and bands, some using a word that pencil here just to show you how this ring is taking shape. I want to preserve the circle here for whatever I'm going to draw on the inside. I'll set up a ring here and here and somewhere around here I don't want the thickness off this ring to be the same is Thief first Ring, but I do want it close, so I'll mark this point. What you can see is may picking points we grid lines and too sick to determine how thick some of these rings or bands are going to bay. I'm essentially working at the size and distribution of the major elements of what will be my final design. Mixed up is a Siris of final rings. Before that, I'll block out what is to be the thickest band. The radius of each of these rings has determined using the grid and sections. When working with circles that have a radius based on a multiple of a particular value, the design can look somewhat static when using a proportional grid like this one, the circles have a more dynamic feel to them This is where the radio lines in the great come in handy. I want to put a thumb line close to the thick band, so I'll use this intersection here and for the second thing ring. I'll just gets that for now and tidy it up when Victory rising the design. My plan is to put a little star here and repeat the star around in this white space here. My plan on the large black band is to have some littering. I don't know what that will be just yet. The white lettering will break up the black space, however, so it doesn't look so solid. Having said that, I should quite like the look of the solid bend to make it easier to see. I'll quickly block at the black rings and Ben's. The next stage is to decide what goes on the scene to region. I thought I would go for a pencil shaped and again used the grid to the term in the size and location off the final design. In case you're wondering what I'm doing, the cross section of a pencil is hexagonal, so to reflect this in the design, I'm drawing a circle equal to the diameter of the pencil shaft and then dividing it into six equal segments. This is so it can correctly determined the location of the pencils. Ridgelines. Once the location of the ridge lines are set, I can draw in the scalloped curves that form when the pencil is sharpened is before I'm using the grid lines to place these curves. As you can see, I'm pretty rough with this because I'm going to reproduce this later and more accurately, using the victor drawing tools and affinity designer. If I was going to produce finished at work on paper would be more careful and more accurate . So let's quickly fill this out with Black to complete the concept, leaving some white space for the pencils rich lines. And I think we're pretty much there with this concept. I have to come up with some words for here penned here. Given that I'm making the summers ago, I'll leave the choice of words for later listening. So now it's time to victory. Rise this design. We'll see you on the next listen
4. Vectorize: before we start, download the relevant file from the your project page off this class and this. Listen, I'll use affinity. Designer to Victory Rise. One of the sketches I drew earlier I've scanned in the sketch is, and I thought a tackle the pencil mark for this particular listen. So let's get started with the Ellipse tall, you will notice that it creates an ellipse, so hold down the command and shift keys to force the ellipse into a circle on windows. This will be the control and shift key combination. When selecting the move tool and hovering the mouse over the point that you want to grab, Hold down the command and shift keys to easily resize the circle and snapper to the grid line or grid and dissection by zoom again. I can get a better idea of what I'm snapping to the Circle. Hydro's not quite centered, so I will correct that by snapping to the vertical green guide End Theoharis, Montel Read Guide. I need another circle, so I'll use Command J to duplicate the circle. I'll select the lower copy on the layers list then, as before, using the move tool and holding down the command and shift keys change the diameter of a circle. To do this, snap the circle's circumference to the grid beneath. Now I have two circles using the geometry panel off. Subtract the smaller circle from the larger circle on the layer beneath it, just to see what it looks like. It's time to pull the opacity back to 100%. So what we have is a ring where its thickness has been determined using grid lines, curves and intersections using the ellipse stole, let's add the next circle. Again, I'm forcing the Ellipse into a circle by holding down the command and shift keys to check the size of the circle, reduced the transparency and display the skitch. That looks about right. So let's have a closer look. I can see. I need to make an adjustment again. Using the move tall and holding down the command key and shift keys. I'll snip this to the grid. I don't have a photographic memory, unfortunately, so I'll do a quick check to see where the next circle is going to end up. Rather than drawing another circle, I'll select the latest one and Press Command J to duplicate it thin, resize it using the move tall. End the command and shift case, or do a quick check to see if the circle is the right size. Then I'll select the two ellipse layers and, using the geometry panel, subject the smaller circle from the larger circle. Remember, the smaller Phillips layer must be above the larger Phillips layer, and both must be selected before clicking. Subtract. We have this thin black ring, thicker white ring and a massive black ring, so let's carry on with some more circles. I'll speed this up for a bit because thes air thinner lines will also use the shapes stroke toe the line rather than using a fill and subjecting to shapes as before. One thing I've done here is turn on the radio Lines group in the Layers panel. This gives me more to work with when trying to align what I'm drawing with the grid and dissection. Now I'm going to duplicate the smaller circle and resize the copy. For now, I'm going toe Bible. This distance. One thing I often do to see it the same distances is to create a rectangle. Snap it to the two objects thin mover Instinet, the other two objects to the rectangle. It's an easy way of ensuring the distance and radius between two sets of circles is the same. It's time to add a stir. For this. I'll use this startle, which is available from the Shapes menu. I'm going for a five pointed star or pentagram. You can sit the number of points here, and because I'm moving with fivefold symmetry all keep the pentagram what I'm doing here with the radio lines off for clarity, I can see it the size of the star to the grid thin. Move it into position. I'm just eyeballing its location. I can get a bit finicky and tried to establish. Were it'll go. But I think I can get away with just placing it were, I think it looks OK with the star in position, it's a matter of rotating copies around the center off the grid. To do this, select the star using the move tall and display The rotation center, then dragged this rotation center to the center of the grid. Make sure the centers I wanted to snip to the guides, which will light up green n read when aligned you may need to zoom in to confirm this. We will need 20 stairs all up, so that's 19 copies, and the angle between each copy will be 18 degrees. Once the center of rotation is in position, duplicate this star with command, J said. The angle toe 18 degrees thin repeatedly. Press Command J to duplicate end rotated copy. Now it's time to take all the pencil that sits in the center of this mark. I find that sometimes snapping doesn't work so well. I'm not sure why, but I suspect it's because there are too many layers. So I'm sitting up a rectangle to sit the guides either side of the vertical center. This is so I can sit the worth of the pencil, select the triangle, shaped, told and dragon roughly into position. I do just want an outline for this, not a Phil, and I'll sit the stroke to sit on the inside of the shape, duplicate the triangle for the pencil lead, resize and reposition it. Because pencils are hexagonal in shape, it's good to reflect this On the pencil were drawing to do this at a circle that equals the diameter of the pencil in divided into six segments. It's quicker to draw and write eight a line about it. Center for this, so I'll make this line equal to the diameter of the pencil. Duplicate the line and rotate the copy 60 degrees and duplicate again. We can then use this to determine where the pencils Ridgelines will fall. Drawn the rich lines vertically thin. Delete the construction lines that we just created that has to leave the circle and the three radio lines. So now we have the pencil roughed out. I'll make the shape fleck and the pencils. Ridgelines, wives sharpened. Pencils have curves. I'll convert the rectangle to curve so I can, at some points to the top side of the rectangle, and I'll use the no tall toe ed. Some points where the Ridgelines meets the top of the rectangle. The no talk. And then they used to drink the line into a curve, which I'll snap to the grid. If it doesn't snap, just get it displaces you can for the other curves. I'm aiming for an intersection point or grab this line and drag it upto a bit there and do the same on the other side. Now it's looking more like a pencil. It's time to fill the lid triangle with black. What we do need us to duplicate one of the existing circles and then use the geometry told to divide the pencil that is the rectangle into two parts. Then we can delete the part we don't want to see. Apart from tidying up their layers, we're pretty much done. So our group all of my components and call the group pencil and I'll hide the guides and the grid so you can see the finished design will cleanly. We have yet to add some words around here, so I'll show you how to do that in the next lesson.
5. Add Text on a Path: This is the mark pretty much as we lifted in the previous listen although I noticed after recording the previous listen that I accidentally moved my stars and they're off center. I have tidied this up, but he won't see it until the end of this. Listen. And between this and the previous list and I decided to test out what I was going to do, I mentioned dearly that I'm just making this episode go. That is, I'm improvising Mawr for the purpose of showing you healthy settle. These grids are just to give you an idea of where we're hitting. Here is what I prepared earlier then this. Listen, I'll show you how to create a variation off this. We will be adding text on a path and to finish off the listen, we will have a few more elements. The location and size of all these elements are determined using the grid. So let's turn those off and turn on the group with the ellipse toll. I'll let a circle only go there for nail. I'll turn on the radio lines to help me set the size off the location and online this up with that point there. Now it's time to create a rectangle and use this rectangle to size of duplicate off the circle. Now we have two new circles. I want Thies to stand out a bit more, so I'll make the stroke. Rid. I'm going to duplicate the smaller one of thes end user is the path on which I'm going to place the ticks the next it is to apply text to this path, but before we do that, let's convict the circle to a text path. I already have a Fonsi it up, so let's type away. It's not quite the right size, so I can adjust the font size until it fits nicely within the to read circles that I'm using as a guide. With the artistic textile selected, I'll place the cursor into the word supplies. Then I'll use the baseline tool to move the baseline off the word to where I wanted to go. And that's pretty much I'll turn the radio lines and grids off so you can get a better idea of what it looks like. It's time to add the abbreviation for established on the lift and the date on the right. I already have some guide. Sit up from my first attempt at this earlier, so I'll use those. The guides air slipped to the grid lines. I apologize for help. Busy? This looks, but I assure you that when the grid lines removed, gotta look grave. I'm going to use the pin tool and a watch line. I want this line to be about four point. I'll make a copy off the line and use the Cherokees to nudge it down so I can pick it up with the Mass and drop it into position after grouping thes two lines. Old Dragon over to about here. Turning on the red circles allows me to place these two lines more accurately. The next step is to go back to the artistic ticks tall and drag it to establish the font size. Handle it, the letters E S t. Now we can move this into our group, make a copy of the group and drag that group to the other side. I'll change es T to 2000 and 18 and, if required, hold down the option and shift key to resize the text. Now it's time to turn off all the grids and guides So here we are with the finished design . I'd like to compare this with my first attempt. I can see that I sit the red circles differently, but that's OK Now I have two versions to choose from. However, I'll go away and come back after day and look at it. The fresh. Sometimes when I'm buried in my work, I can't see the forest for the trees and it helps to go away and come back the next day for another look. Sometimes things look fine. Sometimes they need a bit of fine tuning. For now, I'm going to go with my first attempt. I like the slug is smaller littering in this version.
6. Your Project: golden ratio and related ratios. Really useful tools for guiding the size and location, off elements and a design like the first class. I hope you really got something out of this that is, you found a way to incorporate the golden ratio into your work. If you missed, the first class gone chickened out. It's worth watching, and it will provide a few more insights into using the golden ratio. Remember to follow me on skill. Sheer. If you follow me, you'll be notified off all my classes when they published your challenge. Should you choose to accept it is to use the golden ratio to create a set of concentric rings and bands and incorporate thes into your own vintage style logo. If you have any questions or comments or, for example, you have some ideas as to what you would like me to cover in the Knicks Golden Ratio class or a little bit further than the trip. Please leave your comments and questions in the discussion area below, and we'll see you in the next class
Chris Heath, The Geometrical Design Guy
