Creating Icons and Logos with Illustrator [Design Beginners Bootcamp 1/12] | Peter Bone | Skillshare

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Creating Icons and Logos with Illustrator [Design Beginners Bootcamp 1/12]

teacher avatar Peter Bone, Designer who mentors marketers

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction to Design Beginners Bootcamp


    • 2.

      Illustrator in context


    • 3.

      Before you start


    • 4.

      About Illustrator CC 2018 [onwards]


    • 5.

      Illustrator Essentials 1: Selections, Fills, Strokes and Swatches


    • 6.

      Illustrator Essentials 2: Zooming in and out, editing objects


    • 7.

      Creating Artboards & a "Play" icon


    • 8.

      Create an “Email” icon


    • 9.

      Create a “Share” icon


    • 10.

      Brief Intermission


    • 11.

      Create a "Search" icon


    • 12.

      Create a "Chat" icon


    • 13.

      Create a "Like" icon


    • 14.

      Export all your icons to go on a web page


    • 15.

      Create the "Hub" logo [1/3]


    • 16.

      Create the "Hub" logo [2/3]


    • 17.

      Create the "Hub" logo [3/3]


    • 18.

      Create the Espresso Union logo [1/2]


    • 19.

      Create the Espresso Union logo [2/2]


    • 20.

      Your next steps


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About This Class

Creating Icons and Logos with Illustrator will teach you, a beginner in Illustrator, how the program works, by means of creating simple icons and logos.

This is the first course in my 12 part part Design Beginners Bootcamp series. Aimed at complete beginners, it will teach you not only essential software skills (Illustrator, InDesign, Photoshop) but also give you an insight into how an experienced designer uses them. From icons to posters to infographics, you’ll cover a wide range of topics, and quickly. Because each course is designed to follow the previous ones, you won’t waste time learning things you know already, and can continue to build skills and confidence fast. 

Meet Your Teacher

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Peter Bone

Designer who mentors marketers


Peter Bone has worked in graphic design for 25 years. During that time he has taught thousands of people to use Quark Xpress, Indesign, Illustrator and Photoshop – at every level from complete beginners through to experts in their field. He has taught designers, marketing people, creative directors, writers, editors, illustrators, fashion designers and photographers for companies as varied as the BBC, the British Museum, Condé Nast, Paul Smith, Price Waterhouse Coopers and The Designers Guild.

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Level: Beginner

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1. Introduction to Design Beginners Bootcamp: a warm welcome to the design Beginners boot camp. I really hope this is a really good experience for you. And you learn an awful lot. Certainly the course is packed full information, so I hope you can hang in there and learn everything that you want to learn. My name is Peter Bone. For the last 20 something years, I've worked as a freelancer in graphic design. I've designed things and still do, and I teach Ray off. And typically these days I'm teaching beginners, marketers, people, incomes, that kind of thing. But for many years before that, I've taught professional designers in pretty much every field you can imagine and for lots of companies that you know about. So I've got lots to cover just to give you a quick heads up as to what you can expect. So each course will build on what you've already learned, so you'll get the most out of this course if you do it in order on, you just kind of keep working through. Now, if your schedule gets busy and you have to miss out the Obama, that's not the end of the world. But say, for example, you're doing the illustrated calls for one of them, and you start with the second course. It's not gonna make that much sense because it's based on a lot of stuff. You delight in the 1st 1 so you will need to have done the previous courses, particularly in in that piece of software, if that makes sense. But even more than that, in general, the courses are designed to build one on the other. So as best you can start the beginning on work through first course that's coming up is creating icons and logos and illustrator, even if you're thinking, actually, I don't want to learn how to do that. Certainly. What's the first video? Because that will give you some context of where illustrative fits in with the other programs that you're gonna be learning about in design and photo shop. So that's where we'll start off. So best of luck on that I look for to getting to know you and your course 2. Illustrator in context: Hello, I'm Peter Bone on. Welcome to creating icons and logos with Illustrator, so we're gonna get into creating those things shortly. But before we do just a word or two about how illustrated fits in with the other programs commonly used for graphic design. So that's in design. The photo shop, the publications. You can see me leafing through here. We're all created in in design. So any magazine or newspaper Brophy, you might read is most likely created. Using that program in design is primarily used to create commercially printed documents such as these, as well as posters, flyers on books and, in design document a certain number of pages on each page. There will be one or more frames. Now, if I look at this document here in in design, he will start to see how it's made up. So here we have some pages. If we start to look more closely at what happens on the pages, here's a frame that this frame contains text. But this one here contains an image, and it's for these images that photo shop or illustrator I used. So as you can see this image is a photograph originally taken with additional camera. If that image needs to be processed in any way, the program a professional would most likely use would be Photoshopped. So here's the original image in front of shop. If I zoom in really closely on this image, you'll see it's made up of these tiny squares of color cool pixels. So each of these pixels can have its own unique color, and it's photo shops ability to manipulate them in different ways. That gives you such a huge creative talk it. So an image like this that's made up of pixels is known as a bit mapped image. If you come across file types like J Pegs Gifts, PNG's these are all examples of bit map images, but it's not the only kind of image the other kind is known as a vector. This book cover, also made in in design, features several vector graphics on its cover like this one. Let's take a look at that one in illustrator instead of working with 20 pixels, vectors work with shapes of solid colors like these. So what you end up with an illustrator is something less subtle, more graphic and hopefully more noticeable. So this is what illustrated us to look at it briefly in an online context. This is one of my websites put together in squarespace, so the any programs, our views are the ones to create the graphics. So here you can see this is a bit map image. There's the original image, and you can see that what I've done with it in photo shop is to change the color blur. Some sections crop it to make it a bit more useful for that context. But if you look down here, you can see these a graphics that were created using Illustrator. If I was to zoom in a little bit here, you can see the clarity and the colors and the Christmas and someone. So that's again Illustrator. So now you got a sense of how these programs can fit together. We'll move our focus back onto illustrator and get started creating icons on then Logo's 3. Before you start: There's just a few things you need to know before we get started. I'm using Illustrator CC 2017 on a Mac, but whichever version of illustrating a using it should look pretty similar to this. If he's not got access to Illustrator, you can try the latest version for free for seven days. Direct from a Diaby is the website and goatee for that. Now you learn a lot just by watching the course, but it's highly recommended that you work through the exercises along with me. Now you're gonna create everything in this course from scratch. But there are one or two things that you'll need for some of the exercises. So, firstly, the funds I've used deliberately used from a place called type kit. So that's a website where you get free access to thousands of funds and you get access to that. If you've got one of the recent cc versions of Illustrator, another fantastic website, it unspool ash, which gives you access to thousands of high quality royalty free photographs. Now I mentioned the sights again when it's time to download things from that illustrate to conceal a bit intimidating when you first look at it. So before we start using it, let's take a look at the different sections. So this large section in the middle is called the art board, where you'll be doing your work. The tool panel on the left is the tools panel wail access to tools you need. The white panel above it is the control panel. This is context, sensitive and change according to what you doing at the time. And then above that are illustrators, men, NIS file at it and so on. Now there's a familiar logic to them, so you won't be too surprised to learn that commands like open and print are in the file menu on Undue Isn't Lee Edit money? You might notice the shortcuts to look a bit familiar to more than a second. The final section is these other panels on the right of the screen. Clicking on any of these buttons reveals more ways to work with things like colors. For example, there are only a couple of differences between the Mac and PC versions of Illustrator. The first is that the MCA version has a so called illustrator menu where the PC does not. So there are two commands that live elsewhere on the PC Quit is located in the PC's file menu, and Preferences is located in the PC's edit money. Then the other difference is in the shortcut Keys on a Mac. The shortcut for, say, undo is command said. Where is on a PC? It'll be controls it, so that's what you need to get started, So let's get started. 4. About Illustrator CC 2018 [onwards]: since this course was recorded, a newer version of Illustrator has become available on. It's likely that he might be using it now. This is different in one significant way, and that is that the panels that you saw me referring to in the previous video are not here now. What I didn't mention in the last video is that the everything on the screen is organized by a thing here called a workspace. And if he using the 2018 version of Illustrator, then the Essentials workspace is the default. What I recommend you do is you simply change that toe essentials classic. So click on where it says essentials changed essentials classic, and you'll see then that you get these panels that I was referring to previously. Have you changed essentials? Classic mode. If you are using Illustrator CC 2018 on a pretty confident, you'll get on absolutely fine 5. Illustrator Essentials 1: Selections, Fills, Strokes and Swatches: the most commonly used tool in all of illustrator is probably the selection tool it's found here in the top left of the tools panel. So if I was toe click on different areas on the page, this tool fairly, obviously is used to select, um, now the first thing you're gonna learn how today is toe change colors. So, for example, if I click on this subject here, you can see it's got. It's like a block of color. It's a block of purple. The area I want you to focus on is here, so this describes the colors of what is currently selected, and you can see the purple color that's one is the fill color that's the inside of the shape and the color around the edge border, if you like or so called stroke. And that's when you see white with a red line threat that means none. So in other words, it hasn't got any color around the edge. That might be clear if you look at this one. So this time this object has got no Phil. There's nothing in the middle. It's transparent, but it has got a white stroke around the edge which you can see is displayed there. The type, for example. Again, that's a white Phil, but no stroke. So if I wanted to change the color, let's say of this background block, I would go over here. This is the so called swatches panel, and when you click on that, you got access to a lot manner of Carlos and things much more about that as we kind of change away through the course. But if I was to click on let's say a green color here, you can see that changes now. The reason where the Phil has changed and not the stroke is that the fill you might notice is in the front. Okay, whereas when I want to, let's say change the color of this stroke. I gotta be careful here because the stroke is not in the front. So to make it in the front, you simply click on it. Once like that, it comes to the front, and then any time I click on one of these colors, you can see that adjusts to give me that different color. But I'm gonna go back toe white, so there are three different types of colors there's first kind like this is just a regular solid color, so to speak. The second type is like this is called a pattern and then the third type for just apply this a so called radiant, which is a transition from one color to the other. And on our course for creating social media and Web graphics, you learn how to create all three of those kind of swatches. 6. Illustrator Essentials 2: Zooming in and out, editing objects: There's one aspect of illustrated that can be particularly challenging when you're starting . And that's how to select things that are inside things called groups to get into. Looking at that, we're gonna firstly show you how to zoom in. So I'm going to click on this. Look out here. I'm gonna do command. Plus, because I'm on a Mac or a PC that will be control. Plus, So I zoomed in. You consider bit more clearly you might notice, too, that the whole thing is selected. So just to show you what I mean by that, if I was to drag that, you'll see the whole thing moves. Gonna just do at it, undo to take that back to where it waas So the whole thing is selected. The reason for that is if you look in the top left corner here it says the wood group, so that's been deliberately group. So it stays together. But how do you get inside it if I want to change? Let's say different elements. So we do is you click on the outside of the art board to de select. The object is I've just done and then you click Hold down on this tool here. More about what? This is in a minute, and you choose the group selection to. Then you can simply click on any of those elements. Notice. I can select them independently. So for wanted, say, to change the color. I feel kind of there with E. Let us. I could do that and it still remains grouped. So if I was to go back to my selection to click on it, you can see it's still grouped. It still moves together. So zoom in. You might have noticed. I did command. Plus, if I do command zero or control zero on the PC, that brings me back so I can see the whole page again. So that's how you get inside a group Final thing to show you. Is this third selection to the direct selection tool. So if I click, let's say on this object here noticed that in every corner there's a little anchor point, so called their little square. The same is true here, too. The squares notice that the squares by default are blue. That means this selected if I did this a bit more carefully there, if I just click on that anchor point on its own, you might notice that one is blue, but notice how the other ones are white. So blue means that particular anchor point is selected so I can click and drag just that anchor point. So that's how you can start to manipulate things. So that applies to these regular objects like this applies to this one because this is made of uncle Points, but it doesn't apply to the text. The text is just might have one point, and that's because it's inevitable. They're more this later. But if I was to go to the type toe, I can edit that text, and I can, in a change the letters or whatever. Where is this type here that's no longer type has been turned into a graphic. So now you've learned these key essentials. Administrator. You really ready to get on and start creating things with it? So that's what you'll do in the second module 7. Creating Artboards & a "Play" icon: So our first steps in illustrator are going to be creating some icons that are going to be used by this brand that we're gonna create later on. Expresso Union. These are the things that we're gonna create. So let's get started. Firstly, we're gonna create a document like this where you can see the slots for all six of those icons. So let's go file on new and you should see something like this. If you got a slightly older version of illustrate, you might get a slightly different layout, but essentially the things you're gonna put in, they're gonna be the same. So gonna choose web, and then when you're working with websites, is your working in pixels and I'm gonna type in 100 by 100. But if you were creating this yourself, if you got a Web designer to work with, asked them what signs they would recommend or if you've got a website hosted by companies like square space, say looking their documentation and they should give you a sense of what size you should be making something that's gonna end up on a website and then in terms of art board you saw had six icon's next to each other, so we're gonna do six as well. So that's the essential bit. But you also might do more settings and then reduce the space here. That's the space between the art boards back to zero on. This is gonna do it in three columns and they're just press that button. So Aled just comes in one long line as you've seen a second ago. So when I press great document, that's my kind of blank template. So the 1st 1 we're gonna cry Is this one like this? Like a play like him Now? Currently, I'm seeing all those are bored at the same time. But in the view menu, I can choose fit our boarding window. And that just shows me that 1st 1 night in large that's as opposed to fit all in window. So that's a good one, too, Not just Okay, So how do we draw that triangle shape? So which used the polygon to and we simply click once and you choose the number of sites. So I've done this before, so it says three. But you might need to change that to three. Now. We don't really know what size the radius is gonna be. But measuring in Pixar saying 24 I'm guessing it's gonna reporting like about 50. Then when I press OK, you can see I've got something. It's a start anyway, but it's around the wrong way. It needs to be around the other way. So get back to my selection tool, and I should have these sort of handles around the edge, which shows, you know, means they're selected. If you put pressure Custer just outside, can you see that you get these kind of curved handles? That means you're gonna be rotating something if you click and drag around when you get it pretty much like that, but should be square on if you If you not sure it's quite straight or not, you can put your finger on the shift key and hold that. Then when you let go, there's the shape. So that's a tiny bit large, so you can click on the corner handle, and as you draggin, you can change the shape. Now I am slightly distorting. This is going slightly less than sort of uniform. So again, if I put my shift key down, I can keep that completely uniform. Actually, in this case, you might choose to want it a bit more, you know, kind of NARAL wider or whatever. So you could have just that to be whatever size you want. And finally, we're gonna adjust the weight of the stroke. So if you notice up here, it says the stroke is 0.7. Whatever point size that gets adjusted as we scale it, let's try making that four point and you can see we could have pretty chunky play head there, so that looks pretty good. So let's save that. Let's just do file safe. I'm gonna just call this my comes because a few options here, Nothing to worry about. Just press. OK, we're often running. 8. Create an “Email” icon: So we're continuing to draw icons. This is the one we're gonna work on next sort of envelope. First we need to do is scold the screen along a little bit one way today, that is toe. Choose this Still here called the hand tool. You simply click and drive along. It doesn't change. Anything on the page just moves up so long. So to create a rectangle, we're gonna use the rectangle tool, which is here, although previously you'd use the polygon tool so it might be any to press and hold down on that. And then when you click and drag, I will simply give you a rectangle on notice that you get the same options as you had previously. So we've got a four point stroke which matches this one, which is really helpful. Now, you may recall, if we use the direct selection tool, you can see the anchor points that make this shape up. And what we're gonna do is to create another shape kind of triangle shape. On top of that, that lines up and these were to do that is actually using this tool called the pen tal, because what the Pentagon does is gives you a directly immediate way off creating anchor points. Now. It's often good to de select what you're working on previously, so we'll use the selection tool will de select by clicking on a bit of empty page. Then choose the Pento. Now we're gonna line this up with, Can you see? It says, hey, intersect. So I'm lining up my new path on the asterisk, By the way, all snowflake, if you like, that means I'm about to draw a new path. So that's my first anchor point on notice. It's trying to help me line up with center, but the rectangle, So that's fine. I'll just click to make a second point. We're gonna go up here again. I'm gonna line up with this one here, then, Flynn, they'll go back to the beginning. Now, we've got something a little bit strange that we're gonna do is look a bit more carefully here at this Strunk panel. You know, the stroke panel at first glance has only got one element in it. The weight. But if you press on this tiny button here, it opens up more options and I want you to notice the corner let us. You've got something called a miter joint. We changed that toe side around join you could say there's two things. Firstly, it takes off these kind of extended miters, and it also gives us a nice corner there. So that guy, that's how we do that. So that's just the rectangle tool, and then the pento. 9. Create a “Share” icon: So we're continuing to draw icons. This is the one we're doing next. One way to do this is toe take a rectangle and cut the top off. And this bit is gonna be a square cutting off Certainly. Come on, a teacher here. So let's go back to the rectangle tool contract to draw rectangle, You might notice the corners are rounded because that's where we were previously using the stroke panel. So let's just make that square corn. So the two we're gonna use is thesis is tool hidden under the A razor toe? So this is this tool is used to deliberately cut a shape. If I hover over the anchor point there, click once. Come with this anchor point click a second time, that is no, effectively cut this shape in two. I've got back to my selection tool and then just carefully click if I can. On this shape, you know, I can't quite get it. So, actually, what I'm gonna do is click outside click, hold my mouse down in drag and drag through like that, and that should have just selected this line. Then press backspace. Okay, so that's dragging through a shape is sometimes better. Okay, so there's the first bit of our share. I can't. I'm gonna just do command minus or control minus on the PC. Zoom out a little bit. Okay. Next up, this time, I'm gonna create a perfect square. Now, in recent version, Administrator, you should get that kind of pink colored line like that to make it perfectly square as you're dragging. But you can always hold down the shift key. If you're not sure whether something is perfectly square or not, it is something like that. So the trick is keep your finger on the shift key as you let go. The mouse, that's now square. That's important. Because now when I rotated round, I'm gonna then cut off the bottom half. So we know one way of rotating is to go to the selection tool and rotate with eyes kind of curved handles. But another way of doing it when you want to be very accurate is to use this tool here. The rotate tool, it's the one they're double click on it. But that and it brings up a dialog box. As you can see here, it says 45 degrees that it would normally say that if we didn't say that, you just type that in on. You can see the preview there tells me what I'm gonna get. So 45 is exactly what you want. Press OK? And there we go. So that's great for a nice, accurate transformation. So I'm gonna use the scissors toe once more this time clicking on that anchor point and then on this anchor point, get back to my selection tool, make sure I've clicked on the bottom again. That doesn't look quite right, sending a click away, Then click back on that one and press the backspace key. There we go. So that's doing pretty well. So it's not lined up. So to drag that to the left a little bit, what I'm looking for is that can you do that pink line? That tells me that the two shapes are lined up that season, the coolest, smart kind. So if we look at the kind of finished one doesn't quite the same. But we now I just want a line going from top the bottom there. So one way to do that is to use the pen Tal. Another way is to use the line toe the line segment till Sorry, I'm gonna choose that click and keep my mouse down and keep dragging till I get roughly the length I want again. Notice the smart guy there. The pink thing is showing me that that's straight again. If it's not, hold down the shift key. So that kind of logic that works across all of these tools, so I'm pretty happy with that. But But if I wasn't, I would just go back to the direct selection tool. And as you might remember from earlier video, the color of these anchor points is important. If they're both selective, it's right there. Both Blue means they're both selected. If I d select, click just on the one of them like that. Notice. This one is hollow, not selected. This one is selected, so I could just drag down a little bit further or I could drug it up, whichever I wanted to do. So there we go. There's all share. Michael 10. Brief Intermission: Hello, this is Peter. Just wanted to give you a little bit of encouragement partly for getting started, which is often the hardest thing on, of course like that. And secondly, just to say that we start with Illustrator now you might know that illustrator is regarded by designers is the hardest of three programs that use I've taught many designers over the Greater Photoshopped greater in design but other structures that when they struggle with So I wanted to start with it because I figured if you can get good with that, then you're going to find the rest of it really easy. So if you are finding a little bit challenging, please, do you hang in there because the rewards are gonna be well worth it. 11. Create a "Search" icon: before we continue with the next icon. I'm just looking at this and thinking. Actually, I want to move that arrow down a little bit. And as you might remember, this is made of two separate shapes. So if I want to select them both, as you can already click, keep the mouse down, drag through like that that both selected that the easiest way to move something just straight up, straight down or left or right is just to look at your keyboard. You should see this. Four arrows. They're towards the bottom right of the keyboard. Michael PC, And just press in this case, the down our okay, the case so moving on, we are going to create this really elegant little search icon. And you know, you can probably see how it's gonna work now. So I'm hoping that you can start to see how you can combine different shapes. So triangles, circles, squares do different things with them, so rotate cut bits out and so on. So that's this is really how you gonna learn, illustrator. So that's the way we're gonna do it. So, as you can probably imagine, we're gonna use this tool here the lips tool hidden underneath the rectangle toe. When I click and drag, I couldn't create something that's oval. But if I'm a bit more careful, I can get it to be perfectly circular or again in an older version. Hold down the shift key. Keep that down as I let go of the mouse. So we got. We've got a nice round shape that then let's use online segmental to create this shape here . Now I'm gonna hold down the shift key on that will constrain it. So it's perfectly horizontal, vertical or diagonal like that. Let go the mouse when I'm happy on a while ago. Today is Lina, unless you can see that it's a center, so that's lined up. But it looks like a any elongated que, which is quite nice, but it's not really what we want. There's two reasons for that. Firstly, the thing I've drawn that I've just drawn will always be in front of the previous things. So this segment, this this line segment, is in front of the circle, so first thing we need to do is go object, arrange and send to back. So when I do that, your margin is gonna fix it, but I'm afraid it hasn't fixed it. And the reason for that is this is in the back. But this object in the front, as you may recall, what this thing he means, right? This means no Phil and that Phil wants to be white. So fill it in the front, go over to swatches she's white. And then because that's now white bad and that's in the front. You're quite what's going on underneath. So that guy, that's all search Michael. 12. Create a "Chat" icon: Okay, So what? Powering through these icons. Now, this is the next one we're gonna dio so mostly on the lips. But this extra little bit here is gonna be a bit interesting. So that's use the hand to move the screen along a little bit. Use the Ellipse tool, click and drag to create the lip shape. And then to the Pento Critic New Path. So one to 33 clicks so far. Now that's currently called an open path. Want to click back there? You might know. Still circle there. Next, the pen. That means we're about to get a closed path. So they began. There's are closed path. The problem is, we got to separate shapes. We really wanted to be one shape, so they looked like that. So we select in both. So with the selection tool track through them both, and then we need an extra panel we haven't seen before. So we've seen some of these panels, but other panels live in the window menu. The one we want is called Pathfinder and Pathfinder gives you various ways off combining shapes, adding them together, subtracting all kinds of stuff to discover here, we're gonna just use this one here, Unite and, as you can see, haven't done that. We get this extraordinary shape, so it's made them in tow. One shape we could then just use the direct selection tool. Maybe just click just a little bit. But, you know, if I needed to adjust it a bit more than that, I could always do edit, undo, go back so just quickly. If I do undo, undo, undo, keep going back. And then I could manipulate that a bit more that will redraw it and then replace it by doing again. So that began. That's how we use part find. 13. Create a "Like" icon: So what? Until I find like on this will be using the round rectangle tool rotates Reflect And Paul Finder So let's move that along We're gonna use the round rectangle, toe rounded rectangle toe So when I click and drag and noticed I get a rounded shape Yeah, something like that should do it And then I'm gonna write tight that round I'm gonna double click on the right Take tool to do it and 45 Yet that's pretty much what I want. So press OK now, hidden under the rotator is the reflective I'm gonna double click on that. And if I turn preview on off, you might notice that what it's gonna do is reflected, like in a mirror. Now, I sort of want that, but I don't want to reflect this one. I want a copy. That's reflected. So I simply press the copy button. Now let's move that part for from the panel out away and you may be a to see this. You may not yet, but when I go back to my selection tool, I'm gonna just nudge this further to the right. Can you kind of imagine how we might get a heart shape if we could combine this in some way . So this is a key approach, using illustrated to create all kinds of things icons, logo's illustrations, finding out cunning ways to combine shapes. So we're gonna keep this section and lose these sections different ways of doing this in illustrator. But the way we're gonna do it builds on what you already know. So with the selection tool, select both shapes on. Then we're gonna use apart find a tool called Divide, and this divides all the shapes up where they overlap. So when I press the button like that and come back out, it doesn't like it done on the thing. But when I say select, if I choose the group selection tool, I can click on these individual bits now. The reason I've had to do that is that this is an example of illustrated grouping something . You remember this from the essentials lessons that's regarded as a group as you can see up group up here. So we didn't ask for it to be grouped, but that's how illustrators done so To get inside the group, you may recall, we need to choose the group selection tool. And then we can click on these shapes one other time. I want to say Click on them. You actually have to click on the stroke because the middle there's there's nothing there. In fact, another is. Sorry is white. That's fine, right? That's just delete that shape. Delete that shape. So, Erica, these three shapes we can now select them all, and we can use the United option in part fund their become one shape. And there they are, beautifully drawn heart. So next time you're looking at something that looks really difficult to draw, think about how you could combine shapes together circles, squares, triangles or even rounding rectangles. So we've come a fair distance here. Let's look at all of these. You can see we've credit all of those using basic shapes on some of the key tools on essential approaches in Illustrator 14. Export all your icons to go on a web page: so if work through treading all these icons. But you might have been wondering. OK, so what are we going to do with how we're gonna put them on a website? That's what we're gonna learn now. But we're going to just step back before we step forward. So remember writing beginning the course I looked in design on, I looked at the images that go inside in design on we talked about how there were two kinds of images bit map images like this one made of pixels on, then vector graphics. We looked at this as an example, not made of pixels. And of course, you become well acquainted with them that because u being creating, we've also I looked at my website and we saw again this is a bit map image so edited in photo shop and these instead of created an illustrator. But notice what happens here when I zoom in. If we get closer, we can see actually, this is made of pixels. If I was toe right, click on there Indu save image as it saves it, he might see as a PNG it is. It's a PNG now a PNG which one that is it wants to open in photo shop is a bit map file format, so it's like this is made of pixels. So what's going on with that which created this lovely vector graphic and then it ends up being made of pixels. So if that's a little bit confusing, let me try and explain what happens. So to get something onto a website, you need to create the kind of file that readily goes into a Web browser. On until very recently, the only file formats that have worked have bean bit map fire formats. Typically, J pegs gifts on more recently P and G's. So now most people, most the time if they're going to create any kind of graphic whether it starts off life as a vector, like what you're creating now or it starts off life of the photograph. Most graphics these days will be saved as PNG formats, so you can save PNG from illustrator. You can save it from Photoshopped in design and various other places. Now I should mention there is another format called S V G stands for skate herbal vector graphics. It's possible to export those administrator the reason we're not doing that right now is that it's a bit more technical on. There's no guarantee will necessarily work. You need a bit more technical savvy to do that. So if that's something you particularly want to do and particularly its relevant, if you're gonna be creating icons for APS, you might want to do a bit more research on saving as an S v. G. But what we're gonna do is what most people do most the time, which is Take your illustrator graphic and save it like this. We're gonna choose export. We're going to go export as we will look at this other one later, which gives us more options. But for now, we'll keep it simple. File export export as on. Then you'll notice it's going to save it. As a PNG, the clever bit is weaken. Say, use art boards on. What that will do is it will save each one of those as an individual graphic. So let me do that. We get some other options there, like the choice of the background color. I'm going to make the background color white. I could make it transparent gonna make it white so you can see that more clearly. And then that's working away in the background. Some of that every guy. So there's number 123 and so said they're the ones that were just created, so they will be at the size that we made them remember, right the beginning. But as I was hinting at earlier, there are other options, and later in the course, you'll learn a more flexible way of exporting those. 15. Create the "Hub" logo [1/3]: having spent some time looking at designing icons. We're not gonna move on to designing logos logo designed like I can't. Design is an entire discipline within the world of graphic design, and we'll see you then be learning some really key techniques. An illustrator that's really only one part of it. I be misleading. If I was suggesting that then of these few videos, you'll be able to go away and create fantastic logos certain you'll be a crate logo. But it's one of those things that it does take time to get good at. I'm not suggesting, by the way, that this logo is a great logo. Azul. See, I've put it together pretty quickly. If I was gonna give you some advice in terms of designing logos which have done for many years now on I I think my logo these days are better than the ones I started with. The more time you spend getting the type right on the color right, the better they're gonna be to get those two things right, your most of the way there. So let's say a little about type. I've designed this. Look out here using a classic typeface let me show you where I found it. So in Illustrator, I went to the type menu and I chose add fronts from type kit. So as I mentioned briefly at the start of this course, if you have got a creative cloud subscription, you get access to the type kit website which I've done here. I just I've been up for you and you can see that this is the type get website on. I've typed in the brandy hub and you can see I've made this nice and large. I want to say this because this shows you different classifications of type so you can see we've got serif typefaces sans serif. They haven't come across that before. Notice these little bits here that the edges of the M So there's a called serifis. That's how type started. But in the early 20th century, we started gets on serif and then slab serif. So there's a variety of different classifications and we could take a quick look at some of these. So type kid is useful for helping you find different types of tight, if you like. On the one that I settled on, just search for here is if you cheer, so this is a classic. It was invented in the 19 twenties by a German called Poor Runner on. It's a so called geometric sans serif, so the shapes of the letters are geometric on. There's no Serifis, so type goes in that fashion. Like everything else. This is currently in fashion, even though it's goodness getting on for 100 years since it was invented. So if you find a typeface you want, you can sink and then you can just use it inside illustrator and other adobe programs. So that's what I've done here. In the next video, you'll see how I used it to create the logo. 16. Create the "Hub" logo [2/3]: So we're in the presence of creating this hub logo. We've been to type kit where we found the future of fund, and we sink that toe illustrator. So inside, illustrator, we're gonna create the logo. So let's go file. And you That doesn't really matter which what size you make the local because it's gonna be a vector graphic. We can make it larger. We can make it smaller. So we might as well start with a print document. And let's go with a four. Let's go with, uh, landscape orientation. Okay, so there are empty page. We use the type tool click once on the page, you get a bit of dummy text there in new versions of illustrator are ones you might know. That's just type h e B in capitals. It's so small, I can barely see it, and problem same applies to you. So then dragged back over that text and then notice at the top Here. We've got the character panel. I call that first people change the fund. So type start typing. Few Thira. You can see that's someone I'm gonna go with each era. PT heavy notice. It comes from time kit work, and then it has the font size. We get a variety of font size, the largest of which there is 72. So choose that. You'll see. Never let it still quite small. So I don't just over write that I'm gonna go with, Let's say, 300 point talk to 100 return. Okay, so that's started to get there. Now I want to move that back onto the page. So go back to my selection tool. You can drag. Okay, now let's look back at the character panel. So there's a couple other things I want to show you here. So, font size, who talked about the way to the fund notice forgot different ones. So book Demi and heavy There are others that I could have chosen. Noticed that the weight gets heavier so the air inside here gets smaller. No, I'm not quite sure which one I want to go with. I'm gonna go with heavy. The next thing on a shame is this thing here called tracking. You see, if I choose, let's say my as 100. Notice how close that gets together. If I cheese plus 200 you can see it goes out that way. So that's a key, I think to look out, I think I'm gonna go with minus 25. Just zoom out a little bit so we can see what that looks like. I think I'm pretty happy with that. So as I was hinting at earlier on, an awful lot of logo design is about choosing the right typeface here. I've just gone for one. In reality, you're gonna probably look at thousands and thousands if you're gonna end up doing this seriously. So we skipped right to have nearly the end of the process. But once you settled on your time, you've settled on things like the tracking that we've just been looking at. What you'll do right at the end of the process is to convert this toe outlines. So as we talked about already, this has just got one anchor point with the finished version Notice. Look at it. Using the direct selection to is made off these uncle points. And that means basically that it is no longer connected to a typeface. So it means that you can send to anybody they don't need the typeface installed on their computer toe work. So, as you say, with the text selected, I go to the type menu and choose create outlines. And now, as you can see, it's made of these anchor points, which if I wanted to, I could distort in any way I like. But really, the main reason we do it is partly so that when you create the identity, you send it to your client on Ben. That's fixed. It also means that you can send it to anybody. And they don't have tohave about typeface installed on their computer for it to work. So when really they're in, the final video will finish the logo. 17. Create the "Hub" logo [3/3]: Okay, so we're working through creating this logo. Andi, ultimately, it's gonna look like this one here with this little symbol here on the right. So if you conceive from the skills you know, already the illustrator to create that, then great, I would suggest that part of the best thing you can do is to try and figure it out from what you know already. But you need some guidance. I'm gonna go through it now, so I'm going to use my line, too, on toe. Before I start working with that, I need to make sure I've got a black stroke. So if you haven't, let's say your stroke looks like this. That's the shortcut button, by the way, for none. So if it looked like that, you'd make sure that stroke was in the front, eager to swatches on like that black and then with your lines, all click and drag, hold down the shift key to constrain that to 45 degrees and then looking a stroke panel on , I'm gonna increase the stroke. Wait a little bit, but what I'm also gonna do is do command plus a few times to zoom in on that notice The end is sort of squared off, but they look a bit friendlier. I'm gonna use around, cap. It's subtle, but I hope you consider difference. Okay, that's great. So now to the rotate toe said double click on the rotate till you know already that you can make a rotated copy of something like we did with a reflective and then with the selection tool de select, that's something you'll get used to doing automatically in time. So now with the Ellipse till we want a perfect circle. We also want is for the circle to be lined up with the center here. So you might notice that I can line it up on the center on, did that before I start during. And then I'm gonna hold down the old key on what this does is it means when I draw outwards , I draw out from the center like that. So my finger stays on the okay. It also needs to go down on the shift key. Then I keep dragging until it looks sort of about right. I don't know, quite one going for here, but let's try that. And then I might do command minus a few times to see what that looks like. Well, it's not exactly what I wanted. So this is where we start to sort of play with it. So back to the selection tool. I'm gonna select all of those at once, increased the stroke, Wait a little bit. And now I'm thinking this needs to be small of this central section, so select zoom in a little bit. So this time I've got one of those bits selected. I'm gonna do shift, click, select the other one. And until we haven't looked at yet, is this one here? It's next to the rotate tool is called the scale tool. And like that, told on, like the red, the reflector weaken simply. Just double click the double click on it. Try like, double click on it. This and I'm gonna try, Let's say 80% size. Turn the preview off, turn it back on again. You can see that as I do that it makes it smaller on notice. It also scales the strokes and effects, so I don't actually want that to be smaller, so I just want to make the so I dont destructively thinner. I think something like that looks great. So it was good to see you Want to change your mind further? I could play with the numbers, but that looks fine. Finally, I'm gonna do command zero to see the whole thing and then with my selection tool, select all of that and then just adjust it till it sort of looks about right. So the final process is to save this, these two for months, you use a print either the dot ai format, which is the default. So notice this one that's been saying before, don't I? I or E p s either work fine for print and only my processes. If I'm creating a logo that's gonna be super print and online or do a print version first. So I'm going to file, say lies on. Then we'll just call this hub logo. I'm gonna call this black because later on, I might be other versions of that. So I wanted to savers and GPS. So if he had been told by whoever that that's what they want you to just choose that instead, I'm gonna just stick with the illustrated version and then save. Okay, there it is. 18. Create the Espresso Union logo [1/2]: in this video we're gonna build. We look when we created the Hub Lago, particularly going to learn more about text, more about aligning more about anchor points and more about transforming objects. So go through this pretty quickly, so we'll start again from scratch. So a new document, I'm gonna stick with a four landscape orientation and they're gonna go to my type, too, on click One somewhere near the middle of page. And we're using the default font merit for a regular 12 point. So I'm gonna just type I put my caps lock key on that. We got E S P R E list. Oh, espresso union. So that's my pretend copy shop board coffee roastery, select all the text on. I'm gonna use thes two typefaces. Approximate Nova and Pepe's noi. Okay, so I've sink those up in time kit. So here's the 1st 1 on because I've recently used it, by the way, it's near the top of the list. So if you recently used to fund find at the top or else it'll be enough alphabetical order , it would have a few of the right one there. So again, so that's annoying. Okay, let's start with 72 point science. That looks pretty good to start with. Okay, now we're gonna get this centered. Now. We didn't do last time. Is pressing this button here paragraph we're going to send to the paragraph. Firstly, but pressing that button, that sort of centered on the screen. But let's look up more about that now. So going back to the selection tool, if I can try and drank that and get that center, that's probably gonna work. But another little button up here notice is the online button. So if I press that notice down here, you've got different options. The default wanted a line toe art board. So that's like the page, if you like. So that press that button and then that button. When I zoom out, you'll see that is now aligned to the central screen to the object. If you like it. Aligned on because of the paragraph is aligned that is aligned perfectly. So that's great. Okay. So I could make that front larger or smaller. Leave that for now. I'm gonna worry about the text above it. So as you can see this one here, we've got Crean quality coffee always sourced direct. So click with the type tool again, it's going to stay in upper case I leave the caps lock on. Okay, Now drag back through that to select it. And then front I've used here is Proxima Nova. At first glance, they don't appear to go together at all. But when I make that much, much smaller, firstly, I'm gonna just start to align these. So notice it's kept the sent it alignment there. So what I'm gonna do here? That's what I'm looking for. Let me come in a bit close to that for you by doing Come on. Plus, so grabbing on that handle there, I think a point. Rather, when I see the little pink line I know that's lined up with this object. So now I can start to play with it. So what was he telling you? Which typefaces? Amusing. But my belief is that these go together quite well. Now there's various things you can read online about how to find typefaces that go together . I recommend you do as much study as you can when you start to combine typefaces. So it is a bit of a challenge, but my hope is that if you compare what you're doing to other stuff that you can see around , you'll start to get a sense of what works on what doesn't work. Um, yes, that's what I say. That on that for now. Right? So I'm gonna choose a slightly heavier weight. That's a semi bold, and I gotta pay attention to the trucking. I'm gonna push that right up to 200. The idea here is that this this Texas A bit bolder, But you don't really You only notice it after you've noticed the name with a brand here. So that's the idea. We want to make that noticed, but without sort of screaming. So this is what people want a notice first. So I'm gonna start to play this a little bit on. Just adjust tracking a little bit. Pushed that a bit more something like that. I really you know, you would spend a lot of time on this on back and forward and spend a lawful lot of time just getting that s o you really happy with it. So you're playing with the tracking you're playing with the font. The way to the fund s so I think I'm gonna just tweet this just a little bit. Here, pull that back a little bit like that. I'm gonna go into this one on having played with us before. What I was wanted to do is to get the e that lined up with something solid. Likely the right inside of that. I so says, Well, I can try experience with the front sight that looks a bit too large to me. So then it's gonna be trying to tracking. You can see I just use this IRA to carbon down on the other. Option is well, you know does not look good or what? It looked better toe If it was bolder. That makes quite a difference on one. The reasons of using Proxim Nova is that there are so many waits eso looking away from thin that away the black And you can see how you know what a different emphasis that it So I would say semi bold, bold, probably gonna work quite well. Try extra ball. You get the idea 19. Create the Espresso Union logo [2/2]: a quick trick for you if I want to make a quick copy of that. If I simply, with my selection tool, hold on the altar key and direct that straight down while I'm dragging, Try and keep that lined up with the little pink line like that. And when I let go, I've got a copy. What I've got to do is change the text and you can see it's going to say Always source direct back to my type, too. Select the text and just over type. Now you might let us hear. This doesn't line up with the I. So if that doesn't necessarily matter, But in the process of creating a logo or creating and branding or packaging whatever, you're going to spend time in this. So one thing that you might try is increase that, for example, Now I'm going to say with the you know, Mr looks better or worse that you know what's better, I would say, is that that lines up visually with their That's good. But what's not quite so good is it that isn't consistent. So you know you can choose, Um, but inevitably, this would take quite some time to do this kind of from scratch. Okay, so I'm gonna zoom out a little bit. So command minus on create these little sections here for you. So using the rectangle toe click and drag something like that. Now, I switched a feature off. Actually, let me just show you what I've switched off. Up until now, you've seen the bounding box. Whenever you have you been using the selection toe on. That's great. It gives you these handles and someone which is wonderful. But what the bounding box obscures This is what I'm gonna go view high bounding box. It doesn't enable you to see the actual anchor points whilst you're working with him unless you get to this tool. So I tend to work with that off. So I've switched that off just for now. I'm gonna go object cough. Add uncle points. This is great. You can just about see it added extra anchor points in the middle of every side. As you can probably guess, we're gonna move these ones in to create that sort of type of effect if you like. So I'm gonna do come on, zero seem back out with my direct selection tool de Select. I think so. That just that anchor point, as you can see, that selected the other ones out. So then I could press my left are okay. That would go to the left in very small increments. What I'm gonna do instead, though, his whole downshift and they want to do left arrow. You can see a niche to that Once twice. That's, like, three times. That looks great. Okay, so now I want exactly the same. The other side, you may recall, we've used the reflect to already, but we're gonna do this in a more accurate way this time. So with the selection tool, we clicked back to select the whole shape. Okay, Role than just the Uncle Point. We choose the reflector. But this time, rather than double clicking on it, we're gonna just move it toe roughly there or exactly there where the center of that object is Okay, where it says anchor. So that means that is basically the center of the page. Hold on the old key Notice the cursor changes slightly when the orchids held down and then click once I'm going to zoom out steak and see what that's doing so by doing all click on a particular place. Your son you want toe make a transformation. But around that particular place so irritating it round the centre, useful in or cut? Sorry, reflecting it around the center. But yes, you could also use it for rotations or whatever You definitely want to explore in more detail so that we gotta to his press copy. And then we have an exact copy exactly lined up. So in real life, if you're doing this from scratch, you probably start with this gets you probably start, you know, with all kinds of ideas. Before you got to this stage, some kind of cutting that out if I was doing this for real has been probably quite a bit more time trying different front combinations, different sizes in someone on then credit like this, and then pools come back to in a day or to have a look at it printed out before you make your final decision. But that's what we're going to go with now. I won't show you saving it in illustrated for might again because you've seen that. But that's essentially what we would do. So there we go. That is how we create logos in illustrator 20. Your next steps: well done for making it to the end of this course. Hope you found it really useful and you're getting ongoing with designing logos. There's a few of the courses you should be aware off. There's a couple on skill share that are specifically to do with illustrators skills to do with logo's so crediting logo's from circles, creating logos from triangles on creating logos from type. You can find all those under my name, but you should also be aware. This is part of design Beginners Boot Camp, which is a 12 part course. It features another two courses on illustrator Onda and, of course, specifically about creating a logo for your brand. So if you want to learn more about logos, you'll find much more inside that courts called design Beginners Boot camp OK, all the best and have fun creating like guys know why