Graphic Design Mastery: The Complete Branding Process | Lindsay Marsh | Skillshare

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Graphic Design Mastery: The Complete Branding Process

teacher avatar Lindsay Marsh, Over 500,000 Design Students & Counting!

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.

      GraphicDesignMastery CourseIntro


    • 2.

      GraphicDesignMastery CourseGuide


    • 3.

      Lesson1 LogoDesign GettingStarted


    • 4.

      Lesson2 LogoDesign Typography


    • 5.

      Lesson3 LogoDesign MoodBoardsandColors


    • 6.

      Lesson4 LogoDesign WorkingwithLightandDarkBackgrounds


    • 7.

      Lesson5 LogoDesign DevelopingBrandingStandards


    • 8.

      Lesson6 LogoDesign Exporting


    • 9.

      Lesson7 Branding BrandAssets


    • 10.

      Lesson8 PackageDesign Setup


    • 11.

      Lesson9 PackageDesign Layout


    • 12.

      Lesson10 PackageDesign AdobeDimensionsOverview


    • 13.

      Lesson11 PackageDesign WorkingWithMultipleObjects


    • 14.

      Lesson12 PackageDesign RenderingFiles


    • 15.

      Lesson13 ProductDesign Backside Part1


    • 16.

      Lesson14 ProductDesign BackSide TestingItOut


    • 17.

      Lesson15 AdDesign AdSpecs


    • 18.

      Lesson16 Adlayout LayoutandBlocking


    • 19.

      Lesson17 LayoutDesign Photoshop CustomBrushes


    • 20.

      Lesson18 AdLayout Photoshop CreatingBackgroundTextures


    • 21.

      Lesson19 AdLayout LayoutandBlocking Part2


    • 22.

      Lesson19b BONUS LayoutDesign FinalTouches Exporting


    • 23.

      Lesson19C AdDesign Exporting


    • 24.

      Lesson20 3DObjects Part1


    • 25.

      Lesson21 High Rez Renders How To


    • 26.

      Lesson22 DigitalAds Layout Gold


    • 27.

      Lesson23 DigitalAds Part2


    • 28.

      Lesson1 Tshirt Part1


    • 29.

      Lesson2 TshirtDesign Backside


    • 30.

      Lesson3 StationeryBranding BizCard


    • 31.

      Lesson4 StationaryDesign BizCard Back


    • 32.

      Lesson5 StationeryDesign Letterhead Part1


    • 33.

      Lesson6 StationeryDesign Letterhead Part2


    • 34.

      Lesson7 StationeryDesign Envelope


    • 35.

      Lesson1 AdobeXd UX


    • 36.

      Lesson2 WebDesign IntrotoAdobeXd


    • 37.

      Lesson3 WebDesign BlockingOurDesign


    • 38.

      Lesson4 WebDesign AddingIconsLinks&Photos


    • 39.

      Lesson5 WebDesign AddingIconsLinks&Photos Part2


    • 40.

      Lesson6 WebDesign MainBanner


    • 41.

      Lesson7 Webdesign FinishingOurHomePage


    • 42.

      Lesson8 FinishingUpOurHomePage Part2


    • 43.

      Lesson9 WebDesign ProductPage


    • 44.

      Lesson10 WebsiteDesign CreatingActiveLinks


    • 45.

      Lesson11 WebsiteDesign ShoppingCartDropDownMenu


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About This Class

Note: Make sure to download the resource guide and files the PROJECT section of this class

Follows the FULL Graphic Design Process for A Company: Logo, Ad, Social Media, T-Shirt, Package, Website Design & More!

This ambitious class aims to tackle the entire branding and design process.

We will dive deep into creating our logo, how to create and expand our branding standards and produce our color palette and logo variations.

We also dive into ad design and layout including layout design for digital and print graphics. We cover the package design process as we develop our series of lotion bottles. Stationery design is also covered including letterhead and business card designs.

No brand is complete without a T-Shirt design as we dive into ways we can create and present our T-Shirt design and get it ready to go to press. Finally, we will create a web layout and working wireframe in Adobe Xd.

This class leaves nothing out as I teach you how to prepare each file we produce for press and how to work with ad specs, Pantone inks and package design.

We will also learn a few new programs along the way including Adobe dimensions a 3d mockup program where we will take our package design and apply it to a 3d lotion bottle to produce some pretty cool graphics for our ad and website design.

We will also learn Adobe Xd from scratch, no prior experience is necessary. We will create several web pages and link them up to create a working wireframe to show clients how their brand can be developed into this digital medium.

I will show you step by step the process I go through to create branding standards to present to clients. How we present our color palettes and also creating brand assets we can use for brand extension on other design mediums.

This class is an intermediate level class. I suggest you are somewhat familiar with the basic tools of Adobe illustrator and Photoshop. Knowing how the layering system works and also being comfortable with the basic tools of illustrator will come in handy while taking this class.

I am proud to present my entire branding process from start to finish in one complete course. This class will surely give you the knowledge and insight to create entire design packages for clients both small and large.

Meet Your Teacher

Teacher Profile Image

Lindsay Marsh

Over 500,000 Design Students & Counting!


I have had many self-made titles over the years: Brand Manager, Digital Architect, Interactive Designer, Graphic Designer, Web Developer and Social Media Expert, to name a few. My name is Lindsay Marsh and I have been creating brand experiences for my clients for over 12 years. I have worked on a wide variety of projects both digital and print. During those 12 years, I have been a full-time freelancer who made many mistakes along the way, but also realized that there is nothing in the world like being your own boss.

I have had the wonderful opportunity to be able to take classes at some of the top design schools in the world, Parsons at The New School, The Pratt Institute and NYU. I am currently transitioning to coaching and teaching.

See full profile

Level: Intermediate

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1. GraphicDesignMastery CourseIntro: this ambitious class aims to tackle the entire branding and design process. We will dive deep into creating a logo, how to create an expander branding standards and produce our color palette and local variations. We will also die. Vinto add design and layout, including layout designed for digital and print graphics. We cover the package design process as we develop our Siris of lotion bottles. Stationary design is also covered, including letterhead and business card designs. No brand is complete without a T shirt design as we dive into ways with creating presenter T shirt design and get it ready for the press. Finally, we will create a Web layout and working wire frame in Adobe X'd This'll Class leaves nothing out as I teach you how to prepare each file reproduce for press and how to work with ad specs, Pantone ings and package design who will also learn a few new programs along the way, including adobe dimensions Ah three d mock, a program where we take our pack design and apply it to a three D lotion bottle to produce some pretty cool graphics for Add and Web Design. Way will also learn Adobe X'd from scratch. No prior experience is necessary will create several Web pages and link them up to create a working wire frame to show clients how our brand can be developed into this digital medium , I will show you step by step, the process I go to create branding standards to present a client's how we present our color palettes and also creating brand assets we can use for brand extension on other design mediums. Thats glasses. An intermediate level class, I suggest, is somewhat familiar with the basic tools of Adobe Illustrator and Photoshopped. Knowing how the layering system works and also being comfortable with the basic tools of illustrator will really come in handy when taking this class. I am proud to present my entire branding process from start to finish. In one complete course, this class will surely give you the knowledge and insight to create an entire design package for clients both small and large. So let's learn together 2. GraphicDesignMastery CourseGuide: First of all, welcome to the course. I'm glad you decided to join me for this ambitious but incredible learning journey with me as we walked through the entire graphic design process for an entire brand creation. This class is an intermediate level class. That means you should be a little comfortable with Adobe Illustrator and photo shops, basic tools where you confined panels, windows and how the layering system works. You do not need to be an expert in this programs, but this glass focuses less on learning the basic tools and Maurine doing design projects and the thought process behind making certain design decisions. If you feel like you need to go back and learn the basics of software, I teach several classes that focus purely on learning the adobe suite of software. We will, however, learn from scratch. Both Adobe Ex D, a Web layout wire framing tool ended adobe dimensions, which will give us the opportunity to put our package design on a real three D mock up so we can produce some great images to work with for ads and other designs. I will be representing a course resource guide and downloadable zip file throughout the course. You can access those by downloading the ZIP file the beginning of the course in this section. Also, you can download the resource guide to for a list of external resource is you can download such a specter, graphics and icons we may use in the course. Most glasses have you do a student project at the end of the course for this one, I am tasking you with your very first and only student project. Right now on this lesson for your student project, I want you to recreate this brand with me. You can create it exactly how I do in the class. Or you could make it your very own brand label and product and put your own spin on it, making your own colors look and style you wanted to. The goal of this project is create all of the items you create in the class together for your brand. This will include the local design and concept process, the local presentation, the branding style guide, the full page ad at digital ad, any custom photos, renders or graphics you may need to complete your designs, a T shirt design and lastly, some stationery design. As a bonus, I would love to see your brand style echoed in a Web design and layout. This is a large student project, your task with with many different items to create. But once you go through the process with me to create all of these items, you'll notice how to create brand packages for any and all clients. Giving you the knowledge to be is versatile of a graphic designer you can be. That's why I suggest after each section of the course, to pause and work on your brand project for that particular type of project. So after the first logo design section, take a pause and start to think about your student project and what type of style, brand name and color you want to develop for yours. This way, your project has broken down for you and easy, digestible steps. Enjoy this course and remember to take it at your own pace. This is a marathon course, not a sprint to the finish. If you have any questions alone way, feel free to reach out to me or to other students in the exclusive student Facebook group, which will be mentioned in the next lesson. I look forward to learning with you. Let's get started 3. Lesson1 LogoDesign GettingStarted: welcome to the branding and logo design section of this course, so we're going to work on a brand called Elemental. So this is gonna be a mock brand. So it's not a real brand, but something we can develop together on DSO a little bit about elemental. Is there a company that sells a lotion that has kind of a sparkle? Shine to its were almost painting on gold or painting on metallic colors, and I was kind of inspired by the periodic table in the three different metals, copper, gold and silver. Once that I think would look really cool. It's like a sparkler lotion that you can put on your skin. It's gonna be targeted toward high fashion, kind of, ah, high fashion beauty brand that you would find in makeup stores and certain high end places working by that. So it's gonna be a different kind of quarry until arms could be a little bit more on the expensive side. So we have to think about that when we develop our logo that were kind of catering to that target market, were not just developing something that looks cool, but something that would ah, market very well at a higher price tag. Eso just keeping those elements and mind no pun intended. So let's go ahead and get started. So since I'm inspired by the periodic table, I thought I'd play around with some ideas using how they usually look on the periodic table when I'm gonna show you kind of a screen of what that looks like. You kind of see my inspiration on, and I'm thinking about the package designed to and I'm thinking about the logo design. What's gonna look good arm as a logo and what's gonna look good as a package design? Um, and sometimes as could be two separate elements and sometimes you could have a logo and a separate little graphic element for the package design. It doesn't always have to be. The logo is the main thing on the bottle. Sometimes the name of the lotion can be kind of the main thing. So I'm gonna experiment with kind of fonts and and Cem styles here. So right now I just have a myriad pro, which is kind of your default font. That's far. It was kind of experimenting. I'm gonna go ahead and hold down option and I can go ahead and duplicate a little bit. Eso We can experiment with having a lower case e or a capital E. We can experiment having different, like a period at the end, maybe doing capitally. And when I maybe put something in a box, let's go ahead and grab or shaped to over toe. Hold down, shift the creative boxes. Do a stroke. Flip that to a stroke. Go ahead, get my stroke panel out here. Now, let's see if I can't make it pretty thick, just like the periodic table. And this is kind of a sharp square. So I thought maybe we can round that off a little bit. We do around, uh, round join, see if we can't soften kind of the edges a little bit home and got a experiment with this. It was kind of bring this in and it's gonna be too big to fit in. I mean, we could kind of put it within a box. You can have it like this. You know, we could have a nice, bold font. Ah, one that pops into my head is Avenir are as of sands have as of sands Black element tool in there and just have it be, like, really cool and clean. Ah, we can go ahead and hold. I'm selecting both, um, objects could hold down option. God, just make duplicates and continue to play. Let's try one with rough edges. We're gonna switch that corner back to, ah, meter join, which is gonna be a sharp, sharper edge. So that has kind of a neat look. Very simple. We can try maybe a line here in a little box, Or maybe duplicate that one holding down option and dragging to duplicate. Still lot quicker that way than copying and pasting manually. Um, so I'm not quite feeling that one. That's okay. Let's maybe break up the word a little bit, so maybe we can hold down option and drag this over here. Let's play around with the typography a little bit. Let's break this up, maybe make it bigger, because when you zoom out on the logo, that's gonna be too small that it looks kind of cool in the box. It's gonna be way too small to read, so we're gonna need to make that type a little bigger. So let's see if we can't do that but maybe chop this word up and syllables. Um, so Ella men told So we want to chop it up in the way it's red, so it's easier for the viewers. See, I was glad and closed the gap on the spacing between this lines. You go up to paragraph, our character buying clothes, that letting a little bit you just in my character panel. So every mental and we'll just continue to do what we've been doing and kind of duplicating experiment so we could do something where maybe, uh, half of it is color Dan. I filled it and we could have this on the bottom, right? But once again, you're gonna have problems with that method, because when you zoom out, I just don't think the balance is there. The type is just too small compared to the box. Go ahead and arranged in center front. We can maybe make this shaded portion a little smaller, so let's go ahead and redraw that. Describe the pin tool and just get drawing right around, then creating a much smaller little corner that's white. We could make this bigger. Grab our direct selection tool. Clean that up. Okay, so that's an option. Go ahead and drag this back up. So I kind of see what we have going on in terms of her logo development. And I'm not feeling the box. It's just gonna get in the way of the practicality of the logo and being able to see the font have proper balance because we have proper balance in the logo. It means your typography or your name of the company is equal to the symbol or graphical element that's also in the logo mark. And if one outweighs another, it can, uh, fight a little too much and and not let the typography breathe. RB viewable. And also the symbol can overwhelm or the other way around, the symbol so small the typography overwhelms and the symbol just doesn't seem like it needs to be there. So you want. If you have something that's balanced, do you have a symbol in the typography element? Make sure they have, um, equal balance. That doesn't mean you have to be the same sides, but equal balance in terms of how the viewer sees the logo mark. Okay, so let's experiment one more time. Give this box concept one more shot, because why not? So that kind of looking at one of my inspiration was the periodic table so elemental. Well, let's see. I wonder if we can maybe shake it up a little bit. Maybe you turn it on its edge. I love to kind of do that whenever I'm stuck on a concept. Kind of turned things a little bit like 90 degrees or 45 degrees and kind of see if we can't build something with that. So just kind of going through my raw kind of process with this. Okay, so that could be it. But it kind of loses the whole concept of being that square. So okay, this concepts not exactly working. That's okay. That's why we experiment in the slide. There's over, just in case I want to revisit. And let's experiment with another concept. And another thing I'd like to do is have a concept that works really well on a mobile and digital applications. So website, for example, So you have the top of a header for a website. I want to make sure it looks good there, and it looks good really small, So I'm gonna create something even more simple. I'm gonna forget about having a graphical element kind of work with typography and do something super, ultra clean. We're gonna go ahead and grab a couple of these and let's get another thick fun this time. Let's try, um, Avenir. Seven years of really popular fun. It's It's pretty readily available, and I have a couple of weights. So have black but else of heavy. And it seems like Heavy would be the most bold farm but actually is black. Black is the the boldest weight available if it's not available. One off lots. But I love the way that looks. It kind of reminds me of hell that a cup and it looks a little more. I don't know. I like it. Doesn't look, is overused eso really liking this Boulder type. We could work on manual current Ng'andu spacing between the characters or the letters. We could do that. So I'm kind of liking how a bold he looks because this looks softer. But this is a pretty bold product. I mean, this is kind of like a metallic lotion makeup type thing, and so I kind of want to go with something that's strong and has a strong start, so that means possibly having the upper case e. So I think I'm gonna keep the upper case e and let me play around with spacing. So this is defaults basic that we have. Go ahead, drag it down. I can go to character and mess around with the tracking set the tracking, uh, with the computer so I could have wide spacing. But I am not a big fan of white spacing with lower case letters because they seem disjointed. We're gonna go ahead and tightened spacing I can. This default. What if I just tightening a little bit? Maybe Right there. So that was what a negative. 25? Yeah. Negative. 25. So doesn't that look better? Kind of. If you see the one up top in the sea, the one down below just at tightening the spacing a little bit helps in this case. Especially lower case letters. They intend to Really? I feel more. Is one unit definitely liking that better something. Keep zap. Continue to replicate this one experiment 4. Lesson2 LogoDesign Typography : way. Wanted to continue to play around with periodic table kind of idea. Let's go ahead and make a stroke box and make that a little softer. Make that I have come here. My stroke panel. This could do a soft round joins, and it's not as sharp. You know, I could put just one letter in the box so I could put, like, the e in there or put Yell. You know, that could look kind of neat. And I could go ahead and separate this element. We're gonna go ahead and cut that and make that a new, separate element. Separate text elements. I could have a little bit of room here between, So this is kind of looking pretty strong of a concept. So I wanna make sure have the same spacings of the e nl are the same, and I can all notice a little issue with the typography, the default typography. You could see how the l extends past the which would be your x height. So I'm gonna go ahead, draw Lawrence, I kind of show you. So that's that's kind of ah, disjointed. I like everything could be concise, especially if we're dealing with kind of a science theme. So what I'm gonna do is I'm gonna just cut that little l off. So what I'm gonna do is I'm gonna need to create outlines on my type, so I'm gonna just right click create outlines. So now, instead of being live, edit herbal text, I can go and take my direct selection tool that could go ahead, manipulate these anchor points and bring it down. And this is where you could start to customize typography. So let's say I want to maybe bring this down a little bit, have an angle. You know, that could add a whole another personality. To this, we can round all of the corners of the earth type just like that. We could do that. Once we right click and we create outlines, you'll be ableto have the options will do it for this. You're gonna have have options around all the corners that that little symbol there. So I'm gonna click and hold, so that softens the type a little bit and makes it a little custom. So this is before where before I softened it. This after so really like the softened edges? Not sure if I like the little angle there, but we'll continue toe play around with this. So all we have to do is hold down, option and drag and experiment. We could even start to experiment with color. And I could add color quite yet, but I could do shades of black and white to kind of indicate where color could help break up these elements more from the people Have that lighter. But see, I'm highlighting e in l But why s o l a mental? There's not really a reason why the e and I are Box is supposed to emulate up here where you have the two letters in the periodic table. So it's playing off of that a little bit, but it just seems really strange that I'm highlighting the NL. So I'm starting to realize the concept looks cool, but it's not, really, um, coming together is a practical concept or one that really fall is through. So I'm going to take a pause on this one and continue to mess with one more concept. I think I'm gonna keep it super, ultra clean and just not even try the box anymore. I think I was forcing that and and it wasn't working. So I'm gonna go with what was working, which is right here. I'm gonna go ahead and work on this concept. All right? So I'm back and ready to work on this concept. What? I did find out what the other concept is. I do love the rounded edges. I think it adds is just a slight softness to it. So what I'm gonna do is I'm gonna make a copy of this, and I'm gonna keep that unedited because I'm getting ready, create outlines. And once you create outlines on type, that's it. You can't go back. So I'm gonna create the outlines and I could see all the little acre points. I could just go and soften edges. So I get my direct selection tool that could select any one of these little icons right down here, and I'm in it. I'm not gonna do a dramatic softening, so that would be a dramatic softening. I'm gonna do just a little one, so I'm just gonna pull and drag this instead of doing it all the way. I'm just gonna pull and drag it just a little bit. I just want a little softness and that looks really good. And once again, I also realized that we need to kind of lop that little portion off. So I'm gonna go a command Z. I'm gonna go back in history before I softened it. And I'm gonna do that before I saw from the edges. It's a lot easier to make this edit. Before I saw for the edges. I don't think I like the ankle going down. I will try to keep this a simple as possible. So I just kind of straighten the edge there. And I could always go to view snapped. Agreed. If I will not stop the great but snapped a point if I wanted to be able to snap this perfectly. OK, hi. Grid will do grid in a little bit. Let's go ahead and select all of our type. Get are direct selection tool and go ahead softened everything just a little bit just like that. Okay, So everything started to cut come together. So from the default type which was Avenir, we were able to tighten the spacing just a tad. We were able to soften the edges on all the sharp, you know, corners on all the characters, and we were able to kind of lock that l off to make it. Even so, those were some things that we did. You also notice the L over here also needs to be changed. So I'm gonna go ahead and make sure these are even and I'll be right back. Great. So I went ahead and made sure those were even going across the two l's get are direct selection tool. Soften those edges again. It's always easier to soften edges after you make those adjustments. Okay, so I feel very happy about that. I think there's, you know, something missing, and it's just hype. It would be nice to add just a little spark, a little flare. So I'm gonna see if I can't add a period. I also want to add some opportunities. Toe have contrast in color, and this could be my opportunity. So I could even make that a little bit of a lighter color to indicate where color would go . And I don't like to mess with color too early because it does kind of mess up are kind of concept process. It kind of gets in the way of simplifying that process for you. So one thing I could experiment with is adding maybe another one of these Els, but make it kind of a box. It will also be the same color as a slow period. I thought, What if I did it right here? Kind of add a little bit of contrast, something like that. And these could eventually be gold because we're gonna be having gold, silver and copper lotion on and makeup products S O b need to play off the color with that with gold. So let's kind of pop in to our swatch panel here and see if we can experiment with some colors. So, like I said, we have gold, silver and copper. I think gold would probably be the most prominent or the most popular color. So let's kind of incorporate that to our logo a little bit. So let's pick a really nice gold color. So I gotta go Also bring out my color panel, and I could go and get my color picker or let's do a show options so we can have a little bit more control. I'm gonna go ahead and you see him like a just to kind of have a little bit more control options. Especially since it's good to be on printed materials as well is digital. We all know you see him like a for, uh, print objects. I'm gonna go ahead and pick what I think kind of in between. Gold is gonna kind of rest between your yellows and your reds, so I'm gonna pick a little bit on the darker of the scale. So now I'm gonna get kind of Do my spiders make a little lighter? Kind of a just We don't want it to be too yellow. We also don't want it to be to read. So it's balancing out between the yellows and red to get that gold killer we want if we can't find the one we like. So I'm just gonna create a box holdout option, go ahead and get three different options. So that's for sure. I love that I'm taking the eyedropper tool. I like this kind of color right here. It's got a little gray in it, so I'm just kind of taking that color. I just did the eyedropper tool and see you. See you. If I can't get a better shade that's gonna be a little bit more bright of a vibrant gold jade. And let's just do one more could have, like a darker version that is too much green gold, a tough one to get, especially since gold is really a combination of different colors put together with a shine to it. So tryingto average all that until one single color can be tough Gold Gold is tough. Same thing with silver. You know, you just have gray if you just have one solid color is really hard to emulate. Silver same thing with gold. So all those look great. Um, And I think this is one of the things where we can develop color in isolation, but it's really challenging. So what we're gonna do is we're gonna create an ad from this logo were also could eventually apply it to a Web dissed website design. And so I think as we start to develop different products and different marketing materials , we're gonna be able to develop the color that way because it's really hard to tell which one I like. I don't know until we start to apply it to a real project. We're not going to see how these colors are really gonna come to life. So a lot of times when I do a logo design and I'm doing color palette exploration, sometimes we'll do a mood board and gets an inspiration that way. And we could go do that real quick. Or I develop a project and test out the colors to see how it looks. Usually a flyer, a social media graphic. And I could really be able to eliminate colors that I thought I liked when it was just starting stark white background and illustrator. But when I started to put that together with photos, I didn't like it. Um, so, yeah, it's really hard to develop your color palette, just an illustrator without any kind of inspiration or any kind of practical application. We're gonna do that. Now I'm gonna develop a quick little mood board. We'll bring that in, see if I can't find too in these colors, and then we're gonna develop a couple other do product 5. Lesson3 LogoDesign MoodBoardsandColors: I'm in a program called Camba, which is a cloud based design software that I like to use when I put together mood boards. Because it's really easy to put together gallery photos as opposed to illustrator. What? You have to crop and do a bunch of stuff. So I'm just in here a camera. You don't have to use Campbell. This is just what I used to quickly put together stuff gonna goto elements. And they have some really cool grids that can use and just pop dragon drop photos in which is always really nice. You do? Quite a bit of photos is gonna be a mood board that's gonna help kind of get us jump started and fine tune our colors a little bit before we start to bring in the practical application in the product design, um, into the forefront. And it's already uploaded my photos. So these air kind of photos that I was inspired by in terms of the gold, the copper and the silver just kept trying to think of our brand colors really kind of loved this image right here. Even just a stack of gold coins. We have this kind of Bell was kind of had a nice soft gold to it. I also have some images of who I thought would be kind of a neat target audience, kind of high fashion. People who had read high fashion magazines are my family's really need kind of gold, copper silver ring. That is exactly what our brand colors are gonna be. I have this really cool silver, and we have a couple other ones that I'm gonna bring in. So I kind of ran out of options. But that's OK, because I could just drag in another little gallery here and see how easy it was to cut a dragon, drop photos using Camba. Uh, okay. And let's see, I have this copper mug, which I really liked, so it's less about showing the photo in a little bit more about really trying to grab those colors. So let's do that poll right there. Okay, You zoom in here so I could have a better time grabbing that with the eyedropper tool. Zoom in on that bill, see if we can't get some really nice copper colors. And with her, that's really I guess, just a a reminder of my target audience, But I really love this cream colors if we wanted to bring that out. And what's really is even on this one, assuming in our rain to get a wide variety of metallic color options. Same thing with a silver. Let's go ahead and grab It would probably to have a wide variety of shadows and highlights , and I think that's good. So I'm gonna go ahead and download. This is a. J. Paige and go ahead and bring this into Adobe Illustrator. So I'm back in Adobe Illustrator and I have our little color inspiration Mood Board that we created. And let's see if we can't do the eyedropper tool and get some more color ideas. So I'm putting lots of white space between the logos so they don't kind of interfere when I'm viewing them so the colors aren't too close and interfering with me figuring out if I like that shade or not. So here's kind of a new one. It's good. Highlight both of these in our little period. Take the eyedropper tool and see if I can't find other colors. I like better, so that's kind of a deeper kind of more of a copper. We wanted to kind of go the copper direction. We could try out of silver. We don't like a shade of silver here, and notices isn't straight gray. When I sampled that, it's got a little tent of blue. So if I double click this watch, I could find out that now has gray, but has just a little bit of blue hats kind of going to the right side. The rights gonna bring out more color on the left is gonna be totally gray so that a little hint of blue is nice and kind of makes it feel more silver to me than just Cray. I don't like this really dark color, so I'm just gonna continue to overwrite those that I don't like, So it could just keep the ones we like were the process of you could have too many options , always nice to narrow it down as much as we can. So if you don't like something, go ahead and just put it off to the side. Okay? That's got a little bit more of an orange gold color, and that really pops out, but almost looks a little too orange, but we could just double click these like, I think the period I need to get the period pilot. I could double click it if I think it's to orange drag a little here to the left, at a little more great to it. And that looks beautiful. And that has a little too much brown, some sort of double click that also drag over at a little more gray and maybe drag up this , uh, that a little bit more yellow. So it just kind of experimenting with different shades. These are all very different shades I could all pass. That's like a gold or a silver. We don't quite have a copper. I don't think I liked how the copper looked. Let's do one more try. I have this one copper selection, but I need to get lighter. And, you know, copper naturally has a little red to it. You'll find that out as we work on this brand, we're gonna add a little bit of a tinge of red. And what could work with this brand is a couple of different color options, so we don't have to be stuck with just gold. We can have a gold, copper and a silver, and they can kind of use that. That logo. I'm different in different ways. Using mystery metals, we don't not stuck with one or two colors. We could have an entire color palette. We're gonna be developing that next to always want to save your document because trust me, there's been times where I go 30 minutes without saving, and somehow it crashes and I lost a lot of brainstorming work, and I have a hard time remembering exactly the process I went through. So always save your document. Just a little tip their trust me, I've I failed to save a couple times, and it was an absolute disaster, so you would never want to lose your work. So it's kind of got some great color ideas, so let's start to develop our primary color palette. So this is where the branding standards kind of come into play. And branding standards is kind of a manual that you could supply a client when you're kind of when you're doing something beyond love with design and you're getting a little bit into the branding side. Clients usually like to see a color palette and kind of the reasoning behind the color choices you chose and whether their secondary colors and primary colors so they know how to use that brand. And that's what a branding standards manual does is it gives its a guide for people of how to use the logo, but also how to use the colors. When do using his background colors on went to use them as main colors in the logo, So that's exactly what we're gonna be doing. So now I have to eliminate some stuff, so I'd like to have a good copper, a good silver and a good golds. And there's the three colors that are gonna be part of the original lotion, Siri's or makeup sunis, whatever you wanna call the product. So when I'm thinking of a gold, I really like this more subtle gold. It's a little less orange. I'm kind of feeling like I want to go in that direction, as opposed to the brown, is the brown to be dirt. It could be Earth. It could be more organic, and that's not really our brand. I'm some thinking about kind of the brand ethos or the brand culture and the brand target market. I'm gonna go to slide the brown away and this looks a little too Corinne to me. So I'm gonna go and zoom in so you could see Has a little bit more green than I'd like. I guess that would be a little orange. So I'm gonna go and slide that out because I could be slate rock. That's not really what we are. We're shiny metal. So let's go with this for the silver. We make sure my little period, it's also that color. And we need a good copper when we have one copper right now. But I think it works well. Also dark in that a little bit. See if that works. But I like to have contrast from the color. So have a really dark black here, so I want to have a little bit on the lighter side. Okay, so these could be our primary colors that we use. And this is where we really finalize these colors within the double click. We could be very picky here. Very, very picky. Let Zubin let me duplicate the shades. And now, instead of doing dramatic changes, really very, very subtle changes with color, just to make sure That's the right shade. Happy with the typography and the balance of that. We could go ahead and pop into grid. There's a shortcut command and then kind of the quotation mark, and you'll be able to toggle that So command quotation Mark, Toggle it on and off, which is very useful where you could go to view and go down Tish hide and show grit. That way, if you want to do it, you don't want to the shortcut. So I'm just putting on the grid and I'm just gonna really find to kind of the typography a little bit. I don't think I need to change it. I think it's it's fine, but I like to align things on the grid just to make sure everything looks pretty even. So just aligning this up along the lines, and this is a very simple logo. Sometimes when you have round logos and you have a logo symbol and typography element, it's really nice to toggle that grid as you're developing it to make sure you have everything lined up. So the top of the L on the top of the these are all lined up really nicely. I would be really super cool if this lined up. So God show you an example, Uh, that the e in the m and the, uh, e and then all kind of went to this line that's right here on the grid. But that's not necessary, because that's all part of the type. So there's balance within the type, so I'm not gonna go too crazy with that. I like how this little circle fits nicely into the grid. I can even make that fit perfectly just in that little grid box. And also make sure line down here below. Okay, so just kind of doing some good work here. Okay, So you have been toggle that back off. So command and quotation Mark, I feel like its final second officially start to make all the different versions. Really Make sure its final, because sometimes I'll send it to a client. They want to tweak the tiniest little thing. But I've already developed 10 versions of this. Logos have to go back and change a ball. So it's best to kind of do these little changes early on in the concept process. So now I have to go back and change the colors because I did change the size of the little period and those are older. Great. Now they're all exactly the same. And I have my three colors. We could develop some secondary colors and even play around with this shade of black. 6. Lesson4 LogoDesign WorkingwithLightandDarkBackgrounds: every time I use black in the logo, I like toe always mess around with that a little bit to see if black is the right shade so I can select all of my colors here that are black I'm gonna go and double click and see what we got here. Eso It looks like we have kind of a very rich black And you could always tell it's a rich black by If you look at the c m y que elements and they're not, that they're all kind of almost 100%. But they're not quite so. You'll see him between 40 toe 100%. And so when you see all the color aches so scion magenta, yellow and black you see them all kind of close together. So they're all within what, 60 to 90% you get a rich black and so rich blacks for rich because it's not just 100% black . Um, and with no other colors, it's got other colors in there. And so it makes it a more rich Black is black has never just black a nice rich black has a little bit of blues are so in this case a little bit of science, a little bit of a gentle, a little bit of yellows. Eso mixer. So whenever you hear that term when printing, it's called rich black, and it helps create a black that's rich and deep. If you just were to use 100% black, that's fine. But it can kind of lose a little quality to it. It's really hard to explain what you printed out, so it's kind of got a dark, dark gray as opposed to black. So that's dark, Dark Ray and Scott Color, and it's you can almost see a little bit of ah ah, bluish gray there, which is really nice. Um, so we might keep that we could always push the in vote envelope a little bit more, and so if I want a total just black ink, I could just slide this to the left. But I love adding a little bit of color there, so there is another option, so I just liked it a little bit, so that's before this is before. This is kind of a stark black, and then we're gonna add are a little bit of different colors in there to make a rich black , so I gotta go and double click. So you kind of see Look at the CME like a mixture on that. So it's a rich black, but it's got a little hint of that blue in there. And, um, let's take it looks a little better. I know these are really small details, but this is kind of when you're doing large branding Project Cesaire. There's little tiny details you gotta think about. The client may ask you, why did you choose this color? Not just stark Black, and you could have an answer. It looks really well together. So I think we're good with colors we got or three different color options. We have her black, which will be our last option. Kind of really, really, really, really dark gray with a hint of blue. So that's kind of our fourth color palette. I guess that would be our made one, wouldn't it? So this could be our primary color, and these will be our secondary colors. We could use a combination of any of these, so this is great. So looks great on a white background, but here's the problem. What if we want to put on a dark background or kind of loss because these colors don't work on a dark background. So now we need to put this elemental logo on a black background and see how it looks. So we can have to contrast in color so this local could be used on darker backgrounds and white backgrounds. Every logo should work well, because you never know when it needs to exist outside of a light background. No. All I'm gonna do is going to take all this hold down, option and drag. And I'm gonna put this on a dark background. Always good to have a flexible logo that works on all environments. A client will really appreciate that. You send that to the back. I could even cut this out, and I'm gonna go to my layers panel and add a new layer. Taste that then and lock it. Drag this underneath. The reason I lock it is I won't get in the way. That background will state stay there. I won't accidentally drag so this little tip for you Good, right. Drag my layers panel back. So now we don't necessarily have to do white, you know, we could do an off white just like we did kind of an off black We could do in off white eso . Let's see how that looks like a double click are Swatch panel. Here are colors and we can add a little bit of blue just like we did the black at a little bit of blue. A little bit of gray. It's a little blue little gray. Wow, that looks really nice. So let's do that a lot better than the whites. That's white, which looks great. But if we redo it, add that little color and I might even lighten it. Just a shade. This is what work it really picky. Maybe right there. But I always edit down here. You could see RCM like a because they have no black in there at a little bit of yellow, a little bit of ejecta and a little bit of science click OK, and also kind of noticed. A little mistake here with my little period, we'll make sure all those are exactly the same. I want a line all these up. I could just go ahead, get my line panel and just to ah, alarm left make sure all those are aligned very nicely, so the colors are looking OK. I think maybe this silver bite me too dark. That might need to be liked a little bit that we could do a Grady int. Ah, there's no rule against using Grady INTs and logos, but I would give you a lot of caution that because any time you have a logo and you want to get it embroidered on a T shirt where you want to get it printed on a product, and it only requires one think it's really hard to get away with radiance. Grady Ince's a combination of more than one color, and they can get really mess up. Kind of adapted the logo. It doesn't mean you can't use Grady INTs on a special version of the logo are, ah, a nice, polished version of the logo. But in terms of your basic files and everybody's gonna need to use, I try not to use Grady ins. In this case, it would look really cool because we could do the metallic shine to it so it can provide that as an option to the client as an extra file. They can use but not necessarily still provide ones without radiance so that they could be able to practically apply this logo anywhere without any issues. This is where maybe that pop of silver Grady it might look really cool. So just lightning the shade on this one. But I'd like to keep the colors intact and have a have less color variations as possible. So I think I just lightened the silver, and I think that's all we have to do. I think I can keep all the other ones gold and kind of seeing this gold on the dark background makes me realize I want to kind of modify it. So I'm just selecting all. If you want to select this another little trick, you want to select just one color and saying that hundreds of these things on my our board and I just want to change one color. I could select the color. I want a change, and I could go to select same and go down to fill color so it's gonna select everything that's that same fill color. So now I can change that without having to sit there and select it all. So just kind of go to select same, and it could select the same. A lot of different attributes, the same capacities, the same blending modes. And you could change everything it across your entire document. Uh, really easily that way. Let's try that again. I get good, select just new to select one said. If I didn't select him all select same bill color boots and I could go ahead, double click and modify this gold. It's not too late to go back and change your colors. This is the time we modify color palettes, just kind of presenting it in a way I think the client would appreciate. Um, so kind of been doing this for years. Want to do a logo design? It's all about presentation when it comes to sending your files to quiet. And having a really nice Polish presentation makes a big difference in selling your concept to them. So this is how I kind of cell that concept to them. Let me go ahead, duplicate this, but they usually like to show it on one side, so I know a lot of a designer. Sometimes we'll have three concepts and they'll show one per each. Pdf page will show the logo separately or the variation separately. I like to kind of include everything all in one document so they could really get an idea of where I went with this. So for this case is just one final concept we have. I'm gonna make sure everything's nice and even just looks nice is presented in a professional way. It was kind of doing 1/2 and half year didn't have to be precise, but so we could even separate the logos a little bit more from the colors. So when they're looking at the logo, they don't see the swatches getting in the way of the logo. So the shift it goes away so they could see that as a separate element and just kind of moving the color palette a little bit closer together with the primary eso weaken. Label this so it could say, you know, primary colors. We could even name the colors of the swatches. So for using a Pantone ink, that's easy. But if you kind of using distance e and y que combination, because if I double click on this, you'll see that 72 Science 64 magenta. You could write that out for the client, but that doesn't connect with them. Quite a swell cause they're not a designer and they'll go well, what does that mean? So a lot of times you could name the color. It's a primary color. I had put it over the box primary color, and that's going to duplicate that, and we could name it so I could call it Kettle Black, which is actually the color of my shutters. I painted one time and I noticed who is a really dark black, but after I painted it on had a little tinge of just Navy blue, like, really, a little bit. So I'm just gonna call it Kettle Black because kind of reminds me of the kettle black that I painted my shutters one time. So these are arbitrary. I mean, if there's actual color that has a combination that you use, name it that way. But this is part of the branding process to is naming these, so a lot of major brands will name their red color like McDonald's. It's not just read, it's McDonald's read or it's got its own eight, and so this will be gold. Or could be. It was good. Title it gold for now because I can't think of a really cool name right now. But maybe when you do yours, you could think of a cool date. You don't have to do all this, but it goes a long way and selling your concept quiet. Because if you sell your concept, that client you get paid, we could to develop everything else for them and make a lot of money that way. So you want to sell this concept and we want to get excited about the brand because they will allow you to do other things. Maybe they didn't think of you as somebody who could do a bunch of other things for them. But if you do a really great job with your lover designed, they're gonna give you more work and they're gonna hire you full time. But they really, really go the extra mile. It really showed how professional you are. They're gonna give you more opportunities to prove yourself 7. Lesson5 LogoDesign DevelopingBrandingStandards: So now getting a little bit more into details Warrant a class client presentation. This is great to kind of show how the colors work, but to show the initial logo design, I like to have a little bit more of a simple presentation. We're gonna go ahead and duplicate this art board. So I just went toe file documents set up, just went to edit art boards and then I went to add a new one which is right here could add as many as you want, which is great for brand presentation, cause I can export this as a, um, a pdf and that's gonna export each art board as a separate page. So I'll show you that in a minute. How nice that, IHS. So I'm gonna go ahead and bring in our logo. Let's go ahead and spring in the gold version and keep it the same down here. The gold version here, hold down option copy and then kind of bring this in. So that looks very clean. It's a great way to present it to the client as the logo concept. And then he could show them how that concept translates and the different colors that come into play. So you're showing them to different kind of options here, kind of showing them a nice, clean option that they could kind of really look at the logo concept in design. And this other one is where they could see the colors kind of come together and how it's used on black and white. This is what I would probably have. It's your first page in your pdf that you would send to the client or JPEG, and this is what I would have this kind of expanding on the brand a little bit with the color palette development. This will be your second page, and it could add 1/3 1 which sometimes I like to apply the logo. Uh, if if this is further along in the process, I like to apply it to a mock up. So maybe go ahead and do like a little mock product and kind of put that logo are there to see how it looks are a little mock ad just to cut a show him how the level looks on advertisement and how the brand can be extended outside of just the logo in isolation. Actually, showing the logo being used somewhere, so that's kind of just a little bit. It's probably more detail that he wanted to know, but I think I always get a lot of student questions about heady percent logos to clients. So I wanted to have this in this class because I think it's really important how we present and to be a zit professional is possible when presenting reluctance. Because I think it goes a long way and selling that concept and given us lots of work with that same client as well. There could be pretty impressed if you present something like this to them, especially if they're paying a little bit of a lower price and you deserve they're gonna realize you deserve more and that she couldn't get away with charging more in the future. So let's expand this a little bit more. I know I talked about radiance. I would love to show it, Grady an option. Just have a polished option. Not necessarily one that they're stuck with, but an extra option that they can use. So I gotta go to file documents set up, you edit the art boards are gonna add another art board. So just adding another one right next door, the dragon over. And we're gonna go ahead and take this concept. Hold down option. Bring that right on over and let's develop a radiant. So I'm gonna go ahead, Copy Paste. One that had already developed Gonna go and show the process that I went through to create that. We're gonna go to radiant panel. Go ahead, double click that you can see how I kind of created different, darker and lighter gold shades to create a sense of highlight. And so you can drag these in and out to have tighter spacing or wider spacing. But I wanted to have the sense of gold is way more than just one color. There's this, like a reflection of light. So there's gonna be the highlights and low lights and different intensities. So this could double click and show you some of my swatches here. What's great about the newer version of Illustrator, which the older versions of Illustrator did not have this amusing 2019 creative cloud. As you can double click this little button and they used to be squares. You go and click here and you could be able to sample certain gold textures. So this is where how I got these gold textures was I went ahead and brought out our let's see if I still have to think I deleted it. Um, I'm gonna go and show it on the screen. The little color mood board I got and I was able to take a lot of samples of the highlights and low lights of these photos to put together this grainy a color. So I was able to click on one of these sample of color click on the next one. Simple. Ah, highlight color example of shadow color. That's how I came up with this, Grady it So this could be an option for instead of this straight gold shade One color, you know, something more dynamic. I'm just gonna take the eyedropper tool and sample horrible, radiant that we created. Course it's gonna do it really tight like that by default. So I'm gonna get my Grady it tool. Just kind of. This is the newer version of photo shop are illustrators. It works a little. They really changed the radiance quite a bit in the newer version for the better. I think that's what I'm doing. Instead of having like a really tight colors like that was taken my radiant tool here, and I was gonna do a nice long stretch. Maybe you see one little line of highlights instead of like, C three of them. It looks a little cleaner that way. And simple just like that. So this could be on that might even be too many bands. So I'm selecting this, and I'm going to get our great tool. If I can't stretch that out, make it just really a little bit that could always modify it and have to be the same exact radiant. Well, I could do. You can modify these edges so I could get it exactly where I want it to be. It's like that we could do tight. So that's kind of Ah, wide spacings. What? I can bring these Klestil two units close together to create almost a very sharp Grady in transition. Okay, because when you zoom out, there's little line. Since little radiant lines, this looks a little messy. I always like to zoom out and kind of go just cannot even see it. What's the point? We'll zoom in and soften that a little bit appear to be right about there. Great. So now you're kinda showing him a little bit of the metallic and you could show this is a swatch and it could even do a diagonal presentation, cause I think it looks a little cool. Let's go ahead and make this a nice presentation. Trying to think perhaps we can have this go down the side. There's one kind of presentation we could even center those we could continue to play around. We need to develop these colors anyway, because thes Grady INTs watches when we need to develop them for the copper and the silver versions. Because we start doing ads, we're gonna need to have some elements and graphical elements to work with. So now that we're kind of done with the logo itself, now we're developing assets brand assets that we can use to extend our brand to lots of different things. Because, as we know, branding is more than a logo. It's all the style of the boxes of the Everything we uses is gonna be toward that brand. So let me go ahead and develop the other two, and then I'll be right back. I want to show you this little trick. Her a couple little tricks kind of go through my process of how I make the other versions. So for silver, that's gonna be the silver radiant Instead of just having to go and change each one of those toe gray, all different shades of gray, I'm going to go up to edit edit colors that I'm just gonna convert to grayscale. So add it, edit colors, and I'm going to convert it to gray scale. So it's a little cheat. I'm able to convert all that Teoh just gray and I'm done. I'm done with silver. Of course, I could go back and make it deeper. I'll probably go back and make that a little deeper of a color. So now I'm gonna do copper. What I'm gonna do is I would do the same thing you're gonna edit and it colors convert to grayscale. I can do one more step. I just want to change all the colors at one time. I don't have to sit there and change each one of those. We're gonna go to ah, edit edit colors again, and I could go to adjust color balance. So that's gonna be in the same areas comfort to gray scale. So I go to adjust the color balance, and I'm gonna convert and they get a click on RGB. So now I'm gonna add to be able to add a do preview so you can see what you have not changed all the colors, just like in photo shop when you have the adjust color options and, uh, photo shop. You have that here in Illustrator. I didn't realize this until recently, so I'm ableto change it to steel blue if I wanted to. But we really want copper, so we know that copper has a little red in it. So let's add red, add a little bit of blue. There we go. That's getting there. May be reduced the green. So 14 negative eight. And native 26 that seemed to work out really well. We're gonna click on OK and see how quickly I was able to do. I didn't have to sit there and edit all this Grady colors. I'm able to convert all of those rather quickly, so I'm gonna go ahead and finalize this presentation in terms of showing off the different radiance and colors, I think we'll be ready to start to apply to develop the branding assets that we can use. So once we develop the logo in the branding assets, it's gonna be very easy to make our product design. It's gonna be even easier to make an ad out of that. Advertising and social media graphics supersede simple we're gonna have. All of our elements were just gonna drag and drop everything. And we're done. You know, we don't have to do that whole How Don't wanna make this ad because I have a logo. I have a background colors, great to use gonna be picking out photography so that I'll have to do is kind of drag ropes . 8. Lesson6 LogoDesign Exporting: So let's develop a few branding assets. So this is kind of the final for the Grady in presentation. I just want to show him how all three of them looked with the radiant. I was glad and documents set up a screen and you are bored. So could have discrete anyone right next door. We're gonna show him a few brand extension assets. So if you're just doing the logo design, you're good to go. You could percent three of these as a PdF. There's go to save as you don't need to export it lessens a J Packer, PNG. Save us. Ah, pdf and go ahead. And do I like to do high quality print? But you want to make sure it's an RGB mode when you presented the client because a lot of times will see it on a mobile device or a tablet will bring it up and the colors can get really crazy. If it's and see him like a, it could really show very funny. So I like to kind of do it an RGB. So sometimes I'll do the smallest file size, which this is a default preset PdF preset, Um, so I'll do the smallest file size, and that's gonna make it an RGB mood. But I goto precious in and I make sure there's were high resolution here. So making sure I'm said at 300 p p i, which is your resolution, I'm just in compression by making sure they're all high resolution and I don't need any marks and bleeds. And there we go. So go ahead and I'll save this preset So you could go like this and say Save and I'll say for client presentation so I don't have to sit here and do it all. I already have, um, a preset saved. So I could like that. And now whenever I want to call up that it's got a client logo and I could no, it's 300 peopie I, which is a nice high resolution. And I know it's an RGB mode when exports okay, so I could go ahead of say, go and click, OK, and I'll show you kind of how Why? Art boards are so cool. So because I'm out. So now they'll be able to see go ahead and get our I'm just an acrobat pro. I'm gonna do show all pages. I'm just going to shift the pages around a little bit and kind of make sure this is first on that second. So when they open up the document, they'll have Page one. They'll have Page two and they'll have Page three, so they'll be able to kind of see everything in the order that she have it, which is nice. 9. Lesson7 Branding BrandAssets: so brand assets. So this is super doing more than just the logo and you want to show it being extended. So let's say we're gonna be doing the package design next, we're gonna be developing the lotion design that's gonna go on the tube of the lotion, and we're gonna be doing that next. But I wanted to go ahead and see if I can't develop some branded as it. So I'm gonna go back to our little clean look over here. Let's grab all of this is good. Copy. I'm just having it over here to be able to recall what we need to kind of mess around with , maybe turning it on its side. So I'm just going It's gonna group this together. So right, click group, you turn it on its side, reflect or not reflect. I'm sorry. Object transform. I'm gonna rotate object transform. Rotate of 90 degrees. Probably need to kind of have a little well, look cool. Kind of as an element. You know, you could put the adhere the photo here. That's kind of an option. Where this brainstorming some options, we can have that all be kind of gray and scale back. Maybe like a light gray. We could go back to our square here. So where were experimenting with our other concept? Let's go and grab this because I think we could still use it. They grabbed this one. I thought with the sharp edges for this could be something here, That's the head and make a stroke. It's not gonna be the logo, but we could still use this asset. And now we have our color palette here. So I'm just gonna go ahead and change that stroke to our little kind of kettle black. Now that we have that established and increase the stroke about my stroke panel here, make it like the periodic table element I thought you know would be neat. We started. Think about package design. I thought I'd be really need if the gold, the silver and the copper had their periodic table element as the main part of the lotion, and then we could have the elemental logo smaller, cause us is the company name, so I thought I'd be need to do that. So this could even already start to be part of our package design process. So I'm gonna go, uh look at the periodic table to see what the elements are for gold, silver and copper, and I'll be right back with that information so is able to kind of find the three different elements. So this is kind of what you see on the periodic table is you see, like the 47 to 29 79 or kind of the bad electrons that are in that particular element. So not sure all the signs science behind that. That kind of got those elements. So a g r a. U is gold. A G is silver and see was copper. So I thought that becoming need to have those aspirated elements or even switch these around so that she have a G here than he had the 47 here. So that might be because that's how it's displayed on the periodic table so each product could have. This is kind of their main label. That'd be like a really cool branding idea. We're gonna switch those around, and I can go ahead and start. Think about the package design I already have. Grady. It's they can pull from. We have a couple little ways we can have a logo in the background. I thought it be neat to kind of have this box is kind of an element, but also make a copy of it and make it a lot lighter in color so that we could have it as a background element so they could kind of have something to use on a lighter background. And they could have these. Once I get all that kind of set up, you could probably continue develop this further. But just for the sake of time and kind of get this project going, we're gonna go ahead and open up a new document. We're gonna create our lotion. They're gonna be ableto apply our lotion to a three D mock up so that we can use that and our ad designs and our social media designs that will develop after we create our product labels in our product package design 10. Lesson8 PackageDesign Setup: e was able to go ahead and extend this to a dark background as well. So now we have all of our elements that are adaptable, just like the logo to white background. Dark background also adapted the Grady INTs and also did the solid colors as well to give people as many options as possible, not only to approve the concept, but also we're already having approve concept and we're sending files. We want to have a much they never need to come back to you for a file. You never want to be a file manager is a designer. You want to be able to give them so much that they don't have to come back and say, Do you have this? And blue, Do you have this in a solid color? Then everything possible? So let's go ahead and open up a new document. We're going to go ahead and start our lotion package designed, so we're going to stick with a 8.5 by 11 document. We're gonna have no bleed. We're not gonna need bleed for this. Go ahead and create more do. This isn't a new document and call it package. Decide we're gonna put all three out here readable export. These is J Peg. So we can create Our three D models were also thinking about the package design file that we're gonna send off. We'll talk about that to the final package design and what we need to do to make that, uh, great for the printer that we're gonna be sitting into in terms of finding the size of a lotion bottle. You can go and find a package that you like that you think would look really cool as a package design. Sometimes clients already have the, um, the package chosen. They already have the bottle chosen because they have to have a certain amount of ounces or whatever size or measurement they use. They're gonna have that already picked for you. So they're gonna have a manufacturer that has worked with them, and you're gonna ask for the ad sizes. And they are the sizes, the measurements, and you're gonna be ableto go file and do your documents set up a go ahead and add it. The sizes toe what it needs to be. And so, as you know, lotion bottles are not flat. They have a backside they go all the way around. So when you do a design an illustrator, you're gonna do the front and the back all is one big long unit. So you gonna probably have it about this is gonna be the size of the bottle right about here. That's probably be the front side of the bottle, but we're gonna double it. We're gonna double it because it needs to wrap around the backside and you gotta have the ingredients and and all all the labels and the barcode eso really divide this in half. This is gonna be our front area that we're gonna be able to design. So just for my I'm gonna divide this in half. And really, for the sake of developing a three d bottle, we really just need the front because I don't think we're gonna be rotating the back in the bottle. But just wanting to show you the process of doing it. If this was gonna be the final product to send off to a printer, so this will be our backside. This will be your front side. So we have a lot of our elements together here. We can borrow a lot of these, and I thought I'd be need to have a go ahead and grab these, I think would be neat. Weaken. Try different colors of packages package designed. But what I find what I've done. Retail package designs that lighter colors seem to really grab people's attention more than darker colors. It's not always, Ah, that's not always the case, but I've noticed that lighter, wider backgrounds really help. And so we want to have nice high contrast. Grab your attention type of bottle and we want to continue that very simple, simple, simple, contemporary clean look so simple. Not a lot of elements flying around. Not a lot of textures. Just a few simple, only the bare necessities on this. So I'm gonna go and paste our little, uh, periodic table elements and go and bring over a few of these graphical elements over and see how we can adapt that. Let's go ahead and grab our logo. We're gonna wanna have our logo on both, uh, light and dark. Go ahead, grab of those. So I'm just kind of copying, pasting over elements that I think I'm gonna need, So we definitely need the logo that's up that's an absolute necessity. So, uh, we're gonna have this on. We're gonna have it be white, nice white backgrounds. We're gonna use our darker color and we want to make it a nice size. And here's what I'm gonna do. I'm gonna go ahead and do a document set up. I'm gonna create our board and not worry about the back at this time, so that kind of focus on the front, but we're gonna know that the backs gonna be there, but we're not gonna let it bother us too much. Also, I'd like to have a bar of radiant color. It's going grab ingredient color. Never a little Grady in year, I thought that would be needed. Little element. And they got Remember, with package design, you could do different colored inks, so they're spoil stamping, which kind of gives it a nice shine. Looks like it's, ah, kind of a metallic, which we might use. That's That's expensive, though, so you have to think about the cost of gold foil or silver foil stamping. There's also spot color, which she could not kind of highlight one color and make it shine ear than the rest. There's Pantone colors that come and metallics that you can choose and there's would be spot colors. That's an additional link cost, so it's a little more expensive, but it's worth it for product. Maybe have this gold bar along the bottom. You could make that pick out a Pantone color that's a beautiful metallic, and it'll actually be a metallic with gold flecks in it and everything. So there's lots of different spot finishes. You can do our spot colors and that you could pick out with your printer. We can talk to them on the phone and see what it looks like printed out and they could send you a book, and you could pick out what metallic I think you like. Just talk about talk with the client through all this. It may be too expensive for them, um or not. So we're not gonna do any of that. We might do one little, uh, metallic color, and I'll show you how you get that ready for the printer 11. Lesson9 PackageDesign Layout: Okay, so right now we're just getting the package design done enough so we can create a three D model so we can create some advertising. So we get all this approved before we move on to actually getting the file prepped and ready to go. Okay, so we want the logo to be readable, but it doesn't have to be so large. It overwhelms the product name. So elemental is just the name of the brand that has this. So we could probably make having about this size. And there's gonna be some require information on your services. Nine fluid ounces. So those are things that we're gonna have to have all their You have to include that nine fluid ounces and we're gonna need to have in the name or the type of lotion product this is . So this is gold sparkled lotion. That's the name of type, explains the product. And that is pretty much all we knew it all. The kind of details on the ingredients and all that stuff that can all be on the back. This could be a stripped down and basic as possible to go with oral elemental fee. So let's go ahead and start with, we can do Let's do gold first. It's kind of the mainstay of this brand, so I thought I'd be need to kind of have this as the Lt Element as kind of the main product . Simple instead of putting the low because it's not called elemental, it's called Gold Sparkle lotion. And so elemental is just the name of the company. So I thought it would be neat to kind of play with periodic table this way, since we didn't just do it for the elemental brand. We decided it didn't work, but I think it could work on a product because it could be a lot bigger and it could be more of a design element. So let's bring it out here, and we have this type choice that we chose already called Avenir. It's a really nice what we use for elemental brand. Let's continue to use the same part choices, so I'm just gonna make that. Then let's continue to use the same spacing so that my character panel, I believe I had a negative 25 track it, so just tighten the spacing, but not too much, so that would be neat. You know, since we have this kind of branded elements that are up and down, let's take the product name and make it vertical as well just to kind of shake it up a little bit. We're gonna go ahead and drag this up a little bit and go ahead and rotate that. I was gonna go to object Transform. I'm gonna rotate, is rotating at 90 degrees. I just thought that would be a really neat idea. Also, you have kind of a long product and it kind of stretches out and makes it We only have three or four things here, so we really got a kind of stretch out our design a little bit. So I thought having that vertical would make it less busy. But also fill out our space would make it more balanced. So now we have Avenir. Let's go ahead and make this nine fluid ounces. We don't have to make this a bold wait. We could make it a lightweight this long. Is this readable? Illegible when printed. It's going to make this pretty small. We don't worry about sizes as much here because this is just a mock up. You know we don't have the final specs or the ad. Are the sizing specs from the printer yet? So we're still in the concept where we need to pitch this to the client first before we send this off to the printer. So we're still in concept mode. We don't have to be quiet as an exact on sizes, which is nice because it leaves you room to be creative. You don't have to go. Oh, I can't do that. Size. All right, so nine fluid ounces. What we want to do is I probably would have nine fluid ounces below the name Elemental needs to stand on its own. Maybe a tiny bit bigger, right? I want it to be read one of three D product models to, so we might need to go back and a justice sizes after we start to apply it to our three d markup. And you know what? We need to have a little bar. You know, we've been We have this theme here in our brands. Will bar area. I thought it'd be neat to grab that. Go ahead on group and copy and paste. I thought we need to have an element like that in our design. So I just rotated at 90 degrees and we could make it bigger. Could be like a little dividing bar that separates the name and the fluid ounces. So see, ads kind of an element, but also plays with the logo that we made. We could make sure all these air space we can go ahead. Toddler grid. So do command and quotation. If you ever wanted to kind of line everything up and you could go to documents, set up and edit your art boards, go ahead, line everything up. So you have the same amount of bars here, so three and three once again, sizes don't matter quite as much at this stage of the concept process. So now that I have three little bars here and three bars here, the grid, everything's kind of even so I can kind of line everything up. How, like line it up along there, maybe kind of zoom in so I can kind of see what I'm doing. It's gonna group that back together, and I'm already seeing some opportunities. Make sure they're saying about a squares 1234568 and then 12345678 Perfect. So the tail into that in the tail end of that and I'm seeing some opportunities already to do some spots. Um, nice metallic finishes on the product, Some nice metallic inks. I thought we need to make that metallic this little bar of elemental. So that would actually be gold soap maker headedness. Adopt some of that just just concept mood. Right. So that would kind of be a shiny metallic. The same thing with this bar, and we don't have too much, so I got to be careful. You know what, too much gold put in an expensive The more of these little metallic inks gold foil standing you do, the more expensive your product gets to print. Right? So let's go and line up our box here because that's too over and two over, So that's pretty close. Close enough for concept. So now I got to get an idea for balance. So I got to do command quotation, toggle that off. We go ahead and save our product. I'm really liking it. I think the balance needs to be tweaked a little bit. We're gonna do that right now. Okay, so let's play with the balance. So we have this little au symbol. I believe when you have good balance and design, you don't have everything the same size. Because if you have everything the same size, there's no hierarchy or order to things usually have something that's a little larger. That's really important. And the smaller get, the less important that item is. So I feel like this is probably the most important part is kind of our main little branded symbol. So I'm gonna go ahead and make that a little bigger. And since I have this little box, it's still I've never outlined the path on this. So when I make this bigger, it gets smaller. And when I make it smaller, Nick, it's thicker. So I'm just gonna outline the path, since I'm already happy with the stroke on that. So I'm just gonna go to object path. I'm gonna outline the stroke, so now it's an object. It's no longer a stroke. So now I'm gonna be able to group this together and make it bigger without any issues. Let's go ahead and toggle our grid back on. Let's make that two squares bigger all the way around. Okay, toggle it off. And now we could make this product a little bit. Product name? A little smaller. So now it has a little bit more balance. A little bit more hierarchy. Okay, so I think I'm pretty happy with that before I make the other two. I'm gonna go ahead and test this out to see how it looks. Because I don't want to go through the process of creating the other two versions and end up wanting to go back and tweak them. And then I got a tweet Kamal going export this as a let's see if I can't export it as a J. Paige exporting another J peg, I'm gonna go ahead and pop in tow. Ah, program called Adobe Dimensions. And we're gonna be able to apply this to a mock up 12. Lesson10 PackageDesign AdobeDimensionsOverview: Ah, a program called Adobe Dimensions and you have access to the adobe creative cloud. You should have access to this program. I wanted to show you this program because I think it's a really powerful mock up editor. We can go ahead and apply. Ah, the J peg we just exported of our lotion designed the front of it will be able to apply to a product and spin it around and apply the right lighting that we want to it. Ah, you can also download a photo shop, mock up of a product and apply it there so you can use it for advertising. But the only problem with photo shot mock ups is you don't have that three D environment where you can change it. Exactly how you like your usually only given one option. So that's why I love about adobe dimensions that gives it gives you that total three D access. So what we're gonna do is I just opened up a new document. This is above just adobe dimensions, and I'm going to go down to the thing that says starter assets right here. Sisters, they're just open the program, so this should be your default view. I met starter assets and I want to go down. We have a lotion that we want to apply a graphic tube. So we have a little lotion you can actually go in, download new assets. You could search for assets that there's one that you want to purchase for a product that has this particular shape. It's gonna go ahead and drag it in here to drag it pretty close. And this pop it in here, this loading. So here's our little product. Wouldn't go ahead and start toe find the right position for it in our little three D environment on. So over here, there's kind of two ways to control. And it took me a long time to kind of figure this out because working in a three D environment could be overwhelming because you have to think about all these planes going on . So up here up top, these kind of options appear. Move the product around the three D space. So I have my little arrow key here by selecting move tool Mabel to move it in the distance and up close. Um, and right here this is rotate for this is select and rotate, and I'm able to rotate it along. And you could see how the lighting sources to the upper right. And as I move it, you can actually see how it impacts the light source. No light source impacts the product, which is really cools. It could select you notice he had this little glow. This will three D globe. They're gonna be able to move things forward. We're gonna be able to move things right left. And there's three different options to Comptel to go back and forth pretty much moving in any street e space you'd like. So that is the rotate tool. So let's say I want to change the camera with a zoom in more on this. We're going to go down to these options down here, So I'm gonna go down here to Dolly Tool. So this is gonna be our camera. It's our view, will be able to zoom in on the product right about there, and this will be kind of a right left. So if I want to bring it down right here, and it's gonna be kind of a rotate go all the way around the product. So if you want to show the back off At some point when we do the back design for our little lotion product? We could do that. Um, you could actually do a top down view of your product or really kind of dramatic view if you go up top. But we want a straight on view because we're going to use this for developing advertising. We would have a nice straight year of the product. All right, so I'm going to maybe tilt it down a little bit, so it's gonna go up here to select and move. I'm just gonna tilt it, kind of bring it forward, And I'm gonna go ahead and select my select and rotate to We're gonna be ableto bring it down. So I'm just gonna bring it up right a little bit, so it doesn't look like it's spending backwards. We could also change. So this is the squeeze tube. So you can't layers just like you do with any other adobe product. And this is where you can go ahead and choose the product. So Ah, this is the body. So you can have the body here Could actually move these independently. We wanted to, but you don't really need Teoh. But when you go ahead and select body, you're gonna be able to apply materials. So all I did was I selected my squeeze tube and I have some sub kind of layer options here are gonna go ahead and select body. You click on this little arrow over here, not gonna be able to change the material. So what I want to do is I would go ahead and click down to this place a graphic on model, and we're gonna place the J peg that I saved of our little product design. Right Here's to J pad. Go ahead and bring that in. So that brings it in is a smaller size. That's okay. It's gonna go ahead and click hold down shift to go back the whole downshift, and I'm gonna be able to drag it to the It's gonna be able to scale dimensionally. You go ahead and apply it to the product so I can already see here that I might have a little bit of an issue with our little symbol appear being too high. So I'm just gonna go back. And this is why you always pop your design in and kind of see how it looks on the product cause you might need to go back and adjusted a little bit. So I'm just gonna bring this symbol and everything down just a little bit. So it'll fit on the tube a little better. I'm just popping in, illustrator. And I'm gonna go ahead and bring all that down Just a couple notches. Kind of tighten the spacing between these elements. Just so this has a chance to be down a little further? Not much. Just like that. Go ahead and save that as a J pack your export it so file export as exporting out of the J peg. So I'm just adobe illustrator with that. Okay, so now I'm gonna delete some back into the squeeze to go toe body. And now, here's the graphic we applied. Just gonna delete, and we're gonna add a new one to go back in here, go down to this little of place graphic card model, and let's try again. Okay. Once again, I get a hold down shift and scale it. And that fits on a little better then. Yes, I don't have a little bit of that gold here. I've also got to make this lid gold out of the bottom, so we're gonna just lighting in a bit. But we're gonna go ahead and get all of our textures loaded on. So I have her texture for the main body. But let's add it a gold texture for our tube, because right now it's just white. We're gonna go ahead and take My, uh, tools were camera tool so I could just get a better angle here, So I'm right down here. This is this is kind of how you control the camera view and up. Here's how you control where the product lies. So kind of getting you play around with that because it could be a little tricky, kind of mastering the difference between moving the camera and the difference between moving the actual product s. So I'm really happy with kind of how that looks, so let's go ahead and do the lid. So I'm right here on the squeeze tube in my layering area, and I couldn't go down toe lid, so this is going to be the lid of the product. Gonna do the same thing. I'm gonna add a texture. I have a texture that you can download and the resource guide or in the project area of the class. You'll be able to get that file. It's gonna be called gold Medal final. J. Paige, go ahead and provide that for you. It's a custom texture I made. That's gold. Okay, so you kind of double click this I lighted this little graphic is gonna be a gold layer. Gonna go ahead and make sure this is selected the selected move tool. It's gonna give me my controls and it hold down, shift and scale this along the bottom two. Head press enter. We also want to change the bottom of the tube. So we're gonna go toe lid and let's see if we can't change the lid material or the base color. We can put an image, put our same gold image there. So let's left a file and let's select our old image, which is gonna be down here Gold medal final. Pop that in there, too. If it's applied the gold to the bottom, you could also just do a solid color. We wanted to get her eyedropper tool and sample or color here so it's a solid color, which might actually look really good. So let's do that. Um, go ahead and click on our texture. See how that looks. Go into the squeeze tube the lid and going to our graphic here and delete that texture. See what a solid color looks like. Didn't quite have the same metallic grab as I was hoping it would. Let's do base color. So what we could do? Is there some options down here in the Properties panel right here? And we're gonna be able to change the shine of this, uh, the lid. So see, this little area, says Metallic, We're gonna increase that at a metallic shine and also glow so good a player on with both of those to see if we can't get that to be shiny. Er, okay, so maybe we like the gold color you to shine. I think in the end, not shiny enough needs to be a little bit more metallic. That's by adding a texture on these air space so important. So let's add our little gold texture back on there. But what we could do is just like layers and photo shop or illustrators going let this on, go ahead and click on our layer and get it to load over top. What we could do also is reduced the opacity on this texture, so I have my little gold texture. It's gonna reduce the capacities. It's not quietus strong compared to the other elements of the tube. We're gonna add a little metallic to our texture. Here. You could add roughness to it. If you want our decrease that make it smooth, we're having a little roughness. Looks nice. Do you see a pastie? Maybe it's not a strong with it stronger, that'll reduce the passes it blends in with that core color. Underneath there's our lid and there's our product. So let's talk about the environment. So right here this is where we were and are squeezed to when we double clicked and we had the body that we added the texture. We added the texture on lid. But now let's talk about environment. So let's click on environment and so we can do a couple things. Here. We can change the intensity of the light, make it really bright, or make it really dark. So I need to find out something that's not gonna wash out the product where I can't be ableto see it because we're using this on advertisement, this product image. So that's my favorite part. So this is rotation is able to rotate the light source and find out what we like. So I kind of like it right here. I don't want that highlight to cover up my product name, but I like it as an accent, so I could neither do that here, or I could do it right here. It depends on if I want the light to catch on the left or the right. Let's go and do the right side. We could have it catch on both sides. Notice how it's adding some dimension of the left and the right. We could add the intensity so it doesn't look washed out To play around with this and get the right lighting for your product. I like how the gold bounces off on the texture there. Okay, so there's that product so we could play around with camera a little bit, so your camera field of you consume out. You can zoom in. I like to zoom in quite a bit, just so when I export this, it'll be a nice, close up, high resolution image. It could also go back over here and change kind of the angle of her product if you wanted to have a go up, down all around. But I like it sitting right on the ground, moving anywhere around what's really needed. When you start to add multiple products, it gets to be really far. So that's how we added our little lotion bottle. I think we're done with this one pretty happy with it. And we can go ahead and add or other to now and start to have all three products out there so we could start to get some really cool images for advertisement and other social media graphics, okay? 13. Lesson11 PackageDesign WorkingWithMultipleObjects: I wanted to share it with you guys. One little thing in the dhobi dimensions. So we're nearing the starter Assets area right here on the left. You could scroll down. It could drag any of these assets. So there's bags that make up products. There's lotions. There's T shirts you could really adapt anything you'd like using adobe dimensions. It's pretty neat. We're gonna end up adapting some of these shapes for our brand elements. We're gonna do that in a little bit later date. But I wanted to kind of show you These are the materials you can apply to a product. So if I wanted to select by lid here, you can actually drag this gold color on top and add a gold color. Work it add brass. You can really add anything you like. So maybe this little rough it is damage gold right there. And they could not decrease the opacity or not the capacity but the metallic value. So I just wanted to kind of show you some other options. He could dio Okay, so that's what we had before, and you could go down further and there's some different lighting effects, different environment lighting's. So if one a studio low key to drag that in, it's gonna change the lighting on the product a little bit. Same thing. This is a soft studio warm. I was gonna have warm light tones to it. Uh, this is a different type, really Do some cool things here, but since we're gonna be putting our product on kind of a white generic background, we're gonna go back to how we were. But I just wanted to kind of explore ways you could drag and drop different materials, different lighting effects. So pretty fun stuff. That's what we had before. Let's go ahead and get ready to adapt our other ones. Eso I have are layer here. Go ahead and have squeeze tube. We're going to duplicate this layer, so we're gonna go down here to actions and duplicate it. We're gonna create our copper in our silver versions of our product. We might need to zoom out. So now we have this other one selected. So squeezed tubes of this could be gold. Now we need the title of our layers. This could be cobs to silver. Next, go ahead and grab our move. Tool must move that over. And this is where adobe Dimensions really shines. So now I can move this product relative to the other product so I can have them stacked or layered. I can even have this one off to the side. All right, so let's go ahead and bring our other one in. So gonna go in, Adobe Illustrator. I'm gonna go file documents set up. I'm gonna be creating our other one's gonna duplicate my layer here, and this is gonna be silver. So what I'm gonna do is I'm gonna copy and paste this in there, but change everything up. So I got to get our silver little texture here. I also go to switch this out. This could be silver sparkle, blue Ocean And keep everything saying we're gonna go ahead and export this. It's a J peg. But now I can go back to Adobe Dimensions, resume in on this one, go ahead and grab our count camera shifting tool Kind of move it over a little bit. And so now I'm going to select silver and do the same thing I did with gold. Go ahead and to the body. I am going to go to click more and go ahead and add our material. You also noticed something when a zoom in right here in this area that the texture gets cut off right there. So I want to be able to kind of shift this around and try out different things. So I need that little lying toe stretch over the side. Eventually, we're gonna need a back design to our product. So the only the only thing I gotta do is it will get a document set up. Names could extend both, is out just a little bit so that I have a little bit more texture I can use to wrap around . That's just this element. If I didn't have this element that wrapped around, I wouldn't need to do this. Let's pop into adobe dimensions and let's click on our silver. I think I have these opposite. Let's make that gold make the front won gold and the side won silver. We're going to select our body at her texture on top, had a texture. All rights could hold down shift and drag that try to match the other ones as best as we can. Okay, and we also want to replace this one. Let's go to gold body. It's going to leave the graphic we already have on top. Let's add it back in the body at a new one that we just adjusted and go ahead and stretch that. So go ahead and use this twist and rotate kind of tool. We could see how it wraps a little bit more around the product, so it gives me a little bit more flexibility. So now with the silver, let's go ahead and edit the lid. So go ahead and take the lid of this and we're gonna go ahead and delete that graphic and let's see if we can't add, this will be a good chance to practice. So we have our lead selected and let's go down to a metallic texture. So let's find a really cool silver right here. It's drag it down to the lid, and we have a couple of silver options aluminum that might look a little bit more like the silver we want, though. That's great. So I just dragging aluminum over there and I'm gonna go down down here and see how it has metallic in my properties panel. I was gonna reduce the metallic a little bit. So there is silver. That was a lot quicker. So now we're gonna go ahead and add in copper. So let me go ahead, duplicate this and go ahead and take our move tool, Slide it over. Have it be kind of the same thing, but on the other side. And notice how the products overlap. So this would be a perfect product presentation if I wanted to present all three graphics for an advertisement. Okay. And we could even twist that a little bit so we can take this. Twist it a little bit to the side. So you have this one twisted the left that one slightly twisted to the right, And then we have the gold in the front getting the right placement here. Right? So now we need to switch this out with our copper. I could just duplicate that. I'm gonna go ahead and do the copper and bring that right in 14. Lesson12 PackageDesign RenderingFiles: last but not least, let's do our copper version. So I'm gonna go ahead and get my tool like, and I can move the camera a little bit to help me out. It's gonna shift over here, try to get it to match everybody's see if we can't find a cool texture for our copper down here, we're gonna goto lid and let's go ahead and see. Oh, they have a copper. How nice. Ah, beautiful. We're gonna go down in my properties. Just something's translucence. We don't really need that. Let's see. Metallic may be reduced of metallic properties. Like it up a little bit. Beautiful. Twist that around. So I'm just gonna get my rotate tool, twist that around a little bit more, and then I'm gonna need to edit the texture a little bit. Just kind of drag it more in the center miniature that's aligned with the lid. So now comes the fun part. We get rotated, see what looks cool. So you go ahead, get my camera tool, gonna move this around a little bit, Get the right angle. Disliked my orbit tool, be able to orbit. Look out. Cool. This is I love this program. Look at all these neat product shots we can get for our advertisement. So let's kind of do a straight on that could do a couple other ones as well. Let me rotate that a little bit more. So I get a slept copper. I'm gonna get my rotate selected Rotate tool. Take that a little bit to the right. So it kind of matches the silver one. Great. So this is exactly what I want my product shot toe look like for client presentation. So what I can do is and go to render. That's up here. So you have design here and renders appear. So let's click on Render. It's going to take a couple of minutes because it's a very processor intense application. I was gonna take a while to come together, but it's gonna pop up with a preview. You're in a few moments of what our render print preview will be. Go ahead and render. It's gonna be able to export as a Photoshopped file or a PNG. So right now it is rendering, and what I'd like to do is when I before I press the render button, I'll go ahead and set it toe medium quality. So I have this other medium quality, and I like to check both PSD. So it's Photoshopped file and a PNG to give me more against options to be able to use files that is going to click on both for the formats and I do medium quality. You could do a low quality, but it seems to have a graininess to it. In a high quality. You could do a high quality render, but depending on the product, it could really it could take up to an hour to render it. So. That's why I kind of go right in the middle and do a medium quality. So it's it's gonna take a while to go ahead and render that already have one that was already completed. This is a little bit of an update. I did get a double click of the P and G kind of see how everything looks. And sometimes when you do a render, you'll find that, uh, there's a certain quality to it that you want to change the like, this copper. I want to maybe change how it shines. And it doesn't always look that way on the preview. So when you render it, you'll find out that it has a little bit of differences. You go go back to your original file and tweak it, but I'm gonna go ahead and open up the photo shop file, Go and get our file or her photo ready for presentation for an ad. Go ahead and zoom in and take a look. I really like the reflections. That's great. If you wanted Toe ADM or Reflections, go back into dimensions and change the camera angle and zoom out a little bit more if you wanted to. So I'm just gonna toggle off this background color layer. We don't need that anymore. Look ahead. Drag this over so you can see a little bit more of my document. Alright, some toddling off the background color and I just have all a transparent background. So I'm gonna go ahead and export this as our save it as a PNG, and I'm gonna just call this all products. We're gonna do an ad that features all three products. We're also gonna do one that features just one at a time and do a specialty ad. We're gonna pop into Adobe Illustrator and we're gonna be able to use this asset in this photo and a ad layout 15. Lesson13 ProductDesign Backside Part1: So now that we complete is the front of the product, we need to do the back. So we're gonna go ahead and do that in this lesson, and we're also gonna be able to export it and get it ready for the printer. So we create our three D models already, and that's been great. We haven't needed to twist it around to the back side. But let's say we do for a website or we want to present the back to a client and we need obviously have a back to our product. I am going double the size of my art board, kind of See some things I've already been doing here. It's like that over. I was gonna be doubling the size since gonna edit our boards and then w. And this is an arbitrary size. Right now you'll be able to get those sizes from the printer. Whoever's gonna be manufacturing the bottles. So what I want to do is I'm extend my copper Grady in all the way across. And if I need to adjust this and add a little bit more radiation, I can go ahead and do that. We're going to spring my Grady in panel over. And I got to spend some time maybe adding a few more Grady in points so I could make it even on both the left and the right side. Okay, so now that kind of have a little bit work Radiation streaks across that match, the front in the back, that part is done. So really, we just need to work on this back area and let's go ahead and get some guides here. I need to find out what my exact center point is here. So I'm just gonna take a moment to go ahead and get that center point. So I know I could go ahead and the line my back perfectly. So I found my absolute center, and I went ahead into the line. So if you kind of know how to even this out a little bit with spacing, so I'm just gonna even that out. And this is where we can toggle on that grid. I was gonna do command quotation and go to go to edit art boards and see if I can't move this. So we have the same amount of boxes on each side, so let's see we have three. And the reason we might have to do to There we go. So notice how I shifted out of two boxes here and I have two boxes on the other side. So now I know the grid is even now I can align this a little bit better. So I the reason I came up with kind of this little box layout as I studied the back of lotion bottles and actually grabbed a couple of lotion bottles from my own bathroom and took a look. See what was on the back? What kind of necessary informations on the back? So just kind of did a little product research to kind of see what other package design people were placing on the back. And you could do this. You may not being may not be doing a lotion bottle for your brand packaging. You may not even have a product. You might have a service. But if you do have a product, just take studying what your competitors does go to a big box retailer like a target or a Wal Mart or whatever you guys having to study the package designed to see kind of what this essential items will be most of the time. If you're doing this for a client, they're gonna provide you with the barcode and all that information. You just need to make it look fantastic. So that's your job as a designer. So I have a little barcode tonight, provided and the resource guide the resource guide Right up here. I have this available for download right here. Barcode graphic. So you'll be able to get that at this website, And I already have that loaded. Just kind of helps you have something to work with if you are working with, ah, product that needs a barcode. So I'm just gonna pay set into our document and think about barcodes is you have to have quite a bit of empty space around it, because if the scanner could mess up, if there's something really close by. So I like to have lots of white space, and I like to put it a swine of a background as possible. So in this case, I'm gonna go ahead and have it down here in terms of sizing. It's amazing what you can get away with in terms of size and its ability to continue to scan. You can't have it this size. It's gonna have trouble scanning, but you can get away with a little bit of a smaller size. Don't feel like you have toe have this gigantic barcode. And that's another thing with product testing. If your toe do a test print of the product, make sure it's scans. Um, that would be really important because I don't want to produce a product at all. Said the scanner doesn't work. Eso kind of providing the right size and a lot of times a client provides a bar code. It will be a specific size and you don't have to worry about re sizing it cause it's already in the final size. It needs to be. So it's kind of going over that a little bit. All right, so we want to arrange these items and we want to get the thought and the style close to our brand. So I'm gonna take a few minutes and make this our Avenir fought and then we're gonna work with Lay out just a little bit. We're not going to spend a ton of time with the back, but we're just gonna work this out so we can have a little bit more type hierarchy. So let's work out some of this type, so we have some really nice waits here. Let's start to bring this out on the front, some of this font weight and style to the back. So I'm just gonna take these headlines and we're gonna add a little bit of type hierarchy by making the headlines a bit bigger. We could do a right alignment, but since it's a pretty slender bottle, I'd like to maybe commit to a center alignment. Dems could do a center alignment, so simple ingredients, spectacular results that may have to be on two lines. Let's go and put a period after that. It's kind of a statement. Then we have warnings. So some of these do not to be need to be quite a big. So I'm gonna go ahead and ship some this warning item. Let's make that a lot smaller. We still need to have it be a specific size, depending on your country, but let's not have it be so large that it overwhelms, So I'm gonna go ahead and reduces down to 8.5. That's kind of my bare minimum that I like to have just tiding, uh, closing the spacing on that. It's making this not as apparent those warnings air good to know, but we don't need to have that be the number one thing so we can have these individual boxes to keep with our little elemental boxed fame and stroke. So we have our nice, simple ingredients. We could probably make this a lot smaller as well. So let's make this 10 and put some nice wide spacing there because we have a lot of room to breathe with this piece. So notice how that kind of made everything breathe and feel more natural and clean. So I thought this would be need for the top. Simple ingredients, spectacular results and perhaps uses and warnings could be in the same area was good. Make that the same pot weight, size and style. Let's move our ingredient list up to the top. Let's keep our warnings and our uses right here. Now we're just doing blocking, which we're finding our home. We may not need to block the ingredients, keeping it open it open and clean. Maybe having three boxes is too much. Maybe just warnings need to be boxed, but we'll see two spectacular ingredients and I probably to spell that correctly that was not even close to being spelled correctly. So I'm not sure what happened there. So simple ingredients and that will be a period. So I guess they'll be too simple ingredients, spectacular results. Okay, so we just need to check our grandma on that another time. And let's grab these elements in the front and incorporate them on the back for consistency . So I have that little copper bar, and that could help space out to text elements with a little graphic element. Um, OK, so this warning and uses maybe we could make this either a thicker stroke or thinner stroke . So what if we made a thin stroke and I don't think we're gonna need a box here? So uses Let's go and have uses here. We can even duplicate his hold down option and drag. Get a second dividing bar here, and then warnings may need to be in its own box, depending on what the package rules. What the FDA requires courses in the United States. You might have your own governing body that determines how big warnings need to be. But I think I have snap to grid on. I'm just turning that off so I could have a little bit more minute control over items we don't need to make. It is wide. We could also make this a lighter grey. So don't stand out. Yes, the warnings. We've got a little smaller right here. And then we have our barcode and our website. So let's go ahead and put our barcode here with our website at the very bottom. That's usually standard. And let's get our same type face here. Elemental lotion. Let's make it 18 points in size. When they make it a little bit smaller, we can have a good idea of what this is gonna look like based on what we're seeing now, it's always nice to put it on a mock up to kind of see how it looks on the actual product. So we may decide to remove that box or it may decide toe wrap it around. We don't know. So let's give it a shot I'm gonna export. This is a J. Paige, and I'm gonna bring it into dimensions to kind of see how you like the layout to see if I need to tweak it 16. Lesson14 ProductDesign BackSide TestingItOut: before I do that, I noticed. I also need to make sure elements are aligned on the left side and the right side so I can go and talk. Oh, my grid. And you'll notice that the elemental lotion down here on the bottom I would love these tow line up a little better. So I'm gonna drag that up a little bit or drag this down to match that alignment. So your straw little line here to get the bottom of the elemental. I could just make that a stroke. Just make sure this is pushed up and rest on that same baseline. So we have some kind of continuity. Alignment wise. I would love it if he's aligned as well. And we may have to, because that might be where the product comes up. We may not have the room, so let me test that out really quickly. Go ahead and remove these elements and export as a JPEG, or in this case, P and G. So adobe dimensions kind of does a funny thing. When I applied the front and back like you would send it to the printer and I posted on here, it can had a weird angle defect. So what I'm gonna do is I'm gonna duplicate this copper bottle going duplicated. What I did is I cropped and Adobe photo shop. I cropped it down to just one side, so I'm just gonna have two bottles showing the front and then the back showing the back wasn't able to get the label to go all the way across on one model. I'm not sure why I had troubles with that, but that's OK. That might be some limitation of the program. So I'm dragging this layer out, moving him over next door, bringing them forward to the right side by side. And I'm gonna go ahead and adjust my camera here and down here, using the camera, adjusting tools, and I'm just gonna flip one. I guess it can flip. Anyone just kind of turned it around. We're gonna place are back graphic on it. And it's just to give us an idea of what we think of our layout. It's got a body you remove. I couldn't keep that front graphic and have a second graphic on, so I'm gonna be adding the second graphic and I cropped it. So it's only just that one side's uncle didn't show you what I haven't hear photo shop. I just have this one side. I'm not doing both from side by side. That's what I need to send to the printer. But for this three d model, it's good to have two graphics, one for the front and then one for the back. So let me have a go ahead and put what that P and G waas with back and go ahead and adjust the size hold down shift so it scales dimensionally. And so I'm already seeing the concern that I had where the top of the product is going to go to the top. So I might need to give some more breathing room at the top for my layout because it's looking a little cramped. So now when I rotate this, I have both graphics long. Let's see how it looks. Looks pretty good. I have have to line this up a little bit, probably just need to drag this graphic down to get that to be perfect. Yeah, working in a three D space is not easy. That's close enough. Good enough for to create a little three D product render for our website, which is what the client wants. A little three D render. So now I can go into environment and change any of the intensity or the rotation. You're going to go render it and see what it looks like. So here's the final render and I This is why I love doing product mock ups because I can really test out the layout. And what I'm realizing is this is way too tight of a margin, so I'm gonna have to adjust my loud to make sure that that's not gonna be an issue with the manufacturer. So I'm gonna go back into Adobe Illustrator and kind of reduce or collapse some of the spacing between all these different areas to see if I can't reclaim a little bit of the top . Not a whole lot just bringing it down like so. And so let's say I'm ready. I want had improved all this. I'm ready to go make sure everything has a center alignment so it can always toggle or grid back on. We have a little central line that I created, so I know where the center is. We could just do kind of a center alignment to make sure everything is centered. And there's a same spacing here as there is at the end for the middle of the product design . So now we're able to go ahead and get this ready to send to the printer. So this is how you would have it would wrap all the way around the product. So we're gonna go ahead and do everything that we would do for all print projects. We're gonna create outlines. We're just gonna go to type, create outlines. If there's any paths we need to make sure we outline the stroke on our paths, we're just gonna go to object path and outline your strokes. So we outlined or strokes in her pass, and I think we're ready to go ahead and export it. We also want to verify that this isn't see him like a mode. So you goto file you go to document color mode. We can verify that it isn't seeing like a So he did everything that we need to do what he also make sure that this is the same think throughout this is all the same color, and we could just do that in Highlight our kettle black branded Keller that we've been using to make sure that is one Inc. And we're ready to export. We're gonna go ahead and go to file. We're gonna export this as and depending on the manufacturer specs. So they're gonna either request a bleed or not, and usually with product designs, they either supply you a template that you can put your design on and go ahead and save it and send it. Or they'll just give you a raw, live area size so live areas where the design will actually go on a product. And a lot of times that doesn't have bleed. Not always. It depends on what product you're getting done. So in this case, I'm not gonna do bleed because the manufacturer respects just gave me one big life size. Nope, No bleed. So I'm going to do a pdf. So let me go back and go ahead and save as pdf. So go ahead and do a paint. Pdf were to depress, ready, always do press ready. When we're sending it out, we're gonna unchecked preserve illustrator editing capabilities. It's just to keep the file size down. And we're not gonna add any bleed, so don't worry about that. Make sure we have our 300 p p i. R d p I for resolution and we're ready. We're gonna go ahead and save it. And I think the most important part of preparing a file like this is making sure you have it on one document. You have the front in the back. All is one sized file. Exactly how the printer requests it. So I'd send this off. They do a product test print for me, and they would send it to the client or myself, so we can kind of see how the colors are coming across. We can also decide to do this in them and the metallic PMS color, which we're gonna go over later in the class. How to make that a metallic ink and how to set that up. So the printer knows which metallic ink to use. So if we ever wanted to add a little sparkle or shine to a few of these elements, we're gonna go over how to do that a little bit later. So this was just kind of a simple, broad overview of how to do the backside and how to export that 17. Lesson15 AdDesign AdSpecs: Now it's time to develop an advertisement worth our ah beauty product. So I wanted to place it in the high End magazine. So I went ahead and found some ad specks, which is what's called the sizing of the different pages for the advertisement that you're gonna need to know So you can be able to create your document or create your advertisement so it's going to zoom and I'll show you a little bit. What add specs look like? So it's basically artwork specifications, and you can grab this from whoever the publisher is. You can always email the publisher or a client will sometimes have this on file. They'll send it to you. So this is kind of what of the sizes for a full page ad courses, a lot of different types of sizes. There's 2/3 of a page. There's 1/2 page. Where is on a lad? I've done pretty much all these sizes. What we're gonna do for this examples, we're gonna do a full page ad. We're gonna be Hempel. Zoom in and see how the set up the file. So there's a couple different sizes here. There's trim size, live area and bleed size. So what I like to do an illustrator is I like toe. Go ahead and create a document that is the trim size. So in this case it's 10 inches by 13 inches, so 10 inches wide by 13 inches tall. And then I like to add the bleed sides outside of that. And so the bleed sizes what's gonna be trimmed off after its printed? So the bleed size is really just for the printer and having extra artwork bleed outside of it. And then it's trimmed to the trend size, which is your final size. The live area is this little area right here, and this is where you don't wanna have any text outside of that boundary. So between this, this little red area between the bleed and the safety area, you don't want to have any text, and so you'll be able to incentive me going over it kind of abstractly. Let's go ahead and die then, and I'll show you what I need. So it's going to open up a new document, an illustrator, and we're gonna go back to our tuggle or add specs. So 10 inches by 13 inches and that is the trim size. So let's go ahead and open a document that's 10 by 13. Okay, and we have a bleed. So let's see how much are bleed is so we want to add lead to the documents of what is the bleed size that the bleed sizes 2.5 inches by 13.5 inches. So it's 1/2 of an inch of bleed. So we're gonna go ahead and open up our document again. We're gonna add 1/2 an inch of lead. That's where it can feel a little bit complicated. So to take some time to kind of get used to this so you notice there's 1/2 of inch bleed here that would be added to the document, which is the difference between the trim size and the, uh, the bleed size. So there's 1/2. Eventually would think you would go into illustrator and do 1/2 inch all the way around. But here's the thing. Um, this is together, so you have left and right sides put together as a whole inch bleed. Same thing with the top of the bottom. He had those together. That's that's a full edge, so we really just need 1/2 inch all the way around. So to do that, we're actually going to make it. Ah, quarter of image. So if we do 1/4 of an inch top and bottom put together, that's 1/2 inch all the way around. Let's go ahead and click on Create. That sounds really complicated. It is. So I did kind of Ah, 1/4 of an inch to be able to get, um, the size that had added here, which adds 1/2 an inch, which is divided by half because it's only wide so Anyway, that's incredibly complicated. I'm gonna put a document in. The classes, can kind of understand how to create believe. Okay, so here's our document, and we also have a safety which to me they actually give you the safety size. So which could also be called live area. It's a live area, and the safety line is they're very similar. They're interchangeable. Eso that's 9.5 by 12.5. So let's create a new document that's 9.5 in 12.5 created new doctor not and 1/2 and Well, that happened. Hopefully the publisher, not in all cases, they may go ahead and provide you a file that has the bleeding. All this set up for you, and you just put the design on. That would be the most ideal. But that's not always the case. Sometimes publishers just give you wrong numbers and they let you figure out the bleedin the safety. Okay, so I'm gonna go ahead and drag this in. This is our safety. So this is where we want to have objects and text cannot go outside of this black box. Go ahead, reduce the pill. So this whole area right here on the outside, we can't have any taxed. Even though it's gonna be trimmed to this area. You still can't have any in that little small text. So our documents pretty much set up and ready to go. We're ready to do our layout. That's gonna be eventually exported as a PdF. So let's get to the fun part and let's start a design 18. Lesson16 Adlayout LayoutandBlocking: I'm bringing in our PNG of our product, and sometimes you have to increase the resolution. So I'm actually going back into dimensions. And I went over to design Cancel that. But I wanted to design, and I changed the art board to be a little bit larger so it could have a better resolution . Eso could work on a really large print format. So I have the PNG brought in and we have all of our other design elements. We could go ahead and open up and bring those in this. Well, let's go ahead and open up our logo files. We'll be able to drag everything. And I'm not sure how I'm gonna lay out the ad yet, So I'm gonna bring in both of these. Gotta work in that company name at some point, but with the product to take the forefront, probably want to have a headline up top. Want to keep it clean and white background. So I thought to have a nice contract with the ad. We could have black at the bottom have our little logo down here at the bottom. It's some some kind of call to action, just kind of blocking out our design kind of seeing the basics that we'd like. So keep that down there, just in case we got some of our graphical elements we can use so we can have our little elemental going down the side. You know, this is when we really start to play around with his branded elements to see if there worthwhile or not. So I thought a couple things we could do. Let's go ahead to our headline. So let's pick a headline font. That's the same as what we've been using grabber type tool. All that glitters is gold, and we're gonna do our Avenir font. I haven't have a year. Let's do a nice heavy or I'm sorry Black All right, so it doesn't have to be our final headline. Let's go ahead and grab that, uh, do the eyedropper tool and get that low, that dark kettle black that we picked out earlier in their branding standards manual and so we could play around with the type here, let's go and bring in our color palette for a brand. So we have that available. You can see what it looks like if I highlight the golden here and bring out our branded gold color. You know what that could look like? You could do a lightweight make the gold gold to have contrast with our fault weight choices. This is a very basic clean ad, but I feel like it's missing something. What I would love to do is be able to show what it looks like when the lotion is rubbed on the skin. So I kind of have that big, deep gold kind of color, maybe a gold paint brush that goes across that kind of shows what it's like when it spread across the hand. So we're gonna need to head into photo shop for that one. To create a custom texture. You could basically be like a brush that brushes across, and we add a really good dynamic pop to this ad as well. So let's head over a photo shop and create some custom gold brushes 19. Lesson17 LayoutDesign Photoshop CustomBrushes: I'm in Adobe Photoshopped today and I'm gonna create some custom textures not only for our ad design, but for other branded assets. So when I create kind of a gold, copper and a silver kind of brushed painted kind of effect So I'm gonna do that. We're using a couple of different files so you'll be able to access this file in the resource guide. Its file free photo from pixels will be able to have that and use this however you please. And I have that opened here in a photo shop. And another thing I'm gonna need is I'm gonna need to download some brush brushes so you can actually download brushes and install them in the photo shop on. And I have one called dry brush and I get a pulse to provide a link to that and the resource guide so you can go ahead and download those. Or you can download any brushes that look close to this. It can google free Photoshopped brushes. Just make sure legally you're able to use that on. Um, if you're doing this for client work, if you own, you might have to purchase the brushes. If you're using it for paid work. But if you're doing it for practicing for fun, you can download these and not having issue with that, I'm gonna show you an example of what this looks like. I have this could create a new layer photo shop. Go ahead, paint that ons and kind of see how I have quite a wide variety of different brush textures to work with with this particular brush set. So I'm going to pick one, I think would be a nice, versatile brush. I think that will be number 10. So that's kind of what that looks like. So here's what we're going to do. I have a new layer. It's gonna be my gold brushstroke. I'm gonna make it fairly large. Maybe 2000 or 2200. I gotta go ahead. Just click once. I'm gonna make sure I have 100% opacity on, and it really doesn't matter the color, But let's go ahead and pick our gold base color. So picking a gold color that's not too orange but also not to gray. So I'm kind of in between gray and orange to kind of get the gold that we've been using prior. So I was gonna click once. Then there's a little brush texture. So what I'm gonna do is I'm gonna take my other layer here, and I'm just gonna reduce the size of this. Quite events would get nice, beautiful texture over this brush. Go ahead and press enter. Now, I want to go ahead and select this entire brush. So I'm gonna go get in my magic wand tool. We're gonna go ahead and click anywhere outside to select everything outside, and then we're just gonna reverse that selection. So instead of reversing everything outside were flipping it around and it looks like there's a little bit here. So what I want to do is make this brush a little smaller so that nothing is left out of the gold texture getting my quick selection tools. Go ahead, reverse. That selection is going to select select inverse. It can also do the keyboard shortcut there. And now I haven't selected, so I'm just gonna go down to my base texture layer call this texture and I'm just gonna copy and I'm gonna paste in place, go to add it at its special and paste in place or you could do the short keyboard shortcuts A boom. So now we have the layer that we created with the brush. We also have a texture layer on top. So now we have that cut out and we have our base layer, which we don't need anymore. So now we just need this. What I am going to do is create a new layer and just make it white. Just so I know kind of how the texture is gonna look on white just getting the paint bucket tool. So now I can get a better idea. So that looks pretty good, But I think we could modify it even further. So we want to get a little bit of a better vibrant gold. This is a little too vibrant. So we went to bring down the saturation so it looks less orange and a little bit more deep . Eso I'm gonna go up and I have my texture layer selected. I'm just gonna go to image and I'm just gonna just the saturation. So just go into hue and saturation. What's going and reduce that a little bit. See how it kind of brings out a similar goal that we've been working with and this is gonna be too bright, so just kind of reducing the saturation of tad. So that helps with that adjustment. I can also change the blending mode a little bit. So the texture and the one behind that we created blend together a little bit, so it doesn't look like it's just a cutout texture. We want to make this look as much like a brushstroke is possible. So I'm gonna play around with a few settings in the blending modes is to see if I can't find one that would blend nicely. That's overlay. I kind of see the brushstroke underneath the texture, which is nice. I think what I might do, IHS, see if I can't just reduce the capacity a little bit on this Or maybe try overlay, maybe soft light. So now what I want to do is I really want to sharpen this texture. So I'm just gonna go up and do a simple sharpen, so I'm gonna go to filter sharpen, sharpened more so you'll see kind of the difference. So that's before, and this is after. That kind of really adds a pop to that texture. Let's see if we can't do it again, might be too much. Yeah, a little too much, unless to sharpen once it's gonna go down to sharpen. If you wanted to sharpen Mauritz like using sharpened twice, sums could use the regular sharpen. Yeah, beautiful. So now we could go to our texture. We're texture layers on top, and we can get our dodge and burn tool, and we can add a little bit more dimension to the brush. Maybe add a little bit of a darker shadow down in the bottom. Play around with your shadows and highlights here that could also do the same thing and add a little shine using, uh, the Dodge tool to my feathered soft round brush, looking a little smaller when you add a little highlight shattered to this texture. So there's a brush texture that we could use throughout our branding elements as we create different elements, we could even use this for the Web design as kind of a little background texture. This is pretty high resolution, so I can feel free to use this arm larger items. That's not vector, which is what I would prefer, but not you can't always do textures and vector. It's possible, but it's always a little bit more difficult. So I'm just gonna crop this. I'm gonna create a few other brushes using some of the other brushes in that pack so I can have a couple of different brush options. And what's really need is next. We're gonna be able to very quickly changes to copper and silver so we could have all three metals that we can use for our flyer design. I sharpened this graphic a little bit more and even brought in another texture to kind of add a little more complex profile to this. I didn't modify it too much from the what we just did, but I want to provide. This is a downloadable resource. All the three once we're gonna create the copper, the silver and the gold so that if you wanted to go ahead and have this exact brush and go and have it, that looks exactly like this. So I wanted to kind of go through the process of changing this to silver and copper, using some image adjustments and voter shop. So the silver ones probably gonna be the easiest sort of do that when First we're just simply go up to image adjustments and we're gonna be saturate. And there we go. We have silver. We can also go up and go to brightness and contrast. I'm doing everything in the adjustments panel image adjustments. Do they go to our brightness and maybe provide a little pop there? We don't want it to be too dark Atmore contrast or less contrast, but I like the contrast out kind of provides to shine. There could be our silver so that was fairly easy. So copper is gonna be very similar to what we did before. Let's go ahead and go back to what we originally had, so I would go ahead and save. That is a PNG without the white background. And so for copper. I'm gonna go up to adjustments and see if I can't do something with color balance to bring out some of the copper color. So you think of copper. It's not quite as yellow as gold. It's got the red in there. We're gonna keep that in mind when we adjust. The color balance would be adding a little red and yellow. We're gonna go down to tone balance we're gonna change shadows, mid tones and highlights on this. So adding a little yellow, but adding a little red. So you kind of see the copper color coming out a little bit. That's starting to get two golds who were not to do quite as much yellow on high life, but at a little red. And so there is probably a pretty good copper color, I would say. And so there we go is fairly easy to create all that from our base gold brush. We were able to create the other two very easily. So I'm gonna go ahead and export all these is J pegs and make sure my white layer that I had has toggled off. I was gonna go save as and go ahead, export. All these is P and G's. But I also provided this as a downloadable resource. If you want to go and have these available to use, we're gonna pop back into Adobe Illustrator. I'm gonna do one more thing. I want to create a couple more textures, basically background textures doing the same method, but without the brush 20. Lesson18 AdLayout Photoshop CreatingBackgroundTextures: creating the next background texture is gonna be pretty easy, cause we're not gonna need to bring in any photos for this one. It's gonna get a file and open a new We're gonna have a fairly large because we want to be able to adapt this toe large format items if we needed to, we're going to do it. 2000 by 2000. Make sure the resolution is nice and high, maybe 300 resolution and everything else is pretty good. Sits, create. And we're gonna go ahead and get are kind of a base gold color. So I have this watch already picked out for our base gold color, which is what I use for the brush we created. Gonna get our paint bucket tool, create a new layer, then go ahead, make that gold. What we're gonna do is we're gonna add a little texture by adding grain to the document. We're gonna simply go up to filter goods, left your layer filter noise. We're gonna add a little noise and it doesn't take a whole lot of noise to make this effect happen. So sometimes I only do maybe 3% so just kind of depends. We're just adding a little noise. Maybe four. Okay. Okay. Kind of a base background gold. We could also take the Dodger burn tool that we could kind of modify that a little bit. Something will show you a little nondestructive editing technique really quickly. So I can apply Dodge and burn directly to the layer and kind of guests where I'd like the highlights. But let's say I think that's too strong. And, uh, like, I want to go back. I can't. I edited on the layer. I can't modify that at all. So I'm gonna go back in my history and show you a technique. I'm gonna create a new layer that's gonna be our dodge and burn layer. And we're gonna do our dodge and burn not on our original layer, but on a brand new layer so that we don't destroy uh, any of the original layer so you can always go back and edit our effects. So I have this dodge and burn layer select. Gonna go up to edit Phil, and we're gonna fill this. There's a little drop down many right here and contents. Where is gonna add a 50% gray So it's not black, It's not. White is right in the middle. 50% gray. We're gonna click, OK, And here's the trick. Gonna go ahead, pull out my layers panel. So this top five Dodge and burn later. I'm gonna go ahead and make that overlay. That's a blending. Modes of doing it overlay blending mood. So what I can do now is I could do dodge and burn on top of this layer and not affect the bottom layer so I can go in here ago. All right. I'm doing a whole bunch of crazy stuff with dodgy bird. We get burned. Tool, do something kind of crazy. I don't like that. So I could just toggle it off that I got my original layer or I could take the eraser tool Kind of cleaned it up a little bit. So let me go back and just add a little bit of shadows to our texture. Very big ones. Very big brush. And let's reduce the exposure a little bit. And I'm on shadows so I could kind of toggle that back and forth between shadows and highlights get the right effect. It's adding a little dimension, so It's not just a flat square, adding a little dimension to our texture. And we also want to do baby soon. Dodge really reduce exposure. We just want a little bit, little papa highlight and we can go back and see if we like highlights or the shadows brought out okay, so it could zoom in. That's a little gold texture there. And if we don't like any of the Dodger burn effects, we could talk all that off and we're done. So go up to edit Bill 50% and then you do your overlay blending mode. And he could do this with photo editing us. Well, so I teach a photo manipulation editing class. Might talk about nondestructive editing kind of a gold standard and editing. So you're not editing or destroying the original layer, but you're doing things on top of it, so you could easily modify it. So I'm gonna go ahead and create my other versions. So since I'm happy with this dodging bird and everything is great, we're gonna go ahead, merge these layers second right click emerge, or could do a little keyboard shortcut Command E and I gotta verged. I use that little keyboard shortcut A lot Command E. And so now I'm gonna create my silver version. So could do the same thing we did with the brushes. Adjustment de saturate. I got my silver, but I wanna maybe adjust that a little bit. I could make it darker, have, like a nice dark texture. I could kind of be our silver that we could use it as a background and then also copper. So let's go back and create copper. Say thing, we're good. Goto adjustments color Balasz and add a little red yellow and try to get a nice copper color. We could go back to our braving standards that we developed and go back and see if we can't match match that pretty well and we could actually drag this into Photoshopped to create our base color. So there's the actual swatch we use for our branding standards, and I could go ahead. And since this is up brought in from Illustrator, it becomes a vector smart object. So I'm not gonna be able to add a whole lot of effects. So I'm just gonna right click I'm gonna rast arises layer. So now I can go ahead and edit it and add the grain texture. So add noise and that I could go back in. I could do my whole Phil layer dodging bird layer dual that begin to add that effect two shadows like the little darker. But you could do that. Or you could do different shades because you may wanna have something a little shiny or like that, because this is just a flat color, you may want to bring in the maybe eyedropper tool example the copper color from the product we made. That's another option. So lots of ways you could try to get these textures to be nice. Okay, so I'm gonna go and export my brushes. Export my background textures. I'm ready to put together this ad. 21. Lesson19 AdLayout LayoutandBlocking Part2: So now comes a much more enjoyable part. It's putting all these pieces together and trying out different layouts, so I wouldn't haven't set up a few different things, including a website and a little call to action as well as I adjusted the headline. So show something a little bit different other than gold, since we're we're providing the whole suite of products and we don't want to just mention one of them. So the only lotion that shines eso let's continue to play around. We have some new textures we could add. We have this kind of darker texture that we could add instead of having the static solid color. We couldn't leave that behind here, just kind of finessing this a little bit. So that's before it will slide this out, and that's after. So I think the texture is a nice added little punch. We could even take this color, and we could scream this texture backs of Maybe it's not as strong, so you just go to transparency could have it out. I'm just reduce the transparency a little bit so kind of blended both of them together, like just using my keyboard shortcuts command in my brackets to move layers behind and forward. So left bracket and right bracket I'm holding down the command button left brings it down and the right brings it forward in the layering system. So it's a little shortcut trick. I do a lot. We'll be using a lot throughout the class, going zoom in so you can kind of see So it's not the super duper strong texture. It's blended to 50% so I think it gives a nice blend between that. It always talk with my grid system at any point in time. All right, so we have some essential information we need to work in here. We have a website and a call to action so the website would make sense to be in the bottom because that's where people are gonna expect to see it. So let's make it our off white color. And now we can kind of play around with sizing here, so the brand name is gonna be pretty important, but that need to be super large. It's not the product name, so maybe make that a little smaller. I kid no try a left right alignment doing left alignment and then have this be right aligned and I'm gonna try. This isn't Avenir. See what it looks like in black? I was trying some different weights sometimes what? I like to do this. Do a combination of weights toe have to give this contrast. So right now it reads very weird because this elemental lotion so it just seems like looks like a really strange misspelled word. But if we highlight in particular word and make it a bold weight, it breaks down the words and it could read a little bit better. So elemental lotion so that cutter reads better, doesn't read this one. This told word or even better, we could highlight lotion because that's in the middle. And now it separates the dot com as well. So elemental motion dot com. So this needs to be So now we have our points, so we never want to have anything. This is 37 point font size, but I try not to have anything smaller than eight. Eight is kind of my minimum. So have a lot of room to reduce this in size and leave room for other elements. So you never call the action down here in the bar as well. So it was the only lotion that shines. That's our headline. So here's a call to action. Explore the collections. That's what we want people to end up doing. And we could go ahead and take samples of some reverse watches. Copper could do gold explore. Once again, we could do that contrast item where we make this a heavy black boldness and make that lighter explore the collection. So now we gotta play around with these elements to see what works well and make this bar a lot smaller to make our product larger. So let's see what happens when we do that good a little bit until down here, we could make this a little big now. So the only lotion that shines let's really work on this headline. Little bit. Let's make this bold or, in this case, black get pretty big. And what I like to do when we have a kind of large text is break it down to two lines. Ah, and have it in a nice, readable fashion. So the only lotion that shines we could make shines as its own type box from just pasting shine and since I use a period at the end of my branding mark, My logo. Mark, I'm gonna also use it at the end of my headline. Two playoff that so Anything I could do to bring out something from the logo hours we could . Even since this is a P and G, it has a transparent background. We could even put this behind the lotion, so I'm just doing command left bracket to bring it down in the layering system. You can even have it Go on top there. It's like next, our object below kind of noodle around with this. But the way the product this cut, this looks awkward, but because the idea was there, but it just didn't work out. That's OK. Yeah, totally. I do like the lower case for Charlotte because it plays off the logo. Being lower case, you have to think about that. My guess is the old volition that shines. You make sure we have our s. It's portions. I'm continuing to play with the headline to find the right combination. So I'm gonna make sure that element doesn't compete with the headline. So I gotta lighten this quite a bit. This elemental going up the side so I could just make that closer to a white. Sometimes I'll zoom out when I'm doing a design. I can't. I'm able to kind of see, have a fresh, new perspective and see how the balance looks. So far, everything's balancing out. Maybe the headline might even be too large. I feel like something's missing, but I don't want to make it busy either. You could play around with color with this. So gold, silver, copper go a silver kind of lightens it a little bit. Okay, so let's bring in 81 of these brushes and see how that looks. Bring us all the way to the back. Arranged in the back that fairly large and maybe have this be just on the top. Okay, so that that texture is a little rough up there. I like the texture up here, so I could just rotate that. So you have the product? Are the brushstroke kind of go up here? And this could be an opportunity. Make this white, make the fill white right. And so this would be an opportunity to make this bold again. And then we're going back and forth but that's what you do in design. Is there constantly challenging what looks great? Let's bring this down. That could work out really well. That'll keep that clean. What we could do with this so it could rotate this a little bit. I always to a preview to see if it's gonna work. Actually to 70 need to rotate it all the way around. There we go. It's rotating that back that goes behind. Maybe this goes behind the product. Push that down. We could bring in textures here. Let's see what what a dark texture looks like. Go ahead. Group that and release the clipping mask in her texture. Back. Let's see what Black looks like just to try it out. Moves trying out options Who? Interesting. This is an interesting option that's really popping, and we could flip that out and make it white so that that's working really well. We could have two different options here, so let's do that. Let's put this out. So we have to do is bring in a new box and make that are blue color blue white. I guess we would say receive a pop everything out. So that's why we have two versions of the logo, so it could easily swap these out. Would be no issue at all. Just like that, we're done. Would go to get our website, make those all black. We could even make this white instead of our branded color. Just toe. See if the higher contrast works kind of bringing that so you could see the product reflected. The only issues that need toe have more e need to fade. This somehow. I could do that by describing a box. I'm gonna add a feather to this. So you go toe effect style eyes. I'm just adding a little feather. Very little one. Maybe not that much. Maybe a cabbage. Just enough to fade that out. I had put that back and layering system just kind of softens that edge a little bit. There we go. I might need to do that even more. We've ever want to adjust anything I do in the appearance panel or in the effects panel goto appearance in your layering system and you could adjust it. So there's my feather that I'm going to reduce that a little more. So just do a little bit less of a feather. There we go. Usually this process takes a good hour to really find the right balance. Now, what we could do is we really need to bring out that website a little bit more. I was gonna put a box around it, so it looks a little more obvious that it is a website. They could make it gold, switching to stroke for a little website in there. And let's capitalize e because it is capital E in our logo. And so that means we probably need to capitalize lotion. We don't have to, but might look a little bit better. The first words love upper case and the second word is upper case as well. Make the stroke just ever so slightly thicker. Maybe at 1.5 weights. 22. Lesson19b BONUS LayoutDesign FinalTouches Exporting: So I spent a few minutes with this kind of tweaking play outs. I made a few changes. I decided to make that kind of the headline pretty much stick with that kind of have that high contrast between size but also the folded Wait. I also decided to take a break from this, explore the collection and find out another way to work that in later. Um, and I wanted to kind of explore this bottom area little bit. I want to make the website, uh, just not feeling the bounding box. I thought maybe a solid shape might work a little bit better. Some scuba switched that to a solid shape and have it be kind of a bar that goes outside just kind of crop that a little bit. And bring that back of the layering systems. When get my text out my text. I need to make that white. I could make it the off white. Now let's make it true white, but that could work a little bit better than what we had. We could soften the edges on this stroke, go up to shape. It's gonna soften the edges. I could even soften the edges. I'm just one kind of give a kind of interesting look to that bar. So I thought one thing we could do is really make this headline pop. So right now it's flat, It looks great. Looks clean. But let's explore this Grady int that I brought in that we developed. This is just a little grain. And we developed when I did the branding standards. Go ahead and do a box of kind of see what? The grating it looks like. That's what we created. And we have this really tight spacing or gaps right here in the radiant where I closed it pretty close so I could just drag this all that close to another one. And it creates this kind of line and makes it look a lot more like a shiny instead of Dole . How do we edit text? What we're gonna do is we're gonna right click, and we're gonna create outlines. So I already created outlines on this type. So now I'm gonna be able to apply Grady into it so you could take the eyedropper tool and go ahead and sample that. Gonna grab our radiant tool and just do a nice long shadow. So maybe right here or right there whenever we think would work and something else we could do is we can add a border to this or a stroke. That's also ingredient, which you couldn't do in previous versions of illustrator but newer ones. You'll be able to add a stroke that also has a Grady. It's going to go down here and click on my stroke area right down here, and I'm gonna press on the grade it right here. It's gonna fill it with a radiant. So now I have a great version, and that cup almost gives a three D effect, doesn't it? That looks really nice. And add more to that. I can add a drop shadow so I could go ahead and go up to effect stylized, just had a drop shadow and soften that quite a bit. I hate using harsh shadows of could do a 20% opacity on that. I think that kind of helps that headline pop out a little. Words make it larger, something a couple different layout options developing. I kind of had a little happy accident, which a lot of times happens in design. It's kind of moving all the elements over, and I was experimenting with angling this texture. Instead of having it across, I decided to angle it and bring in the copper and then also have a little bit of kind of angle in here. So you kind of see how that really brings your eye toward the product and adds a different kind of angle. Some cattle, like the other one as well. So it's something where you want. If you have a client, you want to send them definitely two options for sure. So I can send the one I had right when I ended the last couple seconds there and this one. So I'm gonna show kind of all the different options we have here and next. I feel like I want to create one for each product to feature it. I think we can bring some really cool three D rendered items into the mix to create something pretty special. 23. Lesson19C AdDesign Exporting: Now we're ready to send a file to the publisher, and there's a couple steps we need to follow to get it ready so that they will be able to use this file without any problems. So the first thing we need to do is get rid of any around erroneous objects that are outside of our document. So in this case, some of the brand, the colors were brought in, so anything was going zoom out, see if there's any items that are left over. We don't really want to include that in the document. It only makes the file size larger. So now I got to get rid of this little border. That was only there for me to be able to see how it would be cropped or what the final cropping would be. Your the final trim size would be so I'm just gonna delete that. That was just for me. We removed the bleed so that it wouldn't be a distraction. Ah, few lessons ago. So I'm just gonna goto file and add that bleed back in and go to documents set up. And I'm just gonna add my quarter of an inch bleed so the top and bottom put togethers and half an inch and the left and right is happening. So that will be what that final bleed sides is on the ad specs we looked at. So I'm gonna go ahead and click on, OK, it's gonna add the bleed. So now I need to extend all of my objects past the bleed that need to So in this case, the background. So have this background here that just needs to be extended all the way out to the bleed. And this is the case for anything that requires believe no matter where it's going to be. I was gonna select the next object below span that out all the way to the edge so the hobby won't be able to see that. But it's good for the printer toe. Have that. Ah, this white little area are object. Diagonal object also needs to be extended out. And just like that, everything is extended to the bleed. We're ready to go. And so another thing we need to think about is our safety. So this was our safety lines about where it waas pretty pretty darn close. We went ahead and set that up when we set up the document, we need to make sure there's no text in this little area all the way around. In this case, I'm seeing the elemental background text there so they may come back and tell me to adjust that. So I'm gonna go ahead and make sure there's no text between the bleed, the trim size, the trim size and the safety area. That's great. And so there's one more thing is going to lead that cause we don't want that to be printed . I've done that before. That was an accident. I want to make sure that there's plenty of margin around the document. So when you have a magazine, you don't know how thick it is, and you don't know where you're gonna be placed in the magazine. And sometimes I've done ads, and I placed him in there and I went to look at the magazine to see how they looked and because the spine was so thick it was a very thick magazine. The way the spine kind of curves the page, it kind of hid some things on this left side, or it could be on the other side and hide a few things on the right side. That's why when you do magazine publications, you need to make sure you have super wide margins on the left and right side. You don't know how thick that spine is gonna be or how many pages air gonna be bundled up and curve your design. So it's not perfectly flat. There's a little bit that's curved down into the spine, and it could kind of distorted a little bit. So what I need to do is move my logo over. So I haven't even wider margin and same goes for the website so that just in case that happens, I have lots of space here for that to happen. Okay, so another step I need to make sure it's in C m. Y que mode. Everything that's printed needs to be seem like a and I originally did this an RGB because I wanted to be able to take this and make some digital graphics out of it. So let's make sure it's in C Y in cave mode, since this is gonna be printed. So I'm just gonna goto file goto color are document color set up and make sure that a switch to C M y que just go to go ahead and convert everything for you. And there has been no big shifts in color, no big changes, so we don't have to adjust anything. So I didn't see any big shifts in color. So another thing we need to do is speaking of color as we can go upto view and go down to proof colors. And so this is a really handy tool. So goodbye, and click on proof colors, and it's gonna show kind of a more realistic idea what you're thinks they're gonna look like when it's printed. So it's gonna change the way your blacks look. So you kind of see how it looks with it on and good to go ahead and take proof colors off, and you can't really see a huge difference. But when I try to proof my blacks, I try to do this because sometimes blacks can print more grey than you expect, because on a digital screen, blacks could be more dark and when printed, that could come out a little bit lighter. So I just like to do that just to make sure I check my colors. I usually approve colors checked all the time when I'm doing a print project so I can kind of see realistically kind of what the final print color may look like. So I'm not surprised because there could be some very small variations of what it looks on the screen and how it prints. Right? So there's one more thing I need to do. We need to make sure I create outlines on all my text. And this is true for anything you send off to the printer. Even if it's not a magazine ad, anything you're getting printed, you have to create outlines. Right now, I have, ah, live edible text. We need to create outlines because if we don't create outlines and the person doesn't have that type font installed on the computer, it's gonna look a little different. So we always need outline type so we can select all one, select everything in the document, go up to type and create outlines some people to type and create outlines, and no decided outlined that type and we're ready to go. So we went ahead and, uh, God or bleed black out back on the document we made sure everything bleeds out. Major our safety. There's nothing in the safety area that could be important. We made sure we have extra wide margins on her left and right side. Since it's gonna be a magazine ad, we proved our colors to make sure colors would print. Well, we made sure this document was an R G r c m y que mode and not rgb mode. And we created outlines, so it's a lot of steps, but once you kind of go through this a few times, it all becomes natural. And before you export, just make sure you went through and checked each one of those items off. And because if you don't the printer will notice still, or the publisher of the printer, we'll send the file back and say, I need you to add Bleed. I need you to create outlines in this. Prevents you having to go back and forth sending files. It could have everything perfect. So when they get it, they're like, great, good job. Okay, so last thing to do is export or file. We're gonna exported as a pdf gonna goto file save as and do a pdf I could go ahead and save us to my desktop. And so there's a preset that's automatically an illustrator that I like to start with, and you could save your own presets. If you have a certain preset you like, you save it. You never have toe do all the details again. So this one's gonna be called. Press qualities that were sending it to the press were sending it to the printer. So press quality and one of the only the few things I do modify is I check off preserve illustrator editing capabilities. And what that does is preserving illustrator editing capabilities gives this file a chance to be worked just like an illustrator file, where you can live at it. Everything we don't need that What that does is that drives up the file size and makes the file size mega big. So I like to uncheck it because publishers appreciate your file size not being 50 megabytes , you know, even a gigabyte sometimes. So all I always unchecked that that is not a problem if it's a final PdF ready to be printed. So uncheck preserve editing capabilities. Everything else is fine. We go down a compression. Everything's gonna be great because the preset has already kind of said it for us. For press quality 300 peopie i or d P. I is really what we want for printing. So we always want to make sure that as 300 or higher when we're printing marks and bleed, we want to make sure we click on use document bleed settings. So now it's gonna adapt our bleed to the document. And a lot of times, when I do print projects like business cards letterhead, I make sure I click on trim marks so that they can see where to trim the bleed off. I like to do that, but for magazine ads in publications, I like to kid click it off because I've done I put together magazines before and I've worked with other people's ads, and anytime they have crop marks and they send it over, I have to remove this crop marks to put it in the magazine. So just to be friendly, as someone who's put together magazines before, I like to have it clicked off. But that's just really for magazines and books for everything else print. Whether putting it on big sheets and printing many on a big sheet like a business card. I do like to have trim marks. Everything else was gonna be okay. We're gonna click on Save. We're gonna have our document pop up for us. Here it ISS. We're gonna go ahead and zoom out, make sure everything looks great. Just need to send it off to my editor to make sure there's no spelling errors. Which happens quite often with me personally. Probably see that. Not the best speller in the world. So that's why I have someone who always looks over stuff. And so we just do that final step and you'll notice with pdf's that have text outline. So we outlined the type. I'm gonna zoom, and there's something that clients complain about a lot and they don't need to worry about it. But this issue that I've had So you noticed the elemental? He knows how the els are a little bit thicker. They kind of mess up a little. Maybe if I zoom in, you could see it a little better, but they kind of look chunky, these hills. You can't really see it when you zoom in, but when you assume out You really see it? Uh, just assure the client that that's just because of the pdf and how it renders its not gonna print that way. Just how what happens when you outlined type and you zoom out on a pdf. So there you have it, my entire process of how to export for a magazine ad. And hopefully this process is good. And you can redo this process for each print item you have, uh, and will be great. 24. Lesson20 3DObjects Part1: climb back into adobe dimensions. And I thought it would be need, as I'm putting these ad layouts together to add some three D elements to really help these products, pop, especially if I'm going to be doing single ads that are just gonna Abby advertising one particular color. So let's go ahead and start with gold. Or this could go ahead, delete these. Just have a gold to left. We're gonna add kind of a cool gold three D element. We don't have to sit there and render it ourselves or lots of ones that are already here for the taking that we could just drag in. So, like, I'm right here in the Models area over here on the left. I'm gonna think of a really cool snake that would go great with gold on. So their spears there's cubes. There's all sorts of things we can use. I gotta be really need to use a drop and see if we could find there's a drop kind of like a lotion drop thought that would be really neat. We're gonna play the places behind our object seems Go ahead and release. There's our goal drop and let's make it gold because right now it's just don't have any text replied. Let's go down and drag her texture and let's see how gold looks. Ooh, that looks wonderful. There's also a damaged gold. Ooh, I like kind of the more damage textured one. So I think I'm really liking this. We could continue to play around with he ever angles in kind of. Instead of having a product sits straight up, we can add a more dynamic positioning to our product. Kind of make it cut up. Come over here. What? We have to go grab our news tool. Live it up a little bit. We have these three little handles, so this will move it to the left and right. The green will move it up and down. Have it maybe float a little bit. That'll bring it in, man. Let's get our rotate selected rotate tool. Continue to play around with positioning. Also take our drop and then modify that as well. And we could change our camera, which is gonna be over here in this area. So yeah, working in a three d space could be a little challenging if you don't have any experience in it. I'm still getting used to it. It's I have a new thing for me to personally. You're not gonna think OK, that's bringing it forward. Let's forget it to the left and let's rotate this guy. Write about it. I think we're pretty close. Let's bring him down a little bit. What's happened? Resting. But what's his angle back? Okay, so don't worry about the lighting, because it could always go back to your environment and change lighting down there. So let's change our rotation and it looks like And I was gonna do it globally. So it's gonna reflect off. Will I drop to our the A little droplet? Let's see what's gonna be the best lighting for us. Probably right about. They're out of the light and coming to the left. That looks great. So we're gonna go ahead and go to render, and that's our old one. But it's gonna go ahead and update it for us. I'm gonna do a medium quality. Go ahead and render and I could have the photo shop in P and G. I'm gonna do the rest for the other two are gonna pick out some other symbols you will quick now that we did gold. Let's try silver. Go ahead and believe these two and see what we can combine with. Silver was Go ahead and bring in kind of a cool shaped different than the drop. Let's do something to make you dio splash of metal It's good and bring in the splash. It's a little too crazy in that. Whoa! You could see some really neat things you could do on the go and drag it and make this silver suit That looks like Oh, interesting. I was gonna try something else. Who? I think one of these little geometric shapes would be pretty neat. Drag this in. Yeah, that looks meat. You could do it on the other side, so could have kind of have since the gold drop was over on the left. We could try this on the right. It can rotate this guy getting a rotate tool rotated that way and let's get our silver texture off here. Here's a brush metal. See how this looks Damage silver and then regular silver do. Oh, there we go. Now it's catching light night twisted up a little bit more of an angle of our product here . Bring that up a little bit from the grounds that cast a little shadow but not too much positioning. This is always the hardest part. Rotating. Continue to rotate that To get the right catch of light. Kasam can always go and change the rotation of our environment. Produce the intensity, maybe a little bit, and change the rotation. Catch the right light right about there. It's gonna have to render that you do that on media. That will take a couple of minutes, and we'll do our last one, which is copper. Last but not least, let's do copper is go ahead and bring original documents out. And let's add something cool for copper. So let's go down. And I think I already had one picked out, I thought would look really need kind of a really interesting shape. Pop that in here have a really unique we need if it was kind of surrounding it, and I really thought this is cool when I started to add the copper texture that really has a beautiful shar into it. To see that and actually move this around and rotate it, don't want it to overwhelm the products I want to make it a little bit smaller now. I want to get the product. Give it a interesting spin if you wanted to make a particular object smaller comm panto another. There's a scale tool to be able to select and scale and the New York be ableto kind of change the size a little bit, so it's not so overwhelming. Okay, so now we can go back to our environment, maybe reduce the intensity a little bit. And the rotation. Everything seems to kind of have a right light source. So let's continue that. Go ahead and render. This is medium and we're all done selected as a PNG. We also have a photoshopped file. We could bring these in to photo shop, and you can edit these files and export is a A P and G. So it could be able to toggle that background color often on. And I just little clipping mask and faded the shadow reflection so that I can doesn't have that sharp reflection cut off, and it's gonna bring all three of these and and we're gonna make some social media graphics with these 25. Lesson21 High Rez Renders How To: So I'm playing around with these textures a little bit in Adobe Illustrator to create a social media post, and I noticed a issued with the rendered graphics, and I just wanted to bring this up and leave this in the class. It can kind of see if you run into this issue what to do. Have I wanted to put this on a dark background to have a high contrast social media post? It's really gonna grab people's attention. But I noticed it has kind of this reflection of that white background that we've rendered it in. There's a couple things we can do to get rid of that. So all you see is just a little bit of a reflection to shadow. And also there's a way to increase the resolution of our rendering because by default it's only 1000 pixels by 1000 pixels, which isn't always the highest resolution. We're gonna go back and dimensions and show you how to kind of tweak this a little bit to make it even better. So one thing you can do is you could go down here. I have my art board selected right up here, so it's 10 24 By 7 68 we could change the resolution down here to 300 to give it a much better crisp resolution. We could also increase the canvas size. So then go click on the art board and we could make this double the size make 2200 by 2200 and go up here to your views. They kind of zoom out a little bit so you could see the whole canvas and then you'll be able to kind of resize it according to the new canvas size. So this is going to increase the overall resolution, overall quality and the overall size. So this is good. If we ever want to do poster designs or anything in large format, we want to be able to have that ready, especially for events I image, which is gonna be tall banners. You're gonna want the best resolution possible. So another way to get rid of kind of that weird below that happened here in this case, we don't want to have any that weird glow. So we're gonna go to environment to get rid of that shadow. Click on environment. We're gonna go down to ground the plane and right now that is checked. So if you don't want any shadow it all this will have a unchecked If you do want a shadow cast going to click on ground plane and we're gonna reduce the reflection opacity to zero. We just want to cast a little shadow. We don't want the reflection cause it's gonna reflect all that white background to. So let's reduce the reflection. Opacity that have a shadow capacity not be super strong, but also not be non existent. Have a little bit of shadow cast, but nothing too significant. And also, you can go up and click on background, and you could un select it to make it transparent. So that's another thing you could do. So we increased the size of the canvas, we increase the resolution, and we also went and made sure ground playing that reflection. Opacity was down to zero. So now we just get the reflection of the shadow and not the other product and get that weird glow that was going on. So I'm gonna render now on medium, and it's gonna take a long while to render this, but I'm gonna go ahead and render this one and also the copper and the gold. And I will see you back. We're gonna be able to have the right photos to be able to put together the social media posts for each of our different colors, our battles. And it's gonna be very quick down that we really got the branding, uh, settled. 26. Lesson22 DigitalAds Layout Gold: So now that we have our higher resolution renderings and we don't have to worry about any kind of strange glow going on when I had an imported are gold, we're gonna do a gold social media graphic. There's kind of have your standard Facebook size. I'm also going to attach a social media size and guides just you can have that. And it could be able to look up different sizes for different ads so we can go ahead and extend our brand to digital items. We already kind of had a poster design. We did. So now we're gonna do social medias. This will be a little bit quicker, a little bit easier, so I have a kind of image of glad scale. It make a little bit bigger. He was trying to get the right sizing wouldn't really make sure product is large, because when people are schooling through Facebook, they need to see that product image pretty strong. So here's your headline. We already have our headlines on which is Avenir sores could go ahead and type that in and get our black. We want to break up the headline a little bit, so let's break it up into two lines and tighten spacing. Okay. I also have some body copy I'm gonna put here as well. So I already have that written out. So I'm just gonna copy this little bit of body copy we have. I'm gonna go ahead and create my rectangle, and I'm going to pop in using the type area tool area type, tool clicking. Ah, per quarter and paste. So we haven't really developed anything outside of headline type. So we did our little poster design. And we have our guys bold type, but we don't really have any body copy developed. So let's find maybe a different don't wait for this. So let's see how Roman or book looks, what's do book, then reduce the size quite a bit and let's go. And I don't I'm not a big fan of high pins, Especially when you have a small about of body copy. So I'm just gonna make sure I go and unclipped on paragraph. Hyphenate was going to paragraph on click hyphenate, and that will look a lot better that way. To get a little bit smaller, of course, play around with the space in between the lines to go in the just are letting a little bit , so it's not so wide open. And this is where we need Teoh figure out. Do we wanna have a dark background or a light background? So this is a big question. If this is gonna be on Facebook, people are to be scrolling down. They might not catch. This will see the little gold drop. It might be interested. But if we were to flip this around and do a dark background, I think it'll really grab people's attention. So you look at the Facebook feed, its all white background. So anything to add that grabbing of attention. So we have this gold texture we did earlier in the class. See if we can't put the gold texture Saray age and said that all the way to the back and reverse this out and make this white and we need some kind of call to action. We need to finesse this later, but we'll get that. Get to that in a little bit. Let's do a box B shot now box. It was just your generic ad. It's not really a Crispus specific campaign, just kind of trying to extend our brand a little bit so we could show her client, uh, kind of how it how it extends and how it looks on other things. So sometimes the copy writing doesn't have to be perfect when you're figuring this out. Two stroke. Let's do a nice round joy round cap. There we go. He's kind of soften those edges a little bit and let's also duplicate Could hold down Option a drag. And let's do by now, Shop now was to shop. Now let's do that, little period, because that's what our brand name has in it. Let's continue that as a team. Do you have a little shop now that is here and once a justice? I think the gap between the spacing of the leading is, well, too wide. So let's continue to tighten that, and I don't like having an orphan, So this is an orphan. So he's just Woodward all by it by himself, and I think it looks awkward, so it's really good. It's really good practice when you're doing editorial design and spreads. Were you working with larger bodies? A copy to not have any orphans, so I can remedy that by increasing this to are widening this having four lines of type or could have five lines of type and have, um, be tighter. And that's probably gonna be great, because I could make my product image a little bigger. So let's start to align everything and get everything finished so you could see how quick this is coming together now that we've done a lot of our branding course need to bring in our logo, and I have both of them here I have the dark and the light version. There's a light version. I have him ready so we could have our logo exist over here by the product, like a product a little bit smaller, and we're just playing around with ballots. So you notice how the type aligns along with the product so it really draws. You have the product, but you also have the type all coming together in the center of the peace. So that's our focal point. So that's a really great focal point to have right there in the center. And it's also have called action here, so everything kind of drawing your eye to the center. You don't have this off too far the left and then the text seems just jointed. We have a little Swiss here. I think we could add a little papa texture here. This is what we can really have It shine a little bit. Let's have it under our product. And we could always rotator texture. If we don't like how that side of the brush looks, this is really gonna help it pop out and see. Now we have toe perhaps find a new place or our allies until logo would be tightened spacing a little more cause we need a little bit more real estate, especially if I just gonna be able to put the logo. I think I'm gonna put the logo right below. That's gonna be a little too many out too many elements right there. Let me see if I can keep it on this bottom right quarter. Make it smaller. There we go. That works. They called the action a little smaller to call the action, and elements don't have to be so large. Sometimes having smaller elements looks more professional and clean than having this big obvious element. Even though you're trying to make sure people see it, they'll see, It s so I always have to challenge myself ago cannot make it smaller And it's still be functional because I think it really helps to have extra breathing room and space in your design. So now I could make this type a little smaller and I might be able to fit it on four lines . Yes. So now you'll notice Have lots of spacing between my elements. I can even bring in this little bar here that we have in our logo that was carried through of a little bar here that separates the headline. You make this a different color like this color and you notice how the headline how I haven't go shorter toe longer, that usually looks a little bit better than having the first line belong. And the 2nd 1 be short to cut has his awkward space here. So we switched that around. It kind of looks a little bit better. We can also make this, then wait and have balanced there. But I kind of like it all bold in this case, especially for a social media graphic. Make it a little bit smaller. Once again, we don't have to make it so large, our product is really the most important element. The headline is just something to get you to read it, read a little bit more. My fear is that it's too busy. So maybe just having a very much skin your bar, you always want to make sure it's not too busy is the element. That's the SYRIZA. Is there too much gold? Because at this point, we have that golden that gold. It's a little too much, so it's best to do a little less with more. So this is not a line. So that's starting to bother me, you know, to sell. Those elements are not aligned. We'll see if we can't align those here a little better. Of course, you can always talk to your grid online things along the grid, and so notice how have generous margin here. I could easily bring all these elements down, but I've got to leave a nice margin because I think it helps also the same reason whitespace helps is having margins around your edges kind of helps it breathe a little bit . I'm fairly happy with this so far. Try one quick thing with the pin tool. See if I can't make some kind of diagonal cut here and make a little bit of a darker gold just to see how that looks like this a little darker. You said that backward to the layering system. I'm just doing command left bracket to seeing how this looks kind of breaking up the monotony of the background with a nice angled kind of design that might even look better. You see, if I can't select and reverses out trying to see how that would look maybe too much, I don't know. But that could have its own effect, especially if I decide to make this white and reverse it out. So this is always an alternate option and have this reversed out. So this is now black or in this case would be kind of our dark gold that we've been using. So that is definitely a great idea, because you have not only have the dark, you also have the white in the same design piece. And so it adds contrast that keep saying contrast. That contrast is king when it comes to design so that not everything is is vying for your attention in the same manner So I do like that. I'm gonna go back to this other version, though, just so I could save it. So now I have two different versions of this version, which a little more clean. And I think we could use this for a Web banner as well. I could see this being adapted to some other environments, and I think the one that had the white and the gold, I think that could be good as an ad. So let me whip up a few different variations of this, and then you could also focus. We could do the next one is copper, and then we're going to speed things up, and we're gonna maybe think about doing a Web loud and Web design soon. 27. Lesson23 DigitalAds Part2: We have to really good layout options to present, and I like to present them as a Siri's. So let's go ahead and whip up the other version as well. And this will be easy. I just simply duplicated our gold, and we're just going to swap everything out with the copy and go ahead, delete images. Here he swap amends A little bit different arrangement of the three D element we gotta think about that will work, showing off the product, our background texture that we created in photo shop, then swapped that out and get our little copper texture. That's gonna lay a little bit differently on this one because it's a different three d object. So this is where we have to find that placement. It's gonna look good up here going across. That might be the case, and we could crop that easily by destroying a box and clicking our element and crop agains make clipping mask and we're going crop. It's it doesn't get in our way. So I'm gonna go ahead and swap out a few items. The copy sprint all that to the front. I'm gonna go where I have some of this coffee saved. What's the classy copper was what I came up with. Well, that's very original, but we'll go with it. So classy copper. We could even do a light paired against that. Or since this is such a short headline, maybe going back to what we had works you have a different headline. It's not as long so we could make it bigger. Or we could split it onto two lines to balance that out a little better. We're gonna have some different copy years. Let's go ahead. Grab my copy box a little bit shorter against a lot less copy than what we had before, so we can arrange us a little bit differently. Eso Let's change out our logo, too. Make that the copper color. Or we could make it the black color. Get our sample tool go up in sample any of the black that we have here. This right, that looks good. We can even try doing this in black. I don't know what that would look like. Looks kind of really nice and high end, but just afraid it's not gonna pop out to try this in black, but I think we'll to stick with being consistent with the top. Let's make the headline a little bigger to fill out that space. Yes, we have a little bit of the lack of copy, which is usually a good thing. But when we designed something with a lot of copy, and then all of a sudden we have all the space we gotta find ways, toe utilize that extra space, not gonna slide these elements over a little bit to the right, we could make our product a little bigger or shifted closer. I just love the reflection that that has the three d rendering so neat. I love adobe dimensions. Okay, so there's our classy coppers make a little bit shorter. And now that we have the basis for this one, I could even switch that help. Just grab these elements. And this is what you do is a designer. A lot of times, your re sizing adds a lot. So you're doing this a lot. You already developed the brand, and you're just re sizing over and over. It could be a little tedious, but it could be fun trying to figure out how to adapt a vertical add to horizontal add kind of figuring out the puzzle pieces. It's what I that is a designer. Most of the time right here, it's bring over our texture right there. Boom. Send that to the back. Should that ever. I think I think I'm really starting to love the two tone. Look with how this looks with the product so thinking. That's probably what we want to present to the client as our options. So we just have to switch out our type and let's stay consistent and do our black, uh, probably to get a sample Swatch. This is why having your branding color palette available is really nice. I did not drag it in for sampling are black, and then let's do the same thing. And make that the copper color. You're gonna go back over to my ad design, grabbed my copper color. Here's my coppers watch. Go ahead and sample that gotta stay consistent across all ads. And let's also make this elemental. Can't forget about that. Let's make that copper. So I'm gonna do the same thing we just did, but do it with our very last silver option and go ahead and export these so I can go ahead and present them or show them off a little bit. And then once we kind of feel really comfortable, we're gonna be hopping next into Adobe X'd. We're gonna be able to create an entire Web layout using everything we've done so far. So I just completed, uh, we had the copper dot and now I just completed the dark silver one. And I had to change this up a little bit because the product when I did the three d rendering, I wanted to do it different than the other two. So this is on the left side. So I wanted to make sure the copy and the product faced each other. So the product is bidding to the left. I want the copy to be to the left, so just tuck that in a little bit closer to the copy. So it wasn't really happy with how the silver ROC was looking. I thought maybe another element would be, ah, a little bit more fitting for the brand, so I was able to go back into adobe dimensions as able to render this bad boy. I love this little silver. I think I tried to play with it a little bit earlier in the class, but I was able to really kind of rotating around the product a little bit of go ahead and show you what that looks like in dimensions. So here's kind of the little product I wrapped around. It's only go and get the splash. I can kind of show you. Would that look like So here's a little splash. I just kind of positioned it. So it kind of circled around the product and added the silver texture, and I was able to create this. So I'm done. I want to go ahead and export all of these. Now What's great about having is all in one document is I can export them all is J pegs and go ahead and do up. I'd like to do a nice high resolution, cause social media will automatically downgraded to where they need it to be. So I like to start off with a nice, high resolution image and just have the social media downsize. It's I don't have toe, um, have a low resolution photo when I don't need one. So I'm exporting my artwork. I'm gonna be able to see it all they're all gonna save as separate J pegs. I'm gonna go ahead and show you on the screen kind of our final. 28. Lesson1 Tshirt Part1: and they. So who's ready to do a T shirt every good Brandon? Every need Good company needs to have a logo on a T shirt, whether it's for employees or for promotional purposes. It's always nice to be able to have that pass an option. So I'm gonna create some T shirts for employees or for people at the store that are doing a promotional event. It's gonna have a simple little slogan and logo so you can go ahead and download this template. It's in the resource guide where I have ah, lists of external resource is, and you'll be able to see that. And it's the T shirt that I got from graphic burger dot com. You'll be able to click over there and you'll be able to download this file so we're not gonna use this file quite yet. Just one kind of have that downloaded for you. I gotta pop into Adobe Illustrator and to our branding guy that we have our branding elements, and we're gonna grab some things from this and open up a new document to start to get some ideas for a T shirt design. And since we already have some branded elements developed. It's gonna be fairly simple to get this logo on a T shirt. So I thought it would be kind of neat for a T shirt design since we have this up and down vertical presentation of the logo. What if we expanded that onto the T shirt? And when you're doing your own brand, maybe you're working through this class with me, and you're deciding to do your own brand. That maybe looks a little different than this. Start to think of ways that you can expand. Some of your brand assets aren't the T shirt, so everything starts to look uniform. So if you have a certain logo with, let's say, a coffee cup that you couldn't find a way to grab that graphic and put it onto the T shirt design. So that's why having of these elements set out for us no pun intended. You can mix the T shirt design process a lot quicker so I would get both of these men. You just get the one with the color and I'm gonna open up a new document, and this could be kind of arbitrary, since we're not quite sure what the final T shirt size is going to be so I'm just gonna make it in inches. And of course I'm in the United States. You may use centimeters or different kind of measurements, but I'm just kind of doing a generic 12 by 12 inch square. And for you, it could be just as long as it's kind of a square size. These are gonna be in vector, so you could always scale these up to the size of need later. So just a simple 12 by 12 inch square gonna zoom out. I get a double this art board, so I'm gonna goto file documents set up and I'm gonna duplicate. It's gonna go up here and do new art. Boredom is going to duplicate the art board. So all we did is made to two squares. This will be the front, and this will be the back. We're gonna go ahead and paste in the elemental logo. I have I thought wouldn't it be need if it kind of went on the T shirt? And so this is why I have this file open during the design process. It's really hard to design when you don't have the t shirt there to kind of help you see how it looks on the T shirt. So a lot of times, what I'll do is I'll go ahead and open up the template and I'll go and pop in the local and test it out there. And I can always find Tune it on the illustrator file when I feel like I have a final design and I can export that to the T shirt printer. So this is what a mock up looks like. If we haven't experienced Photoshopped mock ups, this is kind of how they work. So I have this red layer right here. This is the layer that we're gonna place our graphic on. So I'm gonna go and double click right here in this area to step look like your layer could open up a new window. And this is where I'm able to kind of place new items on to the T shirt. So I'm gonna go ahead and take my elemental graphic and I'm just an illustrator and I'm dragging it into Photoshopped, and I don't know how it's gonna look on the T shirt yet, so I'm just gonna kind of do a random size. We can always resize that later. So what I'm gonna do it opened up a new tab when I double click on the red area, the red layer. So I'm gonna close down that window or that tab that it opened, and we're gonna save it, so it's gonna save the image, and it's gonna automatically apply it to a T shirt. So there it is. So now I'm realizing, Oh, I need to switch it out to be white. So that's no problem. This double click delete this object and let's switch this out. Let's make it that gray color we have instead of just using white. I believe we have the gray color right here. Blue cotton. I guess I named it okay. And so we're just gonna on group the logo and go ahead and grab that color. Great. So not gonna do the same thing and says how easy it is to update it. Gonna make it arbitrary size. We're gonna close down that window. We just open and save. It's gotta automatically populate. So we're starting to get a T shirt design going. So now I have to think about balance. We don't wanna have something so overwhelming on a T shirt that it kind of screams that you can't read it really well. So let's adjust the balance a little bit. So each time I wouldn't adjust the size. Let's say I want to make it smaller than this instead of having to double click on this layer in opening up that new tab and adjusting and saving it, I can go ahead and select this layer and I'll be able to move this around, but you'll notice when I do that, it kind of moves the layer on top around by accident. So if you do have that issue, go ahead up here to auto select and make sure that Auto Select is de selected. So now that it'll stay selected on that layer, no matter what else I touch, so now will be able to kind of move this around how I like it. So now we can adjust the size and also the placement so we can play around a little bit with location so I can have it going down the side. That could be kind of need. We could have it on the other side. We could even have it going down the middle. The only reason I think I'm gonna choose the middle is I think the brand kind of has this nice organized kind of feeling to it. And I thought maybe a nice, clean, simple center alignment would look kind of neat. But the love was just too big compared to the T shirt. So I'm gonna go ahead and size that down. So just go ahead and size it. It's enter. All right, so there it iss. There's kind of our T shirt design. There's a couple things you can change with the template. Let's say the brand that you're working with is a navy blue color, and it's not black. How you change the teacher color in this template is you go down to the T shirt layer. You should see change. T shirt color right here with the little arrow was gonna highlight this. A white T shirt area was gonna double click it so we can get our layer style panel open The worst. Gonna do a color overlay. And this is for darker T shirt. There's actually another photo shop T shirt template that is for a white T shirt Soupy, go to graphic burger dot com. You'll be able to find one from lighter colors. So as long as we're sticking to darker colors, this will still look good. So go ahead and play around with different one. So let's say it's like a dark navy blue. There you go. Just like that, we were able to change the color by just doing a color overlay. You'd also change the background this well so you can place any background over here if you want to have it, not just be great. But maybe when I pair it with another dark blue There you go. And actually really like that blue. I wish that was a part of the brand, but maybe a part of your brand made blue is like a yellow would look really awesome. So I gotta, uh, continue to work on different concepts for the T shirt. But once I kind of come up with one for the front, we're gonna go ahead and open up the back template. There's a separate Photoshopped file for the back, and we're gonna go ahead and get a back design done. And once we're done with the front the back. We could bring those into illustrator and get a final illustrator or E. P s file to send to the T shirt printer. 29. Lesson2 TshirtDesign Backside: So let's do the back of our T shirt. Everybody appreciates to have something on the back, so I like to usually do a front and back designed for T shirts. So this is the back file that when you download that from graphic burger dot com, you have the front side in the back side to go ahead, get this backside opened up, and let's go into our branding kind of standards that we have here and see what we can do for a back design. So I thought I'd be kind of need to play on the elements a little bit and that square. So let's go ahead and get the ones that are on the dark background, aren't we? Aren't you glad we already developed those and go into our new document? That's gonna be front. This will be the back I thought it be need to incorporate that somehow what's also incorporate our type. So we haven't developed the branding standards for our for our typography yet, So that's something we're gonna develop very soon. Now that we've already established that in our first ad design, a social media design and now a T shirt design were getting pretty established with the type that would continue to use. So the type that we've used for our main symbol is Avenir seems going back to my original one. It's Avenir, so let's continue to use that as a slogan for the back. It's always nice to be consistent with your brand. So Avenir, let's do ales to the blackest which is gonna be black and something that we've used. I'd like to pull from other objects we've done to kind of get ideas for future objects. So ah, the headline I used on one of these ad previews that I did for the ad design was shine on. So I'm gonna use that as a very simple phrase. I find that using shorter phrases works better than longer phrases for T shirt designs. This keeps it nice and ambiguous so people can ask questions ago. What does that mean? You know, it kind of is a conversation starter, as opposed to having all this stuff on the T shirts or trying to keep the T shirt less cluttered. Less words. You could have a big, long quote on their, but who's gonna actually read that on the back T shirt. So having this nice simple presentation will work better. And sometimes I like to go ahead and draw the dark background so I can kind of see how those elements will look. That background will later be deleted. Let's make this white. We have our branded kind of off white color that we can experiment with. Let's go ahead and make all that the off white, or at least make this the off white. And it looks like when I make all all of these objects here was good, select all of these and do our eyedropper tool. It will go ahead and put a solid fill on that stroke, so we just need to outline the path on that stroke. That's not an issue at all. These go select our paths Goto object. Go down the path. It outlined that stroke, so that doesn't give us any problems later on, so now can select him all and eyedropper tool so we could do that, or we can leave them in the different colors. So when you have T shirt printing, if you have a digital T shirt printing, you could use this many colors as you like feel free. You could have a detailed photo on their If you're doing screen printing, it is a little bit different because each screen printing ink costs money to make cause. I have to make each little plate that they bring down and print on. The T shirt is a different color. So the more colors you use on that type of printing, the more expensive it is. So usually you have limitations. Have a lot of clients who say we can only use two colors. We can only use three colors, so I like to keep it as simple as possible. If you are doing digital printing that something you can work out with a client or work out with your printer, you can use many colors, so what I would do I have the option of using many colors is always bring in our three different color options here, or just use these colored options. So it's going to depend on what type of T shirt per ticket is. Is it going to be that we go back? Is it going to be limited by inks? Is gonna be screen printed or is it going to be digital printing, So screen printing and digital printing are very different, so screen printing looks more authentic. And it's how T shirts have been made for hundreds of years or however long. We've been printing T shirts and it looks really nice, but we have the limitations with the inks. Digital printing doesn't look is nice, but you can put a full full color photo on there and be OK, and it's it's a little cheaper. So I have kind of two variations of this kind of idea. Let's assume that we are going to do digital printing and have the colors for right now. We can always have two options. So just one kind of explain the difference between screen printing and digital printing when it comes to T shirt design. Okay, so I'm not gonna really need that background. I just need to grab this. I thought also, you know, we have this period and it's a big part of the brand. Let's accentuate that. It's not just not just a period, it's part of the brand element, are part of the branding, so I'm gonna highlight that by making it a different color. I'm gonna use gold since that seems to be kind of the one that we use more often. So you notice that's brought out. But also it's brought out in the elemental logo. So once again, tying in the logo, something bringing it over to something different. So this phrasing, let's go and drag us into our template. Here it's going double click or red layer. You did the same thing we did before. We're gonna bring this in as a whole item. We don't need the black back background. Just need that and doesn't matter the sizing because we can always find Tune it After we save it. It's gonna save a little file that it opened up for the window. Go ahead and ignore that message. If you get it hasn't bothered me so far, so we're gonna make sure auto select is off. So when I select the layer, it won't select anything else. And so now we have to think about balance for this side, too. So right now I think that's too big, so just make it a little bit smaller and put it up. The top will be the backs. You gotta think about women's hair, But women's hair is gonna cover anything up here. So you always gotta think about that. So I kind of put things on the backside of the T shirt down a little bit more than you would think because of women's here. I have kind of long hair, and you can never see the Slovene on the back because everybody puts it really high up. So maybe a little bit below where the shoulders would pay. So maybe right here, press enter. So just one of those things have come across after doing so many T shirt designs over the years, especially for women owned businesses. And they realize, Oh, our slogans totally covered a buyer hair, you know, So you have to think about that. So I like that we could play around with color. But since we've already committed to a front side color, let's go ahead. Commit to this. That was quick and easy. So let's go into our files and get them ready. And there's one thing one thing I kind of want to do. So I have the front and I have the back, so you're not gonna steer to send this to the printer, but they're not gonna be able to use that file on here because it's not vector. But I always take a screenshot or save a J pack of both the front the back so they can get an idea of sizing because they'll ask you when you send a vector file, they could size it to any size. And you have different sized T shirts. Small, medium, large, extra large. Sometimes you have x x, x, x, large. And so if he said one size design, they're going to need to know how to scale that and had a place it. So this is a perfect guy to send them, so they know this is the exact size. I like it on this size T shirt so they'll be able to scale it for you and be able to place it so they'll know that we wanted about that size. So this is a good guide for them. They really, really appreciate it. So let's go and prepare our files. So here's our two square documents that we have, and they're pretty much gonna be ready to go. The only thing I need to do is get rid of the split back Blackground. Is that black background cause that's already gonna be on the T shirt. So I have this old transparent background here. There's nothing there, so I'm gonna go ahead and highlight everything, See how that looks. I'm gonna make sure I do this for everything I sent to the printer printer. No matter what project it ISS to Goethe, create outlines, but to go to type, create outlines, so created outlines on that type right there. And already did the path outline stroke on this? I don't have to do that. So when they do scale it, they don't have a path or a stroke That's gonna continually get larger as they scale it up and smaller. So if you have any paths or strokes, go ahead and just go to object path and outlined the strokes. That's pretty important when they're gonna be sizing it bigger or larger so we can have this title front back. But let's just go ahead and export it. I like to export these as a go ahead and save these two things. I like to go ahead and send them in the PS, so go ahead and to save it as an E P s and that will be their vector file. So that will be all they need. And I also saved them as PDFs Solvej Schou, save as pdf and go ahead and give them a PdF. It's well, and you don't have to worry about marks and bleed. All they really need is this file. They'll grab that and they'll resize it on their program to go ahead and get it on to create, uh, your your T shirt design. That's it. That's how easy it is to do a T shirt design. I think the hardest part is coming up with a design. Since I've this particular brand, we've already developed some objects earlier. It was easy to go ahead and do that. But you may be doing a brand that needs a us from scratch T shirt design. So if you want to mess with typography and do some really creative things with your T shirt design, maybe even do a custom illustration and illustrator. By all means. If you think that'll go with your brand than do, it s so we're done with the T shirt design, so we're gonna go ahead and move on to stationary design 30. Lesson3 StationeryBranding BizCard: Now it's time for stationary designs. This instead of your letterheads, business cards, envelopes, all those kind of marketing materials that every companies need. So I have a stationary designed template that you could download in the package the ZIP file that you downloaded at the beginning of the class. So glad and double click this. This is really gonna save up a lot of set up time for us. So already heavy business card size of postcard these air all kind of generic, commonly used sizes, an envelope and a letterhead. And we're gonna be able to create all the stationary need fairly quickly because we already have this template set up on what I love about setting up all the stationary. One file is when we export thes as a pdf to get printed and have this final files. It's very easy. Just export and exports all of them for you. And it's very nice to go ahead and have one file for all your stationery. So we're gonna start off with what I think is the coveted, most important part of any stationary design and marketing material. Design is your business card with business cards. You almost always have a front and back. Not always. Some companies can't afford a very expensive business car, so they'll just do the front and they will just not even have a back. But I found a lot of companies need to have that extra information and they go ahead and pay for that extra side. So we're gonna do a two sided business card this time, and we're going to stay with that simple, clean design, and we're gonna go back to that kind of branding package that we developed and grab some materials from there to make it easy. I created a new one that had our textures are background textures and our brushes so I can grab those a lot easier than having to go back to the ad design we did to get those. So I'm gonna go ahead and get our background here. I think I'm gonna grab some brushes to was gonna grab the brushes and this one go ahead and bring it into our stationary design template. Re sizes make him a little bit smaller. So I thought we do a kind of a high contrast front back so you could have a black side, and then you're gonna have a Whiteside. When in love about that is you could definitely tell the difference when you flip over the card. If you made the card the same color on both sides, you start to lose something that people don't know if it's the front or back. So it just kind of gives you that nice front back consistency. So I'm going to bring this over this little texture that we have, and I thought we'd go ahead and get our logo. So let's get our logo and we're gonna have it over a flat back black background to go ahead and put our white one logo in the center of the card. And this is where bigger is not always better when it comes to sizing elements in your design so we can have this big logo. But it tends to lose a little bit of its elegance and its simplicity and starts to look a little crowded and also noticed. I don't have my little period, so let me to swap that out real quickly. So there we go, have my period, so it so watch what happens when I reduced the size so right now. Okay. See, a logo is just kind of a typical logo. When you make it a little bit smaller and have a lot of margin, it kind of starts toe. Add a little bit of a high end elegance to it. So bigger is not always better. Sometimes smaller can communicate different moods and feelings. So I need to make sure that is a line properly. Aiken, toggle my grid at any time and move my texture out of the way. But they could have a texture here. It kind of size this up. Or I could do a little trick. Throw my box right here, select both of these elements and just do my line panel and do a horizontal horizontal alignment. Get that to be good. It also turned on your smart guides. If you want to view smart guys and you have this on, it's gonna kind of tell you where the center alignment is by that little pink line. So that kind of helps having the smart guides on in these kind of cases. So now I know that center aligned on the left and right side without having to break out the grid and lined it up. So smart guides are awesome view and smart guides. Sometimes I can get in the way so you could talk all that by, uh, by doing command you so I could go and toggle smart guides off very quickly. So now they need something. We have these beautiful brushes that we use in our ad campaign and also in our social media . I say, Let's continue that because any consistent brand is gonna have some unifying thread or unifying element that continues to pop up. In this case, it is thes brushes. So let's find a way to use these brushes, but in a very subtle manner. So let's take two colors. It's a stew, copper for now. Bring that to the front and I just want a little edge. Just a little subtlety. I don't want this big brush that goes across because that's just that too much so it was all about a clean, simple brand so we could continue that theme throughout by just doing a little bit. It's go, that's your bleed. This is gonna be your bleed, so that's gonna be cut off. So this is your trim size. I have to kind of continually moment this part in my head just kind of pretend it doesn't exist because that's not gonna really exist. So you're just gonna have this corner here and let's do silver because we already have gold incorporated into the logo. We have the gold right here. So let trying to get all three colors in here and we have a little bit here comes shining through. And so let's say I want a crop. This I have no idea how to admit that from my brain. I keep seeing this big swash here some is going to draw a rectangle on. I was gonna crop these issues a clipping mask. So I'm gonna go ahead and group those two brushes together, and I'm going to select the box I just created. I'm just gonna make a simple clipping mask, and so it's gonna kind of help me figure out what the final cropping it's gonna be. So now I could just take my direct selection tool and see that's just the guide for me. I'll eventually end up having to change that clipping mask so I could change the angle of these. Do that make it a little less of an angle. Here we go. I still wanted to just be a small touch. Okay, so I think that's it for the front of the card. I'll have to remember that that's bleed and that will be cut off. I'm trying to kind of you it just like this. I'm glad. And show him a screen how it'll be cropped in the final. So we just have elemental on the front. So we're gonna have a lot of information on the back. We're going to organize the person's name, fax number, whatever they need to have on here in the most clean way possible. So now it's time for the backside. So I went ahead and typed in all the main elements that I think will be needed for this card. And that's something you can ask your client or whoever you're working for, what information is required. And so just doing this for so many years. This is kind of the general information that have had to work into business cards, as you could see there six elements, and so a business card is a lot smaller than you think. It's 2.5 by are 2.5 by three inches. It's not really a lot of room to play around with, and we need to keep type above eight points in size so that it remains legible. So there's not gonna be a lot of design opportunities in terms of having objects and pictures here. So let's the most important thing about this side is making sure the type is readable. So let's work with the type first. And then if we have any room for some design elements, let's work those in. So I'm gonna go ahead, make this the type of spark that we need. So we're gonna need to have this than Avenir to stay consistent with the choices that we made. So let's instead of doing a very thick let's do a medium weight, we don't want to have it all be bold and kind of finessing some of this stuff. You notice how I put periods instead of dashes? I noticed that that kind of has a more modern look, and also you can shorten this, find ways to short things so you can just have P people by now know that that means phone so I wouldn't be concerned about having to type everything all the way out. So just finding ways to shorten things and the notice with elemental lotion. I have the capital E to stay consistent with their brand, and also I do with a capital L. So you could tell the difference between the words and it reads better. So, for example, the email you'll notice a lot of emails are all lower case. I do not like that because I can't. Everything runs together as one big, long word. So if I were to make some of this capital, it just looks better but also reads better. It's got better user experience in my case. So you know J s Smith and course for email cannot eat. We could even have it a lower case if we want lower case d n a p. So that is simplifying it even further. And so another thing we can do is be consistent with our weights. So we had this as a bold wait before. Let's continue toe, toe, egg situate that when same thing with the P uh, if everything's the same weight, it blends in. So if we change up our weights a little bit. It adds contrast, so I kind of read a little bit better. We do the that way. It's kind of boring part of business card design, but it's definitely helps toe really think about. For sales enquiries, this could be smaller. It could also be a Talic, that'll that'll kind of differentiate it from all the other elements. So, you know, it's amusing, bold, different weights. I'm also italicize ing certain things. This is gonna need to be a lot bigger. So now we're gonna work on sizing relative to each other. This can also be a tallix, maybe a black metallic, and this could be a black or heavyweight. So when you start to see the balance of the type arm, using different things to different differentiate different elements. So let's look at sizing. Let's see, that's eight points. That's decent. Anything under eight, I get a little concerned about readability. This is small print, so I'm OK with it being five. But let's go and make it six just to really make sure people can read it when it's printed , especially since it's in a lighter weight. So now we have to figure out what is the best alignment for all of our different elements 31. Lesson4 StationaryDesign BizCard Back: great business card design rarely has all the elements on one side. So let's find ways to separate our Jonathan Smith away from these elements. So Jonathan Smith and this is where we can start to incorporate some designs. And so we probably want this is the header for sales enquiries. I want to keep that together, and this is where we can break things off. So we want to keep these together phone and email. And a lot of times I love to use icons. So I think I'm gonna go back and switch that icon out. If I just don't like the p in the E because I could look a little awkward and I could probably not make the colon so bold, okay? And so the website can stand alone, so this could be an opportunity to break everything up from that left right alignment. So let's work in some graphical elements. It's gonna help. May be able to place everything. So I'm gonna go to our ad designs kind of a big mess, have been kind of dragging things around, But I do want to kind of use a few of these items. I think that maybe grabbing this elemental, and we could have this as a element that goes behind it. Just making that a light gray, Seeing how that looks could look a little busy, might not be able to read it, but it's a good thought and let me go back to my T shirt design or back here. This could work, too. It's also here and see if I can't get this vertical. We've already did that for T shirt design, So let's continue to use that for our business car design. And you have all this horizontal tex. And then you have that vertical texture really had something different to the design. It's not all gonna be breaks up all that horizontal text. I always like to put the website on the lower third of the business card. Not sure why. Too sick. That's what people naturally look for that kind of thing. We could keep all the information up top and maybe have a product image here. We can have a divider bar. We've been using that in some of our branded elements. Well, Divider bar there, that kind of helps break up those two blocks of copy. I love using divider bars. It really helps to break that information down further for the viewer so they don't feel overwhelmed. I just highlighted everything, adjusted the left alignment. So I'm making sure I have wide, wide margins on my business card. So I stay within that safety area. So I'm just gonna move this down and make sure why? Because there's gonna be chopped off. So this is the trim. Don't look at all that nice margin and equal on both sides are pretty close. So let's make the website a little bigger. The websites, Probably where we want it and have people go to anyway so that they can look. And this is for a sales manager. So they're gonna be stopping by stores and trying to get people to hold the product. So it's nice to understand who it's gonna be for. So if it's gonna be for a manager, a sales person want to put the product on there because when they're selling something, it's nice to remind the store owner what your product looked like. Especially if it looks as cool is ours. Let's put a product on there, and it may not always be the case. Depending on what brand you're working for, you need to think about who they're gonna be handing that card out, too. It's gonna be a manager. You gotta have toe design it. Exactly how a manager would like to see that card. What information they want to see. If you're handing out to just people walking on the street, you're probably gonna do it more visually or graphical. So just think about the end user when it comes to business card design so I can grab this entire three bottle thing and use it. But then again, I'm thinking this is such a small business card that is going to overwhelm anybody. It might not have got a lot of beautiful white space here that we could work with, So this can kind of show off the whole product line. Or we can go to our little downloadable ZIP file that you have, and we have just maybe one of these, so in grab copper and you'll have access to these files if he wanted. If you're doing this brand, if you're doing your own brand, you might have some things that you created in the dhobi dimensions or some other kind of file that you have. So how effective? So this is the whole product suite, which, from a sales manager perspective, is something I think he'd like to have, or we can feature one product, and it's more clean that way. But the only issue I run into is people might not understand the product without having to go to the website. So from a design standpoint, I think this looks better. But from a practical what's the client get a light perspective? They're probably gonna want to see the whole suite of products. So there's gonna be a difference between what works best design wise and what's the most practical with. Sometimes you have to move toward practicality. Not always the design. Okay, so now we have a problem. We have a really long email, and so we have to find a way it doesn't interfere with the product. And I thought, Let's break up this big white background. Let's do it with a bar and we could do a diagonal bar to since that tends to be what we've been doing in our brand. So I'm just doing the pin tool. It's drawing kind of a diagonal box. It's going gravel of our colors. Let's go back. And I can also going to show you how to save this into swatches. So you don't have to keep going back to here. Haven't showed you that yet. So have my swatch panel. We can add these a swatches to our swatch panel. Here's your swatches. We could drag these in and have ourselves of swatches. Now, we don't have to keep dragging this in every time. Make all of our black type kettle black, which is really like a light gray with a little bit of blue. And maybe the box does. The box doesn't always have to work doesn't always have to work. One thing we could do is we could do the gold brush across the bottom that goes across the bottom. But I'm starting to think that that brush is gonna be too much. Let's do this simple side of the brush we go. This is what you said multiple versions to your client because they may say I love it or they may say, way too busy. Let's not have it. So I always at least have to lay out design options so I would do one like this and I would do one that's playing and just let the client decide some of these issues. They're gonna have a preference one way or the other, so we don't need these colors anymore. So now I'm just gonna be tweaking the layout. We could even change the color. Some of these elements just kind of bringing in the gold from now that we're incorporating gold. So I could probably push this just a little bit to the left. There we go. Gives us a little more room. We still need a little bit. So let's make the product. I hate making the product image smaller, but we're gonna have to for the sake of keeping it clean. So now I think this sort this elemental is starting to clutter every we've got too many elements. So we need to either say we have this element. The elemental one are We have the gold, but we can't have both. This is when you have to make those to some design decisions. Which one wins. Both of them can't win that. They're both competing with each other. So which one's gonna win is gonna be the simple one would be like this Or is it gonna be the gold sushi? We can always kind of do what we did up top and have it go through 1/4. And that might be the winner. Just kind of turning it on an angle. Kind of helps that look good. Make it smaller. So I get a higher resolution. Now, I can put this to the right, right underneath the product, which is fantastic clients gonna like that. So what I'm seeing in this design? Yes. I'm seeing kind of a big white space area right about here, and it just seems awkward. It doesn't. It seems like it's not working, So we need to kind of address this big kind of strange triangle gap that's being created. So let me play with this layout and let's see what I come up with. I've spent about 5 to 10 minutes adjusting this layout, and I did decide to switch things up a little bit because I was really struggling to make that all white background work, and I still wanted to have some white, so I can continue to have that high contrast front back that I was talking about earlier in the lessons. So I went ahead and looked at what we've already done, especially the social media ads. I was like, Well, we've already kind of established a look and our social media ads as well as their main flyer add Let's keep using that style because we've already kind of established that. So that's when I went back to this diagonal swoosh and also had this black and white combination. So that's how I kind of came up with switching to a little bit of a darker background. So I'm gonna continue to finesse the type, but I think we're getting really close. So there is our backside design, and we also have our front design. So I like to zoom out anything I designs could delete the things we don't need. Keep that over here, So I like to zoom out to kind of get an idea of Does it work when it zoomed out? Can I read everything? House the balance? If the photo too big, maybe it is. Maybe this is when we can have opportunities to size it up, because sometimes when you're this close, a business card is never that big in your hand. It's always about right here. So it's good. Just kind of zoom out to that level and say what I think so I feel like I'm ready and I'm done. So I'm gonna prepare these footprint. So all I'm gonna do is do the same steps I did for all my other projects. I prepared for print. Gonna go ahead and release the clipping mask on this and that's automatically extended already to the bleed. This is ready to go. The text has already been outlined in the logo, so that's ready. This just needs to have this element brought all the way out to the bleed. You just bring this out to the bleed real quick. Great. I'm in C. And why came out of double? Check that. And also my proof colors. It's to prove colors, and that will help us get an idea of our black. But since we've already tried that on the other one, we know it. It looks good and never picked preview. So now we're ready when you to create outlines, it would just create outlines. Gonna type. We would create outlines. I'm not gonna do that. cause we're still got a few more projects to go out to go to file export as a PdF, and I would make sure my bleed is on document bleed settings air on and then exported, and I'm ready to go. Did the business car design so next? It's hard to do a whole stationery and not think about all these other items. So let's not do the postcard per se because that could be something we could do later on. Let's do the next important thing in our stationary design, and that is the letterhead. 32. Lesson5 StationeryDesign Letterhead Part1: so in the template already have kind of a generic length of text. And one thing I want to reiterate about letterhead design and problems I've run two with clients is they didn't have enough room on these fancy designs with wide margins and all this kind of objects on there. They didn't have enough room for a nice long letter. So you never know how long the letter is going to be. So it's nice to play around with a big block of copy like this so you can be ready for them to have a long letter, and you want them to be ableto have this be as flexible of of a letterhead as possible. So we're gonna go ahead and bring in some of the elements from up top that we have in our business card some of these kind of same elements. We're gonna go ahead and use the same guy for our letterhead. We want to do a generic letterhead so we don't want to have its name per se, but we could keep some of these other elements. So a switch everything over to our Evan, your font typeface, and I kind of brought in some generic information in terms of having a street name and some things that are gonna be required. So when it comes to letterhead design, I like to zoom out and kind of get an idea of the space. And I love to have a little bit of a thicker margin, so I'm just gonna kind of reduce this a little bit. Make sure we have enough room for a long letters as long as this letter fits will be OK. Another thing I like to do with paragraph copy. I'm gonna go ahead and highlight this paragraph. Coffee? I'm gonna go up to paragraph and I'm gonna make sure I have this alignment set justify with let with last line a line left. This is a very great and flexible alignment. I'm going to do that like this is gonna have alignment down the left side and also on the right side with the left with the last line a line left. So as a nice boxed kind of look, I'm also gonna unclipped hyphenate because I don't like how type in the body copy has a hyper nation. And of course, I have some clients that need me to adapt this into a word template for them. Sometimes they don't have illustrator to be able to do this. So talk with them. You may have to recreate this in word someday, but hopefully you don't have to. So that alignment looks a lot better already having that left right alignment, make sure the right and left margins of the same. So a company name. We're not gonna need that because we're gonna bring in our logo that we have right up top so we could have this beyond a clean white background. Especially if they're gonna be printing in house. Sometimes clients don't like to spend a lot of money on ink in the printing and house, so I don't like to lose too much dark background or things that would require too much ink . That's something I've kind of running to. So just kind of getting an idea where I think the elements could go so we could do a ride alignment. Here, bring that forward. Maybe put a little more spacing here between all this and it's 12 points, it doesn't need to be that big. Maybe 10. Let's do book or Roman or medium we can align the logo along with this type. We can ship this up so we could leave room for a nice, long letter. And let's make sure all this is our kettle black of her brand switching that over. So now we could bring in elements. I don't think a letterhead is the place to put a product image, so we're not gonna do that. But it could be a place to bring in our little swoosh or some kind of texture or color so we can pick a color. I think maybe a nice copper color. We've been using a lot of gold. We have a little swoosh here. Could be going down the right side as a design element. We can take a box. You do like a box to kind of bring all that together. We can kind of make it uniform looking wide in that box. We could put elemental down the side of it, and this whole shine on thing I would loved it could incorporate that. Somehow we didn't have a room on the business card to do it. But on the letterhead, I wonder kind of our slogan. I guess you could say shine on that could somehow be incorporated in the bottom. We'll see that might be able to busy. We could turn all of these elements on its side, and this is pure experimentation. I have not even thought about this. I wanted to kind of show my raw design kind of thought process is with you. Let's rotate that 90 degrees. So it's a vertical presentation. And what if we did shine on down side? Look a little busy, a little busy, so let's not do that. Too busy, too many elements going all to keep it clean. Keep it simple. So I gotta always remind myself, I kind of think every element has to have play a role element, does not play a role. It doesn't belong, You know, Shine on doesn't add to the atmosphere of the piece that doesn't need to be on there, and I have to constantly challenge myself with that cause I want to put all these neat design elements in there, but then it doesn't provide any purpose. But just being there and making it look busy so I have toe remind myself could have shine on at the bottom. It is very simple. We don't have to put everything on there, just shine on. Okay, let's try the vertical elemental presentation that we tried to do with the business card, but we ended up doing a horizontal one. And that's the great thing about branding is you'll establish kind of branding standards and how certain things are supposed to go and be presented. But there's also some playing room and some breathing room. It doesn't have to be exact all the way throughout. It depends on the peace, as long as the colors are the same. In the overall theme is the same. You can feel free to have different layouts. So right now we have a lot of items that are left the line here. So let's see if we can't move this over and make that of right alignment again. Could put a divider line here. If we want to break up the header and the line there, you can make that gold in this case, copper, cause we have the copper swoosh or brush. I'm starting to think this is just it's too much. It's taking up too much space. It's really not providing a service in this design, so let's reduce all of that quite a bit. I'm going to continue to get some other layout ideas and I'll be right back. 33. Lesson6 StationeryDesign Letterhead Part2: So this is what I came up with after working with it for a few minutes and I went in a different direction because I do believe that that bar was just There's something as a designer, it's it is hard to teach, but after doing it for so many years, you kind of learned there's something that bothers you. When you do a design, you just you think it works. But there's something that works you that that bothers you about something and you just decide to totally trash it and start with a fresh new perspective and that's what I did. I didn't have a good feeling about it, and it's just a feeling it's really hard to explain. But I just knew that that that long bar it just seemed a little dated to me and I wanted to try something fresh and more simple. So I decided to simplify everything a little bit, and I kind of continued the same thing we have throughout and decided to stick with the copper color and not have too many colors going on. So the local has the calm propeller. All these elements do I have are nice dividing bar. I have room. The most important thing about a letter hit is it can fit a large letter and this conf it a pretty long letter. So that's one of the most important things when designing letterhead isn't practical, can the client use it for a long letter and have wonderful margins and white space Whitespace could make something look very, very professional. So don't be afraid of putting wide, thick margins on your documents so you could see on the left and right, So one thing I need to do is this some finishing elements? I'm gonna do my command quotation and go ahead and toggle my grid on. And I make sure my grid, my art board, is positions will have five boxes here and five boxes here. Just whatever arbitrary box number you want to do. Just make sure kind of lined up so that you can line it up on the grids. And now I'm able to kind of adjust some of these lines and notice, have an opportunity here to bring this down on the line kind of line things up on the grid , make it a little bit more polish that way. Ripper logo and put that right here. We can also make sure these air aligned so I could do the top of the L lines all the way up with the address Scroll down. This will shine on. Think of the needed that had a right alignment with every other element that's above it. So let's put that little period right on that bar. Yes, everything seems to be lining up. See that shine on everything, commits to a nice ride alignment throughout the piece. Now, if I had it over here just a little bit, I think it would bother me. But since we have it aligned all the way to the right, it kind of feels like it belongs there and reviewed reason. Okay, so I'm done with the letterhead. We're done with the business card. Let's do a quick envelope design, and then we're gonna be done with all of our stationary. This is the wonderful thing about the design side of branding is when you do a piece like, let's say, our letterhead that we just completed. You may find inspiration from something you do later on that can inspire you for a design that you've done previously. Remember how we were struggling a little bit with the business card and I found a revision . I decided to flip flop the black and white. I still have the diagonal theme that were carrying over, but I was kind of inspired by the letterhead and how clean and open it waas and how we kind of use the copper. And we had this line and I kind of wanted t do something more clean. So I did simplify this design a little bit more and decided to add the elemental logo and its full glory instead of having that little faded item. Um, so and also kind of group these together a little bit more and using the copper instead of the gold, just trying to find inspiration from things I do to go back and finesse and fine tune of the things. And that's what's so important to do. Branding objects together as a package because you don't know until you're done doing several different things and add design social media T shirt until you really know how to work with the brand pieces to build what you think will be the best design, and so this is just kind of an honest Raul approach, and I wanted to include this in here to show you kind of my constant back and forth. I go through now, you need to go back and forth and always challenge the design that you done previously. If you feel like you were able to work with elements and he finessed it in a way that you like, go back and revisit some of your older things and fine tune it because branding it's really hard to do with just one item. So that's why doing all these objects together by the end, some of these will change and evolve, hopefully for the better. I'm going to show you the process of adding a pantone or metallic ink, and this is the case for any Pantone color. So if you're looking for a specific ink so that little metallic Pantone color, he confined him in Swatch books that your printer sends. You can look him up online, but they will add actual speckles of the shine to it, so it's a different kind of ink. It's not just a solid color, so let's say I want to have this be a copper metallic ink instead of just a flat in color that I chose are gonna have to select all of these elements. And what I'm gonna do is I'm gonna go over to my swatch panel. I'm gonna go down to this area's gonna be your swatch library menu. I'm gonna go ahead and click on that. Then you're gonna go down to color books. This is where all of your Pantone color swatches air gonna hide. So this is something I use often whenever I have a client that requests a certain Pantone color to be printed. So I'm going down and I'm gonna go down. There's all sorts of different ones. Usually the ones that are solid color are the c m y que coated and uncoated. And then there's actually one's called metallic coated. So this is a census is gonna be a high gloss. It's gonna be a coded Pantone ink. So I'm gonna go ahead and click on metallic coated, and I'm gonna have to probably look at a sample of this or have the printer send me a sample so I can really see what it looks like in person. Um, no, you don't always have that luxury, but sometimes you do. So I'm gonna pick out a color that I think would closely match our copper color. Or maybe I've already picked it out in the book. If I've already picked out the Pantone number, every Pantone has a number. I would go ahead and type in that number. So let's say it's 45 and then I would have things that also have that name. Minutes. We'll say it's eight. What's this? Pick one here? Let's see. Let's pick this one. So Pantone 8 45 so I could easily look it up instead of having to pick it out, and I would select it. Okay, so once that is selected, this is kind of a gray color, but we can just kind of pretend that that's a copper color. So now you'll notice when you select your objects again, you'll go over here to your color panel, and you'll notice it will be set to the Pantone color that you selected. So now when you're sent it to the printer, they'll be able to see that that's a different ink, and we'll print that accordingly, so they'll print the metallic Pantone color there. So all you have to do is this. Set it to that in your library. So it's going. Go it go over that one more time. So in your swatch panel to go to your library, you go down the color books you're gonna live which Pantone book it's from, and then you're gonna be able to find the number. And just assign that color swatch to whatever you want to be metallic and a lot of times for the printer, I'll create a new layer. So I was create a new layer, an illustrator and copy and paste or paste in place, my objects just to separate it and also say, Pantone metallic ink just to kind of have that as a separate layer for the printer. It's not required us to something nice I like to do, so I know exactly what has that Pantone color applied. So that's how you do Pantone colors. It's how you do it for and metallics. It's how you do it for solid color. Pantone. As long as you have that number, you'll be able to look that color book up a sign that swatch to the object that you want to have to be that Pantone color 34. Lesson7 StationeryDesign Envelope: So this letter, designed to be a letter envelope design will go very, very quickly. Everything we do from here on out is gonna go quicker and quicker as we're starting to establish everything. So I'm gonna go ahead and get the front side of our business card copy and pasted over here to see if we can't mess with us when it comes. An envelope designs what I found out that instead of using ink printed on envelope designs , that's getting the envelope already. That color saves a lot of money. So in this case, I could actually get pre made black envelopes and have been put my design on it. So that's kind of what I found was easier, but in terms of the concept was go ahead and get her dress and everything loaded in. So I'm gonna do kind of the boring set up stuff and get our address loaded, and then we're gonna get the layout done. So I have the information I got from the letterhead and we could go ahead. Make that are cotton color, cotton, white and with envelope concepts I usually don't include. The address is information because that's usually done with the sticker that's put on top. But it depends on your postal codes. You might be in a different country. There's gonna be different set ups, but I'm not gonna get too much into that. But I'm not gonna really need that information for right now, so I'm just kind of doing the basic letter had set up you get are loco up top a little bit . Make sure this is a good font size. We don't need a 10 point. That might be too big. Let's just make that nine. We have lots of space in between the lines. So this might be a very, very simple front because most letter are envelopes are gonna be a little bit more simple because you have a lot of postal codes and regulations that prevent you from really doing a lot with the design. Let's make it Our black are kind of kettle black color. We could make the envelope something cool. We can actually make the envelope gold or put a texture on it. But let me tell you, all the years I've done work with clients, they almost never do the envelope. A different color are a cool design because it's always really expensive. And so we always price and quoted out, And we do cool things with the flab. This is always too expensive, so you can always try it. If the client has a good budget, you could get away with it. But I thought I'd be really need to kind of have a texture over laid on this. That's we're not gonna be able to do a lot of design elements on the front because of all the regulations. And in the United States, you can't put a lot of things on the front. I'm just gonna do a clipping mask. See if I can't clip that shape and see how this would look as a cool flap texture right click and make a clipping mask and see how that would look. That would look really classy, wouldn't it? If only they could afford it. So double check and see how much it is to cost, because you got to think of once again bringing up that whole being practical thing. Sometimes being practical, Trump's a cooled sign. That's the case for any company, any project you work on. It's always about being practical with costs, so this would be something I would be totally for, but it could not work out. May not work out in the end, But let's assume it could, because we don't really know what our budget can afford. This looks like a pretty high end, expensive brand. Maybe they could swing it. This could be for promote promotional materials they send out to either consumers recent out to managers, which was probably be what this would be sent out to a store manager so they can see if they want to hold or sell or product. So we do want to maybe spend a little bit more money sending it out to store managers because gonna be a smaller list mailing list so we can spend a little bit more money cause there won't be as big or broad of an email, part mailing campaign. If I could talk. So that's an option. We can bring in our elemental and have it go across the bottom, but I really want to keep it simple. Ah, one thing you could do is talk with your printer about different kinds of materials you can use for the envelopes. What I find what I would probably pick for this as a linen blend. And so linen blend has this nice little texture. You can feel it with your hand. It feels like old school paper. I'm almost like parchment, but just kind of got this beautiful linen texture, and it is really brings. Ah, high end, beautiful look. So look and ask about what kind of materials would really help make this design look good without having to add to the design. Sometimes thinking about the design is sometimes thinking about the materials we're gonna use to not just the actual design pieces. Okay, so for back, this would just be the continuation. I usually find that the back of the envelopes air not really read or cared about too much, So that would just be a continuation of the black. And so we really need to add Ah, we're pretty much done. We kind of finished the envelope. We have our business card and we have our letterhead. So a couple things I want to think about now that I have everything ready to go on ready to export, is having some printing elements so and thinking about our printing materials So for a business card, I gotta think about two things. Do I wanna have a mat fit a mat or a flat finish our do. I want to have a nice, high, glossy finish, so the glossy is gonna have that shine to it. It's gonna have that sleek appearance. It's gonna catch the light, the mat or flat. This, of course, could be flat. It's not gonna have any gloss to it. It's not gonna have any shine. So since our whole brand is built on shine on, I think having the high UV gloss would be what I want to do with the business card. So I kind of thinking about after I'm finished with the design what I could do there. There's also the metallic inks I can think about and we could put him make this not only just a texture of metallic, we could actually make this a metallic aig by isolating this layer in letting the printer know that I want to apply maybe a PMS or a a Pantone metallic cake. Last but not least, let's export all of our files were gonna goto file to make sure we create outlines. Who created outlines at all of the type. So good a type create outlines Nice. We're gonna select all type create outlines. And now we went ahead and checked all the colors. Will went through all of our checklist steps to make sure everything is ready Prepared to go. Everything bleeds out to the edge past the bleed. We're gonna go to file, save as and we're gonna export as a pdf, and we can go down to our press quality. Since this will be a printed piece, we're gonna make sure preserve editor illustrator editing capabilities is unchecked. And there was gonna make sure we include the document pleats settings. And we're also since this is not a magazine and this is gonna be a printed on large sheets with multiple versions on eight sheet for the printer printing purposes, I'm gonna click on Trimark so they know exactly where the bleed is so they can trim it. So get a click on say, pdf and we are done. We have everything exported and ready to send to printer. If you wanted to have these as separate elements right now, we have the, uh, everything on one document. But if you wanted to have one illustrator document for a business card to simplify the exporting process. You could do that, but I just have him always one just for an example. You could do it, however, you feel comfortable, go and double click our pdf and kind of see could see these or what crop marks look like. That's not a mistake. That's a crop mark that's going to tell him where to cut t