Transcripts
1. Class Preview: Following the latest
and coolest trends in graphic design is tempting, wanted to be both relevant and eye-catching as we promote
our portfolios to the world. The issue is some
trends lasts for years, if not decades, while some
just last a few months. This class is a bit
different as we'll discuss the longer-term trends
and movements and graphic design over the
last century or so, there was no way to predict
future trends without knowing their origins and purposes
throughout human history. Not only that, we'll review
popular trends and color, typography and layout by reviewing popular
trending projects from many talented designers
will also review a list of eight dynamic fonts and how to use them to spice
up your projects. There is a fantastic
practical side of this class as well. We'll get to do a few
small practice projects, putting our font
list to good use. The first project includes
creating a package design, crafting 3D presentations
using dimensions, and even creating an
Instagram rule that assure to catch the
attention of others. We will also tackle
another project that allows us to work with
some other color trends we talked about moving forward in graphic design. All of this. So you can start
finding ways to use these longer-lasting emerging
graphic design trends in an upcoming projects. You can look like a fourth
weekend designer in this year and beyond.
2. The History of Graphic Design Trends: To be able to see and predict
the trends of this year. And next, we first have
to understand the history of graphic design trends
throughout the last 100 years. There is no way to predict the future trend without knowing where styles came from
in the first place. We're very lucky to be
in a position to be able to draw on such a wonderful
rich design history. Let's talk about
that design history. For every major style
and design movement, there is a countermovement. No one's style within a
movement dominates for ever. Sub movements continue to
spend decades producing several different sub styles and then evolves into
the next movement. When a dominant style fades out, they can still be
influential in the future as a foundation and inspiration for a future style or movement. You will notice how some art
movements were started as a counter to a
previously dominant art or design movement of the time. For example, the latest
postmodern movement was a counter to the
ostium or simplistic, purposeful and calculated
Swiss design style that absolutely dominated
the design space for decades in the
mid-twentieth century. This is also true for
the Bauhaus movement, which was response to the
Art Nouveau Movement. Art Nouveau is very ornamental
with lots of details, as well as Art Deco, which was encouraged
to have lots of fine lines, details,
and flourishes. The German Bauhaus
movement tried to reduce all unnecessary components
for the sake of giving a design a single
driving purpose to be clear and on-point with
a Swiss design style. Taking that even further
with the use of grids. It is safe to say
that even today, these back-and-forth
style movements are evident in current
design trends. For example, the Web 2
micro style that was popular with logo design in the first decade of
the 21st century. Ad lots of glossy
realistic effects. This design style overtook most new logos that came out at the time to
the point where designers wanted to challenge the over acceptance of that
trend and the overuse. As a response, there was
a movement back towards flat, simplistic logo designs, void of unnecessary details, gloss and effects, unlike
gradients and drop shadows. Once again, as of late, we're starting to see
a movement away from flat design and more toward expressive typography like
handwritten topography and movement like we're
currently seeing. Trends, change and evolve. But they also have a
history that they're built on an understanding that
history is important. I like to compare art
and design movements to a multiple floored
building with a level underneath being required
to build the next level. Please do further research into the history of design styles. You'll find it
incredibly fascinating. It'll help you predict future design trends and how to be a forward
thinking designer. What was popular in the past
can be popular once more, but sometimes with an
added fresh twist. One example of this is
psychedelic design. Popular in the 1960's and 70's. It's actually starting
to make a comeback. This is most likely because of the oversaturation of this flat, simple design that has been
popular in the last decade. This trend allows for more expression and
movement and design, which challenges the status quo. Designers always like to push the boundary of what is
popular and acceptable. Without this constant push
will be perpetually stuck in the same trends that last forever and design
would become stale. Psychedelic design
can be full of non repeating patterns,
shapes, and curves. The style is very maximalist, which is the opposite
of minimalist. Minimalism uses a little as possible to communicate
a message and maximalism uses design and every
available space to communicate as much as
possible between the lines. We've been in a timeframe of dominant minimalism for
quite some time now, which really started off with a very flat Swiss design style. With better software
apps and technology, we no longer have to use such simple fonts and
colors everywhere. Our browsers can now
handle more action and movement, topography
and patterns. I see a slow swing back to the maximalism design
in the future. Maximalism can sometimes be hard to embrace as a designer, especially if we were trained in the simple Swiss
style movements with strict geometric shapes
and minimalist typography. The key to maximalism
is not to overwhelm our maker design busy for the sake of filling
out empty whitespaces. But as to allow the
viewer to better experience the
subtleties of design and meanings in your design through color patterns,
texts, and shapes. There's way more complexity, which allows some time
for people to stay awhile and look at the design
and really soak it in. The power of minimalism is
simplicity and how it helps the person feel at ease and calm because everything is so
organized and simple. With maximalism, we give
a viewer, not calmness, but we give them energy through design elements In a sense
of movement and patterns. Maximalism allows
the designer to play with imperfection
and excess. This desire to no longer be
perfect is at the heart of us all who are overworked
members of society today. And creating a piece
that has rounded, fun, custom topography
with little things that may not be
perfectly symmetrical, could be a breath of
fresh air for us. Another emerging trend
that is a trend from the past is the
1990's grunge style, which once again is a
maximalist concept. More the merrier with lines, geometric shapes,
hand-drawn elements in torn textures and pages. The biggest generation, the millennials and
also my generation, are becoming some of the
biggest consumers today. They grew up in the 1990's, myself included
and have a lot of nostalgia and engage with
this type of design. I think the style will
emerge once again to allow that generation to
relive a little bit of their childhood
and teenage past. To continue to track along
the maximalist theme, we can also see emerging trends and typography that allows detailed custom serif typefaces
to take center stage. These are not your
standard serifs that closely resembled default
fonts on your computer. But these are art
unto themselves, featuring more loops, expressive ball terminals
and connection points. Some of these typefaces might seem a little
strange at first, but that's the beauty of them. They make you stop and go, oh, now that is something unique, something interesting
for a change. Look at the strange terminals
and stems on that one. It's all about
individuality with typefaces avoiding the
bland and overused. Some may even have
characters that almost hug each other with
those sexy curves. A lot of them will feature
a unique character like the lower closed
loop of this gene. The key to using
this trend well as making sure when things
need to be legible, they are when things do not need to be legible and
their background noise, It's okay to be a
little bit more wild. It's a delicate
balance when picking the right typeface or
customizing your own, having an expression without ruining the functionality
of your design. In the next lesson, we get to review eight
different typefaces that I've chosen as these wonderful, beautifully
expressive typefaces. Not only that, we're
gonna be working through a few quick practical
projects using some of the typefaces that I think are
gonna become more popular. 2022 and beyond.
3. Design Trends in Typography: Welcome to the
topography lesson. I have a downloadable
PDF that you can look at along with
me as we go through these eight different typefaces that I've chosen that
I feel like would best represent future
topography trends in the next year to three years. As we talked about
in the last lesson, what is most important about
the typefaces that I've chosen is that each one has something that
is not standard. Something interesting,
something very unique about specific characters
in the typeface. Let's go ahead and
start with number one. The first one I chose was
a typeface called ****, and this is an Adobe font. And if you have an
Adobe subscription, then you can have access to all of the fonts
that are Adobe Fonts. And the first two
will be Adobe fonts. And you'll have access to that. And I have ones that
aren't Adobe fonts. So if you don't happen to
have an Adobe subscription, That's okay because a couple of my other font choices are
accessible to anyone. This one was really interesting. I liked the very
high contrast nature between all of these. I feel like this is
elegant and very detailed. And it's best used
as a display font. Larger headlines and sizes. It's inspired by
died own typefaces. As you can tell from the high contrast between the strokes, There's some unique qualities to the lowercase characters
in this typeface. Has elaborate slopes and has
dramatic ball terminals and makes this typeface feel
very custom and illustrious. Let's take a look at the
unique characteristics. This lowercase g. Unless it has this
unique teardrop tail, it has you super-duper
thin arms, which makes a wonderful
display typeface and display typefaces are just
headlines, larger type. You don't want to use
this as the small, tiny body copy because
all these details get lost when the typeface
is used very small. And a lot of the typefaces that we'll go through in this lesson, we'll be display typefaces best use as a little bit larger size. You have this interesting, neat, almost just a single point stroke that connects the
queue and the circle, the closed counter and
the tail of the queue. And really cool ball
terminals that have that teardrop shape
That's pretty consistent throughout
the typeface. And some really neat sloping
curves on that lowercase t. You can see some practical
application of ****. You can see it being used
as a website header. And what's interesting
is I'm seeing a more and this has been the case
for a couple of years. But serif typefaces coming
back in the digital world, we used to not do serif typefaces because
it was hard to use them. But now with the
emerging technology, we're starting to bring
that traditional, nice, nice, detailed look
back into the digital world. We're no longer static
and boring and blocky. We can be a little
bit more expressive. This one's really good
being used in curves, as you can see in this
little example right here. You can see how dramatic that f is and some of these
sloping characters. And so you can really tuck
these letters and to create some really fun
looking headlines that are very
elegant yet playful. It also pairs very well with a sans serif typeface
is one called epitaph, and it is another Adobe font. I think being unique as part of standing out in the
future of typography has, as I mentioned before,
but this typeface does that and features very
custom qualities. It has sharper
points and lines on its slab serifs,
arms and crossbars. This only comes in one
font-style that is regular. It does not lend
itself well outside of the larger headlines,
phrases, and names. So once again, a
display typeface. This typeface does a good job at setting itself
apart from others, giving you a unique twist to
your headlines are logos. Let's take a look quickly at some of these unique
characteristics. The most unique character I
found was the lower-case o. It has this little mark
as the lower case o, and it's inspired by the older
Latin presentation of o. Or in some cases
other languages to denote certain vowel
pronunciation. But it looks really interesting. It's just kinda throws
you for a loop to have that little dot
there below the o. You can see in this little
practical projects I put together when I was trying to discover what
typefaces I like. I did all these extra
projects to see how these are can be used in real life on
real-world projects. And I've found that this looked really good
on this candidate, gave it just a little
bit of a fun spin on the topography which paired
very well with the brand. It also has this really
interesting diagonal stem, or in this case an arm
on the uppercase F. Also as a really
interesting arrow pointing type style
to the uppercase a, and almost looks like
an arrow pointing down super unique. You can see this curves on
the concaved curved serifs on the lowercase t. Once
again, all very interesting. They have such unique characters to their uppercase
and lowercase. So not using cap
lock gives you this interesting rounded E. And using cap lock or doing a capital letter gives you
more of a sharper edge. And this looks really good, distorted and warped because It has very thick lines and very consistently thick lines, unlike the first one
we talked about, did not decide to include
the sun, the list, but I thought it was too
unique not to show you guys. This one is memory
impro headline, and it's also an Adobe font. This typeface features lots of contrast in the strokes
throughout the letters, just like that
first **** example. This one exaggerates just about everything and includes the
use of curly tails that are great for overlapping to
create calligraphy style affects the uppercase here
is a little tough to use, but try experimenting with a
lot of the lowercase letter. So the uppercase letters are
very elaborate, very crazy. I wanted to show you
some of these details I really appreciated about this typeface as his very
nice, curvy details. And look at this lowercase f, that curly cue thing, that tail that just comes out
and then curls underneath. Super unique. This lowercase l, super exaggerated
swash extenders and had really interesting
around a ball terminals. And also the sperm is what's called a spur on
the bottom of the k. You don't see this. A lot of typefaces I was thought of kind of added some unique
traditional values to it. You can see this being
used in headlines. Mostly an overlapping those, those tails and
those extenders over each other to make it look
like they're connected. And you see that a lot and handwritten topography
that's super popular. You kind of see that same
intertwining things with all these extended
curves and swashes. This is the next typeface. This is, you can find
this on the font.com. It's by DLR RStudio. And if you want in it's
free for personal use. But if you wanted
to use this and a client project or for
commercial license, like you want to put it
on a t-shirt and sell it. You can buy a commercial
license to it, but you are free to use it in your personal portfolio for fun as long as you're not
making money off of it. But I thought this
was super-duper, elegant, really great for a
luxurious, high-end brand. I feel like it's consists this consistent wavy
features throughout its characters are
really, really unique. It's best to use this
sparingly because there is all this elaborate
details to it. So we don't want
to have these big, big long headlines with some of these typefaces because
they are so elaborate. This is a body wash
brand I created just to test out this
typeface to see, okay, this looks
all nice and cool, but can it actually
work on a project? And yes, I found out a can. I feel like it really dressed up this layout and design
without having to have all these extra
design elements because the topography itself is a very nice
detailed design element. So you don't need to add
all this other stuff to make it feel like
it's filled out. I think it works really
well, rounded as well. You could see here
in this little logo, you could see it
used really good and abbreviations and very short
headlines and brand names. It looks really good. Up Work Sans. And what's great about this? It's free for everybody. You can find it at
fonts.google.com. You'll be able to type it in. Anybody can download
it and use it. Always check the
license on each one of these most Google fonts are free for personal use and commercial, but please check each
license before you use it for any paid
or commercial work. The name is very
fitting because you can really put this
typeface to work. It features every single
font-weight you could ever want, including thin all the way up to super thick ultra weight. So this is one of
the few in this list that you can use for small type, large type, any type. It's not just a display type. You can use it for the small legal copy at the
bottom of the page. It's very readable and there's nothing fancy
about this typeface, but it has a consistent super low contrast
weight throughout. And it gives it a super
readability at the small size. Let's take a look at some of
the unique characteristics. As I said before, it's got very consistent
steady stroke widths. So very low contrast, which makes it very readable. So that means you can
create all sorts of different warped looks
to your headlines. Or you can do something
with contrast by having one via thin weight and one
being a bold weight. And what's great about this
is it's super-duper, simple. It could be used, unlike you use Helvetica
just like a really nice, modern slick, looking,
easy to use sans. Next up is Italiana. This font can be found
on Google fonts, so it's open and free
for anyone to use. Just make sure you
check your license. But Italiana is inspired by the calligraphy of
the Italian masters. The sophisticated typefaces. Another display typeface
best used for headlines. And it's also another
die don't type font. And it has high contrast
and it's strokes. Some of the unique
characteristics it has got these really short arms very similar to the other
died own typeface. We talked about a few. One's ago, but I really
love how the numbers look. Sometimes you can use a
typeface for just its numbers. If you're looking for a really elegant, highly
detailed typeface. I'm also has these really interesting shortened
curved terminals, as you can see in
this uppercase J, I love this uppercase V has that little unique curve
terminal at the top of that arm. Some practical applications
is make sure to use this as larger size text,
smaller size texts. Some of these nice details
will not be really be shown. Once again, try testing
this out with numbers. I always like to
have a couple of really nice typefaces
I use for numbering, especially with infographics
and magazine editorials. I like to have some really
nice ones in my back pocket, especially ones
that have serifs. Lot of great ways to use
this logo design as well. This next one is
called OCR type. And another great
open-source font that you can download it. It's free for personal
and commercial use. Always check the license
when you go to download. But it looks to be pretty open. So you can use this on
projects big and small. And this OCR type is a geometric sans serif
grotesque typeface that pushes the
envelope of normal. The wide version, there's a
regular and there's a wide, and the wide version is especially interesting
and post-modern. It could be a showstopper
abuse correctly. When I mean wide it is wide, it really extends out. You've heard of
condensed typography, which we actually talked about last year in the
2021 design trends, we talked about how condensed
fonts were very popular. So we can squeeze a lot into
short social media posts. This is the exact opposite. This is super wide. You gotta be careful.
These are gonna be very short words and phrases that you're
gonna use this for. So I tried to figure out, okay, I really want to use this
in a very modern brand. I decided to create my own protein powder because
I wanted to be able to figure out how to
practically use a typeface like this because I really liked how interesting, an extra wide and unique it was, was able to pair it well, not for not using a lot of it, but I paired it well with
the typeface we're gonna go over in the next typeface
that we're gonna go. Or I pair these together. But I really like how it
extends upward toward the bag. It really provides a
unique little word out there that leads us
to our last one. And this one is
also free to use. Once again, always
check a license, but it should be free to use for personal use and commercial use. It is a contemporary geometric
sans serif typeface. It has extra extended characters
and it's very condensed. You can pack a lot of
letters and a narrow space. So this is literally
the opposite of the last typeface
we went over. And it has almost
a grotesque like appearance with non
parallel arms and legs. Not everything is perfectly parallel and has
slightly various widths. Those characteristics give it a little bit of different and interesting and best used for a very modern boundary
pushing brands. Once again, I pair that with the last
typeface that we use. So I put those both together. We have a very
condensed typeface in a very wide extended typeface. And I feel like I paired
those together well, it kind of adds this modern, slick touch to the bag. I really love using
this as a headline. This, this typeface
is very versatile, very great for posters, headlines, product bags
like in this example. You can warp it,
you can change it. You can just, I just loved these little non-parallel lines. Like you can definitely tell
in this example with the L's how it's not parallel. So it just adds that
little bit of interesting, but it's still super readable. This is a super
readable typeface. And so I really enjoyed using
this one for that project. Yeah, I spent quite a bit
of hours going trying to pick this list
because I just didn't want to pick lists I
thought were cool. I wanted to actually
try each one of these to see if that
would actually be a typeface that you can start to add and
maybe think about using for some design
pieces in your portfolio. So you could look
a little bit more trending in a little
bit more forward thinking with some of
your typeface choices. So hopefully you've
enjoyed this. We're going to next do a
practical project together. We're going to put this
together really quickly. We're not gonna go over step-by-step software
instruction. That's assumed that you
already know that we're going to go right into thinking about the layout and the colors and how am I
going to actually use some of these trending
on fonts and typefaces.
4. Body Wash Project - Getting Started: In this lesson, we're going
to quickly create a layout that's gonna be based on some of the font choices that
we have for 2022. So this is the big list
that we have access to that you can download
and look at some of these font ideas. These aren't necessarily
the only ones that I would pick for 2022, but decided that these
might work really well with some really nice portfolio
projects for you guys. Let's create a body wash brand. We're going to create
a layout that can be used to create three
different body wash, not flavors, But since. And we're gonna get started. So let's look at the fonts
that we have available. And I want this to
be, has to have a little bit of a
feminine touch to it. Really soft is gonna be
for a women's brand. Let's first pick
one of these out. Let's go over here to
Carlos, right over here. I love these kind
of curves as you already saw in the last lesson. Let's see if we can practically make a brand of body
wash brand out of this. And I already have a little
bit of a logo idea here. Let's go ahead and
borrow this layout. This is a good idea of what
I want the brand look to be. So let's open up a new window. And this is assuming
you already have some really good
experience in software. You've taken my prior
lessons and you're just ready to go ahead and
get started with layout. Let's just typed send manually. When I do brand creation
and package design, if I don't have a specific
package size in mind, I just do something really generic and just kind
of guess on sizing. I'm going to keep it on
RGB since we're gonna be all digital with
this presentation. I'm just going to keep it
with RGB for right now, but normally I would
create it and CMYK, if this was gonna be
a true print design, let's go ahead and create one. Let's paste this little
logo and change it to what we think would be a
really good mock-up client. And with portfolio building, you have to kind of get prompts. There's lots of
websites where you can find prompts
for these things, but sometimes you have
to make them up to get some nice personal
projects going for your portfolio before
you have client work. That's one of these
things that I did a lot in the beginning was create these
fake mock clients, but I tried to make
them as realistic and believable as possible. Let's create a brand here, let's say Friends
of organic methods. Let's say it is a health care brand that really likes to go the organic route with
all the ingredients. And also, if you notice with
this particular typeface, I don't like the way
that it looks here. The e right here. That's a lowercase e. So I just have to do Shift
E and do an uppercase E. And I can go around and do that with a
lot of these things. So let's say originally, I had these all as uppercase O. I wanted that unique
little flare or spin. I can always do the
lowercase O that has that nice little
cross through the closed counter right here. See that little little swoop? You can go through there and go, okay, which are due, I like do I like a uppercase
R That kind of dips down? Or do I like a lowercase? Are you just go through those and figure it out
because all of these are little small
personality quirks about a brand that you
need to think about. What's gonna be overwhelming, what's gonna be too much. So you just have to go
kind of balance that out. This was done. This
is just a shape. You can kind of see this round shape that
we created here. And then I just did a type
on path to kind of have a smooth arching effect. I found this on Adobe Stock. If you are an Adobe subscriber, you can go on to the Adobe Stock website
and there's a free option. If you go to free and
click on vectors, you can find all
sorts of things. We're going to borrow those. Make sure to always check the license that you can
use it for personal use. This will be used
for personal use for my portfolio to show
off a fake project. But if this was for a client, obviously you might need
to look at the license and see if you don't need to
purchase anything additional. Now that we have the
logo, let me just make sure I right-click and group it. Let's create a layout, a bottle. So I'm trying to think. You can go to the grocery store. You can even go into
your shower and find a bottle and just look at
the size you can measure it, you can get an idea
of the overall ratio of height and width. You don't have to be exact
because you're not working with a bottle manufacturer yet. You're not going to have a size. This is just for a mock-up. So let's just create
kind of a size that we think we want our
body wash bottle to be. We can have a short stubby, we can have it real
tall and long. But let's do something
right in between. And go ahead and put
that in the background. We can even create a new layer. That background does not. Bother us when we're
doing the layout. So I'm just creating a new
layer, pasting that in. And I'm bringing that layer
behind the other layer. I'm going to lock that. Well first let's
figure out colors. We're going to do
another project that's going to really
hone in on colors, but I want a soft, more feminine color palette and we have to come
up with our sense. So our sense will help
guide our color direction. I thought the first one
would be mint and citrus. So when you think of citrus, you'll get There's lime
and meant is green. So maybe this really
light, light green. We can go source inspiration
for these colors. We're not going to go
all into that with us. We're just talking mostly
about layout and typography. But let's just quickly
choose a light mint color. And that's really, really saturated or it's not
really saturated, but I'm looking for even softer. So let's maybe bring it a little yellow and
then soften it, bringing in some grays, just trying to find
the right color. So there's the right color
for our bottle label. Maybe we'll make it a tiny
bit wider and lock it. Now let's get to the layout. So we're going to
make this smaller. Let's go ahead and
make our logo black because that blue and the
green are very much clashing. So let's make all this black. The logo doesn't
have to be as big as just kind of
identifying the brand. And then what's gonna
be most important is the scent of the Body Wash. We're going to need
kind of generic things for every layout. For a body wash, We're gonna need the
ounces, the fluid ounces. If you're in the United
States, we use ounces. Let's just say there's
18 fluid ounces. So this is just gonna be stuff that's going to have to be on every bottle that is going to make it look a little
bit more realistic. Look at your bottle
in your bathroom right now and see what's on it. And you can even copy
some of the stuff that's on there in terms of all
the technical stuff. It's gonna be a body wash
and let's type in body wash. We're gonna make
that a little bit bigger because we
want to make sure people can identify
it as a body wash. And we have our cent, which will be mint. Citrus. We're going to need
some kind of graphic to show either mentor
citrus because you need to really help people visualize that since
it's hard to just say, well, this is what the sun is, but if you have some
kind of visual aid, it helps to
complement the words. I'm just going to pop over
to Adobe Stock and see if I can't find some
free vector resources. I've found this one,
this vector resource. And a lot of times with these, sometimes you have to download multiple different ones with a similar style to
make a graphic. Or in this case, I think I found two
right here that would be perfect for Mint and citrus, which is the mint leaves. And some kind of citrus. I guess this is an orange, but it could be a
lemon or a lime. So let's grab these two. And let's say we're in the
real-world and we have a client project and we want to create
something just like this. And we were not illustrators and were
horrible at drawing. Let's say we can't create
something like this. This is good for our skillset. We're really good at layout
design and everything else. But with this will really poor. A lot of times you
find illustrators and you contract them
for small projects. So I would contract
in Illustrator to illustrate the three
graphics I need for the three different
sense and then use their vector illustration
and create the layout. So a lot of times as creative, so you don't have to be
perfect at everything. You can team up
with other people. And in my case, I wouldn't be able
to produce this. I would either by a premium graphic that has an
extended license for my client or I would
contract someone else because this is really,
really highly illustrated. I'm a graphic designer
and not an illustrator. So I know a lot of students have that question and that's
exactly what I would do. Let's lay this out. We want
to have this mittens citrus. This is where we
need to figure out our layout are blocking. Whereas this all good to go. So we can have this in the middle and we
can have mittens, citrus, but bottles
are very tall, so it's really hard
sometimes to wrap a really long name around the bottle because you have
to turn it to see it all. I'm going to try to think, not just horizontally
but vertically. Let's see if I can't just
make this a vertical presentation and kind
of lay it out as such. I'm trying to figure out
how to arrange this. That looks like it's
growing out of the citrus. I'm just going to
bring this down. This is trying to
find the right fit. And that's going to take time. You could change the size
of these things as well, maybe make this one
a little smaller. So it's kinda tucked in. And let's do our name. So our font, Carlos,
are Fama's gorillas. So let's type in and hopefully I'm pronouncing that right. There it is right there. Let's go ahead and click it in. All of a sudden,
just that typeface can have dressed it up and added that nice feminine
detailed little flourish in touch to it. But let's make sure
it's not overwhelming. So let's go through
some of these. Let's do lowercase
c, uppercase C. I find the readability of the, I think that's a lowercase
c a little better, but I like the kind of consistency of the
Swoosh of the other C. Let's go through some of
the other letters in I like the uppercase N here it
has that nice bend to it. So let's try the T,
uppercase and lowercase. That's a little too fancy and vary a little bit
more distracting. You never want it
to be distracting, especially when
text is vertical, you have to really think
about readability. So let's just keep it that way. And I think that's about right. So let's try to figure
out the sizing of the, all these different
elements and body wash. So let's say I take the eyedropper tool and
I make that the same. When you start having really detailed
typefaces like this. These are very
decorative typefaces. And I have two of these
right next to each other. Everything is
overwhelming and it's just a lot of the same typeface. That's why font pairing
is so important. So let's find something
that's not ornate. That is more simple that we compare this width
so that we can have the Body Wash be
a different typeface. And go to our font list
and see if we can't find one that's
simple enough to use. And what about Italiana? Let's go, let's see. Here it is. I think that's
got some fancy features, but it's different enough
from the other typeface. Let's see if we
can't use Italiana. Let's type it in. So that
looks like it looks good. It's not as ornate. It's a little bit more clean. And I think it
could pair better. Also. I want to There's other little kind of words
and stuff that we can get. So let's get this more. I went to my shower, got some ideas of some things to type for the mock package. And the sulfate
impairment free is really good because that's
a big part of this brand being organic, not using any chemicals. So let's just make sure that
it looks more official. The more official you look, the more convincing it is in a portfolio for future client. These are all things we need to work into the package design.
5. Body Wash Project - The Layout: What we're running into here is we need some kind
of container or Box or something to kind of differentiate all
these different elements in layers we have. It's all on this one
flat background, which in some cases could work. But I think in this case we have this wonderful
brand logo and it's got this nice
little curve to it. What if we created a
very light background, almost a bounding box
to encapsulate some of these elements to
make it not just all feel like it's all part
of the same layer. So let's go ahead and create
a similar arch to this. What I can do is create a
rectangle and do a semi-circle. Or I can maybe even just
get the curvature tool. Do like a middle dot
there and see if I can't. Oh, that's a lot
easier, isn't it? And I'm going to make
it the same color, but I'm going to tweak
it a little bit. So I'm going to double-click
on my color box and I can make it slightly
darker or lighter. In this case, since
this is black, Let's make it lighter so
it'll even show up better. Let us just a little
nudge lighter. We just want a little
bit of some kind of background element to help
break up some of this. Let's just move it back
into the larynx system. Make it a little bit bigger. Okay, So we have kind of
a basic blocked out look. So you can see how just having that very light
contrast there helps to block this area out and not have it all blended in with some of this more technical information. It just, it's just
a small little dividing box for our eye. Now we have the sulfate
and peri-urban free. This is, would normally
not be as important, but since we have
an organic brand, it needs to be boxed out a little bit
or really brought out. Let's put some kind of
rounded pill shape. Since we have this rounded
kind of theme to our layout. Let's do, let's do the rounded rectangle tool
and see if we can't make, instead of going lighter, since that would compete
with this color, Let's make it darker. We can bring that down here. Might need to make
it darker than that. And bring this in. And we don't want
to tuck this too close to here because we need to just have natural
division of elements. This could kind of tuck
that out there on its own. There's a very basic layout. I also decided to use the plus sign or addition sign
instead of the ampersand. Because I thought the ampersand, I needed something more simple there because we already
have so much complexity. It's starting to get a little
bit busy with the typeface. So I just tried to simplify
it by using the addition sign to indicate and
which can happen in some more casual
presentations of brands. There is the basics of that one. So let's unlock this layer
and move this around. We have one created, so we've got two
other flavors to do, or in this case, since I'm gonna hold down
option and drag. And we're going to
create two more. The next one is
gonna be lavender, my favorite cent of all. I love lavender. With this one we want to keep with
these lighter colors. They're not super
saturated hues. Let's make this lavender. Of course we could do
all sorts of research, go get up lavender photo and get an eyedropper
tool and do that. For just the sake of time, I'm going to quickly
try to guess a really good
lavender color system once a thing right here, maybe a little bit of
blue there as well. And let's pick out
our lighter color. We're going to
make this lighter. We want to have a light against our black text to have contrast. Let's go ahead and
type in lavender. And already some of this
needs to be changed, so let's don't like that. E, not a fan. You're not gonna like every
character of every typeface. There's going to be ones
that you may win tweak or you may want to find
different options. Let me change. We want to make sure the ys are consistent. The problem I'm
seeing here is I have three different
extenders or descenders. Descenders that
are extending down past the baseline right
here, here and here. That's a lot of them. I can't change one
e to the other, but I can change the
L be a different one. They just happen to have
a different version. I can think that's
lowercase. Lowercase. That kind of makes those E stand out and it
doesn't overwhelm whatever we can do to overwhelm The least as possible,
but have character. Let's find lavender. Gonna go to Adobe Stock, see if I can't find something
in a similar style. You can always look up
the same artists that has free options and you might be able to find
a similar style. But a lot of times there are other artists that
create similar style. So it's not a big deal to find something that will pair well
with what we have for mint. So I found this on Adobe Stock, so we're going to use this one. I had a very, very,
very similar look. Let's find the
right arrangement. We have this one to
look at as an example of the general spacing we
want the graphic to take up. We already have a
template, if you will. With this, it doesn't
have to be the same. Type size, usually that's pretty consistent and you want to be consistent
with type size. But this laminar is just
not gonna be long enough. And the other name, I think
it's gonna be longer too. I don't mind making it
just a tiny bit bigger. Not much. You don't want to have too much difference
between the two. That might still
be a little big. So let's make it
a nudge smaller. And I'd like this to overlap
the D just a little bit, but not to affect readability. See how that kind of overlap the D kind of plays around
with it a little bit. Let's bring this on the top. Once you create that first one, the other ones come
really naturally. Let's make this darker
like we do here. Deeper. We might need to make
that white because the contrast is not
strong enough there. Let's make that white. That will probably be
better for readability. Let's do the same thing. Let's make one more
cent really quickly. This next one is going
to be lemon fresh lemon. I found some similar hand-drawn vector
illustrations on Adobe Stock. And I want to try to find the one I think would look
best on the packaging. And this one starts
to get a little bit complicated.
This one down here. So I think I'm gonna go
for this nice simple one. So I'm just going
to bring that in. And let's go ahead and delete these and get that
lemon right in there. I might need to rotate this to make it a little bit longer. I just feel like
it's a little bit, it needs to be elongated. And if I was working with an
illustrator, that'd be easy. I'd say, can you
make this longer or maybe have this going
and have a second lemon? So let's go back to our stock
and see what we can find. I know I said this was
a little complicated, but let's see if that more elongated look will
fit better in the space. I think it might. Just having that little flower
right there on the top. That's so nice. It's amazing what just finding the right dimension
would be. There we go. That just fits a lot
better, doesn't it? Let's change our colors. Let's make this kind
of like lemonade. Let's go down to our yellows
to something really light. I want it to not have
a lot of gray in it. So let's go all the
way up to the top. Maybe right about here. Maybe a tiny bit more white. And then let's make our
lighter version of this. Gonna go all the way up
here, follow, follow. Over here, I'm just
adding more white. We have three different layouts that I think would look
great on a bottle. We don't know how these
layouts are really going to look until we see
it on a mockup. And we're gonna do
that right now. We're going to test it
out to see, okay, well, how does it look when it's
wrapped around a bottle? Because there's a big difference
when you see it flat and when it's caused
that curve around the bottle, how's
the readability? Do I need to make
it wider or taller? All those things are
almost impossible to know on such a flat space. Let's go ahead. You can download mockups. There's lots of places
to find three mockups. Or in this case, we're going to hop into Adobe Dimensions. I have a stock body wash
bottle that we can kind of adapt just to see how it looks and we can make some really
cool mockups out of it too.
6. Body Wash Project - Mockup Render: One thing I want to
do now that we have our design is I want
to make it a little bit wider so that I can
wrap it around the mockup or the Adobe Dimensions stock
model a little bit better. So the more space we have
to play with, the better. I just made these
a little bit wire and actually have
three art boards here. If I go to File, Document Setup and go
over to Edit artboards, I have three art boards, but it looks like
it's about 14 inches and five and width. So that's not an
exact size because we're just going to
be putting it on the mockup for right now. And if we need to go back, if we find that it doesn't fit
on the mockup really good, then you just change your
art boards, make it wider. Really give yourself a lot of background so you can
stretch this out. So you have lots of room to
center that graphic on there. So we just need to export these. And JPEG is usually the way to go with these type of things. So I'm just going to
export these as a JPEG. I'm going to click
on Use Artboards, so I don't have anything
else outside of the art board and included. So let's go ahead
and do body wash. And let's put it at the desktop. Here we are in Adobe Dimensions. I go over how to use
Adobe Dimensions in last year's design
trends lessons, the 2021 lessons, I go
over the basics of setting up topography and
putting graphics on bottles, all sorts of things. So if you're
interested in getting a basic tutorial on
Adobe Dimensions, then you can go back to last year's design trends and easily be able to learn that. So we're just gonna
put it on the mockup. So it's assumed that
maybe either already know this or you're just
curious about how to do this. So I'm gonna go to
my library and I'm just going to get
the starter assets. There is a body wash bottle, I believe it's this one. Let's just included in the basic Adobe
Dimensions download. We're going to use
this as our body wash, although it could
be a water bottle, but we're just well adapted, don't worry. It's kinda tall. I don't think a body
wash is quite the stall, so we can modify that. And this gets a little
bit complicated. So I'm just demonstrating. I'm gonna go over up
here, select tool. And I want to go to scale. I'm just gonna click
over here to scale. And you can actually
change how tall it is. Kind of shrink it down
just a little bit, just a little bit
right about there. We don't want it so tall, but it doesn't look like a
body wash bottle. Okay, so let's put the
graphic on that we created. I'm going to click over
here to round bottle. I'm going to click
onto the bottle specifically in the
folder around bottle, I'm going to click on the arrow. And then within this, I can add a graphic. I'm gonna do place
graphic on model. You don't have to know
how to do all this yet. I go over that in other lessons. But let's go ahead and
start with lavender. Bringing the lavender one. It's going to pop
on the graphic. And I can scale this
on the graphic. If I want to scale dimensionally and not have it be distorted. I went to hold down
the Shift key. I'm going to hold
down the Shift key. It is, pop it onto the model, see it magically going on there. I'm starting to
discover that maybe the width that I made the
graphic is probably good. None of the text like
if it was out here and the text was being wrapped around that couldn't
quite see the whole graphic. I might need to
change the width. But I think where we had it
right there is really good. We have some nice space
up here on the bottom. If you ever want to
see what it would list is not rendered yet. If I want to have a pre-render, make it look really nice. And go right up here
to the top right. I'm just gonna do
a render preview. You're going to see
the lighting and everything kinda come
together a little bit more. With this, I can even go, okay, well, I don't
like the silver. So what would go
really good with this, with all the colors
that we have? I'm thinking either
like a copper color, gold color, that'll look a
little bit better than silver. Silver is just, it just doesn't seem soft like our brand is. We need to have something
more feminine and soft. Let's go to our lid. And I can bring in
some materials. And I can go down
to my materials and figure out which
one there's metal, plastic, all sorts of things. What I think I actually downloaded from Adobe
and it's a new one, it's an extra one that I got. I think it was free. Need to go to my library. It's copper to do
is drag it over top and it's going to
automatically make it copper. You might've been here. My computer fan going, my computer fan is
just trying to keep my CPU cool because Adobe Dimensions takes
so much power to run. So if you hear my
fan, I apologize, but that's so typical, right? When I open up dimensions, it just loves to whirl away. So we can change the angle
here. I'm just right here. We don't have a back yet. And that would be another
lesson for another day is doing the back label
and doing it as well. That would be a little
bit more complete. But for the sake of time,
we're just gonna do a simple mock-up,
so there's one. And we can get our Move tool select and let's
duplicate, duplicate this. I just copied and pasted just like I would a
layer in Photoshop. And I have these
little 3D controls. Which I teach how to
do another lessons. And I'm going to copy
and paste and then add our next one. So I'm gonna delete that one. Go down here where I
can add a graphic. And I'm just gonna do
this for both of these. And scale it. You want to have a really
professional mockup for your portfolio so you want to make it as
realistic as possible. This is why I encourage you
to either learn Blender. Blender is another
free 3D tool that you can use to do this
or Adobe Dimensions or something to kind of create
your own custom mockups because it just looks so nice
because I'm sure people, clients go and see portfolio websites and they see the same mockups
used over and over. You can tell, especially with
logo design, it's horrible. You see the same mockups used and it just
gets really generic. And you want to do
somethings truly custom and really professional. This isn't perfect, but
for the sake of time, we're just gonna kinda show
our product and action. We can maybe move these
around so we give them just enough space to look like they're truly stacked together. They're not overlapping
in any way. Just move that back
just a little bit. You can add backgrounds
to this as well. A lot of times what I'll do
is I'll get a stock graphic. Let me go back to
my starter assets. The quickest thing
to do is to build your own shadow box just like
you would in photography. And I'm going to
bring in just this is a cube, hollow cube. And it's just a normal thing that comes with
Adobe Dimensions. I'm just rotating
this on the z-axis. I'm going to make basically
a giant shadow box for our products to put, place them in a background. I'm going to scale that up. I want to make sure
I get the floor two, so I'm going to bring
this up until I see the floor. There it is. There's the floor right there. We want to have a floor
for them to stand on. And we can also take
all three of these and let me see if I
can't move there we go. Move them all as a group up
there so they're sitting, not floating, but they're
not through the floor. You kind of have to
get them to sit. Great. Now let's move the box
just a little bit, just tweaking it,
moving it back. There we go. So now we have a place where
our bottles can exist. Let's go and figure out a material that would
look really good. We need something really
soft, perhaps a wood. It could be a wood
texture we use. I think I downloaded
one not long ago, but I go to my libraries. There's some would hear
that it's really nice. Light would just drag that right on top
of the shadow box. I'm keeping with the
organic theme and doing would just trying to think
of the holistic brand, trying to make all these design
decisions that will help support the overall ethos of the brand which
would be organic. So wood organic, natural. What I love about Adobe
Dimensions is let's say I want to add a little bit of
a splash of water. You see me do this all the time. If you follow me on Instagram, I always do some kind
of Adobe Dimensions. I had a water effect to it because I just think
it looks really awesome and really makes it look custom and helps it pop
out in your portfolio. You can download splashes. They're also a part of the starter assets that
come with Adobe Dimensions, which you can bring in a splash. You can even change the color
of the splash to make it. Let's say you're doing a
yogurt packaged design. You can actually change
the how it's refracted, how the liquid work. So it looks more like it's
creamy instead of just water. Lots of neat things that I could do in another
lesson in other day. Here's the water splashing. You can kind of present this
in any way that you want. You can change the size. Let us thought it kind of as
a fresh look to your stuff. Just wanted to kind
of demonstrate that. So what I can do if I'm ready, I need to definitely
do some post render editing in
Photoshop to make, make everything pop
a little bit better. But I can just go over here
to render at the very top. And I can just render this. Let's do class example. Tile is class example. Medium quality is fine. If I do high, it
would take hours. So let's go ahead and
start to render this.
7. Body Wash Project - Photoshop Post Render Editing: We're now in Adobe
Photoshop and it's time to edit this to make sure
it's portfolio worthy, because sometimes when
you do a render it doesn't quite get that
nice finish touch. We can do a lot of
manual edits to this or we can go up to Filter, go to Camera Raw Filter, Filter, camera Raw
Filter Filter. Let's do that
again, just in case Filter, camera Raw Filter. And I do this in
previous lessons before. So let's use this. We can change the temperature
and cool things down, but I think I'm going to
leave all that the same. It's pretty bright already, so I don't think
we need exposure. Little contrast might not be bad to kind of bring
out the shadows. What I think will be the best
for this as going down to detail and is doing some
sharpening, adding a sharp. See the difference. That's before. It looks okay. It looks okay. And add a little sharpen. And that really helps
to make it look crisp. Let me go back up to texture and reduce that a little bit. Don't want too much texture. Click Okay. If you were to not do
the shadow box on here, and we just had it as
a plain background. You can change the
background color on here and put it on
any background color you want are bringing, bringing it in your own photo. Lots of options here. I wanted to show you some different arrangements
that you can do in Adobe Dimensions or blender
or downloading mockups. Because when you do
portfolio presentation, you want to make it
more like a case study where you have more
than just one image. You want to show
different angles, different presentations, etc. The brand a little bit
more and how you present. This is an example
of one I created. I literally just took
the three bottles, arranged a meso copied and pasted copy and
pasted three at a time and brought them up in this 3D space to create
something really unique. Also add lots of water splashes. And here's, this is
kinda what it looks like when you see it as kind of really
challenges my computer. But there's probably 20 bottles that have been duplicated. But it creates a
pretty neat portfolio. Hero image, I guess
you could say, a really good lead image for
your portfolio case study. We want to create as many of these different
layouts as possible, or have as many different
mockups as possible. We want to take
screenshots of it. We want to take screenshots or maybe even screen
recordings of our process. We want to save all this we can because it's not all
about static images. Sometimes we want to
create an Instagram real that shows off
our portfolio piece. We're gonna do that next. We're gonna create an Instagram
real with this project, with all the images that
we're going to create so that we can create something
a little less static, a little bit more dynamic, a little bit more
for social media, I think it'll attract
more clients. A client base If you're
kinda more active with not just showing static
images but moving images, putting it to music. All that great stuff. So after we watch
the next lesson, I'll see you back
in Adobe Photoshop and we're going to create a real together so we
can present our work.
8. Creating an Instagram Reel : We went to have a
nice-looking case study for our portfolio, but we also want to
present it in a dynamic, fresh way on social media. We're gonna create
an Instagram real. And I have a template
you can download to make this process
a little bit easier. It's called Instagram
real template. And it just has various art boards that are the size that
you're going to need to export to fit perfectly
on when you create a real. And it's gonna be 1080 pixels
in width by 1920 in height. I have some areas
where you can type in what your project name is, what your Instagram handle, all that kind of
stuff across all of these you want to make
sure you label these. You don't want people
stealing your work. You want to be able
to put your name at the bottom of everything. It's like a little
watermark and also makes it look like a
polished presentation. And at the end, you have a one to
see more follow. You can change that
however you'd like. But this is gonna be dressed up depending on the brand
and the brand look. And so I'm gonna show you
an example of something I created with the project
that we just did, we just walked
through in the class, is I want to have an
opening splash image that kind of introduces the
brands who have the logo. I use the same topography
from the logo and the package design of also use that in the
front to bring that in. I brought in a
background sand color, it's neutral, it's organic, it's soft, it pairs
well with the brand. And also presenting down here, changing all that information, introducing it as a luxury
body wash branding, of course, you can change all
that however you want to. When it comes to reals, you want to put it
to music if you can. It can also do a voiceover
and present it that way, but I find it to be much more
shareable and microbial. We have this like real
nice high-energy music. We want to have a lot of
these because music beats, they happen really quickly. Bom, bom, bom, bom. There's lots of quick changes that's really,
really popular now. You want to have a ton
of these images to be able to quickly
flip through them. And a lot of times it
could be the same picture, but you just zoom in a little closer and so you
start out wide, then you go in to a tighter shot and then you go in and zoom
in more than he zoom out. There's all sorts
of ways to kind of spread out each image. For this first art board, I brought in the one that
I just showed you in Adobe Dimensions where I
stacked them and I angled them. I put a copper
background image on it, and I sharpened it to make it look a little bit sharper than
it was when I rendered it. But you can use mock-up, other mockups, you don't have
to use Adobe Dimensions. But what I do, what
I want to do is show a bit of my process. I think that's important
when you do case studies, you wanted to walk people
through your process. It wasn't just hears. Here's the brand,
it's all finished. The package design,
it's all done. You want to show that there
were some thought process, there are some processing, there's kind of
that, the layout. Let's show that process. So for this one, I just took a screenshot and Adobe
Illustrator of the three layouts. So I can show this
as the flat design. This is what we started with. And you could, even if it
depending on if you want to add more screen capturing
to your reels, what you could do is
have a mixture of static images popping on
the screen with music, but then also having a break and doing a 5 second
screen recording. So let's say if I go into Adobe Illustrator and I
have my project here, you can have things
kind of moved out. Just like this. I'm just going to
use, I have a Mac, but you can use any kind of
screen recording software. I'm just in QuickTime player, it's nothing very exciting. I'm gonna do new
screen recording. I'm going to capture it. Of course I'm not going to
actually capture it because I'm currently
capturing something. What you could do is
then you can show yourself kind of snapping
things into place. It looks like you're
showing the layout process. And you can record that
quick 5 second little clip. And you can insert that
between these static images to show a mixture of moving
video and still images. And it shows more of
your layout process. So back here, Here's more
of some static images. I did each one. These
are going to go quickly like boom, boom, boom. So I have kind of lavender, it's going to switch to MIT and citrus and it's going to
switch to lemon fresh. These are going to be
about a 2.5th each. And then you can also
do something where you have products
come in and come out. In this case, this took a lot of rendering and Adobe Dimensions, but I just had one bottle. Then I rendered two and
then I rendered three. You can have these quick
2.5th screens that pop up, so you have one and
then it looks like it's going out and then
coming in again. So that's also another
effect you can do. You don't have to do that. And then also different
presentations that I wanted to show some. Have a mixture of tight
shots, meaning zoomed in, intimate shots and
then zoomed out shots like we have with the big
array of different bottles, mixing it up as much as you can with the direction
of your photos. And we have a C more. We can keep it on brand. You always want to have
some kind of call to action at the end. What
do you want people to do? Well, you're going
to want to follow me because you're going
to want to work with me. So then here's another
more intimate tight shot. I took the render I
did and zoomed in. So you can see these
little details. I think that really helps
with overall presentation. That's pretty much it. You can have double
the amount of this. You can do a 60-second
real a 30-second, whatever you want to do, I find the 30-second one's
much more effective. Real quick, easy, nice
sharp, quick music. I'm going to export these. I'm going to go to File
Export, Export As. And the quality is good. Why not do excellent? Let's go to excellent
quality JPEG. I want to export all of these. That's it. It's going to export, I'm going to have some JPEGs. I got an e-mail myself.
I find it easier. You can have a Google
Drive upload them their email, email myself, these images so I can save it on my phone so I can go ahead and get an again on Instagram or TikTok and create a real, I will see you in Instagram
and just a few minutes. Here we are on Instagram. So we're gonna go ahead
and create a real, we're gonna add real. Go up to the top, do a real. Let's go ahead and add
all of our images. And so I also have some screen
recordings that I captured that I'm going to put
in-between some of the photos to make it
a little bit longer. Since we save these as art
boards, they're all in order. So it's gonna be down
here in the bottom. We're going to add it. And it's going to
automatically have almost a 5 second clip. So 12345, that's
really, really long. Maybe want to shorten it to
1 second or two seconds. What this to be very quick, it all depends on
the music you pick. Now that we added
our first photo, Let's think about music. And so there's copyright rules with me sharing more than
five seconds of a song. So I don't think I
can go through this quite the same way as if you
were sitting down with me. I can pick out a
song and you just, you just find the, find
out when that beat is. So I'm going to add another, add the second one,
make it shorter. Add, and just keep adding them. Let's see, let's add, let's add a video of me putting
it on the label. You add. When you do the preview, you're gonna be
able to time this. You're going to
have a time over, boom, boom, and it's got
a sync with the music. Then you can go back and edit. Right down here. You can cut it. So let's say
I thought that was too long. It doesn't quite
get on the beat. So I'm going to cut it and try to find where the beat
is and right when you hear the OEM or the bead
or the bass drum or whatever part of the song
that drives the beat. You find out where that
is and right before it happens, you adjust it. And it's going to sound weird because it's going
to go boom, boom. It's going to sound crazy when you're trying to edit this. But you want to try
to find that one moment and then trim it. And then you can
continue to add. We have all this in order. So let's say I wanted to
do, I won't do all of this. Will say I want to do the effect where they kinda come in. So let's do this one. Make that real short. We'll make it 1 second
at it and then go back. Add the second one. That's gonna have kind
of a cool effect. The third one, he can even go back and reverse it and go back to two and then one. If you wanted to have them
come in and come out. I'm gonna go ahead
and keep putting all these together in order, maybe putting some videos in. And I'm going to
show you what the final result looks like. I wanted to show you
a second example of a real I created with
a different project. And I'm gonna go ahead
and click on it and kind of show you what it's like. So I click on it. With this one. I just had it on my laptop and I had my
phone and I just zoomed in with my phone to create this dynamic zooming
in and out effect. Interlace that with
some screen grabs, some screen recordings
and continue to have the same effect using some of the
mockups I created. And then at the
very end I showed the finished polished
screen grabs. Just various parts, moving around to show all
the little details. That's pretty much it. You can see both of
these in action. You can start to create reels yourself using a combination of a lot
of different things. You can use the template,
template super simple. We could probably create it
yourself really quickly, but when we give
you a headstart, so you have the size, right? The export them as JPEGs. And you can start
creating a really professional look
on social media. You can find new clients.
9. Soda Can Project - Getting Started: We are in Adobe
Photoshop for this one, and we're going to spend
a few minutes putting together a color palette for a seltzer brand that's
supposed to have really pop art inspired
theme and colors. Lots of bright color combos that are challenging each other. And with this trend, what we're gonna do
is we're not going to go right to the color wheel and start making these nice,
harmonious color changes. We're just going to pick
it on the color picker and try to find colors that
challenge each other. They don't have to look
ugly against each other, doesn't have to be
orange and brown, but have these nice, highly saturated vivid colors that push each
other a little bit. And I wouldn't want to
use the word clashing, but kind of have that
little bit of tension. I would probably say
tension would be a better word to
use them clashing. What I did with this one
is this is supposed to be a seltzer brands super
young, super bright. I wanted to put together a
quick little mood board, just grab some photos. I wanted to kind of get a wide, almost a rainbow selection spectrum that I can choose from. Sometimes it's nice when
you're not going right to the color wheel and finding out what goes nicely together. Like normally we would do this trend kind of
challenges that. So we're gonna have
photos is a little bit of inspiration to at least
pick our base color. Let's head, Let's bring this
into Adobe Illustrator. What I decided to do is I
just added some basic shapes. I went up here, had the circle, I decided to do a zigzag. So if you do a circle with a stroke and then
just apply a zigzag. He's going to go to
distort and transform and zigzag would do this
in prior lessons. And you can create all
sorts of little shapes. I wanted to kind of
get that pop already. Kind of theme going with
some shapes and also help define some of these colors
with a lot of these shapes. I took the eyedropper
tool to find inspiration for this yellow
looking pill shape. I just took the eyedropper tool and sampled it just
like we've done with a lot of things
where we find inspiration from photos,
nothing different year. But what is different is I
just use the eyedropper tool. I didn't go and find out. I'm just drawing inspirations
directly from photos. It doesn't have to be.
Okay, I chose yellow, so what's a
compliment to yellow? I didn't do any
of that. I'm just picking what feels right. What feels right to my eye, which is very counterintuitive
to how are trained as designers where everything
has to heavy technical like. Okay, so we're choosing this, so we need to choose
an analogous color or a complement color. This is just kind of going
with what feels right. Okay, so now what I want to do is I went ahead and got
all these colors together. And this is a very
wide color palette. So that means we can create different products with
different color combos. It's very flexible
and versatile. And that's kind of going
along with what's gonna be popular in the next coming
years is that versatility. We don't have just
two boring colors. Let's say we're IBM and
we're just blew big blue. Well then what do you do when
you really want to create a nice vibrant campaign?
You're kind of stuck. A lot of these big
brands have that one defining color or sometimes two, like BP has yellow and green. But to expand that palette
out and to put all that in your branding
guidelines manual and just have this really
full color palette. You give designers
that ability to truly be ready for any type of campaign they
need to put together. We have our name, we want to be able to put this on a bottle. So I'm just gonna grab this. This is one of the
typefaces that I picked for our 2022 list. This one's called epitaph. What I did is I did what
we did in the last project where I'm doing a combination
of upper and lowercase, whatever I think looks good. I think I was going through and I liked the upward
sloping D there. And I wanted to kind of break up the straight baseline
and kind of have this back-and-forth between the texts because I thought it kinda added a fun pop art style where we're challenging
straight lines. We want to be as a
little bit different. Let's refine this logo
a little bit more. And so we want to be able
to put this on a can. So one option is we can
rotate it just like we did with our previous project
and have it go up the side. You see this a lot
with soda brands. Think about Pepsi, think
about Coca-Cola can how it's straight up because it's hard
when you have that hole. Narrow width of a can, you can only see one part of the Canada time
without spinning it. So you have to have all
the brand name be legible. Or we can break this
up. A lot of times. This is why you need
to create brands that are incredibly flexible. So you can have this across
typography only logo, which you can also have
different variations of that logo so you can be
ready for any situation. In this case, we can do that. I also want to, these are really,
really sharp points. I'd love to add a custom
flair to this topography. And it's already got a lot
in the custom work to it. So I think we just need
to soften the edges. And I do this a lot in my logo design
lessons and projects. I'm just going to right-click. You got to Create Outlines. I'm gonna get my
direct selection tool. All I'm doing is I'm just going around all the edges slightly. I don't want to go overboard, but I want to add a
little softness to it. Curves are very popular in the
pop art, postmodern style. Not a lot of sharp, clean
edges, some roundness. Now we want to make a label. Let's go to our color palette. We're going to
bring that over and we're going to create a label. Let's go ahead and get
our logo over here. This is just a quick
demonstration. We're not gonna go
through all the details of how to create the layout, but just kind of
going through how we select color for
different layouts. I want to do three
different flavors for this seltzer brand. So I'm just going to get the
Rectangle Tool and I'm going to guess right now for layout, what a CAN would be subs going to guess that it's
gonna be about that width. We can always change that later when we get very specific. I want to have a
couple of flavors. So let's go ahead
and type it out. Let's get our typeface here. And let's get our three
different flavors. Like we did with
the last project, we would need to have
some graphics to use. We can create these graphics are self of war in Illustrator. And if these are mock clients, Let's find something that's already made and we can
adapt it just for now. I obviously better if you can create it yourself, but
for the sake of time, sometimes it's easier to find
a already created graphics. So we're going to need
to show off our flavors. I came up with three flavors. We have sour pear, orange spice, and apple cake. So these are supposed
to be dynamics, which is from dynamic mics. So they're supposed to
have two flavors that are, come together and
they kind of clash, just like our color
palette is very strong. Two different colors we're
going to use for each cover. Let's get a little graphic
that we need to get a pair and orange and apple to use. I can go down here to vectors. And I'm gonna be on
free for right now. I'm just going to type in pair, see if I can't find
something. Here's one. I'll look at that. It's got a couple of different
fruits I can use. I'm going to go ahead
and bring that in. Here's the vector graphic. We just need to borrow this
and the apple and bring that. This is why having a
digital sketching app, let's say you have a
tablet or an iPad, and you can hand sketch a lot of these things to kind of give
it that hand sketch look. We have apple cake,
we have a pair. Let's do the pair first. Let's go ahead and get the
first one done and we can get our basic template to do
the other two layouts. Sour pair, we want to
angle it a little bit as much as we can add to
add some excitement. And let's go ahead and
figure out a color. I want to have the pair kind of have like a really
fun shape around it. Let's just create
a ellipse tool. Circle, make it a
different colors. Right now we're just
choosing a random color. And let's take our
curvature tool. And I'm just going
to create new points here and just push it out. I want to create this really
fun dynamic looking shape. And I want to have a different
shape for each flavor. So here is the shape. Took me a few minutes,
but I think I've found one out that I liked. And so with this, we can make
this all one solid color. But let's ungroup
it because there's these little details
I'd like to keep. So I'm just let's ungroup it. And let's see, here's
where we choose colors. Let's do one more thing. Let's bring our logo in. And right now we're
just going to make it a very jarring color. This isn't a final color. Just trying to get
the layout straight. When it comes to product
and package design, you have to be really
careful to make sure that text is
super-duper readable. And I feel like this
needs some kind of outline or background or
something to make it pop. Let's go ahead and make
some of the smaller bring this graphic down. I don't mind if that slightly overlaps as long as the color eventually allows it
to pop out over it. I definitely don't mind
overlapping elements. And I feel like this is
something we can do. We can copy and paste. I'm gonna do a stroke. Let's do black for right now, colors don't matter so much. We're just doing layout. We're going to do stroke. And if I overlay this on top, it'll cut it, offset
it a little bit. It'll give it a nice pop
art postmodern look to it. I'll also add to the readability
because then you have another darker
stroke to look at, or higher contrast stroke. And eventually, these can
be two different colors. So this can be like an orange. Some other color to not make
it read as just one long, same color name it has Dinah mix kind of
reads a little better. Let's figure out color. Let's figure out
color for this one. Now that we have a
general layout set, we want these colors
to combine and create lots of tension and
lots of energy. Let's start with sour pair. When I think of pair, I
think of kind of more of that green color of a pair. So I feel like we
should definitely use green somewhere in this. But I think as the main
color with the purple, obviously that's
not a final choice. So let's maybe make this green
and make the background. What would go great with green? What has a lot of energy, but has enough
contrast to green. And I'm thinking yellow, and that just really,
really, really pops out. But I think this white, that's got to change. So let's find a color combo
in here that we think would really help
that pair pop out. And let's do the yellow to complement the
background color. Let's see if we can't
use a little more green because green is
the color of a pair. There we go, Just trying to
create some nice tension. Also, I don't want to use black. I want to use one
of these colors. So let's make this
enough where it can really pop through
and be readable. Let's continue to
use similar colors. Let's use, I believe
that was this color. There's our first one. Everything's really readable. That is super energy
creating colors right there. So let's see what we can
do with the next one. With these two, I create
a different shape. So I just copied this
shape and then took the direct selection tool and just kinda change that
shape for each one to make. Each can have something a
little different about it. Next, we have orange spice. We want to create a
background that's going to help differentiate each can. So that needs to be the most
different part of each one of these color palettes
are the themes, is this background color? Let's think when
I think a spice, I think a cinnamon, I think of warm colors. Like a cinnamon and warm colors. Let me grab a warm color here. Let me make some adjustments
to some of these. Let's make this orange kind of keep using the same
color as the outside. Let's make these leaves a different color to
help that pop out. So maybe that yellow. What would help this
topography pop out? I wonder if we can continue
to use yes, that's perfect. See, we're getting a theme here. We're not using eight
different colors, we're using two or
three and kind of having a repetition
with color usage. So that needs to
change up the top. I like this yellow, but see, we need to have
something different down here. What's something we
haven't used that we'll throw in a little
bit of something fun. Maybe the green. We can see these
really coming along. So apple cake, what's
something we haven't used yet? You know, what I really
like is maybe this purple. Now we've got to use
brighter colors to make sure that topography stands out. Let's see if that
yellow would work. Let's change our Apple color. Bright yellow. With this topography
there also different, the backgrounds
are different and the typography color is
different for each one. So let's not use the same one even though this works
really well here. Let's try to find
something different. Let's use the papa green
because that's when we haven't used for the apple. Let's continue to use
the same color as the background for the inside. And I feel like this kind of
blends in a little too much. So let's brighten that
up with a pop of green. There we go. We have some pretty jarring
but energy-producing colors that we can now put on a can.
10. Soda Can Project - Creating a Mockup: What I did is I created art
boards that have more of a square look so that I can
easily put it on a mock-up, or in my case, Adobe Dimensions. I'm gonna wrap it around a can. I needed to have some
extra sides side space. Eventually I would do a back label and stretch this out and have
a front and back label. But for the sake of time
and at a sake of just demonstrating a color
palette project, we're going to keep
it really simple. Now I'm able to export this and you're
probably wondering, Well, what size did you use? And it's not really as long
as it fits on the Canon, your mockup, you're okay. But for this case I just
did a ten by ten inch. And of course you might be in
Europe and not use inches, so you can use whatever kind of a standard square paper size. I'm going to export these as JPEGs so I can wrap them around. I can see how they look because sometimes you never know how
something's going to turn out until you put it
on a product mockup. I'll see you in
Adobe Dimensions. I did what we did in the
last project and I popped on each one of these images on a stock can model
I had right here in my default starter
Asset Library. Go to start our assets and there should be a can right there. I just popped on the label
on each one of these and arrangement just like I
did with our last project. And I also added some
splash water splashes. Just brought that in and added
splashes down here below. And I'm going to
zoom out so you can kind of see how I
have this setup. Here's the whole
point of all this. I'm trying to get as many really interesting
dynamic set-up images so I can use for a Instagram
real and my portfolio. It's all about doing
something different. And I think the water splashes added just a little
bit of different. But what I want to do
is I want to create a really interesting shot
when I duplicate them. Similar gonna be creating
this quick image. I can have lots of
different things to switch around with. So here's what I'm gonna do for right now. I'm going
to delete the water. I've already rendered this one, so I have a nice
basic simple shot. You wouldn't want
to have something really simple like this. And then now I'm gonna zoom out. You don't have to do this. And Adobe Dimensions
blender is also a really great tool to
use if you don't have access to the Adobe
subscription. Blender is one to checkout
to do this kind of 3D work. With Blender, you can even add motion to it so you can have the cans falling down and splashing and creating
something really neat. Of course has a little
bit more advanced, but if you're looking
to learn something more advanced, I would
check out blender. I'm just duplicating these. And I'm going to bring them up. And I want to create a tower. Look. Let me go and turn
my pre-render off because it's really
killing my computer. And I have a brand
new MacBook Pro, and it's still challenges me when I have lots of
different 3D things happening. So I'm just going to copy
and paste this again. I'm going to create four rows. Now comes the hard part where I'm going to
angle each one. I'm going to make
it look like it's tower that's falling down. Those are gonna be a
lot of water splashes. I know I've totally
overuse water splashes, but its think it's so cool
and it's rendered 3D. But they're going to
come crashing down. We're just going to
go through each one of these and angle it. I'm just gonna take one. And to start to angle these. Here's what it looks like after about ten to 20 minutes
of just trying to find angles where it looks like they're
naturally falling down. And we want to add some
splashes of water, in this case, seltzer
splashing everywhere. I have several kind of default splashes I'm going
to work in here. There's also one
that I downloaded. And it's going to
go to libraries. My Library. And where
is it? It's right. It's a liquid splash. At first, it doesn't
look very exciting, but I'm gonna be
able to change that. So I'm going to bring
this in. I don't want this to be
intimidating to you. All this 3D work you don't
have to do be 3D work in 3D, you can just download
a mock-up and use that for your product
and your presentation. This just adds a
little bit of more of an advanced pop to
your portfolio. All right, so I'm just
bringing that in. I'm going to make it look
like it's splashing around. And I'm going to have to
change the color of that to we don't want to have it be
that aquamarine color. And it's all about just finding the right splashing angle. And then bring it like I need
to bring it back a little bit so maybe make it bigger. There we go. We need to change that color. I'm selecting my
splashes over here. And there's interior
and exterior. So there's two different
rings of splashes here. Let's see if we can't
change both of those. This has a color to it. We don't want to
color, we want it to be just a solid white. If you go to advanced settings, you go down here
to translucence. You can change the
index of refraction. If you ever see a straw and water and it looks
like it bends. It's just the how light is
being refracted in water. It changes it a little
bit. When it hits what? When light hits water, it kind of reflects. And it's just adding more of that reflection on
this bag that I did when you have
the water going over the product and you
have a lot of refraction, you're gonna get a
lot of the scattering of the image behind it, just like in this example. That's what that's all about. I want a little bit of
refraction because it kinda warps things behind the water and gives it kind of
an interesting look. Let's render this. I put this on just a
basic purple background, just like we did. I put a floor down here and
a background to kind of put it in a shadow box so it
has a place to exist. Some of these products aren't floating in the
middle of nowhere. Do a pre-render and we
want to also before that, find the right camera angles. So I'm just going to pan
N are actually dolly in. Just like camera terminology,
you could a dolly in. And I want to find a nice
intimate, tight shot. I might need to change
the angle looking upward. Adds to the, to the look there. Let's do a pre-render and
see what that looks like. That's looking really
good when we render it, it'll look even better. I'm going to render this. I'm going to bring it
into Adobe Photoshop. I'm going to sharpen it. I'm gonna have a lot
of different images that I can use for
an Instagram real, for a portfolio
piece to show off. So I can say, Hey, clients, I can do package design. I can come up with branding. I didn't come up with really
trendy color palettes. This can also show your
versatility as a designer. Let's say you have a piece
like this with a lot of pop. And let's say you
do another brand that's more reserved to show your wide
breadth of skills. Hopefully you enjoyed this
quick preview of this project. I'm really happy
how it turned out. And I want you to
try some projects. You can borrow this name, you can borrow the
color palette. You can borrow anything you want from this
project to be able to create your own and use
when you look at Stock, adobe Stock or any other kind of vector stock that you
download for free. Make sure you check
that license. I don't want to get
you in trouble. Make sure it's for personal use. And if you ever get paid or sell anything with the product, makes sure you get
the extended license. You might have to
pay extra for that. So just make sure before
you use this kind of stuff, these graphics for
client work that you make sure you have
the rights to use it. Alright, see you guys
later. I had fun.
11. Extra Project - Walkthrough of Package Design Layout: As a bonus lesson, I wanted to talk about
this third project. Instead of going step-by-step like we did with the other two, I'm just gonna kinda walk you through how I created
this because this uses two different typefaces
from the 2022 font list. And I wanted to kind of
go over that because we talked about before how
one is very condensed. This typeface right here. And then we have that
extra wide typeface that we're using here. And I think the tension, once again, we're using tension a lot in our design trends. Attention with color and
tension with typography. You have tension between the condensed typeface
and the extra Y typeface. And being able to use that
sparingly because this is a very wild typeface. This one right here,
this is super wild, so you have to use it sparingly. Don't overuse anything that has all these characteristics are your design is going
to look busy quickly. That is a warning. Don't use too much of some of these really
different typefaces. I just found this
man cut them out, isolated him from
the background. I wanted something a little
bit more masculine since this is mostly
targeted toward men. That's the thing as a designer. And I really want to
talk to you guys about this as being able
to be a designer, even though you're
a man or a woman, or something in-between, or
still figuring that out. You need to be able to
design for all genders. And also be able to design
in a gender neutral space, meaning your target
audience is everybody, like toilet paper, okay? Everybody uses toilet paper. You need to be able to design
a gender neutral design. There's also products in the health care section that
is targeted toward men, shaving cream, things like that, that are just gonna be for men. You're gonna be able as a woman, I need to be able to design masculine looking brands and be okay with that and
do a good job at that. Even though I'm a woman,
you've got to have empathy as a designer to
understand your target audience, study other products that
are in the industry, you can pretty much
as a designer, adapt to anybody anything
business may approach you and you're a man and you get approached to do a beauty
product that's for women. You need to be able to do that. That you gotta be able
to take yourself out of your thought process and put yourself into somebody
else's thought process. And that is empathy. That's really cool. I just wanted to talk about
that because I know there's a big topic about being, about gender identity
and being able to design around gender identity and all that changing space. Not trying to don't
be stereotypical, but just be relevant to
your target audience. Anyway, that was a lot to say. But it took this man have them
here and I wanted to have this explosion of powder because this is four
and this kind of, it's kind of a comical
name has come up with it. It's supposed to be a
little satirical and funny. Um, but I have we had
some protein powder. I wanted to kind of have
this exploding powder like yes, I have that locked. Just brought that in. I did a blending mode so I can get rid of the
background quickly. I didn't have to isolate it. I did a screen blending mode. You can see how it is
normally brought that in. Did a screen trying to, try to find the
right arrangement. I want to make sure all the
typography is readable. So I made this kind
of a pop of yellow. This blue and yellow. There's a very good
consumer friendly colors for package design. Because you have the
yellow that really grabs people from the shelf. And you have the blue, which really goes well
with this type of product. It's created this little
graphic in Adobe Illustrator. It's just a simple two
circles, two lines. I wanted to add something
around because we have a lot of this strict topography
up and down here. And I wanted to break that up by adding something around there. So that's why I chose something round almost like a little seal, which you see a lot in
healthcare products. This is the typeface
we went over before, very readable has those
interesting non-parallel lines. If I were to use
Helvetica or something, I don't think it would
stand out enough. And this is a very
condensed typeface. I'm able to make the
topography a lot bigger. So the product name is a
lot bigger, which is good. And I also added another layer. Right here. You can see that
it's a second layer of this exploding powder. Put that on the top right
there because I just didn't want to see his legs just standing there in the
middle of nowhere. So kinda adds some kind
of background for him. You have a foreground and
then you have a background, which is good and design. What I did is I created
lots of extra space. So when I put it on a mock-up or if I put it back in
Adobe Dimensions, lots of background
space to play with. Of course, I don't have
a final size of the bag. I'd have to get that
from the manufacturer. So as a designer,
I'm just getting the basic layout together. I can export that as a JPEG. I can bring it into
Adobe Dimensions. This is what we have so far. Set it up like we did the other projects and I
have kind of this water. What I did is they brought the water droplets toward
the front of the camera. So I just brought
them right forward over and I went the splash
to have a refraction to it. I want it to distort
the bag a little bit, but I don't want it to
distort the topography too much because I'm
looking for readability, legibility, all that good stuff. Let's bring it back to
how I had it designed. And if I go to Preview, you can kind of see
how it refracts there, see how it's distorting the bag because it's got a
high refraction rate. If I were to lower
the refraction rates. So let me click on this. Let me lower the refraction going down here to Properties. Going down to translucence, an index of refraction. I'm going to reduce that to 0. You're gonna barely even see
the water because there's no reflection happening
within the water. See that? You can barely see it. Now I'm going to
click back on it. And I'm going to
change the index of refraction down here. You can see if I do
it all the way up, look at all that
reflection, it's happening. It's reflecting that
blue product through here and creating a
lot of distortion. What I had it on is something kind of in
the middle of all that. Let's change that back
to where we had it. I just wanted to kind of
overview how I laid that out, how I thought about
the bag design. I want you to create
your own package design. I want you to create
some finished mockups. And you can just
download mockups. You don't have to do anything in 3D or dimensions or blender. And I want you to create some really good
portfolio pieces that will work really
well using some of the design trends we talked
about in the 2022 lessons. And I can't wait to
see what you post. And I love sharing student work on Instagram and on Facebook. So please share in the
Facebook student group or tag me at Lindsey
marsh design. And I will love to
share your work, shared on my stories,
shared on my posts. It's something I love to do.
Lindsay Marsh, Over 500,000 Design Students & Counting!
