Intro to Affinity Designer V2 on iPad: Designing a Logo

1. Intro: Hello and welcome to this course on Affinity Designer version two for the iPad. My name is Ben Nielsen and I'll be your instructor for this course. I'm immediate design educator with over seven years of experience teaching creative programs both in-person and online. I hope you're excited to join me on this journey into Affinity Designer version two on the iPad. Now, this is for version two, but I have lots of courses on version one. So if you need version one for the iPad, you can go ahead and check out some of my other courses and affinity designer. In this course we're going to be learning all of the basics of using morphine designer on the iPad. So you don't need any prior experience with a fine designer or any other design software. We will be learning all of the basics such as how to use the shapes and the Pen tool, how the interface and ethene designer is laid out and how some of the most important panels on the side work. So we're going go through all of that step-by-step. While we're doing this, we're going to be keeping in mind our project for this course, which will be to create a logo. Logo design is one of the best ways to get into vector design because it's such an important thing that we're able to create and we get to use so many different tools when we do it. So we're going to be doing all of this with that in mind. The first part of this course we'll focus on kind of the interface and the tools of Affinity Designer on the iPad. And the second part of this course is going to focus in on doing that project, creating the logo. As part of creating the logo, It's really helpful to have a mood board. And we went over creating mood boards in the course before this one, which is Intro to Affinity Publisher on the iPad, it's really helpful to have all three of the affinity programs. So if you do have all three of them on the iPad, you may want to check out that course when creating a mood board in Affinity Publisher first. And that will be really helpful to you in creating the logo later. Okay, So what do you need to take this course? Well, all you need for this course is to have an iPad and have a famed designer version, two on that iPad. And that's pretty much all you need. I will also in this course be using an Apple pencil and iPad magic keyboard just to do some of the keyboard shortcuts and some of the drawing, but those are not required by any means to be able to complete this course. Really, you just need an iPad and affinity designer version two on it. And you'll be able to do everything you need to do to complete the project for this course. Well, I hope you are as excited as I am to dive in and start learning a fine designer on the iPad. Let's go ahead and get started by talking about the project. 2. Project: The project for this course is to create a logo using a fine designer on the iPad. Now this logo might be for you or for a client, or it might be for an imaginary company that you think up. The important thing is that you're going to be working towards creating a logo. If you follow along with me in this course and learn each tool and practice them, you'll be well set up by the end of that to be able to actually create the logo. And of course, we'll go into the process of creating a logo in the design videos as well, where I actually go through the process of creating the logo that I'm working on. As you make the logo, there's gonna be some important things to remember. The first two things are processed principles and design. The first one is sketching. Make sure that you sketch several times to get your ideas for the logo out on paper before you design. Don't try and sketch inside of a fiend designer. Sketch them out on paper with pencil or pen, and then try to realize the best of those ideas in a fashion designer on the iPad. The second process principle is iteration. Your logo will take on different forms as you iterate on it and you want to save all the iterations that you do, that's easy to do. And if e1 designer, because it's so easy to duplicate your logo over and over again and making small changes. And we'll talk more about that in the video on iteration. But you want to keep both of those process principles in mind as you create the logo. Now we're going to talk about a bunch of different tools and different studio panels in this course. And of course, you won't use all of them in any one logo that you create. So don't expect to use every single tool that we learned in this course In your final product. But you should use some of them, some good ones to keep in mind that will likely appear in many of your logos are to use shapes, to use merge shapes, to use pen shapes or lines using the pen tool and also to use text. Some logos we'll have text and some will not. But these are all things that you want to keep in mind. You want to use at least some of those in your final logo product. You'll also want to think about color using fills and strokes, like we'll talk about in this course. Once you've completed your logo, you'll export it as a JPEG image. And then of course, you'll go ahead and share it into the project section for this course. Now one thing to be aware of is that Skillshare does pretty much like JPEG, so make sure that you do export it as that. Another thing to keep in mind is in your project on Skillshare, there's an area to upload a thumbnail, but that thumbnail will likely not show your entire image. So you want to make sure that you also put the logo in the body of the project, that main area so that I can see the whole thing. And then I will be able to provide feedback to you on your designs. I can't stress enough how important it is to complete a project when you're learning something new, a lot of students think that they can just take a course and watch the videos and then learn it and then be able to apply it later when they need it. But that really isn't how learning works. Learning really works on you receiving information and then acting on it so that you can create those pathways in your brain that will allow you to use it later when you need it. Please do make sure that you complete the project and share it because getting feedback on your work is one of the most important things in making progress as a designer. One of the things that hold so many designers back is that they don't know where or how to get good feedback, or they're just afraid to receive feedback. So make sure that you do both complete the project and share the project if you want to really be able to progress as a designer. Okay, that's a little bit about the project which we'll get to towards the end of this course. Now let's go learn about the interface and the theme, designer and the tools that will help us to be able to design the logo. If you have any questions, please make sure that you ask those questions in the discussion tab for this course. And I will do my best to answer them. 3. Document Set Up: When we open up with main designer, we will find a number of options right here on the home screen. This first option is called live Docs, and it will have documents that we are currently working on, meaning that they are saved here in the ethene Designer app on the iPad, but they're not necessarily saved under the iPads file system or an external disk, although some of them are, we'll talk about saving more in another video just because it is one of the trickier pieces of working on an iPad. You can see that I only have one document open here, and this is actually the practice sheet that you will have later in this course as you go through it. Use some of these practice sheets that I've been building here in a fashion designer. Now, if we move down, we're going to see the new document. We'll get to that in just a minute when we actually create our first document. But for now we'll keep moving along down this row of icons. Next we have the Open button. This is going to allow us to access the file system on our iPad to open a document that we've already created. So you can see here that you have access to all of your files and your drives here. And if you have one that is an infinity document, you can open it up. Then there's this little divider line here and below that are some of the other options. The first one is templates. This is going to open up your files finder, just like the open one did only this case, you will be opening up a template instead of a regular document. Templates are things that can be opened and then saved as their own document and so the template remains intact. Next we have the samples. When you click here, you're going to see a bunch of different Affinity Designer samples, which if you click on them, they will download and then you can go ahead and look at them. This is a great way to see how more complex documents have been created in Affinity Designer, we won't be using these in this course because we're going focus on a much more simpler project, just creating a single logo. Next, you'll find the Help. Help will take you into all of the documentation for a feign designer to on the iPad. And I'm really glad that this is built right into a frame designer because it makes it really easy to find something if you need it, you have the search bar right here. If you need to be able to find anything, you can just type in what you're looking for and pull it up, exiting out from the help, you'll then see that we have the Account button. This is going to go ahead and pull up your affinity account and you can see you have any add-ons. You either being given as part of a deal or that you've purchased from the affinity store. So I have several here that I have and you can always go on they finished store to find more of those and there'll be linked up to your account. We can go ahead and close that. And then lastly we have preferences. So if we click that, we're going to go into the preferences dialogue box. And in here there are a lot of different things that you can change and control. They're set up pretty well though for beginners. So we're just going to leave them as they are for this course. But if there's ever anything that you're like, man, I really think there should be a different way of doing this. You might be able to find it here under the preferences. Okay, now let's return to the New Document button because this is where we're going to focus in on this video. As you can see, there's that little arrow or Chevron down in the corner. Whenever you see that in Affinity Designer, it means that if you hold down on it, you'll get some options. So we get some quick options here to just create a new document from something else like the clipboard or from a template, or to import a document, et cetera. Now, we're just going to go ahead and just tap the New button to get the full dialog box. Now this dialogue box has a lot going on in it and they don't want you to worry about everything that is here right now. I just want you to focus on the important things. Along the left-hand side are your document presets. They are divided into categories like you can see print up here at the top, press ready, photo, web, etc. The print and press ready categories have all of the same sizes in them. The difference is just what color space they use because the print one is set up more for your home or office printer and the press ready is set up more for a professional press, where you might be sending a document into a professional printer. For this class, we're just going to scroll down until we find the web one and we're looking for these social media posts, square option. This is going to be a good size for us to work in and design our logo. You can see on this right part of the dialogue box, we have a lot of different options. If you need to customize the size, you can do that here with these two circles for the width and height. Ours is already set to what we want those so we'll leave it there. And then you can see below that are your document and units. We want this set in pixels right now. But for some other things, you might want to send in points or inches or centimeters, depending on what you are designing. You don't need to worry about these other options right now. We can just go ahead and jump over to the margins and bleed option and make sure that that's turned off because we don't need any margins or bleed while we're designing our logo. That is turned off, so that's good. There's just one other thing we have to check. Hop over to the general tab again and go ahead and turn on this little toggle called create artwork. Create an art board just means that our document will be an art board that sat on a larger kind of workspace. And we'll be able to create multiple art boards within our document as we iterate on our logo. Alright, now let's just go ahead and click Okay, and it'll take a second, but it will generate our document, and this is our documents. So congratulations, you've created your first document and if e1 designer, and now we're going go ahead and talk about this interface in the next video. 4. Interface: Now that we have our document set up here, and if e1 designer, we can go ahead and look at the interface of Affinity Designer. You can see there are multiple interface elements on different parts of the screen and they are organized, although it can feel like a lot when you first get into it, the first thing that you want to note is that along the left-hand side are the tools. So you can see right now we are selected on this black arrow. And of course we'll talk more about that, but that is called the Move tool and just the default tool. The reason the tools are really, really important to understand is what tool you have selected will determine what your finger or the Apple pencil or the cursor, if you're using a mouse, will do. It essentially changes the functionality of whatever happens when you touch the screen. Now, as long the very top is actually the menu bar, and it's made up of several different parts. The first button is just the exit button. It will let you leave the document. So if I tap that, I'll return back to the home screen. Let's go back into our untitled document here and we can see that there are a couple of more options within this group here. The first one that we have is the persona option. It looks just like the ethene designer logo right now. But if we tap it, you can see that there are two other persona's that we can change to the pixel persona and the Export persona. We're not going to worry about either of those persona's in this class as will just be dealing with the designer persona. But it's good to know that they're there in case you accidentally tap on one, you'll notice that all your tools change and everything will look different. And you can just get back to it just by going ahead and tapping and going back to designer. And then everything will look normal again and you'll be right where I am. Next to that is the document menu. The document menu lets you handle a lot of things having to do with the document itself. Now, we're not going to talk about these in detail right now, but there are a couple of them that will need throughout the course, so we'll return to this later. The document menu is that hamburger menu, and then next to it is the three dot menu, sometimes called the meatball menu. Here under this, we have all of the things they might be used to finding under like a right-click or an edit menu. So this is often referred to as the Edit menu and has things like cut copy paste and changing your selection mode and that kind of thing. From there we move into what's called the context menu. And the context menu will change depending what tool you have selected. So you can see I'm on the move tool right now. If I switch to the Node Tool, everything there is going to adjust and change. So of course we're not going go into all of these right now, but we'll go into some of them as we look at individual tools in later videos. On the far right are a few more menu options that stick around all the time. The first one is the Zoom menu. If you tap on the right-hand side, you will see the zoom options there. And you can use this to kind of zoom in and out. But you can also do that with gestures, which we'll talk about in a minute extra. That is the View menu. This button here, the windshield wiper will toggle on and off, Print Preview. So if when it's on, you won't see a lot of the bounding boxes and margins and things that might be on your document. There's also some more nuanced options. If you do the button on the right-hand side where you can select exactly what is showing up. Lastly, we have the magnet, which is the snapping options. Make sure that you know if this is turned on or off, because sometimes you'll want things to snap into place and sometimes you won't. So you'll want to be aware of that. There are a couple of options when you hit the button on the right. Basically, you can have snapping turned on and off, which is what the button toggle does. And then if you click here, you'll actually get your snapping options. If you find that you're having trouble with snapping, you can come in and adjust these. Now that we know about tools and we know about the menu bar, the last area here is going to be the area on the right, which are Studio panels. Now unlike tools, the panels don't change the way your touch or cursor works. These actually changed whatever you have selected. So these are things like color and stroke, which will actually adjust the object that you have selected. And there's lots of these and we're not going to go into all of them right now. But just know that dealing with the details of the objects that you're working on normally will happen over here on the right-hand side. These will often be referred to as studios or panels, or sometimes studio panels. A few more things that we want to note is over in the tools. Some tools will have different modifier sliders with them. So e.g. if I go to some like the move tool, don't have any sliders there at all. At the bottom, this is the modifier. We'll, if I come over to the modifier wheel and tap it, you'll see that there are four different options, but they don't stay up. If you don't hold onto them, they disappear. So these are the options for shift Command Control and Option. Shift is up, command is to the right, option is down and control is to the left. This is so that if you don't have a keyboard or you don't want to use a keyboard, and you don't want to use the gestures, you can have access to those modifier keys which will modify the way certain tools work. So that's really important to know. If you ever want to move this around the screen, you just hold down on it until it starts bumping up and down, and then you can move it around. So I might move it to the right-hand side because I'm left-handed. I left hand is going to be doing a lot of the work. And so I would want to use my right hand to do the modifier keys. One thing to note is if you want a modifier key to stay on, you just tap it and then drag past, and then it turns blue and it will stay on. So now shifted on. This is what enables you to do multiple modifier keys simultaneously. So now Shift and Command or both on until I toggle them off. We'll talk more about the modifier. We'll talk about how it interacts with different tools are also gestures that you can do to cause certain actions to happen on screen. So let me just go ahead and drag out a rectangle here really quick so that you can see some of these. The first one is a two-finger tap, which is an undo command. So this is similar to hitting Command Z on the keyboard. Two-finger tap, undo, three-finger tap. We'll redo. There we go. We have that back again. Now, like I said, you can zoom in and out just by pinching and spreading your fingers apart. That's the easiest way to zoom in and out most of the time. If you want to pan around your Canvas, just hold two fingers on the screen and drag. That will allow you to pan around. If you ever want to get the color picker, just hold down on the screen for a second and then drag. Then you'll get the color picker tool and you can pick that up to drop into your color in the top right-hand corner. And also it will apply that color to whatever you had selected. Another thing you can do is get the Quick Actions menu. If you hold down on the screen, don't drag and let go, then you will get your quick options menu. This is again, similar to something you might find if you right-click on an object. And this will change depending on what object you have selected. The other way to get that quick Actions menu is to just take three fingers and swipe down on screen and it will appear, either of those will work. Alright, there are more specific gestures that will come up as we talk about different tools. But for now that's basically all you need to know about gestures. The last thing that I wanted to mention in this video is the Help button in the bottom right. When you tap and hold on that you'll get tooltips for most everything that appears on screen, you can see what all the tools are, what all the studio panels are. And in the middle you can see what's happening up in the top menu. So that can just be really helpful just to get a quick idea. And then there'll be even more detailed found along the very bottom of the screen, though it can be tools, specific information as well. Okay, That was a long video, but that's it. That's how the interface works here in Affinity Designer. In the next video, we'll go ahead and we'll talk about saving documents. 5. Saving: The next thing that we need to talk about is saving the document while using Affinity Designer on the iPad, it is very important to save your work so that you don't lose it. The first thing that you wanna do is make sure that you leave the document and go to the home screen before you switch out to another app. That is done just by tapping the back arrow in the top-left corner of the screen. This is kind of a weird problem and it has something to do with the way that affinity handles files. But just so you know, if you leave to go to another app, you should come out here to the document home screen at least momentarily so that the file itself is updated. This will save you a lot of frustration because sometimes you leave to go to another app and when you come back, if any designer has been jettisoned from memory and the changes that you made, we're not saved. You can avoid that just by making sure that you jump out. The next thing that you want to note is that files here needs to be saved somewhere else on the iPad in order to be accessible from the file's app. This is probably a little bit confusing, but right now this untitled document that we have isn't saved anywhere except right here in Affinity Designer. Now we can leave and affinity designer can close and it will still be here, but it's not anywhere inside of the files app right now. That's until you choose to save it to a location. So the way to do that is tap the hamburger menu in the top right corner of that document preview and choose Save or Save As when you click Save, it's going to open up a dialogue box where you can name it. So we're just going to call this logo test. You can choose to turn on Save history or have it turned off. You'll save memory if you don't have that turned on, but you'll be able to go back into your safe history if you have it turned on. So let's go ahead and just click Save. This is now saving it. And it's going to ask us where we want to save it for me. I'm just going to choose on my iPad, go to a fashion designer and choose save. Now the document is saved and you can see that the name has been updated. So now it will actually be accessible from the file's app every time you want to make sure that it's saved and updated into the actual location and the file's app. Just make sure you come out here, tap the hamburger menu and choose Save. So that's just a quick video to show you how to make sure your documents are saved, which will save you a lot of frustration in the long run. Okay, in the next video, we're going go ahead and actually start talking about some of the tools that we have here. And if e1 designer on the iPad. 6. Shape Tools: Now it's time to start using the tools that are available in a fiend designer. And specifically, we'll be looking at those tools that we'll use in our logo design project. Now, the first and most important tool when building logos is going to be the shape tools That's going to be found down on the left-hand side and you're looking for the thing that looks like a rectangle, unless you've switched it to something else. If you've switched it to another one of these shapes like let's say the pie. It will look like the pie. We're going to start with the rectangle though. Now there are a lot of shapes, as you can see here when you tap on it, because there's that little chevron in the corner. It means There's extra things inside of that tool. So there's a bunch of different options. We're going to start with the rectangle because that's the basic one and it's the easiest one to learn some of the shortcuts width. And we're not going to talk about every single shape here, but we're going to do kind of a representative sample. And then I have the worksheet for you that will help you to practice the things that we learned in this video so that you can learn all the ins and outs of working with shapes. With the rectangle selected, we just need to click and drag out. We can do this with our finger with the Apple Pencil par with the cursor. If we're going to use a mouse, now for the shape tools, you're going to want to be able to use your modifier keys. I'm actually going to move my modifier back over to the right-hand side. Unfortunately, it doesn't seem to retain its position in-between documents and sessions. And so I have to move it around again because I'm left-handed. You can also use a keyboard to access the same keyboard shortcuts. And we'll talk about the gestures when you want to draw out your shape, makes sure your shape is selected. And then you're just going to click and drag. You can see that right now this is free ratio, so I can change it to be whatever kind of rectangle I want. Now if I hold one finger on the screen, that's going to constrain it to square proportions, so the width and the height will remain the same. I can also do this by using the modifier shift. That's fairly simple. And when I want to actually draw it, I can let go of it with the pencil or my finger or the cursor. Now I'm going to hold shift up so that it stays in proportion. I'm just going to draw out the square. Now that is how the square is drawn. I'm just going to undo that with a two-finger tap. And we're going to draw another square and we're going to learn a few more modifier keys and shortcuts. As I click and drag out, I can use two fingers on the screen to go from the center. So wherever I started then becomes the center of the shape rather than the top-left corner. This of course is unconstrained. So if I put three fingers on, it will go from the center and be constraint, which is pretty easy to do. The keyboard shortcuts are modifier for them, are going to be to use the command key to go from the center. And if we do that and drag it out so that it stays on, then we can also use Shift to keep the proportion the same. So you're actually combining those things together. Let's go ahead and turn that off. If we put four fingers on the screen, we will be able to move our shapes. So if we want to draw from a different location, hold four fingers on the screen and we can move it around. There is no modifier key shortcut for that, so you'll just have to use the finger gesture if you need to do that, alright, then you can tell the five fingers on the screen if you want to rotate the shape. You can also do this by going to control. That's the basics of it. So let's go ahead and I'll just hold down, Shift on the keyboard to drag out a square. Show you what that looks like. Now if I want to move this around, I can't stay on my Shape tool because I'll drag out another shape and do that, I need to switch to the move tool. I can do that by double tapping on the pencil or just clicking on the move tool, or by hitting V on the keyboard. Okay, Let's move that over. The next thing that I want to show you is the difference between the rectangle and the rounded rectangle there, the shape, I can choose the rounded rectangle instead, and I can click and drag out a rounded rectangle. All the same keyboard shortcuts apply. So if I want to make it square, I can go like that. But one of the key things when the rounded rectangle is you get this little orange handle which allows you to control the roundness of the shape. These orange handles will appear on lots of different shapes. And each one shows that there's a property that can be modified. All of these properties will also appear in the context menu bar at the top. You can see that from this context menu bar, I can select what kind of corners I want under round, and I can select the radius, which is what the orange handle is doing there. So that's the difference between the rectangle and the rounded rectangle. Now if I switch back to my move tool, I can select this. And then if I switch to the rounded rectangle tool, you can see that any shape tool can select any shape. I didn't have to go back to the rectangle tool to select the rectangle. Once I select it, I get the shape options. Again. You can see here I actually have a radius option, but I can't use it until I switch this to round it. Once I do that, I can. So really the rounded rectangle tool and the rectangle tool or the same tool just with different options selected. So it just makes it a little easier to get what you want right away. But if you make a mistake and choose the wrong one, you can normally get to what you need. Alright, let's look at a little bit more complicated shapes here. So I want to show you how a couple of these works that have more things going on. So e.g. let's choose the cog here. This COG will make years and the same keyboard shortcut supply. So if I want to keep the proportions I can hold down shift. But you can see there are a lot more little handles here going on. So there's a lot that you can do to change this and this will dramatically change the way the shape look. So each of these handles, you can see I can select this and watch what changes in the top so you know what's going on. You can see the inner radius here is changing. Then there's this option in the middle would watch that the whole radius changes there. There's also this option which doesn't have a control in the top, but it changes how big the teeth are. This one changes how round the sides of the teeth are. And this one changes how much space there is in-between the teeth. One thing we can't do with an orange channel, but we can do at the top is changed the number of teeth. So as I drag down, the teeth, number of teeth goes down. As I drag up, the number of teeth increases. It looks like 48 is the most that it can handle. So you can see that by modifying these, you can actually get a significantly different style of shape. Now, just to show you a couple more of these and how they look, let's look at the double star, because this has a few things as well. Now you can see that it doesn't have as many handles. There's an inner radius, There's a point radius, and the radius only affects the secondary star. You can also see that the snapping gives you different points sometimes, and that this can dramatically change how the shape looks. We can also change the number of points here. And so if you're trying to get at something specific, It's worth it to play around a little bit with the different handles that appear in your shape. Let's try one more here and that will be the cloud. The cloud you can see has different number of bubbles. And so you can adjust that. And then you have an inner radius handle. You can actually make something that looks more like a flower than a Cloud. So it's important not to get stuck in the mindset that you have to do exactly what the shape is called or something like that, right? The card doesn't have to be a gear or a cog. It could be something else. The cloud could be a flower, the star could be a sunburst or something else. So there's a lot of variation with what you can actually create. Some shapes, can create things that look very similar. So e.g. I. Can really make this gear be a lot more pointed and it can start to look more like a star. So you can get different effects depending on how you control these values. And most of these shapes have different values that you can control. So I encourage you to play around with them. Again, I've provided a sheet for you. If you pull out the shape that's listed and then try to get it to match the shape that I've drawn that will really help you in being able to just work through how some of these handles work, kind of gets you unwrapped onto how shapes are going to function for you. Now that we have some shapes out on our canvas, we can go ahead and in the next video we can learn about the Move tool. 7. Move Tool: Now that we have some objects drawn onscreen, we might want to be able to move them around and modify them. So we're going to start with the move tool. This is the very first tool and it's, you can get to the move tool normally by double tapping on the Apple pencil, we're hitting V on the keyboard. This is a great way to be able to get to the move tool quickly because you do need it so often. But of course you can always also go up and just tap on the move tool, which is the black arrow in the top left. The move tool allows you to select objects. So you can go ahead and you can click on an object to select it. And you can use the handles to modify it. So we can resize this. And currently it's unconstrained, but of course we can use the same shortcuts that we've done before to keep it in constraint and proportion. There's a little handle up at the top of this that shows that it can be rotated. So we can take that and we can rotate it left or right using shift. We can keep that constraint to 15 degree increments. Now with the move tool, we can of course move our objects around. We can select them, but you can see that we don't get any of the modifier handles. We have to have the actual shape tool in order to get the modifier handles to do that. Now, you can see there are a number of options that appear in the context menu. When you have the Move Tool selected, I'm gonna go ahead and use the color panel to just change the color of this cog object so that we can see some of this. I'm going to move it over the top of my square and I'm going to change my square to be blue. So with this square selected, you can see that there are some other options along the top where the arrow is. When we clap that, we can choose Hide Selection enabled transform alignment handles transform separately locked children and cycle selection box. We're not going go through all of these options right now because we don't need them, but it's good just to be aware that they are there. These tend to be a little bit more of advanced options, so I just wanted you aware that they're there. Now we have this arrange panel. So you can see here that this allows you to move the object into different positions. If I want this object to be in front of the card, I'm going to click move to front, and it's going to move all the way to the very front of the stack. Now if I want to move it back, I'll go ahead and say Move to back. And now it is behind again. Over here we have our flip and rotate options. These aren't going to make any difference on a square object. So let's go ahead and select one of our other objects to do this. When we come here, if we say that we want to rotate it counterclockwise, it will rotate like that. Now flipping it. We can flip it so that it looks a little bit different here. That only worked because we rotated it before that it was symmetrical and we went to been able to see which way it flipped. So these are good transform options to remember that you have here, if you want to do simple ones. Now there is a transform panel over on the right-hand side which has these options and a lot more options as well. If you want to get more granular or mathematical about it, then we have the alignment options for this, we need to have multiple objects selected. There's a couple of ways that we can select multiple objects. So let's go ahead and we will get our square and our gear. Let's go ahead and turn this yellow so that we can see it easy. And we can select multiple objects by using Shift. That's one way to do it. We can also click and drag over to the object, the way to make sure that it gets selected to make sure that you've completely encompassed it in your selection. Now, with our alignment tool, we can then choose how to align these so we can align them to the left. We can align their centers. We can align their right side. So there's a lot of different ways that we can align them and then run. Another good option is the space. This is sometimes called Distribute and other programs. But we might want to space them vertically so that they're all evenly spaced together. It will always use the selection that you have, so it won't go bigger or smaller than that selection. So let's go ahead and use our move tool to just drag this down. One thing to note here is we can see the snap guides as it shows us where we're dragging. That's really helpful in lining things up without having to use the alignment options. And we can also hold down shift and shift to actually constrain it into the same vertical or horizontal position that's already in. So if I'm dragging vertically, it won't let me drag it horizontally. So I just want to go down further so that when I select these, which I can also do by holding one finger on the screen, I can select multiple. And then when I choose to space vertically, that works a little bit better because I started off with enough space for them to actually get spaced out. The next option is the Boolean operators. We'll talk about that when we talk about shape builder. In this option is this select under select inside when you start getting things really grouped up or are using clipping masks, that's when you need these. We're not going to worry about them right now though. But in case you do get things kind of stack together, that's where those will be useful to you. The next option is the Select Same or select object options. So if I click on this gray rounded rectangle and I click Select Same and I choose Fill color. It will select everything that has that same fill color, which is extremely useful to have. Because sometimes you want to select everything that's one color and change it to another color. The other options here also you can choose Stroke Color, Fill stroke color, stroke weight, transparency, blend mode, shape, name, and tag colors. So there's lot of different options so that you can get everything selected at the same time. The other option here is the objects, so you can select all of one kind of object. So if I want just like all my shapes, which is what I have right now, I can click that and all my shapes will be selected. So that's a really useful feature of the Move tool. The last little tip that I want to show you here with the move tool is just how to quickly duplicate an object. So let's say that I wanted another little starburst here. If I go ahead and use my modifier tool to go over to command or option. I can actually duplicate that, which is very, very useful. The other way that I can do that is to hold down two fingers on the screen and I can get an option to duplicate. You often have to duplicate things a bunch of times, especially when you're working on logos and you want to iterate, you want to create a lot of different versions of it, so it's good to be able to duplicate it. And that is a really quick way to go about doing that. Okay, That's a little introduction to the Move tool. In the next video, we'll go ahead and talk about the Node tool. 8. Node Tool: Alright, now that we have learned how to use the move tool, and we're going to learn how to use the node tool. This is the second arrow tool, so it's the white one right below the Move tool. And with the node tool selected, we can select objects just like the move tool, and we can even still move them around. One thing that you'll notice though, is with the node tool selected, if we're selecting on a shape that has some attributes that can be changed, we can actually change those without going back to the shape tool. So we can adjust the radius of this star here. Now, that's only because this is still an active shape. Now, if we selected an object that wasn't a shape but was just a curve, then we would be able to adjust all its points. The way that we do that is by going up here into the context menu and tapping this furthest right icon. That is the convert to curves icon. And it then bakes the appearance of this shape. So now we can no longer just the radius of this star, but every point on work with the node tool allows us to actually select individual points. So I can select this point on the star and drag it around. I can make one ray come out way farther. Now, this is in contrast to the Move tool. If I switch back just by double tapping my Apple Pencil or selecting it, you can see that with the move tool, all I can do is move this object around and scale it. But I can't change any of the individual points with the node tool selected. Again, I can grab any of these points and I can modify the shape however I want. This is kind of a weird thing to do, but with a logo, you might sometimes want to make specific modifications to a shape so that you get a very unique look in the logo that you're trying to make. A couple of things to note here is that you can change the type of point that this is. So currently these are all sharp points. And you can see that there are a number of different menu options along the top. If we hold down on our question mark, we can actually see what those are. So you can see that there's a note snapping option and they transform mode option, but there's also a sharp, smooth, and smart options. So those will actually change the type of point that the point is. There's also break options to break a point apart and a close option to bring two points together, a closed curve, There's also a smooth option and a Join option. So there's a lot going on here and it's not necessary that you understand all of the ins and outs of vector points, but just know that these can be modified when needed. So if we wanted this start to have a curved point here, we just change that to smooth. And then we would get our smooth handles, which we can then modify. Holding down Control will allow us to modify both handles at the same time. If we want that to go back, we could just change it to sharp again. Now you can see if we wanted to break it. And if we zoom in here, we can actually switch these. And you can see there's no longer a line that's connecting them. If we wanted to bring them back together, we could click close and it will create a new line going together. Let's undo that. So that's how you use the node tool. Remember that if I select a shape with it, All I can do is adjust that shape properties. But I can't modify the individual points and tell I bake it using that little convert to curves triangle. Now when you do that, you aren't going to be able to modify the points anymore. So make sure that you really want to do it before you do, I'm going to click Undo to not do that to the code right now. And that's how you go ahead and use the node tool and a fiend designer. In the next video, we're going to go ahead and look at the corner tool. 9. Corner Tool: We've now learned about several ways that we can modify shapes using the Move tool and the node tool. There's more with it we can do to modify shapes though and their appearance. And the next one that we want to talk about is the corner tool. So this is the fourth one down. We're skipping the third one, which is the contour tool because it's not one that we necessarily need right now and it gets a little bit complicated for beginners. So let's go ahead and just switch to the corner tool, which looks kinda like a red arc with a square behind it. This tool is going to allow us to modify the corners similar to how with a rounded rectangle, we can change the corner radius, but this will let us do it for any shape. If I select on my colleague here that's kinda been turned into a star, I have a lot of different points and even though I haven't converted this into curves yet, it is showing me all the different points so that it can modify their corner radius. Now, here's the thing to remember about this. When we do this, it will take it and make it so it's not a shape anymore because it is changing the fundamental properties. We won't be able to adjust the number of teeth and the COG or the inner or outer radius, it will sort of be baking it into place. So what we need to do now is go ahead and select the corners that we want to modify. So let's say that I wanted to modify all of the corners on the outside. We'll go ahead and select one and then holding down one finger on the screen, I go ahead and I would select the others. Now with the corner selected, I can go ahead and I can round these just by clicking and dragging down. So you can see these little circles appear that show how the radius is being adjusted. The slider on the left can be used or we can just drag on the screen itself. And the slider on the left shows us exactly how far we're doing it. Now one thing that's a bit of a bug is once you release it, it will actually jump back to the Node Tool rather than staying on the corner tool. And you'll have to select the corner tool again if you want to further modify it. Now, using this slider can be a bit problematic because it jumps so far so fast that it basically is unusable. You can see that it's pretty much jumping straight down as I tried to drag on it. So I find it easier just to drag on the points themselves. Once we do that, of course, when we click on the Node tool, we're going to see all of our points again because this is no longer a shape. So the corner tool is a powerful way to adjust things and we don't have to do all things at once. So if I go back to this more complicated shape that we worked on with the node tool before I can select individual points and round them to different amounts. This is a good way to smooth out a shape that's maybe looking a little bit jagged. And this might be the case and the logo where you have some jagged shapes. But you really want to present more of like a round friendly feeling. You can do this as far as you want. But eventually a curve will be so curve that it can't curve anymore. And so that's where it maxes out. You can see how you can make some really interesting shapes this way. Now one thing you do have up here is the corner rounded. You can choose different types of corners. So you can choose concave or choose to do a straight corner, or choose to do a corner cut. And that will adjust how your corner tool actually does it know normally I think you'll probably use this for rounded, but these others might be useful in certain situations. And that's the basics of the corner tool in Affinity Designer. In the next video, we're actually going to go step further and modifying shapes and talk about the shape builder tool. 10. Shape Builder: Alright, now that we know all about shapes, how to move them around and just their points and their corners. We're going to go ahead and learn more about how to merge shapes together. This is a really, really critical skill in graphic design, and it's especially important when we get into logo design because this is how we're going to make a shape that is more unique than just say, a rectangle or a circle or something like that, we can really create much more complex things out of vectors when we start to merge shapes together. So you can see here on this art board, I have a bunch of different overlapping, rounded rectangles and circles. And the way that we're going to combine these shapes is either by doing what are called geometry operations using the shape builder tool. These can accomplish very similar things, but there are some slight differences to them. So let's go ahead and take a look. First. I'm going to start with the shape builder tool, which if you go all the way down to almost the bottom of the tool panel, you're going to see something that is a circle and an overlapping square that looks a little bit green or bluish. So I'm going to tap on that. That is the shape builder. Now, the shape builder needs to have objects selected in order to work, but fortunately, they allow you to select them using the shape builder if you don't have anything selected already. So I can just go ahead and select over my first two objects. Now, if you look up in the toolbar, you're going to see that there's a plus and a minus. This determines the mode that you have when you are using the Shape Builder tool. So plus we'll add things together and minus will subtract and you are allowed to do both. You can switch between them. Now the first thing that you can do is you can turn on what you want. So right now I'm on Plus, but I can also turn off plus r In, turn on or turn off minus and have everything be off. When everything is off, I can select parts of the shapes. So say just want the middle. I can select here and here. And nothing will happen until I choose the command. I can go ahead and hit Minus and it will subtract. Now you'll notice that over in the Layers panel that then switched to say it's a curve instead of a rounded rectangle. So actually all of these are rounded rectangles. They're just more or less rounded. So when you get here though, this becomes a curve and no longer a rounded rectangle because it's been merged together. So now let's go ahead and change back to our move tool so that we can select a new set of objects. Go back to our shape builder tool, and let's see what happens if we start with r minus selected. So to do this then when I draw across, you see it's red instead of blue because it's not just selecting an area to work on, it's going to actually erase it so I can achieve the exact same shape, but I did it without selecting them first and then doing the Erase option. Now there is a way using a modifier key to actually put this back into selection mode. And that's just holding down Command or using your control wheel. Select command, and then you can select your objects. Okay, So with these objects selected, I'm now going to show you how that works. So I'm just going to switch to plus and I'm just going to drag through. And now you can see these are currently set to blue and they all go together. So blue means two things. It can mean that you are just selecting areas that you can then execute an action on. Or if your actions already selected, it will execute them immediately. So you can see there is quite a bit going on just in this shape builder tool alone. But there are some more options here that I just want to highlight. So let me go ahead and select the next one. And you can see that this next button here, this is called create, a new shape from selected areas. So this is something that I'm very happy they've put in affinity to here is that when you create a shape using the shape builder tool, you can choose to make it a new shape and still keep the original. So let me go ahead and turn that on. And now when I go through here, it's going to create a new shape. When it does that, it also maintains the old one. So you can see over here my layer panel, I have my curve and two rounded rectangles selected. Let me go ahead and just grab one of these using my move tool. And when I move it, you can see that I still have the old shapes. The reason I like this is when I'm creating a logo or an icon or something like that, I really like to be able to keep the shapes that I've set up in case I want to make adjustments later. That's a good way to do that because my shapes are still preserved and I have this new shape that lets me do whatever I want with it. And we'll go ahead and just drag that off for now. We'll talk a little bit more about preserving shapes in a second here, Let's go back to the shape builder tool and select these shapes again, I just want to point out one thing with this option where it says free hand. So you have freehand line mark key. So this is just basically your selection mode. Freehand just lets you see what I did, which is you can draw anywhere. Go ahead and undo that line, will just let you draw in a straight line like this coming out from your first point. Do that. And murky will let you select over the areas that you want to do and you have to have them completely in the selection to get them to activate. I like to leave this on free hand, but you can use whatever works best for you. Next, we have the little eyedropper tool. This is a US style from first selected objects. So if you have this turned on, it's going to take the first selected object and use that style. Let me illustrate for you what this means. I'm going to change this one's fill color to be yellow. And then we're going to go ahead and we're going to select them both. Go to our shape builder tool, make sure that's turned on. And now when we drag through here. It's going to make them all yellow. So you can see this in the layers panel. It's yellow because it's using the style from the first object. Now these next three options are all ways to keep it cleaned up. And unfortunately, you can't actually select them in the current version of Affinity Designer here because the multitasking option is right there and it won't let you click on anything below it unless you get it exactly right. So it's almost impossible to get these to turn on. Unfortunately, these will help to automatically clean things up, especially when you're doing more complicated shape building. So hopefully they get that fixed and in your version it's working. But I can turn on and off this one which is automatically delete open curves. I can't get these other two, which is the cleanup curves and clean up unused shapes. Okay, So that's basically it for the shape builder tool. Now we're going to go ahead and we're going to learn about the geometry operations. Here. The geometry operations are done by selection. So if I select this next option here, you're going to see the regular selection options come up at the top, and this one with the square and the circle is the geometry operations. You can see that there's add, subtract, Intersect x or divide merge curves, and then grayed out here is separate curves. So some things will only appear when they are able to be done. We're just gonna go over these five options here which are add, subtract, Intersect, XOR and divide. Because these can be very useful. They work very similar to the shape builder tool. But sometimes you'll want to use these and sometimes you want to use the shape builder tool depending on how you like to work and what effect you're going for. So add, essentially it's just going to add these shapes together. And it works very similar to the add command in the shape builder tool. They are now together. But let me show you something cool that you can do when you are using the geometry operations. So let me hit Command Z on my keyboard and that will undo or I can two-finger tap to undo. And now if I hold down my Option key on my wheel while I do my operation, add, I'm going to get something special here. You can see if I scroll down here, it says compound next to it. And if I twirl down the Chevron there, I can actually see that there are two shapes still there. Well, this allows me to do is select one of these ships, say this circular one. And I can still move it around if I didn't like exactly where did the merge I can move that around and change it and then you can see that the shape adjust accordingly. I can also do things like come in and select my rounded rectangle tool and I can change my rounded rectangle and it hasn't actually solidified the curves yet. So I can actually change that and move it around like this. So that compound shape is really good option again, you have hold down Option and get that to work. And when you do that, it will actually cause the shape to become this compound shape that can be edited further still. So that can be really useful because it again is less destructive because you can still go in and modify it afterwards. Let's go ahead and select this next one and we'll just look at each of these insurance subtract is just going to erase. Intersect is going to take just the parts that overlap. So you can see that it's getting to that same place we got with the shape builder tool at first, but it's doing it in different way. Instead of subtracting, it's actually just looking for this parts where the shapes are intersecting. In the next one we're going to choose x or now XOR is hard to see without a fill. So let's go ahead and add in our fill here. And you can see that there is actually empty space where they overlapped. So X or says wherever they don't overlap, keep it. Wherever they do overlap, get rid of it. So that's a little bit different. And we'll go ahead and select this last one here. And we will choose divide. You can't tell what happens when you divide it, but it's taken each shape and made them separate. So we can go ahead and we can grab this. And then we have the one in the middle. So that's how all of these different shape billing operations where you can use the shape builder tool or the geometry operations. I've provided a worksheet in the files for this course so that you can practice this. It's got three different activities for you to do where you can lay out the shapes and then merge them together in different ways so that you can practice the ins and outs of this because I know it can take a little bit to wrap your mind around. Again, this is really, really critical though for you to understand because it's one of the most important things whenever you're working in graphic design and in logo creation, especially now that we know how to bring shapes together, we're going to go ahead and talk about how to do the fill and stroke. We've looked at that a little bit, but in the next video we're going to actually learn how it works. 11. Fill and Stroke: Alright, now that we know a lot about different shapes and how they work and how we can merge them together. It's time to talk about something that we've been skirting around and we've talked a little bit about it, but this is the fill and the stroke, and this is where your style and your color and everything is applied to your shapes. So of course, this is going to be very important in logo design because we're going to want our logos to have certain color or certain outlines and that kind of thing. So it's really important to understand that every object in affinity or any vector program for that matter, it's going to have a fill, which is the enclosed part that can be colored, and a stroke which is the outline and can have a color applied to it and also a weight. So let's go ahead and take a look at this. For this, we need two of these panels. The first one is right at the top and that is the color panel, and the second one is right below it, and that is the stroke panel. So these are really critical concepts in design and they can seem really simplistic at first, but it's important to wrap your mind around what's going on. So let me show you really quickly if I just grab the pen tool, which we will learn about soon and I draw out a curve. You'll see that there is a line but there's nothing going on inside it. If I go up here, you can see that that fill color, which is the first dot, is white with a line through it, and that means there is no fill. Now, this object is not closed, but it can still have a fill applied as long as I have that circle on top and choose a color, it will then fill in everything that is enclosed within the line. So even though there's no line connecting the bottom here, it will still enclose it. Now, it's important to know that whatever you have selected is what will be edited. So if I want change the color of the stroke, I need to bring that stroke to the top by tapping on it. And you can now see that the stroke circle is on top. So if I want to set that stroke to be blue, I can do that just by bringing it to the top and then tapping on my blue color. So you have fill and stroke and every object has it even a straight line but can't display a fill and technically have a fill applied to it. So if I dislike this and take my pen tool here and draw straight lines, there's no fill applied to it, but I can grab this. I can apply a fill to it even though you can't see it. Then if I were to continue drawing this line, then the fill would appear. Okay. So you have there fill and you have your stroke. Now, what can you do with them? Now? A fill can have a number of different types of things applied to it. For this though, we're only dealing with solid fill colors. So we click on an object and we choose the color to fill it. Right now, that's yellow, but we could change it to blue or pink back to yellow. So that's pretty simple. Stroke can have more things happening to it. So if we go to the stroke right now, you can see that under stroke we're set to a solid line. Now let's just duplicate this. Now remember we can duplicate by going to Option, fit or Option and then going up to shift so that we can keep these in line. And let's see what happens when we change two dashes. And you can see that it starts getting dashed all around there. So we had the solid line before and we had the dash. The other thing that we can do is we can adjust the width. So right now it's set to four, but we can bring that up as high as we want. If we want to put in a specific number, we can just tap it and get the calculator. Let's say that we want a width of five instead of four. Click, Okay, and that goes to five. The next thing that you need to know about are these caps, joins and alignment. For that, let's use this open shape because that will make more sense. You can see that currently it's set to a rounded cap. And if I zoom in here, you can see that it is round there. But if I want that to be different, I can choose to do these square caps, one which goes only to the point and one which goes all the way around the point and it's a little bit longer. We then have joins. And joins are the different ways that the angles happen. So let me select this. If I switch here, you're going to see that these angles then get squared off. Or this makes them round or sharp. Next is alignment. The alignment of the stroke is currently set to be half on the outside and half on the inside of the actual vector outline. That makes that, that's the light blue part here. But we can change that to be inside or outside. So that will change how it works. Now, if I go ahead and select one with a dashed line, we're going to see some more options open up. Let me move this control wheel or the way that you can see them all. These are your gash pattern options. We're not going to worry about absolutely everything that happens in this panel because it can get a little bit complex, but let's just go ahead and see what happens as we adjust these dash patterns. So this is the actual size of the dash. It's not the weight of the dash like we did before, but in this case it's the size, the length of each dash. The gap is how much space there is in-between. So you can adjust these to get the style that you want. And then there's a secondary dash, because you can actually have two levels of dash and two levels of gap, which can create some really interesting patterns. The phase adjust where the pattern starts on the shape. And so depending on how you want the shape to look, you might adjust this phase a little bit back and forth. For open lines like this one, you can change the arrowheads. So we can put that there. Then we can put this land there, and we can create a little arrow. These scale the arrowheads so you can make them smaller or bigger. And they control down here, chooses whether the arrowhead extends beyond the end of the line or just goes to the end of the line. So there's a bunch of options there. The last button here, it will just reverse which way the arrow is going. So there's a lot of options you can work with with stroke that can be very helpful if you're going for a certain type of outline style. Then one of the last things to know about strokes, I'm going to go ahead and take these arrowheads off so that you can see this is that you can also apply a brush to it. So if I apply this brush stroke to it, that doesn't look like much of anything. We can adjust our pressure scale here to make things smaller. At the beginning, were smaller at the end, or adjust the width in the middle. But that's not as useful as going in and actually putting a brush. So if we go into the brush panel, we can choose one of these brushes. I'm going to go ahead and just choose a marker really quick here. You can see how that changes the way the stroke actually looks. Let's go ahead and lower our width because that's a little bit extreme, but it gives it a more of a hand-drawn field. And there are tons of different brush strokes that you can choose, but you need to make sure that you're set to brush here. And that can give you some more options in how you change your stroke. The last thing to know about Phil, and I'll just go ahead and duplicate this one more time. Is that you can use what's called the fill tool to apply a gradient. So it looks like a square with a line running through it. And this is a gradient option. And you can select the different stops and you can change their individual colors. So say I want this to be green and go to yellow. Then we have that. You can also add stops. So say I want that to be yellow so that this one can be blue. I can adjust these like so. You can also change the direction that it goes. There's a lot that you can do with gradients. We aren't going to go into everything that there is to know about gradients in this class. But it's important to know that you can apply a gradient to it. Although that's not one of the things that we would suggest doing for most logos. Because gradients tend to be more complicated, you want a logo to be. So with all that being said, we've talked to about a whole bunch of things with fill and stroke. I know that that can be a little bit confusing and overwhelming. So I have provided another worksheet for you where you can practice this. Just draw out the shapes and then duplicate the fills and strokes that I've done on the worksheet that will help you to get more comfortable with all of the different options available to you here. 12. Pen Tool: All right, Now that we've learned all about shapes and how they work in merging shapes and fills and strokes. It's time to move on to what might be the most difficult tool that is found in Affinity Designer and mini vector programs, and that is the Pen tool. The Pen tool is going to be the fifth tool down on the toolbar, and it looks like a fountain pen. So go ahead and select that. Now, I understand that it can be quite intimidating and difficult to learn the pen tool, especially if you are new to working with vectors. The good news is that you do not have to use the pen tool to create logos. If you don't want to, you can do everything with just components, shapes and shape merging techniques that we've already talked about. But I want you to have at least been exposed to the Pen tool because you might want to use it sometime. And just knowing how the pen tool works will help you to understand vectors better. But it's perfectly fine if you find that tip pen tool frustrating at first and you don't want to use it. That is a normal reaction for people who are just being introduced to vector art. I'm not going go into everything that there is to know about the Pen tool because they realized that it can be overwhelming. Here are a few things that you really do need to know. And then we'll go in and we'll use these dots as an example. The first thing to know, and this is related to these dots and set the pen tool does not work at all like a pen in the real-world, you do not ever drag to make a line with the Pen tool. So with the pen tool selected, I'm just going to show you what I mean. A lot of people when they first encounter the Pen tool will try and just draw. So I'm just putting my pencil down and I'm just trying to draw. And you can see that it is not drawing. What I want to draw. It's doing something crazy. So I'm going to go ahead and undo that. And I will explain to you how this works. You don't click and drag. That's actually what this next tool, the pencil tool does. And I don't recommend that you use the pencil tool for logo design because it's not very helpful. Instead of just tapping and dragging to make lines with the Pen tool like you would think based on how you use a pen in the real-world, this is much more like doing a dot to dot, because what you're actually doing with the pen tool is you're laying down anchor points and then you let Affinity Designer know where you want it to draw, and then it will draw the lines to get there. So just think about this like doing a dot, two dots. So I'm going to show you how this works here, just with these first set of five squares. So the points that you lay down look like little squares. So let me zoom in here. I'm going to tap on the first one to lay down a point. And then we tap on the second one to lay down another point. You can see that I did not drag across the screen. I just tapped and it drew a line in between my squares. I'm going to go ahead and tap again. And then they're there. And now I have a little house shape. If I want to close that off, I will just tap on my original point, which is the little white square there. Now I have a closed off shape that I can add a fill to. I can adjust the stroke on, it, can do any of that stuff. And that is a finished shape. Now, we might have seen before when I drag something weird happened when I first tried to do it. So we're going to talk about that now. There are basically two types of nodes or dots that you are letting Affinity Designer draw between. These are called nodes and they're either what are called straight nodes or curved doubts. Straight nodes look like squares, like we have here on our little house. And curved notes look like circles. So if you just tap and to put down a point and then tap again, you're going to draw a straight line. It's going to be a straight note. Now, if I hit my x down here, if you go ahead and get out of that line and I start drawing a new one. If I tap and then I tap and drag, I'm going to get a curved node. And you can see that that has become a curve. Now curves have these handles on them that look like these blue lines going out just circles. Those are the way that you do rectifying designer in how much curve you want there to be in your line. If you ever want to adjust your points while you're using the pen tool, just hold down Command on the keyboard. Or of course you can also use it here on the wheel. And then you can adjust these handles. Think of the handles like magnets that pull the line towards them. If you want those handles to remain the same size, go ahead and set commands so that you can use the tool and then go ahead and hold down control so that those will stay the same amount and in alignment with each other. Okay. Now that might not be making a lot of sense right now, I totally understand that and we'll go ahead and hit the X to get out of this line. And we're going go up to this set of dots here so that we can see this better. I'm just going to lay down a straight one first just by putting it right there. And then I'm going to go up to the circle, tap and hold out. Now, if I want to keep this in a line, I'm just going to hold down Shift. So let's go ahead and hold down Shift and keep that right like that. You can see those handles are acting like magnets that are pulling out the line. And the one coming out the right side is going to act like a magnet on the next one. Okay? So I'm gonna go ahead and I'm just going to tap in the square. And you can see that it just comes down. So I have a curve coming in, then I have a straight one at the end. Now, I'm going to go down to the circle and do the same thing again, click and drag without letting go, go ahead and I'm going to hold down Shift to keep it in a straight line. And then I'm going to let go of Shift, tapping my square. And now I have this nice little curve here that I've drawn by using both straight and curved notes. And remember that while you're drawing, you can always hold down command or you can just put two fingers on the screen to be able to adjust it. If I don't like you, this node where it is Exactly, I can move it a little bit. Holding down two fingers, I can adjust that. You can adjust points or handles that way and still be able to continue to try to get out of your drawing. You just hit the little X over in the left-hand corner. Now, like I said, there's a lot more that can go into the pen tool and I'm not going to worry about most of it right now. The last thing that I want to mention to you is just this little selector up here in the menu bar. You have pen, which is normal, smart, which I don't want you to worry about right now. Polygon, which will only allow you to draw straight lines with the polygon selected. You can't draw curves at all. And then line, which is probably the most important one. This one allows you to just draw a line. You're only going lay down two points and then you'll just continue to draw lines from there. So you might need a line in your logo and that's the easiest way to get it because there isn't a separate line tool and affinity designer, there's just the line option under the Pen tool. Really, the great secret to the pen tool is practice. The best thing you can do is practice with it if you really want to gain mastery of it. And that is really the last tool that we're going to talk about in this course. In the next video, we're going to move on and start talking about the purposes of logo design. 13. Logo Design: The purpose of this class is of course, to help you learn the basics of a fine designer on the iPad. And to this end, we are all completing a class project together, which is designing a logo like we've talked about before. Now we've gone through a lot of the tools that we need in order to design a logo in a fashion designer. And now I just wanted to take a minute to go over with you some of the purposes of logo design so that you can think about that as you head into designing your logo. Now logo design is a skill that you could take years to develop. So I don't expect you to have a perfect logo your first time, so don't let imperfection of your logo hold you back from submitting it to the class project because feedback is one of the things that helps us to develop really, really good logos. We want to seek feedback and you can do that by submitting the project and getting feedback from me or from fellow classmates. So let's go ahead and talk just a little bit about the purposes of Logo Design. I've made a little list here to make sure that I can tell you some of the most important points. We're not going go over everything, but let's just hit the most important points. So first off, a logo is meant to represent a brand. That's what a logo is. That's what makes a logo different from say, like an icon. Icon is meant to represent an abstract idea, but a logo represents a brand. One thing to remember with representing your brand is that the best logos convey something about the brand, but they don't attempt to convey everything about the brand. If you've ever seen a bad logo that just looked like a mishmash of everything that could possibly be associated with that brand. It's because they tried to tell everything about their brand and their logo, and that's just not the place to do it. You want to represent something about your brand, but not attempt to represent everything going along with that idea, the simplest logos tend to be the most recognizable and the most powerful. So if you think about logos that you know really, really well, things like Nike and McDonald's and Pepsi, you're going to realize that those logos are pretty simple now. Dave, of course, modified over time, but they've really arrived at pretty simple logos that just represent their brand to the world. So the simpler you can go while still conveying your brand's unique identity, the better off you're going to be. In thinking about simplicity, we want to recognize that texts can complicate a logo very quickly. So you want to keep the text within a logo minimal. Now if you're a new brand, it's very likely that you're going to need a version of your logo with your name in it because people just don't know it. Nike can get away with just using the swooshing now because the swoosh is so recognizable as their brand, but they didn't always do that. And McDonald's can get away with just a yellow M now. But they didn't always do that. They used to have them doing McDonald's in the logo. So if you're new brand, it's likely you're going to need at least one version of your logo with your name on it so that it can be recognized as a brand gets better known, then that's not as necessary anymore. But you really don't want to go any further with texts than the name of the brand. Don't do things like putting in a motto or any of your values or anything like that. You don't want to put those in. You don't want people to be reading like a list of things inside of your logo. That's not where those belong. So keep texts minimal. Some logos can get away with just being text like Coca-Cola is a good example of this. It just uses Coca-Cola or even just coke depending on which version of the brand they are presenting. So you can do a logo that's just text. Just be aware that then removes the possibility of having a single mark that just represents your brand as a graphical icon. One of the problems with that approach of not having a graphical icon that can represent your brand is that logos are now often used as social media profile icons for many, many brands. And so you really want to be aware of this thinking about how your brand will be displayed through that social media profile. Remember that it's going to be small, so it needs to be recognizable at a really small size. And most of the time it's going to be circular. So you wanna make sure that no important part of your logo is going to be cut off when it's put into a circle size or that in order to keep it from getting cut off, that lower doesn't have to become really, really tiny. So just be aware of that when you are designing your logo. Lastly, in the same vein as having to appear at different sizes and sometimes very small. You also want to think about the simplicity of your logo in terms of color, because it can appear many different places, including onscreen and print and even on fabric. You really want to be careful about how many colors you're using. This goes back to simplicity as well, where you would just want to keep it simple. A couple of really recognizable brand colors will do a lot to carry your logo. The other thing is sometimes this will appear in places that are black and white or gray scale. And you want to make sure that your logo looks fine there as well. Now when we design a logo, we're going to start off by just designing it in gray scale to make sure it looks good like that right off the bat. And then we're gonna go ahead and add color. Okay, So that's just a few tips on logo design and thinking about the purpose of a logo before we hop into it. Now let's go ahead and talk about sketching our logo before we start designing it. 14. Sketching: Alright, now that we've learned how to use the tools found in feed designer, it's time to start talking about one of the most critical and important parts of Korean logo and that is sketching. This is really one of the most important and critical parts of even designing anything. And so you really, really want to make sure that you take the time to sketch before you begin to design on the computer. So we've learned the tools for design on the computer, but now we're going to learn the important skill of sketching so that our design can actually look good. So when you're sketching, it's important not to try and do this on the computer. The tools on the computer inside of a famed designer or any other program are not good for getting ideas out. Here. We want to get ideas out. So you want to use paper. I like to use sticky notes and you want to use a pencil or pen. I like to use these little pencils from Ikea just because they're quick and easy to use. So we're going to go ahead and we are doing this logo for the Meghan Chair, a YouTube channel that we did a mood board for. And we're going to talk about using that mood board in a little bit, but we did that in the Affinity Publisher course. And now we're going go ahead and we're going to start sketching out the actual logo that we want to do for this. When you're sketching, it's really important to just let your ideas flow out of you. You can use as many sticky note or note cards or pieces of paper that you want. You just want to get those ideas out using basic shapes, just getting the ideas out there. So when you think about it, it doesn't matter what comes to mind, just go ahead and do it. So the first thing that comes to my mind, of course, with a name like Megan Sherry is going to be a cherry. So I'm just going to do a little sharing here. And it doesn't matter if it looks good or not. I'm just getting that idea out there. And then I think that double cherry is often something that you see. So I'm going to do the double chair here. And so their stems will come up and meet together. They could have leaves down here. I'm just thinking like what would be good? Now, sometimes obvious logo designs like the cherry are good. Sometimes it's better to do something that's a little bit more abstract. So we could even just try something with maybe some geometric shapes. Maybe we make the cherries square and we give them some stem still. I'm not sure that I love that, but it doesn't matter because I just want to get these ideas out. I can throw them away. You can do whatever I want. Sometimes a logo will just be a name. So we can try that. And I think this would be kind of a scripty font here. We could have both of these going. There you go. And maybe put it inside of a box. It doesn't matter if I feel like I'm running out of room, I can always just go on to a new sheet for now. I'm going to try and see what can we do with the M and the C might be able to do something there. This is a cooking and homemaking channel. So I wonder if I could do something with a spatula type of icon here. It doesn't matter if it actually looks like a shovel or something that I know what it is. So maybe we've got that and then we do the name on one side and down the other. These are just ideas that we want to get out here. Okay, I'm going to take this one off over here, and let's go ahead and we'll continue to work on our ideas. Another good cooking icon is the rolling pin. So we might do something like that. And we could do the name on that as well. Sometimes you want to go even a little bit more abstract or something that just came into my mind was the pineapple. And when it comes into your mind, just go ahead and put it down there. The pineapple is this sign, hospitality and warmth. And so that might be a good thing they're thinking about the pineapple makes me think about fruit again. And so I'm wondering if there's a way to do these pineapple shapes, but to do the classic like cherry, double cherry that we already did. But to do that here with pineapple shapes, so that we have these pineapple leaves coming out of them. Instead of being Sherry's. Their pineapples. Kind of a wild idea there, but might be worth pursuing. And you're just getting all of these ideas down. I like the idea of pineapple, but I'm thinking, what if it was sliced? Like kind of a sliced pineapple here? I'm not sure what I would do with that, but it's kind of an idea, maybe I could put the words in the slices. Another thing that's involved with a lot of cooking and stuff here, stove tops or oven. So let's try a stove top here that might be too complicated, a symbol to really be able to get across. Well, I'm not sure, but that makes me think of pants. So let's try a pan here. And we're just getting out. Any idea that we have to see. We can put the cherries inside the pants just to see what kind of sticks. So you can see how this sketching process works. You're getting lots of ideas out very quickly, very roughly, when you feel like you've really exhausted the number of ideas that you have, then you're going go ahead and move on to the computer. You're going to start designing those ideas that you think are the best ones. Now it's really important to understand that this is not the drawings that come out best. What you're looking at here and what you're evaluating or the ideas, not the drawings that you can do. So go ahead and take several minutes and sketch out anything that you can think of for the logo that you're working to design. And in the next video we'll talk about how we'll use the mood board to influence the way that we designed this logo. 15. Using a Mood Board: Okay, Now that we've begun our logo design process and we've sketched out our logo ideas. It's time to go ahead and start a new project with a brand new clean art board. And we're going to start design the logo before we start drawing stuff though, I want to go ahead and bring in the mood board that I created in the Affinity Publisher course. Now a mood board isn't necessary for every design project, but it can be very helpful, especially when you're working for a client. And so I'm going to bring that in and it will help guide me through this process. And I'll show you a little bit about how it's going to help us out. So in order to place an image here in Affinity Designer, we're going to go ahead and go up to our document menu and choose place. I'm going to choose place from file to Affinity Publisher. And I'm just going to choose the mood board here. Now, it's going to say that I can click and drag this out, so I'm not going to place it on my art board. I'm going to place it off my art board just on the exterior canvas here. And I'm just going to drag that out so that I can see this. Now the purpose of a mood board when designing a logo or another kind of brand identity document is to help you think through it. So as you can see here, I've got the colors selected that the client likes, and I've got their values because I'm going to try and incorporate some of that, even if it's not explicit but implicitly into the logo. And I've got some fonts that they like. I also have a picture of the client. I'll have a picture of their business to help me. And as well as some inspirational images for maybe other logos that are in the same field that can tell me things that I like or things that I don't like that I definitely don't want to do. And so we're going go with that. And then you can see I also have an inspirational picture that just kinda shows the environment in which this takes place. Moodboards can come in lots of different varieties, but it's good to have one to help guide you through it. And I'm just going to place that out there on the external Canvas to my art board so they can use that to guide me. And this is going to be very useful in the next video where we talk about making a color palette. 16. Color Palette: Alright, now that we have the mood board place where age create our color palette. Now, the color palette for this project has already been selected by the client. And so we have four colors here across the top of the mood board that we're going to use when we're designing this logo or any other brand identity documents for this client. So let's go ahead and set this up as a pallet so that we can use these colors over and over again. Go ahead and open up the color studio on the right-hand side. And the place where you get your palettes is actually swatches, which is down at the very bottom. Now you can see that currently the color palette that's selected is called colors and there are tons of things in here. You can change your color palette by tapping where it says colors, and switching to different color palettes that are provided here. But we can also make our own. So we're going to want to make our own for this project. So let's go ahead and tap the little hamburger menu. And then we're going to choose Add Application Palette. We could choose to add document palette. A document palette is only going to be good for this document though. And if I want to do other brand work for this client, I'm going to want to still have this color palette. So I'm going to add it as an application palette, which will then be available in any document I opened in Affinity Designer, go ahead and say add application palette. And we're going to change this and we're just going to call it MC, YouTube. Click. Okay. Now you can see that this is currently empty, so we need to add to it. The way we do this is by using the little eyedropper tool that is found here inside of the swatches panel. Just tap on that and drag across. We're going to go get the first read. Once we do that, we just tap the little color drop to add that to our fill. And then we use the hamburger menu to say add current fill to palette. Now there's a little bug where it doesn't always work. So let's go ahead and we will try selecting this again. And you can see it's there. So it does go in, but it doesn't always show up right away. This just seems to be a bug in the software. The version that I am using, maybe it's been fixed by the time you're watching this. But if it's not, just make sure you click back on it and you'll see it again. So let's go ahead and select the next read. That hamburger, add current fill to palette. And once again, let's just select MC YouTube and we can see it here. Let's get the blues. There we go. We have all of our colors. Now, sometimes you might want to also add black and white into your palette in a faint designer, they are always down in the quick colors down at the bottom. So I just leave them there and then I can just use black and white, which are useful in lots of different designs. Of course, we're going to design our logo first in black and white, and then add color to it. So let's go ahead and in the next video, we're going to talk about designing a logo. 17. Designing the Logo: Okay, now we've learned lots of things and the time has come for us to actually start designing our logo. This is the most exciting part, of course, because this is where the rubber really hits the road and the tools that we've been learning actually become useful. So let's go ahead and start doing this. Of course, you're going to want to have your sketches nearby. So I have my sketches right here next to me. And I'm just going to be looking at them and choosing the ones that I find are actually useful. And then going ahead and working with them here, now, you don't have to follow them verbatim. The sketches were just ideas that I could then evaluate and then start creating. I really want to start off just by working with the most basic one, which is going to be just the cherries. And then maybe we could add in some fun colors to it from our palette. Once we've gotten to the point where we want to add color to make it a little bit more unique. But let's just work in grayscale first. So in my colors, I'm going to switch my swatches to be Grace. That's all I need right now. And we're going to start with just a black. Let's go ahead and we want to take those ideas that we had and put them into their component shapes. So in the case of a cherry, that could either be a circle just on its own. If we wanted to go for the most basic, and then we would need to draw a stem out. In which case I would probably just use our pen tool here and just draw a stem like that and then go to my Stroke panel, just raised that width up until it's in a good spot. Now for a leaf, I'm going to need to use two components shapes. So I'm going to use my circles. We have a stroke on these. Go ahead and take these strokes off. For the leaf, I'm going to use overlapping circles. I'm actually going to swap to the strokes so that I can see it and bring the stroke down here. And then just holding down option on my keyboard or on my wheel here, I'm going to drag my shape over to create a leaf. Then selecting both of these, I will use my shape builder tool set to subtract and I will erase the sides. Okay, now with my leaf selected, I'm just going to go ahead and position it on my chair here. Now that's a very basic logo. And remember as you create this logo, you're going to be working on refining it. Now, cherries, actually it look a little bit more complex than this. So if I wanted to make one that was a little bit more complicated, I just go ahead and select this, duplicate it by holding down option and dragging. And I'm just going to give it a slight bump in the middle here. So you can see that I have this bump in the middle there that's more Chery like it's like both of those. I can use the shape builder tool, but sometimes it's quicker to just use the geometry options and click Add. Now I've merged those together. Now I made a mistake there because normally I like to make a compound shape with that. So let's go ahead and undo that holding down option on the keyboard. I'll then choose Add. If I look in my layers now, I have a compound shape. That's nice because if I want to adjust how that dimple comes in, I can just move one of these around. Okay? So with this one here, I'm going to make a copy of that option drag. And then I'm going to create a new stem and just adjust this here. Moving my points around. This is what logo design is. Let's go ahead and raise up our size of width there and change our caps so that we get a little bit sharper. Okay, So currently you can see that I've got this kind of pink going on in the edges. That is just because I have my snapping options turned on to show my snapping candidates. I'm going to go ahead and turn that off for now just so that I can see this a little bit better, but if I need it later, I can always turn it back on. Let's go ahead and select this. I'm just going to group them together by hitting Command G on the keyboard and move that up here. So that's the most basic idea of the logo that I had. Now I'm going to move on to something that's a little bit more complicated, a little bit more abstract here. And I'm working through these ideas to decide which one I really want to work with and iterate on to find out where we can go from there. I'm going to start here doing the rolling pin one. And for that I'm going to use the rounded rectangle. Now you will find that rounded rectangle that's one of your most used shapes because it's just useful for lots of different things. So let's do that. And then we'll go ahead and use another rounded rectangle on the sides. When go ahead and duplicate that two fingers down on the screen and then watch those snapping guides to bring it into the correct alignment. They're in the same spot. Select all of these, and then let's go ahead and merge them together by using the shape builder tool. I'm going to go ahead and turn on the create new shape. I'm going to put these all together and click Add. Now I have this new shape here, so I'm not sure I'm loving that and that's one of the reasons that it's good to keep the original around because maybe you don't love how it comes out and you want to try something new. So another way to do this is to duplicate it first. So I'll just go ahead and do Option and drag. Try and show you a variety of different ways to do this, depending on if you have a keyboard or if you'd like to use the wheel, or if you'd like to use gestures, There's a bunch of different ways to do things like that. And now we're going to use the Shape Builder Tool. We're going to set this to add and then we're just going to add these middle parts together so that we have these separate little handles so that it's not just a clean cut line through them. I like that better because I think it gives more of that rolling pin vibe to it. But it doesn't mean that I need to group them together. So come over here. And the way to group is to hit this little folder in the Layers menu if you can't hit Command G on your keyboard. So now we have a couple of different options with the rolling pin idea. This is where it might be good to try it out some of the text. So I'm gonna go ahead and grab the Artistic Text Tool. And I'm just going to type in the name. And then we can go ahead and we can change it to one of the fonts that we have selected here. Now you need to make sure that you have the font installed. Before you do this, open up our text panel and we will go here and we will just choose KG, pineapple delight. Let's set this down. Maybe expand this a little bit so that it's going over more of it and we can see that descender on the G coming down. Then let's paste it, copy and paste it by holding down option and coming over here. And we'll just double-click to get inside and we'll type in the lastName cherry, and adjust this placement. Now, I'm noticing that these don't really vibe together because their size is different. So I'm just going to make a, another copy of this. And don't worry, if you run out of room on your art board, you can always make another art board. And I just want to adjust my width here so that I'm closer to the size of the text width. And we'll talk more about this in the next video. But this iteration process is really, really an important process in logo design. Now I'm kinda filling up my art board here and I really want to try out some other ideas. So I'm going to go ahead and make a new art board. The easiest way to do this is just to go to your Layers panel, select the artboard, and then holding down two fingers or Option, you can just drag that out. Now it copied everything over which we don't want, so I'll just select it all and delete it. Now I have a clean art board to start working with again, the next thing that I want to do is take this idea of the pineapple and really go with that. Now once again, I'm going to use a rounded rectangle because the rounded rectangle is roughly the shape of the pineapple. Want to do that? Give it a considerable amount of roundness. And then what we wanna do are have these leaves coming out of it. But also we're going to have a cherry stem. So it's kind of an interesting idea. I think I'm just going to grab this cherry stem over here, hold down Option, drag and copy it over. Then I'm just going to lower that stroke down a little bit. Now a real quick shortcut is on the Stroke Studio. You don't even have to open it up. You can just drag down and you can make it lower or drag up to make it thicker. So I'm going to just drag that down a little bit here. Now I know that I want this to actually have leaves as well. So we're going to go ahead and draw those out. Now I think we might be able to do that just with a triangle. So we're going to try that first. And if we can't do that, then we might have to use the pen tool to create beliefs. Go ahead and do a triangle here. We know we're going to have to adjust it a little bit. Now, a cool thing to do here would be to duplicate this and then just use our flipper tool up here to flip it so that we have matching ones here. We want the stem coming out of the middle there. And then we're going to have these, I'm going to rotate this a little bit. We're doing this initial design, we're not going for perfection. We'll do that later when we decide on the design that we actually like. So we're just kinda getting the vibe across here. Now to make this really look like a pineapple, we're going to need some hatching running across it. And we don't want to get anything to anything super, super detail here because we have to remember that this is going to appear at small sizes, but let's go ahead and we will just use the pen tool. We're going to set this to the line option, like we talked about before. We're just going to go ahead and draw straight lines across the region. The line option is really good for this, is it immediately starts a new line every time. And we might want to use the node tool to reposition these a little bit by grabbing those nodes and putting them in different spots. Okay, So we definitely have a little bit of a pineapple vibe going on here. We can go ahead and select over all of this. One good thing to know is that in a fashion designer, when you select over something, you need to completely encompass it. It's not enough to just touch it like it is in some other programs. Now before I do anything else with this, I'm gonna go ahead and I'm going to duplicate this shape. Holding two fingers down. I'm just going to duplicate that. And I'm going to drag it off the art board so that it's not associated with this anymore. And now I'm going to go ahead and group this one together. Command G. And I'll group they want off the art board together just to keep things a little bit cleaner. Command G, that way I have that if I need to get back to it later, now I want to make a second one of these. So selecting my group here, go ahead and duplicate this. Now as I'm thinking about the logo, I know that we're going to want to have these overlap because that's the classic Cherry look, is to have them overlap. So this will really only work if they are overlapping there. So again, this is not my final design here, but I want to see what it looks like. And so in order to make this have the overlapping effect, I need to fill in one of these so that it's sitting on top of the other. So let's go ahead and just give this a fill of white. Once we give it a fill of white, you can see that it is now sitting on top of the other one. Now that's done a couple of other things too, because it filled the entire group with white. So the triangles are white now and we'll need to fix those later. But that just gives me a good idea for what this might look like. And if I want to pursue that further, I can. Okay, the last design that I wanna kinda rough out here is the idea of kind of a cooking pan. And so I'm just going to go ahead and start with a component's shape, which in this case is going to be a trapezoid. So I'm going to click that and drag it out. Before I do much here, I'm just going to flip it over because I want it to be like that. And then I'm going to go ahead and give this a fill of black. Then of course I can use the orange handles here to adjust the size of the pan here. Try and drag those out a little bit. And I might just squish that down slightly, switching to my move tool and just move this down here. And then I need to get the handle so I could do this either with the pen tool. We're probably the rectangle tool when trying with the rectangle tool first and see how that works. Okay, so then the next piece of this is to go up and grab these cherries that we already created and put them into the pan. So we're just going to copy those over and put them into the pan. Okay, And that's kind of a rough idea. Now that I have a few rough ideas here from my sketches, I can start to refine them and I can add in color and I can iterate on them to create many different versions of this. But at this point here with these kind of ideas here, I would like to go talk to the client probably at this point and ask them what they like and what they don't like as far as the ice ideas go. And then I can pursue the one that they're most interested in having. So in the next video, we're going to work at iterating on some of these best designs here and thinking about which ones will work best as logos. 18. Iteration: Now that we've worked our logos down to a few core concepts, we're going to go ahead and we're going to iterate on them. Now, the best thing that we can do here is set up a new art board like I've done here. And then we can copy and paste what we need to down into that art board to make adjustments to it. And you don't want to be afraid of making many, many duplicates because you want to really work on refining the details at this point. For me, I'm going go ahead and make a whole new version of this pineapple design because I'm not happy with where it's at, but I kind of liked the idea, so I want to try and refine it a little bit here. So I'm going to start here and then we'll move down to the other art board for even more iterating. So I'm going to start again with the rounded rectangle. And I think I'm gonna go even rounder at this point so that it's pretty round. Maybe a little bit squatter. Then I'm just going to go ahead and duplicate that. Over there. We have a good idea and I think I'm going to bring this one a little bit further in front. Now critical piece with this whole thing is the stem. So I'm even returning back to my sketches here just to look at how my stem was looking here. And I think I'm going to need to do this with the pen tool. And I do need it to be set to pen because I will need both straight lines and curves for this. Go ahead and give it the crown like that. Then I'm going to give it the stem coming out. Let me go ahead and hit x so I can start a new line and then I'm going to do the interior line. If you find you're having trouble with the snapping, you can always turn Snapping off temporarily. And then place that line exactly where you want it to be. Grabbed. The node tool just to make a few refinements here. Okay, I'm liking where this is going a lot better, so I'm feeling like I'm in a good spot with it, but I still feel like I've got to do something with the lines to really give it that pineapple fields. So we're going to do a little bit more here with the lines. Go ahead and change this to white so that it will show up. So we're going to make this stroke white. And I'm going to start with the outside one. Actually, I'm going to put make its stroke white first so that I can easily see where it's at here. And then this time I want to be a little bit more careful in my crosshatching and make sure that I set this tube line. And then instead of just drawing the lines, I think I'm actually going to duplicate this, my snapping back on so I can try and find a really even location for this grabbed my node tool. Go ahead and extend that line. So you can see that this can require a lot of switching of tools, but that's normal. Zoom in. Just to check this, make sure that we're lined up correctly. And then to make sure that I get exactly the same thing, I'm going to select these three. I'm going to copy them by hitting Command C on the keyboard and Command V to paste. And then we'll flip them. And then I get a much more exact and precise line work there. Then I can go ahead and I can grab these lines just to duplicate them over to the other side. I'm going to go ahead and group them together just by hitting this little group button. And then with that group, I'm going to just move it on top of my other rounded rectangle, like that rounded rectangle and change its stroke to white. Okay, I'm happy with the way that that's going. I'm going to go ahead and select over the top of that. And I'm going to bring it down into my other art board. I can do that by clicking or dragging, or I can just hit Command C. Go down to my other art board. Make sure that I'm selected down here and hit Command V to bring it in. On this duplicate of it, I'm actually going to go ahead and move on from the black and white by selecting it all and duplicating it again. And then I'm going to go ahead and color this using our color palette. So let's go ahead and jump in here, several lines here. I'm just going to go ahead and join these together. Now that's one line there. So that should be good. Then let's go ahead and let's try some of our colors out on here. So selecting both of our black ones, Let's go to our swatches. We're going to switch back to the MC YouTube one makes sure that we are selected on the film. And, and look at these two blues. I'd like the teal one a little bit better. Now let's go ahead and select the strokes here. And we will change the color of them to one of the reds. Make sure your strokes on top and then read or read the darker one is going to pair better. Now obviously to make this look right, we need to change the strokes on these shapes as well. Okay, I'm liking that quite a bit, but we can always iterate on that just a little bit more. Go ahead and drag this over. Let me go ahead and group this one so that we can easily move it. And then I want to try doing the teal on the stem. And so that just gives you a different vibe. We can also try to drag this down and we can try to inverse the whole thing. So we can try and making it red instead of blue. There's no reason that you can't try out different things here because you might as well. It doesn't cost you anything to test out, something a little bit different here. So that just gives you a good idea for which one you like better. I have to say that I do like this. I'm still liking this one the best. So I'm going to go ahead and keep iterating on that just by dragging it down. But I'm wondering if we should go ahead and apply a fill to our line here. Now this isn't working out exactly because this is just a line and so it's filling everything in and we really want that gap in the middle. But this is good just to test it out and see. I want to keep iterating a little bit here. I'm going to go ahead and make another new art board. Go ahead and select our cherries here. Make our cherries blue, just to be a little bit different. Let's go ahead and make our stem red, make our pan, read that or two. Then we'll go ahead and in our layers, we'll just make sure that we move this one behind our pan so that it's sitting correctly. And that's kind of an interesting idea. I want to go ahead and merge the pan together so that I have that as one shape. I'm just going to select it again. I'm going to shrink it down a little bit just so I have some more space and I'm going to try one with the stem being blue. So that just simplifies it a little bit. It just gives it a little bit stronger. One thing that I think that it needs though, to really stand out there is probably that leaf shapes. So let me go ahead and grab that leaf shape. Just Command C, I'll come down here, command V. And we'll get that little leaf. When go back to my mood board to get an idea for what we're looking at here. And it kind of like that quite a bit. Either of those would be good options, but it kinda like the one where the stem and the cherries are the same and they're just kind of sitting in the pan there. Now of course I want to inverse this just so I can see what it looks like. So I'm just going to duplicate that again. Do not be afraid to duplicate a lot. I know I already said that, but it's really important to get across here because this is how you really get to the point where you figure out what's going to work. Okay, so that's definitely more traditional where the cherries are actually read. I was going to pursue something with the rolling pin here, but I don't think I'm going to now just because I think when that shrunk down or when it appears in a circle, it's just not going to appear very strong array one, I feel like we've got two strong candidates here. So we're going go ahead and we're going to export two of these as final versions that we could then show to the client and let them choose between. So in the next video we're going to talk about exporting. 19. Exporting: Alright, now we're here and we're ready to export, but we need to go ahead and copy our art board so that we can make a single artboards that we can export. The first thing that we're going to do is collapse our art boards down. Then we're going to select the logo that we want to export first, we're going to go ahead and just duplicate this by doing Option and drag. We're going to get rid of all of the logos that we don't want to export here. Let's select these like this, using just the one that we do. We want to scale that all the way up until it's pretty much filling as much of the canvas as it can without going over the edge. We want to make sure that this is centered in the canvas Exactly. So we're gonna use our alignment tools to do alignment to the center and alignment to the middle. That's taking up as much as it can. We want to export this as a square just so that it will appear correctly. Now, watch what you have here and you can see that my strokes look a little bit small here and that's because my strokes didn't scale. So let's go ahead and raise our strokes up here. To our strokes. Go ahead and just bring our strokes up To the right amount. We want to make sure our stroke scale from here on out, we can turn on Scale with Object. One thing that I can see though, is I'm going to do a little clean up here. So I'll just grab my node tool. Make sure that my lines are not extending outside of where they should. Don't want those kind of hanging out because they can make weird things happen later when things get adjusted. So now that we've put this on its own artboard, Let's go ahead and make sure that we named this art board so that it is easy to find later. So we're on this art board here. It's called Art board one, but we want to name it. So tap our menu, tap the name Art board one, and we're going to call it Pineapple logo. Okay, that way we know that we can export that one. So in order to then export, we are going to make sure that we do this as a JPEG by going to the document menu, choosing export. From here, we'll choose JPEG because that's going to be the easiest thing for you to share in order for me to see your project. But if you did this for a real client, you might want to use it as PNG so that you get some transparency as well. We're going to do ours as a JPEG though. And then we want to make sure that instead of choosing area whole document, we want to choose pineapple logo that we just get that we can see it's set to 1080. By 1080, that's exactly what we want. But if we needed a higher resolution version, we could do that because it's vector, so we could just scale it up as many pixels as we need. And then let's go ahead and we'll click Okay. And then we're just going to go ahead for us. We're going to save it into our Affinity Designer folder and click Move. Now that that's exported, we're going to go ahead and do the same thing with our other one. So again, we're just going to duplicate the artboard, scale it up to the right size, named the art board and then export it. So let's go ahead and do this. Close down this art board. Select the artboard that we want two fingers on the screen to duplicate, delete this stuff that we don't need. Command G to group it together. Make sure that we set the stroke to scale this time. And then we're just going to scale that up to as big as possible. Set it to the middle of the artboard. And then we'll name the art board. Cherry logo. Click Okay, Export, JPEG area, cherry logo. And click. Okay, so let's name this one. Sherry because it didn't export as pineapple last time. Let's do cheering, logo, move and now we're all done. We've export it. We can go ahead and share this project so that others can see it and get feedback to us. We can show it to the client if we're working for a client, makes sure that when you export yours, you go ahead and upload to the project section for this course. And then I can take a look at it and get feedback on it and see what you've been able to produce. In the next video, we'll go ahead and wrap up the course. 20. Next Steps: All right, We've come a long way and I hope that you've enjoyed learning all of these things about a fiend designer version two on the iPad. Now you might be wondering what are the next steps? What are the next things that I should do with this new-found knowledge and going forward in your progression as a designer? Well, there's a couple of suggestions I have for you. The first one is if you haven't already make sure you complete that project and submit it. Remember that that is what really helps you learn, is applying the skills that you've learned in these videos. So make sure that you complete the project and then go ahead and submit it so that we can all be able to learn together. The next thing that you might want to do is take another course on a theme designer or some of the other affinity programs. I have lots of those courses. Some are for version two and some are for version one. But even the version one courses will teach you a lot about a theme designer because almost all of the tools and methods have remained the same. Another thing that you might want to do if you're feeling a little weak as a designer, is to take some of my design basics courses. If you've never felt like you've really gotten the foundations of design. Go ahead and check out those courses. They're not very long and they covered the basics that you really need to know things like sketching, color theory, and design principles. But the important thing is to not stop, keep progressing as a designer, I would love to hear from you if you'd like to reach out to me and tell me what kind of courses you'd like to see in the future. Feel free to do that as well. And also, don't forget to leave a review of this course if you enjoyed it, because that really helps others to be able to find the course. Thanks so much for watching, and I will see you in the next course.