Transcripts
1. Introduction: whoever welcome to this skill share course on logo design and get stalled theory. I'm sure that most of you are familiar with what it logo is and what logo design constitutes. But if you're not familiar with what gestalt theory is, it's a set of psychological principles that were developed in Germany. The very basically stated, the human mind will perceive an object as being a whole rather than that object being made up of a bunch of smaller parts. This works really well with logo design because we can apply those theories. Teoh some design principles and helmets to create unique marks. Unique logos on you. Unique brands based on those things give you kind of a slightly better idea. I've got a few examples, so switch over to the computer here and show you a couple of very recognizable logo's here that I've picked out from Wal Mart and the World Wildlife Federation, the Girl Scouts and McDonald's, obviously, and they illustrate a few of the gestalt principles that will be talking about including proximity, closure, the figure ground relationship and so a dream. We'll cover each of these and several others a lot more in depth in their own videos later on. In this video, I want to quickly kind of also talk about the assignment for the class Teoh work with these gestalt principles to help us generate ideas for logos. I've suggested that we create a logo for a restaurant on using an animal of some kind. This gets used quite often out in the real world. You'll see a lot of restaurants with different animal logo's. So just to get started here want to be really clear about what you need to do to kind of create this idea. And that's basically just pick a cuisine and choose an animal. And cuisine could be as broad or a specific as you want. It's usually related to location or area or culture of some kind, and so listed a few cuisines here just to give you an idea. Animals air pretty obvious ones. Aziz well, but listed out several of them here to just to give you some ideas to get started. By no means do I think you should limit yourself to these lists. I want you to come up with anything that you're interested in, and we'll talk a little bit later. in one of the videos about choosing an animal that works well with the cuisine, and I think that that will be an important part to the assignment. Also, to further kind of illustrate what we'll be doing. I've gone through the assignment and we'll be showing you along the way my process of creating this logo, using an elephant to represent a Thai restaurant. We'll talk through how I kind of came up with these ideas. Other ideas that I sketched out during the process, the stock principles that led me to this design, including continuation and figure ground here. And then how I took those ideas from Sketch World into the computer, digitize them, clean up all the details, added color at a type and polished this thing off into a well rounded. So I hope you enjoy the Kurt course, and I encourage you to interact with other students, leaving and asking for feedback on your projects. As you work through them, I will be leaving feedback assed much and often as I can. I look forward to seeing what you create
2. Sketching & Research: Welcome back in this second video. Talk about starting off your projects, doing a little bit of research, brainstorming and start into sketch ideas. The whole course here is about generating a lot of different varying ideas and using those gestalt principles to help give you a lot of ideas. When you're working in logo design, it's difficult to come up with something that is unique and different from what has already been done and what's already out there. And in order to do that, you basically have to generate as many ideas as you can so you can throw out the bad ones and try and find the one or two good ones in there. So to start off the project, I recommend doing a little bit of research, and you can see I found 10 elephant logos here. Andi did this by researching using Logo Lounge, which is an excellent resource for logo design. Logo Lounge is a showcase where designers can upload their logo's. It is also a publication, and every year they do a book. Uh, that showcasing highlights different design trends and logo designers working within those trends to fully use the site need membership but it is highly recommended by me, and I would definitely encourage you to check out this site. If not there. Other free sides where you can do research, including dribble, logo, pond and a few other ones that are listed in the resource is section. And so when I started this thing out, uh, I went through and found about 30 or 40 different blow goes of elephants just to kind of give me an idea of what was being done out there. It's not so that I can copy these logos. It's more of a research exercise so that I can not copy these logo's. If I see what's being done, I can make sure that I avoid creating something that looks similar to something else. After doing that, I got out my sketchbook, my piece of paper here and did a quick mind map. And I would encourage you to do this exercise as well, to basically start out with just the topic here, either the cuisine or the type of animal that you're using and just write down as many things as you possibly can. Quickly, just as fast as the ideas come to you, write them out here and you can see I'm starting to scribble down a few ideas based on different things here, adding a plane to the elephant or experiment with the basil leaf in the shape of the ear on a few other things from utensils. This will give us some, ah, creative fodder that we can start to use in our logo sketches, but getting a few sort of different ideas of things that we might include in there. After that, you can see kind of a few of my sketches here. These were just stand in for my little field notes, and they're pretty quick scribbles overall again, What I'm trying to do is get down as many different ideas as I can, and I'm going through and experimenting with different distal principles in here. We'll talk more about them in the following videos, but could see some with closure, some of continuation, some of figure ground and a few other things. You can also see that I'm exploring different combinations of parts and pieces of the cuisine and animal here I'm using elephant holding a plate of dishes or a teakettle shaped elephant head with a spoon or a spoon That's trunk of an elephant, a lot of things with the main tools for eating. But there are some in here, too. Like these the kind of explorer, the basil, the for ginger, which is used in Thai cuisine pretty often. And I'm also making true that. I'm looking at the elephant from different angles here. So I've got some front facing some profile views, some with a little bit of perspective, some even from behind Elvin here. So again, just trying to get down as many ideas as possible so that I could throw out the ones that aren't working in favor of the ones that are. And so, after going through all those that came back to a few, uh, that illustrate some of the stall principles that you'll see as examples from later videos and one that I was really starting to enjoy. And then from that one, I did sort of a higher Fidelity sketch of that on. Then, later on, in the course, we'll show you how I took this sketch into the computer and digitized it in the next. Videos will be talking more specifically about the gestalt principles so that you can more thoroughly create a lot of different ideas during this stage,
3. Similarity & Proximity: Okay, So in this video, we start to introduce the guest all principles. We're starting with similarity and proximity. And I've got a couple of examples here of things that weaken used to illustrate those gestalt principles as applied toe logo design. We're starting off with similarity, and the way that you can think about this is if you have shapes that are similar to one another, your brain will kind of automatically perceive them as a group or as a whole. Similarity works well with proximity also, and the idea behind against on principle of proximity is that if you see objects there close to one another, you will also receive those as a whole. So again, starting off here with my simplification of the Walmart logo and even though it's six different shapes, since they're all the same shape and they're all close to each other, even though they're not touching at all, our eye perceives them as one object or one whole thing. And we can start to see this Aziz, the son that they want you to see inside of there on this example of this bird here, we've got a slightly more abstract take on it. Wow, The shapes are not exactly the same. They are still very similar. We've got these sharp edge triangles and these very sharp, angular wings and body and head here. And the interesting part here is that even though the tail feathers or thes triangles don't connect to the other part, our eye perceives them together with the body and the wings, and we recognize it as a bird almost instantly following a similar example. Here, we've got a group of just 10 circles, but it's pretty easy to interpret as a bunch of grapes. The additional thing that is kind of nice here is that these circles air, then repeated ast the heads of the body here. And you can keep that in mind when designing logos that if you can use shapes that are similar to each other, it'll look more consistent, and people will view things as that whole logo a lot easier. Similarly, here we've got on Indian headdress and these kind of nice sort of rounded rectangular shapes and creating these sort of abstracted feathers inside of the headdress. The change in size as you move down, but you can see that each of them is still similar shape here. I've got my little elephant example, and I'm using this kind of similar shape for the elephant and the bowl here. And even though again they're not connected or touching, you can start to see that there. One object here so that when you look closer, you'll start to see those different parts and pieces, and you'll start to watch that logo kind of unfold over time and complexity and become more interesting, which is something that we're after when we're designing logos. The other side here, of similarity and proximity, is that we can have a little bit of fun with it, and so of included a few examples here where not only are we using similar shapes inside of a logo, but we're using different objects that have similar shapes. So, for example, in this be you can see the hearts as wings, which starts to become very intriguing. Here in this butterfly, you start to also see a leaf shape and even a flower growing out of this. And then in this one, we can see ah, heart and a bird combined into this one, sort of, uh, you shape here and doing This is something that designers like to do because we can have a little bit of fun. We can show, uh, different things all at the same time, and people can take those different parts away in different experiences, which helps us create something a little bit more unique than just seen in everyday logo that only has that kind of 11 facet to it.
4. Continuation & Closure: the next two principles that will talk about in this video our continuation and closure and these to work pretty well together because they build off of one another. And so we're going to start with continuation. And the basic idea here is the the structure of an object or shape when place next to another, uh, object or shape can have an effect where you will lead the eye from one of those objects to another. And so just for example, here I've got this little hand inflame logo and you can see going from the hand. Obviously we start and your eye automatically connects to the flame just based on how the hand is structured and how the flame kind of has this point here and this kind of way that the thumb and index finger pinch together, creating this focal point that then leads and builds to the flame. In this example, things become a little bit more disconnected. But we can still see the continuation starting from here, coming all the way around and then jumping across this space to this second half circle here, and this is where continuation can start toe really become interesting. when we can close that gap or jump across space and the viewers, I will still perceive that connection that movement from one object to another. And this can expand over time here. And I've got this other sort of, uh, square arrow pencil shaped logo happening. And it's got this nice continuation that comes down and then back up face just off of the placement of the two squares on opposite ends and the negative space in between these two shapes. And while we're not jumping across a space like we were in this other one, we're very clearly switching directions entirely. And what should seem like kind of two different objects, but end up becoming one whole will go here just for fun. I kind of got this other example that works well with the next lecture of figure and ground . And we've got this negative space of arrows pointing across from here across the positive black space toe. This is negative space here, uh, and you get that sense of continuation again happening on this left to right movement. The last one here is just one that uses pretty totally different shapes. But they're still connected because we have that continuation. We've got to book pages here. And the way that they point down to this open half circle in this gear shape give you that continuous movement, that sense of connection so that you perceive these two very different shapes as born objects or one logo. And so then I got my little elephant example here of continuation again kind of showing three connection between the trunk and this spoon just based on this sort of half circle upward movement off the trunk. This can become equally or even more so interesting when we start to really expand those gaps and let people start to fill in the space automatically. And that's where the idea of closure comes in. We start Teoh, leave these empty spaces that your mind automatically fills in, like how this feather should connect to the headdress here. But it doesn't when you see the logo. At first, your mind will automatically make that connection, and it won't see the feathers here as a separate part of the headdress. Similarly, we can kind of see the closure happening of this flame appear on this logo and weaken start to close off that shape without actually touching up here. And one of the best examples here again to come back to something more recognizable is the world wild. My federation panda logo. You can really see the huge jumps here in space and the way that our mind automatically perceives the panda head and body. Even though there's nothing there. It's all negative space. And we got one ear totally hanging out to the side here by itself. But they also feel like one whole logo because of that idea, this continuation happening with the shape of the head. So much so that our mind is closing off the shape with the idea of closure here and making this thing one logo in our minds on.
5. The Figure Ground Relationship: in this video, we focus on the figure ground relationship figure. Ground relationship is something that a lot of designers like to use, and it's the best, oh, psychology behind it. That really makes it fun to play around with. Whenever you create something or start to illustrate or create a logo, start to put something on screen or paper. Here. There is the idea of there being the figure, which is what you're drawing, say onto a piece of paper, the actual pin or pencil mark on that piece of paper, or the shapes that you're making on screen and illustrator. And then there's the ground and the ground is the paper or the empty canvas an illustrator on screen. And those two things start to have a relationship to each other. And then we can start to play around with the relationship between those two things, even creating different objects out of the ground using figure to get stopped. Psychology comes in when we start to blend those two, and our mind can perceive either one as being the figure or the ground. My first example here kind of illustrates that I've got these five circular shapes starting toe, create this star out of the negative space or the ground when you first look at this logo, when you generally tend to see first is the star, and even though that starts out as the ground, it becomes the figure in this blow go, and that again is the fun part that we can start to play around with. We can also start to build different things inside of that figure ground relationship. Here. I've got this kind of hand logo, and you can see this negative space shape starting to happen. It's not quite recognizable at first. Kind of looks like a little bit like a can opener to me, but if we turn this thing this way, you can start to see a dog's face are kind of like a beagle on even. He's got kind of these years coming down from the side, which starts to become pretty interesting and pretty fun actually in. In that way, we can start toe sketch ideas of how, in my reveal different things using, uh, the negative space or the ground or the paper of the white space in relationship to that figural shapes. So one more example couple more, actually, Just for fun. Here. Got this really a pretty interesting relationship of a candle and the hand. And it's pretty obvious the, uh, hands here, um, being the initial figure relationship and the candle taking over that quickly and the added part. That's really fun. Here is the kind of idea of this candle casting a shadow that is the hand and that really pulls that ground shape of the candle forward in space, making it become the figure. Become the first thing that we see inside of this logo. A fun one here just of bear holding a milk bottle and how we can really take a huge sort of chunk out of this main bear shape. Teoh draw something and our eyes still perceives both of them very easily. Two more just again illustrating ways that we can. I don't even draw a shape on top of another shade, Brian, like in this bear example, we're drawing the milk bottle on top of the bear basically was drawing it and white but here, actually using other shapes to create shapes around, uh, by closing in the perimeter of those shapes and then of God, my little elephant logo here where amusing, some similar shapes again. But then I'm drawing in this little bowl shape inside of the elephants legs here just because of see kind of a similar shape and how I was drawing the legs. And if I would just flip this thing the other way around, get a bowl shape so we can create that again figure ground relationship where the ball comes forward in front of the elephant.
6. Symmetry & Order: in this last video of this section about the gestalt principles. I want to talk about symmetry and symmetry. It's a little bit broader of a term than just get stole psychology. But it has some really connection to the principles that we've talked about so far and unifying different objects to become one object by making them symmetrical in a variety of different ways. So and the examples that I've pulled out here, I've got this first one of these two rabbits holding the key, and it's very obviously symmetrical right down the middle here, and this is kind of the very basic example of symmetry. And when we think about making things symmetrical or asymmetrical, that can help us generate ideas in our sketching process to build logo's of different kinds . And so these two symmetrical rabbits then become one not just by being joined together here but by being exactly the same, but flipped over, obviously so again weaken. Circle this back to get stall psychology and building that one unified whole out of different, uh, parts and pieces. So in the next example, we continue to compound the idea of symmetry here, and this becomes symmetrical on multiple axes, right, And you can start to think about these kind of designs where even if I flip it vertically or horizontally, this thing is still symmetrical and becomes very unified. And that, of course, continues on to not being just symmetrical on both or multiple axes, but on all of them. And when you have something that is symmetrical in this nature, it's called radio symmetry. And so you can start to see that no matter how, uh, cut this thing apart, it ends up being symmetrical. Obviously, this is a scan of a logo and not quite perfect. And so it there are few places where it's not quite symmetric, but you can see it as an illustration of the principle that describing here and so you can have this radio symmetry where something is reflected on all axes and you can even have that on something that's not a circle. We talk about radio symmetry. People start to think everything has to be a circle, but that's not really the case. And so I got this, uh, star shaped arrow rectangle combination logo here. You can start to see that no matter how I cut or bisect this thing apart. It's still symmetric on all those different axes again. So on the flip side of this, we can have something that's a symmetric, and I've got this example of something that starts toe have symmetry and this sort of snowflake deer antler shaped. But then we're adding in some different pieces to make this not symmetric at all. Using that kind of idea, we can start toe play around a little bit, even with tricking the brain into thinking something is symmetrical. And then we add this sort of section that stands out, becomes a point of focus and obviously becomes that deer's head, which is the first thing that we see and those air still just things that we can play with . And we can sketch different ideas here. And so, of course, you know, it took my one elephant from the Continuation one, and we just flip this thing over and you can start to see an example of something that becomes pretty interesting. Obviously wasn't interesting enough for Meteo choose from my final logo, but becomes a good example of symmetry and something I might not have thought of before if I hadn't gone back and said like, Well, what about symmetry for something? And so again, Hopefully, you'll take these four videos on gestalt psychology and just kind of use them as idea generators. Teoh sketch out all sorts of different logo's, and if you get stuck trying to think of ideas, you can just pick one of them. Similarity, proximity, continuation, closure figure, ground symmetry, slash asymmetry and try and do a logo sketch based around one of those principles giving you more tools to help generate a lot of those ideas so that you can pick one good blow, go out of all the ideas that you built.
7. From Sketch to Vector: So now that we've got a better understanding of gestalt psychology, we've done a whole bunch of different sketches of our logos here for restaurants. We can go back to those sketches and pick out hopefully one or two or three that, uh, feel a little bit stronger or might become better Logo's, uh, after we get them into the computer. And so you can see I picked out one of my elephant sketches here and I went back and did a more high Fidelity sketch. Obviously, the initial sketching process is just something that should be as quick as possible to get ideas down on paper. Then we can go back and evaluate those ideas weaken, pick the ones that have more merit than the others. And then I could spend a little more time just thinking about the shapes in relationship to each other and what the final logo is gonna kind of start to resemble. And so that's the purpose of doing this sketch again here with a little bit more detail. The woman chosen here illustrates a few different gestalt principles. There's the idea of similarity, and I've got some very similar shapes happening in things like the bowl and the spoon that year. The trunk. You see, all these circular shapes have even got very similar shapes in the legs, them all being the same with rectangle and everything. There's also the idea of continuation. Here we're moving upwards from the trunk to the spoon back into the bowl and then creating this kind of circular flow throughout the logo. And there's even this little hint of a figure ground relationship with the I, which will seeing come to light later on. So when we start this thing out, I'm just using Adobe Illustrator to begin drying this logo, and you can use any vector program that you want. You can redraw this thing by hand. There's no right or wrong way to, uh, digitized create a whoa, go. This course kind of expects you to understand a little bit about, uh, Adobe illustrator or something similar and gives you just sort of a brief overview of how, actually creating this rather than showing an in depth explanation of the tools. If anybody has any questions about how to use illustrator, please don't hesitate to ask me, though, so you can see what I'm starting out. I'm driving a lot of these shapes just using circles, and this is kind of, Ah, pretty, pretty normal tactic in logo design. You'll see a lot of things that are broken down and drawn with circles, and that again relates back to gestalt psychology with the idea that I can create shapes that have a relationship because they're similar to each other. And so you'll see drawing a big circle here. Just toe create the belly of the elephant down here, and I kind of cutting off the rest of this later on. We're using a circle toe, cut out the front shape of his legs here and to create the back shape and even to round off his tail here. And then I'm interjecting a few other uh, pin tool shapes here just to start to create the legs, too. Does this makes a little bit more progress? I use the Pathfinder, which you can find in the tool palettes inside of Illustrator, and mostly I use these 1st 3 modes right here, which are toe. Connect the shapes to cut out one shape from another or toe intersect those shapes, and you can see I've started toe create these more complex shapes by doing things like taking the leg shape and the circle shape and making sure that this circle shape is in front of the leg shape cutting. How that part from here, you can see that I'm still not creating this whole shape because I've actually done some more work between this one and that one button illustrated boy eyes happening and how I'm using, uh, these different half finer tools to create these final shapes. Just one more example. Here, I've got this one circle Aziz kind of the top half of the back leg of the elephant. And what I want is just this one arc that connects this thing back here. And so, the way I would do this be to add another random shape, uh, usually just a square and use the Intersect filter in the Pathfinder to make this shape that I'm getting here, which I will later complying with, uh, the leg shape in the body shape like this, using the unite to give me a more complete shape here of this elephant. So most of the final elephant looks like this with these different shapes here and Then, using those Pathfinder modes, I start to look at this thing in gray scale, and you can introduce color as soon as you want to. Sometimes I like to look at things in grayscale or just black, just to get a sense of how the work in one color or in a very limited range of colors here . So I've got my basic shape of the elephant. My first draft here, uh, after just using a few basic circles and squares in the Pathfinder to create this thing.
8. Color and Typography: So now that we have the basic elephant shaped digitized into the computer, we can start to add color and typography to make this thing feel like a really logo. And I'm showing you kind of my whole our board here with all of this because it gets kind of messy, and that is OK when we start to try these things out, we want to try a lot of different things until we find something that we like and so about . Here in CS, start with this kind of gray elephant, and I'm maybe tweaking and polishing a few details in between the's a couple of generations here, and then I start to add color. And if you look over here, I've got a variety of different color palettes that I think might be applicable onto the reasoning here. That might be something interesting. Most of them are kind of warmer colors, with a little bit of contrast from a cool blue, uh, in there. And that is because warm colors usually relate well with food. And so I'm trying a few things out here and even trying some that obviously don't work well at all on this kind of dark blue Dark purple Scenario, then I'm kind of like Okay, well, maybe that's making a fuchsia and kind of have this steel add things a little bit more, became a little bit more interesting here, and that kind of goes on for a while. While I'm sort of exploring different color options, you can obviously pick colors that relate well to the cuisine that colors that might be found in other areas of the culture that you're choosing. You can pick colors from the food that might be contained within your cuisine can pick more realistic animal colors if you want to. Some of the things that I've pulled here, too, just come from inspiration on Pinterest, even from old kids books that I like to pull a lot of color inspiration from something building those in tow. Kind of, um or, uh, kind of this nice, warm but cool kind of contrast in sort of situation where we get a lot of vitality, a lot of energy from the contrast and colors, but it's not overwhelming. We keep the kind of oranges that primary, so things were still warm and feel like food, and then you can see that I'm experimenting with details to like What if we added I and decide that looks a little goofy, you know, But we can start to experiment with a spoon, shape a little bit on the bowl and then the details here. So I start to fill in a little bit of his kind of blanket and the whole rim and stuff. And by the time I get to hear starting to feel pretty good about this thing, the shape seemed to be working. While color seems to be working right, everything feeling pretty appropriate. And so I start to bring type into the situation. And when looking at type, I suggest just kind of doing something like this where you're putting down, you know, about 10 examples here. But maybe you do 30 or 40 different looks and typefaces, and what I'm looking for is some type that works pretty well with the shapes that I'm building inside of the logo. It shouldn't feel exactly like the shapes and the logo. It should have a little bit of contrast so that they stand out from each other, but I want them to have a nice kind of pairing and the best way to figure that out is to just look at a bunch of them. So I'm exploring that here at this stage also, but we'll actually go back and refine. The main type that I choose is a version of this slab serve appear on, then at a few more details to it in the next video.
9. Finishing Touches: So in this last video walking kind of through my approach, Teoh adding some kind of polish, some finishing touches on Teoh, the final logo that I ended up with. And one of those things that starts up kind of comes from that exercise with the type in the what I was showing before, it was kind of an exploration of different type faces that we can choose from. But I would also encourage you to kind of try different type A graphic lockups and positioning with the animal logo that you're creating here. And so, you know, try a few different things. Like what happens if we place this thing on top of the type, you know? And maybe you know what if I start to add these little brackets and we had the word cuisine ? Uh, what happens if I scaled up the sea and the G just a little bit? Kind of looks terrible. So not really working for me? Uh, another one where we kind of level that off. You know what? I'm still just feeling like there's not a strong of a relationship between the type of elephant here is just kind of standing and Even though I tried this thing up, we might keep exploring some stuff like what happens if we put the type above the elephant ? Aaron, this looks pretty intriguing to me, but again, it's still feeling a little disconnected and overall shape that I'm making this feeling a little bit awkward to me as well. And so I go back to kind of where was that initially? But keep this kind of Thai cuisine apart, added to the bottom so that we can keep the main elements on this one horizon line and so that the title doesn't get too long so that the length of the name here, you know, doesn't overwhelm the size of the elephant also fits very nicely right into this space in front of his leg, which works out pretty well. And so at this point, I'm feeling pretty good about this thing. But we're not ready to call it done yet, and I'm going to go through and fine tune this thing as much as possible. And so I've got a color palette that I like but isn't perfect yet, And so you can see, like I'm kind of fine tuning the color palette a little bit here, going from these mawr de saturated colors, these more vivid colors to try and add a little bit more life. Then I'm even adding a little bit more color instead of that neutral brown. We had kind of a dark purple, you know, in a kind of experiment with it. So we could even more saturated here on any kind of end up with something like this. And here you can see him even still experimenting with the details of the elephant. So here he doesn't have kind of toes or anything, but here I add them. And that comes a little bit just from the kind of overlap of his trunk. And then I experimented, adding this different end of the, uh, spoon, as well as the idea that I'm using a slab serif here seems to work well with him to actually have some toes on his feet. And so we add that part and experiment with a few more of the details here and just for fun . I kind of start to try out one more random sort of color scheme here, and it's not working at whole. But the point here is to just kind of, um make sure that you're not forgetting to try different things, like why not? Why? Don't just try flipping these colors around and see what happens. It doesn't work out here, but it ends up being just fine on. Then, as we keep going through this thing time and time again here just polished off a few more of the details and really fine tune that color scheme of light in the orange of a little bit of de saturate the dark red purple here and then I started around some of the type off , and that becomes intriguing to me based off of the round shape of his Be here. And so then I really take time to look at the type and kind of create this sort of rounded , angular hybrid here in a few spots where I'm rounding off some of the slab serves of this type face to match this and you can see I go back through and change the end of this handle this to kind of bring back some of that rectangular feel from some of the other areas of type. And that is me kind of again. Still applying the broad idea of gestalt psychology toe where I'm one the type in the elephant here to have some similarities so that they'll feel like one whole thing. So it'll feel really nice and unified as a logo design here. And then we make one last color change here, where are lighting up the orange and lighten up that red purple even a little bit more to something that happy with at this point, you know? So that's all for these videos. I hope that you enjoyed them. I hope that you found them useful and creating your own logos for the assignment here. Please again. Don't hesitate to ask me any questions inside of your projects while you're working. Be having to explain in more detail any of how I made this or where it came up with ideas or anything like that. Thanks
Dominic Flask, Independent Designer and Illustrator
