Logo Design from Concept to Finish

1. Class Trailer : local design doesn't have to be hard in this class. We're learning all about the grid system and how it makes labour designed much easier. We also explore the concept in process developed different concepts. Colors have such a huge impact on the logo design process will definitely review that. We'll get our final concepts ready to send out to the client. Let's learn together. 2. Using The Grid System: Welcome. Let's get started designing a logo. So before you start this glass, it's under the assumption that you're already familiar with your target market and target demographic and what they're gonna resonate and connect with. You already have a company name picked out in a slogan Put doubt, or if you need some kind of descriptor underneath your main logo. Ah, so it's the assumption that the all of those have been figured out. You've done your market research and you're ready to put pen to paper and create a logo. Well, welcome. Let's get started. I I love to do everything in Adobe Illustrator because it's in the vector environment. You can design a logo and photo shop, but it's gonna be in the raster environment and it's gonna be pixels. So when you zoom in, what's going to create a box? I'm an illustrator right now. I'm gonna hold down, shift and drag. I can scale up in Illustrator in the Vector format, and it never get becomes pixel it pixelated because actually done by an equation. So designing anything in the illustrator or Vector program is a highly desirable because printers, another people are gonna want to see it and vector format, which is a dot gps file or a dot ai file. So, uh, if you are not familiar with illustrator, I have illustrator Crash course They can take to kind of get familiar with the pin tool some other shapes, but I got to go over that as well as we create our logo. Ah, so I went ahead and opened up in 8.5 by 11 inch document, but you could do any kind of size. I end up doing a lot of concepts, and I end up using this as basically ah, pen and paper. So I will end up doodling all around this. I'll have hundreds of different concepts all floating around, and what I'll do is I'll slowly copy and paste the ones that I like the most into this art box and eventually kind of have my Final Three or my Final 45 logos kind of in this art box so I can export as a J peg, show it to a client, show it to, you know, friends, family if I'm doing a company for myself. So that's kind of getting started out. Also, I love too Reference the grid when I'm doing logo design. So to go ahead and have the grid visible, go to view our show grid. You can also go to Google and Google Grid and you can actually import a picture of a grid if you want to do that. But I kind of like this cause this is very, very exact. So you could cut a zoom in and get more specific in terms of the grid. What I like to do is ah, do basic shapes in here. If I want to do a geometric logo, which I think I'm going to do in this class, um, I can follow the grid and everything is gonna be mathematical precise, and it's gonna really help me with spacing eso. Spacing is perfect between elements. So I'm gonna say a logo name here and we're just kind of doing some basic set up. What I can do is I can actually zoom in. I can align this l to this main outside box right here and down into that corner, and I can align this other side so it lines up perfectly and this really helps get elements lined up without having to do it manually, so you'll be able to kind of see, like I want this box to be perfectly in the center. I want might logo to be right here. Three perfect boxes away from my logo name. And so if I actually is a shortcut, you can always go to view and on Click it, um, hide grid. Or there's a little shortcut, a command comma, and then I can kind of toggle it back and forth because I love to talk with my grid just to make sure I'm on track and everything is kind of aligned perfectly. But in concept mood, I'll be a little messier. And then in the end, I'll bring my grid up and kind of a line little things perfectly to make sure everything is symmetrical. So the spacing between the left side, the logo here and the spacing between the right side it's even all the way down to the logo name and same thing with your your tag line. So tad, line those here. I could make it smaller and increase the Kern ng are the spacing between the characters and I have a fought crash course. If you want to learn more about Bonds. I could drag that all the way to the edge to align with E and aligned with the tea. And so I'm gonna toggle and you know, everything is gonna be kind of us just visual. So now I know that that's perfectly aligned center. And there's other ways you can find do a line center by going up here. But this kind of what I like to do with the greatest is kind of a basic set up before you really get started and really start creating. 3. Creating A Concept: So now we have our basic file set up are ready to start concept ing in creating. So the concept that I'm going with or the type of company that I'm gonna do in this class is going to be a home builder, kind of a high end home builder, Cold forever home. And it's kind of just the basic concepts of basic builder construction type thing. So I kind of want to stick with the grid on this one to make sure have sharp lines. Everything's even kind of doing more of a clean, contemporary, lots of right angles. So it's kind of the look. I'm going for eso uh, let's just go ahead and start creating some things. I kind of have a rough idea. A lot of times I'll get a pen and paper and sketch them things out. And then I'm able to take a picture with my phone. I can bring it into illustrator and really start to use the pin tool to trace it. Ah, but since we're kind of doing a very simplistic geometric pattern with this one, I feel like I can just kind of experiment with illustrator and not to pen to paper for this particular one. Um, so let's go ahead and start drawing some shapes. I'm gonna use the grid system here. I'm just gonna create kind of some blocks here. I mean, eventually, create kind of a house type thing on. All I'm doing is I created the shape he's in the shape tool, and I'm just copying and pasting. So I know it's the same object shape over and over. And I don't always designed perfectly to the grid. When I start out, sometimes I do that later. If I'm doing concepts, are Arnas geometrically perfect. Okay, so when you draw couple here, you could always go back before you finalize the logo and really zoom in and make sure you have its act sizes. But since we're concept ing, we're gonna do this a little bit. Dirtier doesn't have to be perfect. We're just even seeing if his concept lies. I mean, a copy paste. This kind of a quick trick. I can rotate this on the group these together transformed into rotate 90 degrees, save me a little bit of time. I mean to take knees. I'm gonna make these a little bit shorter. Bring these back down here. So it's That's what we have, the grid. We can constantly reference it. Um, I kind of want this to be longer. Never mind. Soon it's all about experimenting, playing around when your concept and you can mess up as much as you'd like. That's kind of the basics of my house. I still need to do a rough. So what I'm gonna do? I'm actually gonna toggle the great away now so I can start seeing what I got here without the grid is gonna be my house. So I'm gonna kind of do a roof. So you take my pin tool and actually gonna talk on my grid. No problem. Toggle it back and I'm gonna go. Let's see four squares down, click in the middle and go over here. Four spores down right here. So now I know I got my Roughead in. I was gonna block this out with White. Just is just concept. It's not a final version of the logo. We're gonna talk away that kind of see if we like that design or not. I need to kind of modify it a little bit. You know, maybe we want the roof to be more slanted on one side. You know, I kind of like it even. Maybe doesn't need to be as tall. Make it shorter. I actually think it's too busy if I zoom out. I loved his name out and just kind of see how it would look one inch by one inch. And I think it's a little too busy. We're definitely house simple. I want to go. So I'm actually make this house more simple by removing one a block from each one of these sides. Let me talk on my grid back again. The man bring it back to here. Actually, I could make this house shorter by maybe 22 blocks, maybe all about experimenting. Okay, so I'm gonna toggle back. No grid. Okay, we're getting there. So now when I see him out, it's a little more simple. Not us busy. Okay, so now could I kind of hold downshifting in a group, this whole element together hold down shift and make it smaller. There's my little icon. Of course, I want to do some contrast. And actually, this isn't lined up perfectly. So what I'm gonna do is I'm gonna select all those elements and I'm gonna just go to my line. You go to window a line, I'm gonna have all these nice align options, so I want to line everything on the bottom. There we go. And I'm gonna change this. I keep everything in black and white for quite a bit of time until I moving away from the concept mode and into finalising because color can kind of get in the way of doing the logo . You want to make sure your logo looks great One color and in black and white. If it can't accomplish being in black and white and still having the same concept and resonating the way wanted to, then it's not flexible enough. Eso by leg was have to pass two tests. They have to pass the color test. They have to be one color or black and white and still convey everything it needs to convey its not color dependent. And it also needs to be able to be shown in the size. So I zoom out. And if I can't really make out what it is, and it's too busy than that doesn't pass the test and I still feel like it's a little busy , so I might kind of modify it a little bit in the future. Um, what I like to use, I might make my roof more, um, accentuated. Let's bring back the grid. Now. I'm gonna make my rip little more accentuated. Looks more like a house. I really want people to tell it's a house when they look at it. Okay. Okay. So I'm just gonna add keeping in black and white, but at a little contrast to show that eventually it will be different colors within the stripes. So I just like to scale it back. Two different versions of gray make that a lighter grace and kind of see, with that contrast change. It's starting to really come together more than I thought it. Would. You make that just a little dark gray just like that? Yes. That's really coming together and sort of color. That's gonna look great. But right now I don't want toe have my design depend on color to really stand out. Okay, so there's my little house. It's kind of a flag element to it as well. Um, so I'm kind of done with my little symbol of course, I'm gonna play around with some other house symbols on my concept. Moon will do that The next class. 4. Playing With Fonts for Our Logo: Okay, So now we have this kind of first concept with the whole the contemporary geometric house that we're doing. And I did another house that had a more pointed roof just to kind of have a second option available. So I'm just gonna kind of zoom out. That's why I have a big, nice art boarding illustrator that we can kind of move things around. So this could be one concept. We're also gonna do one that's not going to be as contemporary in terms of geometric shapes . It's gonna be a little softer. Maybe we're gonna use, um, some brushes and some some different things that kind of have some character and some round shapes. But for this one, we're gonna really focus on being nice and clean and simple. Simple, simple. Um, So what I want to do is I want to go ahead. I know my name is called Forever Home. Just kind of a total made up company and name just for the sake of the class. So what I'm gonna do is I'm gonna play around with this one, so I could just drag this away from my art board just to kind of have it there. Have this nice and clean. So now we get to play around with different fonts and front styles. And most companies air. Gonna have something like some kind of describe. Describe her line. Sub line by line. Something that helps go. Okay, this is a clearing house company. This is a mortgage company. What is this? Is this a builder? So I'm just gonna put something builder and find homes. How about fine? How about builder of custom homes? Okay, that's kind of a violin, which will always be smaller. Gonna go ahead and line that up. Let's go ahead. And toddler grid was kind of make sure everything is how would like it. It's kind of, but this right aligned here, we're just gonna make sure. OK, so that's three boxes over. And it doesn't have to be a science when you're in concept mode, so I'm not gonna get too specific, but just overall, I want to make sure the space between the end of my lettering this space is the same. And sometimes I just draw a box and copy and paste. It is the same as the right, and that's the case. So Now that we got our spacing kind of set up, let's play around, Actually, kind of like this particles myriad pro, which is your default font, but I kind of like a skin your font. But what's great is we can totally play around. So this is our base. This is standard font that they came with. I'm gonna go ahead and hold down shift, actually do how much? I have a big art board here, so I'm gonna copy and paste. Oh, I'm gonna command V Command V as in Victor, And I'm just gonna keep on making a lot of different versions. And we can really play out round with bots without losing ones that we like, so that will be our default. With this, I'm actually going to do a little bit of a lighter grey. Maybe that maybe have this light gray in this darker grey. So just do the eyedropper tool to bring out where's colors aren't super important, But shading and color, different era in terms of having a darker color in a lighter color, you know, it's still important here. Contrast. Okay, so let's play around. Um, let's see what's a nice thick bonds to pick up on it first. How about big noodle tickling? Ooh, that looks really nice. Already have some nice Kernan. Kernan is the spacing between the lettering right here. So current ing is gonna be the space right here. Made a zoom in and also go over this in my thought courses. Well, so that's some nice spacing. Nysc Earning that's really popular right now is to have nice space between your lettering if I go up to character and this is where I can adjust my turning If I did zero, which is default, you know, it's great, but it kind of loses a little bit of its high end look. So I'm just gonna do command z go back to where it was really like that. So let's keep it as is, um sometimes when you have a nice, bold, uppercase spot, it's really nice to do a lower case thought or in our lower case spot blood metallics. Ah, So let's find a nice a tallix lower, not lower case, but not all caps either. So let me go back and do a builder of custom homes and I want I don't think I want the Kerney quite as dramatic as up top. And you were right here. Let's find a nice italic flying, you know, times new Roman. Just a filler. For now, I won't settle on that, but that's gives me an idea of what a serif metallic lot would look like. And, you know, Serif is gonna be have these little edges is, well, details at the end of the fonts. These little that's what makes it a Sarah font. This is a sand Sarah thought so. It's not gonna have any of those little detail ings at the end of the lots. So sometimes really nice to mix a Seraphim, the San Serif. One thing I don't recommend is actually using to Sarah different kinds of Sarah fonts and two different kinds of Sand Saref thoughts because just too much going on too much competition, he always would have contrast. So if you do this one thing, if you also have another element, you wanted to be different enough to have contrast everywhere you go. Same thing with color and the same thing goes with thoughts. So now we're gonna continue to play with different options. Let's see, Nexia. That's kind of Nice. I wonder if we really do a dramatic turning, Let's type in 800 and I don't think that's an option. I think type of, because it's so large, I wonder. Let's make this icon really small. Let's not make it so big. Let's make the font really big and in comparison. Okay, so maybe that's a little too dramatic. So let's back it off a notch and do 500 turning. Of course, right now we're playing. So I'm not gonna worry too much about the space in between the elements until I really hone in on one. Um, so let's actually make this lineup as opposed to this one where it's smaller. Let's do what I want is this can always take my eyedropper tool Next. A bold I wonder if I put zero koerting. Mm flexible. They don't have any other weights. That's a shame. Let me see. Let's play around with some different lots. Let's see, once again, I think a Sarah flight will be nice since we were using a sand syrup above when they don't have any other weight. So I can't match it. Oh, yeah, that's definitely not gonna work. You know that might be a cool flocked to say for the next one. So what I'm gonna do is I'm just gonna copy and paste that shove it over here. I could use that for another concept. Whenever I'm looking for a fun and I think it will be nice for something else. I'll just shove it over to my art board somewhere else and use it later. What is? Actually I think I need to re type this or actually copy and paste here. Make sure it's not all caps. I think I type that in all caps. Here we go. I want a dinner one at dinner when a nice, thin fought Does that have a metallic? Yes, that has metallic. Okay, so I'm really liking a little more space between those elements. Spaces. Always your friend white. You don't want to have anything to crammed close together. It just doesn't feel comfortable for the viewer to see something that's grand. So far, I'm liking this. I really feel like I want to do a version that has a difference up on. I'm just not someone. See if I can't to all caps again, just make that smaller but use the same bond. So it matches. That might be better to. And maybe if I made this a light gray, it won't compete so much with the main title. I really, really, really like that. I might even reduce the current in attack. It's all about finding balance between all the elements. You want this to take over? Definitely. You don't want your icon to be so powerful that people don't read the name and understand what the business does. There's a practicality toe logo design that you always have toe to listen to. All right, so let's do one more and then we'll go on to the next video. Let's go and try a fun Vaught. Just kind of a rustic farm, which doesn't quite go with the top. But we're gonna play with it anyway, because we were just having fun and coming up with different concepts. So I'm gonna bring out, uh uh, this color that was due railway for this railways. Fantastic, because they come with all sorts of different weights. Some fonts only come with a medium weight, or they only come bold and it's really limited, so it's great to have bonds in their portfolio that have a lot of weight variety. So railway is one of my go to fonts. So some some kind of nice and clean we might need to make that boulder, because if we zoom out, you know that's good will be lost. So let's kind of make that a little bolder. I might do will probably always hear me say, increase the current ing Everyone loves to do on high end stuff. Lots of space between the characters. And now I could make that boulder. Since it's smaller, maybe not quite. Maybe not black Black is the boldest and go, so I'll just do extra bold spacing. Gotta remind myself Space is your friend. Okay, so we kind of have. I don't think I like the house so big and almost wonder if I can play around with doing kind of a horizontal version and maybe eventually lined it up so that these elements line up right here. The guy Zuman. You have the top your F aligning with some element in your logo. You know, we can even put in Let's see a vertical line kind of divide the two elements like this. That's pretty popular if you have a symbol and have a little divider line between the two and I would make sure the spacing between the left and right sides the same, you know, at some point. So I mean, we definitely have options here that are starting to develop. This is just one concept. We're still gonna do several more. So I kind of see if this is something we like. And so far I mean, obviously that your default, I'm just gonna go and delete that. I don't like myriad pro, so I'm gonna make sure I save my document. But so far between all of them, I think they all have promise. I'm really not a big fan. I think this is very dis joining having this rough fought with this nice, smooth contemporary. My favorite of all is this. When I think this is super smooth, this has the most promise. If I were to pick one of these to send to a client, I think this would be the winner. I think it's great and everything we need and what I like to do is whenever I do a logo that's very prominent vertically, I like to have a horizontal version as well. So what I'm gonna do, I don't I don't think that work. So it's gonna go and delete that copy and paste this. I'm gonna dio left alignment and bring it over here to make a horizontal version. And maybe with this version, the current ING is not as dramatic. So it's not going all the way over to the right so much I need to have nice balance, you know, Heard the golden ratio where you have, you know, maybe 1/3 here and 2/3 of the space would be right here. Overall balance. The golden ratio really helps with overall balance of your logo. Uh, let me do this. And I'm scared to stroke. So you want to make sure you have proper balance. So the text is 2/3. Maybe this is 1/3 as a very rough gold ratio, but definitely Google Golden ratio research a little bit. It really helps along with the grid system, come up with really solid stuff. Um okay, so that would be even. So that would be kind of a two different approaches. The client would probably use the same logo. This would be great for brochures and print materials. This would be really great for the Web in a website. We have a very small vertical space, so it's really great to give options of the same concept so they can see how it can be flexible on apply to a lot of different spaces. 5. Exploring Other Ideas: Okay, so now we feel like we have one solid concept that we really like. We haven't applied color to that yet. We're gonna do that last. That's her very last step. Let's try to see what we can do for a totally different approach. Clients love to see one thing, and they love to see the opposite. So even if I do this logo on it, where reminds them that they like this one the most, Then my job's complete. My job is to show him as many options a zai feel like you're good. If that's two options at that eight options. Sometimes if I show him one way than they kind of their curiosity is, you know, cure. They don't have to go. What? What would it look like if it was all watercolor? Well, I'm gonna show him enough versions for them to realize what the what their favorite one is . So let's go ahead and get started doing something totally different. So what I'm gonna do is I'm gonna go ahead and copy and paste this because I already have my font written out. I'm Scott. I'm on the art board. You can go anywhere you go is far over here is you want to say I was gonna zoom into another area and I'm gonna pace the Seine. We're not doing the house. Where do a whole different kind of logo? Um, so what do we want to do? I definitely want to do softer and a softer approach. So let's I feel like I really want involve watercolor somehow in it. Us. Let's see what we confined here. Um, I was just looking at the golden ratio here. There's little picture of it s so I'm gonna type in. There's a ton of free resource is Of course, if I was going to use this for a commercial, um, company, I would definitely want to purchase anything that I use in a final concept. But for right now, for concept ing, I could do water, color, texture and kind of see what pops up. There's a couple of good places and I'd love to see can see what we have here. Yellow. Well, there we go. Maybe that's it. Let's click on this and download. We're gonna do something a little more feminine for this one just to show contrast that the target market didn't make sense for that. I wouldn't do it. But this is a made up company, so I'm not 100% sure on the target demographic. We're just kind of playing around with how to do a logo design. So I'm gonna go ahead and bring this in, see what we got here. Sometimes all download eight or nine free resource is and realize they're not gonna work before I finally find one. So hopefully we can get it on the Oh, this is Vector. That's great. You can kind of see how it's already. Vector. This will scale without any reduction in quality. So I could even use this in the final logo design eso as long as I make sure I have the copyright to do so. So I'm gonna start playing around. Let me do kind of a fun. Uh, not fun for say that a little bit more feminine. Let's do all lower case. So I'm gonna type this out again. Forever home. All lower case. I think lower case has a softer approach design and you reduce the current into zeros. I think I'm gonna try some script bots. That's fonts. Not horrible. Um, course I need to figure out how what under the do here in terms of a concept. So Okay, when you think of a house, when you think of I think of a key, I really think of the key. Uh, when I think of the home builder eso let's find a house key free vector course. The best thing to do is draw key on a napkin and take a picture of it bringing to illustrator and trace it. Um, whenever If this concept is approved, you really want to do your own unique key. You don't always want to just grab one off here, but for rough concept, uh, I like these antique keys. Let's download it. So I'm gonna download that London download and work to Breaky. Maybe right here, kind of a temporary key. Where's eventually you'll want to do your own key, and you can draw that with the pin tool, an illustrator. But we're just trying to get a local concept going, so get some kind of approval, and then once we have approval, we can really spend some more time flushing out our concepts and making a warrant. Most kind of bringing our contemporary key. I think I like, maybe need to kind of do a key with the definite forever home. You know, you always come up with ideas when you to start playing around. So let's do that. Why not? Let's forget about what we were doing entirely. That is what labour design is all about. So it really like that idea? So I wonder if I could even draw a quickie myself using the same basic shapes. I'm just gonna do strokes, make a bigger stroke. Oh, just do a block shape here. What I'm gonna do is I'm gonna get the letter f going here. Actually, kind of like these rounded edges. I'm gonna just retrace this year. But instead of Anne, I'm gonna end up with enough were our forever home concept. You just never know what the client's gonna like. They may like something you hated, and that's OK. I mean, you just have to you have to do with the client lights. In the end, it's not always favorite thing to do, but it's part of being a designer sometimes, But you want to try to do the best version of what they like. I may need to change the thickness. Make it nice and thick. Make sure the thickness of the F matches the thickness of stems. Michael. All black lips at the stroke. So I'm gonna go to Path Outlined. Stroke. Now it's a shape. Okay, so I don't know if that necessarily looks like a key. Let's bring in our antique. He'd see if we can what we can do there. So let's see. That looks probably the most like a key to me. Let's bring that in and I wonder, could make an F out of that That would probably was better. That almost looks like one of those male female symbols. So once again, with design, sometimes actually know what I'm Skillet. Since I did all that, I'm actually just hot. Just throw the shape over here, and I might get to it later. I don't want to totally delete it. I'm not totally doesn't. But let's for now, just kind of do some white boxes here. Justin Concept. Let's make it out of this one. Kind of sickly like it. It's too thin. Play with it a little bit, so that's not quite as dramatic about it would be but, uh, bring this in, make a little smaller, maybe angle it, doing kind of a softer watch them and then approach. I don't like these rough edges. I think I want to soften that a little bit. It's softened both of these just doing the shape and adding just for now. Eventually, I'll go in and make the shape final hopes that longer. It's not like the shape s dramatic to do that manually. Four. On what's to shape that to There we go. Okay, now we're getting somewhere. I realized, Haven't save this document. And trust me, there's been so many glitches. Random Times Illustrator closes. I wish I would have saved more, so we'll do home. Save it to our desktop. Always say there's so many times where I forgot to save and I lost even just 15 minutes of work and you just, uh, just really puts you behind. I'm gonna bring out the same color for now. Have some unity. Okay, so that fought is driving nuts. So let's go ahead, find looking for a softer but and have to be a script bod. It could actually be accustomed Bond as well. That's a whole nother class designing custom bonds for logos. Well, that could take some time, but I had good abs and powerful. So this this fonts very popular. So I'm just gonna do this is kind of a war popular type of logo. Not necessarily one that's going to win design awards, but just another concept we can add to our belts so that we could put sent to the client a lot of different options. So I know some of you guys you're shaking your head, going that bonds everywhere. But this is kind of the softer approach that I was talking about, and I would probably mess around with the f A little more. I would actually hand drawl and f for there to put in there if we have a lot more time in the class, I could do that with a pin tool. That's definitely something I would do is I don't think that f is quite translating as much as I'd like. I'd like to be dramatic. Uh, okay, so that's one. Let me make the key smaller. I think the keys competing way too much with text. So I guess the F and the bottom is more of a play on it. It's not obvious. Maybe it's not obvious enough. We try another approach. Let me grab Bafana. Really? Like for my other concept? Well, let's actually do this. One is going to spring this over and you can use the same thought in different concepts. That's fine. The font works, The font works. I'm going to try this a smaller Let me align this perfectly that way. So that could work. Not really feel into this as much as I am the other concept. So what I'm gonna do is I'm gonna leave these here on the line this up. They're gonna left a line logo. Um, I'm just gonna leave these here. I'm not liking where they're going. And so you just abandoned the concept and you go on to the next one. It's as easy as that. So what we'll do is I'll do one more concept because I really don't feel like this is working out, and that's okay. 6. Exploring Other Ideas part 2: Okay, We're back. I haven't given up on this key concept yet, so I'm going to kind of continue to tweak it just because I really wanna have three final concepts to show the client. Let's really get this 2nd 1 on the on the rude. So I wanted to try to kind of do some water color to really complement this nice, softer script. Um, so I really like this. I think I'm doing it all in black and white to see if I liked the basic concept. But I think with color of eyes get really pop. And I know I said before that to not be color dependent. And I don't think this is I I think it could still resonate, but I think with color it can really pop. So I'm just gonna adjust the color balance on this little vector graphic that I have of water color. Uh, let me see what? Get some blues, and there may be some magenta purple. See what this looks like? Uh, it's just a little more just color balance preview. A little lighter, maybe. See what that looks like. So, yeah, I can kind of really see that coming together a little bit, so we'll leave it alone. Let's move on to something else. I really want to explore the idea of having the f b the end of the key. Um so I think we need to probably go use the pin tool and kind of make this a little shorter. We're gonna have a big effort. The end of it. I want to have some. We don't want the pole of the key to be too long, so I'm just kind of fiddling around there. Let's see if we like the overall balance. I don't think this key. Let's go ahead and toggle or grid and make sure we have it at the right angle. I think I still had at an angle when I was experimenting. That's the great thing about the grid. We'll just kind of helps you a little bit. Eyeball it. Okay. Toggle to great off. Let's make the half a little bigger. I wanted to be very obvious. It's an F, and I also want to echo the same bond in the actual main pot. I wouldn't make these capital so that it matches. So, um, I wonder there. Let's try some different thoughts because that's not working. Uh, seems like a san are a Sarah font that has a little bit of that detail. Might look really nice. Yeah, that could look good. It's at this point, it's all about experimenting. If I made that a little smaller, maybe back to work, just trying to find the right s Oh, not quite connecting with that one. So let's just keep going. No, that was awful. And sometimes when you have a lot of different fonts installed on your computer, I could just give the storm has too many options. So a lot of times, it's nice to go in and get rid of fonts. You don't think you're gonna resonate? You know, that could work. It's a little sick. I would like a little bit thinner. But I'm gonna remember that when I'm gonna do is I'm gonna copy and paste it, and I'll be able to have that to grab. If I I think that's the last one I like. No, that's too long. Let's keep going. Uh, you? Yeah, that could work. That's too big. I want the balance to be appropriate. What about that? Okay. I think we're onto something, and this is almost two matching. So I'm gonna take back what I said. I'm gonna use lower case, okay? And I think the f can actually be bigger. So we're getting somewhere with this. Um, since such a long element, I wonder if it makes sense to bring it here. Maybe even make this two lines. Kind of make it more of a nice square logo here and then have this tuft here. Uh, let's play around with thoughts a little more interesting. That's kind of got, like, contemporary really like this fought primetime regular. I might like this font for another concept, So I'm scared a copy and paste it and drag it over here. Just kind of keep that on my board of concepts. I wonder if this works where she had this contemporary font with a very traditional he so it may not work all about finding the balance. So what I'm gonna do, I like the idea that this is stacked. This is on separate lines. And so it kind of really matches this taller item instead of having it horizontal on. That key was so tall the balance was off. So I'm gonna go ahead and save this kind of like where things were going. But let's keep playing with bots. Let's do go back to a more traditional. I wonder if we do this too much to go back to this bond. See, that might be too much wonder mixing bots, making the word forever a little bigger, you know, just like this. But you know, that doesn't make sense because it reads home forever, said a Forever home, right? Let's go ahead and Pepsi. Glad I caught that. I actually like the balance of that to because you have something longer than something shorter. That's a nice balance. So let's see. What if I did forever home and this builder of custom homes that's just mess in the apse. All this kind of move that around, Let's not worry about that thought. I really like this. Ooh, I like that. It's all about finding what you like and experimenting with it that as potential and make the f smaller, more subtle for that one. Or maybe not. Maybe just make the whole key smaller. I don't want the key to compete with the words forever, Home too much and So this builder of custom homes. This could be much smaller sister tagline, but I need to make it bold enough where? Let me use my trusty. Actually, when we make this and I script spot is that too much? No, that's crazy. Let's try this one. That's nice. That'll complement traditional key A little more Acerra fought like that and what I could do is make sure that those two elements are lining up was we can perfect it in the next round. So I'm wondering if adding a little gold to this logo was really kind of bring it together . Course. Right now we're concept ing. So we're keeping it black and white, but that'll be the next step. We're going to start putting color to these logos and, uh, kind of coming up with the very final choice. So we're gonna do colors next 7. Selecting a Color Palette: All right, so now we're gonna apply color to a couple of concepts that we have to see if we can make him pop out even more. So I When I see when I was working with this concept, I kind of thought Okay, key old key. What can really make this more three dimensional like it? Pop out a little more right now? It's great. It's contemporaries. Fine. But it just feels a little flat. So let's see. I actually downloaded this mock up. Um, you can download it online. It's the gold foil business card. I think I got it on the graphic burger. You can go online and downloaded. Let me to show you that real quick. Uh, when I go back, I just downloaded it. Here's where you can find it. Cisco graphic burger and gold foil. It really helps me kind of see what a gold foil finish on my leg was will look like without actually having to get something printed like that. So let's go ahead. I also have ah, mock up class if you want to know how to use mock ups. So here's my red little layer. Like over this in my other class. I'm gonna delete this. I'm gonna go ahead and drag this in. Now, what's gonna happen is it's actually gonna apply some gold foil stamping effect on it. I could really see what it's gonna look like so I could present it to the client this way and say, this is kind of where What kind of finish I would have on your logo in some cases Can always do go foil stamping cause it's expensive. That's mega big. Let's make this small. Oh, okay. We're gonna save it. So I kind of see that kind of come to life a little bit with the gold. Um, I kind of like the idea. Maybe maybe it being angled. Maybe that's not quite quite exactly what I wanted. Um, that's okay. Maybe this concept. Maybe if I angle this a little bit and see how that one looks, I think the thought needs to be bolder with this gold foil stamping. Um, so let's go ahead and click on here. Delete that and see what this bolder font looks like. And I know before I said, it's well, disjointed. He had a traditional key with a really bold contemporary font. Let's asi You just never know. Sometimes mixing styles works sometimes it doesn't. So, yeah, I like kind of that Boulder bonds almost to bowl so we can go back and forth. But you kind of get the idea with high contest out. Some things kind of showing the client a final presentation. Terms of I would do this logo, but I would also maybe apply gold foil stamping to make it really shine and pop. So those are also some options, So in terms of coloring, I really like it kind of his black color. So these are the two concepts I think we've nailed down to for this particular having the f at the bottom of the key. Um, so we can kind of maybe see if we do flat color just in case boiled stamping is not available. Or we can even see if we could just do gold on the key. I kind of have a gold effect. Let me go to my Grady INTs and I'm gonna go to create a new swatch. Let me see. I want to go to Radiance, where my great business watches. I'm sorry. Gonna go swatches go Grady INTs. And I want some metal metal latest metals, kind of your default medals swatches. So that is still a f what I'm gonna do, so I can always remember one fought I used here. I got a copy and paste it. Throw it over here so I can always reference it and go. OK, that was PT syrup cap cap caption. Uh, I could talk correctly. So now I'm gonna outline the front and all this. I go over in my illustrator cross course if your little feeling a little overwhelmed some of this stuff. So I'm just kind of doing a little radiant, but that's a little too light. It's like a copper right here and kind of see play around with some of that stuff. I kind of like it black like that. You know, the client might want to see a couple of combinations. So what I would do is, you know, always show him a few different combinations. You never know what they're going to resonate with. So what I'm gonna do is I'm gonna create outlines here. Actually, I'm just gonna delete that already. Have this done appear kind of how I like it. So I'm gonna copy that. Gonna do the angle. Why not little more variety there than my other concepts. And a lot of times a climb will come back and say I like the angled key, but I want it black. But I want the font from this one. And you really kind of come up with an amalgamation of all your concepts eyes, really, in the end, how it goes. And since it has angle, you have to put the Florida angle, Maybe maybe have this angle be dramatic. And I You know, the more hours you spend with something more, you're gonna mess around with it and the more concepts you're gonna come up with. That's why you can't really do a logo on a class like this in just in our and you got to spend hours and hours even come up with so many. I mean, I will fill an entire art board full of just different ideas like this, going from one concept, coming up with an idea and moving on to the next. Um, so let's play around with color for this one real quick. So almost wonder if I brought out kind of that blue if that looks kind of neat, so that's great. I can even put my key in here that we did of the F if we wanted to. So we're gonna just go ahead and group that and bring it in. Perhaps there we go. We're gonna make that white, see if we like it with that as well. But that's just too much going. That's too much going on. So let's just go back in time. Don't worry about it. Let's continue to play with colors on copying and pasting. You got to go here and I'm going to play around the colors. Eso adjust the color balance. Let's try. Ah, warm tone. Just do some yellows. See what that looks like. Kind of a green. Who? That doesn't look amazing, does it? Let's dry. Oh, let's try inverting the color. Ooh, that's a beautiful purple. It's kind of see what this looks like. Oh, I can see how a client who is looking for a more feminine base might really like this. Or even if it's a consulting business, your coach and you wanting to do coaching, I can kind of see how this is kind of cool. So I mean, but it might not work. They may end up going up with the whole other concept. That's totally different. And that's okay, experimenting with color. So for the next video, we're gonna do our other original concept and play around with colors with that one. 8. Selecting a Color Palette part 2: Okay, So now that we have our colors picked out for other key concept, let's try to find a color palette for this one as well. I kind of like it black, but I also want to offer some color options to the client. So what I'm gonna do is I'm actually going to copy this, and I'm gonna shift this off the art board and save it for later. And I'm gonna go ahead and work with colors, so I'm gonna paste this version. I'm gonna try to do two different color palettes, two different approaches, and I got a post copy down here. Okay, so we're gonna play around with these two. Okay? So how do I find a color palette? I used to do it manually. I would just kind of select different things and find the the best color combination. But I've actually found a tool online. It's called coolers dot com. See, basically colors, but with two O's at the beginning. Colors that com, um and you just go callers dot com should pop up for you. Okay. So you can actually go. I'm gonna click on the home page. Ah, so you can actually explore pre made pallets that people have. If there's one that just really pops out at you that you feel like would be good for the logo. I really like this one down here, kind of like these darker colors. So what I'm gonna do is I'm just gonna take a screenshot. And it depends on if you have a macro windows. How you do that. You could take a screenshot of these two that I like. We could play around with that. Or if you want to find inspiration from a photo, you can actually uploaded photos. Let's go ahead, do that. We're gonna upload a photo. I found a photo on Google of just kind of an upscale home builder. Kind of the color palette, I think, would be good. Ah, so let's go ahead and go back to our website and a blue. Let's go back to the home page, Click on start the generator. It's free. And this is this is random so they could press the space bar, and we'll give you kind of a random palette so you can continue to do this until you finally I like that one. I mean, sometimes we'll just find something. I always take a screenshot, and I can use the eyedropper tool in illustrator to bring out those colors later. Let's go ahead and bring in our picture of our house here, and so that's generating. So here's kind of a palette it automatically generated for me, and I'm just kind of clicking around to see some of these are a little too dark. Use a more contrast with, um, things that's not bad. That's not that either. So it's really colors is probably the hardest thing of a local because there is no wrong combination. There's there's just better combinations. Let's just try. Let's try this beige and see what comes out for this grey. Uh, I don't like this Brown's Let's change that to that gray. Alright, let's try this one. See how that color palette looks. I'm not sure I'm gonna like it, so that's OK. Let's bring in our screenshots that we made and pick out some color palettes. Okay, so I want to do two totally different approaches. I really like this one, so I think that's gonna be good. Let's drag this in, make the screenshot smaller. I just hold down shift when I drag images so they scale properly. Okay, so let's start applying some colors here. Let's This is the fun part. You get to really experiment to see what works. Let's bring in. Let's do some blue. Let's bring in the blue in the main part. Make this to that darker blue with the lighter blue or the green says kind of a fresh look with cool colors. Okay. I mean, that has some promise. Definitely looks fresh. I like it, But I think these two are too close to each other. So let's kind of manually adjust this a little bit. Let's make this little more toward the yellow. Maybe just like that, I like that. That looks nice. So we could kind of apply the same one to the horizontal, just taken eyedropper tool on playing around. And maybe with this one to do a little variation to see if I like it differently. It's trying orange, you know, experimenting. Yeah, I kind of like keeping all cool colors. There's something really nice about doing all warmer, all cool colors. So kind of like a gray down there. Yeah, I like that. Okay, so I really like, Let's do that central line. Let's do it. That blue dividing line. Great. So I'm gonna go ahead and took this palette nearby, and I feel like that is a great palette for to start with. Okay, so now we're going to the next one. So already done with that one will see, I think we have We have these that we grabbed from the automatic generator, so let's get cracking. So which one of these two dough I like, I think with the top one. They have two totally different vibes, don't they? I like these darker colors. When I think hyeon builder, I think kind of these These trendy colors room Let's do this blue gray. You know, I like kind of the warmer tone in there. We don't have any of that. And the other variation. Mm. And you're not stuck with this. You can always play around a little bit more. Let's do that. Let's make this a little brighter. Maybe that color I like that beige. Let's make that the lighter beige that is the lighter basis. Make it lighter. This is all trusting your design and stink. There is no science with any of this. It really is up to you what you think would look good. It's like picking out colors in your house. Oh, that was really nice together. I wonder maybe this There we go. That's like a nice bring out the blue here. Maybe if I bring out this page more, that might be too much. No, Think I like that right there. I wonder if I didn't make that blue. I like bringing out the blue a little bit in the text as well, So I'm really liking that. What? Let's go ahead and try this one. This one's a little dryer, isn't it? Definitely different. You know, it might not work out. That's OK. All about experimenting. Yeah, well to red, white, blue American flag to me. So let's not worry about that one, but I think we have some good choices developing so far. Um, so that was a little pressure. Brighter. Ah, this one's got a nice high end appeal to it, so I think we got some nice color palettes picked out on you couldn't continue to experiment even more 9. Getting the logo ready to send out!: So now that we have some color palettes picked out, we're finished with our first round of logo design since their very first round. There's several rounds to go back and forth between the client bowler with yourself. If you're designing your own company's logo, this is just a great start. Other concepts may emerge as you do future rounds, and that's the great thing about the creative process. Is, um, your final design might not even be done yet. It could be still down the road and in the future, but I just want to kind of put together a few final versions of our logo. So see, you could see our art board already. It's full of this kind of what we've done in this class, and I usually spend 10 to 20 hours with concept ing with the first round, so I will have a full art board. It'll be full with maybe 50 more different concepts all around. And when I kind of put together the final presentation, I like to kind of get everything off the art board and dragon What? I think it's the best of the best, so I'm gonna go in here and take a look at what I think I like the most. So I really like the black and white version of the Forever home. So I'm gonna bring that one up here. Um, I'm also gonna bring what I like to show the client sometimes is different versions of different colors they don't have to match. This horizontal version is great, too had color, so they can kind of see what a black and white version. Yes, because they can always come back and say, I like both of these versions, but I want a black and white or I want to try the color on the horizontal are the vertical version. So it's great to give lots of variety in your final selections. What kind of like this one's? Let's drag that up. So what I like to do is do one concept per page, So this will be one concept, and I like to have a lots of white space. Sometimes you could do these on individual pages as well, so you're not having multiple ones on one page. But sometimes it's nice for them to compare. So I would export this as a JPEG or PDF but I like to do J Peg because it's easier for them to see it. And I do rgb so they can see it on their phones without the colors being funky. So I go down here, got a desktop DoubleClick and so there There's our first concept so they can zoom in and take a look and say, I love one, but I want the colors from too. They may want the colors from our other concepts, so you just never know what kind of combinations they're gonna take. So we already have that. Save your dragged it over here, and we go ahead, take our key concept. Um, I, like, needs to sign a copy. Gotta pace thes. We have our key concept. I want to put a little more white space between the two. That's going to be another concept that all export is a J peg. And then finally, I think we have another variation of the key concept. But we're not going to do with this forever home as I may present them that mock up of the gold foil stamping along with this so they concede applied something they're not to seeing . Ah, flat logo. So, um, with these, um, I think maybe less less is more so. I'm gonna kick this one out. You have these two is options, but I'm also going to send them the J peg of this so they can kind of see, um, my overall goal would just see any of the gold parts. Actually, gold foil stamping or some kind of shiny gold would be my desire for how I would want to present the logo when they start putting it on things. So that's it. We have a couple of concepts. 2%. Of course. I would probably have, you know, two or three more that I would come up with before I send in the first round. And that is my entire local design process. Thanks for joining.