Transcripts
1. Logo Design: Hometown Challenge Trailer : Hello, welcome to the Hometown Logo Design Challenge, where we're going to focus on the circle shape. My name is Melanie and I'm the founder of Vision City Design Studio. Together we're going to go through this process, where I'm going to teach you some tips and tricks. I really had to create an effective circle logo design that really represents your own hometown. I too, I'm going to design a logo while working with you on this process. I'm going to show you all my tips and tricks, and workflow hacks and all the things that I learned over the years designing for clients. I'm going to teach you how to really create an effective circle logo. I'm going to teach you things like hierarchy, and balance, and unity, as well as positive and negative space, and all the things that I've learned that really helped me communicate the right messages within a logo design. You can even add a slogan if you want, or things that maybe your city is known for, things that maybe only you would know about your city or maybe your own experiences that you've had in your town. This is really your chance to pay homage to your own hometown. At the end of this course, you're going to go ahead and share your personal logo design or your city in the project section. I also encourage you to go ahead and share it on social media. This is a great way to give a shout out your own hometown. So I hope that you will join us in this challenge and let's get started.
2. Four Core Principles of Circle Logo Design: Hey everybody, welcome to the Hometown Logo Design challenge featuring the circle shape. The circle shape is such an amazing shape for branding because of how balanced and symmetrical it is and maybe that's why we use it so much when it comes to logo designs, and so I just love using the circle design. That's why I really want to go ahead and go through this process with you of actually discovering how to really be effective designing in a circle shape and we're also going to really pay homage to our hometowns. Let's go ahead and jump right in. We're going to talk about four key principles when it comes to design that we want to be aware of before we jump in and start designing our circle shape. Now the first thing I want to talk to you about is called balance. Now when you look at a circle shape, yes, it's obviously symmetrical and when you split it in half, up and down or side to side, it's always going to be equal and symmetrical in that way. However, it's actually possible to create a logo that is out of balance if we use too much weight visually on one side more than the other. What do I mean by that? I'm talking about things, for example, the thickness of the fonts you're choosing or maybe the placement of where you place your icons or maybe you are placing the illustrated elements of your logo, for example, say you have topography that is running around these top of your circle, you're going to want to make sure that those are both lining up visually so that one is not legging down lower than the other. These are the things you want to be aware of because yes, you can actually throw a circle logo out of balance. Now, when I talk about balance, it does not necessarily mean symmetry. For example, you can have things on angles going through circle shapes, you can have words that are larger than the other and things like that, but you want to make sure that if you're going to have, for example, something on an angle, that you're still balancing out the weight visually of how they are read by the actual viewer. As long as that weight distribution is actually even on all sides, then it's still going to be something that feels balanced to our minds. If something does not feel balanced, it's almost like this something happens to our psychology that actually makes us feel like we can't trust it, and so it's really important to keep balance even if you're going to do organic shapes within your circle or you're going to actually play with angles and diagonals and things, you still want to make sure that you're keeping the weight distribution in a position that still works. The second thing I want to talk to you about is called hierarchy. Hierarchy is really the placement of importance and the order of importance that we put on different elements within our design. Now, for example, maybe you want your city title to be read first and then you want maybe the state that you are in as well to be read second and then you want somebody to look at the icon shape that you maybe have it center. If you know that that's going to be the order of the viewing that you want to happen, what you're going to do is you're going to make sure that your city is bigger, it's bolder, and then maybe your state is a little bit smaller than that, maybe a bit quieter, so to speak, and then the icon is again, a bit smaller or a bit less bold. When things are bolder, when they're larger, those are the things that are going to get our attention first. You always want to place the most important thing or information, or text or title, or maybe it's the icon, maybe the icon is the thing you want to be read first. You have to decide within yourself what are the most important things in this design and how can I really make them pop and in that order. The third thing I want to talk to you about is called unity. Now within a circle shape, you can actually use that as an opportunity to use what we call as Gestalt unity. Gestalt unity is when we actually place a whole bunch of things within a logo and we make sure that it all fits within a shape so that when the person looks at the logo, they see the actual shape first, instead of all the different elements inside of it. It's almost like you see the whole silhouette first and then the details, that is what we call unity. Now another way you can do that is you can actually make sure that all of the elements within the logo are the same thickness and weight. You see this a lot nowadays with line art and line illustration that's become very popular, so you'll actually see all the distribution of lines are all the same weight, so really unifies the entire logo. Another thing I want to talk to you about is called positive and negative space. Positive and negative space is really important because the interaction of both the areas that are positive, or say a color or black versus the areas that are empty, that are in the case of a piece of paper, they'd be the areas that are just white, so those are the areas that are not colored, they're not filled in and the interaction between positive and negative might create shapes, it might create a flow, it might create airspace, so to speak, within your design. These are the types of things that really make a big impact when it comes to effective design. I wanted to be sure to tell you a few of those things to get your mind going and I also wanted to show you a range of ideas and just references so that it can get the wheels turning and I can help you go ahead and think of some ideas for your own Hometown Logo Design. Now in the next section, we're going to go into some research and how you really think about which direction you're going to go in by doing research.
3. Circle Logo Research : Welcome to the research section of our challenge. In this video, my whole intention is to really go through different logo designs and really offer some reference points and just offer some inspiration. I find it, really important whenever I'm working on new design projects, I really search and I look for things that I can refer to, obviously not copy. However, you know something about the logos that I'm about to show you may inspire you to take it in a new direction, giving you a jump off point. That's really what this video is all about and I think it's always really good to see what other designers have done and just refer from there. Let's go ahead and start with this logo here, AUTUMN LANE ORGANICS. Now, the thing I find is really beautiful about this logo is this beautiful typographic treatment. It's so simple, so modern, its sans-serif and I love how the spacing is identical on the top and on the bottom, the sizing, the thickness and weight of everything, it just flows together. It feels like a ring floating around center icon. You'll also notice that this side lines that are rimming this circle are the same exact weight as the font. Now this is actually something that you may want to potentially use within your own logo. Say you have your city running across the top here, maybe your state or your province running along the bottom, maybe your country, whatever it is that you would like to do. It's not completely symmetrical, so you have this very graphic and symmetrical circle, but on the inside it's, very organic and dainty, floating, natural leaf figure here. It's just a beautiful thing, it almost adds a bit more life to it and it's not so perfectly geometric. I love that they've done that. I love all this negative space, my [inaudible] negative space, all this white space in here. It's actually a really adding to the logo because it's making it feel even more airy, more modern and it just really is unusual for a logo which I thought was cool. I just want to show you this one. All right, Barnett Brewing Co. This is actually a really interesting logo. I love the three tones of color. You've got a soft base, a dark brown and then this beautiful mustard yellow running around the outside. I love that bright mustard yellow punchy color because it really enforces the sense of that, It's a circle logo. You're going to really see this from far away, really well, I can see this hanging outside of one of those pubs, breweries, lit up with lights behind it, that would be cool. I just like how this is also very balanced as well, even though it's not symmetrical and that's something that you're going to hear me say a lot is that your logo does not need to be symmetrical, to be balanced. It's a modern font, but it's got a slight bit of vintage feeling to it and they've just played with sizing and I think it's just a really beautiful logo. I like how they've got this glass where some of these leaves on the left are filled in and then the ones on the right are not. As you can tell, there's just a lot of really cool things going on in this logo. I also love the thickness of the lines, how they're fairly consistent. Then again on the outside it got a thicker line and then this bright color punch. Just imagine even close your eyes and squint than a little bit and imagine this logo without that yellow and how much less powerful it may be. We're going to talk more about color and really adding color to a logo a little bit later in the course, but I really wanted to just highlight this logo. All right, FOODPOINT RESTAURANT established 2018. Very simple, very playing on positive and negative, which I think is really cool. Within the F and P, there's no break between them. They've added them together like a monogram. Right in the middle here, as you can see, the negative space runs right in between the F and the P which I think is clever. I also love how they've used this extra positive space over here to create a shadow. You can see it over here on the right side and left side, right under the ESTD and then the 2018. Again, it just adds a sense of three-dimension, which if that wasn't there then this whole logo would look flat. I think it's interesting that they've done that. They applied some thicknesses of lines, and most importantly, the first thing that we read is food point. In your logo, the first thing you may want to read is the name of your hometown. You may want to refer to this logo. It's super simple, straight to the point, but I think it's actually really clever and it's one that could look really great, both large and small. This is a really cool logo, very modern. It's got a bit of a hipster vibe to it. Again, I love how all the thickness and the weighting of all the lines, all the fonts, and just the type treatment here. Parts of it are actually looking a bit worn in. It actually looks like wrought iron by the way that they added texturing, which I'll talk more about texturing in a little bit of later part of this course. But just adding that texturing, really makes this feel like wrought iron, which is really interesting. You'll notice that outside line though is not textualized. Again, I think that's just to reinforce the circle and to make it more identifiable as a circle from far away. I think this is super clever. This monogram ID on the inside, very clever. This might be something you may want to try for your own hometown. You may want to actually, do a monogram and name your city and state and make that a monogram, that would be amazing. Again, totally up to you, but I want to be sure to show you this logo. It's super clever. You'll also notice how far away the design starts from the outside of the circle. Noticing things like that, why did that designer do that? They did that really to just give some space. Space is always a good thing. Things don't have to be too tightly placed together and I think it's actually really clever that they've done that and they've added this space. It actually adds a little bit more of modernity to it and a bit more, I would say hip feeling to it. All right, Genny CREAM ALE. Now this is a really great example of hierarchy. The first thing that just jumps off the page and jumps off of the logo is this amazing hand lettered Genny. Or maybe it's Genny because it's a G, I'm not sure how they say it, but regardless, it's just amazing for all of you hand letters who are watching or those of you who are just really great with a brush or with brush pen, micron pen. This could be a really interesting and fun way to treat the name of your city. You could actually have the name of your city here. Down here you could use this cream ale to refer to for the name of your state. I like how they've got this a wheat symbol here, or barley symbol. I think that's really interesting and it's just a little touch of an icon. But this is definitely, this hand lettering is stealing the show and it's amazing. I would love to see some of you try this. This could be amazing, great reference point and then up here they've got ROCHESTER, New York. You could definitely do something like that, or this could be a really interesting idea and maybe do like the name of your city, where the Genny is, and then the name of your state down where CREAM ALE is. and then maybe up top you just got and smaller font. Maybe it's a little bit of a slogan or something that your cities known for. In this hierarchy of this logo, the first thing we're reading as Genny, the second thing we're reading is CREAM ALE, and then the third in this case is ROCHESTER, New York. As you can see, just a size design thing. It's very clever and I love this texturing. They probably designed this without the texturing and added it in later. Again, we'll talk more about textures shortly but this is beautiful. I think this is an amazing circle logo. Some of you might say, Melanie, this is not in a circle, it's breaking the rules but rules are meant to be broken. As designers, that's what we do. If you want to go a little outside your circles and make a little bit, going over the edges of the circles, you absolutely can do that. This is still considered, I would say, a circle design. They're just playing with the circle with these interactions. So it's beautiful. Okay. This one is like a perfect symmetry. Some of you are very logical and you keep things in line and you love the structure of the grid, for example, as designers. You love, more than anything for things to line up. I kind of feel like I tend to lean towards that, so that sense of order and structure. This is amazing. I love again the fact that the typeface here, which is probably helvetica, this is all the same thickness as all of the lines. Every single thing in this logo is the same thickness in weight, so it really creates a sense of unity. There's the two lions. There's an extra rim around the end of the circle or edge of the circle here. Again, it's just creating this stamp like idea. I can easily see this magnitude stamp and then like stamped onto boxes or onto envelopes or what have you. But the whole idea here is very symmetrical. There's something perfectly centered here, this tree and it's almost like rainbow-ing going on, it's just all very creative and it has just a positive feeling to it. Again, a really good reference point. You may want to have your slogan running up here and then, Austin, Texas or whatever it might be. Wherever it is you're from, you may even want to make the slogan, the thing people read first and that's okay because this is your logo. So you could really make it a thematic concept for your logo design. All right. This one's really interesting. The invitation CO and then you read London England. Then it's got like established and then it's got like the year it's established, which I can't even really read but you get the idea. This is actually a really interesting logo design. I love the texturing, I love this kind of rippling going around the outside again. Yes this is a circle logo but your edges can be really how you want them. So feel free to make them feel, you can make them sharp edges, you can make them spikes, you can make them look like this kind of rippling effect. It almost looks like the edge of a pie to me. I love this scrolling happening here and the fact that the main topography is actually on an angle, this still is very balanced because as you can see the top of the scroll here, it's folded up and runs around and then guess what, it does the same thing down here. So it actually is like a mirror image flipped. So you'll notice that even London on this side is the mirror image of England. So everything is very opposites and balanced. They even have a little flag up here and then it's flipped upside down just to balance the logo. This is a perfect example of a very fluid and almost organic shaped even topography, even the word the and CO is like a hand lettering but it's all balanced because of the placement. The person that designed this was very clever and they literally balancing. So if they're going to do something on one side, they did it on the absolute opposite side to make it all feel like it's even distribution. Love the texturing here, this is really beautiful. It makes it feel more vintage, like it's been around for a 100 years. It's very great logo. This could be something that you may want to refer to for your own logo design, Karma Cafe. Now this is actually a really cool concept. I love how you see the entire thing first and then you have to go in and read Karma Cafe. So those of you again who are hand letters or even slight like graffiti or artists that you really play with letter forms maybe you are a type designer, maybe you create your own fonts, this would be a really fun way to kind of flex those hand lettering and creative skills when it comes to fonts to fit inside of a circle. So maybe the name of your city or your town and the name of maybe your province or your state underneath here. Again, you don't even have to include the name of your state or your province or country, you can really just focus on the name of your city or what have you. It's really up to you how far you want to go with it but I just loved this concepts Karma cafe. I like how there's this extra little line of white riming it around. I find that that helps to seal it off even though the rest of it's very organic and non uneven. You've got this really even line or stroke running right around the circle. I think it's just ties it off and it makes it feel almost like a little crystal ball, like you're looking inside of it because the k and r, the r is the largest thing, so it gives it a bit of a three-dimensional feel like you're looking into something. Again, really clever and I think that's a really great reference point. All right. Markets supply CO. This is a lot going on. Some of you want to really make it feel like a very full design logo. A lot of people like to do that kind of thing, especially if you're very into illustration or you'd like ornate design, this is something that you want to try using. This again is a very historic feeling logo. It feels like something that we may have found in the 20s. I thought this was a really beautiful logo. I love the hierarchy of this giant M that became the focus point and then you just run your eye it naturally runs across to read market. It's kind of like a massive banner. Then naturally our eyes will always fall to what's beneath, so Supply Co. It all looks a little bit handmade in a way, which I think is really clever. Then you've got these other details. In our case, maybe this style can be referred to. Maybe it's the name of your city running across here and then maybe this is the name of your state down here. Maybe where Chicago, Illinois is written, maybe that could be where you write your slogan. Noticing the different way that they have treated all these different lines, they've got thin lines, thick lines, rippled lines filled in circle backing the entire thing. Again, this texture detail running under here makes the whole thing look vintage. This is just a really clever take on a logo, a circle logo design. So again, I want to be sure to show this to you as a reference. All right. Pacific Electric picture. Now this is really great. It's modern. It makes you think of electricity based on all these different little zap things going on all around it. Again, really interesting play on line. You'll see that lines and line art is very big right now. Just these little zaps, icons running through the typographic treatment. You may even want to do something like that. This is very much a typographic logo with just a few little lines running through the whole thing to add personality to it. If you look up close, it's also got a nice worn out texture and it's not a dark black, it's a vintage black, which again makes it feel a little bit older. I think it's just really clever. The second circle down here just draws your attention, draws your eye down to the CO, so just a little detail there and just thinking about like why did a designer do that? It really is just to draw your eye down towards that. It's just a really clever logo. Again, it feels a little bit three-dimensional and the fact that the electric is the largest piece and then up here is small, picture is small. It feels as though electric is popping out towards us, which is really great. This is like a letterpress looking logo. It actually looks physically letter pressed into this paper, which is interesting. You may even want to take that concept and refer to the feeling of like that 3_D feeling of letterpress, just a side note. I love how simple this logo is and it's got just a very simple positive and negative mountain scene and then it just got Pacific Northwest. Like this is not at all a complicated logo at all, just a few little trees and a few mountains that are barely there. There more focusing on the negative space than on the positive. But I thought it was just so clever and so clean and very easy to read. You could see this like embroidered onto a hat or something, like it's just really clever. I also like that this actually shows mountains. So maybe you live in a mountainous area, maybe you are in Colorado or you're somewhere that really showcases such a beautiful landscape, then maybe highlight some of those things. Maybe your by a lake or by an ocean or maybe your by some other beautiful scenery that you want to really highlight, maybe evergreens or palm trees, I mean, all these different things that we love about nature, maybe highlighting some things within nature could be a great move towards your logo. This is really interesting. This is actually Queen Street West paper plus cloth creative Supply Company. This is a ton of information, however, a thing I love about it is that although it's a ton of information, it's all the same color, it's all got a bit of a texture going on, so it looks like a stamp. I also love that it is so informative. Maybe your thing for your logo is, you want to put in a whole bunch of cute, fun, crazy little details and icons and things that really represent your own hometown. Maybe the name of your town is where this word paper plus is, a paper plus cloth, and then maybe the name of your state or country could be running along the bottom. Referring to this is actually not a bad place to start a logo because, I just find it's got so much going on, but for some reason it's still all works. It's still balanced even though there are elements that are definitely not symmetrical. They've got a scissors over here and a little bit of a ribbon going on over here, just super interesting. It's like one of those really great labels on like so person thing that, even though it's got a ton of information going on, you just can't take your eyes off of it. That's what this does for me so. It's just super interesting and I thought this could be a clever approach. This is another great logo design, paper aligned designs Portland, Oregon. I love this amazing typographic treatment in the middle, it really pops out. But the thing that pops out to me the most is actually the edge of this logo how its got these blade effect going like a saw. I thought that was just super clever and interesting. Maybe you're approaching your logo design in a way like this. In my mind, this is referring to cutting wood and then thus this person's referring to paper. So they're trying to draw our attention to the idea that paper comes from trees, it's just clever. They've got Portland Oregon there, I love how they've got this monogram of these three really well-designed letter forms here. I love how the L has this exaggerated middle here when L is don't usually go up, but they did that for balanced reasons. If they didn't have that growing up in the middle, it actually may not have worked as well. This is the things we have to think of as designers and creatives, and I just really think this is a clever look, you may even want your logo design to look as though it was been stamped even if it's not been stamped, you can do that in Illustrator adding a texture to it, bringing in a texture and then factorizing that texture can be a really clever move as well. Here's another one that I thought was really amazing. This stamp, it's actually hard to read to be honest, I find this to me almost borderlines on that Graffiti, like amazing stuff we see on the walls as we walked through streets. I love it, so rhythm, kicker, you have to take your time to read it, but I think it's amazing. I love that this is just as bold circle. It's super lined up and it's very graphic in nature, it all has a squared off edges and straight lines, however, the lettering is all intermingling together, which is amazing. This is a really clever way of doing a circle logo, rhythm kicker. It takes a bit of a second look to read it, but this is really your own logo, so there's no real rules. But I thought this was super worth looking at and I love how this is really Gestalt unity. Gestalt unity is when you look at something and you see a shape, and it makes an impact on you, and then you look again, what's inside that shape? What's creating that shape? In this case, it's these amazing handmade letters that were probably created completely custom, probably on paper, and then on illustrator. Let's go on to the next one, but that's a really cool stamp logo. Welcome to Sydney Australia, the Harbor City. Now this is a really great example. This literally looks like it's something that could be stamped on, boxes or mailing envelopes, this could be on a sign, I love how Sydney is just popping right out there. This is a great example of what we're looking for. I love how it just reads, welcome to and a nice inviting lettering, and then boom, Sydney, Australia small, and then the Harbor City is a little bit larger and it's the same inviting vibe and spaced out lettering as welcome tool. Now it's really interesting they added in a little bit of stars down here just to add the sparkle, the edging looks like that of a sticker or stamp, it's referring to the idea of mailing, and then they've got this really cool icon within the logo that refers to a place in Sydney that is a very popular place for people to visit, so you think about that. Is there something in my hometown that is recognizable? If you live in a place that everybody visits often, what is the place that they all go to? You may want to include that, but then you don't want to do that. Maybe you wanted to do something that refers to the local coffee shop, or maybe the something that refers to your favorite ice cream shop in town. It's really about your own personal interpretation. So have fun with it, you can definitely do something that's like, where people visit a lot, however, it doesn't have to be that it could actually be something that's a bit more personal and completely up to you. But this is a great example of a city logo design, like a hometown logo design featuring the circle shape. All right guys, now last but not least, we've got this awesome Be Happy Born in Colorado logo, this is an amazing logo. It's just the fact that it's also unified in thickness, it does have different types of lines going on forming these mountains, and he's trees in the sunshine, but it's also got this wavy lines here happening just to imply different textures, and then they've got these wave joining lines, which is actually unusual. That's the part of this logo that I probably love the most are these little squiggly lines on the side because, it's just so unusual, it does make you look a second time, and maybe it's just the be hippy. I like that slogan, it's really fun. You might have a slogan or something that people say in your hometown you want to include, this is amazing. This is a great way of doing that. You could also do a born in like for example, I could say born in Toronto. Like technically I was born in Toronto, in this course, I'm going to be focusing on my hometown that I grew up in, which is just outside of Toronto, it's called Pickering. However, in my case I could say something that relates to my city and I could say born in Toronto and do an illustration centrally here to represent that. Guys, this whole video is really designed to just get the creative juices flowing. Now, in the next video, I'm going to go in and show you some sketching that I'm going to do as I'm walking through this process with you, I'm going to show you how I approach the sketching phase and all the different things that I go through when it comes to actually hashing out logo ideas on paper. Go ahead and I encourage you to grab your sketchbook, or your pieces of paper or pens or pencils, however you like to work. Let's get some sketching going together and let's keep moving forward.
4. Sketching Phase: Hey guys, welcome to the sketching phase. This is actually my favorite part of any logo design project when I actually take all the reference material and the ideas and the things and the inspiration that got my wheels turning creatively. I then put them inside of a sketchbook. I often just sketch in one of these little sketchbooks like this. I like small sketch books just because I find it you can create one idea and then just flip over and start again. It's easy to have a fresh slate, that just something mentally for me I find helps rather than having a larger scale sketchbook. I find actually most of the time I just use small ones and plus they're actually really handy. You can travel with them and just throw them in your bag, your purse. It's just a really great way to get ideas out quickly. I find some people go right to the computer and I actually find that that is what slows me down. Whereas if I'm working on my sketchbook, I can actually quickly sketch out ideas. Then I'll quickly know whether that's going to work or not. Maybe it's a yes, maybe it's a no. Pull out a check-mark beside it. If it's a yes, if it's maybe a considered idea and this way I can sketch out like 12 ideas really quickly or however many. It takes me no time. I do not do details when it comes to sketching. I actually do them really quickly like stick figure type stuff. I do not do pretty hand lettered fonts or anything like that. Everything is very quick. I'm trying to just dump my ideas really quickly onto the page and then take them onto the computer. In the next video is I'm going to share with you some of my quick sketches, just how I really throw them out there and just think of how I could possibly go about it. Then we're going to go on from there into Illustrator. All right guys, what we're going to do now is we're going to go ahead and get started sketching in our sketchbooks or on sheets of paper, whatever you got, just go ahead and just dropped out some quick ideas. Now in my case, I'm going to be actually working on a logo for my hometown, which is Pickering, Ontario, Canada. On my little camera here, I just wanted to also be able to show you what I'm doing. I've got a little circle here that I'm drawing. Obviously it doesn't have to be a perfect circle, but it's to get things started. I also always do a bit of a secondary circle to just get things going. I also grid it out so it separate it in half. This helps me to even just see the top and bottom of the logo dividing it in half. Now, I'm going to try adding in just some simple topography. Now this is extremely rough as you can tell. At this point it's okay if it's rough. I'm just going to write an Ontario really quick. Now, I personally live in an area that is very beachy and it has a lot of sailboats and things so I'm going to try using sailboat references. A little like sunshine. I don't know. Just quickly referencing where I'm from. Maybe there's a bird in the air here. I would love to incorporate water. I'm actually going to use some negative space and include this idea of flowing water. Maybe coming in and out of my shape of my logo. It just creating a sense of movement going through the logo. If I wanted to, I could add a little slogan right here or at the very top, or I can have it run around the whole interior shape if I wanted to. That can be really fun or I could add the slogan down here. Now I can put something like, living that beach life or barefoot by the lake or something cute just to reference the concept here. That's just one idea. Let's go in and just try something completely different. Now, what if I wanted to try something that was not so perfectly balanced? What if I wanted to try something that had more of a rough texture to it? There we go. Now if I wanted to do more like a hand lettered idea, let's say I want to do something more feminine. That's really rough. You get the idea though. I wanted to have this lovely, beautiful hand lettering run right through. Now. Technically, that is still, believe it or not. I mean, it's wonky right now. As you can tell, it's still going to end up being balanced because even though it's on an angle, it still feels balanced because I've got something dramatic happening here as well as something dramatic happening down here. Very rough. I'm not necessarily trying to show hand lettering skills at this moment, but you get the idea. Now what if I wanted to do florals around the outside and now those are not flowers, but you can get what I'm saying. You've got leaves, fully edge leaves. I want to more focus on nature. This could be a shape that I feature within my logo from my hometown. Maybe I've got a beautiful flower happening up top. Do this in line arts, whatever it might be. Some a beautiful petaled flower. Then I've got Ontario written cleanly on an angle. Maybe that's a ribbon or something. I wanted to go very ornate and beautiful. I could do that. As you can see, this can quickly come together as a logo. This is the way I do my thumbnails. They are not really meant to be perfectly designed. Obviously, this is just quick ideas getting them out on paper. Let's start a whole new idea. Let's do a pub style idea. Maybe to me, Pickering is like the local pubs. I'm not really a beer drinker, but let's just say I was. Again, I'm creating some little shapes just to help me stay in my own references. Super-fast. Well, the idea is to get these ideas out quickly. Not to be perfect. Let's say I had some ornate design like as far as line arts, maybe it's some a celtic symbols or something like that going on there and I've got Ontario. Now what we're going to do here is we're going to go ahead and put in, let's say I'd a nice point shape. You've got all the sands coming out of it and it's falling over, let's say for example. Then we have a really cute little phrase running all the way around the inside. This is a cool spot for your slogan. Maybe you've got something that says cheers to being a good neighbor or cheers to Ontario's jewel or something along those lines. Something that references my hometown. Maybe this entire thing is this area here is the positive space, the inside of here is negative. Then the lettering could be then positive and then inside of here could all be colored in. Maybe the inside of this glass is empty. That would be then the negative space. It's like negative, positive, negative, positive. That can become a logo. Lets do another one completely. Let's try something completely different. I always liked the idea of trying to create a wide range of different things inside of a shape. That all come together. Maybe there are different things. Maybe they're leaves, flowers, maybe they're local fish nearby. I mean, whatever it might be but they're all filling in in here. I'm trying to just give you the concept of whole bunch of little things inside. Then what you do is you are not going to have a hard line around here. Maybe you're going to have like leaves or different things right up to the edge. It's creating a bit of a soft edge. Maybe you still referred to your grids, maybe just draw some lines there. Then you still draw Pickering going around the outside. Maybe it's in a very much more of a dainty, thin font this time. What I'm trying to do is create a different feeling, more feminine, maybe a bit more earthy. I don't have a heart outside, I have an actual soft edge, I have actual floating letters. I can do this all in the exact same font the exact same spacing. Okay, you get the idea. Like a little dot over here separating the top from the bottom. It feels like a globe, a sphere or a circular shape that could have, the name of your city, state or province underneath. These are some quick ideas, let's try it for fun. Let's go ahead and do something to do with the farms. Let's do farmland reference. Ontario has a lot of farmland. If you've eaten today, as they say, Thank your farmer. We're going to go ahead and fill in another circle in here but this time we're going to refer to that line drawing look. We have a barn, large sun, maybe some sort of flying something. It's going to be something referencing the farms. Something along those lines, you can go ahead and put in florals over here, put in a local flower that's grown in your hometown or home state. Spacing things out nice and wide. I want this to be the main focus so I'm going to do it bold. If I can remember how to spell it. There's a whole another idea, but it's still using the exact same overall pattern in a way. What happens if I completely remove this hard edge? I hope my camera doesn't fall over right now while I'm erasing. You can have all of this floating around. You can have lines connecting things if you have spacing in between. There is a whole another idea. As you can tell there's a lot you can do here. I love the idea of incorporating a slogan. We incorporate that slogan "If you ate today, thank your farmer". We could have that running all the way around in very small print who wanted to keep things interesting, that could be another idea. What I want you guys to do is go ahead and sketch out your own ideas, that'll help you to know which direction you want to go in before you head onto your computer. Whenever I have created a variety of sketches within my sketchbook, I then revisit the ideas and see which one of the logo ideas were standing out to me. What I've done is I've gone through the ideas that I've sketched for you, and I've selected this one. This one is going to be my starting point towards my finish line. This one to me feels like my neighborhood. I live close to sail boats and the waterfront this to me feels like home. That's why I want this one to be the one I work towards the final. What I will do now is variations. I will not take this directly to computer, I could if I was in a real pinch with time, in this case I want to love on this logo and do something that's going to actually work for my hometown. What I'm going to do and I encourage you guys to do as well, is to always expand on the idea that is working. I will go ahead and I've actually done this for us. It's to save time. But I've actually created other sketches that are similar to this. I did this one real quick off-screen to save time so you're not watching me sketch them all. I took the same idea, as you can see in this one, I had this rim of line around here, actually wanted this one to try a floating topography running around the top and around the bottom. Instead of having the water running towards the outside of the circle shape, creating that negative space. I decided to encase that in a circle as well. I also played with thick and thin lines to create a sense of movement that's what I tried here. I added these hard, solid circles separating the top and the bottom topography. They are not centered. They're two thirds down and about a third of the way up there, this is another option I created. Then I did this one. I did something similar. I tried a different font. This is a serif font. I thought let me try something different on the font. I added some anchors on the sides here. I liked the idea of thick and thin with the waves of the lines shaping the waves. I wanted to change up the font and try adding in some line detailing going around and then created a bit more negative space in here. When you start to play with your logo design and try variations. Interesting things can happen, and trying things is the way that you discover those. After much thought and consideration, I then went back to the original idea I decided, I'm going to try using these lines that run in and through the logo to create more movement. Something about that attracted me and I like the feeling of it, has a happy feeling. I decided that I would want Pickering to be much bolder and larger. I like the idea of incorporating a floral at the bottom here and then Ontario I want it to be bit more dainty and potentially be a serif font to add that classy elegance to it. I decided to try using a hand made or hand lettered "living life by the lake" or "living barefoot by the lake", a phrase running around the top, lettering, running along the inside sort of circle of this logo and then underneath the waves as well. I wanted to try something like that, you can change up your slogan obviously depending on how much space you have. This is your take on your logo it does not have to be a slogan that's real, a phrase or a motto. It could be your own personal expression. I wanted this sailboat to be floating on top of the water. I'm going to go ahead now and take this logo into Illustrator and then try working this up. After I've recreated this Illustrator I'm going to work on colors, potentially adding texture, let's go on to the Adobe Illustrator portion where we can work these logos up to the finals. Go ahead and enjoy your time sketching your logo ideas.
5. Re-Creating The Logo In Adobe Illustrator: Hi friends. Welcome to this video. I'm going to actually teach you how to take the illustrated sketch that you've created for your hometown logo design challenge. What we're going to do now is we're going to bring it onto Adobe Illustrator, and I'm going to show you how I would take this sketch, and turn it into a logo design. Now in this case, it's going to first show as a a line drawing. So I'm not really going to do too much filling, its going to be more like a simple line drawing because I think that's something to explore. Then I'm also going to show you how to [inaudible] fill in, add some positive and negative space, what areas should be positive? What areas should be negative, and we'll explore a little bit more with this and then from there I'll be adding how to add color and explore color and also just thinking about may be even adding texture. Let's go ahead and get started. We can go back to our sketch. I'm just going to copy this and go down to new art board and paste. Before I go any further, I want you to know that it's important to really clear off your art board in your actual up page with an illustrator of any of the little tools you don't need. As you can see, I've got really minimal things open here. Anything I do need is a tab inside. Here's my Swatches and then I have got Color, Stroke, Layers. Then down here are Transparency, Art boards, Pathfinders something that I might use some times. I don't really keep too much open. I think that that's just more of a mental thing for me, and I hope that helps you guys but just to clear off, sounds we can have like 50 different things open and actually just becomes distracting. I hope that that might help. What we're going to do first is start with the Ellipse tool. I'll just call it Circle tool, and we're going to start with a circle. I'm just going to give it a black stroke just for the time being, and I'm going do copy and paste on top. So Command C, Command F and I'm going to make a secondary one. I'm trying to replicate in a general way this original sketch. Then I'm going to do another Command C, Command F, and make it a little bit smaller. This is going to be the inside circle. That's happening around this sailboat. So let's just start there. From there, I'm just going to gather these and I want to just add some guidelines. I'm going to pull in the guidelines from the top and the bottom to be centered and I find that that just helps me. looks like I've got a few things open here. Let's get rid of the extra ones. I'm going to get rid of anything I don't need. Again, I'm just trying to keep this all simple. Everything is all lined up, It's centered, we'll tap that over a bit. There you go, centered. Now what I'm going to do is I'm going to copy this internal like this central circle line. I'm going to copy it and paste it again, and then I'm going take it out and that's going to be my guide for for my typography. Let's go ahead and start with that. I went up to the topography tool. It's called type on a path. Then I'm going to click on it and I'm going to type "PICKERING". Because I was just creating this other example, I want to make sure I was able to do a rough quick one first before I hit taught this course because I find, I still don't want to waste you guys time to get to it and show you what I would do, but I was already using that font, so that's why it's showing up here. So that actually works out well and It's also bolder. As we talked about hierarchy earlier in the course, I want Pickering to be the bold, clear title of this logo design. Okay? So let's show our guides again and I'm going to actually pull down another guide, do a little bit lower than the P and the G because that's where I want my waves that I have drawn here. I want them to start to interact with the logo around that height so it's a little bit lower than the central line. Here's central line, right here, where the G and P are almost touching and then my waves are going to start interacting below that. Before I go any further, I want to just take off all guides and you can look at this and see that even though the P and the G are fairly on the same level as far as weight, the G is just a heavier object. When you look at it, it just looks heavier because of its shape, its width. This font just carries the actual G's carrier heavier weight than the Ps. If I want, I could actually adjust this P to make it feel a bit weightier or I could just actually round it out and actually move the way that this is carried by actually taking it and spinning it a little bit backwards. So right here it's pretty much level but sometimes when things are level perfectly, they may not be level visually. That makes sense? You have to squint your eyes and look away and look back at it, and then see if that's still making sense in having the same weight that it needs to have. Let's just say that that was where we wanted to be. Again, these are little details you can tweak as you go along. Now what we're going to do is we're going to take this font and undo Command C, Command F. So that's [inaudible] , I have two of them and I'm going to go upside down in the bottom, spin it and then I'm going to take the handle, which is like a flip handle I don't know what they call it. I'm going to grab it and flip it towards the inside. So now the word Pickering is actually showing on the inside of the circle like that. I know this 's getting a little messy, but you'll see in a minute. We're going to go out here, and now I'm going to go ahead and type "ONTARIO". I'm going to select that whole thing that I just typed and just for the time being, it's just to not be wasting you guy's time, I'm going to go ahead and copy this font. This is the font that I selected earlier to be the one that would make sense for this logo so I'm going to go ahead and do that just for time sake. Even though this is a much smaller font, as you can see, I still want it to balance out with everything else that's going on in Logo and even though it still has obviously a lighter weight, it also has serifs on it. let's see which font I chose here. This was the Rockwell. So it's got a boldness to it, but it still has these kind of bold serifs. What I'm going to do is I'm actually going to take it in a little bit. I'm trying again to make sure that my space built beneath my font and above is somewhat equal visually. I'm also going to make sure that I pull in a guide here and really just find out where the Os are sitting. In this case, Ontario begins and ends with O, which is lucky because that's not always the case for words obviously but I'm trying to make sure that they're going to be balanced and they're going to be hitting the same spots visually. So I could actually take my guide and bring that up a tiny bit and then Command 5. I'm trying to basically get it to be balanced. Again, balance is always something that we're seeking after with a circle logo design, so it's important to note that. So now what we're going to do just for the time being, is we're going to go ahead and recreate these wavelengths. The way I created them was I actually did a line technique, and I'll just go up here to show you. It's a quite simple technique. It's really about nailing it once and then copying it. What you're going to do or what I'm going to do is I'm going to click on one side of the arch or the kind of curve that I'm creating and then I click in the middle on A angles. I'm creating a bit of a up angle, and then as I press "Shift", I pull it in the other direction. Now I know you already know how to do this, but not everybody will so that's why I'm taking the time to do so. Then what I'm going to do is I'm going to actually use a guide and this guide is going to help me to create a perfect arch. Now that I've got one part of the arch, let me zoom in even closer so you can see it. Now, what I want to do is I want to copy that and also mirror it. So reflect tool is what I would use here. Now it's giving me a nice kind of archway. I'm going to select the two central actual points, and I'm going to average them. So Command Option J to average, and then Command J to join. Now, this is one item. Then I'm going to take this whole thing and drag and copy it, if it'll let me hold on when it's up here. Then flip it. Line it up as best as you can. Now you've got a fairly close so let me spec and line it up a bit better for us. This is a fairly close we have creating an arch or a nice squiggly line but in a smooth way. That's close enough. I'm going to go ahead now and select those two. Those are two endpoints in there, and I'm going to go Command Option J again, and then Command J. Now, I have this nice smooth squiggly line for lack of better words, and I'm going to select the whole thing, copy and option shift and then pull it. Then now it's going to be another extension of it as well. I'm basically doing the same thing here as well, because there's two points here that don't line up. I'll show you what I mean. If I go Command Y, you can see them. It's difficult to see on camera or on this video unless you view this full screen. I will go back to the full view, so it's easier for us to share Cit. Now, I'm going to do the exact same thing, Command Option J, Command J, zoom. Now, as you can see it's turning into this nice squiggly line for lack of better terms. That's the way I created this line. I just kept going into the end. For sake of time, I won't bore you guys, but that's how I did that. I'm going to get rid of that now. Now, that I have it done, I'm going to go ahead and bring this into my logo. That looks a bit more like my sketch. As you can see, it's not centered, so I'm going to make sure it is lined up with my guides, and it's where I want it to be. We'll definitely be fiddling with this more, but this is looking a little bit more in line with where I was going with this idea. Now, as you can see right away, I want all the lines to feel a little bit more uniform. I'm going to take all the lines in the logo. Not that one. Actually, the text lines I'm going to actually lock right now. The ones on the lines that are having text on them, I'm going to lock by doing Command 2. But these ones here are all these like circular lines, I want them to be around the same thickness of my wave lines. The wave lines right now are at a stroke of three. Let's do that. Let's just stick with that to keep it on the same tone and I think it's worth exploring and all even stroked logo at this point, just to bring it uniformity to it. Even just by doing that right away, it's feeling a little bit more like a real logo and not so like a sketch. The first thing I want to do is I want to make this a bit, this central circle. I want to make it feel a bit smaller because I find it really not giving me a lot of space. As you can see, the word Pickering is squished in there now and describe a whole layer I want. It's not letting me for some reason Command 2. There we go. Here we go. What happens when you teach? What you do all the time and you just, it's funny, it's a funny experience actually to be teaching, designing in this way because it's like usually we whip through things so quickly. I'm going to make everything a little bit smaller and spaced out. I'm trying to just give it a little more balance. I want to make Ontario a little bit more centralized. It's a bit more in the circle, before it was getting a bit too close to the outside there. These are the little small adjustments you're going to make as you go along in your logo creation. Right now another problem I'm seeing is that all of these lines for my squiggly like water lines are actually feeling like they're see through. You can see right through them into the other lines behind them. I'm going to gather all these command G, and then I'm going to do Command C and then Command F, and I'm going to a lock that layer Command 2. What I did is I copied all those lines, these water lines, and I pasted them to front and then I locked that front layer. I'm going to take the layer that's behind it, which is, I mean, it's hard to explain other than say it's the layer behind it, and I make that stroke white. Then I'm going to increase the stroke size. It's not showing me because, hold on, hang on there, everything else has to be behind it. As you can see now it's showing me more, what I meant to show you here. Now, all these white lines that are behind it, the more I give it a stroke, the more it's going to delete all the stuff that was behind it there, does that makes sense? It's like I created, I duped all these black lines and I created thick white stroke lines behind there. What I'm trying to do is create space. This is a little bit of negative space that open up the flow of the whole logo. The more I increase that stroke, the better that space is going to get, and the more it's going to get. Now, it's not always applicable, but in my case it is. Let's say I'm happy with that amount of space. As you can see, I'm slugging a tiny little bit of my internal circle there, that if I want to just get rid of that, I can just unlock everything. Take all of this, all these water lines, then just tap it down a bit and there. Just like that, I've got a nice lines now that look like water. I'm starting to get a little more closer to my goal of creating a logo. Now what I want to do is create the actual sailboat that I have sketched in here in the center. Actually, I just noticed something about this illustration sketch that, and even in the remade version of it here that I did previously before recording, I actually did have a bit more of a ram down here to include some topography text, so I need to bump up my water. That's why we refer to our sketches because it's really easy to change things as you go along and subtle changes can actually impact the design. In my case, I basically need to just select this water and tap it up a bit, so I can have a place for the typography to also be underneath here. I'm going to have a few words placed in there. All right. For now, let's go ahead and let's work on our sailboat. What I'm going to do is I'm going to create the sailboat, it's very simple sailboat as you can see up here. I basically I'm using an oval shape cut in half, so I'll do that here. Let's do down here. An oval shape, and I'm going to just do a cut between. There it is. Scissors tool. I'm going to cut here. These two end points. I'm going to get rid of the top layer. Select these two end points here and join there. That's the basic bottom of my boat. I could make this bottom part that were rounded by just tapping it down a little bit. Because I wanted to sit inside of the circle, and then to create my triangle shaped sails, I'm going to just use the Pen tool again to create some triangle shapes. I hold shift down to keep the lines straight. I'm not going over here by accident over here, I want to illustrate down I just hold Shift. Then I can hold shift again to make it go straight horizontally and join. Just like that, easy-peasy. I'm going to fill. I'm going to flip it over to fill. Actually flip all of [inaudible] fill, and then I'm going to mirror this. You use the reflect tool and mirror this over. I'm keeping this shape super simple because this logo does have quite a lot going on. I don't want to have a complicated shaped sailboat as well. But take that whole thing. As you can see, I'm basically using the negative space on the inside is feeling like the pole, even though it's not a pole, there's no pole there. Now, the negative space can make us feel like there is something there. It creates edges. Then I just go ahead and I create a central line. I'm just going to line that up, tap it down a little bit. Let's leave it like that for now and try bringing that in. Let's copy that or group that, and let's go back up to our logo design. As you can see, I can't create components of the logo design outside of it and I bring them in and that's just the way I do things. Let me know if that's how you guys work. Everybody does things a bit differently, and that's okay. There's lots of ways of doing basically arriving at the same result when it comes to design anyway. I realize I have to center, guide somebody get rid of one of them. It's wrong. I've got that now let's tap it over some middle. Let's go like that. It's going to refer back to the one I already created earlier, just for reference point of view. Again, I've got a white line running around the edges of this shape and it's basically really filled in as well just to again, make this pop-out. If I don't what's going to happen is this. It's going to look really messy you can't really see where at the end of things are, and so on. I'm also going to take this whole thing and just stretch it vertically a little bit to make can it more rounded and a little bit taller. Because that's looking a bit more like my reference and that feels a bit more balanced to me. I'll just zoom in a little bit here. I'm going to take this on and actually make some outlines. It's a grouped items so "Command C", "Command F", and I'm going to actually freeze the top layer or lock it, I should say "Command 2". Then I'm going to take the bottom layer and I'm going to add a stroke from the outside. Now before anyone gets nervous about all the strokes I'm using. Don't worry, because at the end we're going to outline all of our strokes to make them vector. Because strokes can make people nervous because when you enlarge them, it can make people feel like, well, how's that going to work? Is it going to really work for the design when it's enlarged? It will if you do them properly. That's how I'm going to show you towards the end of this design. What I did there was I just took the stroke and I enlarged it, I increase the stroke number up to a 10, so went from a zero to ten. That's why had these nice thick white lines around the edges. What's happening up here that as you can see, is the stroke underneath is getting carried away, and it's going above this edge. I don't want to do that. In this case what I would do that take that and I will just bring it down. The reason why it doesn't really matter in this case is because it's not going to affect anything in this area of the design. Let's go on, I've also got like a sun shapes. Let's just throw that in there as well. I hope I'm not losing anybody. I'm working a little bit faster now. But as I've said before, it's a bit interesting to try and teach things that you do with your eyes closed all the time. It's like that I'm going to select the same thickness of stroke and just tap that down a little bit. Here's my sun. I think I'm going to put a bird over here or something, but let me just, I'll get to that in a moment. Now what I want to do here is, I want to start putting in my slogan. Then I'll add in the bird and a couple of flowers and will be really close to being on our way. But what I want to do first, as you can see, let me just zoom out. Let's just look at this before we go any further. Let's just stop for a second and take a look. As you can see, the pickering is sitting well, I think within the allotted space, the waves feel like they're flowing through pretty well. But I find this space down here is not going to be enough to put in my slogan. What I need to do is actually make this whole area little bit bigger. I'm going to take these two lines and I'm going to just open them up a little bit. I'm going to do "Option" and "Shift" and then just drag it out a little bit. Yes, that's going to make pickering a little bit tighter as far as typography goes, is going to open that up a tiny bit. But now as you can see, I've got a bit more of an area to type my slogan inside of here. If I really wanted to, I could make this whole central circle a tiny bit smaller, so that it's there, but it's just opening up the negative space in here. What I'm going to do now is I'm going to take this central circle selected, "Command C", "Command F", bring it to front. Then I'm going to lock that one, so I don't want to touch that one, but I want to use this as a guide. I'm going to enlarge the one that I copied. Now it's like there's two of them. I'm going to go back to my type on a line tool, which is the type on a path tool up here. Select that. I'm going to type that blue skies and barefoot life. That's what I wrote earlier, we just selected and actually copy the font that I've already used. So I'm not dilly-dallying in front of you guys here so you can move us along further. But I'm going to type in my slogan and see if that works. That blue skies and barefoot life. I'm going to select that and I might make that a touch smaller bring it down to 20 bring now it at 21. That's we're going to leave that for now. As you can see, I feel like it's a bit tight. I might actually make that middle circle a little bit smaller. That's why it's frozen, pulled on, make this a little bit smaller, just to give it some error. Now I could choose any font I wanted for that but in this case I just wanted it to feel a little bit flowy, like almost like a handwritten style. I'm going to take all these lines that I don't want to move them and I just freeze them "Command 2". I'm going to take all these middle components that is created and shrink them down a bit. Because everything was getting a little bit tight in there. These are the little subtle decisions we'll make along the way. Now if I unlock everything and I just select this top layer, actually it's all grouped and I ungroup that, I select that and I lock it, I'm going to select this underlying white stroke. I'm going to actually lower the number a bit just to give us a bit more of those black lines, there. Now you can see there's a bit more of a line on the bottom, a bit more liner on the sides, there is a bit more space for this font to go in. Now I have a little more space to put something down here. What I'm going to do is, I'm going to actually stretch this out a little bit, give it some space, go to my character. I'm going to go to my tracking, just say 55. I'm going to try and put that in there to fit. I think it's a little bit too tight sales let's go down to 45, all right,40 it is, there we go. Again, little details. It makes the subtle detail, but it's now flowing a bit better. I might actually make this whole thing a little bit smaller. Okay. Again, I wanted to take a guide and I want to line up this to make sure it's all lining up and balanced. Luckily I already have a guide there, so that's actually going to be okay. I have a central guideline there, so I'm going to use that to my benefit for this purpose as well. The same guide that I'm using for the Pickering is going to line up these internal slogan words. I'm going to take this and I'm going to copy it command C, command F. I'm going to flip it upside down I like what I did with "Ontario" and I'm going to write the words. I'm going to select it by the lake. It looks like it has disappeared, but it's right there. Now you should flip it so it's facing the right direction. I just grab these handle like flip and I bring it back in where it needs to be and I'm going to open it up so it's actually going to line up with where we want to line up. Now when I do that, it's going to actually increase its size so I'm going to select it again, and here we go. Now my waves are covering it in this case, I can actually do a few things. I can actually move the waves up, I can make this a bit smaller. I can just make some adjustments to make this work. In my case, I'm going to actually move the waves up a bit and I could also make Pickering a tiny bit smaller, and then re-line everything up. See like there's all these little subtle changes that need to happen with logos. Especially a logo like this one where I'm actually including a lot of different things. Some logos are going to be more simple than this one. But I want to show you what you could do. There's a lot of different options. To give you a bit of overall creativity and [inaudible] , you can be free to try some stuff. You don't have to do a slogan. I'm just trying to show you how to incorporate that in this case. Open this a little bit more and as you can see this trying to really takes shape. Let's see where we're at now. Again, we take all the guides off, make sure everything's lining up, working together, and let's take a look now. Whoops, let's see where we're at. We're getting a lot closer. I still want to add in a little element on this side again is to balance things out. Technically this is fairly balanced so considering this sun is not filled in, if it was filled in, it would start to feel a little bit more weighing to the left, but it's not. I'm also going to add some little emblem local flowers that are represented of Pickering and living here in Ontario. I want to give that shout out to the local flowers that we have. Okay guys now what we're going to do is we're going to go ahead and recreate these little flowers that I'm incorporating into my logo. This is a local flower that is known within Pickering. To make this logo or this flower part of my logo, I'm again going to use the pen tool and I'm going to create the shapes. I basically took a flower photograph and I pre-matched traced the shape of it, making my own adjustments here and there just to make it a bit more my own but as you can see, it's really something that's easy to do. First things first I'm going to take a circle and make the middle central area super easy. Let's make it yellow just for the time being, so you can see it while learning. There's a yellow circle and now we're going to do the edges around it. You can do one and then basically use it as a reference and copy it and paste it around to make the petals that way. That's the way I found it was easiest. I'm actually using my pen tool. I'm tracing this shape of these clover leaves or petals, excuse me, that go around the edges. When you've done one, you can basically use that shape. Let's make it like say red. You can use that shape to then create the other ones. Don't ever do things twice if you can do them once. Like if you have the opportunity to just do once and copy it, do that way to save your workflow. Let's say that I was happy with that it almost looks like a heart shape. Actually what I'm going to do just to make it even easier, is I'm going to make this into a heart or make it exaggerated down here. That might even help me later. Let's see if it does, and we'll bring the yellow to the front and I'm going to copy it and put it around, make it a little easy to refer to, heart-shaped. What I'm doing now is I'm just copying and using that reference. Once I've copied one, I can go ahead and use this to my advantage and go command C, command F, and start to spin it and then use it around the edges here from my other parts of my flower. All right, so there's that. There's lots of ways of doing this. You can do it more of an easier shape, like multiplication. But I find with these types of shape, it's not as easy because obviously it's not like a perfect circle that you're going around or you're not using multiple little edges so I find this the easiest way to do that. Now as you can see this is actually all one root of petals. Now I'm going to make all of these into one item. I don't want it to have five different petals. That's what makes the whole thing one item. I'm going to pathfinders and I'm going to select "Unite." Now it's no longer five items, it's all one and I have the circle which is the second item. Let's go command G to group those together. Now that we have this flower created, I'm going to bring it into my logo shape and see how it can fit. I'm going to go ahead and bring it in. Obviously right now I have it in a red shape. I don't need it to be red or orange, red, I'm just going to go ahead and make that black and make my yellow centerpiece. I'm going to make that white. If I'm happy with where I've placed it, let's say I'm happy with it there, then I can go ahead and use my mirror tool again. My reflect tool, I should say and reflect it so that it goes on the other side logo so it's in the exact same spot and everything is appearing overall balanced. As you can see, we're definitely getting a lot closer to the logo and in the next little clip I'm going to show you how to create a little bird to add in here, how to really refer to photograph for reference point, and then recreate it in illustrated pop that in there. Then we can start working on some color and potentially even some texturing. All right, what I want to do now is I want to take this simple shape of a robin and recreate something very simple and something that can represent the idea of a bird flying. But I don't want it to be too detailed because the rest of my logo is not very detailed. I'm trying to do simple shapes. What I'm going to do is I'm going to take the pen tool and begin to outline some simple lines that do flow with this shape of a bird. This bird, but in this case I'm just trying to create the idea of wildlife. Now that I've got my shape, I'm going to fill it in and pop it in and see how it works within my logo design. Let's copy that in. We're just going to pop it in and see. Now I've got this idea of wildlife going on. I think I can even simplify that, excuse me, even more. I would get rid of the foot, believe or not, just get rid of it. Make it even more simplified and a bit bigger. Then the whole thing just feels a bit more simple and subtle shapes instead of so detailed. What I'll do is I'll just get rid of foot by going to my Pen tool. With the Pen tool, if you hover over the points that you don't want to include within your design, it'll actually just get rid of it, which is great. Unless you're not exactly on the right one, then it'll give you that annoying sign or annoying signal there. Let's go ahead and just get rid of all of these guys. I was going too detailed, you might try not to there. Now it's even more simplified, let's zoom out. I think that's getting a little bit more in line with what I was hoping to do. Let's zoom in a little bit see is this feeling right. This is where you assess things. I always press F, F twice, a couple times just to really see it without any distractions, and just look at it for a second. See, squint your eyes, walkaway, come back to it. See if this is starting to get a bit more too complicated, or is it looking a bit more in line of what you wanted. Now what we're going to do is we're going to start to inject a bit more color. We're actually going to start to imply with color and maybe see where this could potentially go. Right here, I would definitely start saving, obviously, if you haven't saved already. I didn't really mention that earlier, but you want to be saving throughout this process every time we make changes. I have not really saved in a while so I'm going to go ahead and save this. Now that I've saved that, I'm going to go ahead and copy this and start fresh on a new page and then start thinking about colors. But what we're going to do is, we're going to copy and paste this final logo, the one that we're pretty happy with. We're going to now work it up to our final. Now, first things for sure, I'm going to save this file. What I do, is I usually save it and put it into a new folder called final folder or final logo folder, something that refers to this being the final. From here we're going to now do variations of the final. That's really where you come in with playing with colors and texture, which is actually a really fun part of the process. I hope you guys are excited. We're going go into this section now. What I've done here is I've actually copied and pasted this onto a new art board. I'm going to just zoom in and take a quick look at where I think we can improve. I find that this sun is a little bit big considering the size of the birds, I might just adjust that. I might adjust some of the spacing around this type and with this placement down here. I could actually place my sailboat a little bit higher up. I find it's a bit low in the circle. Let me just do those slight adjustments. These are the little things that I find really help a logo to develop. You don't really want to rush things along, a lot of you want to just rush it and get it done and save it thing but this if this is something that you want to live on for a while, but I find it's best to just step back and look at it with fresh eyes and just examine the feeling that's creating. Is it working? Is it not working? Right now I'm just playing with the tracking on here. I'm going to track this a bit tighter on the bottom just for space reasons, and then I'm actually loosening the tracking on this barefoot slogan I have going here. I think it's almost a bit too loose, so I'm going to make that a tiny bit tighter, I know it sounds really finicky, but this is what we do sometimes as artists, we have to make subtle settled changes. I've heard people say like the devil is in the details. I think it's really true, that really does make or break things when it comes to design. I'm also going to slightly raise up my water again, I feel like it's still a little too low that's a bit better. I'm also going to slightly track down my Pickering topography up here. I'm just going to go right down to 400 on that and just keep that, still spaced out nicely, but just to give a little bit more air between that and the water as you can see. Let's see if that works a bit but you have to create a little bit more air here. Air is good when it comes to logos, I might even go a bit lower, and I find that just helps to open things up. When things feel a little bit congested, I feel there are not as clean and they don't really come across the right way as far as transferring of ideas. That's just a personal philosophy. I find a little bit of air helps a lot. Mostly going to raise this up a tiny bit. It looks like the F is almost touching the line there, that central lines. I'm just going to expand that a tiny bit and just make sure I'm not going any bigger on the font. Again, I have to retract that now because I just did the copy, but that's okay 55. As you can see, I'm just making subtle changes. This is where you make the subtle changes for your logo, don't be afraid to, just try stuff out. You might make like five or six versions of just this actual place of using your logo. You might want to just adjust, adjust, adjust. As we're going along, you can always copy it like on this one sheet, you can do like five or six variations of this. For the time being, I'm not going to do that just for showing you guys, but that's what I find helps me. What I want to do now, is I'm going to save again, Command plus S. Now that made all those adjustments. Now I'm going to go ahead and try with some colors. Let's just get rid of this one up here, I'm going to refer to what I did previously. This is what I did previously before I recorded. As you can see, I made this background have a positive impact, and then this middle area is negative. The inside of the sky here is negative then I've got all these elements as positive. I'm going to try and do that here. This, instead of being a stroke, it's going to be filled in. Now that's going to obviously change things, so before I do that, what I need to do here is I need to make this circle have a white interior and I need to make this circle have a white interior, because right now they're both empty. Now if I try it again, that should probably work. Now obviously our tiling completely disappeared, but that's okay. You can just grab it, make it white for the time being. It's interesting when you flip thing, sometimes it makes them not work as well so it's an interesting thing. It doesn't always work the same way it may have before. I'm going to take these centers, I'm going to make them into black. I'm going to take my sun, which I said I was going to make smaller. I'll make that a bit smaller now. I want that to line up with my bird in a way, not perfectly, but just enough. I'm going to make it into a positive elements so I'm not going to have its stroked, I'm going to have it flipped around. See now I'm getting somewhere. What did I do up here? I made my lines much thicker so they're a bit more strong and prominent within my shape. I'm going to go ahead and do that. I'm going to try that on this as well. Let's do this. Select all my lines, my black lines anyway. Let's increase the stroke a bit. Now that's a bit much, maybe more like a 4.5. I have as at five a little bit too much so there we go. Let's try that, and then I'm going to also make this line 4.5 for consistency. All right. I'm going to shrink this in a little bit. See things change when you start to add color. They really, really do, and so that's why it's important to allow them to change and just to try them. I'm just making sure that all my fonts are still the same, I'm going to go back to my tracking and lower the tracking on this a bit. My hierarchy needs to be Pickering Ontario. I want them to obviously see the central shapes and the icons. But then I want them to read the actual slogan, so that blue skies and barefoot life by the lake. That's really what I'm trying to do. That's the order of what I want people to see. All right. As you can see, we're getting a lot closer now. I've got my sailboat that I want to now move a tiny bit up. I'm going to go Command 2. I'm just going to touch and move up this up a little bit just so that it feels a bit more like it's floating on the water. Now I've got my icons floating where I want them to. My flowers became, they look like they're in an odd shape now, in an odd placement, because when I change them to whites, now the white stroke is interacting with them, it wasn't before. What I want to do is, first of all, I want to just select the centers and we'll make those black. I'm actually going to just take off one of these flowers altogether, just delete it. I'm going to place the one in the place I want it to be and maybe make it a little smaller. Then I'm going to mirror it or reflect it and copy while I'm doing so. That works a little bit better, I think, visually. Now let's look back and see where we're at. Now we're getting a lot closer, I think. I'm going to go ahead and start to add, what, I'm going to save this as is, and I'm going to go on and then make it into, add some color to it. Let's say Save, Command plus S. Now let's go ahead and do this. We're going to take this logo, which is actually looking pretty close to my sample, and I'm going to take it and it's going to move to the side. Just move it over. Then I'm just going to copy and drag. Now we're going to use the same logo and we're going to add some colors.
6. Adding Color and Texture: What I want to do now is I want to add some color to this logo design, so I'm going to go ahead and create a bit of a pallete. Now I'll go ahead and create a circle here and then just copy and drag, command "D", command "D", command "D". All. I don't think it means that many colors, but let's just bear with me while we do this. So I usually would start generally with "Swatches", but you can have your own cratered swatches. Maybe there's certain colors that you are really drawn to. I want beachy colors, so the first color I want to use, let's say is a teal or a turquoise color but more on the blue side.So let's say we go about there. Actually we will lighten up a bit. Let's go a bit more brighter blue. I want to feel sunny, I want to feel happy. Then maybe I'll do like a bit of a contrast, maybe like a deep red. Maybe I want to incorporate navy. Navy is a great nautical color, so let's try something along those lines. A deep navy for the deeper parts of the logo. I find that just by doing a bit of a palette, it helps us to see how things are going to interact together. Then maybe I'll do a gray just for a bit of a neutral in there, just try that out for now. Let me get rid of these other ones. I don't think I'll need them right now. Let's try these for now. Let's go ahead and we're going to take our water lines. Let's remember the "Stroke". The stroke was 4.5. I'm going to go ahead and select the teal color, and it's 4.5. Now let's go ahead and try our background. Let's make that red maybe, a bit too bold, maybe more of a blue. Let me make sure my fonts are not outlined. Now, what's happening here is this outline of black, it becomes irrelevant. I'll show you what I mean. When I zoom in here, this line here becomes irrelevant. I don't really need it, so I'm going to actually just get rid of that line, which I find actually helps open up the logo quite a bit. Now I'm literally designing as I'm going along with you guys here, so bear with me. It's actually a really interesting experience to do this way, but let's try it the same color as that. Maybe I'll make my boat red. Maybe these elements are the dark blue. Just start to put in some colors into your logo. Maybe this slogan is the piece that is maybe the gray, and that's too actually light, so maybe I'll make it more like the red. So we're getting somewhere, I think here. Maybe down here, these flowers are actually red. So that could be my first take on it. It may or may not be right. But as you can see, just adding color really does change the overall tone of the overall logo. Maybe this whole background instead of dark blue is the gray. That may or may not be working. As you can see, there's a lot of different things you can do when you start adding colors. So I think I'm going to stick to more of a teal background. I think I might keep it a little bit more simplified in a way rather than trying to have so many different colors going on. I wonder what would happen if I just remove this whole line altogether. That could even work? I could have this more like floating or I can keep the line there and maybe make it a little bit thinner. Or I can make it the dark blue and just try something like that. I think what I might do here is actually make "ONTARIO" a different color just because I want things to have a flow and a pop as they are working together. So we're getting a little bit more maybe towards where we want to go. Maybe we make this water more like a blue, like a dark blue. I guess I could have just select that whole thing but I like to do things the slow way sometimes, I don't know why. So maybe we take this down a little bit to more like four-point. We're getting there. What I'm going to do now is I'm going to try a few different variations of colors. In the next clip, I'm going to show you where I landed, and from there we can start to narrow this down to our final logo design. Guys, now I'm back. I've just gone ahead and had a bit of fun off screen and created some other color options, and explored some colors because I find when you really start to play with colors, it'll really absolutely change the logo as you can tell. So what I've done here is I've created four different variations, and I'm going to go over them quickly to show you what I've done. Let's just zoom into this one here. Well, first and foremost, I actually took away the inside line. I actually kept that away after seeing it because I felt like it became this idea of a blue sky behind it, which for my purposes works, I think. I made sure that the sun and the bird element stayed dark so that it was like a silhouettes. Then I start to play with colors. I like the idea of "PICKERING" being in white and "ONTARIO" being in white because for my hierarchy purposes, I feel like that really works, and really white will always grab attention when it's against a colored or a dark background, so it's just one of those things with the nature of our eyes. Our eyes will always go to the area that is bright on the page or within the titling. So white popping against the color is always a nice option. I could have obviously had no background back here, but I've really liked and enjoyed the idea of the circle being an emblem of the background and really being the backdrop behind this whole thing. Then it's like you're looking into it, looking inside and seeing all the other elements. So I like this salmon color pink mixed with teal and then the grounding color between all of this is this dark navy, which I think is actually really, really cool. This feels very '80s. The colors to me, which I love, this feels like something that would be on a '80s t-shirt somewhere, which I really, really enjoy. I want to just explore that. Let's go onto the next one here. This one's a bit more of a typical nautical coloring. Blue, navy blue, teal, and read. I wanted to at least try something like this to stay within more of this nautical idea. As you can see, I did keep the same coloring on the water in both of these, but I just want to switch up the backgrounds. I kept the dark blue for the letterings because a lettering is quite delicate. I feel like if I lightened it, it would actually start to disappear and become useless if you can't really read it, so I want to keep that there. Now down here, I feel like we're moving into more of the '90s, almost like the vane style like back in the day when people would wear really fun neon's, mix with pink, and then a dark color. I just like this neon way of expressing it. This is your logo, so you don't have to do a logo for your own hometown that's specifically going to represent them. This is about your own take on your hometown. So you could have a very hippish expression here. Little flowers feel a bit more feminine and girly, fun and not very serious take just by the color choices. It does definitely make it feel a bit lighter and fun. Then I want to try one, it was all one color. An entire logo made with only whites and one color. I actually do enjoy this. I like the minimalists of it. I like how it's relying on the positive and negative space even more because the white spaces are communicating to us. They're giving us where we should be looking and drawing our eyes around this logo. I like how the white is the main component for the titling of "PICKERING" and "ONTARIO". I like how the pops of flowers are working there. Interestingly enough, the outlines are shining here for this inside sailboat, I feel like those negative space lines are actually what are holding this whole inside area together as well as the lines running in and out with the water. So you could do that too. You could actually take your whole logo, choose your favorite color or color that really represents you, represents your take on your hometown, and then just use that one color with white, and that can actually be very cool too. I could also take this entire thing even and just make this all an outline. So everything outlined, obviously the fonts won't be, but this could all go back to being outlined and make this more of an outline shape logo, which is also very hot idea right now, a lot of designers are using outline shapes, so that could be a cool take on it. What I'm going to do just for the sake of my own purposes, I think I might actually keep this bottom one and then maybe inject a few colors in it because I really love this color of teal blue and I think it's just a nice, breezy lake side color, so I think I'm going to try and use that in some way here. So let's go ahead and add a little bit of color here to the sailboat, for example. I like the sailboat being red, so I'm going to go back to that. I think I might actually try this font in red. Actually I don't like that, I'm going to go back to a blue maybe. I feel like that works a bit better. Then I want to make this "ONTARIO", I'm going to take that back to a dark blue as well. Maybe I'll add those red flowers towards the bottom. What I'm trying to do right now, is I'm really trying to narrow down on where I want to land with this whole thing. Sometimes it's incorporating ideas that you have from each of your finals and then making them feel like they all work together and making these subtle adjustments. I think we're almost there guys. I know this has been a process, but as you can tell, this is how it works. You have to be willing to really dig and try stuff and just don't be afraid to try different things. But this is really where I think I might be landing. I really liked this logo. I like the way it feels. I might try just for the sake of it, just to create some dimension. I might try making this the darker blue. Let's go back to Stroke. Okay, let's try that. Maybe something like that. Maybe the problem I'm having is that this blue is just a bit too dark for me. Maybe I'll just lighten this up a little bit. Maybe that could be a better solution for me, that's happier. I wanted to feel happy. I know it sounds funny, but I want this to feel like a happy overall look and logo. I think that that's important sometimes with knowing how you want things to feel in the end. I think that that really does help you land on the right thing. Okay, now let's give that a try. I think that's getting even better. I definitely wanted this to feel lakeside and beachy vibe. I think I'm actually getting really close with this one. I think I might settle on this one. I might make a couple more adjustments to it, but this is really close to where I want to be. Now, in the next video I'm going to add a little bit of texturing to this. Just to show you guys how I would do it. Let's go onto this next clip here and I'll show you how to do that. Now we're ready to add a texture to this logo design. I find textures can really make a logo come to life or even add age to the logo. Maybe make it feel a bit like it's been screened, printed onto something or give it that vintage style. What I'm going to do now is go to Photoshop. In Photoshop I have this file that I have found. It's a texture file. It's actually a photograph of a concrete ground. What I'm going to do now, is I'm going to go to Image, Adjustments and Desaturate this image. That just basically knocks out a lot of the color, pretty much all the color. This is actually a really handy way of keeping it in RGB mode for the time being and also just giving it the opportunity to get rid of colors. Now, what I want to do is I'm going to go to Levels, command L. I'm going to make the blacks darker and the dark thing is darker and the light thing is lighter. I'm just basically upping the contrast overall. You can do this to your heart's content, really to what you think you want your texture to look like. Now, in my case my texture is going to actually be white, so it's going to actually be flipped. It's going to be a bit of a different way of doing a texture. I can zoom in and see how it's looking. It's getting a little bit closer to what I want, okay? Now, what I want to do is, you can posturize it or do threshold. In my case, I'm just going to go ahead and go right to making this a bitmap. The first thing I have to do is create a Grayscale, okay? Discard all color information and then I'm going to go and create a bitmap. A bitmap is a series of shapes using either square or diamond or circle round shapes. It basically creates the idea of a pattern to make it look like texture. I'm going to say, ''Go ahead, yes. '' I'm going to say Frequency, let's say 40 lines per inch. As you can see here, there's different options, round, diamond, Ellipse, line, square and cross. I'm going to go ahead with round. That's basically going to again, eliminate all areas of gray. Even the little speckles, they're now made up of little circular dots. I find that that's even a better way to make sure that you're not having to deal with all the other little colors that happen within textures. Now I'm going to save this as a PSD, Save As, Concrete 1. I'll save it like that, Save, Replace. I've done this one before, okay? Now I'm going to go ahead and go to my illustrator. I'm going to bring it in, so File, Place and I want to place my, oops, where's it? I'm going to place my concrete texture that I just created. It brought in our texture. What we're going to do is we're going to bring down the size. I'm just shrinking it down. That's a lot more of a smaller texture, right now it's massive, okay? Then we're going to go ahead and make it into the color we want. The cool thing about a bitmap is that you can actually change the colors to whatever color you want. In my case, I want it to be white, okay? Let's now move it to a place that I'm happy with. Let's say I was happy with it being right about there, okay? That much texturing on top of my image. I'm going to go ahead and select the texture and all the entire file of my logo. I'm going to click on the Transparency tab and select Make Mask. Now, what happens is, it looks get disappears. What we are going to do is we're going to actually unclip. There's a unselect the button called Clip and then select Invert Mask. When I say Invert Mask, suddenly it actually has inverted. It's actually just shown me just the texture and it's created a mask around my logo so that my logo is not going to have the texture around the outside. That's hard to tell because this is a white background. Let's just say we have another layer and let's say we put another color underneath. Let's say we go with gray for example, what's happening is it's going to knock out the texture in the background. Lets go the darker colors so you can see it even better and I'll zoom in. Go black, okay? It's literally knocking out the coloring in the background of my logo, okay? If you think your logo is going to be something that's going to need to be transparent background where you can actually have texture, but you want it to be able to still show up on the background of any color, then this could be the way to go for you. As you can see, this is the way you will add texture. In my case, I'm not necessarily going to want it to be able to be viewed on all colored backgrounds like this. For me, this doesn't really work, but I just wanted to show you how to do that. Now, as you can see when you zoom in, there's texturing that is on the background here. Now, for me I'm probably just going to be viewing this logo on white. I'm going to return it to that because that looks a lot more the way it would probably look for me. That's the way I'm probably going to leave it for now, but that's the way you'd add texture. I'll then save this as an AI file and a PDF. Now, what I'm going to do is I'm going to show you in the next video how to finish off your file and save it properly.
7. Final Touches and Save: What we're going to do now is the final touches and save. This is when you really want to look over your logo, make sure everything is finalized to how you want. I've shown you how to create textures, but let's just say in this case, I wanted to save this as a non textured version of the logo. What I'm going to do is I'm going to look it over and make sure there's no typos, make sure there's nothing wrong or out of place. Any final touches as far as just subtle little changes just to make sure it's all exactly how I want it to be. I just noticed that I had the word blue spelled without the l which is hilarious. But these are the things that can be missed, especially with small type and things like that, so make sure you're not having a typo like I did. What I want to do now is I want to outline all the fonts as well as the strokes. The first thing I'm going to do is outline fonts, I'm going to select ''All command A'', and then I'm going to go up to type, and I'm going to outline fonts so create outlines, I can also just go command shift O. All right, so there's all the outlines so that means that all of my fonts now are no longer fonts they're now shapes. If I zoom in, this makes it easier for me later if I ever want to print this out, or have any issues with printers and things like that, people that are working on the files, they don't have to worry about finding fonts and things like that later on, which is super handy. Next we're going to work on the strokes. Now strokes again are the line shapes that we used to create these water lines, for example. Now if I leave them as strokes, what can happen is, later on if somebody else's handling my logo they can accidentally not be holding shift for example, or not be respecting the fact that I have strokes, and then things can start to get all wonky and out of line and out proportion, which is a real pain so you don't want to have that happen. What I do is I go again command A and I go to object, path, outlines stroke, okay, now again, that's going to make it so that my strokes are not strokes, they're actually shapes. If I were to zoom in here, this is now a shape, okay, all of these are shapes underneath. Now it looks as though it's not like stroke on top of stroke, it's now shape on top of shape. Again, it's a protection thing so that you're not having to worry about that later on when it comes to production. If you ever wanted to produce this logo for a sign or for any other purpose, a T-shirt, whatever it might be this is something that is important to note. Okay, so now we're going to do is we're going to save as, we're going to save it as first of all an Illustrator file, so file ''Save as'' we're going to save it as an Illustrator file, so I'm going to call it PickeringLogo.ai file, and save. Right now I have it set to a CMYK color mode, now depending on how you're going to use your logo, you're going to want to make sure that you're saving it in the right color modes obviously. Color modes for CMYK are for printing, RGB is for anything online or on social media. Next, I'm going to save it as a PDF. The reason why I always save logos as a PDF is because PDFs just come in handy they're often used for, again, production, producing things that need to be made, printers, print shops, copy centers, they love PDFs so anytime that you need to actually send your logo off to anybody, that's could be another way of using that. Another way to save this is going to be for online purposes, which is going to be as JPEG. I want to go ahead and export, ''Export as'' that's offering me to export it as a PNG, I can also export it as a JPEG or as a TIFF, whatever it is. But for me, for PNG that would give me a transparent background for this purpose alone I want to save it as a JPEG, and I'm going to say color mode RGB, quality I'm going to go all the way to the top, okay. You can also export as and then save for web, that's also something that I've done before, and then up here you would just go ahead and change it to JPEG up here, and then save it that way, okay, making sure that everything is exactly the way you want it. The quality I always like to have it a bit higher quality, even though it does increase the file size. That's really it then you're going to then just save it off as ai.PDF in a JPEG file. I encourage you now to share your new found logo design. Share your hometown circle logo design with us. I can't wait to see what you all share, and I'd love to hear from you as far as maybe what made you go in the direction that you went in for your logo design, and I really hope that you've enjoyed this process of working on this with me, and I look forward to seeing your logos.
8. Thank You: Thank you so much for joining the hometown logo design challenge featuring the circle shape. I hope you've had a lot of fun, hope you've learned a lot and enjoy this process with me. I want to encourage you if you haven't already go ahead and share your logo design in the project section. This is a great way to give a shout out to your hometown and shut out your friends and family and share something that you feel and you see about your own hometown. Guys, thank you so much and I'll see you next time.
Melanie Greenwood, Designer & Founder of Vision City Studio
