Logo Design: Let the Type Do the Talking | Evan Huwa | Skillshare

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Logo Design: Let the Type Do the Talking

teacher avatar Evan Huwa, Art Director

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction to Type


    • 2.

      Introduction to Digitizing


    • 3.



    • 4.

      More Techniques


    • 5.

      Even More Techniques


    • 6.

      Texture Techniques


    • 7.

      Even More Texture Techniques


    • 8.

      Wrapping Up


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About This Class

This class is for you if you love type, texture, and logo design. Simple as that! 

You will learn how to choose, or create from scratch, a typeface that conveys what it is you are trying to communicate. Whether it's type for a high-end boutique or a gritty farm logo, you will learn how to discern the appropriate type choice. In this class you will learn how to give type that something extra.

What You'll Learn

  • History of Type. A brief history of type: ensuring you choose correctly for your audience.
  • Digitize Your Sketches. I will spend time on the following techniques: mixing fonts, filling shapes with your type, customizing type, dynamic type, and type around shapes.
  • Finalizing Your Logo. I'll show you techniques for adding textures to your logo.

What You'll Make
For the class project we will be designing our very own logo. Whether it's for yourself, a local business, or your dog, it doesn't matter. The thing is, we're going to have fun doing this, and in the end you will walk away feeling more comfortable giving your type personality in the form of a logo. 

Meet Your Teacher

Teacher Profile Image

Evan Huwa

Art Director


Hey there world! My name is Evan and I'm an art director, designer, and partner at jakshop. We work with organizations to create epic ideas, designs, and videos that enhance the lives of their customers. We help create things that matter.

Prior to starting jakshop I worked with a premier print shop, that handled merchandise for Colorado's top breweries. It's safe to say I enjoy a good beer from time to time. I grew up on a dairy farm, and although I'm now a city boy, I cherish the farmer's work ethic. It's something I'll forever value.

See my current projects on dribbble.

When I'm not designing you can find me doing this!

See full profile

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1. Introduction to Type: Hey, everyone, welcome to the first lecture of logo design, Let the Type Do the Talking. I want to first start off by saying thanks to you guys for signing up to be a part of this. I'm extremely excited and I know that we're going to have fun along the way. I'm going to go ahead and break down what we're going to talk about in this first lecture. We're going to focus on the history of typography. I'm going to show you guys a few examples of specific typefaces and just talk about what they were intended to communicate. From there, I'm going to show a few examples of logos and they're going to range from logos that have type that fill a shape to others that have type going around a shape to logos that are using multiple typefaces. From there, I wanted to point you guys in the direction of a few sources so that you can start doing research and figuring out what typefaces you want to use for your own logos, and lastly, will just leave you guys at a place to where you can start sketching and developing those so that you can come back to lecture 2 ready to start digitizing. All right. Let's get going. Moving on to a few of those examples that I mentioned, we come to this iceberg. It's just a collection of fonts that I've put together for you guys to reference. You can find this link in the syllabus. I would recommend coming back here and just digging around and seeing where I have taken these fonts from. I try to take from numerous sources and what I would just recommend is coming in here and going to the foundry websites and spend some time researching other fonts that they offer. It's insightful to know what they were designed to do and what they were intended for. I think that's just something great to know moving forward and trying to pick a font for you to use. These are going to be great places for you guys to find a font that you like and they're all quality places. So I just recommend coming here and spending some time in this. I'm just going to touch on a few of these and just take from the descriptions from the website. But I'll also just touch on where I can potentially see them being used. The first one is Trajan. Trajan was inspired by the inscription on the base of the Trajan Column in Rome. It's an example of classic Roman letter forms. They reached their peak of refinement in the first century AD. It's believed that these letters were first written with a brush and then carved into the stone. So I see these, I think they just remind me of civic and financial institutions due to its heritage, due to where it came from, and it's a classic letter form and it definitely gives off that vibe. The next one that we're going to take a look at is Sentinel. I know I'm not doing these in any order, but just bear with me as I move through these. But Sentinel is a half letter Frere-Jones font, and it's one of my favorite foundries and they just have an incredible typefaces. Their description of Sentinel is it's the slab serif that works. It's for everyone who ever wished Clarendon had italics. Everyone's whose favorite Slab Serif is shy a few weights. Weights, meaning thin all the way up to really heavy weight, and it's for everyone who needed a slab serif to thrive in text as well as headlines. So this works well in small sizes for a lot of information, but it also works exceptionally well as a display face. Next one that we're going to touch on as another half letter font, and it is Gotham. They describe this as what letters look like. Every designer has admired the no nonsense lettering of the American vernacular, those letters of paint, plaster, neon, glass, and steel that figures so prominently in the urban landscape. From these humble beginnings comes Gotham, a hardworking typeface for the ages. They also go on to describe it as an engineer's idea of a typeface. It's geometric, it's a rigid structure from which it was designed. But it's wonderful because it does read so incredibly well. There's never any confusion about it. It's just a clean, easy to read letter. The next one we're going to touch on it's Univers and it was designed by Adrian Frutiger on Swiss principles. So he imposed strict discipline in all elements of this series. It's a wide ranging typeface. There's light to dark faces so just ultra thin to extremely extended, so condensed to extend, and it just works well in a lot of situation. If you have a tight amount of space, this is something that would work well in that, if you have a really long space that needs to be filled with type. It would also work well just due to its diversity. It's a wonderful, versatile font. The next one that we're going to talk about is Billhead. This is from letterhead fonts. It was inspired by periods style billheads and letterheads. There are other weights to this font or other styles to this font than just this one. So I would recommend going and looking at it because it gets pretty fun with some of the swashes that it has coming off of certain letter forms. But it's a fun period style typeface. It's older, an older generation, although that shouldn't limit you just because it's styled off of an older generation that can be used in your favorite speak towards something that has a heritage vibe to it or just an old time feeling to it. That one is great and on the topic of letterhead font, another one is Packard Script. This was derived from the Packard car logo. There's a few versions of this as well, one has like little spurs that come off the side. That gives it a Western vibe. Just another nice approach to this script. It's a clean script. It reads well for a script typeface, and it also has some fun little swashes that come with it. So those are fun. Makes it feel like an old time baseball jersey. Swashes are funky, you can hide additional or not hide but put additional copy in it or text in it for a logo. Those are things just to think about in moving forward. Just going to this website, you'll be able to explore a little bit more and just learn a little bit more about it. The next one is Filosophia. This isn't any gray font. I use this particular example because it's a unicase font. That just means that this, although it looks like a lowercase a, it fits within the same height as the capital. So unicase just meaning one case. It's a fun approach to typography. It's different, and it's nice. It's still reads well, even though you have a lowercase letter that's the same height as a capital, has nice little rounded serifs on it and just has a soft approach to it. It's an enjoyable font to look at. Next one what we're going to talk about is Neutraface. This is designed by House Industries, and they're one of my favorite, additionally one of my favorite foundries. They just have a ton of fun stuff happening. This one was designed off of Richard Neutra's architecture from the 1940s and 1950s. This typeface just feels architectural. I love the sharp points on the N and A, and the low set crossbars. It's just a wonderful typeface. It's a different approach to a sans-serif. It just gives off a little bit more attitude than your standard sans-serif, so definitely worth checking out. One more. Brothers is an Emigre font, and this is another, it feels period style. It's older. No curved lines in it. You have all these short little angles in here to make the curves. It has these sharp little serifs on it, and it's a bolder, more masculine-looking font. I can see it being used in anything from a beer brand to an automotive garage or something like that. It's fun and just has a nice little nod to history. I think that covers it for this, and I'll move on to some logo examples. The next thing I wanted to show you, guys, are logo examples. Within this iceberg, I have them grouped according to the items that I mentioned. We have a type that fills the shape. We have custom letters, dynamic type, type a round shape, mixing type, and there are some that are interchangeable, but I just tried to group them in a way that made sense so that you guys could reference specific things. The first one that I want to touch on is mixing type. These all use different fonts and they work well together. Something you have to be careful about because you can definitely go overboard in this realm and use things that don't look good together. But I'll be able to offer some feedback and advice on that in your examples that you upload through office hours and things like that. But I think just keeping an eye out for those in your research phase and seeing how they work well together is something just to take note of. Like this, you see this extended "Pappy". It's just a heavier weight, bold font. It looks like it could be Knockouts. Then the "Slokum", it looks custom and that's something that we'll also touch on, but at this point, just look at the differences between them. This is clean, this is smooth, and then this comes in and we have these rigid spurs and just the bracketed serifs. Just thinking in terms of contrast, they work well together because you have a heavier weight font that is smooth and then we have a thinner weight font that isn't smooth, that has serifs on it. Those typically work well together. In terms of pairing type, you guys want to think about contrast. Sometimes having too similar of typefaces can work against you. There's moments where it can work for you, but just think about contrast in font styles with pairing. You also see that they have this condensed sans-serif font, which also works well just because you have this other subtext that is pretty tracked out, meaning there's a lot of space between each letter. These are just little items to think about. Even though that's set small, it still takes up quite a bit of space. This is a taller letter, but takes up less space. Just something to think about in terms of trying to pair multiple typefaces together. This is a logo that I did for a client and it uses Trade Gothic for "Caravan". I paired that with United from House Industries. It's a very geometric typeface. It feels industrial and this shape was derived from old camera parts. They are a cinema co, so I wanted to demonstrate that they have this hands-on approach, this industrial feel. They work hard, they get their hands dirty, but they're just poised and professionals in what they do and they wanted this modern feel for the typeface used. That's why I chose Trade Gothic for the main font within that. This was done by Ptarmak in Austin. I'm sure you guys have seen this one floating around, but this is just another grand example of mixing typefaces. It has a nice script, but it's not distracting. It's easily read. But it just offers, again, contrast that is different from this Brothers that I mentioned earlier with a little drop shadow. We know that's the focus, that's what your eye draws to first, but the contrast between that and the script works well, as well as the very condensed tracked out neighborhood. It's understated. We know that it's "Chop Shop, neighborhood meat market", but neighborhood isn't the first thing you're going to think of. I think we read "Chop Shop, meat market", we know exactly what it is, but there's this nice hierarchy in type from there down to "meat market". Meat market is, I would advise against this. I think it is Future Script. I'm not 100 percent positive on that, but it's tracked out and that's one thing you got to be careful about what script font is tracking them out, it can start to look weird. Script fonts were designed to flow together, and the fact that this is broken, it's broken up that flow. It's an interesting design choice. I'm sure that they had a reason for it, but just be cautious of those things. Fonts were designed to look a certain way from their designers, but we do have freedom as graphic designers to make changes in those. That's just something to think about as well. This is an option that I really enjoy. Hold on while it loads. This is something that I really like. It has this nice funky little script. It looks like it was done in a marker on the inside of a book cover. That's another thing, is hand-done fonts are nice. They have this blue collar approach and that's something that's really great if that's what you're going for, if that's the market you're trying to communicate to. This being a hand-done logo for a clothing company, it totally make sense. You get the fact that these clothes are toiled over, they're made by people's hands. They're not mass produced by machines. At least that's how I read this, and I think that fits well. It's a nice narrative to the story, and a fun thing in this is, from the top to the bottom, it changes. That stays the same, but the name moves to a serif version below or at sans-serif above. I think that's just a fun little tweak to it. That's another thing to think about is, if it's appropriate, you can have multiple logos and trademarks to be used in different situations. But just thinking about the type in this. It's nice. I really like what they've done with it. Here's an example of mixing a script with a couple of sans-serif faces. You have "Brooklyn Barbecue", which is a pretty regular set typeface. Then you have "BBQ", which is very condensed. It's tall, it's skinny. They have nice contrast even amongst the two sans-serif typefaces. There's contrast between them and that's set against the contrast of the nice script behind it. It's just that it's fun. Again, always think about contrast in this. This is a piece done by Simon Walker. Again, you have this script typeface for the introduction and then you have this really funky, unique customized typeface for "Electric", and "Company" just has the '70s vibe to it. The real round, no terminals. Terminals would be the start of the M it's smooth. You don't have those terminals there on that M and the N. I think it's fun. It's fitting and a little bit of texture that he's brought in on this is nice, too. Those are things we'll cover in the second installment in the second video. This is Schell Brewing Company. Again, it's just nice. You see this elegant italic serif typeface here but it fits well with the script. Yeah, I like this. I like how they put the little shadow on Schell. They fit well together because they're close. Even though there's contrast in the style of font, they have similar touches within them like him swashes and flourishes. It's tied into the b in this as well as the c. This is just fun. Those are things to think about while you have contrast in your letters. What are some ways you can tie them together?Those are just good things to think about as well. The next style of logo that I want to focus on are logos that have type that fills a shape. There's 11 items in here and this is something you guys can come back to and work through. I won't touch on all of them, but I'll focus on a few. So just thinking about type that fills a shape, we have the circle and grand union. It's fun because they've come up with unique ways to have that type fill the shape of the circle, and same here. You have this nice diamond shape and they have letters and little elements that help fill this shape and it makes for an interesting logo. Looking at this 1901 is something I'll definitely demonstrate in the technical video in video number 2. This was designed by Nick Breu and it was probably based off of existing typeface. But existing typefaces aren't designed to fit into shapes like this. So I'll go through and help set this up so that we can start designing letter forms or numbers to fit a specific shape. Even if you have to get customer with them and draw them from scratch, that's definitely not a problem as long as you're referencing something and not doing something totally bizarre just out of this world, but focusing on existing faces that read well, that are appropriate for the audience. Again, that's just something fun. This is Work By Land and I just feel like they are the kings of doing this, of having type, fill a shape and dynamic type that just works well. It's so unique and it's just incredible because not all letters are meant to fill a shape, but they make it work, and I think that's something that we'll focus on in video 2. But it's just nice to see them. Bend type and meld type so that it fits the shapes. It feels old, it feels like it belongs on a badger inscribed and metal. It feels like it belongs with a motorcycle or something like that, and it's just nice how they have typed the echoes and the outer shape below it. Nice hierarchy of first read in Forestbound to New England to USA. It reads well. You're not distracted by the type down here. It reads in order that it should. I really spent some time on their site as well. They do some wonderful stuff, and again, having type filler shape, this Heuer type is fun. This is something that I love to do is have type go along diagonals and we'll walk through that just to help you guys get your letter shapes to fit that and not have them feel squished or pooled because we want to refrain from doing that. We want the double-letter form to look as natural as possible in this shape, which I know is sometimes hard because it's not in a natural shape, but just to have the letter form be consistent in terms of its width, those are all things that we're going to focus on. So just spend some time looking through these icebergs. There's different examples going into custom lettering. I have this. It has a monogram. Those are things we can work on where you cut away specific shapes so that it still reads as LSC, Liquid Shot Co. We'll touch on that as well. Changing letter forms to fit the name, Bookish. It's great. Little glass is used. Obviously, you use your reading glasses for reading, and the fact that this fits this logo it's incredible. It's smart, it's simple. It's not loud and in your face, but when you see it, you love it, you get it. This Hatchet Lager is another smart logo. If you think about the bottom of an ax handle or a hatchet handle, they have that sharp angle at the bottom of the wood and it just fits. It's one of those smart logos where they maybe started with an existing typeface, but took away that angle on each of the letters. Those are things you want to think about for your logo if you're designing for something like that. That's a great aspect of it. Think about the end audience, what the name of the business is, and how you can tie in those smart little alterations to fit the logo. Dynamic type, I'm just referring to type being set on different axis and different lines going in different directions, curve type versus flat type. That's what I mean when I'm referring to dynamic type. Like we have Sticks set on an angle and then you have and steel that's flat and read straight across. Again, this helps with hierarchy. Sticks comes first. It's on the angle that's the first read and then and Steel comes after that. There's no confusion in terms of what needs to be read first, and this by Richie Stewart. some some custom type. It's really fun, his work is great. I tried to go through and name all of them so that you could go back and find a link back to their work. Dan Cassaro, big fan of his work and just the angles, the hierarchy this all fits into dynamic type. How these are different done issue are understated in comparison to old school that has the little spurs. He has a letters nestle into the shapes. That's a fun thing to do with logos. It makes it memorable, and this is another great example of dynamic type. We have type set around a circle for the Johannesburg and Elks County. But then Richard Smith and Lumber and district are set on these unique little curves and nestling that Co in between them. Those are just nice little things that only come from sitting down and sketching and working with type. Yes, you have to sketch in order to get those ideas, and from there, moving to the computer is what we'll be focused on in the next lecture. There's one other thing I want to get on, but this is type around shapes. Again, some of these are interchangeable, but this is just you see type and moving around this circle. Those are things I'll show you guys how to do. Again, this wouldn't fit probably under dynamic, but it's just set on a couple different angles. You have the curve at the top of the circle, the curve at the bottom, and then these four lines in between this circle. This is typed going around just different shapes and get creative with that. I think it's fun to try and do that to count your letters, split them up, see what works in certain aspects of it that still feels balanced. This is just interesting how they were able to get that to fit like that, and again, this is Work By Land. I'll go back and this one I see doesn't have a link. I'll try and post all those links so that you guys can go back to the work and just get going on that. The last thing I wanted to show you guys before I review to start sketching are few of my sketches and what they ended up becoming. This is a logo I did for a client. I sketched this little verge over here. I like this idea of using a Bodoni style typeface and limiting and taking away as much as I can to still have the letters read. Then from my sketch it ended up becoming this. This was a job that I'm currently working on. It's a little side project that I'm doing myself. But above you see all these little sketches. A very loose. I don't have clean sketches and some people sketch much better than me, but these are just loose concepts for me, and then I can get down to the computer and start executing them, and then you see the final law of logos here. Just have a vision. Don't get stuck on the idea that you sketch poorly or sketch bad because I don't sketch very clean and they look like garbage sometimes, but I'm always pleased with the end results. So just remember to have vision and not get stressed out or feel bad if you're not getting to where you want to be. We'll help you down the road on that. This was one I did for a brewing company. Starting with this little sketch, I moved into something like this, replaced the little marks on the sea with these Western spurs just to tie into that element because they wanted it to feel like it was a little bit of a Western vibe. This is the funky type thing that I did for this class. Here's my sketch, really crude, really crummy, but then moving into Illustrator, being able to clean it up, change letter forms, make the k fill a little bit more 70s, make the y feel a little bit more 70s and then giving type to fill this shape. Those are some things I'll go over in the next video. But again, don't be limited by your sketch not looking like your end vision for it. This is just another little sketch that I did and what it ended up turning into. Just had fun with this little custom script type. That's pretty much where I want to leave you guys. I want you to take a look at the resources again. Like I mentioned, really spend some time looking through those, looking for typefaces and just looking for typefaces and focus certain emotion or a feeling. Just try and choose ones that are going to be appropriate for the logo that you're working on. Then from there, just start sketching. I want you to spend this whole first week sketching. Then on the following Monday, what we'll do is really get down and start spending time in Illustrator and showing you guys how to start bending your type to fit shapes and put it on outer circles and just to get funky with type. That's what we're going to do in the second video. So I appreciate your guys' time. Thanks for bearing with me through this. But from this point forward, we're just going to have fun with the program and really get down to business. So thank you guys. Have a good one. 2. Introduction to Digitizing: Hi everyone, welcome to lecture 2 of Logo Design: Let the Type Do the Talking. Hopefully you guys have had some fun sketching and you're ready to move to Illustrator. What I'm going to do today is focus on a few of those examples that I put in the iceberg. Again that link can be found in the resources section of the syllabus, but what I'm going to do is just walk through those examples and show you how I went from sketch to logo. Lets go ahead and get started. The first option that I'm going to discuss is, Wiley Brewing Company. This is just the sketch that I had drawn up, and this is the final version. I'm just going to walk through the process of taking this sketch and getting it to look like this. I'm not going to focus on the textured gritty part of it today just because I just don't want to cloud what we're trying to do, because it's important to get the logo correct before we go in and shnazz it up with texture and grid, and it's something that's definitely not necessary to for every logo. If it's appropriate for the audience, then yes. But what I'll do is, do a third lecture which will focus on some finishing techniques and texture to just help you guys be able to achieve this look if that's something that you want to do. Starting with the sketch, I'm going to go ahead and select this and I'm going to lock it just because I don't like clicking on it by accident and dragging it around. So that way it keeps it there, and I'm not going to drag it and mess up what I'm trying to do. What we're going to do is grab the pen tool right here, or you can hit "P" to get to it. I'm going to come down here and I'm going to switch this from fill to stroke. If you just hit those little arrows, it will swap it over to the stroke for you, and since this is the black sketch, I want to change the color from black just so that I can see what I'm doing. Typically like just a high-contrast, bright pink is my go-to. But what I'm going to do is just trace around this outer shape. If you guys aren't comfortable with the pen tool, I would recommend going back to some of those links that I posted in the syllabus and watching some beginning introductions to illustrate or just to familiarize yourself with this, but I'll just give us a brief walk through on it. It's a mathematical system of drawing. You plot points and click and drag to drag your curves. It can be tricky if you haven't used it before, but I'm assuming the majority of you are going to be pretty comfortable with it. If you're not just spend some time using it, it will definitely come more naturally as you spend more time doing it. I've plotted my first point, and I'm starting in the center because I like to draw half of it. Then what I'll do is copy and paste and reverse it and then merge the shapes that way I know it's 100 percent symmetrical. I started in the center. If you hold Shift and click out here to the center of this, it will draw a straight line for you. Just because my sketch isn't straight that's something you want to focus on and make sure that you're keeping it all straight. There is a curve, but what I'll do is end up using the stroke palette and throwing curved edges on it. That's a nice way just to make sure that your curves are really sharp and really clean. But with this one, what I'm going to do is actually draw this curve just because the stroke palette isn't going to be able to match that quite like I want. I'm going to click just a little bit above, not the center because I'm going to draw a handle here and then here, and it's going to help me draw that curve. If you hold Shift again, plot your point, but then draw handle down just a little bit and then come over here again, click and you'd see how that's helping me make that curve, and you just go want to align it so that this handle is just directly in line with the way that my shape is looking. If it's a little wonky, you can always go back to it and adjust, but that looks pretty good right there. I'm going to let go. Then I'm going to come down here and see I have my snap to guides on, and you can get there by going to view. Our smart guide, that's what I was talking about. Make sure that's clicked. If you like it or not, I enjoy, I like it because it will tell me when I'm lined up with another point. So that way I know I'm centered with that. I'm going to go ahead and plot that point. Then I'm going to come up here and just close the shape off. Then I can come back in here by zooming in and inspect this curve and see how it looks. I feel like it looks pretty good. See how that's off just slightly. I can go ahead and pull that handle up to match that line, and that's going to just ensure that the curve is just drawn a little bit more appropriately. But that's something where you can always come back and adjust. Say I had it like that, and it bulged out, I can just drag it in and make sure that my curve is going to look good. What I'm going to do now is take this shape, I'm going to copy and paste it. I just had the command wrong, you're gong to grab it and you're going to hold Shift and option on a Mac and see how the two little arrows pop up. You have a black and white arrow where your cursor is. That means it's going to duplicate what you're dragging. If you unclick it, you're going to have just a direct copy of that. What I'm going to do from there is while it's still selected go to object, transform and do reflect and you're just going to want to hit "Preview" and you can see what it looks like, and it's going to flip it around just how I want it to. That's just going to be on your vertical axis, and go ahead and hit "Okay." What you can do to ensure that you get this properly placed together is come down here and just hover your mouse over this anchor point. If you just click that and place it directly on top of the other one, and it will say intersect for you. You can go ahead and select both of these. Now, come over here to your pathfinder palette, and if you don't have it out, you can go to window and click "Pathfinder" and then that will bring up this palette for you. What you want to do when you have both of them selected is go ahead and do unite and that's going to make that one shape for you. You can see that the geometry is correct on what I've drawn in my sketch. That gives us that outline shape. Let's go ahead and get these curves to match the drawing. Again, come to the stroke palette, and you can come over here and just beef up the stroke for one. Get it so that it's relatively close. I don't think I want it. See over here it's not quite as thick is what I had drawn. But if you click here, do a round cap and a round joint, that's going to go ahead and around those edges for us and the same down here. Whereas before that it has a sharp edge down there, we don't want that. That's the outer shape. What I typically do is when I start building upper letter forms now is I'm going to make a copy of this and just keep it, because you see here I have this outer shape and versus having to go back and draw the outer shape, I can keep a copy of it and always adjust it, extend it down to be the outer shape. So you could take your direct select tool, select all these bottom anchors, not the top ones, but then you can click those and drag them down and see we already have our bigger shape. I like to keep things around. Don't delete or don't work from just a direct copy and then end up having to change it later. That's just good practice to always hang on to an extra copy of things, at least I like to work that way. What I did from there is I just look through my type library and tried to come up with a nice typeface that would be appropriate for this brand. What I ended up settling on was, not settling, settling sounds bad because I really like the type that I ended up with, but what I ended up deciding to use was Milwaukee. You come over here. Sorry, just to make sure I'm not stepping over anyone or stepping past anything, to get your type tool you hit ''T'' or come here and find the letter T over on the side and just click and it will bring your cursor up for you. Then you go to your type pad over here, type in what typeface that you want to use, and that's Milwaukee. I typed out wiley. We got some work to do because that looks nothing like this, and in order to get it there, we have to do some manipulation. This is where it gets fun, this is the fun part. It can be a little bit tricky at times, but don't have any fear because with Illustrator, you can just change things. You can tweak stuff, you can redraw things, so we can ultimately make our type fit the shapes that we want them to fit. I'm going to go ahead and place this in the center. Right now, see this is still typed, it's not object-based, while this is a right down to path. But it can be an object really easily by going up here to object, go to path and do outline stroke. So see that took away the stroke, and now we have an actual shape. What we want to do is turn our type into an object as well so that we can manipulate it and drag around points and stretch the type so that it fits the shape. You do that by going to type, create outlines, and if you do that see it becomes an object. Now you have all those little points and anchors on there. Now we can start manipulating this type to fill the shape. I'm going to go ahead and just make it bigger, and if you click and drag, see you can skew this and you don't want to do that because that just looks like it was messed up, it looks bad. See how it's thinner here and super wide at the bottom. It just doesn't look correct. I'm going to step back, and Command Z will step back for you guys. If you do something and you realize you don't like it, Command Z will fix that for you. You can step back in time. But if you drag this corner out, hold "Shift", while you do it, if you hold "Shift" and option, it will drag from the center so it'll make it versus having to do this and then click and drag it back. Do it from the center. Get it so that it's in a really good place where it's centered. You will see that this L isn't perfectly centered and we end up wanting that to be our center piece. So we have to do some adjusting to get it there. But that is not a problem. What I would do is, at this point, from your outer shape, if you hit ''Command R'', it will bring up rulers for you. If you click out in that ruler, it will draw guide out for you. I'm going to go ahead and just place a guide in the center of the shape. If those aren't displaying, if you can't see your guides, you can go to view guides, hide guides, that will take it away or show guides if they're not up for you. You can also unlock those from the same menu. I like to keep them locked, otherwise I'll click them and drag them out. They'll end up getting grouped with an object and I don't like that. So I like to keep those locked. Now that we have the center of our shape, we know that this L needs to be aligned there so that we can drag it down to have it fit on this angle. What I'm going to do is, you see I click on the ''L'', it's all grouped together. If you go to object, ungroup right here, click that, they are no longer going to be grouped. We know we can take this and have it be pretty damn close to the center there. Then I'm just going to slide this out of the way so that I can drag the bottom of the ''L'' down to here and what I like to do is just hit it, come over here to your direct selection tool, directly under your selection tool and I'm going to just click and drag the lower portion of this letter. You see it will only select those anchor points, so it leaves the top to unselected. So when I move these, it's not going to mess with these unselected one. I'm going to just click one of them, hold "Shift" so that it again, stays straight down. I'm just going to put it right there for now. We're going to end up having to redraw this a bit so that it fits that shape but just to get it out of the way for now, I'm going to leave it right there. Now, the nice thing about this is you don't have that L sticking out so we can space these out so that they, I dragged that down on accident, so that we can get even space. One one thing you always have to worry about with letters, is your spacing. It's called kerning, and you just want to make sure that it's even. Right now you can tell this isn't very even. We have a wider space here than we do here. But the nice thing about adjusting these letters is we can make them wider, we can make them skinnier just to make it fit. The I, we can't do much with it. You can see up here in brewing, I ended up putting little serifs on this so that this would fill more space. So those are things that you can do to help it fill more space but you can see on this I, I didn't do that. So what I'm going do is actually make this W a little bit wider to help fill some of the space that the I is leaving us with. Again, take your direct selection tool, and you have to be careful because you see all these points. If you accidentally grab this one, it's going to mess this curve up for you, but if you just drag down from the center of that and get all the points to the right, you can scoot it over. The default arrow nudge movement is a point, I think, in Illustrator, but if you hit "Shift" and hit the right arrow, it's going to move it, I think it's going to be 10 point. Instead of counting it out 10 times, just hit "Shift" and the arrow and it's going to widen that out for you. Now we do the same here just so that we keep a balance. Grab these left side points and hit "Shift" and the arrow, and make that wider. So again, we want to keep same space in-between this outer shape and our Y. So I'm just going to nudge these over until it starts to look similar. We'll take it could still be a little bit wider, we have quite a bit of space. I'm going to go ahead and just make this a little bit wider. Not quite bad wide but nudging around till it's even, just to make sure you're even on both sides. But you can just continue to play around with this to get them close. I'm going to make the E a little bit longer too. Just looking back at what I did. Actually, I don't know. Maybe I didn't change that too much. I might read that. I might make it just a little bit wider. Maybe make this wide just a little bit wider too, so grab these two points. We don't want to grab this one, but if you grab this point, you can just hold shift and select whatever points you want. So CMS though, so I'm going to hold shift, come back, and click that point and that. Those two and then I can drag those out as well just to widen it up a little bit. Again, just do the same on both sides. That looks pretty decent. Actually, I might bring this in just a touch. Then we're not too bad there. This is something you guys can play around with. I don't want to waste too much time on trying to get this perfect. But I just wanted to demonstrate just the way they move letters. We want this space and this space between this line right here and the bottom of the letter to be the same. I'm going to just draw a guide. I'm going to start here at the top and just drag it down to where that letter starts and we're going to have our width. I'm going to just get this close to the angle that we have and just put it out there as a guide for now, but what I'm going to do is set up some guides on angle. You'll see that ruler doesn't have a way to do that but there's a way to draw them. I'm going to go ahead and just grab my line tool. If you just click on this point here, on that path, it will snap to the grid there and make that perfect angle for you. What I like to do then is select that, just hit V2. Go back to your selection tool and I like to just drag this out. Again, I'm going to hold shift and option to keep it on the same angle. What I'm going to do now is just drag that up so that it rests on top of that guide, that little square guide that I drew. If you go to view guides, make guides, they're turned off. But if you go back to guides, show guides, you'll see now that's a guide and it's going to be nice because it will help me ensure that this distance is going to be the same as the distance from the top of the letters. I'm going to just step back a couple of steps. Right now, you're going to see that that's invisible and over here, you have your fill and your stroke. I guess that it's easier just to make sure that you're seeing it, you can actually put a color to it so that you can see it. But what I'm going to do is click, hold shift and option It's going to make a copy. If you go to object, transform, reflect, make sure it's vertical, hit "Okay." Actually, I should do the same for this, just so that I can make sure that it's going to go in the same place. If you go to reflect, its going to end, just put that on the axis, and then I'm going to just touch it up against that line there and if we click and drag this over, make sure we get it lined up there. Now you can select both of these black lines and if you go to guides, make guides, we're good to go. Now what we can start doing is dragging our letters down to match that, so I like to start with the easier ones first. If you take the I, just grab those two bottom points and just click and drag those down. If you hover over that line, your cursor will turn white when it's lined up to that grid and just go when you get that point there, go ahead and do the same with this. Now you just want to start this bottom right side. Move my mouse. But then you have that lined up there, so we've got the easy one done. Not too far off minus adding those little spurs in there. It looks like our eye is pretty damn close to being done. But we have some work ahead of us because we have to get these curves and these angles to match it. If you Command colon will actually turn these on and off. Yeah, keep those on. Again, let's just start with the bottom of the W and just make sure all those points are selected. If you grab one and just drag it down so that that lines up. From there, this curve is pretty sad, we're going to have to go back and adjust these curves because you'll see in a minute it's going to start to look weird, but if we take our direct selection tool again, go ahead and weave these points alone right here because those are pretty set for now. It's just got these ones to the right. I'm going to go ahead and just work from down and go all the way to the right and then work back towards the middle. So if you grab this point, click and drag it down, see how those angles are all weird. We definitely don't want that. But it's okay. Just click and drag that down, we have that angle down now. Now we just need to do some adjusting to get the bottom of this W looking like it did. Again, I'm just going to draw a guide so that I get that bottom width correct. I'm going to go ahead and just use different colors so that you can see it. I'm going to just drag this to this line again. So it's not perfectly at the right angle, but it's okay because we just want to get that, the bottom of the W close to that. I'm going to make this a guide and Command 5 will turn stuff into a guide as well. It's a little bit easier, but just to show you so that I'm not running too fast. If you go to View, Guides, Make Guide. I can't right now because I just made it one. But if you click there, that's how you'll get this to turn into a guide. So I'm going to grab my Direct Selection tool again, and we're just going to click and drag these up so that they are on that line. I meant to actually grab both of these, just so that their proportions stay right. Worked them just a little bit, but we'll get it in there. A good way to get this angle right, as you can see, this handle columns, it's a perfect horizontal angle. We want to drag this down actually to match the angle that we have. It's going to make our curves look a little weird, but you just have to play with the handles and adjust it so that it looks right. Whether or not you grab this anchor and pull it down a little bit, that's actually going to help. So mess with the anchors and the handles as well. But just a good rule of thumb is how that handle was coming straight across this. If you drag it down to here, it's going to help that curve look right. Same for this, if you see this handle, it's coming straight out and actually you're going to just drag that up. If you hold Shift while you drag these, it's going to keep them exactly in the same place. So I'm going to go ahead and drag this down to here and I'm then going to adjust this anchor, do the same that I did. That curve looks pretty good. So we have two curves at the right. This curve we're still going to work with. I'm going to select this anchor and you see, just go ahead and drag that handle up, so that it matches that line. This, if you just could see how that was at a random angle. If you click and hold Shift, it's going to wind it up for us and just play around with those Intel, and I'm going to turn my guides off so I can ensure that my curves are looking good. Sort it looks okay. This one could maybe go up a little on and then just drag this handle down a little bit more. Yeah, it's pretty good. Coming back to this, see, I really messed this up when I dragged this down. But if you grab, we have this guide. I should have actually had to go all the way across, but what I'm going to do is actually go into guides and I'm going to unlock the guide, and I'm going to select these edges of the guide. Oh, I'm just going to move this whole box. This will suffice and then go back to View, Guides, Lock Guide. So now we won't worry about having to move that, but we can just grab these anchor points here and hold Shift, bring them up so that the bottom of that curve is, I'm going to step back a hidden arrow. We're just going to click and drag that up so that it is lined up on that edge. Let's go ahead and do the same with this top curve. Well, I started those other ones selected. If you do that, just click off, just select the ones that you want to get. Hold Shift to get both of them. I do not know why that is happening. Grab those, hold Shift. There we go. Just get it lined up. So we start here. We're going to do the same thing and drag this handle down to match that angle. We're going to bring this down a little bit, and now it's pretty good. So let's do this top one, I'm just going to grab that. I'm also going to grab this top anchor and pull it up a little bit, and then I'm going to drag this handle down. It started to shape up. We have this last little curve to deal with, but you guys get the idea, it's going to be the same thing. So this is where you have to be careful about your guides. If I don't have that perfectly lined up, just remember what guide we're working on. I'm going, with this top guide, so I'm going to click this and drag it down so that that is lined up on that guide. So from there, I just grab this handle, bring it up to here, and I might just drag this up a little bit. I accidentally moved it. I'm going to just grab this handle and pull it down just a little bit. So you'll see this handle if you drag it. Where the curve goes past that, it's going to look weird. It's going to bow back in right there, just to show you to exaggerate what I'm talking about. Now you'll really see how that curve starts to look funny. Just be careful of where you're dragging your handles and how far that changes the curve. Just to ensure that it looks like a smooth curve, keep the curve on the inside of that handle. But it will turn our guides off, come back and look at this. It looks pretty good. I like where it's at. Now we just have to do the same thing with the E, and what I did on the E, it actually ended up moving that crossbar down a little bit, not as high as it is here because you just have to think a letter is going to be taller now. So I'll just start with the bottom, get this down to here, just to get an appropriate look at how tall this letter is going to be. To move this crossbar down, just again, use your white arrow that direct select, select the points that we want to drag down. We don't want to drag these curves down, so just select the points that are associated with the curves of the crossbar in the crossbar itself, and just start nudging it down, hit the arrows down. It looks like I had the Y exactly the same as that. So that's something we can adjust later, but this looks pretty good right about there. Now let's just finish out the bottom of this and get it to fit this angle. I'm going to just click and drag those again. Don't be worried about that, be an all messed up. What I'm going to do again is just going to come up here and unlock my guides. I'm going to bring this over here, and I'm going to go to Object, Transform, Reflect. That's the right angle for us. Just put that there so we know what we're working with and where we want those lines to be. I'm going to go ahead and lock that again and just grab these and just work on those curves like we did on the W. You can see this isn't close either, so just nudge that till it's right where you want it, and we just have some work to do to shape these curves up. Do that and then let's go ahead and just pull this down, get that curve looking a little bit better so it's not so wonky. We're going to do the same with this. I'm going to just click and drag this down just to give it a nicer curve. Also, that E is looking pretty good. Now, we just have the Y and we'll come back to the L. What I did is I had part of the L be this containing shape. Same with the Y. I'm just having having the E nestled in there. I like just that break and how it's symmetrical. This L is directly in the center, so why not have it break and be part of this outer containing shape. I think it's fun. It's a nice way of just using that shape to its advantage and to your advantage. Just I think it helps out all in all. Let's go ahead and just work on. Well, we'll go to the Y first. I can't make up my mind on what I want to do, but I'm going to grab everything but the top point on this. First, I'm going to drag down a guide, the bottom of this E, just turn the guides back on. That way I know where to stop with these points so that the center of the Y is exactly the same as the center of the E. Grab all those bottom points. I'm going to just clip these so it will snap to this guide. If you click that hold shift Y, you drag it down. We're good. We have our Y set where we want to set. So now, we just have to worry about this bottom. It's part of this, so what I'm going to do is just drag it down here. What I'm going to do is, actually, just copy this shape so that I have that outer shape. Now, I'm going to dismantle this outer shape and add it to the letters, but then I have this saved so that we can come back to it and just put it over the shapes so also it fits altogether. I'm just going to take a look at this again to see where I made that cut. It's the same, and try to keep those distances the same as the gap between the shape and the layer. I'll just draw this again as a guide. Make sure I get it the same. I'm going to move this down here, and that gap occurred just to the right of where this E ended. What I'm going to do now is, for the time being, I'm just going to drag this down. I'm going to select my Y with my selection tool, the black tool. This little guy, hold Shift so that you have both of them, and select this outer shape. I am going to come over here to the Pathfinder palette, and I am going to hit Divide. What you want to do is come to object, ungroup. Now, you'll see wherever those lines intersected, it split up the shape. So I can delete these because that's the gap that we want. I can delete that too. Actually, stepping back just because I didn't think of this, I had the gap on the right side of the Y as well. I'm just going to make a copy of this, drag it over. One thing, just to make sure you get them to line up, I like to draw guides. Then, if I click off, just grab this anchor point, hold it right to that til it intersects so that I'm sure is I'm not overlapping this. Then if I divide it, it will weave a little sliver of this Y and we don't want to do that. Again, select the Y, these two guides that I drew in this outer shape, hit divide, go ahead and ungroup it, and then let's go ahead and delete those shapes that we don't need. Now, what we want to do is have this end up turning into the bottom part of that Y. You'll see the only thing that's missing, we don't have that curve there that it has here. That's easy to fix. I'll go ahead and show you how to do that. When you divide, it will leave a negative shape inside. One way to know if you're doing that, is to hit command Y and it will show you all your lines, your pads. You just can click that and delete it. It's not going to change anything. Go back command Y and you'll see it's just like an invisible line that was there. What we're going to do now, is actually make this pink. This Y, there see there's three shapes. This got cut, too by that line. We're just going to select all of these. We want it to be one shape. If you come over here and hit Unite, it's going to turn it all back into one shape, and that's what we want. Now, we just need to add a little curve here. What we're going to do is, you're going to go over here to your pen tool. If you hold it and you come down to the Add Anchor Point, the little plus, that means if you just hit the plus sign on your keyboard, it will give you this tool. It allows you to add additional anchor points to your letter. What I'm going do is just draw a guide to there. I want to put a guide. I want to put an anchor point there. That's a little bit further away, so just draw this so that it's close to the same distances; this point to here, as it is from this point to here. It looks close enough, I'd probably move it all off, so I'm going to go ahead and plot that point there. That one is already good there. If you hit the minus sign, it will delete anchor points for you, and that's what you're going to want to do is just use the minus sign, hit that negative anchor, it's a delete anchor point tool. Just click that. You see, we already have part of our curve going for us, and just to fix that, typically, pull your handles out so that they go halfway, and see how you can easily change this. Keep it so that that inner handle, when you drag this out, is lined up on the angle that it is, and that it's set at. If you draw this about halfway between, it's a good starting point. You see, this doesn't have a handle, so what we're going to do is hit P for your pen tool, and then hover over this. It will start Anchor for you when you hovered over it. If you hit Option, it will give you this little tool. You can also come over here to convert Anchor Point tool. If you hit that, you can click and draw anchors now, and see how this is going the opposite way of what we wanted to do. Just go back up. Then, just hold shift to ensure that it's just straight, and keep drawing up until you have a good working curve. You just let go, and it should be good. We have that curved Y, and the inner part of this one, it also curves up. There's one thing that we can adjust. Pretty simple. You do the same thing. Hit plus sign and do the plus tool. This isn't going to be as big as a curve because we wanted it to feel it fits. So it's going to be an interior curve, whereas you see this as a way smaller curve than this outer curve. We're going to plot our plus points, and quite a bit closer than we did, and then go ahead, hit the minus tool. Again, you just find that up here. Go ahead and delete that. We're going to have to do the same thing with just drawing our hand a lot a little bit and just make sure that we don't change that angle. Hit the pen tool and hold option and it will convert that for you. You just want to hold shift, draw this out for that handle down so that you have a nice little curve to match the interior angle of that. Looks like our Y is done and we just need to work with our L. You see this outer shape got pulled above when we divided the shape over here. What we're going to do is just select this L, come to Object, Arrange, Bring to Front. It's going to pull it on top for you so that you can see what you're working with again. We want to do something similar to where this bottom part, at least to here is where our L is going to be. I'm just going to drag these points so that they're close to filling the same shape. I'm going to bring these ones down, so that they line up. Hold shift again so that your angles, also your lines don't shift. We're going to bring both of these down. Let me just bring it up so that it's close, hold shift and go ahead and get this so that it's there. What we're going do is take the same distance here. Draw just a little guide. If you hold option while you click and drag this, it will just bring it out for you on both sides versus just the bottom side. Let's go ahead and come over here and then grab this anchor point and just make sure that it lines up. We're going to do the same thing where we divide and get these shapes to work together. I'll select the outer shape, select this guide and the L. What we're going to do is hit divide. We're going to hit divide right right and then you go ahead and ungroup those again, it automatically groups them for you. Then let's just start deleting the little shapes that we don't need. That happened because this ended up not coming down all the way, so it didn't divide that. I'm going to just take this and bring it down. Just click and make sure that those intersect. Let's try that again. Let's select this L and this pink shape and hit divide. Go ahead and ungroup. Let's see if that worked. It didn't. What I'm going to do is just click and drag these down so that they overlap a little bit. If we take this again and divide it, go ahead and ungroup again. Sorry, I get a little hang up here. Click those and don't delete that one because they want to keep it but what you can do now is delete these little slivers because we knew we'd drug those down beyond it, so we don't want that anyway. We still have these little angles that need some work, but what we're going to do is combine these first. I'm just going to, again, I thought we had that negative space. I must have deleted it. Grab these and come over here and unite. It got deleted, I didn't delete it. I didn't select this top part when I divided it, it separated them, but make sure that you just always have all the pieces that you want to combine selected and then hit the unite button and it will make it one shape for you. We're getting close. We just have to fix these angles, and I don't have that guide drawn, so you just want to be careful, make sure that you're not too far off from that angle. Drag that down. We're going to want to do the same there. Let's make sure that it's all within the same angle. That is pretty close, what we can do now is go ahead and just make this black and I just haven't selected and I like to use the eyedropper tool. If you select that and hit I and just sample from the other letter, it's going to ensure that those are all the same color. That's pretty much just how I like to alter my letters, click and drag them down, just make sure that your angles aren't doing weird stuff because they definitely can start to get funky and not look correct. That's just part of the territory. It comes with it and there's something to be concerned about and, you can always refine later, but I'd like to get it at least at a good point and then continue to work with my letters and then I'll come back and revise things if I see them looking weird. But let's go ahead and now get brewing to fit across this bottom shape for us. It starts to get a little confusing with all these guides. What I'll do sometimes is just select it and move it to a new place where it's clean and it's free of guides because sometimes I don't know, it just starts to bother me. It gets a little messy for my liking. But what I'm going to do is actually just draw some guides out to the edges so we have a framework to work within. I'm just going to draw a little shape here. We know what that distance is, and instead of having to draw the shape and twist the square, I'm just going to, well, actually just forget what I said. What we're going to do is take the Line tool right there, the line segment tool, and we're going to just click at a point here and come down here so that we have this angle. Drag it out now, shift option. Go ahead and copy and paste this command C to paste in front. So Command F and then do object, Transform, reflect. That's okay. Go ahead and do that, and see if the other one's still there, it's just invisible. That's tricky sometimes just make sure you know if it's set that way, but have both of those drawn now, and I'm going to copy them again and paste in front and just move them down so that this distance is similar. What you can do is you can draw a little shape like I previously did were I messed up. Come back place down here just so that you know it's the exact same height. For now, this is close enough because we can always get those letters in there and bump them up, or bump them down. That's not a problem, but that looks pretty good. I'm going to go ahead and select all those lines that I just drew. Hit Command five to turn them into guides, and what we're going to do now is get the type for brewing. Let's go ahead and type that out. You'll see this end is a bit different than what we had up here. I took from a similar type phase called liquor store, and stole the end from that. I feel like it reads a little bit easier, but these are similar type faces, so I don't have any issues switching some letters around and go ahead and do type, create outlines. I'm going to do the same with this and I'm going to go ahead and just ungroup them. Do object ungroup. Same with this, I'm going to just delete that. If you get this one up in there, you'll see that it is a little bit smaller, but you can just click it, drag it out, make it bigger, hold Shift, keep it proportioned. Go ahead and get rid of those. You see I made some changes, made the R a little bit skinnier, I put a notch in the B on the other one just because it's a little bit weird. That's a weird B. So I think having that little curve come in there is helpful. But one thing that we know is we want this to be the width of Wiley in that outer shapes. So if you just drag this edge, hold shift but not action, and then it will drag down the left side of it and we'll just line them up on those guides that we drew. So it's looking good. From the final logo, we realized that the W is the exact center of the logo and it is not here. You'll see this spacing is off here anyways, but one thing I'm going to do is just click and drag these letters out a little bit for now. We're going to get this W in place. You can see that it is the shortest of all the letters, everything else is taller. I'm going to move it up so that it's similar. Again, this isn't going to be exactly the same as that since I'm going through this again, but get it similar, and what we're going to do then from there is adjust the rest of our letters so that they fill the shape on both the left and the right. You'll see that the I in the other logo had those little serifs on it. So I'm going to draw those on this just to get that I some width. These are things that we can change if it needs to be wider or if it needs to be a little bit skinnier and skinnier if it starts to look weird. But if you drag this, just make sure that those are adjusted. I'm going to go ahead and just come back in my Pathfinder, and unite those and make those solid shape. I usually like to work from center and then place a left and a right point and then fill the space from within there. But let's go ahead and draw a guid 3. Techniques: Hey everybody, thanks for tuning in. After uploading that last video, I realized it's a bit long. So what I'm going to do is just do specific logo examples in each video, and if it's a style that you're not interested in, don't worry about sitting through them, watching that whole video, unless, of course you want to just to see if you can pick up something from it. I'll start off with an image like this, and show you what we're going to be working on. If that's just not up the alley of what you want to do, go ahead and skip it, and go to the next video. But let's go ahead and jump into this style here. I'll just show you what I did to achieve this. So here's my sketch on the left, finished logo on the right. It's a little bit different, I don't have that Y dropping down. But I'm going to go ahead and just show you what I did to achieve this. For the font that I used here on NORTH, I'm going to go ahead and delete that, hit my type tool so that I can get my cursor there. I used letterhead fonts Billhead 1900. I'm going to go ahead and type that out. You'll see it looks quite a bit different aside from just the obvious reasons that it gets taller towards the end. You see that these serifs are quite a bit sharper here than they are on the one on the left. What I did was just alter that a little bit. I want to show you what I did pretty quickly, but that's pretty close to the side. So besides that I want some to go to object, and Type and do Create Outlines, so now that is an object. I'm also going to go to Object, Ungroup so that I can start working with those. I'll show you how I got rid of those sharp little serifs. I have nothing against them, it's just I felt like being enclosed in a shape, those would be hard to hold up when this is printed, so I figured just getting rid of those would just help out for the situation that I have it in. What I did is use my guides. Again, guides are great resource, are a great thing to be using. So Command R will go ahead and bring those out for you. I drag guides to the edge of the letter. Then from there what I do is go to your Pen tool and then hold it down, do the add Anchor Point tool. I'm going to just click down where I drew those guides. Then I'm going to hit the minus sign and use the Delete Anchor Point tool, and just go ahead and delete those. It's as simple as that. See, I forgot to place the points there, so make sure you don't do that. Just always come back at your Add Anchor Point tool and get those where you need them. See here you don't want to add one, what you should do is take your Line Segment tool, and then go ahead and draw that out. Hit Command F5 to turn that into a guide, and then that will just show you the angle where you should put that. Now you can use the Delete Anchor Point tool and go ahead and get rid of that. N is almost done. Then for the O, I didn't have to worry about them. Let's go ahead and just do the R. Line Segment tool and just draw it so that it's on the exact same angle. When you drag this out, hold Shift Option and it will just keep it on that same angle for you. I'm going to hold Shift Option when I drag it over and it will make an additional copy. Again, I didn't have a fill or stroke sounders, I'm going to go ahead and they're invisible, but just remember where they're at, go ahead and select both of them, do command 5 and those are going to turn into guides for us. Now we know where to place those additional anchor points. Go ahead and get those plotted. Now use to delete anchor point tool, and go ahead and get rid of the unnecessary ones. This is something you don't have to do but if you want to change as the letter style just a little bit, these are smaller things that you can do, you can adjust the serifs and do things like that. Just know what's available to you and what can be changed. It's always fun just to try and approach a letter in a different way. I'm just going to do the same. If this is repetitive, you can fast-forward until you see that I'm done working on the word North with these serifs here. Again, I forgot to place those points. Here we go. See that went up a little bit. If you have view smart guides on, it's going to ensure, it's going to tell you where you're at, what you're way upon them. If it says intersect, you know you're good, go ahead and get rid of those. Then let's just work on our last layer here and then we'll get into adjusting this letter so that the right is taller than the left and we'll get it all nestled in there, like I did in the example, or in the final [inaudible]. A quick tool for just move it around on your art board is if you just hold space, it will bring up this little hand tool for you. You can just click and drag around and get where you need to get. Delete those unnecessary ones. We have that all figured out, so the next thing is going to be adjusting the letter size. Let's go ahead and just put some guides at the base and at the top of these letters. That way we just know and keep it as close as possible to this example on the left here. Scoot this up real quick, top-line is the H, so go ahead and grab your direct selection tool, and make sure you get all these top points, they're going to adjust this H for you hold shift when you drag that up. Go ahead and do that. We know the T comes to this line, we want to grab all of these points here. Bring it up to there, and then we want to grab these on the right, and drag it out so that it's going to be hovering over this H. We know this needs to come up as well too, right there. It's as simple as just grabbing your direct selection tool and pulling the points out to where you need them to be. This is about halfway through the R is where the left side of that T comes and you'll see the R is a little bit bigger. Go ahead and select the the whole R, and if you have your direct selection just make sure you're not clicking on one point because it will specifically pick that point, but if you click in the center, it's going to go ahead and select the whole thing. So if you hit V and come back to your selection tool, you can grab this and just hold Shift while you do this, and get it close to that line there where it needs to be. It looks like I just wanted to touch over someone and come in here and just make it a little bit smaller. The thing you're going to have to be careful about is not that I've dragged that out and made a bigger unit, you see that these are thicker than the other letters since I've made it bigger. It makes sense, it just scales the whole thing. I'm going to show us some ways to reduce that so that doesn't happen. But I'm going to go ahead and get these other letters where they need to be first before I do that end. I'm going to have the same problem here where I'm making this smaller. It's going to be a little bit thinner. Those are some things you got to be aware of because you want consistency through your letters. It looks like I could have even done a better job over here, and that's a good thing about this, is I can come back to it and see where I've made some mistakes and try and adjust them. Let me just draw another point down here to where I can put the top at the end. See it's hard to get a little confusing with all those guides, but that's okay. Just ensure you're working on the right one. You'll see this, I drop this down a little bit. I'm going to use my direct selection tool, and just grab these points that I want here, and pull this down, and you'll see that some weird stuff is starting to happen here, and this is getting skewed. It's okay because we can always adjust that. It looks like I made it just don't want to do that quite yet because I had the wrong points selected. Sorry, go ahead and grab this left side, let's drag this out just a little bit. Now we can start adjusting this and let's go ahead and do that. We can drag this up because we don't want that to be skinnier, we want it to be about the same weight as the left and the right side here. That looks pretty close to what we have. It looks like maybe made this just a little bit too skinny. You can go ahead and adjust those points back out. Just bringing this in a little bit, but that looks pretty close. It does look like some spacing issues. Those are things you have to be aware of. Let's go ahead and select this whole T and I'm going to remove the guide just so I can see my space a little bit better, and which is good all these over, select all of them. Skew over and just work your way from one side to the other and just get consistent spacing. That looks pretty good there where the Ts are. Just pay attention to what you're adjusting and just know that you have to come back and adjust a few things. But that's okay. Now let's worry about trying to get these letters to be uniform in terms of their weight. This R is a little bit heavier than the T and the H, the O also, it made it a little bit skinnier when I reduce the size, but it doesn't look too far off, and N is definitely skinnier. Let's use the T and the H as scale or just a means to what we should be adjusting them to, because those didn't get alter their sides and get altered, so those are correct. If you select the shape that you want to make these revisions, you'll do object path, and then do offset path. Make sure you turn on your preview and you're going to see that makes it way too big. Let's come in here to the offset and put a negative in front of it and that's going to make it smaller. You'll see that it's just far too big. Just put in a smaller number. Go ahead and toggle and see what is close. Let's just start with that. I'm going to go ahead and you'll see if you do command why you have these two lines now toggled back. If you select the outside one only, go ahead and hit "Delete" and you'll see it left an interior shape here. Just go ahead and delete that. One thing I've should have done to first reference this is I would like to draw a shape over the top just so I know what width I'm trying to work in, and you'll see that it's just still slightly wider. I'm going to select this again, come to the path, offset path. I'm going to go ahead and adjust this again. It needs to be a super smaller number this time around and you'll see it's slightly adjusted that. I'm going to hit "Okay" there and come back here. Oh I just deleted the wrong one. Just make sure you zoom in and you can get the right one that you want. Go ahead and delete that. Well, it looks like it's just ever so slightly off, but these are some things I don't want to you waste a ton of time adjusting up here, but you get the idea. You just keep going back and taking little bits away until it looks right. You'll see in doing that, it took away just this slightly rounded edge here. What you can do is take your Add Anchor Point tool, go ahead and add two anchor points, delete this outer one and you'll see it put that curve back for us. Just like the first video, you're going to have to just play and see how easy it is to adjust that. Just make sure the curve on the left stays where it's at and just adjust the outer curve, but you'll see now that looks similar to what we had, and it is slightly shorter than this base. Select all these points and you can drag it down just so that it goes back to where it was. I'm not going to go through all of them, but you get the idea you would just add those curves back to there and slightly adjusted bring those points down so that everything is uniform and you'll see this O drops quite a bit below the letters, but that's just because optically it needs to. Otherwise, it's going to look like it's floating too far above that baseline. That's just typically round and letter forms are going to go above the top of the letter and the ascender height, the x-height, or below the base height. Those are some things to just pay attention to and not adjust, unless it's looking really obviously like it's too far below, like if you do that, it looks at that, obviously needs to be adjusted. Both come back to this end. We are going to again, draw a guide so we know our width. I'd just like to do a different color so you know what you're working with, so you can see it. Get that as close to centered and actually, just to ensure it is centered, draw one that's exactly the same width, you'll see this center point here. If you drag a guide up to there, then we know you can just go ahead and grab the center in this square, put it exactly in the center of that. Now, we can start adjusting the width of this and go to object again, path, offset path and instead of negative this time I'm going to go ahead and delete that or it is going to add positive path to this. We'll see what that does. It makes it bigger, but it's still just a little bit short. Just keep ever so slightly adjusting this and tell you about right. That is pretty close, right there. Let's go ahead and do that, and you'll notice that these are a little bit too rounded in comparison to what we had. First things first, let's go ahead and get rid of this interior shapes. Select both of these and come over here to your Pathfinder Palette and merge those. Now we're just left with that one outer shape. You'll see it too, that ended up dropping a little bit too far below the baseline. Let's go ahead and just bring that up, and we're going to want to adjust the top as well just to get it close. Let's go ahead and fix this again, so it looks okay. Just to show what you guys can do is just down. Adjust these so that they are a little bit sharper. Yet they're just exaggerated a little bit, but you can just adjust these, play with them a little bit and see what the best way for getting these back to, see again, be careful about those points, they can start to look weird. If you had the Pen tool go ahead and hit "Option" and will allow you the ability to draw our dipolar handle out. But that's something I'll just do to adjust back to this, it looks a little bit closer to over here on the right. This is still a little bit exaggerated. Just delete some of those points to play around with some of them just to get your letters correct, but I'm not going to go through all of them just to save us some time. Then from there let's go ahead and work on yard. I'm going to hit the "Type" tool again, and the font that I used here is the letterhead font, Packard Script Regular. I'm going to go ahead and just type out Yard. Hit "Escape" to exit the Type tool. You'll see that I've made some adjustments, that the bottom part of the y here is quite a bit about the baseline, and over here you'll see that I adjusted it so that it's the same. Again, you don't have to do those things. It's just something that bothered me about it, so I just adjusted it so that it matched and I'm going to go ahead and do that. I'm going to go ahead and create outlines, shift option O or go to type, create outlines right there. Let's get this so that it's sized appropriately. Looks pretty close right there. Let's just draw a line down to the bottom of this. You'll see that's pretty far off from what I have over here. Draw that line just to carry this up to where I had it on the other one, and you'll see my y pretty exaggerated and comes up pretty far and the bottom of the y also comes down a bit. What I did was, again, I'm going to walk this just because this is overlapping. If you just select these letters, command to, is going to lock those for you, so I'm not going to get away. But I am going to adjust these. I use the Lasso tool there. You can use a direct selected. It doesn't really matter what you do as long as you're selecting the right points, use the direct selection there. Then when you're adjusting this, just make sure that you're keeping it really close to that same angle at the letter, otherwise, it's going to alter it and look a little bit weird. In u the last, so here and just drag these down. At the bottom of the u there. Otherwise, sorry, it's sitting on that baseline and try and stay away from nudging just so you can keep that angle similar, but you want it to drop again just a little bit below. It looks like I just altered this y a little bit, but just drag this down. Now, let's just worry about the top of it. The top part and see that sometimes why I like to use the Lasso tools, you can come in here and specifically get the points that you need. There we go. That looks about right. We're getting these on the place. You'll see now it's a little bit wider, so just adjust it back so that it's close to the same width as the word above. Then lastly, I used Edmondsons', and this is designed by James Edmondson and is available through Lost Type. It's a very nice font. I like his work a lot. His attention to detail is pretty incredible, and just a big fan of his work. So you'll see that it is not regular, but, instead, bold. I'm just going to draw some guides just to ensure. I'm obviously working up the left to try and replicate what I'm doing, but you'll just have to play around with spacing and see where you like stuff and just how it looks in relation to the other spaces between the letter. It looks like I have it a little bit smaller, and maybe slightly larger than that. But this is tracked how he had designed it, but I ended up tracking it quite a bit just to help fill some of that space. So these are some little tips and techniques to help your font fill space. You obviously don't want to go too big to where it just looks weird and it's hard to read, but you can adjust that right here in your type palette. But anyway, let's adjust that back down, if you go to zero. Another tip I like is, if you hold Shift while you hit these arrows, it will go up by units of 10 versus single units if you're not holding it. It's just an easy way to adjust larger spaces. I have that starting about even with the A, so this is going a bit past. Well, it's actually really close to where that D comes up, so that's pretty good. Step back. I'm going to go ahead and create outlines on that, and I'll show you what I did to get that little circle in there. You could, obviously, just hit L and draw a circle, but you'll see that it's not a perfect circle, the inside of that. So just to have consistency in it, I'm going to hit the direct select tool, hold Shift, Option, Drag that out, hit K or come over here to new Live Paint bucket and I'm going to just fill that space. Go ahead and hit V and come up here and expand it, again, just right there on the top menu bar. It looks weird right now, but just grab this. Don't use your selection tool because it's still grouped, but go ahead and just use your direct selection tool, highlight the whole thing and let's click and drag it back. Don't copy it, don't hold Option, but just hold Shift and you get it back to align right on top of your shape. You'll see that I've duplicated the O. So just like the outside one, this direct selection tool, go ahead and hit Delete. Now you'll see, if I delete that one, that's bad. You want to keep the original copy. Select this interior fill now, hit V. Grab it with your normal selection tool, hold Shift and Option to keep it centered. It's going to be just perfectly replicated inside of there. I just like to nestle little periods and little things like that when I can or make this O smaller and put a line under it. I just think it's a fun way to work with abbreviations. So you can play with that for sure. Just go ahead and work on this outer shape and I'm pretty much going to be done with this one and I'll move on to a different style in a new video. What I'm going to do is draw a square and just have it so that the spacing is pretty equal on both sides. You'll see, over here, it is a little wider here than it is here, so that's something I can come back and adjust. Let's make it a different color just so that we can see what we're doing. I'm going to see it's on top of the layer. Go ahead and just go "Object", "Arrange", "Send to Back". I'm just going to move it down for you. That looks pretty good. What we're going to do now is just grab this top corner here with your direct selection tool and drag I'm going it down until it looks pretty close to that angle. We want to just follow this angle up, so you'll see if we drag it too far down you're going to go below the letters. You don't want to do that, just do it so that you have good spacing above the letter so that it's consistent with the spacing on the left. We need to grab this one. If you hold Shift again and arrow, nudge those up, it's going to go by more points. We'll move a little bit quicker for you. That looks pretty good. Now, to get the rounded corners on it, Let's go ahead and select that. If you go to "Effect", "Stylize", "Round Corners", hit "Preview", you can adjust these so that they're smaller, and you can adjust them so that they're larger. But go ahead and just get it in a place that you feel good about. That looks pretty close. You'll see it is not perfect or it's an applied style. It is, under the Appearances palette, you can see Round Corners there. But if you want to make that shape so that it's like this, select that, go to "Object", "Expand Appearance", and it's going to go ahead and just make that a full shape for us. There you have it. Let's go ahead and just get this so that these are white. If I'm going to go ahead and unlock what I had, I'm going to grab this, not select the brown background. I'm going to come over here. This is more of a finishing technique, but you're going to want to merge those just so that they're all grouped together. I'm going to go ahead and just hit the eye drop tool here, make it white. You'll see that you have some weird little fills in there that you don't want, but go ahead and just select those. Go ahead and delete them, and there you have it. If you wanted to make it just so that this is brown, one shape versus an object on top of this shape, you select both of them and come over here to trim, and go ahead and do "Object", "Ungroup". What I'm going to do is just grab the outer shape. We're going to do "Select", "Same", "Fill Color", and you'll see it'll fill all those inner spaces. It's grabbing this one too, but go ahead and hide that by going to "Object", "Hide", "Selection". Now I'm going to click and drag where those letters were and you'll see that the white letters are in there. Go ahead and delete those. Go back to "Object", to "Show All", and now when I select this, you'll see over here, it's all one shape and it's all brown. So if you just wanted to change the color on it, now you can, versus having to adjust the actual letters themselves too. Now if there's a shape behind it that is a different color, I'm going to move this behind, you'll see that the shape is open and, typically, you want that, not in every situation, but now you know it's just a clean logo. Whereas, if you're sending this off to a client, they can't really screw it up. It's solid, it's one shape, and it's really easy to change colors and adjust. But anyway, that's how you get from this sketch or how I got from this sketch to this. Those are, hopefully, some techniques that you guys can use in moving forward and working on your own sketches. Thanks for tuning into this one. Check back for other videos on different techniques. Thanks, guys. 4. More Techniques: Hey, everyone. Thanks for joining me again. What I'm going to do today is just work through a few of these examples that I have here on the right. I know they're not all in this sketch that I have here, but there's a couple of them, see the angle type on this curve shape. So what I'm going to do is just work through these and hopefully it gives you guys a good feel for how I did this. This one here, the typefaces that I'm using are Eames Century Modern, and it's a House Industries typeface. It's wonderful. It's a large family. It goes all the way from thin to stencil ultra black. It's just pretty versatile. But what I did first is go ahead and hit T, but get your font setup here. So Eames Century Modern. Then if you come over here to your Type palette, I'm going to go ahead and hit "Small Caps" on this, and I'm going to go ahead and place my point. What I'm going to do is actually still hit Shift N to get the capital N. But now everything else is going to be set up as a small cap since I went over here and selected Small Caps. Coming back to it, you don't hold Shift and it will just type the small uppercase letters for you. I'm going to hold Shift again to get the larger D. First things, this is obviously a lot thinner than what I have over here. It looks like it's pretty close. I think it's medium and it's a little bit smaller too, so I'm just going to size it down, get it close, doesn't need to be perfect. It also tracked out a little bit. You'll see that there's more space between the letters. Coming here, again, if you hold Shift, you'll jump up by units of 10. So I'm going to get close to what it is over there on the left. It seems good enough. Now to get these lined up at the top here, what I'm going to do is just, again, draw a guide down so I know where the top of my letters are at. I'm going to select just the small uppercase letters. This looks like it was already set, so I'll get that set to zero. Typically, when you come in here, this will be set to zero. This should be zero. If it's not, you should change it back just because zero is your baseline and you always want that to be zero. But what I'm going to do now is adjust these letters and just selecting them all, only just what you have selected. That looks good right there. What I'm going to go ahead and do is just do a new text box and just hit T again. Let's adjust this, let's get rid of our small caps and set this back to zero and let's type "Supply Co". Let's go ahead and make this smaller. Let's get it sized appropriately over here. Let's move it across right there. Again, this is going to be tracked out a little bit more. You can come in here, you either drag down or just select the arrows and change it yourself. Go ahead and just set it to 100. One thing to get this centered, if you select both of them, you'll see up here there's a Transform palette as well, or a Align palette. But this one right here, well, Horizontal Align Center, so you know those are centered. You can tell there's a little bit of space here towards the end and there's not as much space up front, so that's just a rough guide for now. But when I create outlines on these, I will really center them for you. But this is good enough for now. Then what I did was I just took my line segment tool right here. If you draw guides, again, just to the end of your letters, you know where you're at least starting from. Just hold Shift while you draw that, and let's go ahead and throw a stroke on that. See if you have your Stroke palette down here, the bottom-right one on top. So you want go ahead and select black or whatever color you are working in and let's adjust it. So it's closed. I didn't need to draw that. This looks pretty close. I'm just going to draw that to the center of the letter. Just a little bit more space and some I'm going to just nudge those over. I'll show you what I did now to get the period underneath, there's a couple of ways you can do it, this being type versus an object, but it's a little bit easier if you have it in objects so that at Type you create outlines. Go ahead and do Object, Ungroup, just so it's a little bit easier. Now I'm going to describe this O, make it smaller and then make this just a little bit smaller too, and just drag it over so that it's lined up under the center of it. Again, you can grab both of these and hit that button to center align those. Again, this just gets a little bit thinner when you do that. So a way to fix that is do Object, Path, Offset Path, and do Preview, and then just adjust these numbers until it looks pretty good. It didn't change much. I'm just going do that and you'll see there's two objects there. So I'm just going to come here and merge those, and you'll want to grab your direct select tool by hitting A, describe the O and then hide it, do Command 3, and I'm just going to delete the fill on that, then unhide and then now you're left just with the black shapes. So if you change the colors, it's not going to fill the inside of that for you. Go ahead and group this. I'm going to take this also and go to Type, Create Outlines, and what I'm going to do now is take this type in the bottom type. Center them, and then grab these. Those are the same length, so we want to keep those the same versus having this one be a little bit shorter and this one be longer. So if I grab both of these, I'm going to group them. Now, I'm going to grab all of these items, come back here in Horizontal Align, and that should be good. If you turn off your guides, everything is centered. Now that space is a little big, so I'm just going to fill those back in. There you go. That's how you get that. The next one I'm going to show you is type on an angle. Go ahead and come back here. I didn't mean to do that. Just make sure my Small Caps wasn't clicked. It wasn't checked. But what I'm going to do is just track this back down to zero. After you make adjustments in here, you want to reset them so that your next typeface you're using looks proper. So the next, this font over here on the left is called Brass Rule Script. Aesthetic Apparatus is the place you can find this. They have a couple of fonts. Another one called Valuco, it's really fun, beveled typeface, definitely worth supporting. So I'm going to go ahead and type out "North Yard" on this. It's just a unique script. Make it pretty close to the size that we want. One thing you guys can do in your typefaces, if you come over here to your OpenType palette, this see if the typeface has OpenType features built into it, but you can see there's different features for how the letters and sometimes these are just fun little things to play around with. So in order to get this on the angle that we want, if you come over here, your shear tool is hidden under it's usually the scale tool over around the left. If you just click and hold that, you come to your shear tool. That's going to help us get this on the angle. So you'll see it has the center point there. So if you just double-click this while you have your type selected, because they already had this set at negative 10, it's pretty close to what I wanted, but it's probably going to default to having "Horizontal" clicked for you, guys. But if you do Vertical, and then just play around with your shear angle. You don't typically want to do this type of stuff, but to get it up on that angle, I did horizontal negative 10. If you start to do too sharp of an angle, it's going to start skewing your letter forms a little bit. So just don't go overboard with this type of stuff, and so for your 10, it's going to take it down for you. So let's go ahead and just go back to negative 10, that's what I liked, it was a nice angle. So now in order to get it looking like this, what I'm going to do is I'm going to go ahead and just create outlines on this, then I'm going to turn this white. See I put a stroke on there, so I'll undo that, that will flip your fill to your stroke. But if you click here, make sure you just have your fill selected. I'm going to have that white and what I'm going to do is Edit, Copy, Edit, Paste in Back, and that's going to just put it directly below that. So what I want to do now is grab the stroke of the copy that's below it and make it black. Then, if you nudge that up and give it, I don't know, this is 22 point stroke. Twenty-two looks good. So far, it's looking pretty close to that minus this little part that I added in there to fit Supply Company in. First, let's do this, just so it's easier to add that. If you select both of these, it's selecting the top white layer and the bottom black layer. You'll see over here your stroke, it doesn't know. It's confused because the top one doesn't have a stroke, the bottom one does. So it's a little confused. But if you go expand, and it will bring up this little window, click, "Fill" and "Stroke", and it's going to make those objects for you. Now, what we can do is, we can come in here, let's just draw a square and fill it black. I'm just going to drop and fill it black and double-click the Shear tool again and I'm just going to put the same angle on it. I'm going to send this to the back. If you go Object, Arrange, Send to Back, that's what I did. Let's just go ahead and do that lined up. I'm going to just grab my pen tool and draw. Just keep it on that angle and draw this shape in. I'll take over here. I had a little bit sharp of an been. If you just grab these, carrying down, then it might be just a little bit too far. Just play around with this type of stuff until you get the angle where you want it and the curve where you want it. I'm just going to come back here. When I'm drawing this, I'm just going to drag a handle down here, and actually, what I'm going to do is grab my line segment tool and just draw a line here. I'm going to Shift Option, hold this, drag it out, and Command 5 is going to turn that into a guide first. Now I can work off from that and just make sure my curve is looking good. That's not too good actually. I might just come here and just draw it so where your curve starts to look like it's on the outside of that shape there. That looks pretty good. I'm just going to come up here and just connect this back in, fill it black, send it to the back and what you can do is grab this shape and the shape, go ahead and merge those just to make it one shape. Now I'm going to grab this Supply Company right here, and for this I use Futura, Bold. You come here, bold. Type out Supply Co., and looks like for this one, it just kept the period on the end. It's a little bit too big. I'm going to track this out. What I want to do now is turn this white, so I drop just a background alternate white for you. Let's go and just place that there. If it tiny behind it, you just go to Object, Arrange, Bring to Front. It'll do that for you. Then just go ahead and just go to our Shear tool, do the same angle that we had for everything else so that it looks like it fits. I don't want it to go below the bottom of the y here. Again, I'm just going to draw our guide, Shift Option, hold that, and Command 5 will go ahead and turn it into a guide for you and set it right down there, and it's good. Till you get that one. Now you see all these shapes what you can do is, I'm going to go ahead and outline this type. Shift Command O will do that for you. I'm going to select all of this, then come over here, trim it, and then I'm going to merge. One thing you want to do is, if you selected or associated that the fill over here is confused, it doesn't know what's going on. Let's go ahead and just grab your Direct Selection tool. Select the black. Do Select, Same, Fill color. It's going to grab all that black for you. Command 3 will hide it. I'm going to just drag in here with the direct selection tool and delete that, and then Command Option 3 will unhide what we hadn't hidden. Now, when I select this, all you'll see its flax and it's one shape, which is what we want. Same thing here. What font I used is letterhead font, billhead. Actually, that n is the 1980 font and then I changed it to 1900 for everything else. It's tracked out pretty far. I'm going to take it back to zero, just put a little bit of spacing in there. One thing that you guys just have to be careful about your spacing. See it's a little tight here in comparison to where this O and the R is, and just come in here and adjust your Kerning, and you just want to have even lighter spacing between them. Just come over here to Shear. Again, negative 10 looks good. I like that. I'm just going to copy this down so I don't have to shear the angle again. I'm going to select all of this and change my font. What I used for the other side there was Luxury, Diamond buy House Industries. I'm going to change that Supply Company, and you do that. It looks like over here I had a S and a C, just to give a little bit of differentiation in that. Shrink that, it's a little bit too small. If you grab both of these, create outlines, you can go ahead and center them. It's going to look like it's a little too far left over here. So those are some of the things you can optically adjust. Even if it is perfectly centered, it may not look [inaudible]. You can nudge those things over to the right, but we have these on the same angle, so that's what we want. It looks like over here, what I forgot to do was, I didn't hit Shift and make these capital letters when I typed them, but you get the same effect. For this one, I'm going to use as a base was, United from House Industries. This is just a super extensive family. There's italic, extended italic, regular, semi-condensed, condensed, and then there's serif, and sans serif. This is just a huge family. I don't remember exactly what I started with, but this is going to be the sans. I think it was regular. Let's just start with this United sans regular medium, and what I did to get this was I created outlines. Actually, before you do that, let's track it out a little bit. Just because when you put a stroke on it, it's going to make this space in between there just a little bit thinner, or just smaller. Let's just do 75 and if it's not exactly the same as what I did over there, that's okay, but I just want to demonstrate what I did to get this. If you create outlines, what I'm going to do is turn this white. I'm going to hit "Hide It" do the sample, grab the background color. I'm going to copy, paste behind. Again, you can edit, copy and then paste in back. The paste in back is selected right now, and what I'm going to do is put a black stroke on this. If you hit "X" it will toggle between these for you. So make sure your stroke is selected. Grab black, and the reason I'm putting it behind it is because if you just put the stroke on this, the top where the white layer is, it can start to alter the letter form. Just in the corners where the stroke fills, where it goes around the edges. We just want to maintain the integrity of the letters. So it's just a good practice to do this. That looks all right. What I'm going to do is object, expand again and it's going to do fill in stroke. Come over here to your Pathfinder Palette, trim, merge, and go ahead and ungroup those. Just a few, delete out this white now. We're going to have just a black shape here and that's nice, that's what we want. What I did to make sure that these angles are the same as what's on the C. I'm going to grab this, make a copy of it, does hold "Shift" option while you click it away and then delete out this white. I'm actually going to just path-find this together to make it a shape. When you have those, you can just use your Delete Anchor Point tool and get rid of those extra points that just got added in there. But if we select this inside, now we're going to have this black shape here and you'll see it's the same height. So I'm just going to use my Direct Selection tool and nudge these out and just click and drag this. I'm going to go up to object, arrange, send them back. The reason we're not seeing these other letters is because they are black. So let's select them all. If you hold shift and T-select that back shape. Let's go ahead and Eyedrop these to white. We're going to see that this is, now I obviously made it too big, but let's go ahead and just bring this back. Now select them all. Actually, just select the letters, but group those Command-G, and then now select everything, let's hit "Center" here. This one, vertical line centered, which it already was, but now we know that's perfectly centered. That's what I did to get this and then for the typeface, I just used Futura again, and it's pretty easy. You get the idea with this, you just select your Typeface. I just did North Yard Supply Co. and I use Bold instead of Medium. If you grab this, hold Shift option when you drag these down it will uniformly make that smaller for you. Actually, before we do that, we see this is 19.24, let's just make sure we use the same size below. Now we can go ahead and create objects here, ungroup it, Shift-Command-G. Let's drag this O down and make it a little bit smaller. I'm going to do the same, make this smaller but then the center if you grab both of these, just come up here with your line, palette-center those. This O is a little bit thin. So Path, Offset Path. That looks good enough. Let's then just nudge it down because then it's a little bit too far but here we go. So you'll just want it to be similar to the C there. Again you emerge these, the C over here. The fill is confused. If you just grab this to Command three to hide it. Let's grab that interior shape and delete it. Command option three to bring it back. There we go. Denver, Colorado, ESTD. I'm not going to walk you through this. But you get the idea, the same thing. Created outlines, did the same thing as I did with the O. You shrink it down, hide your period under it. I probably could have done the same thing here, but I've opted it just to be Colorado Versus Company, a little bit different. You guys can just play around with that and do what you want with that. But anyway, I'm saying that's our type down there. When you're all done with this, go ahead and regroup this top part. So we know this is already grouped. This is grouped. Select them all, come up here to Horizontal Align Center, and then you know everything is centered. So that's that. For this, what I did was, I'll introduce a new technique here. Font I used was Luxury, again Diamond and I did North Yard. This is another instance where you just go ahead and check your open type features and see what you have. I like this, where the R drops down, but you see how it's dropping down further than over there? I think it's because I was holding shift so that those would be capital letters. I'm not sure why it's dropping further below the baseline. Let me just take a look at this letter and see. Okay. I didn't have the swash-like, stylistic alternative selected. So that's it. I like that R just a little bit better than the other one. Yeah, just go with that. It's a little bit bigger but you guys get the idea. I'm going to Shift Option drag that down just to get another line of type there. Just to see in Century Modern again. Again, I chose these typefaces just because they feel a little bit old-timey and that's what I want this brand to feel like. That's what we have here and it is quite a bit smaller. Subtract out one or two tickets. Similar to what I have. It looks like I wanted to book something a little bit heavier. Again, grab both of these, center them. Bring that closer. It still looks like it's a little bit smaller. Something like that. So now to show you how I got this type here, is I just hit "L" and come here to your Ellipse tool. It will start to draw a circle for you, an ellipse. If you hold "Shift" it will be a perfect circle. If you hold "Shift" option it will drag out from the center. But I didn't want it to be a perfect circle. I wanted it to be set on an angle. I'm going to go ahead and just reverse the binding these little arrows and that way I can still see my type and make sure that I'm getting everything lined up like I want. Then I'm going to select all these. What you do now is come over here to your Type Tool. You hold it down to Type on a Path Tool and just click anywhere on this path, you'll see that little mark there and it will turn that path into a typable path. Again, I'm using Century Modern book. I did just D-N-V-R, being all trendy there. Colorado. Up here, if you come to your paragraph and you can again do the same thing here. It doesn't matter where, but I like to center those. If you click and drag this center box, it will let you position it where you want. Sometimes this can be a little finicky, so just mess around with it a little bit. But that's smaller. I'm going to go ahead and just Shift Option drag this out, change this versus putting it on the same line. I like to just keep them separate. Yes, T-2013. That looks good. Go ahead and hit escape and and it will put it in this mode for you so you can click and drag it out. I'm just doing it for now. What I'm going to do is describe all of these center them again and I'll put those two ellipses together for you. Now, we see that we have some adjusting to do. I'm going to just bring that down in that direction a little bit, same for this. You just want them to be similar and, again, just draw some guides in there so you know where your letters should be sitting. That's pretty close. Then from there what I did was I used letterhead fonts, billhead and instead of 1898 it's 1900 and just a capital N there, make it a little bit bigger and then just create outlines on it. Draw a circle around it. If you eye-drop other circles, it will match the same with the stroke width for you, so you grab both those. I'm going to do align center, horizontal align and vertical align in that way I know it's perfectly centered. It looks like that circle was a little bit small, and you just have to be careful when you scale these down. It's going to typically change your stroke for you. There's a setting if you do Command K where you can turn off scale, stroke, and effect. Typically, you just want to keep that selected, but if you shrink it down and it's too thin, just remember to beef up your stroke weight. What I did for the arrow was you can either hand-draw that with the Pen tool, or one thing I like is dingbats, is that dingbats has some nice alternate glyph characters. A good way to see if your typeface has additional characters that you're maybe missing that are hidden under open type is if you go Type, Glyphs, it'll pull up the whole glyph palate, so it'll show you every glyph that's included in that font and let's use Zapf dingbats has some nice arrows in it. I'm going to go ahead and just click this. I'm going to close out of this because I know that's the arrow that I want. If you go to your selection tool, let's just grab this corner, hold Shift and drag it up so that it's up, and then I go and just 90 degrees. I'm going to create outlines and make it a shape. What I did was I just deleted these bottom point. You want to do that. If you just select both of those and then let's just go ahead. You see that's open, that's not connected. You'll see if you have your Pen tool and that little circle shows up there. I already connected it. So if the circle shows up there and you click, that will connect it for you, but what we can do now is hit your Pen tool, hit Option and we can get to our little curve on the bottom of that. In order to get that back, if you just come to this handle and delete that handle, let's see, it adjusted there for us, so we'll just bring that down. It's not perfect. I don't know. What I would ideally do in this situation is, let's just draw a guide there. Use the plus adding point tool, add one there. Now, let's just delete all my anchor points on the right side here because we like the way it looks on the left. I'm going to grab this Shift Option hold it. If you go up to Option or Object, Transform, Reflect, click "Vertical". Now, what we can do is grab these points, hold them until they snap together. Now, hit your direct selection tool. Come in here do Command J. It looks that those must just be overlapping a little bit. It will just join those endpoints for you. I'm just going to drag with my hand. Now, Let's see if it does up here. If you select this whole thing to come over here to your Pathfinder, do unite, that's going to be one shape now for you. Sorry, I stumbled around there a little bit, but let's go ahead and you can try a little bit bigger. Then grab, not those, just that and center it. Group them. Now, what we can do is center that, so everything is centered. It looks like this is a little closer here than it is here, but still, these are sitting on the same line that we want. This one maybe could just go over a touch. But this would be a good opportunity to take this period and hide it under here just to keep similar spacing on the left and the right. But hopefully, this is something new for you guys and this is what you can do. You can do this with any shape. You can do it with circles and just come over here to type. Do type on the Path tool and just have fun. Change your typeface and just play around with different shapes. That's what I did here, is I just used my Pen tool and I'm going to just switch this so we can see the stroke. If you just make this curve. You don't want to do that. If you just hold command and click off, it will change for you. I'm going to come back to this side. Should have done this one beforehand, but just add a little straight path there to it. I don't know if it was quite that far when I did this one. But what I did is Shift, Option, click that, Object, Transform, Reflect. We want Vertical, and let's go ahead and just grab this point here so that they're intersecting. You want to grab both of these, do Command J, and it's going to join those points. Now, go ahead and do your type on a Path tool and click on this. It looks like it went on the bottom there for me. Anyway, we can adjust that, by what I did was, again, used billhead in this letterhead font. Billhead, and I use the 1890 N, not everything else, but the rest of North Yard I did. Let's go ahead and just get this flipped around so that we can see what we're working with. Let's center that and make it bigger so that we can see it. It's not that tracked out. Let's go ahead and just do something like that. What I did was I went back to 1890 for this S, and then I changed it back to 1900, notice supply. See that will happen if you use lines on the end are drawn out to the very end. You can just click and drag those up. Supply and then, for company, what I did is if you come still stay on that type-line. If you go to Font, Glyphs, scroll down through here, you'll see there's some hidden glyphs. This is a nice little nestled CO, it's already designed and I like to do that anyways, but it's just nice that it happened to be a design one. Let's go ahead and do that and see, we're centered here. Over here you see I have it coming out on that type a little bit, so if we just make it bigger. It's going to do that for us, and here you'll see, when you type around path is like this odd shapes, you just have to be careful about your kerning because sometimes letters can just look really weird when they're together like there's so much space between that Y and that A. So just be cautious like here, the L and the Y. That's probably a little too far, but you can just play with those. On this, I maybe made it a little bit bigger. We can sync it down a little bit just so that it matches what's over here on this other side. Those are all things that you can play around with. The main thing is just showing you typing on just a unique path and shit like that. Now, you just nestle this Denver, Colorado that type in there. I used luxury, diamond, and let's shrink it down. I accidentally made a copy. Shift, Option from the center, scale from the center, or you can just change the font size here. It doesn't matter. Track it out a little bit. But you can grab both of them, align them. There you go. Last one I'll show you here is this and just how you bend the type and the center. What I used was Liquor Store, is the name of the font. Let's just change this and make it bigger. North Yard and you'll see the A is different, so I just did a regular instead, jazz and it's not tracked out that far. It looks something pretty close right there. Let's go ahead and just make this a little bit bigger. You'll see this is still messed up. So if you just adjust those back, that's what you'll want to do and on these, it's important to spend some time making sure your kerning is proper before you start adjusting the type and it's probably a little too much, a little bit there. If we create outlines on this, you can do it either with create outlines or without it. You can do Effect, go to Warp and do Arch Upper, going to hit Preview on that. I'm actually going to drag this into the negative and see it really can start to make your letters look weird. You have to be careful with these. Not do it a lot, but do it enough so that it's noticeable. I don't know, that's probably pretty close but something like eight. If you just toggle these, you'll see what it's going to do. This [inaudible] to skew letters, look kind of weird, but I'll show you a trick around that. Just select it again and do Effect, Warp again, and we're going to do Arch Upper. She's going to ask you if you want to apply a new effect, and we're going to do the same. It's already set to the same. Now, you'll see this crossbar on the arch is just really squished and same with the Y and A. But we're getting close to what we want. The next thing that I did was Effect, Distort and Transform, and I did a free distort on this. If you just grab these, it's tricky. You don't want to go too far because it will just really start to mess your letter up. But you just drag those up, a couple of points, just make sure that it's even on each side. See, that's not. Drag it in. Do the same on the bottom, just a couple of points. You don't want it to go too far. See, this is going to help you maintain some of that integrity in the letter, it's going to drag it out, it's going to make these outer letters a little taller. I think, I went just a little bit too far, but it's easy to adjust. What you do is you come over here to your appearance palette and if it's not out, go Window and find Appearance, and then it will pull it up for you. But if you come back to your appearance palette, there you go. If you have your appearance palette, you'll see the Free Distort here, so it'll just bring back up those changes that we just made. Let's grab these and slightly take them in. If you just bring these in a couple of points, you could see going to help. That's pretty close. It looks like I have a little bit sharper of an angle that I ended up using over there, but I like how that looks. You go back here, Expand Appearance and I will just change that for you so that's all even. Now, what I did for those lines because I just grab my pen tool. Let me switch this, make it so it's a stroke. Just grab there and grab right there. Let's just drop this so that it fits on all of our letters. I'm going to made it a little bit bigger. Then I'm just going to add anchor point tool. Sorry, I'm just trying to remember exactly what I did. I'm just going to place a point here, center. Delete that, and then I take this, make a copy of it, Transform, Reflect, join those, so that it's symmetrical. I'm going to just add anchor point tool. I'm just going to draw guide so that we can put exactly the same on the other side. I'm going to place that one, I'm going to place it here where it intersects. Delete my little guide, grab these endpoints and just delete them. Take this, I'm going to come down here. Again, how did I? You just Shift Option and it will duplicate it for you. Now, if we get that close, it's going to grab both these group on [inaudible] for you. You can highlight all of them, do Vertical Align, Center. Actually, it didn't work out just because one side of the letter may have come down further than point to top, that looks like the bottom came down a little bit further. But you can always draw a little guide in between them and just get them so that they're the same, but that's pretty close there and I used Gill Sans here and let's go ahead and do Bold. Supply Co, track it up and make it smaller, go ahead and center this. The same thing that I did with this N up here, I just used a different N. I used Eames Century Modern, I'll use a little bit thinner weight in that, Regular. Then create outlines. Draw a circle around it and I want it to be the same way as this stroke, so if you just, add, grab that, we get exactly the same. Let's go ahead and center those up. That's good. I'm going to ungroup this real quick and just steal this arrow because I did the same thing. I just centered those up, added that arrow to the top. I get a copy of this, deleted these. Let's go ahead, delete that as well. Make a copy of this, flip it around, connect those, select both of them, Pathfinder, unite, make it at one shape. Select that, bring it up into their. Make sure that those are all centered, they are. Then add it over here. Make it sure that these are all centered. There you go. I'm just going to group that. What I did was instead of these stain strokes, if you just select it, and what you do; Object, Path, Outline Stroke, it will outline those strokes for you and make him shapes, then you can merge this together. Just be cautious if you're kerning. Sometimes if you're in a hurry, you can look pass those things. But adjust that a little bit, create outlines. Let's merge this together just to make it one shape. [inaudible] Some of these fills are filled with just nothing. But lets Select, Same, Fill Color. Hide it, command 3, just click and drag in here. Let's delete those spaces, command option 3. Now, we have our full shapes. Hopefully, that was helpful for you guys just to show you some of the techniques I use to shape letters, to skew them, to go around pads, and just to put type on an angle and some things like that. I really enjoy these techniques and they're versatile. They go a long ways and can be used in a lot of different instances but these are just a few. Anyway, I hope this was helpful and that you guys enjoyed this. Thank you for tuning in. 5. Even More Techniques: Hey everybody, thanks for tuning in again. I'm going to go through a couple more examples for you guys of how I achieved this monogram and just having this type fill this circle shape. Let's go ahead and jump right in. For this, I like using very geometric letter forms without curves, just because it's a little easier to manipulate curves present a new challenge, but what I used here was united by House Industries and it's sans serif, so I think sans regular, just do medium, N-Y-S-C-O. That's what I did. Maybe in light, we do medium, and I'm going to create outlines. For this I did work off of a sketch so it's probably good to do that, sorry that I didn't throw it in here. But these letters are fairly easy to manipulate and you just grab your Direct Select Tool and drag them down. Take these up. When you do this don't hold Shift or anything, it's going to put on a 45 for you. Just keep them on the same angle and you'll just see the lines overlap. You just want to keep it very similar to what it is. For the C, the O, I haven't nestled inside so just go and just drag these out, get him away from the other letters. What I can do is hold Shift and nudge, and just remember what you do to each side. I've two nudges just here. If you want it, you could do two nudges here too, but it doesn't matter really for this. But for an S, when you're adjusting one side you want to adjust the other side the same. It's good to remember that and to go ahead and get that in there. What we can do is use our normal selection tool. I am going to ungroup them first, center those and you'll see that it's centered but optically looks off. We want it to fill this space here. Somewhere like there looks pretty good. Maybe the C is just a little bit too tall and this isn't going to be exactly the same as the left, but I just wanted to show you guys what I did in order to get there. Let's grab both of these and just get it somewhere close to there. For the S, dragging this out quite a bit. We can just get it centered and see we still have a little bit of work to do in terms of getting them up further, but now when you have it over the top of these letters it gets tricky. You can just individually select those, the points that you want to drag out. When we do this, we've got to do it to the top as well. Same here, just so that it's even. Let's go ahead and just skip this. Something like that looks pretty good. The N, that's what we have left. You see we don't want to drag it out because it's going to make it thicker for us. Let's go ahead and just grab these. I guess I should have grabbed these with it. Let's just get this to a height, it's pretty close to what we want. We're going to do that, adjust it so we still need to go just a little bit wider. I'm going to just grab these points here, I forgot that one. Take it out, let's do a little bit more. Something like that. We can maybe go one step out. Something like that just so that it's pretty centered. We have the framework now for our monogram and it's really close. We just have to do a couple of things to delete those spaces around there. What I'm going to do is just draw little boxes and just make sure that they're lined up. If you just hold them on the edge, it will snap it to the edge. What I'm going to do is just turn these white, and that way we can just have a good framework for what we're working with in C and end up doing it there, but let's grab this edge here and it's not going to snap to grid sometimes. Again, if you do command R and use your rulers, if you draw a guide out to that point and then come back here and grab your anchor point, it will snap to that guide. That's one thing you can always do and just Shift option, click this over, I'm just going to make another copy of it for you. We're going to do the same on the bottom of the S here. You can just click and hold Shift, drag those down and it's going to be lined up perfectly. I like to use the same space, I'm going to just make a copy of that and I'm going to put this here. See that one is snapped to the guide for us. If you draw a guide in there, grab this anchor tool, draw it back and we're going to do the same to the top of this C right here. Draw your guide down, Shift option, click that to make a copy. We're getting close there. What I'm actually going to do is grab these, that are separating the Y and the C, and I'm going to go ahead and just trim those, ungroup it, and I'm going to grab those, delete them and then this interior, you'll see we don't need the interior of that Y anymore. We're going to start to clean this up and just helpful to start to see it a little bit less confusing. But let's go ahead and just keep dragging these out to where they need to be. Draw your guide just so you can snap the anchor points to the guide and have it be perfectly lined up. Do the same here. I'm going to grab those, the S, and I'm going to go ahead and trim, ungroup. You'll see that it brought this letter on top of those shapes that we had already drawn in there. Let's go ahead and delete that and do that, and then let's just select this full S, send sent to the back. You can do object, arrange, send to back, and that's what I did. I just used the keyboard shortcut for it. That's good, we have that sorted out. Let's go ahead and just clear this end because that's just confusing, seeing it in there. If we just take the shape, I know this is on a hold option when you drag it out just so you don't steal that one from that spot. If you hold Shift it's on a 45-degree angle and same as the letter. Let's just snap that up. Sorry, I'll just zoom in there just so I can be a bit more sure. Let me see and drag it away. Get it so that it's not really wanting to, sometimes I just zoom in because it's trying to align it with something else in the document, but there we go. Let me just make a copy and do the same down here. You'll see this end diagonal is perfectly going through this S like I would like, but it's easy to change that. Sorry, I'm going to step back. There we go. If you ever double-click an item, it'll pull him into here for you. But if you're just arrow out of this and we'll step back for a few, grab both of those in your N. Let's go ahead and trim them, ungroup. Shift Command G1, group. Let's do that, let's delete this. Actually, I'm just going to grab this and hold Shift when I drag it. Just try and center it. Between there a little bit. Don't want to do that. Let me just use the set review do that. Here we go. Let's go ahead and let's finish this up by giving the space here on the inside of the S. We can just make a copy. Let's turn the guides back on and I'm going to drag that out to the C. Grab this anchor point and just align it to that. I'm going to ahead and trim this. Ungroup it, and you'll see here, when you ungroup that, sometimes it will pull the object on top. Just make sure that all of our spaces are deleted, that we need, and this looks good. I'm going to adjust that a little bit, get the center back up. When I do that, I'm just going to drag this. Not that. I want to use the direct selection tool. Grab this, get these two points, and just drag that so that this space remains the same. It looks like over here, this space is the same on both the left and the right. You can adjust these just a little bit. What we can do is just draw a little guide square in there. We know we want it to butt up against that, so I'm going to grab this. Here we go. It's off-centered, but these are some adjustments you can make when you're working on it. There we go. This is O is off-center from the Y, but just spend some more time setting up your letters. I just wanted to move through this quickly to demonstrate how to actually make these cuts. But anyway, sorry about that. You'll get the idea if you just work around with your letters a little bit more, you'll get it. [inaudible] wide spacing and so let's go ahead and trim it, ungroup everything. Let's go ahead and just delete those. Let's select this C over here, fill is a little bit confused, so let's just grab our black. Select Same Fill color. Right there, Command 3 to hide it. We're just going to click and drag in that interior of that O. We're going to unhide it. Now we have a shape. So it's all one. You can go ahead and group it, Command G, and make it one object and you'd be good to go. So now let's move on to this. Let me show you one last demonstration before moving into the third unit of the lessons, which will be on texture, and finishing them up, and giving just some little fun elements to them. What I did for this is started with the circle and I'm to take my ellipse tool again by hitting "L" and don't hold Shift this time. You can hold Option to drag it out from the center and just try and get this to be pretty close to the bottom of that shape over on the left. What I'm going to do is make a copy of this copy, "Command C,", Command F, to place it on the front, grab it, hold Shift object, and drag out just to put that space in between there. We're going to go ahead and just divide this, ungroup it by Shift Command G, or come up to object, Ungroup. Just delete the stuff that we don't want. We do want this. Let's go ahead and flip this so that it's a stroke. You see these rounded edges on there, I'm going to just do that over here in my stroke pile. If you select the round cap, round join, it's going to make those nice and round edges for you. Just get it close. It's not exactly the same because I'm just trying this and using it as a demonstration, but you can spend some time with those shapes. This is just a fun way to do that. What we're going to do now is, because we want to set up our guide for this interior space and how far we want our interior type to be, so I'm going to copy this, "Command C,", "Command B,", paste in back. I'm going to come over here, change my stroke color. I'm going to make it thicker and change this, get it to a place where you feel comfortable having your type, and that looks pretty good there. What I'm going to do now is do "Object", "Path", "Outline Stroke." I'm going to select all of these and just trim them. Sorry, not trim. Let's go ahead. The reason this is happening is the stroke here. Let's go ahead and select these and do "Path," "Outline Stroke." Now if we trim, ungroup them, let's go ahead and just delete the outer one. I'm going to just drag these copies over. Actually, select both of them, "Shift Option" click them just to keep those. I'll show you why in a second, but we're going to take this, do "Command F5," and that's going to turn them into guides for us. I'm going to go ahead and just delete those other guides that I've drawn in for the upper parts. Now we can start fresh with our guide. Let's go, "View", "Guides", "Lock guides". Next, I'm going to delete the outer one. I'm going to just use these as strokes because these are going to become part of our letters. First of all, I'm thinking about what type I wanted to use. I wanted to use something that looked funky, something that looked a little bit '70s. So I ended up using ChaletComprime, right here, and MilanSeventy. This is just a thin weight to it and you'll see it's relatively close. It's feeling definitely '70s and funky-ish. I think its; going to be a little too hard to read, so I'm going to change this to MilanEighty, just to change it up in the there. Let's go ahead and let's see. I just wanted to real quick see if there was a thinner weight to this. Nope, there's none. We're just going to drag this out. I'm just using this as a base to get that N close to what we want, and that's pretty close. We're going to actually track this in because they're going to be a lot closer together. Not quite that close, but that's a pretty good. I'm going to go ahead and create outlines on it. What I'm going to do is actually bring that over because this is our interior guide. If we know it's the same height there, we're good. I'm just going to make sure that these are centered. Mainly what we want to do is make sure our N is looking centered, and I'm going to lock that and actually just grab the Pen tool and grab a bright stroke. I'm just going to draw the letters. We're going to want them to be a little bit thinner than that and maybe just a touch more narrow. Well, if you hold Shift, I don't want Shift there, but I what Shift here, we're going to get that. Let's come over here and round these edges just like I did. Something like that, I think. Looks good. Let's actually drag these in just a little bit. I'm going to do the same for this K, except let's just be working within what we already have. You'll see over here, I have that F, the K, those crossbars in the Y where it connects sat on another little circular angle. I'm going to just draw a guide real quick here so I know where I'm dragging this. It's centered. It's up a little bit higher than that, but what I'm going to do is turn that into a guide, "Command F5," and come back to my Pen tool, given we want these to be just a little bit narrower. I'm going to come in here and just using this letter as a base, draw that. I'm actually going to just take this, make a copy, transform it, horizontal. Actually, this is not going to work because this angle is going to be out. Sorry about that. Just come back here, make sure you're aligned up with the base of it. Hold Shift. Let's go ahead and just draw that curve in there and draw our U. Just pull this down, let's move around there. Now, I think what we can do is command option 2, unlock what we had locked, let's delete this. Looks like my U is just a little bit too wide, so let's drag this in. Oops, I left that behind, I want to do that. Let's get it so that our letter spacing is pretty [inaudible] close. Drag this so that they're just touching the space, because that's already in our guide from what we started with. Try these. You don't want to do that. I just want to grab these, take them to where they need to be. This is still looking a little just too wide for me. Sorry, let's just step back. I missed that point then. Again, we'll just have to adjust this. That's pretty good. Now let's go ahead and graph this, and just have it be the same weight. If you just sample that, it's going to work pretty good for you. Turn our guy back on so we see we have this. For my F, what I did is use the adding for point tool and just keep that gap pretty similar there. What I'm going to do is just add them there. If you hit a "Delete" that, let's not delete that. Let's put a point here for where our Y comes in, and then delete this. It'll just leave the portion of the curve that we want. I'm actually going to just grab the pen tool, place the point right there. Initially, I start out here and just [inaudible] your point there and drag that so that it matches that curve. It's pretty close. You'll see my letter spacing is off, but you can just play around with those. Drag out the Y or the U, have it be a little wider. You make all your letters a little wider so that we're not stuck with short or just uneven space letter. For this Y is funky. But doing something like that and then I'm actually going to delete this. Now, there we go. Just to look back over here, I just did a curve from here down to here. It's a little bit different. But by adjusting and find out, looks like my angle with different where I had that crossbar. But you guys get the idea of what I'm doing. This is what I wanted to show is how I used that outer circle to actually have those letters fit for you. I'll turn in the outer shape until letters, just so you can ensure it's going to perfectly align up inside of this. What I did for the type was similar. We know it's four letters, so T, Y, and then P, E. What we can do is just draw our letters. You can imagine what these look like. Let's just go ahead and start here. Come up to the top. You can use that outer letter if you want, or you can draw this to match it. It's just using the outer part of it is really going to ensure. It's the exact same curve, because you had that pops up a little bit there. That's pretty close. I'll take that back. It looks a little bit different, but you can take your time drawing these curves. That's what I did. I draw those curves around there, and just stylize those letters a little bit. But I'm just going to save you guys the time instead of going through it, just because it's very similar to what you did up here where you use parts of those at our letters and use your [inaudible] point tool, and your [inaudible] point tool and just get that type setup. Draw your guide so you can have that crossbars. I'll match on this. On this P for instance, drag it down to there. Same with the E, you had your crossbar there, but just use that shape to really get your type. Then from the previous video, you don't draw your circle. What you can do here is take your width, just copy this, grab this circle, paste your width in there. Then it was actually really close. But if you take your type on path to type it in there, and then you can type that around there and I believe I used Grover. This is huge, but let's just tone that down, An Online Class. Go ahead and center this, grab this little handle there. You can drag that out so that it's centered. It's a little too small. You just adjust this until it's the right size. If you come up here and just place it right on top, and there you go. One thing I did want to show you there is, so this is going to be at SkillShare, and we want that to be on the bottom. When you drag it down here, see how it puts on the inside. If you just put it back up here, it's going to be in the way. If you have that selected, do "Type on a Path", "Type on a Path Options". Preview this, but Align to Path, do your Ascender, and it's going to be the top of the letter. I'll go ahead and hit "Okay". Let's see it's spaced out just a little bit, but you can use this to adjust your baseline shift. Just get it so that it's the same. Select both of those. You can drag them out now and just to space it out a little bit. But anyway, after completing the type in there, that's what you would get and then some last little thoughts on aligning type around your path. But anyway, I hope I'm not being too vague there to finish that up. I just don't want to take too much of you guys as time, because showing you just how I got funky to fit that shape, it's exactly the same for types. I just don't want to waste your guys' time. I want you to be able to get into illustrator and get your hands dirty, and start doing this stuff yourself. But anyway, I hope that you guys have found these videos helpful. I'm going to shortly be uploading our videos on Texture, the third unit. So stay tuned for those, just to show you some final finishing techniques with texture and some things in that nature. But anyway, thank you guys a bunch. I hope that you have a good one. Bye. 6. Texture Techniques: Hey everyone, thanks for joining me. Today I'm going to be covering a few of the texture techniques that I use to achieve this unused logo option that I presented to my client. Let's jump in and go ahead and get going. You'll see this is all rough and texturized and I have these which are clean. It's always good practice just to hang onto the clean version that you have. That way if you make a mistake as you're editing, you can always go back to the original and start over. Let's first just take this on the shift option quick to just make another copy of it. The effects that I used to to this are just a combination of a couple. The first one I used was Ocean Ripple, so if you go effect, distort, Ocean Ripple. I'll pull this up and you'll see that it is applying this texture around the edges. What I'm trying to do here, even though this is a flat image, just make it look like there's some light coming from the front to help give some shape and some dimension. Using this is just a quick and easy way to help give this file object some shape. You're going to want to play around in here because depending on what size you have it, it's just going to be important to play around with because obviously that's not what we want. So play around with this. Get it get it close to what you want. Once you have it, I'm going to play around with it here. Again, it's not going to be exactly like the other one that I have, but just something close just to demonstrate how I did that. So that looks pretty good. I'm going to go ahead and hit "Okay". You see it's going to apply it to that. What I'm going to do now to get this grainy texture in here that I did is I am going to take another copy of this, so shift, option, click it and I'm going to go Pixelate, Mezzotint. It's going to default to find that for you. But for this I'm going to use Coarse Dot and you'll see it will add that for you. Now you want to go object, rasterize, color mode, gray-scale, resolution, high, just to retain as much detail as possible. I Already it did that for me. I have a preset tracing technique that I like to use I can trace profile called stipple, but that's not in there for you. I'm going to just show you how to save out your own and adjust it so that you can retain as much detail or as little detail as you want from your rasterized image. I'm going to click "Default". You're going to see it doesn't hold hardly any of the detail that I want. If you come up here and do the image trace panel it's going to go ahead and give you options. It's going to default like this but if you click this advanced arrow down, it's going to give you more options. Make sure preview is selected. What we're going to do is just play around with these to get the noise, the detail that we want. You'll just have to do it yourself to get something as close to the rasterized image that you had. This is quite a bit different, but if you just play around with this, you'll get it closer and by adjusting your threshold you'll be able to hold more or less. For the brown dots that I have down here on this horse, that actually looks pretty close. What you want to do if you get it where you want, go to manage presets, do save as new preset, save it whatever you want, I named my stipple. Then that way next time you go to do it, you'll have it listed under all your tracing profiles, like here you have customs, you see that stippled there. It's always good to save them, especially if you get them to where you really like them. I'm going to go ahead and close that, hit "Expand". You'll see it's going to make that all an object for me. I want to delete the white and you can set that up through your presets to exclude white, but I didn't here so you can just come in here and select the areas that we know we don't want there to be. We want to hang on with those little white dots, so what I'm going to do is just use my direct selection. Go grab the black and make sure that it's just only in the back that you have selected, so I can go ahead and delete that. Now we just have those white shapes left. You'll see right here over on our fill that, that's all there. I'm going to group those. I'm actually going to use the eyedropper tool. I come down here, I'm going to sample this darker color just to get it what I want and then with this, it's still that object. What I'm going to do is rasterize this in my trace so we hang onto that texture. Again, gray-scale, high. I'm going to go ahead and just use the stipple one that I had already saved up, expand and I have it set so that the white is gone. If I select this, you'll see that it still has this outer shape on it. We just want to delete that, coming back to it and you select it still has that question mark there. I'm going to use my direct selection to grab this and then I'm going to go select "Same fill color", hide it by Command 3. Just delete what's in here. It looks like it just made a copy of it. Then delete that. I'm going to do Command Option 3 on hide it. Go ahead and grab this horse. I'm going to use the eyedropper, turn it back to that lighter orange-ish brown color that I had. Now I'm going to just slide this, select this and slide it right on top. You'll see that you can't see it because this orange object is above it, so if you select, then I do object, arrange, send to back. It's going to drop it below. That's pretty close. It looks like my chunks here were just a little bit bigger. But I just wanted to show that to you because that is exactly what I did to get this texture and the type. I did the same thing. You can even throw a little bit of Ocean Ripple on there just to give it some rough edges or you can just bypass and do an Effect, Pixelate, Mezzotint. Use your trace settings to either leave the white in there for you or delete it. For this, I know we deleted it so that the holes and the type actually show through what's underneath them. Then I just laid it on top and then from the techniques I used in the other videos that I did previously in unit 2, I set my type on a sphere. Just to refresh, you go to the type tool, type on area path. Click that and then you'll be able to type and I just type Brewing Company in Centennial by Hoefler Frere-Jones and I did the same thing to that as I did in the horse but the texture technique that I just showed you. I just want to keep these a little bit shorter and focus on a few different techniques versus spending a lot of time on one. I hope that you guys found this helpful and if I move too quickly, just watch it again. You'll get the idea. Just run the text through it, run your object through it. Anything that's an object inside of illustrator is capable of being distressed and textured like this. Just do it a couple of times to get the effect that you want because if, like you'll see here, I don't have quite that texture right there on the inside of the horses. Is this going to come by spending more time inside of those effect? Just inside of the effects, dragging a little sliders around and getting it to retain as much detail as possible. Anyway, I hope you guys found this helpful and stay tuned. There's going to be more videos on some different texture techniques that I use. Thanks. 7. Even More Texture Techniques: Hey everyone. Thanks for joining me again. I want to go through some of the techniques that I use to get this four letterpress look over on the left for Wiley. Again, I want to keep this short for you guys so that you can spend less time in videos, more time in Illustrator working on these techniques. If you mix the technique that I'm using here with the technique from the previous video, you'll be able to do something just like this. Again, like I mentioned in that other video, you want to start with the clean, sharp-edged version of whatever it is that you're trying to textualize. For this, it's this little Wiley symbol. What I'm going to do in order to get this, is again click and shift option drag this down to make a copy. Like I said, you just want to hang on to those old ones in case you need to go back, and from there, what I did was I'm going to just hit "X" over here and it's going to switch this for me. I'm going to put a white stroke on the object, and I'm actually going to just shift click this up and do 10 points. Because what I want to do is make sure that I keep the texture away from the edge just so it feels like it was letter pressed and a little bit of that ink got left off of that area. From there, I'm going to rasterize this because if I go in and start applying my mezzotint texture to this, it's actually going to apply it to this white area and we don't want to do that. So I'm going to come in and rasterize this, I grayscale and again, the resolution, high. Go ahead and hit "Okay". I'm going to image trace this and again, I have my stipple setup. It doesn't matter, you can default for this because it's a pretty simple drawing and it would trace it nicely for you, but that's my go to. So I'm going to do that and expand it. I still have it set so that this clear is not white, but it just has a clear shape from when it was rasterized. It leaves this residue. So I'm going to select that and I'm actually going to go "Select", "Same", "Fill Color", even though it's not a fill, it will select that. I'm going to delete that so that I'm left just with this black shape. From there, what I'm going to do is I'm going to come to "Effect", "Pixelate", "Mezzotint". Actually, I skipped this step. Sorry about that. What you want to do before that, sorry I got ahead of myself, let's go to "Effect", "Stylize", "Inner Glow". I'm not sure what it defaults to, but I think it will default to this remote as screen and a white color for you. So just hit "Preview" so that you can actually see what pops up. I know that this is the blur that I want, but you can move this around and get more or less of that. Where it's darker, it's actually going to have more texture when we apply the mezzotint. Just from doing this beforehand, I know that I want to be right about here at 0.13 and the opacity set at 75, that's totally fine, and do edge because if you do center, it's going to reverse it and that way, it would put the texture on the outside. But that can be a cool effect too. It just depends on what you're going for. To replicate what I have over here on the left, we're going to do edge and go ahead and hit "Okay". So now go "Effect", "Pixelate", Mezzotint". Again, course dots is what I have. So I'm going to zoom in just to see. That looks pretty good. There's one thing I'm going to do that's going to take away just a little bit of the texture because it's not quite as heavy throughout over here. Some of that was achieved by erasing some of that texture. But just for the general look and feel in terms of where these corners are at, that's pretty close to what we have on the left. What I'm going to do is go "Object", "Rasterize", again, "Grayscale", "Resolution", "High". It might take a while, it just depends on how much RAM you have or how busy your file is. Because again, all these little points will start to sell your computer down. But anyway, from there, let's go to "Stipple". If you guys set up your stipple setting from the previous video, you should get it to hold the detail that you want. See that's pretty close. It changes slightly, but that's okay. From there, I'm going to hit "Expand". Again, I'm going to take my Direct Selection Tool and just get rid of this residue that is left. My computer is already moving a little slow, but get rid of that residue that's left from live tracing. I'm going to go "Select", "Same", "Fill Color", and it's going to select all of that. One thing you want to do just to make sure you're not selecting something else on your art board that you don't want to delete, go ahead and hit "V" and move back to your selection tool and you'll see if these white corners pop up. That's everything that's selected. So if you zoom out, you'll see that only this shape is selected, so I'm not going to delete something elsewhere in my art board. I'm going to go ahead and hit "Delete" and you'll see that it's not quite what we want it to look like, but that's okay. Again, this is all black. I'm going to go ahead and hit "X" to switch over to my stroke and I'm going to add a white stroke on it. See that's pretty heavy and it's a leaving that's not very much of that texture. My stroke is just too thick. I'm going to try something like 0.5. Well, click off, see what that looks like. That's pretty close in comparison to what we have. Again, you're going to have to play around with this depending on what side you have your objects. This stuff can shift a little bit. But I had to do it myself. I had to play around with it until I got it to what I liked. It just takes a little bit of tweaking, but that's fun. It's a labor of love and the more time you spend with it, the better it's going to be. That's pretty close. What I'm going to do instead of outlining the stroke and deleting it, I'm actually just going to rasterize this to flatten it, and then I'm going to just live trace it again so that way it just gets rid of the white stroke that I had applied. So go to "Image Trace", "Stipple". Again, if you're using an older version of Illustrator, live trace is the old image trace, so they just switched the name around on that. Anyway, expand that. I'm going to go ahead and select that residue again and do "Select", "Same", "Fill Color", even though it's not a fill, its really weird, but again, hit "V" just to make sure you're not selecting something else on your art board. I'm going to go ahead and delete that. Now we're left with just the texture. I'm going to actually I drop this and turn it yellow so that we have that. Since this is the clean version, like I said, you always want to hold on to that stuff, let's go ahead and just do "Pixelate", "Mezzotint" on this, do course Dots". Let's go ahead and do "Object", "Rasterize", "Grayscale", high is fine. Go ahead and hit "Okay" and I'm going to "Stipple", live trace this. Sometimes it'll give you that warning that it says it could take a while just because it's just going to be a lot of points. That's fine. You can go ahead and hit "Okay". Your computer may move a little slow on it, but just give it some time. Let me try to process pretty hefty task. Once that's done, go and hit "Expand". Again, let's go ahead and just grab that with the Direct Selection Tool. Do "Select", "Same", "Fill Color". We're going to get rid of that residue, hit "V" just to ensure you're not selecting something else. Now we have this textured and let's go ahead and just grab this, group it, "Command G". Let's go ahead and turn it brown and we can grab this, and if it's not grouped, you can just select the whole thing, "Command G". Let's just place this on top and you can nudge it around until it's where you want it to be. You'll see it's a little bit different, but like I said, I went in, I spent some time deleting areas that I didn't want to be there. It's hard to see as well without that yellow background under. The yellow background really helps the texture pop. What I did was with the whole [inaudible] type, I drew the shape around the type and then I just did the same thing that I did to this brown type here, I select the clean shape, "Effect", "Pixelate", "Mezzotint", and then I got it textured. But for the purpose of this, I'm just going to click and drag it over. Just to show you, that will look a little better with this under there and doesn't need to be perfect right there. If you click off, you'll see that that texture really pops a lot better when you see that yellow color underneath. But like I said, it's not exactly the same. So just spend some time tweaking it and doing it multiple times, getting the texture where you want it to be. But that's essentially what I did to get this effect, to give it that four letter pressed, really textured, chunky look and the same goes for the rest of the type. It can be type, it can be a shape like this, like this flourish. It doesn't matter what it is, but those techniques are going to help you achieve this. What you can do is just spend some time going in there with your Direct Selection Tool or your Lasso Tool if you hit "Q". You'll just want to make sure that everything else is hidden. I'm just going to grab this, the brown shape, and hide it, and come back in here. Say I want to delete some of that, it's a little bit more narrow, grab your Lasso Tool with Q. See you can just draw this where you want and select some of that, make it just a little bit more narrow. You can delete full chunks of it, come back, and just really give it some texture. You just spend some time in there just getting it where you want it to be. You can unhide everything and see the changes that looks a little bit more just raw, a little bit more rough. I think it's helpful. Hopefully you guys find this helpful and like I said, mixing these techniques with some of the previous one is what I did to create this logo in terms of moving my type and adjusting my type to fit a shape and then applying the texture. I hope that you guys find this helpful. Please don't hesitate to ask if you guys have any questions. I appreciate all of you signing up for this class. It really means a lot and I'm very thankful for it. So yeah, I hope you guys walk away feeling like you learned something too. Thanks. See you. 8. Wrapping Up: Hey everyone. Welcome to the last and final video for my class. In this video, I'm going to cover saving out file types and also just ensuring that your logo is set up properly so that when you hit it up to a vendor, they're not going to screw it up. Just in terms of keeping the file as clean as possible. There's a lot of ways to save out files. There's CMYK colors, there's Pantone colors. I'm not going to touch so much on that. It just depends on what your vendor ends up needing from you. So it's different for every case and it depends on what style of printing you're going to end up doing. But in my experience, when you have a file that is clean and easy to hand off to a vendor, they're pleased and they like working with you if you hand off proper files. So I'm just going to cover a few basics in terms of saving up the correct file type and getting it so that everything is grouped properly. So one thing that would be really annoying about this file and handing it off to a vendor would be if all this texture wasn't grouped. It just sets up your vendor to end up messing it up. It just give them an opportunity to select something and say they forget that top texture if you click and drag halfway through. So what I've already done in this is group things. But I'll just walk through quickly how to do that. You'll see this back item, just a background and this logo. When I select that, I'm going to go ahead and hide it. Command 3 will hide it, so you'll see what is left. We just want to ensure that the brown is actually grouped together. So if you're using your selection tool and you select this, you'll see that it grabs everything. Say it was ungrouped, if you do Shift Command G and ungroup that, see if you select just this, it's going to write those other letters behind. So we just want to ensure that we get those all grouped together. If you just click and hold shift and select the brown letters and just command G, or you can do "Object" "Group", do the same thing. A good way to check is just command 3 to hide it. Or if you do "Object" "Hide" "Selection", it's going to hide that. So if I selected this and it didn't grab all of it, and it just grabbed what is highlighted here, what you would want to do is select it, let me see if I click and drag, I'm going to end up selecting some of the other letters. So a good thing to do is when it's tricky selection areas, if you use your Lasso Tool Q, you can draw right around what you need to have selected. If these were all ungrouped, you could just select them. Then do "Object" "Group", and those would be good to go. Again, just to work through logos, I like to hide stuff just to make sure I'm not missing anything. So if I select here, see there's nothing here that got left behind. So I just like to hide, to keep everything in check so that I know what's going on. Again, this is already grouped, but if it weren't, and you use your normal selection tool, you'd just see that each letter would be and you just walk through them. Go ahead and select them just by holding Shift and using your selection tool. Command group, command G, and then command 3 to hide them and do the same with this text here. It's already grouped. So another good thing is you could just do Q. Although in this situation, using A would be totally fine because you don't have anything above that you're accidentally going to select but command G to group them, command 3 to hide them. Same for here, you'll see it's already grouped. So just to ensure, I'm going to go ahead and hide that and just grab this. It's all grouped and you can tell it's all the same color. That's another thing that you really want to focus on, is making sure that if it's a two-color logo, you're using exactly the same two colors that you want to be printed. So let's say you have two different yellows and they just are slightly different. Your printer is going to be, if you're doing spot colors, pantone colors, they're going to be annoyed that it's not set up properly. So just ensuring that you're using the same color, same PMS values or same CMYK values. For this I'm using CMYK, so you have that set there, but you can also click and drag the swatch out and pull it over here into your swatch and panel and make sure that they're all the same. I'm not using pantone colors, but just to show you how to get to your pantone colors. Under your "Swatches", you click this little drop-down menu. Do "Open Swatch Library" and then you'll go to "Color Books", and then you'll do pantone. There's a lot of different types of pantone colors. But typically, you'll work in solid coated and uncoated. The coated and uncoated just depends on what type of paper you're using. If it's a coated paper, it's just going to be a little bit glossier than an uncoated paper stack. It's going to be more ron, have a little bit more paper tooth to it and the color hues are slightly different, but they still have the same number. But anyway, those will pull up, you can search here by number or you can just click down by hue and use what color you want. But for this one, it's CMYK. So just again, make sure all your colors are grouped. You hide them. Go ahead and select what we had, see that there is nothing left. I'm going to go ahead and unhide that option command 3, and it's going to release everything for me. The last thing that you want to do is just select the whole thing, go ahead and group it. Then now when you click on any part of it, it's grouped, and when you click and drag, you're not leaving anything behind. So it's an important way to finish a file. So I'm just going to go through, I know I already showed you guys in this North Yard example, how to leave it so that it's just one color. Next three options are one color options and I just want to show you, when you select these, you'll see over here the question mark it shows that it's not black. We want these to be just black since they're one color. So you'll see that this text hasn't been outlined and the other text is still filled as white. So what we're going to do in this is just grab the text first and outline it. So you use your selection tool to highlight that text or to grab that text and do "Type" "Create Outlines", and it's going to make that outline for you. So the rest of this is already made into outlines and you'll see this isn't grouped. So just as good practice, grab everything that is in one group and go ahead and group in command G or "Object" "Group". You'll see yard is already grouped. Same with supply company. When you create outlines, it will keep it grouped for you unless you ungroup it. So since all those white is now an object, I'm going to select the whole thing. I'm going to come over here to my "Pathfinder" palette, and I'm going to go ahead and click trim. What I'm going to do is ungroup it. Now, if you just grab your direct selection tool, grab the white out and delete it, actually didn't delete that one, but if you grab the white, delete it, it's going to leave you with just the black that we want. So I'm going to just zoom in here and make sure that I'm actually selecting everything that I want. Now when I select this, you'll see that this is all filled as black. So what you want to do, because if you move this, you're going to read those counters and the fills. What you're going to want to do is just grab your selection tool, grab it all. Go to Object, Group. Now if you want this to be pant up color, you come in here to the specify color 1375. If you draw another shape behind it, just to show you, let's go ahead and do Object, Arrange, Send to Back, and you'll see that it is now just one shape, and that's nice, especially when you're handing files off to print vendors, they're going to be happy if you give them clean files like that. Looking at this, it looks like we have a mix of strokes and fills, so what I'm going to do is to type. I'm just going to grab [inaudible] also I could do create outline, so it's going to outline the type that we have, and we're going to see another good thing to do is since there are some strokes in there, like this big black shape is actually a stroke if you do Object, Expand Appearance, is going to go ahead and change that for you into a shape. You'll still see that this is a question mark, so what we want to do is you can go ahead and either use your direct selection to grab all those and delete them or you can use your direct select, select this black, but let's do, Select, Same, Fill Color, and let's hide it, and three or Object, Hide. Selection is going to hide that because it was the same color, but I'm just going to drag where that logo is at, the white shapes that were left in there. So Command, Option 3. You know why that happened, it's because I forgot to trim it. Sorry, let's step back, let's go to Pathfinder. Let's trim, let's ungroup it, shift Command, G. Now let's use our direct selection and do select Same, Fill. Same, Fill Color, and hide it. It's going to hide that, and then let's click and drag, delete that and unhide. If you do a object or hide is at and it will do on the inside, so just to step back. I'm using shortcuts for you show to off, it's going to be the same thing. Now when I select this, you'll see over here it's all in one shape, but the last thing to do is group it. Object, Group. So the same thing, this is all one color now. Draw a shape behind it, and I'll just show you guys. I'm going to send that to back, so Object, Arrange, Send to Back. Sorry about the wild colors, I'm just picking colors to show you. Same with this, and we'll see we have white on top black. This whole thing is grouped, you don't need to ungroup it. But just make sure you select it all just to ensure trim. Go ahead and ungroup. Since there's not very many white objects, I'm just going to use my direct selection tool, and just select the white that we did. I'm going to go ahead and hit "V" to use my selection tool, and you'll see that it is all black. I'm going to go ahead and just group it, so this counter is a part of everything. Again, here you go. So they're all one shape, one color, and that is what your print vendors are going to want to see. Not just print vendors, if you hand them off to clients as well, they're going to want clean logos, whereas if they're just grabbing this S to accidentally pull it out, it just gives them an opportunity to screw up a good logo, and you don't want that to happen. So that is all important, and the last thing I'm going to cover is just ensuring that you save out proper files. I turned off my art boards, so I'm just going to show that. Just for the sake of this, we're going to get rid of these, and I'll just show you how to save this out. It can be perfectly centered, I don't think it's that big of a deal. But you can, you come up here and see this is going to show you that the reference point is the exact center of this object, and we know this is eight by 11, so I'm going to do four-and-a-quarter. It's going to be centered for us, and then five-and-a-half. That is perfectly centered. Typically when you're handing out vector files, a PDF will work fine. You just have to make sure that the file is still editable if the printer is going to be working with the file and working with layout. If that's the case, you can just do File, Save As, I'm just going to choose my desktop for the time being, and just call this, "Wiley_Logo" Right here in your format, you can do Adobe PDF, and EPS is also a vector file, AI obviously a vector file, EPS, PDF. These are your typical file types on handing out vector files, but PDFs are simple. If you have multiple art boards, you could use art boards. But that's fine and you just do that, and just make sure you preserve Illustrator editing capabilities. Illustrator default is fine, you can just save that. It's going to hold the color value that you need and that you want. So when handing it off, your client can open this up and have a fully scalable file, since it's a vector file. Say you're working on comps, and you want to show your logo to your client, but you don't want them to have the art yet because you're still working on revisions, you can send them JPEGs just to ensure that they can't take the artwork or alter it or anything like that, so you can do a PNG, a flat file or a JPEG. If you don't select art boards, it will save the file edge, right to the edge of your artwork. But I like to use art boards just so that they have some space around it to see it. Again, I'm just going to put this on my desktop. You can do a larger file, high resolution. It doesn't matter, it depends on what size they need. You need keep your file size down, you can always do medium resolution, 150, or you can even do screened at 72. But anyway, that's pretty much it. It just depends on what your client ends up needing to see in the end. But yeah, vector format, Adobe Illustrator, EPS, PDF, and if you want to get files just to ensure that your art work can't be stolen, can't be taken, can't be altered, send them flattened files, [inaudible] like images like JPEGs or PNGs. But anyway, I just want to again, thank you guys so much for signing up to take my class. Like I said, in the previous video, if you guys have any questions, please don't hesitate to ask me. I really appreciate it and I'm just very thankful that you guys chose my class. So it's been great, and thank you guys so much. See you.