Logo Design: Mastering the Wordmark

1. Introduction: Hi, I'm Gary Simon, a freelance artist, identity designer, an instructor of 15 years. Now, I decided to create this course because I see all to often, especially from new and aspiring designers. Ah, focus on symbolism and iconography as opposed to the word mark, which is the type portion of a logo. So we're going to correct that by running through a series of projects that will help you create great word marks. Now these were marks come in a variety of forms, simple and complex, abstract and literal. So we have a little bit of everything sprinkled throughout five different projects. Now two of the projects are going to include hand lettering, word marks with the use of a tablet, while the other projects more focused on conveying relevant symbolism through the type, as opposed to focusing on the type itself. We'll be working exclusively in Adobe Illustrator, and it would be a big plus if you have access to a pressure sensitive drawing tablet. Now I really want to see what you ultimately produce, which is why I've included two optional project assignments that are aimed to challenge you to create great word marks. And if I think what you produce needs improvement. I certainly won't be holding back. So if you're ready to take your identity game to the next level, let's get started. 2. Beginning The Zoom Project: Hi. So a word mark is basically the type portion off a logo. A good example would be Nike so below Nike. We usually have that swish, which is the icon or the symbol and the top. We have the word Nike, and that is the word mark. Now some logos are on leeward marks entirely. I good example would be Coca Cola in FedEx. There's no weather associated symbol with it. Other logo's are combination logos, which again, Nike would be considered. That has thes swish, which is the icon and also the word park. So our 1st 3 projects are going to get us thinking creatively about creating good word marks. All right, so our first project is going to be for a fictional company called Zoom. All right, So here and Adobe Illustrator, let's get started by going to file and new and we can name our project Zoom the name of the identity and thes size. I'm pronoun just gonna leave it The default settings 9 65 60 and under advance. We have color mode is RGB Ah raster effects is screened 72 pp. I All of this is fine and we'll go ahead and hit OK, and I'll hit control or command on Mac in one. So control one now to get us to 100%. Now, what I like to do typically is when I'm working on a bigger resolution. When I'm not recording these courses, I like to have the canvas size about as big as the window that I'm working in right now. It's gonna extending out too far to the right left. So all you have to do is click on the art board tool over here and we can hope hit the space bar in left, click and drag us over here. And we could just drag us in a little bit so that it roughly matches the size at 100% view of our campus here. Okay, so now I Whenever I begin a new identity or logo design project, the very first thing I do is get out the type tool and I just put in zoom or the name of the identity, of course. So I'm going to put in zio M, and then also you can either put a few spaces beneath it for just put a few spaces to the right of it and put in a capitalized version as well. And this is one of ways that we can help brainstorm ideas for type faces. Go ahead in NY. Get some of these out here. There we go. Okay, so real quickly before begin to experiment with the typefaces. If you don't have many fonts to experiment with, then there are a few. Resource is online that you can check out, and especially if you're a beginner, you can find plenty of free fonts to experiment with download. And so I'll show you just one such resource source, and that is different. Dot com de a font dot com and you can see it gives you a lot of different categories for the typefaces, and we could see over here has recently added fonts. But the way to use this, you know, depending on the type of look that you're going for this age of sand Saref is very basic, generalized. Fine. You can click on the category, and it allows you to have ah, different options over here. Seek a preview text on type in zoom fonts. You set to 100 to show 100 at a time and more options only as public domain, 100% free. So I click on this and automatically clicks this as well and then hit Submit. And what this is going to do is give us five pages almost 500 different fonts that are 100% free to use in commercial projects. So if you just scroll down, you'll see if you like any of these. I think this will part of you of pretty good fun. And once you find some, you can simply click on them. Click download, and it will download a ZIP file. You can open that up, depending I. If you have a version of a WinZip utility or win roar, it's called, You can go ahead and open it up in here and then just simply, just double click on the font and then click on Install over here and depending if you're on a Mac right now, I'm on the windows. The process may very so that's how you can get a bunch of fonts for free, basically. Okay, so now that you have bonds and you're ready to go, what we want to do is with the layer here selected, we can click up here in this character panel on the font itself, and then we can go ahead. And once it's highlighted, we can use our keyboards up and down arrow keys to go through the fonts. So I'm just gonna go down and go through a various amount of fonts that I think might be suitable for this specific project. Okay, so this one wouldn't be too bad. So what I will do is control C control F, and that creates a duplicated to copy and all coaches. I keep this one up here and scale down, holding shift and left clicking and dragging. And we'll keep on going until, you know, I come cross maybe a few others that I like for this project. Now you may be asking yourself how do I know what I will ultimately like? Well, initially, you may not pick and choose a font that you like in the work, and it may be end up something completely different than what you finally choose. You know, you you end up using, but you know, once you you understand the project brief and want the company, you know what they're asking and what they need I Utkan pretty well, You make good determinations in terms off. You know what type of typeface at least that you could start with in terms of san serve or a Sarah font. Sarah fonts. You know, this right here is these all three of these are Sarah sans serif fonts, which means they don't have those little I pieces hanging off the end. A serif font. Traditionally, it would be times new Roman, and we could see how different that looks. Thes little edges coming off the ends in the tales of the letters on traditionally speaking these type of fonts, the Serra fonts are for companies that or or brand images and identities that want to invoke an element of being serious. I And here's the thing about that. You could still use San Serif fonts for the same thing. But more often than not, if you really want to invoke establishment ideas, professionalism, you go with a Santa or a Sarah font eso For this project, we're going to assume that it's for a new company, a new start up. And generally speaking, you can stick with a stand Sarah phone and not go wrong. Okay, So I I'm gonna go in type in one particular font called Trade Gothic, and we could see it's kind of a wider font, and I really like it in terms off. You know, it kind of really relates closely to railway. And this, by the way, is a free font. You can goto Google and type in google dot com slash fonts and type in railway and you'll see this font here. Um, and this one is a paid font that I purchased so that the railway would be a good alternative. If you want to follow along and try to, you know, get this is close as possible. All right, so I'm going to end up using the zoom trade Gothic font right here. Capitalized. So again, the idea is to take this font here or this typeface and through symbolism alone, try to convey the idea of the word itself to zoom. And so there's ah, a lot of different possibilities and methods. They could take this, but at this point, it's all about seeing patterns in recognising potential symbolism through the letter forms themselves. Now I want you to find your own San serif font, but if you don't want to, you could still use the railway fought that we use and could do a quick search on Google to find that in the next lesson we're going to try to find relevant symbolism through the zoom type itself. 3. Finishing the Zoom Project: Okay, So when we're thinking about the idea of Zoom or to zoom, we're thinking about taking a look of something up close. And so there's a number of different ways that we can come up with a certain ideas that may fit well within this word. This this type right here, I'm one of the things that you know I personally saw upon, you know, just staring at these letters and trying to think of how we could convey the idea of zooming is the two O's in the middle. And they kind of look like potential binoculars that are kind of looking right at us. In a sense, it also looks like eyeglasses, which can kind of help. You see things more clearly, which kind of in a rough sense, conveys the idea of zoom. So what we want to do first, if I run with the binoculars idea, I we want to adjust the letter spacing between these so that perhaps these two in the middle can begin to overlap with each other. All right, so what? Weaken dio to adjust the spacing of these letters we could do in a number of different ways through type tools I over here. If we click on character or goto window character, we can adjust the tracking here by going down and we could see it starts to, you know, bring everything in together. But I don't necessarily want the Z and the M touching the left and right side of the Oh, just these two in the middle. So one way we could do this in a destructive manner is to convert this type here to what are called outlines or paths. So the way we do that is with its selected we can hit control shift and the letter O at the same time. And we could see now we see all these little paths and these anchor points, and what that allows us to do now is we can very easily just take one of these letters and move them over towards ing close to each other. Now, I should mention, when you convert the text to outlines, you no longer have the ability to edit the type with the type tool. All right, so just keep that in mind. Okay, So right now, if we click on a specific letter, it's selecting all the other letters as well. That's because they're automatically grouped together when you convert type to an outline. So if I click over here to the right and we bring up our layers and if it's not upto window in layers, we'll see we have layer one and then inside of it. We have this group here. Well, if we rake, look over here and choose a new group, we can now see that we can individually select these letters. So let's go ahead. Just take the 1st 0 and we'll just move it over with our right arrow key on the keyboard so that they begin to over lap on top of each other. And then we could take hours e and movies in so that they roughly matched the same letter spacing. Okay, I think I'll leave this right there does make this a little bit bigger. Okay, so we can see now that we have definitely created something unique beyond just using the type tool in typing out zoom. Because now we have the two O's overlapping each other, and this creates in and of itself in a very simple manner, a unique appearance, and so things could be glasses or these could be binoculars right now, it's not 100% obvious, though, if they are anything specific, other than just two letters overlapping each other in the middle. So let's go ahead and run with the binocular idea. And you can get reference photos for binoculars if you wish. If you go to images dot Google that something already did. So if I come over here and I hold down the left mouse button in drag, we can get these other tools and we'll choose the Ellipse. And also make sure you go to view and smart guides is turned on and smart guides. If we hover over, we could see these green lines that air in various places, depending on where the mouse is located. And this can help us center things in a line things. So what I want to do is we're gonna come right around here in the middle of the guides at this point, are helping, and I'm gonna hold. I'm gonna left click drag, Hold shifting all at the same time is we're going to give us a perfect circle in the center from where we originally clicked. All right, so when it comes to Min Ocular. There's sort of an area in the middle that kind of goes up when they're looking straight at you. And that's the area that allows you to adjust the position of each of the lenses. And traditionally also, if we used the pent over here and we left click here just on top of this. So and we left click on right around here from the path of the circle we just created and we left, click and drag. We can create a slight, busy acre of here. Now, if we all left click one time and then come down here roughly in the middle, we can no see. We have just the left portion connected here. Now, if we take this, we hit control C and Control F will create a duplicate as seen over here, and we want to flip this so right click, transform and hit, reflect and then leave it at vertical and hit. OK, now we can left click, hold, shift and drag it over here. Parade about there, then hit control one. All right, so now it's a little bit more obvious that we have worked a pair of binoculars in with our zoom letters. All right, so this doesn't necessarily mean this is, you know, just because we've come up with a concept now that this is absolutely what we're going to use and what we're going to present. Typically, when you're dealing with an identities design project, a logo design project, you will present a number of options ideally, for the client to choose from. So this could just be one such option. And so can we just move this over here and what's create a secondary version as well? So if a hit control seeing control f with everything selected and move this up on top, perhaps we can just delete these three shapes we created and we can give them. This option is, Well, if they really want to go ultra simplistic. All right, so now we have two different concepts that a client can choose from. I There's another concept that I thought of that I think would work really well. And so if we take this over here, control C control F. And we moved things over roughly right around there, we could take these and scale them down real quickly. One idea I had. I is. You know, when you're zooming on something, especially that perhaps like a magnifying glass, I If you're looking at the edge of the magnifying glass versus what is being magnified outside of the magnifying glass, you'll have a sort of a balloon effect. And so I thought we could perhaps work that in with the shape using the Ellipse tal. So what we'll do is use the Ellipse toll and come up here just to this center between the two O's holds shift in all left, click and drag and roughly right around here will be pretty good. Now I'm gonna It's like the selection tool, move, tool and select just the ellipse we just created. And we're gonna go to object path divide objects below. So now what that does is take the Ellipse that was on top, and it simply divides any of the objects that are in the past that are beneath it. So now we could see this has been cut in these areas. So let's go ahead and right, click or left, click rather and hold shift and left click. So we have just the inner shapes. Now we want to do is increase the size by left clicking, holding, shifting Ault and dragging out. So this will scale them up proportionally in the center. Okay, So if I had control wine, this is sort of what it looks like, and it gives you a really interesting effect. I think we can take just these two over here. Use our left arrow key on the keyboard, move him over, and it's a good idea. You know how many times you did that? So you can take the ones on the right into them the same amount which mine was five. So now we have a very interesting A very unique affect that's applied to the type that says Zoom. And in the center it's clear that we're emulating the idea of zooming up or magnifying something. So we have three concepts that a potential client could choose from now. And if I had to guess which one would be best, it would probably be this one right here, because we're not denoting just a simple object here in the center, which isn't always the most unique approach to be literal about something. But this is also abstract, and it's not denoting some specific object. And I think if I were the client, I would definitely choose this option 4. Starting the Launch Project: So the zoo project was a great first project to begin learning about word marks and her next project. The second we're going to create a suitable word mark for a company called Launch. All right, so let's go ahead and have a new document here. Set up. Um, and I showed you how to do that on lesson one, and just basically want to use the airport told to make it, you know, extend to our canvas roughly the size of our campus here. And let's use the type tool and simply just type in launch. And I'm going to make use. All capitalized. All right. So when we think of the idea of launch something launching, we think of an upward motion initially, you know, a rocket launching up straight into the air are something just lifting up doesn't necessarily have to be straight up. It could be, you know, horizontal up. If you're thinking about perhaps a horizontal line chart on stocks or something, something soars upward. So these were ideas that we have to think about first in an abstract manner about you know what these words mean or what the company is trying to convey And so with this type here, once again I want to stick with a sand Sarah font and this one in and of itself, this my Riyadh pro, which is what illustrator always default me to. When I create a new project and open up some type, it's not too bad. Ah, but I think I want to use it to high type face that is both San Serif and also a little bit more condensed like this. So I this particular for it does give me an option to have condensed and bold condensed even. Ah, But after filtering through some of my font options, I came across one that I think would be a little bit better. And that particular font was called libel suit regular right there. Now, this font is a 100% free font, so you can find it here at this URL and simply click download. And looking at this, I think Thelancet is by default. The tracking is a little bit too close together. So I'm going to get out the character panel and just increase this slightly. Perhaps right around there at about 33. Okay. And at this point, I want to go ahead and great a copy. Control C control F. Just move this over here so that we have a copy quickly of the font that we can edit. And this one we're going to convert toe outline. So hit control shift, you know. Okay, so now that is converted to outlines here we can begin to play around with just some ideas . Now, this is again. This is the point when we're looking at the letters and we're trying to come up with some type of a way that we can either in a direct manner or an abstract manner, convey the idea through symbolism what we're trying to accomplish here. So we're trying to accomplish the idea of making something launch. All right, so there's a number of ideas that we can go with this in order to depict the idea of upwards motion or launching. And so just I The initial idea I have here are going to make this a little bit larger is just to take a look at the A and the A in and of itself kind of looked like it looks like the top of like, a rocket, perhaps, and again. If we go with this approach is going to be the more literal approach opposed to abstract, and that's okay. You don't always have to be 100% abstract. And so from what I want to do is simply modify this type just a little bit. I to make it look a little bit more unique for this A. And try to give it the idea that it's a little bit more unique beyond just you know what it looks like in and of itself because no one's going to look at this by default and say, Oh, that's clever It's just a normal A consistent with all the other type. So I'm going to go ahead and zoom up here and I want this portion to come to a point instead of, um, just flat top. So if I zoom up enough with the zoom tool and we take the mental and we add an anchor point so you can choose at Anchor Point Tool and come right here where the smart guide is and just left click and then we could take a direct selection tool, move up with the keyboard Arrow key like that in control one. All right, so now it's coming more to a point, and you can always go back and edit that. If you need Teoh, it will definitely make it to more of a point. And make sure that this is perfectly angle is to simply take this anchor point with the direct selection tool right here. We can delete it. Then we take the pen tool, and these right now are not. There's no path between these two. So if I just take this and connected to now, we now have a path on that side and then do the same thing on the other side. Delete that. Take thiopental Left, click wants and left Click Want. So down here on top of the other anchor point. Okay, so now we've created something that's, you know, a little bit unique. You know, we've now made an adjustment that make this this a in particular stand out. Now, does this really stay to us when we look at it? Though, you know this is a rocket or this is something that's launching upwards. Maybe not necessarily. Perhaps there are some other adjustments that we can make to this that will further solidify the idea or reinforced the idea of something launching. So if I zoom up here and take the direct selection tool and select just this inner right anchor point on this side of the A, and we drag it in holding shift or drinking out rather and do the same thing with this one , now we have something that's a little bit more unique. So let's also experiment a little bit further with something else. Let's take the direct selection tool, and we're gonna take these four anchor points right there and what's dragged them up a little bit. Okay, maybe we could take this center one and drag it up a little bit higher. All right, so now it's kind of looking, like perhaps in the white space right here, the negative space of the A and the center. We have the top portion of you know, perhaps a space module, and then also down here, the portion or a rocket. Um, the negative space down here also kind of looks like a rocket of some sort. So this is one such idea that I think is a pretty decent concept that you can begin to work with. So I'm gonna take this will consider this one concept. So in control, C control F, and we'll take it over here. Just scale it down. All right, So that's one. Let's create perhaps another quick variation off this. So let's say, for example, the we want to put it kind of breaks the the height, breaks the flow. A little bit of the design with this, a sticking up way up here where everything else is flat. So it would be worth having another option. Here we take his top anchor point with a direct selection tool hold shift and dragged down right around there as well as this has to be brought down to right around there. And so now we have an A that's more consistent with the rest of the type. All right, so we can take this and move this over here as well to create a second concept based on the A launch idea. Okay, so now I'm gonna take this, copy it with control C control F and make it larger and try to come up with some other concepts that would be relevant to the idea of convening, launching or to lift in this type 5. Finishing the Launch Project: All right. So this awesome, we're going to continue on trying to come up with relevant concepts for our launch company . So looking at this, there are some tools. You know, once you become familiarize with illustrator, it may make it a little bit easier to come up with. Concepts. Um, so one idea that weaken use with the help of a specific tool set is to make this launch arc a little bit. So the way we could do that and access that is by going to effect warp and make sure first , that you do have your type selected here, warp and choose arc right here. By the fall, it's going to open up the warp options. So this is a little bit cheesy. It almost looks a little bit too cartoonish. It gives you options to change how this is distorting it through this particular effect, but allows you to go through a number of different styles. So instead of the Arkham looking for arch over here and this is a little bit better, it doesn't take everything in, you know, flow out to the left and right. But it just simply works on a vertical access and pushes everything from the center up a little bit and did agree to which we have this bend Here is something that you can control . I know. Generally speaking, when it comes to logo design, you don't want to exaggerate anything too much. Um, trying to keep things simple is always best, but obviously to a point where we can see this intended symbolism. So with this, Ben, I think just right here at 19% or so would be ideal song and hit OK. And this, in and of itself would be considered another concept that we could use because it looks, you know, with the flow in the direction of the letters from left to right, that is launching, perhaps upwards, very simple, but effective. So we'll take that as a potential concept and put it back over here. Okay, so that's yet another concept. Now we come over here and we click on appearance or goto window of parents. We could see this art that is applied to it. We could simply select it and just drag it to here to get rid of it in the trash can. So let's convert this to an outline control shift to know and come up with another potential concept. So again, this is all about training yourself to look at the individual letters and just try to become creative with ways that you can enforce this idea of something launching or rising up. So looking at there in the center, one thing that's good about this particular word is we have an even amount of letter letters. We have six here. So 123456 So in the center here between the you, in the end, we pretty much based on also the letter specifically and in and of itself have a center of this word. Mark is right around here, right in between the you in the end. Now, if there was a w he over here, that would throw things off a little bit and make this effect, and I'm gonna try to pull off here more difficult. So one way we can do is use the direct selection tool, and we could taken anchor point. Perhaps right here on just this, it's almost to the centre right here on the you, and we'll go ahead and use the keyboard up Arrow key and lift that simply up right there. Now, what's also interesting Because of the letters of this word and how they all came together . We have this you over here, which has this ending tail. And we have kind of a mirror version over here on the end, the same kind of tale that's working except it's just going in the opposite direction. So we can also try perhaps to take this over here, and we could try it with either the inside one or the outside the inside partying would make a little bit more sense since we used the outside over here and there, close together and we can drag this down as well. And so now we kind of have a sort of interesting effect going on where in the center of it , we have these exaggerated lines that are connecting to the you in the end. And again, we could consider this as well yet another option. No, we can also experiment with it slightly control C control F and see what it looks like. It would take the direct selection tool. Select this anchor point here and hit delete. It's like this anchor point here and hit Delete. I personally don't like it because it really distorts the fonts a little bit too much. The letters in another self. So I'm going to delete that, and that's completely fine. You don't always have to compete every single concept that you attempt. So, looking at this, I'm gonna hit control C control F put it back over here as a potential concept. And also, when we scale these down, we can also get another just a different look. You know, we're giving our brain another look at them to see how effective they are as well, when they're scaled down at a smaller size. And you can also see how they look in relation to each other. It's looking at this. I think I'm going to come up with maybe another concept and we're gonna this time we're gonna bring this back up where it waas. And this time we see over here we have this. You, in this end, can almost converged as well. And we can kind of do the same thing over here and make this point Oppa's well, So what Will Dio is Zuma. Pierre, I'll take this anchor point with the direct selection tool and meet it right there with the help of the smart guy and probably delete this right there. That anchor point. And so now we have yet another concept Where, uh, we're symbolizing the idea of launching upwards. We take the direct selection tool may make it a little bit higher through the center of the logo, which works pretty well. Okay, so now I'm going to take this at it over here as yet another concept, and I'm going to delete this over here, and I'm going to come up with one final concept and generation, um, over here. Okay, so right now it looks as though if we definitely compare it with this concept right here that we have, like, a top portion off, you know, a rocket or something that's kind of going into the air. We could further solidify this idea by working with the type. So what I'm going to Dio is take the pen tal right here, and we're going to simply click right here on the end. Make sure you have the guides on, okay, and we'll click right around here and left. Click right around here is well coming kind of consistent with the shape or the direction of this line. And I think we'll come up right around here. Perhaps we may make some adjustments to this, of course. And I'm also going to take the pencil again. Come right back on this line. Click on this line up, up right there to create that sort of shape and make it white so we could see what this looks like. All right, so we didn't distort the end too much. It still looks like an end, and we'll do the same thing over here. So this time I'm not going to make a line come down because it would distort the you too much. So temporarily, I'm gonna start from appear and come down here. We want that green intersection point to show up, left, click. And then right here. Okay. So what I'm going to do is outlined this starting just somewhere over here, over here. And right there. Oops. I accidentally overlap that on second. Okay, so now we can delete that one, and we just want this portion here, okay? And then we can also do the white space that kind of solidifies this line here. So we'll take right there. We'll actually have a go. Just about to the top. There, over here and here. So now we kind of have this interesting effect where you can still read Launch. It's easy to read the you in the end, but we haven't now solidify with this shape That's also kind of going through launching up through the center of the type. All right, so let's say you like this the way you clean this up because you don't want just a white thing hanging here because if you use the logo on a different color background, you're going to see this ugly white portion hanging there. So the way we do this is selected object path and divide objects below. Take the direct selection tool and just delete that in the center. And once again, you want to make sure this is lined up correctly. We could still see a little bit of the this portion right here, so we drink it down. Object path, divide objects below. Yeah, and take this and delete it. All right. And then there is our final concept 6. The Ignore Project: for our final, simple word mark project we're going to create in seek out relevant symbolism by creating a word mark for a company called Ignore. All right, so basically, I have the type already sent out here with the type tool. It's all capitalized. Ignore. All right. And so right now I'm using a phone called Ariel around it Empty, extra bold. And you can find pretty much any font. This next concept will work for almost any fun. Just needs to be thick basically. So I want to bring the letters in a little bit closer, so I'm going to take the tracking down roughly right around there. Will work pretty well. The negative 40. And real quickly. I'm gonna copy this. Just put this a copy over here and then hit control shift in the letter. O. Okay. So when I was looking at this again, we have a, um, type here with just six letters and in the center we have When I was looking at this, the word No. Which kind of is a very similar word when we think of ignore. So, you know, to ignore something me and it's usually a negative thing you know not to listen. Um and so, no, once again, as it falls right in the center of this logo is very interesting. So we can think of How can we really emphasize know? How can we make this stand out in a unique sense so we can do it through a number of different ways? Um, first, we could do it with size by either making the no small or larger Ah, we could do it with color and which isn't always ideal. And the reason being lets it, for example, we made this No, right here. Red. Well, of course, it stands out a lot. We could use any color as long as it is different from the other four. Ah, but the problem is, is sometimes when a logo is depicted on certain mediums such as print, you don't always have the option of having your color or your logo shown in color. So you lose that element. So we go from something very obvious with a no in the middle to you know, something like this, where all it is is just a, you know, upper case. Ignore. That's it. So it's not always the most ideal way to depict symbolism through color alone. All right, so size again would be a legitimate I concept that we can try out. So we'll take this and right click and UN group so we can select the no in the middle and so we can go and make it smaller by holding shift Ault and left clicking and dragging in and then bringing in the rest of the letters in just a little bit. And so this would be a concept that I would consider worthy of consideration. So we'll just bring that one over there and then because there are the opposite with by making a little bit bigger to see if this makes any sense or if it looks good at all, so we'll take this and group it control. C Control Grouping, by the way, is control. G may need to make those a little bit smaller or they know a little bit bigger, but that's okay. Delete this one. Get this one back over here. Control C control F. And I think if there's any other way too, use design to emphasize the no without changing the size and without changing the color Well, one way we could do is through negative space. So don't take this control. C control athlete will put that up there and I'm going to zoom up and we can create the negative space by looking at the empty areas that really helped form the letters themselves . So in the oh, we basically have this oval. And so if I used the Ellipse tool, we can come up pretty close with the shape of that. Oh, right there. So I just hit Ault and shift or not shift rather, but just all to create this shape right here. And so if I select it the type control shift Oh, right click on group. We can now take the O and delete it. So now we have just this center oval thing here, and then we want to do the same thing with the end as well. So let's assume up and we'll take the type tool. We'll start right here just at the top and we'll come right over here while holding shift in left clicking It will come down here, hold shift in, drag out. A slight busy occurs around that end. We'll click once here and Let's try to get this so we can see We're gonna take the a transparent so you can go window transparency to get that out if you don't see it and take it down. Justo, some amount down here so we can see. And I'm gonna click right here right before that Curvature begins and then click on original starting anchor point by holding shift left, clicking and dragging out. So now this is We can changes back to 100% and then do the same thing down here. So we'll start with the mental. Make sure your view and smart guides has turned on right here where it says anchor left, click, hold shift. I've clicked right around their left click array around here. Try to fall the path left, click in the anchor. Take the transparency down I can zoom in a little bit and we'll start right here. Left, click and then left. Click right here. Hold shift. Come down. She has to right around there. Control one, take this, bring it to 100% and then just select the original end and hit Delete. So now we can bring things in just a little bit closer, roughly right around there will be pretty good. And then we have another concept. And what makes this concept unique compared to the other two is we have the know in the center and we're definitely emphasizing them because there are, you know, depicted in a sort of, ah, negative space manner, I and also and the fact that we are using negative space isn't kind of an additional symbolic element. So we have the letters? No. And then we also have them being depicted in negative space. And negative space, of course, is also related to the idea of no or to ignore. All right, so if I had to choose between these options, these three right here, I would definitely probably choose this one right here. 7. Optional Project Assignment: Now that you've ran through three simple word mark projects, it's now time to start your own in its optional project assignment. Now I want you to create a word mark, a suitable ward mark for a fictional ski company called Lift L. I F. T. Try to find suitable and relevant symbolism by creating a word mark for this and then submit it to for my review. 9. Designing the LGER in Vulger: All right, so now we have RV. You and l am real quick with the move tool. I'm going to just take die this one and move it over using my rate keyboard Arrow. I just a couple of times just to make sure if things consistent before begin with the G. Okay, so now let's go back to our brush and let's work on the G. Now, the G will probably up to this point the most difficult letter to do, simply because the initial three we achieved all with one you know, easy stroke. The G is gonna take two first dude left part of the G and then also to come down here. I'm in. Do you know the tail? So we'll focus first on doing this portion right here and again. We want to make sure everything is slanting and flowing the same direction. So I'll just go ahead and start right around here. And that doesn't seem too bad. I think maybe l stick with it. Of course, it's going a little bit under. We can always fix this when we go to refine everything. Um, let's just see how this works, though. And that's what? I was really bad. And as you could see, there's some issues here, because I this line right here is going up. This one is going this way, which is not desirable. And I think I made this portion come over a little bit too far over here. In reality, if I go like this, it's gonna extend out. So I'm going to redo this with that in mind. Yeah, What I'll do near here is just I practice a few times until I get what I like, and I'll speed up the video. All right, so I like this eso. Now I'm gonna begin trying to get the other portion. And when I do this final portion of the G, I want to really try to make sure that this portion right here comes up so that it looks like we're continuing on the E over here. All right, so I'm gonna go ahead and just speed this up until I get something that I think will work. All right. Actually think this isn't too bad. I think it possibly this is something that we can work with. I would definitely will make some refinements, but for the time being. This is pretty good. So I'm going to stick with it. So now I think even right now, just to make things a little bit easier, I'll take the direct selection tool, bring things down just a little bit. So this smooth This flows over here a little bit better. Bring us down right around there. Of course, I'll make some other refinements when we go. So now we have the and so the EU will just kind of be a continuation. And no, I don't like that. All right. I think I'm going to stick with this for now. Um, we definitely will need to work on a little bit, but that's fine for now. So I'm gonna continue on with er now, are just gonna come up down, okay. I think I like that. All right, so looking at this, we definitely wouldn't want to at this point. Consider it finished. So, three good view guides hide guides for now and just kind of take a look at you know what we have going on? Sometimes you get to help Just to take this first will goto window and transform. I gotta bring it over here. and, um, scale strokes in effect. Makes sure that that is on will select everything. Hold shift and scaled down. Kind of just see what it looks like out of smaller size. I can always so definitely help train or I or give us a different look to see what will need fixed in this. But I think right now it is good enough to consider. Okay, we haven't roughed out. Now let's move on to the next stage where we refine everything, which is what we will do in the next lesson. All right, so I'll see then. 10. Refining the VUL in Vulger: Okay, so now what we want to do is start refining in this to make everything a little bit more consistent and flow better. All right, so the first thing I want to do is fix this G after looking at this, this G it starts out on the right angle, but then it kind of comes down on an angle more like this. So no longer am I using my stylist. I'm just using my keyboard mouse. And this is going to be making some just some refinements, using mostly the direct selection tool, but also the Penta LA's. Well, so I'm gonna take this and just nudge this over here a little bit, and I will go ahead and move some of these up. And, you know, if you make changes to one, it may affect the other that you need to start to change this. Olsen used to come down a bit tomb or, you know, to flow with this a little bit better. It's a little bit too high still, and I bring this one down, bring this one down. Something roughly like that doesn't seem too bad. I want to bring this one over here. just a tab. Bit more. Um, let's go ahead and see. You know, I may be able to take this right here this free transform tool and skew it just a tad bit. Um, yeah, that's not too bad. And, well, let's have toe take this right here and bring this in just a bit. It's not gonna affect the shape. Really? Um, up here, let me make this just come in. This one. Maybe come out just a tad bit, not come in so hard. There's a harsh rather and you can also adjust. The anchor points up here in the direction line handles over here. Definitely want to fix this part where they're connecting. It doesn't look correct at all. So what I will do initially is just take the pen tool. Make sure you're smart. Guides are on and connect them up. This doesn't need to be a stroke. Just needs to be filled in with black. This one as well over here will connect thes right around there. All right, so those are a little bit better. Um, let's see here now. Anything else in terms of direction, I inform and shape that you want to change. This would be the point to do it. Once you're happy with the general, the shape of everything. And you don't really need to just, you know, entire letters to make them consistent. We select everything we could object path and outline stroke. All right. We can also go bring up the ah, window and the let's find it over here. Transform no Pathfinder rather and showing up off my other screen. One second. There we go. And we click right here that merges everything, including the shapes that we just added over there. All right, so now it's all basically on one shape, and now we can begin to add do some other further refinements. If you look over here, the V and the U isn't I've the same weight. So that's creating an issue of inconsistency. Um, over here, this part is a little bit exaggerated. Where I was pressing hard and then ID wasn't all of a sudden. So these were decide things that we can fix manually, which will give the type a much more consistent feel. And so the first thing I work on is probably just bringing this and making it a little bit less thick. We don't want to go this then. So I am going to thicken this up. But I was going to take a direct selection tool and move him in just a little bit. We right around there seems fine. Can also drag things out a little bit. No, I don't want to do that. Yeah, right around there is fine for now. Um, I also actually, I kind of want to fix this. It's is a little bit bumpy right there. So we could take thiopental, make it white start right around here on the path, come up right around here and kind of cut that part off and connected back. Much smoother. Now, um, coming over here, I'm gonna go ahead and make this Ah, little bit less exaggerated. So what I can do is just come up right around here, cut that area off. Although we're now gonna come up a little bit higher. One second. Got to get this. I'm looking at the top anchor point and as well as the bottom right there. All right, so that's a little bit better. Although it doesn't flow real well right here. Can it comes to an angle which I don't want. So I'm just gonna take I Let's see here, this connect this. Oh, it's already connected. And this holding shift, I'm selecting both. And I'm just like this one minus front hoops. Before we do that, we have to select everything and on group. So I take this here this year in minus front, and now that basically just gets rid of it. The white portion that we add in subtractions from that shape. And now we can work on connecting these a little bit better like this and this. There we go. Hold left. Click. Come up. And now it flows a lot better. Um, we could do the same thing over here. Minus front. Oops. Let's see what we have going on here. Control one just to see what I have selected. Um, this one. Let's see where this falls in the layers. Bring it up here. Here we go. You have to make sure it's on top of everything that you want. All right, this looks pretty good. I think we're gonna consider that one finalized. Um, let's take a look over here and fix this one up. This needs to be a little bit thicker so we could see what we could do with the direct selection tool. So now I just took one of the anchor points and drug him down just a little bit, and they're a little bit more consistent. Um, coming off. Let's look at this. This looks like it needs to be a little bit more smooth. So if you come up here with the pencil, there we go. All right. So these air pretty good. The V, u and L, I think, with exception just to this portion. I just made a straight line there. I didn't busy. It looks pretty good. This is a little bit too thick at the bottom. Ideally, if everything is like around that thickness, this is definitely too thick. Um, around there, this could be a little bit more smooth on this left edge. So if I come down here, All right. All right. Pretty good. So the view And now we're gonna consider complete in the next lesson. We're going to focus on fixing up the G e and are all right. So I'll see you then. 11. Finishing the Vulger Project: All right, so now I want to go ahead. And before we do the g, e and R, I want Teoh. Fix this over here. We can notice. Over here, the way is pretty thick, and it's pretty thin over here, so that's throwing off some consistency in the design here. So Ah, what I want to do is probably just take, um the pencil Come right around here and just kind of come up. Try to follow this path right here. Just continue. It won't left click drag and try to connect this at the top here and getting a little bit closer. By the way, to do that, I'm holding all in my score Well, on the mouse and just come up roughly right around there. We'll see what this looks like. All right? It's a little bit better. I think I may want to do something like come in right around here and just kind of make it thicker. Come down? Yeah, it's pretty worth making it thicker on this side. So still not consistent enough gonna come up like this, So of course I'm just having shape on top of shape, as I need to and then I want to take a white color first. I'm gonna take take everything. Um, we're gonna get out the window in Pathfinder, merge everything into one shape, and then I'm gonna take a white color with the pen tool and make this kind of fall in just like this does. This is a little bit too high. Appear. So I'm just gonna come down here maybe down just a tad bit like this. Come up around. Alright, Much, much better. Okay, so I'm gonna go ahead in Take that and minus front. All right, so let's continue on here. Um, some issues with this G that I don't like. Um, so we'll take the pencil. Come on down around here and connect this up. It was a little bit jagged, I think, in this area a little bit bumpy. So fix that right now, it's much more smooth. At least over here is pretty thick and notice over here. This one is thinner, so we'll see what we can do it with Thea. Just by adjusting a couple of things here, I'm kind of just make it come fall in. So more consistent now. Okay, Now let's move to the E some issues here for sure. Um, this it's just this is due to the pressure. Um, right here. It's coming real here. And then it just falls in. I'd rather have to be a little bit more. There's a flow a little bit more smooth. So I'm gonna take the white, come up right around here, actually, come already run there. I don't make a little bit closer. Don't left click and then tied into their We'll see if I did a good job or not. See, looking at the E, it's still not flowing perfectly. Just like that. I think that will help fix it. All right. All right. Um, it's not too bad. I think we may have to drop this now and just a tad bit. Oops. There's two different anchor points there. All right, that's a little bit better. Okay. Cool. Um, the are looking at this. This is coming out way too far, based on where this was placed. So I think it may try toe joined us together, Um, a little bit better. So take this here, Hold left. Click and tie them up. All right. That's a little bit. That's a lot better right there. Um, another issue that I see we noticed thickness that we've established over here. Um, pretty consistent across most things. I think this could be in a little bit. It could be a little bit less thicker right here. So let's I just gonna drag this down just a little bit. Maybe pull this down a little bit. All right? There we go. And then over here, it's too thick as well. So will attempt to fix this. We also have a jagged issue right there. Hit Delete. We could take the pen tool and combine those back up. Tried to make it smooth as possible. Perfect. Take the direct selection tool movies down you to be right around there. Ideally. And when we do this, we'll have to make some other adjustments. This handle right here. And let's see. Let me apply this real quick thes two white layers or pass can be joined like that. And then we could take this and minus fried groups. Where these at? Let's see what's happening. Oh, they're all on the same layer on group. Take that again in this and minus front. Perfect Still needs some work over here as well, but I Let's see, we haven't issue here to, um, sleep that. Yeah. Who will fix this? We should be almost almost good to go and consider this completed for now. So let's come up here. Bring this. We got a white. We're gonna subtract some and minus front. All right, so now we have a pretty consistent thickness across the bottom. Um, maybe over here, this can be fixed up a little bit, a little bit thick. I remember trying to get consistency. Let's see. All right. Ah, yeah. This is annoying me. Over here. It's not ideal. So let me take I think this is gonna be our final adjustment. Off click. Bring this in. Uh, we could do it over here as well. It's a little bit thick on this edge. All right. Pretty good. So, as you could see, you could spend a lot of time making these refinements. But I they really do add up. I especially over to compare it with what? You know, the original design looked like before we started making all of these adjustments so real quickly. Let's take a look at everything we have. We have a number off these over here that need to be adjusted. So I'm gonna minus front. Take this over here. Needs adjusted to the top real quick and minus front. See if there's anything else that needs adjusted or, um, adjusted with the Pathfinder. I don't think so. And so now we can unite everything, and it's good to go. Okay, so just looking at this, I I think one final thing on on group, um, dragged us a tad bit closer. Just the e and the are there we go. And that's pretty good, in my opinion. So I just paused. I want Teoh Paste in the other version that we have and I just to show you the difference between these. So this is the version that we used before. We, you know, made any adjustments going to scale both of these down, though. And so this is the after version, and this is the Before we could see that this one just flows a lot better. So that's why this step is definitely necessary. So in the next lesson, we're gonna go ahead and introduce the final project 12. Starting the Fierce Project: Now for our final and fifth project. We're going to use a combination of the adobe illustrator's shaped creation tools along with a pressure sensitive drawing tablet, in order to create a word mark hand lettered for a fictional company called Fierce Tattoo. So let's get started. All right, So I have a new document open up here and we want to go to the brushes panel. Double click on the first preset, and we're gonna go ahead and make sure your settings are consistent with 19 for the pressure. Variation is 15 and we also want to take this and drag it in. Just not rule thin, but just return here to give it a calligraphy style tip and also make sure it is angled at around negative 45 degrees and then hit. Okay, and we'll hit Leave strokes if that pops up for you. And now what we want to do is before we do any strokes, I we're going to use the rectangle total first to actually before we even do that will hit control are will bring down our baseline down here. Hopefully right around here. Alright, and then we'll use the rectangle tool to create the first portion of the F in fierce. All right, let's get a swatches and make this black Get rid of the stroke, all right? And so we want this to be pretty high powerfully right around here, because it's first f is gonna kind of flow above the rest of the type is gonna be more capitalized, and I would switch over here to our brush. And now it's just a matter of experimenting I with the type of what we want to do with this type of f You know, I kind of want this to be more killer Kala graphic instead of ah, you know, something like this. Definitely not that. Um, So I was experimenting just a little bit with this, and I want to do something like this and also have the bottom portion of the F come down like this and we'll wrap this around up into the I a little bit later, but I something close to this, although I'm going to give it a few tries to try to once again get this as close as possible to perfect with my stylist. So it makes life a little bit easier when it comes to the stage in which we refine everything like we did in the other project. All right, so I'm just gonna go through this a few times trying to see I mean, that little bit steak up there, get this as close as possible. Um, something slightly like that. It's real important to try to get this portion over here as circular as possible. So I'm gonna go ahead and just fast forward through this until I get this. How I want it. Actually, I'm pretty happy with this right here as it is. So I'm gonna do the next one. - I'm actually going to make a change real quick to the brush. I'm going to change this I variation up to on eight year 17 or so. Okay. All right. All right. I like that. I think that will work pretty well. And now, instead of working on this portion trying to tie it in now we'll work on that after everything has been done. So now I want to do is simply take this portion with the selection tool Control C control F hold shift. Move it over. Roughly right around there. And scaled down. Come just underneath this portion, I believe. Control C control effort once again, And this is gonna be the eye that's gonna beginning portion of the over here. Take this direct selection tool and move this down. Kind of like the right around there. We're gonna have another I portion above it for the dot And so come over here. You used a pen tool. Left click. See how this looks. Bring this one down, Control one. And so they go a little bit. Will be to tie this in with this area as much as possible. I may want to take these. Drag him up around there. We'll see what this looks like. If we trying to do this just real quick like this, who would know? We're gonna want to really keep the weight in the pressure low I made. Probably change the settings for the brush just for that portion because it's coming in way too thick. We want this. There's a flow really smoothly. So I think I'm gonna worry about that a little bit later. All right. Okay. So I One thing I want want to change now before I get too far into. It is to make these a little bit thicker, so I'm gonna just take the right portion of each one of these. So I'm holding shift in, selecting these anchor points just on the right portion, and I'm gonna make him a little bit thicker like that. So I just kind of nudged him over a few times, and we'll put this one over here. Okay, so for the control, C control F rotated by holding shift, and we'll bring this one in, and I'm gonna take this in this bottom anchor point with a direct selection tool, and I think we're gonna make them come out a little bit further. We're gonna take this one, Control C control F. Move it down. Also, take this one, move it down as well. And this one, we're gonna drag this in on the middle portion. All right? That's pretty good here so far. Course we're going to be adding a lot more to the each one of these letters, including serif portions down here on the baseline. Also over here on this I e. I think we'll go ahead and just died. Do that portion right now real quickly, So I'm zooming up and get the pencil. We'll start right here. Come down roughly right around here and then just up slightly. Now, if I hit escape, we'll see what this looks like. I'm gonna get into real close. This comes in too much. So let me just all right, That's I not too bad. That's okay. Yeah, I'm gonna take this. And at this point, I'm gonna leave this one here cause we're gonna have some other designs coming off. So I I also want to add just some boughtem portions real quickly. Thes serifis. So I'm gonna take I this Hold shift left, Click Ault and shift down here. Now we want to make sure these are on the path correctly. There we go. So it's move it over. So it's what that looks like. If you made yours too small, you can always to scale it up and situated how it needs to be so control C control. After after you have a done right click, Choose, transform and reflect. And you want to leave this option vertical hit. Okay. And there we go that we take both of these control C control f Move him over right here and we'll take this one. Control C control F. Move it over there. All right. So far, so good. In the next lesson, we're gonna continue on with the R, C and E. All right, so I'll see you then. 13. Blocking out the RCE in Fierce: Okay, so let's continue working on with this. Let's begin the left side of the are and so we'll take I this justice I portion with these three paths. Control Seiki couldn't ask. Sorry, control. C control F hold shift, move it over And roughly probably right around here. And they are is gonna come up. Probably. We're gonna take this down just a little bit and then come up with the paint brush tool. And right now we have it on it's on the wrong angle that I want it on. So what I'm gonna do is come over here. It's showing up off the side of screen, so you can't see it. But when hit duplicate brush, double click on this and we're going to come around this way at negative 1 35 maybe make it slightly thinner. It okay? And what I want to do is just come up around here like that. If there's an issue records coming up, we can also potentially fix that in post. But it's part worth just trying to get it right to correct the first time. This looks pretty good. I'm actually pretty happy with that. And then they are portion the bottom over here, Come down like this. Except we're gonna achieve that with the rectangle tool will get a much better result in trying to free hand it. So I simply go ahead and maybe just take this. Forcing control C control f gonna move it over. I I'll go ahead and take this down with the direct selection tool. Now, I'm already gonna have to adjust this manually anyway, so I'm just going to move this over, Gonna take the points here on second and bring that up just in a little bit. And I me choose not to make them quite a stick. And actually, I don't know, maybe it will, All right. And I want to have a serve coming off this portion right over here and like that. Okay. To make sure this connects up over here. True one. All right. That's pretty good for there. For now. Of course, we can always make adjustments here. Just the rough stage. All right, so then we also have of the sea, and so we could take just this thes three control C control f get rid of this inter portion and the sea is gonna be dealt with Sort of the same way. I'm going to zoom up just a little bit to Z will follow the same path, the sea. Rather Sorry about that. Kind of just like that, I think will be pretty decent. Maybe a little bit further out like that, and then also come down around here. I think for this one, I may do it manual instead of using the pen. Of course, we could fix this issue up here is Well, uh, Let's see. Take this. Yeah, we could fix that in post. Now. Over here. I'm gonna take this. Copy a control. C control F take this duplicated version. Take this anchor point down. It's like both of these. Drag him down and I'm gonna take just the right to move him over roughly right around here and in a tie in with the pencil. Flee right around here. I'd say we can always a justice if need be and tie it here at the bottom. And I also I want to add another one right over here. All right. Taken. Gonna go ahead and just make a slight adjustment is a little bit too thick down here, So I will take this. Drag it down. This needs adjusted now as well. We go to smooth this portion out after I want to bring this possibly n. All right. That's better. All right. And then, of course, we have the finally which could be styled the same way as this one over here. So cultural ce control f Move that over. All right, All right. So I think that's pretty good to start with. So if you have something similar, um, that's good. Try to get as close as you can as possible to this. Ah, in the next lesson, we're gonna tie in this portion here with the the dot and I and also work on adding some more details to the type. All right, so I'll see you then. 14. Adding Details to the Lettering: Okay, so let's continue on working with this tie in this portion with this over here. So I'm going to do is just take this and we're going to duplicate the brush. I'll double Kate the duplicate the version it was I double click on the duplicated version and we want to bring down this DEA scale here. So I'm gonna go down to probably around seven, I think and hit OK and will experiment with that and trying to tide us in a smoothly as possible right around here. So it's gonna be something like coming in. Sort of like that. So almost pretty much like that. I'm Retty happy with that? Um, there's some definitely adjustments I will have to make to it. So if I zoom up here, um, Let's see here, bring this down just a tad bit. Bring the rest of them down like that, and I will fix this portion over here cause this is thick and this is thin. Some consistency issues, but I like I kind of like that, as is our right. So it's good. Now I want to add some I elements right here. That kind of start, um, can I just kind of tail off gets it'll give each letter. Ah, just some. A unique appearance. So I'll show you how I'm gonna do this. We'll take the pan. Tool will come up here and intersect of this path. Starting right. Appear to roughly right around here and let's see here. So I had to pause one second and roughly, I would say, could hold shift for a 45 degree angle right around here. Left click, drag out a busy a curve, something like that. Hold left, click and then come back. Just somewhere around here and create another busy a curve and give it to this stroke. Give it a Phil Black. OK, All right. So they control wine. This is about the size. I think we could probably stand to make it a little bit bigger than when I have. So if you need to just scale it up a little bit more shift here. Oops. Gotta get that attached here. Okay. So sometimes this can happen where you're trying to position it, and it's not going the place you wanted to. So get the window, transform out. It's on the other screen. Drag it over here. Line two picks. Agreed. Uncheck that. And you can get this tow line up pretty much exactly where you want it. And sometimes thesis smart guides will also be a pain in the butt. So you turn off smart guides and there you go. Okay. Now, with that, we can also make it look like it's cutting into the letter as well. So we can get out white here, and we'll turn on smart guides again. View smart guides. So we intersect this portion right here, Come out, bring me right around here and then just come in slightly following the other path. Left. Click. Come up. Right around there. There. And there we go. So we can take this little design control. C control F. Right click. Transform reflect hoops. I had scale by accident transform reflect vertical and hold shift and get it into position again. We may run into that issue. Not quite. Okay, we're good there. And there you go. That's kind of the completed f here, Um, before we make any final adjustments. But now what we can do is simply just take both of these or afford these layers who disliked everything. Hold shift. De. Select this one in in just a control, C control F and drag these into position. Eyes. The e is well, we can do that. So control Z control F Now, this one will have to fix afterwards a big deal. This one's gonna have one just on the left. So take this over here. You'll see control f Here we go. And the CIA's well, so we'll take this one over here. She'll see control f and the literal C control f Now the ease. Since they're duplicates, we don't have to worry about this. One will just take this after we fix it, and I replicate duplicated over here. So let's fix this area over here. We could just simply continue on with this path and start right there. Try to get it to flow as natural as possible. All right, Just like that. Now, this one. Let's take everything to delete it and then take this one. Make sure you have everything. Selected control C control F. And it could be a little bit closer. All right. And so this is what your design should look like so far, I looking at this, there's really not too much that it looks like that I have to fix except for this area over here. And so at this point, what I want to do is I think, yeah, we'll fix this up real quickly, and then we'll do a couple of other things and will be, ah, on our way to really adding just a few other effects. It's really gonna make this stand out Well, so over here, I'm going to take this and object path. Convert to outline are outlined. Stroke rather than we go. And let's try to make these I a little bit more uniform here. So notice how we have kind of us. I have a slight issue over here to delete that. And what I want to do is take the pen tool and we're gonna end this roughly right around here. Fault left click. Of course, depending on what you have going on, if you are indeed falling along not just watching, you know, you may be doing other things. Not exactly this which I can pretty much guarantee I but I'm just hoping your understanding the process as I show you this isn't accurate over here. So we're gonna make sure these connect. All right, that's a little bit more consistent with this up here. This well, and then over here, take the pen. Tal, make this flow into this a little bit better. All right. All right. So another thing we do take this control. C control F take the one at the bottom, depending on where it's out. There we go. And use the down arrow key, move it down a few times and make it white. All right, so that makes it stand out just a little bit. Let's see. Here it is overlapping this right here. I believe so. I'm gonna find that. Maybe drag it up above here in my layers. I'm not exactly sure where it's at. There we go. Good. Now also, we don't want this down here. You can see just that edge, which we can fix this afterwards. Um, what we can do is just take this here in this and find the Pathfinder. There we go. We got rid of that. So I have to do is take the direct selection tool. Take this anchor point, right. Oh, I need to get closer here. That really? All right, So I'm gonna end this lesson here. In the next lesson, we're gonna go ahead and do what it takes to Ah, use this minus front on knees, white portions and do a little bit more. Right. So I'll see you then. 15. Further Refining the Lettering: All right. So let's continue on working with this s o. What I want to do now is work with, ah, these portions where the white is going into the letters. So, um, what we can do is just basically, take these two. We can group them, and I take this right here first. If there's a compound path, right click, we're going to, um, group it, and then we take this and minus front. There we go. So now it's transparent behind there, and we just have to repeat this process for ah, each of these and you don't even need toe real quickly. And take these two and merge them. Uh, here, take these or here and real quick the You make sure everything is on one layer here. All right, so we merge those. Oh, these as well. Now, sometimes when you do that, it's gonna screw up the order layer. You gotta put this appear. Take thes minus front. Here we go. This here, take these Are you object path? Uh, outlined. Stroke. Let's do that to everything real quick if we need to object. Path and outlines stroke. Okay. All right. So come back to the are Let's make sure everything that needs to be in its own single shape is selected. Some just holding shift. Take this on this front. Here we go to take everything here, with exception to the white paths. Merge them, bring this above the sea and then minus front. And finally, this is well, actually, you know what? Just delete this again. Bring this over here. Should be just single one path right now. All right, All right. I over here, we have to combine these shapes as well. I believe so. We have this, these two, and we'll just make that its own shape. It's over here. That could be its own shape. I'm not gonna worry about team much. Maybe just these. They could be around ship as well. Okay, let's go ahead. And I maybe just add some mawr. Some final details to this to make it look a little bit more interesting. You can experiment and kind of just do whatever you want with the brush. I I'm going to see about maybe just experimenting with just things that I can add to the letter forms to make him just look interesting. Ha. Yeah. That was horrible, actually. Going to go back to perhaps this. Ah, again, this is all just a matter of experimenting a little bit again. You know, I may run with this. I may not, but I'm just kind of Ah, trying to make these little bit consistent. Yeah, like that. Maybe something coming off over here almost had it. How? I wanted to, uh Well, what I can do simply is take this portion over here, take both of these. Here we go. And so you can experiment. You know, if you did use the same text, you can emulate this idea or not. I'm gonna take this now. We want to make these a little bit more uniform. We definitely can take the, ah, direct selection tool and work with ease a little bit. Try to make him a little bit more uniform for like that. I'm happy with it. All right? So once you're ready to go, just take everything else, Just like everything is good. Object in outline. Stroke. All right. So I in the next lesson, we're gonna go ahead and finish this project up and really add some interesting detail with some really quick projects or not projects, but tips and techniques. All right. So policy of them 16. Finishing the Fierce Project: Okay, so we're gonna go ahead and finish this up. And the next thing the next order of business really is to add the tattoo type underneath this, Um, so we want to take the type tool, and we're gonna use an existing font for this, and I'm going to type in Tattoo. All capitalized. And I currently have the font selected that I'm going to use. That will work well with our existing custom type font appear and go a bit bigger with this . And this phone is called Niagara solid. It's free. You can find that just by doing a Google search, and I'll go ahead and try 400 for the tracking. And I think I think we're gonna increase the tracking party by 200. So we'll go to six and scale it down just a little bit. Maybe just a tad bit up here. There we go. Okay. So right there looks pretty good. And once you're satisfied, of course, it controls shift. And the letter o that'll converted to outlines. Okay, so once we have this ready to go, I'm at this size. I'm delete these over here. I now we can do some interesting things. Let's go to view and guides and hide guides and we want to do now is just take everything and we're going to scale it down just a bit. So shift in Alton's Dragon and just a little bit so we could get a good view of the everything. And I want to select just this top portion up here. We're gonna group it together, Control G. And in this group, not what we want to do is duplicated. So control C control f take the bottom one and we'll make this one white I But we'll do that after a second. What we're gonna do now is going to position it differently using that down in the right keyboard arrows. So we're gonna hit it a few times. So down right down, right down, right down. Right. If we run there, gonna change it to a white color, and then we're going to control C control f take the bottom one. And this time we're gonna make this one temporarily black and then hit. Downright done, right, Done right. Done right. Just a few times. Roughly right around there. Now, this kind of makes it hard to read. So what we're gonna do, instead of leaving this portion that we just moved completely black. We're gonna give it a pattern. And the way we could do this is we come under swatches and unfortunately, it's showing up off the side of my monitor so you can't see it. But I'll tell you what you can choose when you go down here near the bottom, it says Open Swatch library. Unfortunately, this is showing up, and what we want to do is choose patterns. Basic graphics, basic graphics textures. All right, now, mine showed up off a different monitor. Let me drag it over. And this is what it's presented presenting you with. Basically, you can click on ease and see how they respond to hit control. H get rid of the outlines. We could see it now, and you can just go through these and see and different textures that you think might look good. Ah, over here. This is a nice diagonal texture, and it's also cool about thes is you can make adjustments and modifications to the texture itself once you have one that you like. So I'm going through these, um, trying to see if there's anything that I it kind of sticks out that I think would work Well , I'm looking for diagonal. I think this is what I want to use right here. So it's this one right here. We could see it's also over here in this Watches. Um, I think I want to make it a little bit thicker than this. It's a little bit hard to see, so I'm going to double click it on my swatches and we select just this portion of the pattern and we could see its at 0.3. We could try changing at 2.6 and see how much thicker that makes it. Oops. One thing it's hard is I can't really see my ah keyboard The way I have this set up with my sinti confront, Let's get it done. And there we go. Another thing I want to do is take everything right here and we're gonna take the free transform tool, and we're going to skew things up like this, holding shift straight up right around there. So now it has a nice just a different style applied to it on. It looks interesting and of we can also further adjust, like the white portion that recreated. If you think that we need to maybe get some more separation going, you can also show a little bit more of these diagonal lines. And there we go looking at this again. I think this needs to be just a little bit more thick. So I'm gonna edit thes and turn this up. Maybe 2.7 and it done. Now there's this a little bit thicker, and they stand out even more so All right. So basically, at this point, we still have this white layer right here. And if we were to change the background color from white, let me just put in a new layer just to show you real quickly. I'm two of red. We'll see. We have that white that shows up, which is no good. So the way we can fix this is we want to take both these layers right here and here, the white layer in the pattern layer, and we want to choose right here. Says divide. And once we do that, we could take the magic wand tool. If you double click on it, it's going to give you options. Let me drag it onto this screen here and make sure the field color. We could set the tolerance toe one. And we just want to choose the white so we could see if we hover over it, We could see the outline of the white path. Just click it once and then hit. Delete. So now we have a completely transparent on image here that we can work with and put on essentially any background, all right? 17. 16 Final Optional Project Assignment: All right. So congratulations on making it this far through the course. Now, for our final and optional project assignment, I want you to create a hand lettered word mark for a fictional company called Body O B. A. U D i O. And this is basically a service that provides playlists that are geared towards those who are interested in engaging in fitness and exercise. All right, so create this word. Mark used everything you've learned throughout these five projects and submit it here for review. Thanks for taking the course.