Logo Design Mastery: The Full Course | Lindsay Marsh | Skillshare

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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.

      Course Intro


    • 2.

      Course Guide


    • 3.

      Logo Design Theory - Design Basics & Anatomy


    • 4.

      Logo Design Theory - Logo Design Styles


    • 5.

      Logo Design Theory - Characteristics of Solid Logo Designs


    • 6.

      Logo Design Theory - Color Psychology and Theory


    • 7.

      The Practical Guide to Logo Design Theory


    • 8.

      Adobe Illustrator Tools Overview


    • 9.

      Illustrator Tools - Getting Setup


    • 10.

      Illustrator Tools - The Width Tool


    • 11.

      Illustrator Tools - Offset Path Tool


    • 12.

      Illustrator Tools - Layering Masks


    • 13.

      Illustrator Tools - Shape builder Tool


    • 14.

      Illustrator Tools - Working With Gradients


    • 15.

      Illustrator Tools - creating an icon


    • 16.

      Logo Design Process - Client Questions


    • 17.

      Client Introduction and Student Project


    • 18.

      Logo Design Process - Sketching


    • 19.

      Logo Design Process - Image Trace


    • 20.

      Logo Design Process - Typography


    • 21.

      Logo Design Process - Finalizing


    • 22.

      Logo Design Process - Creating Icons


    • 23.

      Logo Design Process - Creating Icons - Part 2


    • 24.

      Logo Design Process - Creating Variations


    • 25.

      Logo Design Process - Negative Space


    • 26.

      Logo Design Process - Client Presentation


    • 27.

      Logo Design Process - Adding Grit and Texture


    • 28.

      Logo Design Process - Working with Color


    • 29.

      Golden Ratio - Getting Started


    • 30.

      Golden Ratio - Practice


    • 31.

      Golden Ratio - Part 2


    • 32.

      Golden Ratio - Student Project


    • 33.

      Golden Ratio - The wave Logo mark


    • 34.

      Golden Ratio - Work With Typography


    • 35.

      Golden Ratio - Working With Typography - part 2


    • 36.

      Golden Ratio - Using Grids


    • 37.

      Golden Ratio - Adding Color


    • 38.

      Golden Ratio - Color - part 2


    • 39.

      Logo Design Presentations


    • 40.

      Using Mock Ups


    • 41.

      BONUS: Creating Video presentations


    • 42.

      Exporting Your Files


    • 43.

      Finding Client Work


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About This Class

This powerful extensive class trains you in all aspects of the logo design process including logo design theory, execution, working with typography, selecting color pallets, preparing and exporting files and how to work with adobe illustrator to create stunning logos.

Not only that this class teaches you how to work with clients by following several full logo design projects from start to finish. We talk about what type of questions to ask clients before starting your logo design process.

We also apply our logos to mockups so we can create polished presentations for our portfolio or to the client for approval. We even talk about where to find possible clients by following a step by step process.

For the theory section of this course we dive into logo design categories and also review all the different logo design styles while showing Stellar examples of each.

I go over the characteristics of strong logos designs and walk you through these using real world companies. Lastly, we cannot talk about logo design theory without talking about the power of color as we review the color psychology chart.  

The next section is for those who need a crash course in Adobe illustrator as we review all of the most used tools we will use throughout this class including the width, shape-builder, offset path, gradient tools and using layering masks and more.

Afterwards we walk through the entire logo design process from scratch. We will learn how to quickly get our ideas out on paper, and then turn those rough ideas into real workable designs we can present to the client. We will walk through each step of the journey as we work finding those final concepts to present. We will create a moodboard to find our perfect color matches and finish off our logo with the final touches.

Our next section dives deep into the golden ratio in logo design. We will create from scratch the golden ratio spiral and create the golden ratio circles we need to start to adapt our designs to the golden ratio. We will do several practice projects as well.

We then take this logo all the way through to the end including create all variations and sizes we will need to adapt this logo to just about anything. We will also create polished designs by learning how to use photoshop mock-ups. We will then use our downloadable file export guide to learn how and why we export the specific files to our clients.

The next section goes over portfolio building basics and several places and steps to find clients and to get client referrals so you can start building your design business.

This course is packed full of downloadable resources including a client questioner document, Logo styles and categories cheat sheet, color wheel and color psychology documents, a finding client’s resource, and file export, a golden ratio cheat sheet, a font paring guide and much more!

This class is extensive but is gentle and paced well enough for beginners to work through the course. There are both beginner and intermediate level topics discussed with some advanced topics discussed later on in the course.

This will be for anyone interested in working through a course that has a deep focus on logo design or any designer who wants to fine tune their logo design and presentation skills.

So, are you ready to up your logo design game? Let’s get started!

Meet Your Teacher

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Lindsay Marsh

Over 500,000 Design Students & Counting!


I have had many self-made titles over the years: Brand Manager, Digital Architect, Interactive Designer, Graphic Designer, Web Developer and Social Media Expert, to name a few. My name is Lindsay Marsh and I have been creating brand experiences for my clients for over 12 years. I have worked on a wide variety of projects both digital and print. During those 12 years, I have been a full-time freelancer who made many mistakes along the way, but also realized that there is nothing in the world like being your own boss.

I have had the wonderful opportunity to be able to take classes at some of the top design schools in the world, Parsons at The New School, The Pratt Institute and NYU. I am currently transitioning to coaching and teaching.

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1. Course Intro: this powerful, extensive class trends you in all aspects of logo design process, including logo design theory, execution, working with typography, selecting color palettes, preparing and exporting files, and how to work with Adobe Illustrator to create stunning logos. Not only that, but this course teaches you had a work with clients by following several full logo design projects from start to finish, and we talk about what type of questions to ask clients before starting the little design process for the theory section of the course, we dive into local design categories and also review all the different logo design styles. While showing stellar examples, I go over the characteristics of strong logo designs and walk you through this using real world companies. Lastly, we can't talk about logo design theory without talking about the power color. As we review the color psychology chart, the next section is for those needing a crash course in Adobe Illustrator as review. All of the most used tools will use in the class, including the with shape builder, offset Path Grady and Tools and also using layering mass and more afterwards, will work through an entire logo design process from scratch Will learn how to quickly get ideas on paper and turn those rough ideas into riel workable designs we can present to our client. We will walk through each step of the journey as we work on finding this final concepts 2% and will create a mood board to find your perfect color matches and finish off our logo with the final touches. Our next section dives deep into the golden ratio in logo design will create from scratch the golden ratio spiral and create the golden ratio circles will need to start to adapt. Her designs to this golden ratio will do several practice projects as well. We will then take this logo all the way through to the end, including creating variations and sizes. Will need to adapt this logo to just about anything. Will also create Polish designs by learning how to use Photoshopped. Mock ups will then use our downloadable file export guide that supplied in the class toe, learn how to export and give specific files to our clients with the next section goes over portfolio building basics and several places and steps to find clients and to get client referrals so you could start building and thinking about getting your design business up and running. This course is packed full of downloadable re sources, including a client questionnaire document, local styles and categories. Cheat sheet, a color wheel and color psychology documents. Ah, finding clients. Resource guide and a file expert guide. A golden ratio cheat sheet and a font pairing God and so much more. This glass is extensive but is gentle and paste well enough for beginners to work through the course. They're both beginner and intermediate level topics discussed with some advanced topics discussed later on in the course. This will be for anyone interested in working through a course that has a deep focus on local design or any designer who wants to fine tune their local design and presentation skills. So are you ready to up your local design gain? Let's get started. 2. Course Guide: welcome to the local design mastery course, and I'm so glad you decided to join me for this deep dive into all aspects of logo design. I want you to take this course at your own pace. This course is created for both beginner and intermediate level students. I wanted everyone to start with the logo design theory section no matter what your skill level is, as it's critical on building a foundation and solid logo design. If you've already taken the logo design theory lessons on skill share, feel free to skip those lessons. For those students who'd like to review, all of the Adobe Illustrator tools will be using throughout the class, you can hop right into the first Adobe Illustrator Tool section. You already comfortable with the tools. Feel free to skip a lesson or two in this section. If you feel you're that you're hardly an intermediate level adobe illustrator user and already feel comfortable with all the tools in the section, feel free to skip to the next section of the course. We will then walk through to complete logo Design Process is the 1st 1 will follow through the creation of a coffeehouse logo take these lessons at your own pace and the pace that you feel most comfortable with. Once again, I created this section to be a little bit slower in pace so that those in the beginner level can see the entire process, including how I work with the tools and illustrator. The next section will get into creating a golden ratio based logo design. This one will be a bit more detailed, working with typography and color and also crafting a final logo presentation. And lastly, we'll work on creating all the files and formats will need to have a complete local package to send a client's or the have for your portfolio. The next section focuses on Photoshopped mock ups and how to present your logos and a professional in Polish manner. The section toward the end of the course will focus on the finding client sheet, where go over the five step process of getting your portfolio ready and landing some of those first few clients. It's going apply to all aspects of finding graphic design, freelance work and not just local design. There are two things about the resource is in this class that you need to be aware of. The first resource, which is called the Resource Guide, has a link to helpful external resources and websites. You can find this and all the other resource is referenced in the course by going to the project section of this course and finding the downloadable files. Also, don't forget to join the exclusive student Facebook page. We hold design contest feedback to Project See Post. It's just an overall warm and welcoming place for all designers to come together and talk about freelancing and design, and he could find it by searching for learned design. Go freelance in the Facebook group Search Bar. If you choose not to use Facebook, I would still love to see your student projects for the Coffee Guild and the Pacific Calm Logos. And, of course, you could post those in the Q and a section of this class. I want to make this a five star class for years who please let me know if there's anything you would like to see. Added to the course. I want to keep this course dynamic with new content, added frequently, so you're ready to dive deep into logo design theory. Let's get started 3. Logo Design Theory - Design Basics & Anatomy: There are many different forms and styles of design used in local creation, but locals all have a general form and basic anatomy. This lesson will review the structure and anatomy of great logo designs. Also review the many styles, forms and flavors they can come in. First of all, what is a logo can assemble without text or a company name Be considered a logo. Let's break all this down. A logo type is a written type or characters that make up a company or logo name, for instance. In this example, racing revolution will be the logo type. A logo mark is the symbol iconographic that's included in the logo, but a separate from the type or typography. Ah, great logo design will be a local mark that can exist outside of the local type and still be recognized. The best example of this inaction is Apple. They do not need to have a logo type are words next to their logo mark. So let the consumer. No, it's an apple product. They understand this simply by looking at the logo mark. A logo mark and a logo type put together create the full logo. Not all logo's require a logo mark or symbol to be successful. Take, for instance, this logo. It only is this typography or text, but it remains effective and recognizable, with no need for a separate graphic or symbol. Now, can a logo mark or symbol exist without the type of the company name? So the logo type This is where it starts to get a little bit complicated. Yes and no are Apple example. The logo works without the use of typography, and you could see on their website the absence of the type our company name next to their main logo in the website header. This is because the brand is one of the most recognized brands in the world. A smaller brand, perhaps one you might have is a client someday may not have the same brand recognition. So a logo with a logo mark or just assemble only may not work to build that company's name recognition. A combination of a logo type and a logo mark inside one concise shape. Our symbol is called a badge or a seal logo. Sometimes they're referred to as emblem logos. These air special is they combine both type and symbols to create one flexible graphic. The great thing about seals and badges is they reduce the need for two separate objects, making them versatile and applying them to a wide variety of products. Emplacements very easily. Emblem seals and badges are great for event based brands and programs. They can exist in a central part of the design of the Flyer poster, for example, and they could explain both the event name and the company brand all in one simple graphic . Let's talk about spacing. Spacing is huge and logo design Ah, properly space logo can look professional and clean. But too much spacing can create a disconnect between the two elements. The typography only or type only logo can have problems with spacing as well. If the characters are too close together, it could seem crowded and overwhelming. If the gaps are too wide, there could be the same disconnect with the characters in the logo. Our company name. What is the proper spacing for local design elements? There are several tools and methods you can use to find the proper spacing, including grids to find the right space for your local elements. Grids can be used to create the same space between characters, for example, making sure there is even spacing to greet that clean professional look. Not all logos need a grid to be successful. Some logos with your hand drawn, illustrated maybe later, vector rise to keep this hand drawn feeling. Therefore, the spacing may not have to be perfectly, even as it starts to lose that organic, authentic feeling. That way, the golden ratio is another method designers can use to find the right spacing for a logo. The golden ratio is based in nature, and more details about the golden ratio will follow. That will include US building a golden ratio based logo together a little bit later in the class, but it comprises of circles and rectangles that are all sized according to a ratio of one to 1.618 These circles and rectangles can then be arranged in a way to create spacing and shapes that apply the golden ratio to them, giving them a look in a field that is based on the ratio that is pleasing to the eye and found in nature. And lastly, there's the designers. I finding the right spacing does not have to adhere to a special formula or grid. With practice, you'll learn what looks great in what distances to far too close. They call this optical adjustment. When you optically adjust a logo, you're using your eye to find the right placement and not grids and not a formula. I found this very important when working with local types or typography only logos. This is because certain characters create wider gaps between them. Optically, If we were to put this tea and this P together, it creates this default spacing between the characters. I think this is a nice facing not too wide, not too close. But what if we had A T and a together and wanted to have the same spacing between each character of the word? We can do that here. But because the T naturally has bigger gaps to the left and right sides because the heaviness is on the top of the T, using the same spacing is a little bit awkward. That is why manually adjusting character spacing may be needed to offset these visual gaps . When that that t is creating the act of manually adjust in the spacing between type characters is called turning and we'll do plenty of that when we work on logo projects together. Now it's time for the balance of the logo and finding the right balance and a local design is critical. I find a lot of designers like to create large logo marks or symbols, but leaves this seemingly tiny logo type in its wake. Hard to see and hard to read company name recognition, as we reviewed earlier, is essential to a newer are butting brand. Being able to have the type be readable but also bounced with the symbol is good. Neither the symbol or the type should overwhelm or take over. There should be a balance in the logo, and a lot of times they're Currid can come in handy and finding the right balance between this. Like in this example, where the size the logo mark and logo type are figured out by making the symbol half of the width of the text, using the grid to figure out exactly what that is. There are different terms who may have heard two related to different types of logo design . We're gonna go over a few so you can get a good visual description of a few of the main ones Monogram logos. Or you might have heard the term abbreviation logos. They consist of the initials of a company, for example, International Business Machines, or IBM. As you know it, they use a monogram of the company for its main similar mark. Word marks. Another name is Loco Types, as we discussed earlier. Word marks are basically local types and type only logos that consists of the company's name only Google and FedEx are great examples of this in action. Emblems are other names or seals and badges, and they consist of a combination of type and symbols into one shape. Way talked about this a little bit earlier, but that shape could be in this abstract logo. Marks consist of logos that contain an abstract shape or symbol that can loosely be based on what the company does. Lulu Lemon is a great example of this, as well as BP or bridge petroleum, with their soft flour like abstract graphic mascot logos or another one, and then consists of a main mascot. And you might have seen this a lot in sports teams. Male chimp. It's a great example of a mascot being used in a logo. The last one we're talking about today is combination marks, which combined both the type and symbol together in one logo. So we had a chance to review basic logo anatomy, talk about spacing and balancing, and we reviewed several different categories of logos. Now let's take a look at some different styles of logos Before we hopped into the next lesson. I wanted to mention that they also have a resource, a downloadable resource that contains a cheap, cheap, all the main mogul types and styles that we went over in this lesson. 4. Logo Design Theory - Logo Design Styles: logo styles can vary wildly, and there are many to go over before we begin. I have a logo style cheat sheet as a downloadable resource. These aren't the only logo design styles out there. There could be hundreds main logo categories, like seals and ward marks. The ones we studied in the last lesson never change, but local styles do with new styles added each year, while other styles falling out of fashion. The first style we're going to talk about today is flat design, a super popular style. As of late. It requires a logo to use simple shapes and vector graphics. Great a sense of depth, the requirements for a flat design style. It's no use of blurred shapes or drop shadows. Usually, they're solid colors without the use of radiance. And the flat design style remains simple and clean with his little design elements. To use is possible these air flexible, versatile logos because of their simplicity, and they can easily be applied to a multitude of products. Illustrative script and hand drawn logos are the trending stylus of late, and I think these air popular because brands and companies went toe, appear more authentic and relatable, and it's a great way to have a logo that emulates this authenticity. As a designer, this one is the toughest out a master because it requires some comfort with drawing illustration, a skill that is sometimes comes, not more natural to some people than others in this class will try to illustrate a hand drawn logo to see if we can master this technique with a little practice. I think companies and brilliant they're going to continue to move toward this direction. So it's our job as designers to be prepared for what lies ahead. Grunge style logo's use gritty textures with holes, rips and sometimes destroyed edges. These rough logos can give a logo essence of rawness and a warning look. The texture adds depth and character, and the key to a great grunge logo is a more subtle use of texture, one that will not interfere with the readability or logo type geo metric. Lobo's use a combination of basic shapes to create a geometric pattern there, sometimes created by using grids. This example here was created using the isometric grid, which will use later on in the class. You can also use standard grids to create a multitude of shapes that come together to create one unique shape. Geometric logo's could be simple and clean, yet some can have detail and be very ornate. Geometric logo's could give the logo a modern, clean look. Grady In and Grady in overlay logos use a combination of Grady INTs or blending modes to create a sophisticated, layered look. They can provide big pops of vibrant color and create an endless amount of intersecting shapes in the in between areas. Eye catching and beautiful, this logo style is great for giving off a useful, energetic vibe. Crest style logos are a fantastic way to organize those logos that need many lines of type , including an established eight, maybe a sub line of the company or a byline and also a main company name. Accompanying symbols can also be used in the crest to further explain the company's mission and values. Next up are Polygon Lugo's, and they use a combination of geometric shapes but mainly triangle shapes to create a computer generated three look. Technically polygon logos. You solid colors, not radiance with different light and dark values in the same color hue to create the effect of shadows and highlights without the graphic actually being in three D A similar in style to geometric Logo's polygon logos. Country dissonance of depth and complexity. Giving a logo a contemporary appearance, Golden Ratio style logo's used the golden ratio to piece together their elements. Thes intersecting circles, which follow the one toe 1.61 ratio, create shapes and curves, which, paired together, can create animal figures, letters and more. The Golden Ratio logo is used often by design experts and ad agencies to show the client that design has a sense of purpose. It had a method of creation and was created by using a system not just created cause. It looked cool. Creating logos with the golden ratio can be hard to master at first, but worth the extra effort toe look, a little professional negative space logos are appear joy to look at, especially when you discover that the shape created while using the negative space the negative space is the space created by the absence of a shape. Take, for instance, this logo. The negative are blank space such created by the O is transformed into a bomb, and the same thing goes for this lamp logo example. With a natural spaces left by the close counter of the Circle area of the A, it's transformed into an object that can help the logo exist with less stuff and symbols. Negative Space Logo's utilize this negative space to reduce the amount of illustration that's required to create assemble, leaving it much more clean and has a simple appearance. Double meaning. Lobo's air. Clever in fantastic ways to create a memorable logo. Take friends. It's this example I created. It's the letter B, but it also creates the insect B, and it requires a company name that can also have a double meaning to pull it off. But if you have something that comes together like this than take the chance, Memorability is the mainstay of solid local design. Many of the logo examples you see throughout this lesson were created by talented designers who post their designs on be hands dot com and a wide variety of other websites on There's Fantastic Resource Is and finding a little logo design inspiration. If you ever feel stuck on coming up with the theme or idea for your logo design and the logo Design Resource Guide another downloadable resource in this class. There's a list of my favorite places to find a little bit of that local design inspiration . Now that we looked at a few different logo categories and also some styles, now it's time to review the characteristics of solid logo designs. 5. Logo Design Theory - Characteristics of Solid Logo Designs: what makes a great local design what makes for solid branding, thes air questions We will answer throughout the section as we look at solid examples of each local design is the mainstay of graphic design. As a graphic designer for over 14 years, I've designed logos for a wide variety of clients for both profit and non profit clients. I've come to learn all the projects of designers tasked with the local design project is the heart of it all. But why look at any poster Facebook page website? What do you see? You see the company's logo on Brand Mark, a group of text symbols, colors and words that try to describe the very essence of a company. And designing one is no easy task Way logo looks and feels is not random. But based on several different factors, the look and feel of a logo must match the company's mission statement. Beliefs target audience in style. Take, for instance, Under armour, the entire brand is focused around the under Armour logo. The logo is not just a marketing tool or design asset, but it makes up the basis for their entire clothing line. Shoes, backpacks and more. and just like Nike under Armour, makes a whole lot of money from their local design and branding. They spent a pretty penny, too, hiring branding agencies to crafted into the multimillion dollar logo it is today. Local design is not just for large corporations. Solid local design principles can be applied very easily. Too much smaller companies without the $1,000,000 price tag. And this is where you come in. And knowing these solid design characteristics can help you identify great local design and help you create one yourself. Strong local designs have the following characteristics. They have balance between symbols, type and elements. Not all logos need type, and not all logos need symbols. Summer just typographic elements such as a simple name written out in a tight face that matches their style. Some logos were made with unique custom typefaces designed solely for you, for the use of that particular brand. They're recognizable, using only part of the local design. Louis Vuitton is a great example of this without seeing the full logo or even the name, you know right away that this is a Louis Vuitton purse. Having this type of brand recognition makes marketing that product or service so much easier they do not need to depend on color to be effective. Color is critical in logo design, but a strong local examples does not need to depend on color. Coach is a great example. The logo can exist in many other environments without using any particular color. This makes the local more versatile and adaptable to all environments. Many times is a designer have had to work with the logo, using only one in color or black and white publication. Sometimes logos that are totally color dependent make this job harder for me to do. They work well in a wide variety of applications. Logo's need to be flexible and dynamic in the logo, Adapt to a small 48 by 48 pixel square and still be recognizable. Can it be just one in color and still have all of its main characteristics? Ah, logo needs to be able to be seen from a distance and still be readable and recognizable. Having a logo that can adapt to all situations is vital when it comes to creating a logo mark worthy of a long lasting brand. They can stand the test of time logo. Redesigns can be expensive, not because you have to pay the designer to redo one, but the cost of reorder and letterheads, business cards, packaging and products. With the new logo, it really adds up. Uber recently did a rebrand back in 2014. In 2018 they decided to refresh the brand once more. With the new logo and branding, they now have to switch all of their print and their digital assets to the new branding and local mark. A very expensive endeavor doesn't mean that the first uber rebrand did not look great. Not really. It just means that uber has evolved as a company logo and branding assets did not move along with it. Thus, the rebrand was necessary to keep up with its ever changing vision. How do you, as a designer, create a logo that stands the test of time simply by getting input from the leadership of the company? Whether that's from the owner for a smaller company or the marketing manager for a large corporation knowing where they are trying to end if it's a company can help you develop a logo that could be flexible and adaptive, their future needs, they avoid popular trends. I cannot stress this. Enough of warding. Trendy themes in your logo can help it stand the test of time. Remember Web two point. Oh well, most of us try to forget it, but it was popular when I was first, starting out, circa 2004 to 2007. Ah, Web 2.0 had glossy buttons made popular by the latest OS X gooey upgrade on Max. Everyone needed the local with the radiant, ah highlighted glossy portion and a simplistic icon. You do not see this trend anymore, and if you do, it looks dated, tired and just plain ugly. Any logo that was designed in the style had to quickly be rebranded as soon as something called flat design came to the style circa 2008 which is a style that simplifies the design . No Grady INTs flatten simple shadows and no gloss or details basically the opposite of the trend before it. Ask yourself if this local will still be on 0.25 10 years from now. If the question is maybe or depends than going for a more classic look, maybe a better bet. Simple clean and understated. You see a level logos now that use gold hand drawn lettering in lots of watercolor. Super cool and trendy now, but five years from now, probably not fight the urge to be trendy but be classy. Instead, they use negative space to their advantage, not a requirement for a great logo but a wonderful design theme I see in strong local designs. They're liked by the company's target demographic. When I think about this one, I think about Gap, a clothing store brand. They did a rebrand in 2010 making its logo more moderate, using a Sand Saref instead of its classic serif typeface chosen for decades. Prior, there was such a backlash and hate for the new logo. They were forced to switch back to its original logo, and it was a very costly mistake. They underestimated how their target audience would react to their beloved brand. Changing in typeface in in style. Make sure your local design will resonate with your company's target audience. Knowing your target audience is half the battle. Who are most of your customers? If you don't have any customers yet, who do you wish to sell to never fear social media getting opinions about a local sign. It's better to get negative feedback earlier in the process, you can adapt and make changes before a final launch. Before the level has already been applied to hundreds of items and products people can read the logo seems like a no brainer characteristic to have, uh, everyone knows you should have a logo that's readable, but here lies the problem. You may have spent so much time with the design, you may not have a fresh pair of eyes to see any of those issues. Make sure others can read it, too. I see this problem a lot with script, fonts and logos. Sometimes certain script characters do not flow well together, and it could make a logo very hard on the eyes to read, which leads us into the last characteristic and a great solid logo design. They are as unique as the company logo should be one of a kind. This is another reason why staying away from trendy design themes is important. You do not want to look like everybody else. The local you're designing is like a snowflake. I see way too many logo redesigns looked the same way on I shake my head and disappointment when I see another rebrand that looks the same. These are just a few characteristics of strong logo designs I've noticed throughout the years studying re brands and logos designs. If you strive for just a few of these characteristics, so you'll be well on your way for a local that will work well for you or your client. 6. Logo Design Theory - Color Psychology and Theory: not all logos need color, but when they do need color, it could be a huge part of crafting a logos, feeling mood, vibe and tone. You might already be familiar with the Color Wheel, an organization of color hues in a circular format. Certain colors exudes certain emotions in the right situations. I put together a common feelings, emotions and terms commonly associated with various colors around the color wheel. Let's first review the warm colors like reds, orange and yellows. Read popular uses of red and local designer social media companies, and you see it a lot in the food industry. They can grab one's attention and cause a sense of alertness, exactly what a fast food restaurant wants to go for to get your attention when driving down the road. Next time you go grocery store, take a look at the packaged food products. Ill read will be your most commonly used color. As we moved along, the color will would get to orange an orange. Keep some of the enthusiasm and excitement of red, but it also starts to combine the energy of yellow and you'll continue to see orange, commonly used in beverage strings and the food industry as we moved firmly into yellow yellows. Energy is undeniable, but can also be one of its biggest weakness alongside pink. Yellow is one of the least used color for logos and brands. It's powerful and could be overused easily. It could be a great compliment color alongside other colors. For example, the Google logo, which uses yellow but not, is the single primary color. This does not mean you avoid yellow entirely when crafting your local design palette, but it should be used cautiously, as yellow tends to be hard to print and read if used improperly. There is a reason why green is the color choice of many cleaning industries. Green equals clean, but it also equals nature. Green can also be used heavily by the financial industry to display a sense of wealth, but also success as green is commonly used to show profits and growth. As you could see, green can mean many things. Cleanliness, natural, organic and success. There's no wonder that alongside Blue Green is the one most commonly used color palette. Choices used by major brands sigh in a unique color, not as commonly used to some of the others like green and blue. But it combines greens, organic, clean feeling and blues columnist to create its own unique blend of the two. You may commonly see biotech startups to science. Blue is the most commonly used color for brands worldwide, and there's many reasons why, because it evokes motions like stability and calmness. Banks love to use the color blue. For that reason, a special with banks losing trust since the 2008 recession, you also see it used by industrials and those in the manufacturing industry. The health care industry loves purple. It mixes a bit of the stability and calmness of blue. Yet it starts to take on a bit of warmth and vibrant tones, giving it a little kick. Purple is commonly associated with royalty and sophistication. It's also commonly used in the hospitality industry. For that very reason, as we start to move along the color wheel back around to the energetic, powerful warm colors, we start to adapt a sense of passion and love. Pink is a tough color to use because of its strong association, with it being a woman's color, but I think pink use have a chance to really shine as that mindset starts to shift in the future, when creating this color will graphic, I started to really see the connections. All these colors start to make and basic color theory the color and the color. That's the exact opposite color on the other side of the wheel is called a compliment color , and these color combinations seem to work well together because of this association. And they also have the most contrast of all the color combinations because they're on the opposite of each other, which helps, For example, yellow and purple or opposites on the color will thus complementary colors, but also notice when it comes to color psychology that they're also both the least used colors and logo design analogous colors or those on the color wheel that are next to each other. And they have the most sense of harmony as they do not jump. Why distances in the color wheel having a lower contrast and having less conflicting color palettes? I found it very interesting that analogous colors make great logo combinations because of the sense of harmony. It was also interesting to note that the color blue was associated with a reduction and appetite, and I don't think that's by accident. As the food industry gravitates more toward the warmer reds and oranges, it is fascinating that the colors used by top social media websites were either blue or red , with other colors being used a lot less. The fact that blue and red are polar opposites in terms of being on the color wheel and color psychology, It was telling that social media companies wanted to evoke strength or calmness, depending on what the platform waas not all logo's use just one color. Companies and logo's could evoke several different emotions around this color wheel by combining colors to create a logo color combo or color palette. Some logo's have one primary color, but this can also exist by using several chosen secondary colors so can adapt to many different situations. This color wheel graphic is available as a downloadable resource in this class. If you really wanted to take the time and study it in more detail, finally, another great resource that's available online to you is color dot adobe dot com. This is a great resource for finding and applying color harmony rule to the color wheel, the color harmony rule are the various rules in color combos like triad. Complementary and analogous colors also have a downloadable resource that goes over the basic color harmonies as well as a few popular color trends. Now we talked a bit about the emotions of color in the psychology and a little bit about basic color combinations. Let's talk more about how to use color effectively in logo design. Local designs, as we mentioned in earlier lesson, should never be totally dependent on color. Color can help bring it toe life, but it should also be able to stand alone and just plain black and white if required. So knowing this rule, when we do use color, it should be done with intention. You never want to overwhelm a logo with color and sometimes just small, important elements could be highlighted with color. Sometimes having the company name or logo type B a neutral gray or black color could help a logo mark with color really stand out but not overwhelm the entire logo. You need to be aware of what background the lug will be placed on. The most common background color uses white. If your logo uses a bright color that has low contrast with white. It might not show up very well if you have a logo on a dark background and to use a darker color. That contrast may not be big enough for the local to be readable ous well. That is why it's nice to develop a logo. They could work in just black and white, but also, if you use color, it works well on both lighter and darker backgrounds. When a developer logo, I place it on both to see how the color palette is working out. And there are times when I have to tweak the shade of the color used for toe work on a darker or lighter background. Developing a logo color palette can take some time, and we'll get a chance to use mood boards and other methods of finding the right color choices for a logo in the project based portion of this class. Now that we establish him great logo design theory, we've studied color anatomy styles, categories of Logo's. Let's begin by creating our first project together. I'll see you there 7. The Practical Guide to Logo Design Theory: There has been a new resource added to the course, and it's a big one. It's the Practical Guide to logo design. And you can find this as a downloadable PDF file in the course resources. This resource contains over 100 pages of helpful content that goes into further detail about logo design theory. Logo types, local categories, logo classification, the history of logo design styles, design process, concept development, client interactions, sketching, branding and more. This originally started as a logo design book and decided to include it in this course because I felt like it could really help bring some of the content of the videos to life. Please do not miss out on this valuable resource. You will enjoy the more detailed read through various design theory. 8. Adobe Illustrator Tools Overview: hope you had a chance to enjoy those logo design theory lessons. And now we're getting ready to happen to the practical side of things. But I wanted to have this introductory section because not everybody's gonna come into this class with the same knowledge and skill set and Adobe illustrator. So what I wanted to do is teach a couple of the main tools about five or six main tools I'm gonna use throughout this class. So when we do get to the practical local design section, things can go a lot quicker because you already know how the tools and the basic functions work. If you feel like you're already an intermediate to advanced level Adobe Illustrator user or you feel like you're very comfortable with the tools that we're gonna go over in the section, please feel free to skip this section. This is for those who really would like an overview of the tools will be using in the class 9. Illustrator Tools - Getting Setup: before we get started with the rest of this course, I wanted to kind of show you how I set up my workspace and what workspace I use. You do not have to use the same workspace that I use, but just kind of showing you the one I'm going to be using throughout the class. So it's gonna go to up to window, go ahead and click on illustrator go window workspace, and I am going to select layout. So this is gonna be the one be using the most when doing my little design work. Eso I have layout's selected and then we also want to make sure we reset our workspace. That would go down to work space, and we're going to go down to reset layout, and it's gonna go back to whatever is the default space setting for that. So I'm just kind of used some of these. I'm gonna go and keep them as is. There's gonna be some that I'm gonna be pulling out in the class and using more often, and will kind of get that throughout the class. I just want to take a few minutes kind of get our ah board set up our workspace set up. So we have very similar layout. So you're not confused about certain Windows. And some of you guys are very, very, very familiar with the Debbie illustrator, your intermediate to advanced users. Fantastic. You're ahead of the game. But for those who are just still kind of in the beginning stages, maybe you played around with the pin tool in the shapes tool. Some very basic things. If there's ever a window option panel that you don't have available, you can always call it up by going up to window and making sure you click on the one that maybe I'm referring to. So just if you don't see one on the right and we're talking about the appearance panel was good a window. Go ahead and load appearance and you can stack these however you'd like, and you can have different tabs and kind of arrange. Um, however you feel like you're gonna use them the most in a lot of times throughout the class . My little, uh, cheat, I guess, to kind of speed up. My workflow is I like to drag out windows so that if I'm really close to a certain area, and I'm working right here. I have it very close by, so I don't have to go all the way over here to do options. So just don't, uh, don't hesitate to drag out windows and panels close by to your working space to kind of save you a little bit of time of having to dark all the way over here to the right each time. So just kind of a little hack there to save you some time. So now that we have our workspace set up, let's go ahead and get started with some kind of intermediate to begin or tools that I'm gonna be using a lot when I'm creating living together. So let's get started, okay? 10. Illustrator Tools - The Width Tool: So the first tool we could explore today is the width tools right here. Gonna zoom in so you can cut us about that icon. Looks like if you don't see any of the icons I talk about on the toolbar make sure you go down to this little triple dot period kind of icon down here and go to edit toolbar. You'll be able to drag any of the tools available and really create your own custom toolbar . Have read like, Let's get started. I really love the with tool. Very underestimated tool and my tool belt. The last couple of years, I've just recently started really mastering and using. Its really helped with my logo design workflow and doing some things and speeding something's up. So the key to the width tools you can't really do it with solid objects. So I'm gonna go ahead, make this solid object. I grabbed my with tool. You're not gonna be able to do a whole lot. It needs to kind of be a stroke or a line. So let's go ahead and create a stroke on a line. We just gotta grab your pen tool, create a very simple kind of horizontal line. And so there's a horizontal lines good or stroke panel, and that's increased the weight on that. So we can kind of see this an action, So not gonna select my with tool. And I'm gonna be able to, uh, go here on the in any of these points and I can create points and anchor points a day any time. So there's one here on the end and one on the other end. So let's go ahead. I'm gonna click and hold my mouse and drag. I'm gonna be able to extend that shape out at that particular anchor point. And then I can also go down here and extend that one out even further so you could see kind of the multitude of shapes you can create with this. I want to come, Mr Lobo, development and design. So at any point, I can click along here and create an additional anchor point so I can click here kind of drag, and I can kind of make that a curve. I can make it convex or a con cave shape, and I can continue to make this more detailed. Click here and I can continue to make a lot of different shapes. You need to make an airplane a bird. I mean, there's so many different symbols you can create with this and be pretty creative you can Also, there's no limit to have any anchor points you can have, so you can make it as detailed as possible. You could, of course, take your shape and flip it. Ah, go ahead, reflect this or you can flip it horizontally. So I'm just gonna go to object, transforms, gonna rotate. Going to be doing that a lot in the class. It's going to rotate it by 90 degrees, and he couldn't see how I got, like a little base shape going on here. You can also change the in caps as well. I'm gonna go down here to stroke, and I'm just gonna put a nice round cap on there. So that kind of rounded the caps of my line so that you could see all these really interesting, weird shapes you can create. We can see how that could be powerful with doing symbols and different logo designs. So at any point, if I'm happy with a shape, that's right now it's just a line. It has not been. The object has not been expanded where the path has not been outlined yet. So we're gonna do that next. So now what I'm gonna do is I'm gonna go ahead and select our line here. Goto Object path. I'm just going to do a simple outline stroke, so I'm gonna go object path, outline, stroke. It's gonna go an outline that object for me. So now I have the direct selection tool we could see. I have all my little anchor points. It's a final object, So let's try that again. But let's do kind of a practical, real world object that we would need. I'm thinking I want to do a shield for a logo, so I need to get this really cool shield. But what's hard about doing a shield was it's gonna be equal on the left and right side. It's got to be symmetrical on both sides, and sometimes that's hard to do, and you just grab the pin tool and start to trace away. So let's try to do a short cut into the with tool and see if we can create a very quick shield icon. So let's go ahead and grab her pin tool and we're gonna disco and up and down. Vertical stroke. Make sure we flipped that two stroke. Grab my with tool and let's create a shield graphic. Let's make sure it's even the top in the bottom and let's get started. I'm gonna go ahead and grab something in the middle. And really, if you look at kind of the shield shape, it's gonna be kind of in this direction and right there, we already have kind of, ah, shield shape developing Course we can now change the I have the very top point here, and I'm just dragging down kind of give it a little bit of a point and we can add characteristics to the shield. We can, you know, make it any shape we want to. If we don't like what we just did a little shortcut. Command Z go back in time. I'm gonna be using that a lot throughout this class Little command Z shortcut, so I could see how you can create really cool shields, emblems, all that kind of thing. So I'm gonna go ahead and tweak this a little bit, and there I am. I have my little shield logo. I'm gonna go to path and I'm gonna outline the stroke. So object path outlines stroke. And there I go. I have a perfectly symmetrical object I'm able to do a shield with. So another thing you can do with the with tool is you can play around with anything that's a a path or a stroke. So I'm gonna go and get the Ellipse tool. I'm just gonna do hold down shift and make a perfect circle, and I'm gonna flip it to a stroke. And now I can grab the width tool, and I could be able to pull on any of these points to thicken the stroke around the circle . So I'm gonna go ahead and click on this and drag and you can see I can make kind of a neat logo symbol. With this, you can have different weights and thickness all throughout the object here. So just right there kind of created a really interesting shape. It's going Try that with you could do with anything you could do, star. He could do away the line. So let's say I'm just gonna grab the pin tool and just do a couple of wavy lines here. I can't even get the curvature tool, which will go over next and kind of adjust the curves of the line. Okay, and now that it's a stroke, I can grab my with tool and play as I want to. You could see I could make a like a really neat brush looking shape on object. You can go back and change the width, any point. So just like that, it can also create leaves really easily on. A lot of logos have leaves required, especially if you're working with the organic brand. This is a really great way to create that. So, just similar to what we did, we can just kind of make have a little bit of a curve here, Grab that with tool were to create a leaf just like that. We have a nice leaf shape, would go to path outlined stroke, and we can find tune it. So Path outlined stroke and now have access to all the different anchor points for those that are already familiar with a curvature tool. Great, you're one step ahead of the game with this class. I do recommend you having a little bit of pin tool knowledge, and you kind of comfortable with creating things with the pin tool and kind of creating curves. But what's great about creating curves with the curvature tools? That's what it's meant for. It's a lot easier to create more rounded, circular shaped curves with the curvature tool that it is with just using the pen tool. So, for example, for a pin tool, I just want to create a circle. I'm gonna start at the top to try to do 45 degree angles. Could to try to get this circle to look good was clicking and holding just like you would with a pin tool. And then I'd have to go back with the direct selection tool and make a bunch of edits, and you could see how long that's take me to create a nice to smooth shape. So let's say I do it with just the curvature. Tool is gonna go ahead and click here, click across the way, click up the middle, push up and then I can click down here and just look how nice that is. I just have to kind of edit a little bit, but it's so much easier to make these kind of perfectly round shapes. And in logo design, it's incredibly important to be able to have accurate, nice, smooth curves. So I'm gonna be using this tool a lot in the class esos practice with that curvature tool. And as we start to work on logos throughout the class, you can kind of see how I utilize this tool and all kind of stop and kind of mention that I do use the temperature tool a lot more than the pin tool, in some cases to kind of get those nice, smoother, much more natural looking rounded edges. So the next tool we're gonna go over is the offset path tool. And if you haven't really played around with offset path and kind of see its power here in a minute 11. Illustrator Tools - Offset Path Tool: So that was the with tool in action. I wanted to go over that tool because I'm gonna use it a lot in the class, and it just kind of is a great shortcut to create a lot of different shapes and objects that would normally take a lot of time. So I'm gonna take that a step further and show you another tool. So we created this using the width tool, a little shield logo. And now we want to be able to create kind of an outline. So there's one thing we could do. We can create a little simple stroke here and make that a little bit bigger. We kind of have her stroke there. But what if we wanted to create a separate object? So we wanted to have that effect, but without having it be a stroke. So there's one thing we can do to make that happen, and that is path outlaw offset path. We're gonna go to object down two paths, and it's the offset path option. So this is what offset path. Does someone go and click on preview? It's gonna go ahead and extend it out by a particular amount. So Right now, I'm set in inches and you may be in centimeters depending on where you live. But right now this is inches. So right now it's extending outside of the original path by 0.1389 inches. And you can change that as much as you want. You can even do negative as well if you want to go inside. So if I want to do a negative, you just click on negative. And now it's going to do it on the inside, which is kind of what we'd like. So I'm gonna go ahead and click on, OK, And so you can see how we already made this little extra item here, take off a stroke on here. Gonna make this a different color, so make little lighter so you guys can see you could see how we kind of created kind of a little bit of stroke off a stroke effect. And we can continue to do this forever. We can click on this lighter, great option being goto object path and go toe offset path. And let's do once again the same distance and let's do in negative. So it's gonna go on the inside just like that, and we're gonna go ahead and make that lighter, and you could see when you do logo design how quick it is to kind of do that because there's a lot of instances where you have kind of a shape and you want to be able to create this effect. But it's kind of a complicated shape. It's kind of hard to redraw that on the inside with the pen tool. We could just use this offset path tool, and it's a lot easier and more accurate. So the great thing about offset path is you could also work with it and typography so you can increase and decrease the offset path to make kind of some neat shapes with typography and one practical way that she could use. This is a lot of times when you have detailed backgrounds and you really want something, Ah, logo to pop out front of it. Sometimes you have to use a white outline stroke around the lettering, and normally when you do this, you go ahead and have your typographer here. I would maybe right click. I would create outlines, and then I would just have a simple stroke. And this is how you would do it if you didn't have the offset path tool, You increase the weight a little bit, and then you go, That doesn't look right. Then you go down to your line stroke panel. And instead of having our line stripped of center, you would then do a line stroke to the outside. That's kind of the effect we're going for. We go to corner, maybe rant, do around, join to make it nice and soft, just like that. But so you could see how it's overlaying a little bit and covering up other characters and the words, and that's not really what we wanna have. This is where offset path will come in handy. So instead of adding a stroke, we could go ahead and no out the stroke. Where do the opposite paths? We're gonna goto object path, offset path, and we're going to do a positive number. So we're not gonna have a negative sign. We're going to a preview, and that's a little much. So we're gonna maybe cut that in half instead of a 0.1 will do a 0.5 and we're gonna go ahead and preview that and see how we like it. Go ahead and click OK on that and we're gonna make it white. And we want to make sure it's a fill white, and we're gonna put it in the background. And just like that, we kind of created that same effect as we did before. But this time we have we don't have any of the characters overlapping and it looks like it's truly there. So we can always around the corners on this and give it a nice kind of sticker effect. Kind of like the example I'm showing now. We can have a nice soft edges and so you can kind of see where the how messing around with typography can kind of have a really need effect. I like using offset path That kind of creates, um, really neat shapes with basic typography characters. So in this case, I'm using as a sands black and this just a simple letter A. But I really want to make it my own letter a something a little bit more unique, so I will need to create outlines. I'm just gonna right click, create outlines. So now I can go to object path and play around a little bit with offset path tool to create something a little bit different. So right there can kind of create that. I could make it a little bit bigger and click on OK. And so now I kind of have a really different shape. Ungh group this my original A and they kind of have something a little bit different. I could continue to do offset path to create something really unique and do different kind of characters. I can also continue to do this and do path offset path. I could just do it by a little Marta by a smaller margin just like that, and I can flip that to a stroke. I kind of had a nice border to it. I can Then take this outside one. I'm just gonna continue. I'm just playing around with this tool a little bit, and I can continue. Continue and you can create really need effects. Kind of the example that you see in the J. They're kind of you can keep going and creates and meet some things. So several times in the class, we're gonna use the offset path tool to create some unique characters and lettering to take kind of your typical basic font. And to make it something that has some character, for example, this logo that you kind of seen in the theory lessons of the class kind of check that out. That's kind of how I created that was using the offset path tool. Just another quick example how I use office, that path and will be kind of doing this logo a little bit later in the class, but kind of wanted to show you how to create this little beveled look. Kind of looks a little bit more higher end. And we did that using a negative offset path. So what I'm gonna do is I'm gonna go and select both of these and I I went ahead and created outlines to the type and then I'm gonna go down to object path, offset path. I am gonna do a negative one, so it's gonna make sure I put a negative sign in front of the number. I kind of see what that looks like and you get a little preview of it. We go and click on OK, and then I can change the kind of look of that so you could do kind of something similar to what I have above re kind of changing it a little bit and color. So it has that really need Devold. Look. So that's exactly how I kind of came up with this one to go ahead and click. And sometimes you have to group when you do an offset path, so right, click on group, and then you can access these little individual things and you can change the color to get the effect above. And so we'll be doing this logo a little bit later, will be drawing this little neat shape will actually be using several tools. We just went over to create the hat and the horns and try to figure out how toe, uh, think of concepts for different, low good signs. 12. Illustrator Tools - Layering Masks: So if you're not familiar with layering mass yet, you're going to be because it's a very useful tool for adding the grunge effect, which is really neat for those kind of retro logos. The ones that are faded maybe a little bit organic, kind of some of the ones we went over in the class, that grunge effect. So we're gonna use layering mask and come show you how I kind of created this effect that you're seeing on the screen. So here's some simple typography. It's azo, sands, black. I'm just gonna go ahead and create outlines, is creating outlines. And I wanted to kind of add a little bit of softness to the edges because right now it's kind of got some sharp points there, So I'm just gonna kind of highlight everything. I'm getting my direct selection tool. I'm gonna be doing this a lot in the class, and I'm gonna be kind of look ahead and see if I can select the first to zoom in a little bit. You'll see these little points where I could be able to click and drag and globally, all throughout everything I have selected, you can see how the curves are being changes. I shift this around. I'm just gonna do a very slight curve. Kind of adds a little bit of softness to it. So I'm gonna do that throughout to make sure I have kind of the look I'm going for for this particular typeface. And so just a little tip when you're doing that kind of rounded edges effect. If you have different sized lettering and you try to do it, it's not gonna allow you to. So you just need to select the similar sized type and do it all at one time, so I could do all of the word effect globally all at one time. So I'm gonna go ahead and do that right here. You could see how I'm able to change all of it globally. Just add a little softness. I wouldn't be able to select all of them and do it at the same time because they're different. They're gonna be different angles on each one. So just did one word at a time have my nice rounded edges or corners, and I'm ready to go ahead and apply on effect to this. So right now we just have black. I'm gonna go ahead and show you. Ah, great resource. The link is in the resource guide abuser fans and fantastic little grunge. These air, actually, J pegs is there just like photos. So you could really do this with any photo. And you can also do with Vector as well. You don't have to just put, ah, photo on there. You can actually get vectored Runge textures, or you could do geometric patterns, anything one overlay on top of your text. So I'm gonna go ahead and group this together. So I'm just gonna right click and group them all together. I'm gonna take the texture that I downloaded from this resource. Here it is. It's just a simple J peg. Nothing too complicated. Kind of size it up. And one thing I want to do is and I wanna put it on the top layer. So we want to always have the texture be on the top and what we're want to punch out on the bottom. So I have the texture on the top. I'm gonna go and select all of it. I'm gonna go over to my transparency panel right here, and I'm gonna click on and make a mask and it's gonna go ahead and adapt it and make a layer mask right here on the rights. This is our layer mask. Right now it's linked right here to our ground effect typography. So you could see how it kind of over laid that particular, um, texture over top of the text. There's also a really neat kind of option here. If you want to go for a really destroyed look, you go and invert the mask and anything that's black is gonna be white, and everything that's white is gonna be black. So it's gonna really reverse kind of the texture here. So I'm gonna go and click on Invert Mask, and you could see how it really kind of accentuates a lot of those darker areas. You can always click back off of it and go back, and so you can try that with a lot of different textures. There's also vector grunge textures. You can even make your own texture, which we're gonna do here in just a moment, moment as a little bonus exercise and then apply it over our type. So before we go and create our own texture, for this. We are gonna go ahead and use this and finish this up. I want to create a nice wave in this. So it's done. Looked like straight text that has a little bit of curves in it. So that's another tool. I'm gonna be able to show you that I use quite a bit and it's gonna go down to effect and go down to warp. And so there's all these air really great warp options. Would you come with typography? You gotta be careful not to overuse them, to use them subtly. So you have a nice, realistic effect. So this one, I kind of want to have a wave effect or flag effect. So let's go and try the wave, and that seems to work Really good. But see how it kind of, uh, kind of warps it a little bit. I want to kind of have I believe the flag of fact will probably what I'm looking for. So that's okay, Let's go down to warp. Let's go to flag. And we don't want to have such a dramatic effect. So we're just gonna turn the dial down a little bit. We just want a little bit of a subtle curvature just like that kind of a neat wave. We can go ahead and change the color on all this is well, we can have a nice pop of orange. Let's make this a bright orange in a right click. Arrange sending that to the back layer and we can click on this. Let's say I want to change the color right now. It's gray. So we have our transparency. Any time you want to edit our look at your layering mask, you're gonna bring up the transparency panel. So here's our layer mask. Right. Here's how we affect this. So if I have this collect selected, I can go ahead and shift around this texture to how I like it. So you may have a different position you want. Put the photo on to have the right grunge effect that you're looking for. But to go ahead and edit the actual text again, we need to click right back to this layer. That's the kind of the trick, and I'm gonna change us to maybe a dark blue, maybe a deep blue or purple, and then kind of changed the coloring on this just a little bit more, just doing some tweaks, and we have kind of a neat effect. So that's kind of how we went about adding the texture, adding a little bit of way, which you goto effect and go toe warp and do all sorts of different types of kind of wave effects because you kind of see a lot of logos do that, where they kind of have that wave and flow, and you wonder how they do that. Some people do it by hand, but I think that's quite a lot to Dio and you gotta get grids and get it all working. But if you wanted to kind of create that effect quickly, just make sure you just go to warp and you'll be able to do these kind of little effects quickly. So let's create our own texture because we maybe want to use a vector one for whatever reason, when we create our own and we can practice that layering mask one more time, we're gonna do that right here real quick, so we're gonna be creating our own texture. There's several ways we can do this to get the grunge effect that you see here, you probably need to find something with a photo, because it's really, really hard to get. All these little details haven't remain in Vector. It can almost break your computer if you're if you start to create a texture that's too complicated. That has too many anchor points. So sometimes that's when photos are really, really high. Rez J pegs really come in handy with creating the grand effect, because using the vector version of that really, really slows down your computer. So as you're starting to create your own vector, rised little patterns are kind of this grunge effect to put have his layering mass. If your computer starts to crash or get really slow, that's very common. Even my computer has issues. So that's why sometimes using a JPEG resource is not not a horrible idea to achieve that effect. But just if you're curious and you want to know how I have this little brush here paint brush tool, we can do all sorts of different ones. You could even do the pencil tool. Maybe. Let's try the pencil tool for this one, cause I like nice, thin lines and where it's gonna look absolutely ridiculous but I'm just scribbling, scribbling. I'm just trying to get a more natural, gritty kind of texture, Just kind of going around. This looks absolutely ridiculous. And I'm gonna let go. And right now, I don't really have a stroke on, so I'm gonna make sure I have a black color. Doesn't choose whatever color you'd like flip it to a stroke. And what I like to do is fairly thin strokes for the effect we're gonna do. So I'm gonna go down to stroke, and I'm gonna make it a pretty thin stroke. And right there, I can take that and make that as a layering mask. Or we could go up to effect and we can go and do a couple of these warp tools. Or we could go to destroy, destroy, dissed. If I can talk right, distort and transform, which will take this and really distort this stroke and do all sorts of crazy things to it . And that's what we want to have with a crazy grunge texture. So we could do a pucker and bloat and kind of see what that looks like. So let's do a pucker or a bloat, and you can see kind of some crazy effects that you get could see how slow your computer starts to get. I'm gonna continue to mess with Distort Libya. Do Ruffin ruffins kind of a neat texture. Ooh, that's kind of neat. So there we go. That's crazy. And I bet if I go even crazier Wow, look at that. Let's not do it quite as crazy. And let's add more detail to that. There we go. What's going to click on? OK, let's see what smooth looks like. And this is a true experimentation us. Any combination of these destroy destroyed, store roughened you can create all sorts of different combinations. So I'm gonna go and click on OK, there's kind of are homemade. Texture looks a little bit crazy, doesn't it? But we're gonna apply. This is a layering mask. So let's say I want to release this mask. I don't want this one anymore. All you have to do is press the release button and boom, you got that released and it's gonna go ahead and show the picture released. Okay, so there's our picture or weaken. Just either slide it out of the way or delete it. We don't want it anymore. And you could see how slow my computer is, because any time you have this complicated vector, all these anchor points that the computer is trying to load it gets really, really slow. So don't be surprised if your laptop or your desktop cannot handle this. So here we are. One thing I could do is right now it's set on a path. So one thing to maybe simplify this little kind of homemade texture is just to go to object path and we can outline the stroke. So that's gonna outline all the little strokes. It might make it a little easier for the computer to handle it. It took about five minutes, but my computer finally outlined the stroke on this. So now I'm ready to apply it. I have it on the top over top of the type that go in position and how what you could see how complicated that is that is hugely complicated, that's all in Vector. That's probably a 1,000,000 different anchor points was Go and select both of our graphics , and we're gonna apply it just like we did a J peg and we're gonna click on Make Mask in the transparency panel. And let's kind of see what this looks like. Okay, so there we go. That's kind of our little Runge effect that we created a kind of, like the other one a little bit better, But it was fun to kind of see what that would look like. So that's the grunge Effexor just going over some tools used quite often in this class. 13. Illustrator Tools - Shape builder Tool: if you take in some of my other classes, you most likely used the shape builder tool outside of the with tool. The shape color tools, Probably one of my most used tools. We're creating symbols for logo marks, so this is how the shape older tool works. If you already know how to shut the hell the shape builder tool works, go and skip this lesson. You're good to go. This could be the very basics here, so I'm gonna create a simple ellipse tool. So I'm just going to a simple circle. It's going to get that filled in with the color and let's say I want to combine. You can combine and subtract shapes really easily using this tool. So let's say I grab another circle. Let's make that a different color and I want to subtract the space that's created with these two shapes. So let's say I want to create a subtraction of that. I'm gonna go go ahead and highlight both of these items. That's important. You gotta highlight all your items you want to work with with the shape builder tool and the Schapelle of tools could be right here. I'm gonna go and zoom in There is the shape builder tool could go ahead and select that. So as you hover over, it's gonna give you options to select. So what I'm gonna do is I'm going to do a subtraction. So if I don't press anything, you see that addition sign it's gonna add, I can click on this, and I can add those two shapes together as one shape, which could be very handy when you're doing complex logo design symbols. So let's say I want a subtract. I can hold down the altar or the option key, and I have a little negative symbol I'm gonna go with. Zoom in. You can kind of see what that looks like, and I could subtract any of these items. So if I want to subtract that I can or find one a. Subtract this middle one. I hold down the option key and I click and I can subtract. So that's kind of how the shape over tool works. Ah, we could create a very simple graphic here. Use in the shape builder tools would get a little bit of practice. So let's say we want to build a little cute robot for a particular brand or logo. Mark eso is going to use just these basic shapes and create kind of a more complicated little symbol just using the shape builder tool. So I have the just the rectangle tools gonna draw the body, and I gotta go down, um, and kind of round these corners out a little bit and then do the little body here. I'm gonna do the rectangle tool. Let me go down to the rounded rectangle tools so I can just go ahead and get that effect right off the bat. Yeah, I can always change the effect of the rounded corners. Here's a little robot. Let's say we wanna have different objects here. Let's say we want to have a little bit of piping between his neck, so we're going to do that. Whose round that off. And here's another little shortcut trick that I'll be using throughout the classic. To select an object, hold down the option key and drag, and you could duplicate just holding down the option key and dragging. That's a quick way to duplicate instead of having to sit there and copy and paste and copy and paste and hold down option drag. And I just replicated that. So let's go ahead. Draw the outline of the little robot here. We can always once again, if this was a complicated shape and we wanted to have an outline of this, I could just go to object path, offset path, do a negative. And just like that, I have that shape created. Make it whites. You could see how quick that was to make a comic little eyeballs like that green gonna hold down the option key and drag and get her little option here. We're gonna course. Add little details. I could go instead of having to copy and paste the circle and making a little bit bigger at kind of a stroke. Effect going Object path offset path doing additions Every tick with subtracted sign. Make a little bit bigger and click. OK, so now could make these white. And there we go. I just had a little stroke there. You can also just do a stroke. But once again, sometimes with complicated objects, strokes don't always work. But sometimes they can kind of change the shape of the body. Here, look a little more balanced. Hey, can just kind of click and drags. It's already like the shape, great little legs. Or we can just go ahead and copy and paste these little items here. I could just do an option drag, and then I could just do option drag. Never little guy here, Not too exciting, but it's kind of showing you what we could do here. So here's what I did to kind of create that shape. So you go down and you can just do one of them. You could do all of them right here. Or you can go up here to the shape option up here, and you could just change one side. So as long if these are all linked so those are all linked, all the sides are gonna change together. But let's say I just want that top corner to be rounded. You could unlinked it, and I'm just going to this top right corner right here. That's gonna increase it kind of create a little bit of a shoe there, and then I could just copy and paste this or do option drag and reflect it. So just go to object, transform, and I'm just gonna reflect I use that a lot of use reflect a lot when I try to do symmetrical type of designs, zoom out. There's a little robot. We could do arms. We could go all detailed, but we'll just kind of maybe add some buttons. All right, so there's a robot. So how do we use the shape builder tool to punch all this out? Because right now, if I were to draw a background would say it's a it's a it's a dark blue background. I'm gonna write clicks and this all the way to the back layer. So right now we have a problem because we have this white. We really want that to be punched out. We want that to show the background behind it. This is where the shape color tool really comes in handy. We can make this kind of one object and fuse it altogether. So here's how what we're gonna do, we're gonna try to start with the top, so we're gonna have our main shape here. So with shape, builder tool, you want to select all objects that you want to be involved. So I'm gonna go ahead and select the entire head, and then I'm gonna go grab my shape, builder tool. And I got to be able to punch out some things. So I'm gonna hold down Option or Ault, And I'm gonna punch out the eyes and punch out this. You could see how is able to make kind of punch that out. It's all transparent there. Which works really nice is a logo symbol. And same thing for this. Let me make sure I reduce that you do a little bit and ah, lot of time with Schapelle of Tool Doesn't like strokes very much. Um So what we could do is just go to object path we could just outlined, outlined the path or outline the stroke there and with good select everything we want to be involved. So just the body, and then we're gonna get the shape older tool. I'm gonna punch all these white portions out, just like we did the head just like that. And eventually Go ahead, make this white. There's a little robot symbol. So eventually we want to join all these together because right now they're separate elements. For right now, you could just simply right click and group, and you have yourself an element here. But let's say I want a fuse. This all is one object. For whatever reason, we want to create a stroke or drop shadow or something where we really need them all together. You could just use you conjoined and fuse all those together with shape over tool. I'm not holding down option cause I want to add This is addition and all I am is going to select all little objects here. Select a mall and there we go. It's building a shape. So, you know, there's a lot of different things you can do with the shape builder tool. There's our little robot. We create away a little punch all those little items out which comes in handy because you never want to have to use white ink If you don't have to reduce the amount of colors that you have to use, you can also use the shape builder tool with typography. So I have this little active typography here. I'm gonna right click and have been created outlines. I'm gonna select both objects, both the background and the green test kind of lettering. I'm gonna go to my shape older tool, and I'm just gonna hold down option. I could subtract lettering from that black box. And so now I have this. So let's go ahead and show you an example of what this is doing. So now it's transparent underneath and so I can arrange them that backs. It can kind of see how I was able to kind of punch that out a little bit with the type so you could see all handy all these different tools put together. If you've, you know, master the with tool, the shape, a little tool, the offset path tool, the grunge effect and using layered are layering mass. It kind of really get comfortable with what we went over in the section. You'll have pretty much all the basic tools knowledge you need to create all the locals. We're gonna create an arrested class. So now what? We have to some basics. We got everything set up kind of whenever some basic tools were ready to create our first fully fledged logo 14. Illustrator Tools - Working With Gradients: one of the first little icons we're gonna develop here. Local mark where we did this Interesting. Be that kind of uses ingredient overlay style. It's got a lot of papa colors, got some layers to It's a little more dynamic than what you would see with a flat logo design, but we're gonna show you how I created this using a wide variety of tools. So let's go ahead and get started where it's gonna get our type tool and hopefully your pretty good with your type tool by now. And I'm gonna go ahead, increase this be quite a bit. And this is just as of Sands Black. I'm using that a lot because it's got some nice, thick kind of lines to it. It's a nice chunky font, which works really, really well with this particular style. So one thing I want to do is I want to make sure I create outlines before I kind of customized this any further. So I'm gonna go ahead and create outlines, and what I want to do is I want to fill in these little holes is air called closed counters and typography terms. Ah, close counters anything that's kind of totally enclosed by a letter, so this would be a close counter. So I was gonna fill that end to kind of give us more of a chance for our greedy int style to kind of come through. So I'm just covering those up. And this is what's so great about that shape, builder tool. I can select everything, grab it and just go ahead and get that as one unit. So there's my be course. I can always take the curvature tool and mess around with maybe the quality of the B if I want to do anything with the quality in terms off, you know, kind of how it's curving and bending if I wanted to make it my own shape, but I'm pretty happy with how it is right now. I wouldn't mind rounding the corners a little bit there, some skin, select the direct selection tool, kind of zoom in and just kind of get some soft corners being created here. It's gonna helps make it a little bit more softer and more contemporary. I can even make it a little more dramatic, so there's RB. So next we're gonna go ahead and grab Argh! Radiant tool. We're gonna be able to apply a need. Radiant. There's actually two different ways. You can have Grady INTs in this case. And one is a brand new tool that was launched in the 2019 version of The Adobe Illustrator . And that's the freeform grainy it right here. I'm gonna go ahead and select my object. It's right here in this icon. If you were to select this in your radiant panel or your radiant window and then click, you're able to create lots of different points of color, and the color actually radiates from that particular point. Could see how you can really create some Nique radiant effects using this tool. Then you could actually ship them around. You can drag this and make their radius a little bit bigger or smaller, depending on what you want to do, and you can create as many points as you like. And this is a fantastic way to add Grady INTs. If you do not have the updated version of Adobe Um, illustrator. That's okay because there's another way to add radiance. I'm gonna go ahead and copy and paste this over here. The greedy at Mashtal can be found right here in new toolbar. If you do not see this little icon right here, good. And go to your edit toolbar and you'll be able to drag that in. But this is the other way. If you don't have the updated version, you would probably need to go ahead and do Grady. It meshes. Does this make this a solid color it once more and get Argh! Radiant mesh tool. And we can click anywhere on here. It's gonna Adam Mesh who would click here. And it kind of adds this measure anchor point that I can adjust. Ah, similar to the last tool, but you're a little bit more. Ah, you have a little bit more control over kind of the bends and arcs of the colors. So to change the colors is not quite as intuitive as the freeform Grady into a particular Select a anchor point, and you're gonna go ahead and pick the color. And I got to do that for all these different anchor points. Can't change colors quite as quickly as you can, using the other tools, so that's probably why they came up with it. But this is a great alternative, though, if you do not have the updated version of Adobe Illustrator What I like to do when I use the Grady it tools. I like to add kind of the illusion of highlights and shadows and sometimes the illusion of three D By putting maybe some of your darker shades on the corners or the bottom and having some highlights kind of on the upper quadrant makes it feel a little bit more realistic, a little bit more engaging. So there's kind of RB two different bees we have going on with our great mesh tool in our freeform Grady. It tools to great radiant tools that you could use. You ever want to modify any of these anchor points? Just go ahead and select him, and you can go ahead and twist these around. However, you'd like it toe flow. I just took about a minute or two. Kind of edited the greedy in a little bit to make um ah less, uh, card trust of colors. Kind of making a little bit more smooth in appearance. And what I'm gonna do is I'm gonna cut it out kind of in this example, how we're gonna create all these kind of overlapping shapes. It looks like a very dynamic Be. So how we're gonna do that is we're gonna draw shapes on top of it and punch them out, using the shape over tool. This is how we're gonna do it. So let's go ahead and draw our 1st 1 Let's kind of draw a line that goes all the way down here just like a little circular line here. And we're going to switch that to a different color in a stroke, so I can kind of see how it's gonna overlap. What I'm gonna do is I'm just a copy and paste this on top so that we can be able to cut this shape out. So I'm gonna put this on the top, arrange send a front. Make that Phil. I'm gonna select this copy that we have in this image. Where to go to that Schapelle of Tool. We're gonna punch this out, so gonna punish this excess out and trim it up. And then now we have kind of a little dynamic shape that could cut into her be. We can easily take the eyedropper tool and sample it and then we could go back and edit the Grady int and change how we need it if we wanted to go ahead and sample kind of a different lighter color. So go ahead and double click. If we want to sample that lighter color, we take a little eyedropper tool and we can go ahead and sample it so it can keep the same color palettes going here and then a sample, that darker color. And, you know, maybe that could move that out or keep that there. So that's kind of a way to add a little bit of a dynamic punch. Let's add another shape. This was cut this across this way. Now I'm able to high like that as well. Go that it radiant tool and kind of mess around with the color. So you bring kind of the highlights close, bumping up against kind of the low lights here behind it to kind of give it the layered look. So I've deciding just to stick with one shape for now because I think that the simplicity of that looks ah, little bit more beautiful, a little bit for, um, you know, on trend. It's and just could see kind of how we started out. It's looking nothing like how we originally intended and that is what experimentation is all about. So there we go. There's our little be shape. Of course, we can continue to tweak the colors as we see fit. If you ever want to delete a color, you just highlight it and you delete it. And you could do the same thing with the great mesh tool. If you don't have access to its gonna be a little bit of the same way you're gonna add your little Grady int mesh points. That's a little bit more cumbersome to use, but it still works as a tool. So I'm gonna continue to kind of mess with us a little bit, maybe add some highlights and shadows and see what we can come up with. As you can see, using the shape builder tools of the Grady and Tools, you can really create a whole series of thes things on Siris of letters or serious assembles, and you don't have to use just typography. You can use shapes and circles and all sorts of things, and this is kind of more of the abstract logo style which might fit for your client. It might not, but we're gonna pretty much cover a lot of the different styles throughout this class. And so this was just kind of a way to introduce this style and this effect use ingredients . 15. Illustrator Tools - creating an icon: next, we're gonna try our hand at creating a little tree logo that has some kind of some really contemporary flat icon design. Very clean and simple dis using simple strokes and shape to the Doobie Illustrator. So let's go ahead and get started. We're gonna kind of get our leaf going. I'm just gonna get thesis Urkal Tool or the Ellipse Tool here and begin. I put my Grady int tab away. Not gonna be using The radiance is gonna be flat designed O Grady. It's allowed. So I was going to kind of do my leave here, which doesn't look much like a leaf, but that could change. So take our little curvature tool if we double click on the curvature tools going to switch to a sharp edge and if we double click, it's gonna switch back. So if you're not already familiar with kind of that aspect, so that's all I did to kind of create that leave shape, switch it back to a stroke. I'm gonna make it a nice thick stroke. Let's go ahead, make it a little bit smaller first, and then get our stroke problem keeper stroke panel out since we'll be doing a lot of stroke work. What I like to do instead of doing harsh black Sometimes I like to design simple flat icons and kind of a little bit of a medium to dark gray for some reason, kind of helps my mind view color, and I don't like to design with color right away. Sometimes when I'm still drawing symbols so somehow like doing this lighter grey seems to be kind of helps me the view it with color even though I'm not actually using color, just kind of because this is so harsh. Not all the colors were ever gonna use to this logo are gonna be his harshest black. So light grey kind of helps your I kind of design a little bit better thinking about the future when this has got to be in color. So click on OK, and we can add a little ornaments toe leaf. So I'm just gonna take good to zoom in really tight here. Just taking Arpin tool. I do like a little pill shape, so I'm just gonna go over to my stroke panel and do a nice round cap. Give it kind of that look and, uh want to cut, get a little bit of a thinner, Wait there to hold down option. I'm gonna duplicate that going up and we can go ahead and adjust all of these endpoints coming. Go more toward the center of the leaf. What I can do if I want everything to be exact. We can just change one of these to get the right angle. Make sure that's in the center. And then now I could duplicate a lot of times in logo design. I see a lot of my students struggle with this concept, so I really want to make sure I brought it up. Is will do this really great detail, logo design, but they make this Strokes are really thin. So when you zoom out, you kind of lose the details of the logo. So every logo see a little leaf right now that needs to be all the details need to be seen from about this distance or about that size. So that's going to make a local really flexible and adaptable. We kind of covered this a little bit in the strong logo design characteristics lesson. So when in doubt, try to have a little bit of a thicker stroke if you can, if you're gonna have thin lines. So let's go ahead and do just that's going to make the thickness a little bit thicker, and we could start to kind of mess with shapes and details. So let's go ahead and zoom in. And I want to have, like, a nice, rounded edge here. So I'm just gonna take the direct selection tool kind around that edge a little bit of a top to give it a soft look. I can't even take the curvature tool of double click down here in this bottom to kind of make it more of a sharp edge like you would see on a traditional leaf. And I can't even take the with tool and kind of change the wits of these caps here. So I could just kind of make him a slightly smaller so just continuing to work on this and kind of maybe added a little fourth little vein there on that sign and we could do a little bit of coloring. One thing we could do is we can copy and paste this, and since that's a stroke, I could switch that to a fills, and that's gonna be easy to fill out. Gonna send that to the back and we can make this any kind of green color we'd like. So let's go ahead and find a green color. It's nice and vibrant. Go ahead and take. This would go ahead, do path. And if we want to have that thickness, we can. This is the time where we can adjust that. Maybe do something in the middle, maybe 3.5. And then we could just go towpath, outline our stroke, and then we can kind of change this. And this also needs to be outlined these paths. So I'm just gonna go to object Path outlined stroke and let's go ahead and adapt the same green color. But let's make it a little bit of a shade darker to kind of add some dark hues there. There's kind of a relief icon that we did fairly quickly. Since the paths are outlined, it could go ahead and kind of changes. How I'd like I could group it together. I could duplicate it by holding down option and dragging. I can reflect it. So has the exact opposite side, and you could see how you can create quite a wide variety of things this way 16. Logo Design Process - Client Questions: I wanted to do our first full local design spending time on focusing on the full process. This section will follow the development of a logo for a new local coffee spot called the Coffee Guild. We walked through all the details of the local design process, including the brainstorming and concept development stage and finally getting this logo in a final, scalable and flexible vector asset. The first stage in the local development process is reading are getting the right information from the client or client brief. Some clients apply with a client brief, which will detail an outline, their target audience, mission statement and overall desired look and feeling of the brand based on researcher data. Not all clients supply and nicely put together. Client brief. Some clients are smaller and will be coming to you for guidance for what is first in the process. I put together an awesome downloadable resource for you guys, called the Logo Design Client questionnaire. Feel free to send this document declines after you customize it with your company name and logo. To be able to capture the right questions and answer, you'll need to start that brainstorming process and also feel free to modify questions. As you wish. Some of these questions are vital to ask a client who does not seem to know where to get started with sharing your thoughts and ideas about his company or logo. These types of questions air direct and intended to give you a basic starting point for the design process without knowing what we need to know about the company. Creating a logo will lose a sense of authenticity, and the design will be based on just looks and not foundational ideas and company goals. Let's review some of these questions. So what's your company Mission statement. So, as you know, Mission Statement is kind of that one or two line description of a company that describes what they dio. It usually gives you a hint at what industry and they're in and what target market they're trying to target. And the second question would be a little bit more follow up on that target audience If they don't if their brain new company, they're coming to you for a logo for the very first time, I'm you want them to also figure out who do they want to target? Who do they think their products services. Four. And this is huge when it comes to the local design process, because it can set the tone and style for Europe for the particular brand because of the target audience. So if you have millennials, it might be a little bit of fun and bright and vibrant. It's targeting retirees. It might be more simple and subtle and professional. So the next question, Who would you consider your main competitors? And this is huge. If they have a really big competitors, that's great to kind of study. The competitors Logo isn't WORKING for them. Why, Why? Non says Really nice to be able to kind of look at that and know who they're competing against, and maybe how they can design a logo that will look different from them. Enough words kind of makes them a little more unique. This question naturally leads to the next question, which is what is your new unique selling point? Ah, you S P. So a unique selling point is something that you offer that your competitors does not offer , or you might not even have a competitors because you're have a brand new product or service this is something we definitely need to know, because we can echo that throughout the logo design in some form or fashion. Are there any particular colors or combination of colors that they want to avoid? So this question helps you discover, Hey, we don't want to use all of green. We don't want to use their competitors colors. This will help you when it comes that last stage, when we start to develop the color palette for the logo, it'll help us kind of fine tune and get right to the colors we need to pick. If we already know some we need to avoid its helps us reduce that timeline of that. The next question prompts them to talk about if there's any types, logo types or styles they want to avoid eso. They may have something in mind, and this is gonna be up to them. Some clients really go in a lot of detail about what they don't like and like, and some they don't answer the question, but it's worth trying to get that information out of them. Are there examples you can provide, or logos or local marks? Do you think might match the expectations are be a good fit or style wise for your company . This is probably the most beneficial question, and I hope they answer it well for you. Bust I would not really require, but like strongly recommend that they send you at least two or three examples off logo styles they like, because that's gonna really help. You feel like you're not picking out of thin air, the style to give them that. They're giving you a little bit of a head start there. The next one's a little bit more formal. I just really need to know that full company names and we know if we need to put ink or dot com or any other kind of little thing that you may miss if you're just doing it off of, Ah, the company name that you know of. There could be these little details that they need to provide. Also, if there's gonna be a byline that they want to work into the logo and any other information . Also, if they have a registered trademark or a T M symbol, that's incredibly critical to know if you need to work that in somewhere in the logo mark the last question is open ended, and it's asking them what their expectations are for the logo design process and the outcome and what their goals are by working through the process together. Ah, this will definitely be open ended. Hopefully, you have the client fill out this question. Not always, but it's also very helpful to know their expectations. So when you go through this process, those expectations are easily met or set ahead of time. So also, the next one is kind of setting a date, letting them know how long this brainstorming process usually takes. After you do a couple logo design processes or processes, you'll be able to find out what your timeframe is. I usually like to do about a two week timeframe not so short that I don't think I'm working hard, but not so long that they're just sitting there waiting for this to be done. So it just kind of worked that out. If they need it sooner than that, this is something you work out with the client. But you could set that expectation here right at the end of this document, letting them know what is the next step of the process, and that's gonna be sending their first round of concepts, which we're gonna be doing here in the next couple lessons. We're gonna be working and brainstorming through those first concepts to send. 17. Client Introduction and Student Project: So a little client brief about the one that we're gonna be doing in this glass is gonna be called the Coffee Guild, and that's all they need to work into their logo. But they would love to work in an established date with which is 2016 if they can. They've sent several samples of logos they like. They all seem to be the seal emblem or badge style logos. They tend to really kind of gravitate toward that with their style. They kind of go for the hipster millennial kind of age group in style, and so they're kind of trying to hit that market. They want to be a place where people can come and get work done. They can freelance. They can stay there for lunch. They can get, you know, doughnuts and coffee and kind of really use it as a working space. The client mentioned they want to stay away from the bright neon colors they want something that best represents a very chill vibe, very calm, very relaxed, because they want to kind of have people come and stay. They definitely are big on cold brew coffee. They could have single origin coffee, so they just don't sell just generic coffee. They really spend a lot of time picking out their coffee beans. And so we want that to be reflected in the logo as well that they have a lot of care for the coffee. So definitely incorporating coffee, whether it's beings, whether it's a coffee cup, definitely that's required for them to feel like it matches other company mission statement Kind of their style. There is a downloadable client pdf that details the entire client situation. This is a full creative brief, and not all clients will send you one this extensive. But it's a great overview of what I like to see or I have seen in the past working with clients. The client questionnaire document from a previous lesson is great descended clients who may not know how to do this client brief or did not provide a very thorough one. I want this to be your first student project for the course equal work alongside me throughout the section to get an idea of how I work through the steps, but I wanted you to come up with your own creative take on the Coffee Guild logo I would love to see your work posted in the student Facebook page or the Q and a section of this group or community area. I'd love for you to shares and get feedback from others. So now that we've gotten some information from the client, we sent them the questionnaire. They send us back some questions, we're now able to go to the concept process. And we're gonna be doing that next, there, several different ways. Toe. To start this process, you could start with pen and paper. He could start writing Illustrator. This time I think I'm gonna start it on with pen and paper. I did actually hop into a digital pen and paper, which is called the Procreate App. I'm gonna be in there and we're going to create and draw some general ideas based on the information the client gave us 18. Logo Design Process - Sketching: So I am in the procreate app. It's a great app, but you can use pen and paper. You can hop right into Adobe Illustrator when I love about drawing and sketching isn't get ideas out a lot faster than if I'm an illustrator. Ease in the pen tool because the pin tool needs exact definitions of where you want to go. But this is kind of more organic. So a couple things I wanted to kind of sketch and explore, and the 1st 1 was that definitely wanted either a coffee cup or coffee being somewhere in there, love. Oh, so there's there definitely things we need to kind of explore. I have a picture in front of me right now of a coffee bean, and we can explore the shape and kind of maybe how we can incorporate that into the logo. Another thing, as we can explore the many types of coffee cups out there, there's a lot of different types of coffee cups. We could explore steam. We can explore kind of the handle. We could explore the different types that we have, whether has steam or not, we could even do a to go cup but then their biggest rivals, Starbucks. So maybe that's not the best way to go close. If you think about it, they kind of brew their own beans. They're single origin. So maybe the whole to go cup. It's more cheap. They want to look a little bit more high end. So I'm thinking these type of mugs and cups will probably be what we will explore. Mostly. Also, we want to talk about seal logo's because they love the examples they shown or seal circular type logos or emblem logos. So we're gonna cut a see how it could maybe get some text to get our established line, maybe have some kind of symbol there in the middle. So we're gonna do that. And also they kind of like this little style. I'm thinking of a guild. I'm thinking maybe we can have, you know, a couple of symbols on the side there and haven't either being a circle or kind of figure out kind of that whole vibe that something that could work if they definitely won't incorporate a coffee being an a coffee cup. Eso these air kind of. This is my basic sketch guide. We're gonna start with a coffee bean and then work on coffee cups and just try to get ideas for logo. There's not really a huge plan outside of this, but just trying to sketch out ideas as they come. Okay, so the first item is the coffee bean. So I'm just exploring the anatomy of a coffee bean. I have several pictures. Could be hard to do this without really studying pictures. It is going Google kind of look up coffee beans. There's lots of different styles, and when you're sketching, it doesn't have to be perfect. You're just looking for shapes and opportunities because eventually this is gonna be sketched out with a pin tool. So just kind of wondering if I can do kind of the being and have this really thick kind of symbol going up there's almost like a shadow that's being created. This little line, it's it's actually kind of thicker. So to put definitely when I accentuate that in the particular logo design, and I always look for opportunities when I'm doing shapes is can I make a letter out of it ? Can I incorporate it into a letter? You know, if I wanted to do the Coffee Guild, and then this was a particular symbol. I always kind of liked at least explore that. What's great is you don't have to be a very good artist or someone is really good at hand sketching because you know, that's what Adobe Illustrator, another vector program is four to help you cut of really perfect to your curves, so that doesn't have to be perfect. It doesn't have to be accurate, just as long as is really for I D ideation, creating ideas and brainstorming. It's not necessarily for accuracy and see, And I would definitely want to do like a big thick mug. I don't want to do kind of a plastic or paper mug, so I have one right here that I'm going to sketch out. And we went on. When we think about logos, we got to make it really, really simple. So we also need to make sure that we don't have complex drawings or sketching sketches that are gonna not translate well when we try to vector rise. So I don't want to put too many shadows, and they want kind of a clean, flat design, some two sketching out different versions of coffee cups, and this is where we start to think by typography and finding clever ways to maybe work around it. So in this case, I'm having the O. B. The coffee mug, just kind of a really traditional um kind of theme that popped in my head. And one idea usually lends itself to another. So I'm taking the same concept as a previous one and saying, What if Theo was the coffee bean, as opposed to the mug being the oh so just kind of seeing how that would play out, maybe even have a two tone effect going on? We have the bottom of the typography. Be a darker color in the top, be a lighter color just to add some interesting color combinations. There have to keep in mind that the client said, in terms of the answers that they answered in the client questionnaire, and they wanted the seal graphic circular graphic at least as one concept. So we should honor that. Absolutely. Whatever the client says, we need to at least give them some of the ideas that they like is where they mentioned so just kind of sticking with us. Very very safe seal where we can have both the copy cup and the coffee being in there. And everything is in that kind of circular emblem flow. And this is when you need to be open to checking out new ideas. As I was creating the seal effect, I kind of started to wonder. Oh, I just kind of saw the sea and the coffee cup kind of come together. And what if we had the coffee cup a top down view of the coffee cup and maybe even worked in a C in the middle? And so it kind of has the same see has all the same curves. Is that coffee cup on the inside? We can combine the sea and maybe even work in a G Somehow maybe we can have a really nice, concise, simple emblem here, and my desire to have both the sea and the G represented kind of came up with this kind of seal local where we have the C in the G. We're starting to do more of that 19 twenties guild type of style that I know they want to go for kind of kind of early 20th century kind of feeling to it and kind of incorporating the C G kind of doing an initial seal version of the logo and seeing how I can incorporate the sea and the G and loop them together so that their defined and this is very rough. So obviously an adobe illustrator. What can be way more fine tuned with how we execute this and keeping with that 19 twenties guilt style, maybe having the X kind of symbol and then having four different icons all circle around that represent kind of what they serve. So we have kind of the tall Cup. We have the mug, and we also have an expresso on the right and then on the bottom and tying that all together with the beam and we can think about different icons to use. We can kind of stick with the mugs. We can change out kind of the order we can, even if expresses very important to the company, we can put the an expresso maker icon, make these really detailed, neat little icons at some point takes me about an hour to to kind of doodle all this out and get all kind of my ideas out of my brain onto paper or in this case, into the procreate app. What I can do now is if it's on pen and paper, he could take a screenshot and send it to yourself so you can open it up in Adobe Illustrator and start kind of sketching over it. And also for an procreate you can export as a J peg, which makes it a lot easier because they don't have to take a picture with my phone and correct the lighting. It's already has a nice white background ready to go. So that's what we're going to do next. We're gonna take We've got several different concepts here I think could really translate into some solid logo designs. I have about seven here. I think I'm gonna isolate three that we're gonna really focus a little bit more on because I want to present to the client at least two concepts I would love to present three. So let's see if we can narrow it down. So we have to spend a whole lot of time working on a concept that's not gonna work. In the end 19. Logo Design Process - Image Trace: Welcome back to Adobe, Illustrator. We're ready to take our concepts that sketched here and really expand on that and really kind of get some finalized logos here for the client. And there's a great chance that the local concepts that you're going to see here that we sketched out these really, really rough, rough looking concepts are gonna look nothing like the The in Loco is gonna look nothing like them. We're really gonna challenge kind of our iterations and challenge our concepts and really make it come to life. So speaking of which one, we're in here and you want to bring in. Either you take a photo of your hand sketch with pen and paper, or you have your digital procreate app, and you export it as a J peg. However you bring it in, and all you have to do is kind of bringing in as a rough kind of jpeg or screenshot. And there's this really neat tool called image trace at how you do image traces. You gotta go and highlight your photo. I just brought this in. A zj pick actually took a screenshot of it in my procreate app. I didn't even export as a JPEG and you go upto object and you're gonna go down to image trace and they're going to make. It was kind of similar to a clipping mass where you kind of make as the kind of that language so image trace make, and it's going to trace everything it sees and make it a vector rised item, which, if you didn't if you were a graphic designer a couple of years ago, before they came out with Image Trace, everybody had a hand trace with the pin tool. All these custom illustrations and they lose is kind of custom brushwork that you did, and this is great for custom typography. If you really like to hand draw this amazing typography and you wanted to keep that really hand raw, sketched, look and feel, this is a great way to do it to bring that in and do an image trace. Because all logos they can't remain on pen and paper. They need to be vector rised. You need to always have a vector version of your logo. So if you still want to have that custom raw sketch look, it's really hard to emulate that with the pin tool. But you could go do the object and go to Image Trace, and it's an amazing tool. So now that we've done image trace on this image, you'll see that I can't have access to all the little anchor points to be able to manipulate this a little bit further. So I just need to do one more step and that's goto object, anyone to expand. So this is going to expand it and you're gonna do object and Phil and which is default and then click. OK, and here we are. There's our little fact arise version. We can ungroomed it. And now we have access to you. Might have to right clicking on group a few times. And there we go. We have all of our anchor points here that we can manipulate. We could do with the pin tool, weaken minute, be late or we can do it the curvature tool to customize it. So we're not gonna do this is just a quick little sketch doesn't look amazing. So I'm gonna go ahead, delete that, but just wanted to show you the amazing image trace feature so that you can be able to bring in that kind of custom. Look when you need to. So here we are with the first sketch. Let's try to kind of come up with their own version. We're not gonna keep that, cause that's so rough. You know, I really am not a custom illustrator. Definitely much better with vector and illustrator tools. So let's go ahead and get started. So I'm kind of seeing this idea. It's gonna evolve a little bit with a coffee cup. So let's go ahead and start creating a little coffee cup outline. This is a top down view of a coffee cup, so we may need to have a little bit of shadows, so it doesn't look like just a circle kind of add a little bit of detail to it. So I'm just getting the Ellipse tool and I'm just gonna draw simple circle and let's go ahead and make this a stroke if we can and make it a little bit thicker. And so what I want to do is I want to have that top down look, so I'm just gonna go ahead and copy and paste, make this a little bit smaller and see if I can't get the rim off the coffee cup. I want a nice, thick coffee cup rim just like that. And we're not gonna be exploring color yet, so everything could to be kind of black and white, and I like to make it a little bit of a darker gray to kind of emulate color a little bit better. So now we need to do our little handle that comes out beside. So let's do that. We can go ahead and get we could do the rectangle tool. That might be the easiest way to do it. Little handle coming out here. And then we can also just customize thes if you double click. Um, you can add it. Just one angle that just gives it a nice round appearance. And we could bring this in and then get that curvature tool and match the curve. Okay, So that we need to add kind of a sense of shadow moves. Make sure my curve is not matched. Yes, And now we need to add a sense of shadow because right now it just looks like circles with something coming out the left. We really want to add some dimension to this, and we could do that with a simple shade of black. So we're just gonna draw a square here just to have the pin tool it. I'm just kind of creating a shape. And I could take that curvature to organise the cover to to a lot kind of match that curve of the glass and kind of see how it looks like a shadow kind of being cast. It doesn't have to be quite as long. We can make that a tighter shadow if we need to, and that looks great. So there's kind of our rough coffee bug shape. Go and put our C in there. I want to find a nice see a typeface that's a geo metric style typeface of geometric style typefaces or really adapt well to circles. Um, you can kind of tell in the Google logo how the G fits really good in a circle because it's a geometric typeface like a fatture. So let me find a geometric tight face that's also thick. We can customize the type we can hand drop with a pin tool, but I like to start out with a typeface because it just makes it a lot easier to get the natural shape of letter. So I'm just gonna go over here to my go ahead and find a good font that would work really well, that's geometric. As of Sands happens to kind of have a little bit of a geometric shape to it. You can kind of see how it curves along a circle a little bit better than other type. Other types may not. So let me to show you an example. Um, let's do one that I know is not a Guilmette metric shape. So Helvetica is not geometric. As you could see, it doesn't fit in a circle quite as well. It's got kind of some different gaps there. So we're gonna use azo sands black, and we're gonna have to use the pin tool to adjust the G a little bit. So we're gonna right click. We need to create outlines, going editor anchor points and let's go and take the pin tool or go ahead and match the gray. So now what I want to do is I want to hug this G in there, and actually I think we have a C and I think my goal is instead of having the coffee guild just have the C. I really want to work in the sea and the G because I feel like leaving out the G. It just feels empty with just the sea. So I'd love to kind of incorporate a G maybe inside just kind of thinking about this. So let's go ahead and copy and paste. We can see what we could happen if we put the G inside. I put the sea outside. Since its coffee guild coffee is gonna be the first letter, we're definitely gonna have to customize this a little bit to make it work. You can see this is not quite fitting exactly how I'd like. I'd like it a lot thinner of, ah, of a stroke. So what you could do is there. There's a few things you could do. We could do object path. He could do an offset path, and he could do a negative offset path so it makes a little bit skinnier. So let's do try that. Maybe not quite a skinny, and they can always on group it and move the other original to the side. And then now you have kind of your skinnier version already could go in, and you can edit this to make sure it goes around the circle a little bit more precisely by using the direct selection tool or the curvature tool to kind of move it and shift it so that it matches kind of the angle. Who all we're doing is we're just cut a matching the angle of the circle of the cup on the rim of the cup. I was using the direct selection tool and make you some movements. The memory can always if you're really doing. If you're doing curves, don't ignore the curvature. Tool could be very helpful, kind of fine tuning hers, especially if you want them to be exact. There's kind of R C. We could probably, um, see. Make sure this with right here is matched. If you want to be really mathematically precise, we could probably create our own C. And you could do that by doing circles so we can do a circle and then another circle, make it a different color and kind of create or see that way and just go to my align panel moon. All the sooner aligns that I know this is the this perfectly center aligned. We could take that shape builder tool. We could punch this out. We can also draw the shape halfway down. Okay? And now we have our work selecting all three of those getting our shape a little. We're gonna punch all this out, so just punching all that out, and then we're left with the perfect see? And let's say I don't like the thickness of that. That's where the path, uh, the offset path tool really works well for want to do a positive point? Oh, to weaken, thicken it up a little bit. No problem. Just like that. That could be the way we do it. It's a little bit more mathematical, cause it's using a circle. Or it could do the method I have and then kind of shortened the see a little bit by using the shape, pillar, tool and just punching all that out. So either way works. You know, this is a little bit thicker, but we can also make this sticker by using the offset path tool. So now let's try to work it. RG. So the G is where we're gonna really need some help here kind of doing what we did prior. We're gonna get, See if we can tuck that in the center here. Just trying out this concept, seeing it that works at all. We can zoom in. You could see it doesn't match perfectly into the circle, but it's pretty darn close. And I like to add a little bit of distance between the characters because when you have a logo and you zoom out, you want to make sure there's enough gap there to really make out the spacing because I see a lot of mistakes and local design, and they'll have, like, really thin lines between elements. And when you zoom out, it really loses the spacing a zoo zoom out. So I like to have nice, thick lines. I also like to have nice things, spacing between elements to make it really clear when the logo is seen small. So just like a little local design tip there. So I'm gonna create outlines on this because I want to be able to match the curves a little bit on this. So I'm gonna take the curvature tool, and I'm just kind of matching all of this and kind of bringing that down a little bit, has more of a circular bend to its curves, and this is where we can soften the type a little bit. So if we would have rounded corners, you just get the direct selection tool here to go ahead and drag this down. It's gonna change all of them at one time, just going to do a subtle curve to soften the type so doesn't look so sharp. And we could do the same thing to the sea and we could soften those curves. There was going to zoom out kind of see how this concept is going. Here's your coffee cup coming to life. I like the idea of C in the G put together. Ah, what I want to do is have some more contrast between the sea and the G. So they don't run together as one symbol there, read a separate letters so we could just do We're not doing color as much. At this point in the stage, I like to kind of keep it black and white. We're working on the concept first, not necessarily the color, and then we're just gonna lighten that up a little bit, just kind of get a little bit more contrast. And another thing, when you kind of zoom out to kind of look at your logo on going, is this gonna work? I'm zooming out. I'm going, you know, there's a lot of lines and there's a lot of strokes happening. Let's find ways to simplify this logo mark even further to make it more simple shapes. So one thing we could do is make this a solid kind of circle instead of two lines instead of an outline or a stroke. We could make this a solid mug kind of rim so we could do that easily. We have kind of our two shapes here. We could just make these both of Phil. Let me make this a different color so you can kind of see what's going on. So all I did has made those two circles pills and I'm just gonna take the the shape builder tool and just hold down option and punch that out and voila. We already have a filled in shape. We want to make this a fill. So we're gonna flipped up to fill, and there you make this a little bit of a lighter color. Perhaps we could make this that color, of course, not the shadow. So it may need to reverse that out and make this a lot of a lighter of a of a gray and still make that a shadow and maybe not make it cast as Bunches kind of playing around. How big is the handle actually going to be? Another thing we can do is to make it more obvious that it's a handle, as may be, rotated a little bit, give it a little bit of an angle and have it be a little bit down on the coffee cup, so it looks kind of like a little angle, like it's hanging out on a coffee table. I was gonna bring that to the back. Great. There's a little coffee and make it a little bit sicker. Just doing little, little small adjustments everything. So I think that looks really good. It puts more emphasis on the lettering and a little less emphasis on the coffee cup, which I think we really need. If we're going to do an abbreviation type logo, it's kind of nice to have more accentuation on the type 20. Logo Design Process - Typography: so one thing toe. Really Make sure people see this is a coffee cup. And not just a circle with the strange shape coming out of the end is adding a little bit more dimension. So what? I thought, what we do is at a little bit of shadow that's cast on the rim onto the couple. Coffee is eventually I'm trying to kind of think about color a little bit. I thought about making the center a nice coffee medium brown color. It would be nice to have a little bit of a shadow that goes around the rim. That's cast so you can see the difference of where the rim is and where the inside coffee is just a little shadowing. So I'm going to just go ahead and get a lips tool. It's gonna draw a circle, make it a stroke, and let's make it a different color so I could see what we're doing. Okay, we can add a little bit of coloring here. Let's add a color were already using, so let's adds to reduce the overall color count. Let's go and use the eyedropper tool and take that color of shade. And I think That's the same shading that's cast here on the on the handle. Let's make it a little bit thicker, just adding a little shadow for the Ram that's cast down into the glass so we could do that . And if we're not happy with kind of how it looks kind of perfectly even we kind of have a angle. We kind of have a top down view, but maybe the angle is a little bit over to one side. It's not a totally top down angle. We can kind of change that a little bit. By using the width tool, we're gonna grab the width. Tour's gonna make one side a little bit thicker than the other, which will kind of give it a little bit more dimension. It's not gonna be perfectly even. So I'm gonna go ahead and click and drag and see how just makes it a little bit thicker on one side. Okay, so you see, it's a very kind of small change I made, but it gives it a little bit more dimensional. Looks like the angles one or two degrees over from top down kind of gives it a more natural appearance and plus It gives us a chance to have another little border here to differentiate from the coffee that's gonna be inside to cup. And let's say it any time. I'm like, I really want to make that much thicker. Ah, some people would add a stroke of the same color and outline the stroke. Or you could just go up to path, offset path and add a little bit more to it just like that. And I just automatically thickened it without having toe mess around with a lot of stuff. Right? So now I'm just gonna mess with spacing a little bit and just kind of make sure there's enough spacing between elements and we can even check on our grid. We're gonna be using grids a lot in the rest of the class and making sure that is the same distance between the sea and the G, and then the sea and the outside of the cup just toe have consistency with spacing, and they kind of have a uniform. Look with that, and we could do that on the grid. We could also do that by I. I just kind of drawing a rectangle here and just kind of seeing the spacing here and making adjustments. This is not a scientific way of doing it. It kind of helps with nudging it over just a little bit defined. Make sure that that spacing is matched. And so we could always pop in the grid at any time to do that. But we're gonna do that after we're kind of done with concept time, because we don't need to be perfect right now. We're just the client hasn't even approved some of these yet, so we're just kind of getting the rough idea together so we can send it in for approval. So the way use contrasts in the logo is to accentuate certain items over others. And the shadow is really now that I'm kind of looking that at this and I'm zooming out, I'm seeing the shadows is really drawing way too much attention. So I'm just gonna simply take everything that's that shade and I'm just gonna lighten it just a little bit just to take have a little less contrast between the shadow and the mug. So you have a little bit more contrast, are a little bit more focus on the C in the G. So just continuing to find ways to improve the logo in terms of making it a simple as possible and also making sure colors aren't too harsh. And then they are. They do have high contrast in areas where you want a lot of attention and focus, which would be the C in the G. So now that we have the C in the G, people need to know what that stands for. So let's go ahead and write our typography out or Coffee Guild. I'd like to do kind of go back to our concept and haven't written just like that around the edge so we could go ahead and do that. We're gonna use the taipan path tool. Just gonna grab our lips tool. Look that to a stroke. So I kind of see where the type is good to go. And the taipan path tool. We haven't used it yet. It's pretty awesome tool. So I'm gonna go to type on path, So I'm just gonna go down here to my type and then go down to type on path, and I'm gonna click right here at the beginning, and it's could go and type in my letters here. I just wouldn't click right on the line. So coffee killed and there is Ah, the so I don't want to miss out on the coffee guilt build. And now we need to kind of get an idea on size. I'm not gonna mess with the font of the type choice yet, but I'm gonna best with size. So have a little keyboard shortcut that really helps. Kind of make it instead of having to go up here all the time and change the lettering. All your the dues do command shift, and they're going to do your brackets on the bottom left, Go and show you a picture of that gonna do your left bracket to make it lower and your right to make it bigger. So I'm gonna be doing that a lot throughout the class. And now I want to add some spacing and also perhaps want to make it all capital letters because I think with lower case letters, it's not quite a strong and plus with lower case letters. I hate putting wide spacing. Show you lower case letter should never have a lot of white spacing between them because they just feel a little bit, Um I guess immature. And it's look a little less professional and it doesn't seem this cohesive, so you'll always hear me say, Don't use a lot of spacing with lower case typography. But upper case, it's OK, because upper case are all in the same kind of x height. They're all the same cap height, I guess it should say, And so they have a lot better. They seem a little bit more together. So I'm just gonna go and my character panel are gonna make this all caps and I have all this all caps and get idea and size for that. I can also go ahead and copy and paste this. We need to have our established eight somewhere. I think that would be a good counter to have a lot of heavy text up here. We need to have some kind of counter to that. So it doesn't seem so top heavy. So putting it along the bottom makes a lot of sense. So we're gonna do established 2016 and we don't want to just rotate this and have it be upside out. We wanna have it right. Set up we always want to do that. So it was good to go down. It's a little bit tricky. She could look for that little icon right there. You're gonna click, get a click and hold, and it's going to Sometimes it gets a little funny. It's gonna go ahead, reverse it on the inside instead of being on the outside, so that gives us a chance to have it be read right side up. So now we're gonna make that a lot smaller, and we're not gonna have as much wide spacing between that doesn't need to stretch as far service could do. Maybe a 50 spacing, and there we go. So what I might do is I might do lower case for this, So I'm gonna go ahead and go to character and just take the all caps off. And what's great about when you do font pairing. You put together different fonts and typefaces. It's always good to have contrast. So right now I'm gonna have this really all caps, typography, and then down here could be lower case, just kind of a way to mix it up a little bit. So everything is easily separated and red as separate items. Now the all important typeface choice. So what type base or font should be used for this? And so we got to really think about the style of the logo. So this is really kind of a flat style. It's using. There's no drop shadows or snow. Radiance is a very simple flat design, so we want to stick with maybe kind of a thicker, chunkier, tight face to pair well with this kind of thicker kind of elements that we have. So let's think about that. I wasn't We make our type choice. So this is Helvetica and let's go ahead and make this a similar. Graze would kind of see it in that final shade, and we could just cycle through several of these to get an idea already have kind of one picked out, but I gotta go over some That could work really well. So we use Azo Sands black for the G. So it's great to have consistency. Of course, we modified this significantly, so we don't necessarily have to use that same typeface since we modified it. But this works really well. It's got like a nice, thick, chunky type and it's really readable when you zoom out. That's why I really like thicker type choices, especially for seals, when the type is not as large as it is when it's the main focus point of the logo. So it's nice to have that nice, chunky fonts. That's a great, great choice there, several one. There's ones that have a little bit more character to them. Now we can try. This is a slab serif, so it's got kind of these slabs kind of coming off of the, uh, type. And so with slabs, Arabs, this could work really well at a little bit more character to it. Of course, scripts, when all caps is gonna be really hard for that to be red. So that's not gonna be a really good choice. When you zoom out, you lose it. You lose kind of that thinner type choice. Ah, this could be kind of elegant. It's a little bit thicker. You can always use a boulder weight if you're gonna use kind of a serif typeface, but it makes a little bit more professional in high end kind of any time you use a Sarah if it just looks more high end. So if that's kind of the look you want to go for, you know, that could where you got to kind of think about your logo Target audience. This is where we think about the client. What's gonna resonate. And this could be millennials. You're going to come and work and use. This is a working space. You know, I really want to use a more contemporary San Serif typeface. That's what I'm kind of thinking about when I'm picking the typeface out and there is one I picked out ahead of time. There it is, her bomb black. That's kind of one. When I was doing this concept, I did all of these concepts and flushed him out before I film a class to get an idea of kind of the direction I wanted to go in. And this is kind of the typeface. I settled on to spend about 1/2 hour doing exactly what I was doing before, kind of testing out different ones, and this seemed to work really well. It kind of ah, kind of matches a little bit of that geometric kind of look down there in the bottom, and it's got a similar weight. Eso everything seems consistent, like it kind of goes together. And this is where we can kind of reduced type size. Of course you do that shortcut, which is command shift and to your left bracket and kind of SPLA. See what spacing looks like here. And this, of course, is bottom. One can change. We can match it, make it smaller organ, have a different type pace altogether. That's okay. If you have more than one typeface, just try not to have more than three or four in a logo. That definitely is not a good idea. 21. Logo Design Process - Finalizing: so we can use the grids here to kind of make sure we have some things lined up. But once again, we're on the concept mode. Once we get in a concept approved from the client, we can be a little bit more exact with how it is. So we can use some other methods to find out if everything is a line. So I'm just making sure the t and the D or aligned all the way across. And I'm just using simple boxes and eyeballing it for now, we'll get very exact cause. It's been it takes a lot of time to get it perfect on the grid. Eso. Once this concept is approved, we can go a step further and really make sure everything is pixel perfect. You know, we'll do that at a later time. So now that I'm kind of happy with this, what I'm gonna do, I'm gonna be outlining the type because I want to customize the typeface a little bit, make maybe around the edges just like we did on the inside to cut a match it so we don't have the sharp right edges and points on the typography, So I any time I do that Anytime I outlined type, I always copy and paste it and move it outside of the art board. So I always have access to the live edible type because, as you know, went to you right click and create outlines. I no longer can go back and edit. Change the type. I'm gonna zoom in and do what I've done. Ah, lot off already. And I'm gonna just kind of do my direct selection tool. I'm going to see if I can't round out this typeface just a little bit. I don't want anything. Don't want to do anything too dramatic is if I make it 22 curvy. It'll look a little bit more childlike, so I don't want some curves. I want some softness, but I don't want to overdo it. So I'm gonna do something, maybe in between maybe right about there to see how that looks when I expand that out and making for now. So there's kind of our basic idea, and the only thing missing now is adding a little bit of color. Eso there's a couple things you could do with your clients and and sometimes I do this with my clients is, um, if you wanted to do it by the book, you would send them some ideas in black and white first so that they don't get color in their head, and they don't think they don't get their cart in front of the horse and try toe focus too much on. Oh, the colors are wrong when they really should be focusing on the core concept burst. So a lot of times I'll send a logo in black and white office in the 1st 3 concepts. We're gonna do the other two here in a minute, and I'll send three concepts to the client in black and white so that color is not a problem. I make sure I mentioned that in my email there is no color, and there's a reason because we don't want to focus so much on color at this point. We really want to focus on is that the concept good is the shapes. Good? Is the type good? There's also so much that they need to focus on that. When you add color in it, it just gives them they're overwhelmed. So I'm gonna actually submit this and I'm gonna make sure my shades air correct. Eventually, these shades will be color, but I can use varying shades of gray to communicate, you know, different shades of color. So this is what I would send to the client right here. I'm gonna talk a little bit about that. Once we finish, the other two concepts are gonna talk about how I package and send these to the client and how I present them as well. So let's see if we can't take this concept now and create another concept out of it. We have a few others that we're gonna do. But I always like to take this finish logo and kind of rearrange it, think about different positions to find different iterations. Maybe there's a different layout or arrangement that will work better than what we came up with. So this is where we just kind of play around and experiment. So I'm just gonna copy and paste this and try out a new Originally, we just had a c there, and we can do the offset path tool and see if we can't make that a lot thicker and just have to see in there Maybe the G s a little too much, you know that that's an option. What we could do is we can take this tool and maybe cut it right where the sea ends. We're just gonna do the shape over tool, go and select everything. I love the shape of the tools so easy to cut things out. And so that could be an option where it's kind of cut in half. You could kind of see the sea. You know, that could be an option. And this could be arranged a little bit differently. Maybe we could tuck this established date somewhere else. And this is why we keep live text over here so that we can go ahead and copy it and have it available to use when we rearrange it and we can have the Coffee Guild. Well, we could do kind of a stacked typography free arrangement instead of a circular. And what's great about this is it makes it really flexible is that could have a vertical logo. I can have a horizontal logo with this. Like to make letters that aren't as important, a little bit smaller, to have a little bit of type hierarchy. So now that the does not as accentuated because it's not as important of a word. But the Coffee Guild is. We could probably reduce the spacing here because we don't need as much spacing now that we're not trying to stretch it across the circle. So now I'm just trying to find a balance with this, to see if this could even be a concept. And I would probably have to put, um, used color to help this be seen as a coffee mug now that it's cut in half. But the idea that it makes the sea is kind of interesting. We could make a G out of this if we wanted to be a little bit hard to fit the G in there. But we can get some other type of ideas. We can play with the typeface here again. We could go back toe ones, um, maybe San Serif to add a little bit of character or could go back to kind of that same. I like this has kind of got a 19 thirties kind of look, which is kind of when guilds were really popular, like professional fields. Eso that. That's kind of interesting. I still think this needs a coffee cup or something in the center, there to kind of, um, show that it's a mug, but I don't know, just not feeling this concept as much, but we'll just talking to the side. You never know what might come of it later. So one more thing I want to do here, let's try one more thing. I like keeping the seal. So let's let's keep that. But I thought instead of maybe having the C in the G that we have a coffee bog, I think that looks great. But maybe also seeing if we can make this a little bit more of a simple seal. But just using the coffee mug. So just kind of messing around with this a little bit. This is kind of the second generation I came up with, and I thought this was neat because it put a lot of emphasis on the cup and we didn't have to do. This is a non abbreviation logo, so there's no abbreviation, so it's kind of nice to offer the client a second iteration of a similar concept, and this would be it of you. Focus on the coffee Cup, and I can see if that when this is applied to color, this would be a nice, rich brown color, the center of a coffee. So it makes it even more obvious that it's a coffee cup or coffee mug. So you also noticed I add a little bit of a cash shadow down here. And all of all this is is just a round circle. And I just went up and kind of did a little bit of, ah, feather to it just to kind of give it a little bit of that feather. And the final logo can always do a harsher drop shadow to make it keep with the flat design . Because, as as you know, flat design doesn't use any blurred shapes or drop shadows. So we can always just do a solid circle. That's a little bit of a darker color and put it behind it to give it a sense of depth and drop shadow, which is only gonna cash shadow from that one direction. It's gonna cast a shadow according to that little shape there. And so now we may need to kind of adjust our shape kind of match that style has taken off. Snap depends pixel off but have complete control over my pin tool here to make some adjustments dooming out there's kind of the harsher drop shadow or or one that doesn't blur . So it's technically could be called a flat design. And so there's one option that could work, has has a much stronger focus. See how you have the big black circle and we have the high contrast typography. It brings a lot more emphasis on the name which this could look good. It's also more simple of a logo eso that could work. The clients may not like the idea of seeing the G and so offering them this gives them the same idea with seal, but in a different fashion that they may like. So there's two options now that we can present. So let's work on the other two. We have two more. I'm gonna kind of show you some of the concepts that I came up with in the when I was working on this before filming class of some similar iterations to the this original concept we just worked on just kind of showing you the wide variety of stuff that you kind of come with up with just having that one idea. That one concept, all this was that one concept, and I just kept going with it. Kept going, kept evolving. You could see all the different iterations we came up with. So let's next work on kind of the cross kind of seal Look as well, cause I know they wanted kind of the seal emblem. Look, So we're gonna continue to offer what the client requests. We're gonna do that next. 22. Logo Design Process - Creating Icons: Let's knock out our second concept we sketched out here. I'm going to create a new art board to try to keep everything in the same file because it just makes life a lot easier to go to edit our boards. It's gonna draw on our board. Are can just copy the same size if I want to. Just looking for a space to work on and we would export this to the client will have a concept on each page presented. We'll get to that in a little bit, So here we are. It's are very rough sketch, but it gives us an idea of where to start. So going to kind of this classic idea, this has done a lot. I think it's a very common theme you've seen in logo design in the last 10 years, So I think it's a very approachable concept, a concept that client will understand, and it's kind of a safe to me, a safe concept, eso And that's what I kind of all get into this a little bit. How, when I send three concepts to the client, I like to have three different concept types, one that's very basic and um, easy to accept, you know, Very basic logo. It's not gonna be pushing any boundaries, and then you have kind of an intermediate logo that's gonna push a little boundaries is gonna be a little bit more different. And then I have 1/3 option, which be the most challenging, different type of logo. It's definitely gonna stretch the boundaries a little bit and be a little bit more different. And so I like to kind of send them some safe ideas and some challenging ideas, because you want them to challenge and stretch themselves to try something a little bit new and different. But you don't want to give them just new and different because they may when I where they may want to have that safe option in their back pocket. Every client wants to have that safe option, which may feel boring. The concept may feel predictable or boring, but it's something that they're more likely to choose. And as a local designer, it's about getting that project done and making clients happy. So it's a little bit of ah, creative kind of things you have to do to kind of get that client to feel like you're giving them what they want, but also your stretching your design skills and showing them your creativity as well. So with this one is pretty simple. We're just gonna go ahead and create our X first, start working, get our pin tool. It's gonna draw a simple line. Nothing too extravagant. Go ahead, make that a stroke. And one thing we could do to make this more exact as we can go up to here to view, we could do snap two point. So this is gonna snap this particular points on the our board. It's a great way to make perfect straight lines. You click to go down to kind of snap a little bit for you. It's gonna make a perfect kind of line. We're gonna make this stroke and go ahead and adopt a gray color here and we're just going around in our stroke panel. Just could elect around the cap and around the corner and increase the size. Great. So now I'm gonna make a perfect plus, so I'm gonna just hold down option and drag. We're gonna go up to my transform, and I'm going to rotate this guy 90 degrees now we have kind of a plus symbol. We're gonna make sure all that's evenly aligned by going up to my line panel or a line options. Just click on all the center once all the ones that say center all the way across. So I think there's just four options, so now it's centered all the way around. So now always to do is rotate it by 45 degrees, is going to transform, rotate. Let's go ahead to a preview, make sure 45 degrees is correct, and now we have a perfect cross. It's going to be the same with on all four sides. So now we have our base here. So now we need to do our four icons. So this is where it gets really exciting because we get to really kind of work with. I cannot iconography and take some reference photos and see what we could do here. There was another concept here that I had that had kind of a espresso machine. I think I kind of want to work on that one a little bit, but each one of them has a coffee bean, so let's do the coffee being first. No, coffee bean will be easy because do the Ellipse tool. I always use a reference photo to kind of get an idea of shape and size like we did earlier , and we can go ahead and draw our little shape here. It's kind of like a curve shape that goes all the way across, and, um, to kind of make this look a little bit less computerized. We can use the with tool and kind of make that a little bit wider, make that a little bit smaller. Just like that. Make it a little bit more of a natural kind of bend instead of this, all the same thickness. So I also want to have natural bends and curves to the bean because no being is a perfect oval kind of has a little bit of edges to it, so just making it look a little bit less in organic. We want to make it look organic. So one thing we could do is we can go up and do some warp options. Would goto warp or we can go to distort and transform, and we can do a little bit of thes. Let's see what a rough and will look like we got a preview it And we're going to a smooth point and we're gonna do it pretty much as low as it goes. We just want little small kind of bends in there. So you noticed How kind of added kind of some interesting shapes makes it look more like organic bean. And I wonder what happened if we mad like that, just the way it iss kind of giving it more of organic shape, which you could make it smaller, make it match and change our with accordingly. And there's kind of our being which we can always go in and use the coverage or tool to make sure that is how we like it. So now it's time to sketch are a little expresso cup, and I love to use reference photos just to kind of get an idea for shape and kind of the best way I can really take this high gloss photo and simplify it to a very, very simple basic icon. So I'm gonna go ahead and take this photo, go ahead and save it and bring that into this is just from Google and just want to go and bring that. And we never want a copy of photo completely. We want to have some unique qualities to it. Of course, we're going to simplify it so much. Ah, that's not We're not gonna be infringing on any copyrights for the photo, because we're gonna be doing such a simplified sketch of this. So I'm just bringing this in as a reference photo gonna bring this down, and we're gonna go start toe kind of get an idea for the shape of the shot glass I'm gonna grab. There were to do some pin tool practice here, but go ahead and see how it can simplify this a little bit. So I love using the coverage, your tools. So instead of doing the pin tool and tracing the shape, I think the curvature Tulis more technically accurate with curves. So I'm just gonna do a straight shape and complete the shape. I'm not gonna get my curvature tool. Go ahead, make my curves that way. I just feel like it's a little bit more realistic of a shape, so I'm not gonna do everything in strokes. I can kind of see how everything's coming along, and we could go ahead and do a circle here for the top, gonna make sure that matches. Okay. And then now we can start to kind of simplify this a little bit. So we definitely want to show kind of the shadow here where you have the thickness of the glass. And once again, you could go ahead and click over here and just make a solid shape here, and we could use the curvature tool to make that big curve downward service could select the center, drag it down. It's gonna match it perfectly. So love the curvature tool. So I make sure that's a stroke. So now we have that part. We need to kind of have you notice how there's two different colors here. You kind of have the frost, and then you kind of have the deeper Expresso. So I want to kind of show that as well in our picture. So I'm going to see if I can draw that. I remembered. Use that courage or tool. Keep wanting to do it the way I've always done it. But since really discovering that curvature tool and of using a whole lot more. So now I conduce that bring it down and we'll create another layer that will kind of show that deeper expresso portion of a coffee. I'm just kind of tracing this around, getting that coverage or tool and bringing it down kind of show where it starts and begins , And I probably need to bring these points up here. It's only this part's gonna be darker, great, and you also see Let me reduce. Sometimes I'd like to reduce the transparency of a photo, so I kind of really see what I'm doing a little bit better. And so you'll notice how there's thes kind of reflection lines here. I want to be able to emulate that in a really simple way. So I'm just gonna do kind of a simple line white bar that goes all the way across. They're very simple. That's gonna just be up a white bar. Great. So we have our basic outlines. We no longer need the reference photo, So here's kind of our basic shape so it can thicken all these lines up a little bit. Just like that. We wanna have nice, thick lines when we do any kind of iconography. Anything for a local design. Nice. That you don't want to be too thin and then you zoom out. I see students, students all the time. We'll have this really thin design and he move out and you could barely make it out. But with nice, thick lines, you'll see that it'll really translate really well. So here's what we can add shades and color or not color but shades of grey. So this will probably remain white down here. And this is our dark expresso. So let's make that kind of a dark color. This will be kind of a medium shade, so let's make it a little bit lighter and of our froth, if you will. Let's go and move some of these strokes on the top. So you bring in some of the strokes on top. Okay, so now we have a reflection that we wanna have. So we're gonna reverse that. Make that a Phil and make that white. And so there's our little reflection of what we could do. Could make it maybe a little bit thicker. Can never go wrong by making it thicker, because it will show up better at a distance and what we're gonna do, because right now we put this on a background, any color, you'll notice that you have the white color there. We want to have that punched out. We don't ever want to have that, um, be shown on the logo on a transparent color so we could just select all everything and we can get our shape color tool. And we could just punch all of that out so it's punched out. So what we could do now as we could thicken the stroke even further. We can also do some round caps and some round joins to soften the edges. We could probably even afford Zoom out. This is probably the size it's going to be. Let's go and start to bring it in so it can know the thickness of the lines that we need to have. Go ahead and bring it in. Maybe have a little bit of a different weight there. So there's our little glass or we'll expresso glass. I did another little version over here I think looks a little bit more simp simplified, kind of like the rounded corners a little bit, but I do kind of enjoy how we have the two tone Look, there So what I might do is just kind of bring that in here to be a part of this logo. 23. Logo Design Process - Creating Icons - Part 2: So here's our final one here on the right. Just kind of tweaked a little bit of the bends and curves there so I can take the one that we just created. I'd like to keep it around. You never know when I might need to use it for another iteration of a logo. So I always like to keep that around three years or a little expression, a shot glass right there. And now we have a couple more to do. We have a expressive machine and a coffee cup. Let's try the coffee cup next. We're gonna do that right here. We're just gonna be really simple. Was gonna create a circle. We're gonna get that coverage or tool, and we're gonna just bring it all the way down. You said you almost have, like, an instant coffee cup shape. Horses decimate a little bit of tweaking. You could double click to turn it into a corner. So I'm just gonna double click these two edges, turn it into 1/4 and mess with it. That way, we're making a little less thick. We get more of a bowl kind of shape. We need to have a little handle. So what we can do is we can do a circle as their handle and put a stroke on it, make the stroke fairly thick. And then we could also change the angle of the get a little bit less of a perfect circle, A little bit more of a classic candle that you would see on a coffee cup. You want to make that thick and make it down here a little bit thinner with a more natural her. You could do that as well. So what I thought after kind of working on this, you know, would be a really a better icon is kind of your classic mugs style instead of the cup. So this is still great. I can just save that for later. We're gonna learn how to create this shape right here. So I'm just gonna take the square, could do a square, and I am going to take the curvature tool will go down and make my curves. You take the direct selection tool in soft and everything a little bit, and then you do the handle just like I did before, and we can even borrow the handle. We just did we don't have to redo that. And if we can always add a point, we're adding kind of a curve point to bring that down a little bit and, you know, maybe reducing the thickness and how I love using the width tool to create kind of smoke effects. So I'm just going to this very small curve. It's like a little curve with the pin tool. And then you could always take the with tool. Zoom in here, just gonna make it with wide on one side and skinny on the other, and you have a nice, natural, smooth shape. Or she could always shrink it down like we have it and you have kind of your little coffee cups symbol. That's kind of how I created that particular one. So go ahead and get this in here. Have worked on that one a little bit longer. And so now we have three of her icons and will balance all these icons. Once we get the last one. The last one is gonna be the toughest. It's going to be an expresso machine, so we're definitely gonna need to find a reference photo. Unfortunately, already have a reference photo right here have already kind of drawn a little bit of the basics for that s o. We're gonna trace this just like we did with the expression shot. We're gonna think about simplifying and as much as we can. So we're not gonna trace all the little details, just kind of the big blocks of details, because we really want to make this a very concise, very small, detailed are not small detail, but less details. It's possible icon. So this is kind of the roughed out blocked shape we're gonna go for, and we're gonna punch out details using the shape color tool, some white punched out areas toe flush it out on the market at our little ah shot glass. So this is kind of the shape we're looking to build here with this reference photo. And so I'm just gonna go ahead trace. Using a stroke with the pin tool to some basic shapes doesn't have to be exact. You could take some guesses here with how you wanna have it. Just getting the basic shape. So we have some shapes here, very basic. We could duplicate that shape. Don't worry. Shapes cross over cause you're gonna blend all this under one big shape. It doesn't matter if the crossover what's reversed that is going to reflect. Now we have that same side done already. Okay, Now we're gonna do the bottom. Okay, So you kind of see a rough outline. I'm gonna reduce the transparency. You got to start to see a little bit more of what we sketched here. So any other details you think are important to make this be seen as a expresso machine? Go ahead and draw those. So right now, we're gonna need this portion. Got to get the curvature tool to make that bend right there. Because zoom in. We don't want too many details. So let's simplify its are espresso machine now. It doesn't have to be an exact copy of the photo. You could make it whatever expresso machine you want to make it. So now we kind of have these two. The things that come out here, where the expressive comes out, we're just gonna make it one, because this is a double expresso machine. We should just make the icon to complex. So let's just do a little shape here that comes out. It's gonna do a stroke and make it thick and the maybe, but like around cap on it just kind of showing our little espresso spout. I guess it's called going to reflect. Its reflecting went to transform reflect on the object panel. So this is kind of a very archaic rough sketch. A kind of see, maybe I want to fill that in a little bit. So too strong a shape there. Here we go. So this is a rough outline. We can always add a little Expresso cup layer on because we already have one of those made , so we don't need the reference photo any more. So I'm just gonna go ahead and remove that. So you kind of see our basic outlines. So what I'm gonna do, we gonna go ahead and remove these two because I already have that as a stroke. But I'm gonna flip all these to fill, and there's our basic expresso machine shape. And what's great about this is I can maybe put a stroke on this nice shape here, but a little stroke make it nice and thick. Bring that to the front, but some round caps on it. I could use the shape to wonder. Go ahead, highlight all of this, and I'm gonna need to outline my stroke on that. So I'm gonna do path outlining the stroke because you have to outline your path strokes to be able to punch things out. Using the shape older tool. Hold down. Option. I'm gonna punch all of the white portions out. You notice it's kind of creating that negative space with the icon. Sometimes you have to click and drag all these little intersecting points we made as we kind of do it really quick and messy. There we go. So now we're kind of cutting out some details into the machine. But we could do the same thing down here to kind of create a little bit of, ah, negative space line that goes across and then we can add our little Expresso Cup so we could spend a little bit more time kind of perfecting little of perfections like down here , that kind of a strange curve, so just kind of removing things and just kind of fine tuning it. It's been probably even more time messing around with this, but for the fix, for the sake of time, I think we're ready. I punched down another little line down there in the bottom. Eso courses all transparent, as you can see. So let's kind of join all this is one icon could take the shape older tool instead of holding down option to subtract. We could add everything together as one kind of icon. We might have to do this in stages, adding that together, them kind of adding this together carrying were added, used together just in stages. Great. So now we have that we're gonna group this together and I wonder if it's gonna give us the opportunity kind around the edges. It is. Okay, so this will help Kind of round everything. Like everything else we've been doing kind of rounding some of the edges might also have to do this in stages. It is selecting this middle kind of area adds a little bit more polished to any kind of logo. Are Look, a design. Unless you want to have the sharp edges. My group together are Expresso machine, and we have it right here. If you still have any paths, just make sure you go up to path and your outline your stroke so it's gonna go to object. Path outlined, stroke. And now I can kind of reduce it in size. And I have my kind of final icon. So what? One thing I want to do is I want to add our little expressive shot in there to get a copy and paste that that's already ready to go. So gonna make that a little bit smaller, put it right there in the middle there. Um, we can also change the colors on this. Bring that up a little bit so it could decide this is the one I did kind of before. I fill in the classes kind of creating the ideas. And this is the one after we can use whichever one we think you know kind of communicates the Expresso machine. And since our reference photo had two spouts, we just wanted to do one. So that was kind of ah, steak on my part. So let's go ahead and use the one I did prior I did the ones about. So I kind of created my own little spout there and drag that in. And there are four little icons ready to go now. We're gonna need to balance out the symbols. Looks gonna slide that over, cause I might want to use that coffee couple later for another idea. So here we go. So now we need to have some balance. So we're talking about balance and design. I like to kind of zoom out just a little bit. We gotta make sure there's not one element that overpowers another or one element. That's too big. They all kind of need to be equal. So what we could do is we can kind of do circles kind of get an idea of sighs who? Maybe an icon is not taller than the circle, and they could all kind of be even throughout. I just got on making sure they all kind of match in there. We could do that method, which kind of a traditional method can pop it on the grid. But when I do the great quite yet has been saying that a lot. So let's fly ball it here. Sometimes eyeballing is a little bit better, cause you may have an element that extends outside the circle. That would make this smaller than it needs to be, Um, so a lot of times I'll just optically adjust, which is just me kind of seeing how it goes and kind of going Okay, well, that's details. Let's make that a tiny bit smaller compared to the other ones. And we also want to make sure there's a little bit of, ah, distance similar distance between all of these spaces here. So maybe tuck that a little bit closer. Push these a little bit further away when I have some equal spacing and all four of these corners. So now read it, ready to work or typography into our type on path tool. We already have that created on our other ones. So we're just gonna borrow it and we have the one that's not outlines. That's why keep these things so I don't have to do the same task over and over already. Have it kind of ready to go and let me kind of see what typeface might work really well, with this one, I think a lot of white spacing. It's kind of what my original concept had, So let me see what we come up with. You 24. Logo Design Process - Creating Variations: so this is kind of the final iteration. I came up with a slabs here because I think the slap Sarah has a lot of rustic character to it. It's called Alfa Slab one regular. That's the type facing a typeface I'm using. I decided to do some really wide spacing, so I'm right here. My character panel and I added, Ah, lot of tracking, which is the spacing between the characters. I did a 777 which is a pretty pretty big gap between the spacings so it could stretch all the way across, and it doesn't feel like it's too top heavy. It's kind of more evenly spaced and kind of did a lighter color for the establish because I feel like the established is not as important to some of the other elements. And what's great about this logo is this logo can use just needs to colors for contrast. But it can even work really well as one color. So this is probably the most flexible logo we've done. We could make this all the same shade, and it won't take away from the readability eligibility of the elements. And so that's one great quality of a solid local designers We studied in this design theory lessons, um, is the flexibility of a logo. Can it be in one color and still be readable in this logo? Certainly qualifies for that. You also notice I rearrange the icons because I felt like for the proper balance, having that little smoke at the top of the um the coffee mug seemed to work really well in the center. And since this is very heavy, that countered very well, and you'll notice how they're both straight lines. So this kind of go straight all the way up to the coffee Cup. So that kind of alignment since seemed to be a little bit more centered than having that round coffee bean. And so I decided to put the coffee bean on the left and the shock less on the right. So just trying to think once again, balancing and trying to find ways toe to arrange your icons in a way that makes more logical sense but also kind of lines up a little bit and kind of just naturally looks more pleasing to the eye. So now that we're done with that concept, I want to do what we did last time and kind of see if we can come up with another iteration of It may be a version where it's not a seal. We can break it out from the seal so we could easily take this duplicated Just hold down, option a drag and break this off. And we already have that. Um, I think we already did a version of that down here. So why reinvent the wheel? Let's make it easy and just copy and paste set in here and to lead. These elements would slide this over, and we kind of can create a version that exists without seal perhaps, and this is where balance really comes in handy and already have kind of some type faces picked out for this one. I have this typeface that I decided to go with over this one because this one seemed a little bit more smooth. This is Fatture. It's a geo metric typeface. That's why it's so smooth. It's got a C. It's perfectly their bows or perfectly circular, so it's geo metric. So I thought that was a different break because, you know, when you show a client something and use a particular typeface. It's nice to switch it up for another concepts or not showing them the same type based choice because they may want to combine. They may want to say I like I like concept one that has this type base, but I want to put it with the icons of this this concept. So definitely mix up your typeface is just to show the Klein a little variety, Um, when you're showing off your logo designs. So I found something similar, but you know, just different enough where they may prefer that over the other. And so now we need to talk about balance and logos. I'm gonna go and delete that. So with balance, you want to make sure that one element doesn't overpower the other. And right now we have this one large element going group that together, and we have this one and group that together we go, we have that in the arrangement that we like. So now one can over the power of the other, and this is where we can pop into grids so and go down to view and show grids. Or you can use the shortcut that I'm gonna go ahead and put right now on the screen. You just toggle that shortcut over and over and toggle often on the grids. And I'm gonna get way more into grids after we do the golden ratio, where do the golden ratio, and then we're gonna really hop into grids. But this is a great way to kind of figure out balance. So let's say we have this Icahn that fits perfectly. Let's see that ends ends. The exes can fit right in a box. You noticed the corners, just finding a way to kind of anchor this a little bit on the grid system. And then maybe the top of this t on the bottom of the G could go along the same line here, just trying to anchor it, trying to find the location of balance. And so what's great about this is the tip of this lines up with the typography. It creates a nice size. This is not one bigger than the other. I think this looks really nice, and so I think that's a really nice balance. I think that works well. They're So now we're providing the client with two different varieties, one that's a seal one that's a traditional type and and logo mark. And then we also provided two different versions of that concept as well. So now I really just want to work on one more. Maybe one more concept to present the to the client. That's very different from these. I think maybe the one on the right Is there more risky design? I think this is very different title, but I think that's very unique. I think that's gonna be our more challenging design that we're going to challenge the client with, and this is kind of this is safe, but it's not super safe. It's it's really detailed and ornate. It's got a certain style to it. So it's kind of our middle of the Road Challenge logo, and then now we need a really easy safe logo, and what I thought I would do is mess around with negative spacing because I think that oh , the O in the coffee. I think there's an opportunity to do a really simple coffee mug or shape to kind of do some kind of negative space so we can keep the logo really simple, but we can also keep the logo. Instead of having a separate type and separate symbol, we could combine them together to have one little type that has a little symbol inside of it and make it one very simple. Concise logos were going to do that. It's gonna be your final concept we're going to do for this Particular logos. L see you back. 25. Logo Design Process - Negative Space: this concept is gonna go really fast because we already have a lot of things designed. So it's a matter of slapping those together and kind of figuring that out. So we already have This typeface, I think, had a strong kind of look to it. And I want to find out how I could use that. Oh, um, to kind of play around with that a little bit. So I'm going to separate these elements. I'm just gonna go ahead and copy and paste this the so It's in a different. It's in its own line, so it could mess around with that a little bit. Make that a little bit smaller and bring more emphasis on the coffee gil, because we want to play around with that. Oh, I think it's the best character our letter to mess around with in this case. So one idea I had to do this in the sketching process is putting the being there in its place, maybe adding a little angle to it, a little character, and we can work on adding texture as well to the coffee bean, and we'll get that once the client approves or it add texture and color and all sorts of fun things. So we're just gonna kind of angle that give it character. But that's one. That's a very, very, very, very safe version for the client that can definitely grab onto that concept. It's simple. So just copy and paste and let's come up with a different federation. And I want to use white space or not necessarily white space. That's called negative space. So this is the kind of study that in the logo styles and logo characteristics, um, kind of what negative space looks like. And it kind of utilizes empty space to create a shape. And I'm gonna fill in this area because we're gonna do a negative space. We're gonna fill it in with the solid shape. Just gonna take the eyedropper tool, match that color. So I'm just gonna bring this in and make it white. It's gonna be Ah, very simple idea. Make sure that's on the front and make that white so it looks like it's punched out like a little bit smaller. Make sure it looks like it's the center of the O, and so there's kind of a simple idea. I think. One thing we can do instead of having the ball feels like it's, um an afterthought just feels like it's kind of floating in midair. So what we could do is we could make the a little bit smaller and tuck it right here in the sea. Just like that. I think we can also soften the type a little bit like we've done a lot in the past. So I'm creating outlines and I'm just going to soften the type. And I might have to do that and l and separate elements so I could do it all at once. Select all these rounded up. So here we are, a rounded the corners a little bit and kind of adjusted the oh, a little bit Teoh kind of fit with this coffee cup, and we have the tucked in there, which looks, looks really concise. It's all in this nice rectangle shape. You don't have the sticking up out there in the middle of the air. It kind of feels more concise and that kind of nice rectangle. So there's one concept and what I like to do is let me see if I can't match that same color to be consistent in her presentation. So there's one variation. There's another variation, these air very safe options for the client. And what I like to do, sometimes with particular logo's, is to show him how they look in reverse. So show them how they look on a darker background to show them the flexibility. And one thing that I'm seeing here with this logo does something I really want to tweak real quick and kind of going through kind of my brainstorm and processes. Why leave all this in here not to bore you guys, but to show you how I really think through stuff, as I think it's really left heavy. It's left aligned. It's very heavy on the left, especially because you have the focal point here, So I want to shift that a little bit to the right to balance it out a little more. So I'm gonna line up the E and the D over here on the right and notice how it shifts the focus a little bit more to the right and makes it more balanced. So just kind of thinking through there's little small alignment issues. So now that we have that squared away we can copy and paste. We also need to get established date before we get too crazy, so established in 2016 we want to make sure we place that that was a requirement of the client. So we can kind of took that nicely there. If we do here, it's gonna have the problem of being too left heavy. So people, to the right here, bring more of that balance. See how it kind of goes from left to right Kind of reads naturally because we read left to right and we read top down our eyes. That's how our eyes kind of scan things. So kind of having this coming up here and then you're scanning down and kind of focus is back on the established, so it has a nice flow. So now finally, we can copy paces in here and we can reverse it out and make This may be a light gray color , and we can kind of show how this looks. Maybe making a pure white make that a little bit darker, kind of share the flexibility of the logo and eventually will be adding texture to this. If this version gets approved by the client. We're gonna add some texture to add a grittiness to it in a sense of kind of wrongness. I like to extend the South. This is just a client presentation, which we're gonna be doing in the next video. It's kind of stretching that across. It doesn't look like it's hanging out in the box, and it feels like it's really part of the background there. Okay, so we have three great, very safe options for them, probably to make those smaller. We're going to that next. We take all three of these concepts and we are going to send those to the client right now . I'm just gonna show you for fun. Some of the other different versions I came up with that are related to the last two. That we did this to kind of show all the crazy kind of stuff you come up with where you're trying to think about brainstorm ideas. I would go over all these in the class, but it would be a 20 hour class and afford to death just kind of showing you some. And the next lesson. It's all about client presentation and showing him your very first round of concepts that go to be in black and white. They're gonna be simple, and I'm gonna show you how to present that next. 26. Logo Design Process - Client Presentation: This is one of my favorite but nerve wracking parts of the logo design process and sending your first round of revisions to the client. So you want to put your best foot forward and really present these in the most professional manner and one. I know a lot of designers who put all their concepts and kind of one pdf page or one J. Peg Page, and I find that clients, and especially ad agencies that I've worked with her larger kind of clients that I work with. They prefer to kind of see one concept per page. That was kind of what they like to see. So I'm really encouraging you to not put multiple concepts on one page. You could put different generations or different versions of the same concept on the page were really presenting a concept one page of the time. Whether you send them a multiple page PdF or you send them three separate J pegs, however, you want to do what I find a PdF with a little bit more professional of a format so they don't have to download three J pegs and figure out which one was First. You get to present him in the right order as a PdF. So that's what we're gonna do in this class. So we have our three different pages. I need to figure out which one I think should lead first, which is the one I think is the strongest, and the last one will probably be the one that I think is the weakest. And a lot of times you'll have 20 different versions, and this is when you really need to narrow it down to three. No more than three concepts. But you can have multiple versions of the same concept because you never want to overwhelm a client with a lot of different ideas, because I think it makes you look a little less professional as a designer, when you're just throwing out ideas, you're not kind of fine tuning those ideas for them and really helping on pick what's gonna be the best for their company. So that's where you can elevate kind of how you're viewed as a graphic designer is picking out what you think is the strong concept in helping them narrow that down. You're the expert in this field is finding out what's gonna work best with their business for their business. So let's start with the first page. Let's eliminate or a little bad sketch, cause that's pretty ugly. That was just a little help for us. So I want to put lots of spacing between these elements. Lot of spacing, lots of wide margin. You never want to make thes so big that they overwhelm the page when they look at it on pdf , you want lots of white space they want to be able to see. So right now, this would probably be too much. No, I know a lot of designers will present a logo like this, and it just wow, I feel like I can't, um, digest the logo. The logo's air to close just feels gigantic. Um, and which is not how this logo is gonna be. The locals, mostly good of you to be viewed, you know, maybe about this size. So just kind of practicing, finding out what's the right presentation size. But that's probably what I would if I were to present this. This is probably the amount of white space that I would present it in. It seems like a lot, but I think it really makes a logo viewed at the proper size. Not too big, not too small. And I think it looks professional this way so you can always pop into your grids and make sure you have the same spacing on the left and right. Or you could just optically like I do. It's copy and paste of box kind of shifted around, and it's just kind of a way to do things quicker. There we go. We're still in rough concept, moon. We'll find, too, in all the details. If if a concept gets approved, we're going to emulate the same thing on the second page, we're gonna leave with what I think is our strongest concept first, and then have our second concept look like I lost a few icons there. So I'm gonna go back and grab that real quick. There we go. Got my icons backs. We're gonna do a similar spacing, and we could even go over here. A lot of times, clients will print out the sheets that you give you on ah, physical paper and should pass them around. Maybe a group of our A team to approve which ones they like. So a lot of times. I like to keep in the same size Selves. Drag this over and just make sure it's a similar size and concept. Make sure there's lots of spacing here, so there's a 2nd 1 that's gonna move fast. This one has a little bit more kind of going on when it kind of separate these two ideas. So what we can do is we can see if we can't do a two toned effect down here and show it side by side just since we have two different concepts here. But it's the same concept to different iterations, kind of the O. Changing the oak concept, I guess, is how you would see that. Just make sure these are aligned so I could just group these two and just do a top alignment here, going up to my vertical line top Miss lining that up. We could do it that way. We could even break this down and make it 1/4 concept if we wanted to, because I think this is our strongest concept we have. That's our most safe version. We can lead with that at the top, and this is just kind of a throwaway not throw away, but you never know. Sometimes clients choose the ones that are the least creative and not like this isn't creative, but it's not quite as strong as I think Some of the other concepts are. And you know, you never know what clients are going to choose. A lot of times will choose the really easy one. The one he didn't 10 seconds. And he spent 20 hours doing all these different ideas and just be prepared. They might might disappoint you a little bit in their selection. Um, you want them to choose the one you like the most, but sometimes it doesn't always work. So there we go. And we are ready to kind of export. This is a pdf. So what we're gonna do is we're gonna go to file export this as a pdf gonna goto file save as. And this is how you kind of get it to save the pdf. So what I love about pdf's when you export them as art Borjas, they will do it on pages. So go ahead and show you some gonna save and we're going to do when you do presentations to clients, you never want to do C m y que or and probably go Why a local needs to be in seeing like a Yes, A logo needs to be done in the c m y que color mode, and I'll go over that a little bit later. But right now I'm doing RGB because they're gonna be seeing this on a digital screen, most likely, and a lot of times when the export as a c m y que as a pdf, the colors get really distorted if you're using color, and eventually we will. But in this case, we're not. But I like to keep in the habit of keeping an RGB mode and also exporting it as kind of a digital, which will keep it rgb mode. So we're gonna do high quality print here as air setting. We're gonna make sure we uncheck preserved illustrator editing capabilities because when we do that, it will preserve the editing capabilities which cause the file size to be super large. You don't want the client to have any problems opening it, so I'm just unclear king that going to compression, make sure everything is in a nice 300 peopie I resolution we don't need marks or bleeds or any of that yet. And we want to make sure it's an RGB mode, which we are. You can always tell what mode you're in by looking at your tab of your window. We're gonna do you see him like a when we start to think about color because right now we just have black and white, so it's not a big deal. So now I'm gonna save the pdf and I'll go ahead and show you what that looks like for years the pdf in action. This is what we're gonna be sending the client. If you're enough. You have Acrobat Pro, which is what I have, which comes with the Adobe Creative suite. By the way, if you wanted to download Adobe Acrobat Pro, you can go ahead and press on this little page thumbnails, and we can reorder these however we'd like. Let's go ahead and zoom out. This is our client presentation. We can reorder and I need to go back and make that the same page size. That's not a big deal. That's easy to do and which one is our strongest? Which one do we want to lead with first. A lot of times I'll do my safe one first. So this is our safe concept, and I could just drag this up to the top. But bringing that to the front so they can see the safe version first and then we can present kind of are more radical. Version last. Okay, so we're kind of doing our safe version, are kind of middle of the road version and are a little bit more challenging version. It's a little bit different concept, so here we go. We could go ahead and save this and we're ready to send it off and email it to the client and see kind of what their initial feedback is. I always have a nice paragraph of copy that I put in my email that says these locals were in black and white for a reason. And that's because we don't want to worry so much about color, really kind of focusing in on concepts at this point. And I'll do a couple sentences of each concept and why I came up with its concept because I want to just not say here some logo designs have fun. I really want to have some kind of reason of why I came up with that concept. So for the, uh, for this last one, with the negative space, we could say we really wanted to come up with something simple, concise, very streamlined, Which shows the tight face because it was chunky and simple and reminded me of the 19 twenties and thirties, when that type of font style is popular, which is kind of the style you're wanting to emulate with your coffee house and just kind of going back to their branding and their mission statement and there target audience. And it kind of letting you know the reasons why you chose maybe these icons and this particular one. You chose the beam because their best represents everything. You chose the coffee mug because it feel like that's kind of more of the mug that that that most of your target audience would like to drink out of. They love expresso and cold brew. We decided to put the Expresso machine in there. There was a reason why you chose these things, and this is when you really explained to the client why you came up with your concept and it goes so far to show the client that you're not just a local designer, your nuts too. Graphic designer. You're more into the marketing space. You understand the business side of everything. You could command more money when you kind of act this way, when you when you kind of go the next step to tell them the branding side of things, it's not just done because it looks cool. There's a reason why. So you take that extra step to explain the concept ing process. You're brainstorming process and bringing them into that. There's a reason why that this mug has a top down view. There's a reason why you went with this more simplistic approach. Then they can totally get on board with your ideas that you don't have to go back and forth Why we're doing this. So just another long winded, but just kind of showing you that that's so important and elevating yourself a graphic signer to command more money to make yourself look way more professional. 27. Logo Design Process - Adding Grit and Texture: All right, So let's say we've heard back to the client. They loved him all, but they wanted to see a little bit of color added. Of course, we haven't added the color, so they wanted us to explore color. And they also wanted us to do a little bit of a gritty texture on some of these to see how that looks. They kind of wanted that greediness and they love texture. They wanted to kind of have something that was a little more gritty and nature, and these are all very clean. So they love the overall look of these. They just wanted to add that element so we could do that. I have a lesson in the first section. If you've already seen that as adding grunge texture by using a layering mass, we're gonna do that right now I have that free resource a link to that that you can download these kind of textures that we're gonna be using their just basically J peg textures that we're gonna overlay on top of these. Of course, you confined vector ones as well that you can add on top so you can scale up that crunch texture nicely. We're going to use this just to kind of see how the client likes it. So let's start with this lighter color one. We're gonna go ahead and make sure that's all group together. We're gonna go ahead, overlay our texture on top. We're gonna make sure the texture is on the top and we're gonna go over and add a layer mask. And then we're to see if we can't click back on this original one and make it a darker color. Gonna see the greediness a little bit more and let's move this around a bit. Let's go and select this. Go back to our layering mask and move this around. I go over this in more detail in the introductory lessons of this course, and I'm just trying to find what I think would be the right kind of greediness. So there's a little grittiness right there on that one. We can emulate the same thing on the the reversed one. So all we have to do is kind of copy and paste this and copy a little bigger. There's kind of our little greediness involved with those. We could do that similar to weaken use other textures. Other could even make your own gritty texture as we did in that lesson. Um, and we can kind of start to apply it to all of these. It's gonna be the same method for this next one we're gonna make want to make this all darker. So let me go ahead and create outlines here on the type and make this all kind of a dark black. I think the textural show up a little bit better there, and we're just gonna select both and we're gonna make a mask. Were to select the masked area. You have a ship this around until we have a presentation we like. So just added that little bit of pop of texture that I think the client is looking for. And I'm gonna do the same thing with this other idea is going to do the same thing, adding that that that bit of texture, I could probably even just add it here on that outside part. So let me go ahead and copy this, just paste it, and then I could go ahead, release that mask that one back, and let's see if we can't just select this circle area. That's a little grittiness, and we could make this circle a bit deeper, and we might be able to use a different texture for this one. There's a lot in that downloadable resource. There's several that you can create the vector ones you can find on a lot of this free vector websites type in vector grunge graphics. You'll be able to kind of find that effect. So we're adding a little bit of that grunge effect of some of them just to kind of showing what that looks like. We also want to be able to start to add color. So we're gonna really think about color. It's gonna be a little bit easy, cause these are all very simple logo, So colors Probably not gonna be too much of a big deal. But let's explore color palettes and see how those look on these three different concepts. And then we can send our second round of revisions with the greediness added, which was something the client requested, but also with color. So these were really gonna be a final presentation. There could be 1/3 round. It could be 1/4 round of little changes, but we're gonna present the logo like we would send the final files. So we're gonna really have everything perfect. So we're gonna use grids to kind of make sure everything's perfect in line. We're gonna add the color. It's gonna be a final presentation of these concepts. 28. Logo Design Process - Working with Color: So what? I find how gold's creating a mood board, which is a collection of photos that I can kind of come up with color palette for, because I really want to get some nice natural shades of coffee. And coffee comes in lots of different shades. So I thought if I downloaded several photos, created a little collage, I'll be able to use the eyedropper tool to find and source my colors, as opposed to trying to guess what a coffee color is. I could have that reference photo, so I'm gonna downloads. I'm on pixels dot com, which is a great place to find three photos. I'm just downloading a few that I can create a ah, a little collage out of. I'm just trying to find ones that have a nice variety. So beans, this one's gonna be a great photo to use could that's got the cream. And they're so I'm just downloading all these photos, ones that I think you look at that deeper roasted coffee. I like that really deep. I bet I could get some really nice Brown's on dark, dark browns there, and, uh, this one has a nice, not nice variety of coffee, so I'm gonna probably due to more. Do I like the cream on that one? The froth. I guess you could say let's do one more. Let's do one more kind of like this. I'd like to sample that color. So I'm gonna pop in a website called Camba and you can just go into photo shop or go on, illustrator and just bring your photos in. But this is just a great kind of way to make quick collages for mood boards. So I'm just gonna go over to my elements, grids and cameras a free tool, by the way, if he wanted to kind of check it out and sign up for it. It's kind of great for slapping together really quick graphics really quick social media posts for local design. I use it promoted boards, which I'm gonna show you how to do real quick. It doesn't really matter the size as long as I have enough to squeeze them all in. So let's go ahead and upload my photos so we're gonna go ahead and limbs could be dragging the photos and dropping them so I could really sample best color palettes. Now I'm just gonna export this as a pdf or probably even better, a. J. Paige Download that at high quality. And bring that an adobe illustrator and I'll see you there. So as you know, now that we're doing color, we need to switch. Make sure were in C and why K mode as we want to choose those final colors that are going to be used in the final versions. So let's just make sure if it's not already, go ahead and go down to file document color mode and make sure everything is in see him like a color mode school head. Switch it over. There might be some small shifts in color. That's okay, that's very normal. RJB is great for digital and seemed like a is great for, um, print. So I like to do everything in seem like a and then convert everything toe rgb. But as we did before, we were just concept ing and coming up with ideas and black and white. It didn't exactly matter, and I did kind of say that RGB is preferable because we need export as a PdF. It doesn't distort the colors for presentation, so here we go we're back in here. And here's the mood board that I exported. So have some great sample colors to go ahead and create pallets from. So let's see, we don't have too many colors of one particular local designing or try to keep it at three maximum. So with this one, we have different shades and colors. So let's see if we can kind of get a nice mug color so these two will be the same color right here. Let's go do a soft Let's see if we can't switch that, too. C m. I can kind of get some soft peach color. What kind of a You know, when you see a mug, you kind of see a kind of a vanilla color, and we'll see if we can't get some inspiration from some of these. That kind of has a little bit of, um, is going to slide this over when I sampled this. It's not all the way white. It's got a little bit of the mix of magenta and cyan. A little blue and red kind of gives it a nice kind of cotton color, so I kind of like that for the mug shape and let's find another colors gotten. Sample this and make it a bit darker for the mug shadow. So we want the inside to be a nice coffee color. Um, we think we'll see kind of how it looks. Let's go ahead and add. This is not filled in. So we're gonna need to get another circle back here and let's see if we can't sample a really nice coffee color. These are gonna be all over the place, depending on where you sample. So this is kind of what I decided to go with. I decided to go with a nice background to kind of bring in some of those coffee colors, especially the cream in my coffee colors. I decided instead of making it gray, I was able to reduce the colors by making it a peach color and matched it with the G. Which kind of reminds me of cream in the coffee. So just kind of thinking about then what? What does this really look like? Can the G. You know, if I can change the color to make it look more like cream, that could only help the concept be stronger. And so I decided to match the typography with the color of the coffee inside the cup. So I think changing it from having a grey mug to a warm colored mug help to simplify the colors and make it more thematic on the color wheel. So they're all gonna be warm colors, and they're all gonna match a little bit better and be softer. So this next one will be fairly simple. We just have one color to pick because I think this black looks really great, as is kind of reminds me of black coffee. So now if you put a little bit of cream and the coffee and get something with some of these creams or frost, and might look really good as a counter to the black. So let's kind of draw out what we think is a really nice color. Have a go toward the beans. It's kind of hit or miss. It's OK. We're just trying to land on something we think works really well. If we land on something that's close, we can always, of course adjusted using our slider. We want to take away green, or we think it's got a little too much brain. We can adjust that. This is where I like to add a little bit more polished to a logo, so it's kind of kind of being its final form. So I went ahead and added a layer mask to the top coffee color when hadn't shows, one that I thought would best represent something with cream, but not something that's totally black coffee either. And I decided to actually make this. This is actually a light brown are not light property. Very dark, deep brown. It's not black. So I thought, taking kind of the coolness away from the black and adding some warm tones, really helped tow make thes two color Seymour in the same family. They're both warm out of the similar reason as above, and we can find out a better color to pair. With that, we could even use the same color as above. And a lot of times I'll add drop shadows just on this case for presentation purposes to look a little more polished. Not necessarily that there's gonna be a drop shadow on the logo permanently, but just kind of show a little bit of, ah, just care for the logo. I'm just adding that right now. Dixon. Nice far casted shadows. Okay, so there's kind of our two versions that we have so far with color added, We're kind of having a lot of warm tones added to this, which is fine. I know they requested the cool, calm colors. They didn't really request school colors as one of calm and relaxing. And when I think of these colors, I do think browns are pretty calm and relaxing. You know, they're not like reds, which are very angry, bright, vivid energy. This is definitely more calm and relaxed and the kind of kind of some good colors there. That's kind of what I've settled on for that particular one. Ah, the next couple ones are going to be a lot easier. This one is to be very simple, because it's gonna remain black and white. So that one's done. We can play around with color with this last concept. I think this looks really good here. What I want to do. So I really like this deep kind of brown color, So I'm gonna go ahead and sample this color just a little, See how it's just a little bit. Has a little bit more reds to it. If you look at the breakdowns, kind of even the, uh, even amount of color inks. I'm gonna go ahead to sample that. See what that looks like? Who? That really brought a little level of richness to it. So this is what it looked like before. And this is what it will look like after that Could, of course, of justice. And they get a little bit lighter. So there we go. We have kind of a mixture here. What we could do here as we can have a contrast with our type. Let me go ahead on group that make that the a lot smaller while I'm here. And we could contrast that with lighter colors. So what we could do is we cannon group this Instead of making that all the same color, we could make a few these items a different color. Let's go ahead and go over to or let me go ahead and bring my sheet over here. Let's see if we can't bring out some of these colors here 29. Golden Ratio - Getting Started: Welcome to the next section of the course. This section will die very deep into golden ratio used in logo design. We're gonna really understand the golden ratio after this because we're gonna create it from scratch. And I want to be able to create this ratio in the circles that were going to use in this process. He can really, truly understand how it's created. So I teach several lessons in several classes that talk about the gold narration logo design. But with this class, there's gonna be a much deeper understanding of it. So we're gonna hop into Adobe Illustrator. First of all, you've probably seen the golden ratio circles used quite a bit in logo designs as you kind of search for logo inspiration. And that is exactly what we're gonna be creating is there's little circles we're gonna hop on Adobe Illustrator. The first thing we got to do is create our golden ratio boxes. So you're probably wondering where to these local designers get all these circles and how did they apply this 1.1 68 ratio to create these circles? We're gonna do that right now, So I'm in Adobe Illustrator and we're gonna be creating two different boxes and we're gonna put it together based on the golden ratio. And they were gonna be able to create these circles. Permits are gonna go through this whole process. That may seem a little confusing at first, but just hang with me. So what we're gonna do? Understand what kind of a generic document? I'm gonna just go to my edit art boards of just going to document set up gonna edit some art boards. I'm just gonna add new. You can also just create a new document. However you want to do it and up here on with and hype, I'm gonna make this. 10 are gonna make it one. Make it easy. Let's make it a one for one. So right now I'm using inches. But you can use whatever measurement you'd like because I know people. Not everybody uses inches. So now I have this little perfect one inch by one inch square, so I'm gonna go ahead and slide that off to the right. So now we need to create the golden ratio part. We need to create a square that's 0.1618 multiple of the one, So it's a little bit bigger than that that size. So all we're gonna do is go to document, set up, go to edit our boards, and now we're going to do Let's do Ah, we could do with their We could do height, let's do with. And so instead of just the one we're going to do a 1.618 So now we're gonna go ahead and click on OK, it's gonna be a new art boards who make sure we had a new one. And then we do it that way, and it's gonna automatically round up to that decimal. That's OK. It's very, very small. Round up. That's all right. So we have one that's a one inch by one inch square, one that's a one inch by our golden ratio, 1.618 So just too simple squares. We're going to simply draw a box that's gonna take up that whole square, and then we're just gonna copy and paste, and we're just getting an idea for size, creating the ratio. Get as close as you can to the to the exact edges, and we're gonna combine these boxes together So now we're just gonna make thes Phil, you know, make maybe make him a different color to make sure they go all the way to the edge. It's great to kind of go through this process. You can really understand how golden ratios are derived. You can really kind of understand how best to use. Um, so now that they're two different colors, we're gonna put this box in here and we create our first golden ratio rectangle. So this shape is the golden ratio. So this is your one by one inch, and this is your one by 1.618 inch in length. So this is the exact ratio. We created the different boxes so that our first step in creating the golden ratio spiral which will eventually give us the circles. So now we're gonna make this perfect. It's good to a top alignment. So there they're perfectly matched up. And here's the trip. What we're gonna do is we're gonna be duplicating this ratio over and over again, and to the different boxes to create what looks like this. I'm gonna go ahead and show it to you ahead of time. This is exactly what we're gonna create here next. So now what we're going to do is we're gonna rotate this and we're gonna put the same ratio on the right side. And so we're gonna continue to do this over and over until we get what I've shown you before. What's supposed to look like? So we're gonna take this. I went ahead and I went to path and I outlined stroke. So when we make it smaller, thes stroke sizes are not gonna change. So I'm just gonna make sure that's group together, and it is. I'm gonna copy and paste it. So now I have a 2nd 1 here, and I had to rotate it. And what I want to do is when I rotate it, I want to make sure the bigger boxes on the top. So I'm just gonna go toe object transform. It's gonna rotate it instead of 90 degrees. I really want that bigger box on the top, and that's for a reason. I'm gonna rotate it by 270 degrees. And that should Lynn the top, the bigger box on the top. So now here's the thing with golden ratio and anything we do in the golden ratio section of the class when you have two golden. When you have the golden ratio here you have the top portion. You have the bottom portion and same will go for the golden ratio circles. You can sizes however you want, as long as they all maintain the ratio together. So you can't move the top box and make it bigger and keep the other one Ah, the same size. They all have to scale up and down together to stay in that ratio. So here we go. Here's gonna be our second box, and then we're gonna continue to do this and we're gonna rotate it again. We're gonna copy and paste, and now we're gonna put it in this square. And so we want to have the bigger square on the right and you'll see, cause the bigger size bigger side of the rectangle will be kind of along the right and a spiral. So you'll see kind of at the end. I'm gonna what? The bigger one on the right. So I'm just gonna rotate this again. I was gonna rotate it 270 degrees again. Make it smaller songs I'm holding down shift. They'll scale dimensionally together, holding down shift and dragging. And I'm gonna do this again and again and again. So I get a copy and paste gonna rotate it by 270 degrees. Gonna make it smaller. We're gonna put it in that smaller. So each time we copy and paste a new one were putting it into these smaller side of the ratio is we're gonna put this big one to the smaller side. We're gonna do this just a few more times. Copy and paste. There we go. So now how do we get the golden ratio spiral that you see everywhere? We're gonna go ahead and draw the golden ratio spiral next. So now that we have our golden ratio rectangles set up, I opened up a much larger document, and I'm gonna make this a little bit bigger. We're just making as long as you keep all the boxes or in the future case of circles the same size together and scale them together. You can make it as large as you like. So now we're gonna create the spiral. I have this on a separate layer right here, and I'm gonna lock it. So I don't accidentally select anything here and have a new layer. I'm gonna be drawing a spiral that's gonna go on the tips and the corners of each one of these boxes just like this. I'll go ahead and show some circles highlighted on the screen of the places we're gonna draw. Spiral. We're not gonna be using the spiral in logo designed. I just wanted to kind of show you where this is coming from in terms of understanding kind of how the golden ratio spirals created. So since we're doing lots of curves, I'm gonna do the curvature tools gonna give me a lot more control when it comes to doing this. So I'm just gonna click over here and click on the corners to go in the center and just make a rounded a curve. I'm gonna make sure by stroke is on some kind of see what's going on. Maybe make it a different color and make it a little bit bigger. There we go. So now I'm gonna click down on this corner, you click down in this corner and there's gonna keep on clicking and we can go ahead and can, always at any time with the curvature tool adjust occurs a little bit. So it's gonna be more of a spiral shape. I'm going up to this corner. We're slowly working her way through all these boxes to go ahead and get our spiral. And what we're doing is we're clicking to the next size box. We have map to zoom in to get kind of detailed here and then the corner. So now I'm just gonna make some adjustments with my Richard tool to give myself a little bit more precise curves or nicer curves. You want to make sure it's the little points are resting right here in the intersection point in that corner. Make sure we don't have anything going outside just like that. So there is the golden ratio spiral. So now how do we create these circles that we're gonna need to be able to create a golden ratio local design because right now we have squares and which is great if you want to do lay out. But if we want to translate that to symbols that have curves and circular shapes that you're so used to seeing in logo design, how do we create those circles. So we're gonna move the spiral away just a little bit, and we're gonna create this next. So what we're gonna do is we're gonna draw a series of circles on each one of these boxes all the way around and when we draw a circle So let's say we draw this circle more just gonna do right up to the edges. If I draw a circle here in this box and then I draw a circle here in this box or I guess I should say a square. Now the ratio stays intact. So now the ratio between the circles are now that same golden ratio 1 to 1.618 And so now these two circles in relation to each other keep the golden ratio. But this time, in a circular fashion instead of a square, everybody kind of create this nice natural pleasing to the eye ratio. It actually originated in nature by the novelists uses the golden ratio. Each one of its little scales are new growth in its shell. Is all the golden ratio all the way down there, All 1 to 1.618 That's kind of where this originally derived from was nature, and then philosophers and artist started to use it because it was aesthetically pleasing. It's natural. Course you can keep going on the inside until it's really, really tiny. Get the smaller little circles which could be useful in logo design. But I find that this is usually the about the amount I need. So yeah, you can keep going for an infinite amount of time. Really? That's it. That's the last square. That's the last one. Because that's not a square. That's this parts the square. So that's it. So we ran out, so that's all of our circles. So here's what we're gonna do. I'm gonna go ahead and save my document. I'm actually gonna provide this as a downloadable file. I'm gonna get it already, and this is what the final file is gonna look like. You can download this an illustrator format and you can have all the circles ready. You could have the squares already drawn out for you. I really encourage you to do this yourself. Just practice it. But if you want to go and have the circles ready, I'm gonna go ahead. Perfect. This before I bring it in as a resource, I'll go ahead and get the lines. Everything lined up a little bit better cases. Now, I'm gonna bring all of these circles down, and I'm going to overlap them. It's gonna put them all in the center, and we're gonna use our align panel to be ableto line all of these circles up nicely. So you could do it nice and rough. We've got some really good ratio is going on here. All these air, the next one is 1.11 point 618 bigger than the next one. So they all maintained the nice ratio, and now we could we have all of them selected to go to my line panel. Do all my center line so far is on a line center, vertical aligned center, center center. So now they're all perfectly even once again. This will also be in the resource guide. I'm gonna make him all similar strokes, so they all kind of look consistent. So there you have it. We have everything we need now to start our golden ratio logo design. Um, I'm gonna show you an example of what we're gonna be creating this kind of the final logo we're going to be creating. I'm gonna show you how I created this. How how I arrange the circles, do it. We're gonna do a couple of quick little practice things you get used to using the golden ratio and logo design, and then we'll we're gonna end with this logo, so hopefully it will be a really fun and practical logo design project for you. 30. Golden Ratio - Practice: If you have a chance, download the Golden Ratio Guide, which is an adobe illustrator. And there's also a j peg of it. But open up the adobe illustrator. You can go ahead and take these already created golden ratio circles. That's where we're going to use for this lesson of the class. Or if you decided to draw your own golden ratio with the methods we use previously, even better so I'm gonna do is open up a new document. We're gonna pace those in here already. Have it kind of loaded and ready to go. And these already still have their strokes on it. So I can toggle Phil, which is gonna be really important for what we're going to do in a second. So have a lot of people ask me, How do you create shapes and begin to know how to create animal shapes or any kind of shape season the golden ratio when I just have a blank canvas? How do I go about the creative process of figuring that out? The next lesson, Artur is gonna go through that process of how I could take reference photos and fine ideas how it could do rough drawings and be able to take the golden ratio circles to create better shapes for those drawings. But first, I'm gonna show you kind of some great cheat kind of ways that you can make logos a lot quicker. Using the golden ratio, you can increase and decrease the size of your circles together. But you could never take one circle and make it bigger, cause then it'll mess up the balance of the ratio. So whenever you increase the circle or one of the circles, make sure you do them all the same amount, so that ratio always stays the same. So why don't you do this? Could be my main guide, some copying and pasting from here. So I'm just gonna take a couple of circles. It's gonna take three circles, and I'm just gonna copy and paste it. And any time I need a certain size, I'll just kind of copy and pasted over here and start working on that particular piece. So with this, I'm gonna go and zoom in here. So with the golden ratio, there's something really cool. So let's say I'm gonna take this middle one right here. I'm gonna create a doughnut. A donut with a bite taken out. Well, I want to make the doughnut and the bite taken out according to the gold ratio. So I just have these two golden ratio circles and that will make the doughnut. And let's say I want to take a bite out of it, take a big bite out of it right there. And so how do we kind of cut all this out? We've been selected all I'm gonna take the shape builder tool. And also, I can toggle on Phil's. I can see it a little bit better And get the Schapelle Artur, get a hold down option Aiken, subtract all sorts of shapes out. And just like that, it kind of create a little doughnut. We can create a couple of things as well. So just for another example, let's say I just copied and pasted thes set of circles had and let's create a little snowman. So this will be the bottom of the snowman and we can overlap if we wanted to. Okay, these could be the buttons, so I'm just gonna hold down Option. This is a golden ratio, snowman. Just kind of show you how I use the shape builder tool too quickly. Cut and subtract objects. I'm just gonna line all that. No one in my circles. Okay, So what I would do? Yes, I go ahead and talk everything to a Phil, get my shape. Older tool. I would add all of these together. Okay. And now it's select everything. Shape, color to it. Hold down. Option to get my subtraction. There's your little gold ratios. No, man. And of course, we can always make adjustments to that. So let's say we already have an object in mind. Let's say a bird. We want to have a bird for a symbol or a logo or an icon, and we want to go ahead and create that. So what I like to do, I have a lot of students struggle and they go, OK, I have these circles. Let's say they just kicked take a couple circles and they're trying to build a bird out of it, and they're just kind of a little bit confused about how they draw the shape. What I like to do is I like to draw a rough version sketch of the bird and then use the golden ratios to come up with the curves and the bins and having and it could do the same thing with the photo is some kind of reference photo to help guide you. So I'm going to destroy this really rough looking bird sketch. So I'm just gonna kind of deal Just have the pin tool. Just a rough looking bird doesn't have to be anything brilliant because the golden ratio is really gonna help you out here. There's our little bird, not not too exciting. And we're gonna take a couple of these circles here and go ahead and find the right curves for our shape. So every kind of see curves and let's go ahead and make this a different color doing kind of see differentiate a little bit where we see curves you can use that opportunity to kind of find your shapes. I'm just gonna copy and paste from my master golden ratio over there and what is really great for his head's. So see how that's really, really close That that size I chose is really close to the head. So now I know kind of where when I'm gonna go back and smooth at head out to match the golden ratio circle. And then now we could start getting some smaller ones to help us with particular areas. So just continuing to use kind of some shapes to get a good idea of the curves to use. Okay, so now what we could do is we can start to adapt some of these curves from selecting our bird shape and getting our curvature tool and just kind of matching it. We're gonna do this a lot in our logo example we're gonna do for the class. So now there's gonna be like a curve to the beak, and we could use our golden ratio to kind of figure out what that curve is going to be. Exactly what I'm going to use our bigger one. I kind of see if we get a curve. That's a pretty close batch. So now we can get a good idea of the curve for that, and we could even get, um, find something to really get that curve going. So let's get a smaller one and see if that matches pretty good right about there and then it just helps us really get our curves correct and have some kind of direction for where to take these curves and bends. And so when it gets a little bit busy and go ahead and make everything a little bit smaller in terms of the path, you can also reduce the transparency cause sometimes it gets a little bit busy and a lot of these may not end up being used. So if I don't end up using maybe this one down here, you don't necessarily have to keep it around. Just gonna keep the ones that you're actually using in the design to help you create the shape. So this this body right here, I could extend this body out a little bit if I wanted to, or I can take a smaller circle shape. I can match that. Just getting the curvature tool. Bring that down. See how I'm kind of matched that curve right there. You kind of see a much better bird shaped kind of coming along. And right here we could find something for that little curve here to find out where that should go. We could just get maybe the bigger one and a nice big curve there. Right about there. You can start to see these intersecting lines and these air opportunities to make certain shapes. And so we'll get to that a little bit. When we do more complex shapes where we start to find shapes within overlapping circles and you'll see a lot of examples, I'm gonna show you another example of someone you know, another talented designer who takes all these circles and finds opportunities in the overlapping parts of the circle to find shapes. So right there, there's opportunity to do that and also this been who could maybe even. 31. Golden Ratio - Part 2: So let's say I'm finding out This body is way too long and I want a short in the body. I may feel stuck because see, this how this goes nicely forms the back of the body and then comes down, informs the bottom. It's not a big deal with golden ratio design. You can get a smaller circle and you could find a different curved to follow. So I'm gonna go ahead and try to shorten this body a little bit. It's gonna line this up. See, I'm kind of lining the circle up here, but also down here, we could follow this circle. So this follows this one right here all the way down and and then we could start to change . And it can follow this one now so I could short in the body. So it's really just following this curves. As long as you follow this curves and they're all within the golden ratio, it's all fair game. Remember, subtracting points that I have too many. I could even subtract this tale and do the tail at another time. That might make it a little bit easier. I could just add that tail and with shape builder tool or the Pathfinder tool. Let me smooth all this out. Get that. I love the courage. Tool just helps me match the curves when I do this kind of work. But now we have a shorter body and we can go and toggle that on kind of see how that's starting to form. If we wanted to go ahead and move this. Make sure that's on the top. Could see that how the rounded head goes make the head bigger, taller. You just combine those circles and find opportunities to use them. And also make sure you keep the circles that are being used. So if you have any circles that aren't being used for a curve, delete them cause it could be a crazy mess if you have something super complicated. So I think all of these circles were being used on some curve at some point. Let's just take it in another direction just to continue to practice. I erase the tail and we're gonna try to make a little penguin shape out of this. I think we got a really good body for a penguin, and I speak that body s so you know a lot of penguins have this little white kind of curve on their chest. And once again, the Golden Race, you can come in handy, kind of trying to find where that curve would start and begin. We could do it here and have it be Come this little area right here, we can get a even bigger circle and try to find the curve that way. So maybe right about here, but what I like to do is find another opportunity toe, line it up with another circle. So see how this winds up right there at the tip of the nose, so that could be a good location. It could also use the shape builder tool to draw and subtract the shape as well. But just get a draw your real quick on top. Go ahead. Make that a solid color when go back and find tune where it bins using the curvature tool, whatever. Till you like to use. If you just like using the pin tool. Nothing beats the curvature tool when you're trying to do curse, though, and we could make this a different color. Could make a little bit lighter, so we kind of know what shape it is and send it behind. It could also put thesis circles on another layer. So you don't accidentally select that? Yeah. And that we could create little feet and we got her a little penguin icon. We could even create an eye with the golden ratio. Let's go ahead and create. Get two of these little ones. It's going. Grab all three. Bring him over. And what I'd like to do is see how these kind of cross over here we could put the I in that location. Seems like a natural fit. Put it right here. Okay, We can make that a fill. Solid, Phil, Maybe use this color we'll have to do is Ad's defeat. And I think we have a little penguin icon here. So we went back and I added just a little bit of a foot there to strew a foot shape. You can kind of see the shape that I drew and just added a circle to kind of get the curve of the Paul or the foot or whatever you call it on a penguin right there. And then I just added, like a little tail and use this curve to get kind of the downward slope of the tail. So with all penguins, this penguin doesn't have any wings. So let's add maybe a little flap of wings here so we can take two of these circles and see what would might make some good overlapping wings. So I'm just gonna copy and paste the same size and see these overlapping. I'm gonna go ahead and make them a different color. You could start to really see them. So you see kind of the overlap that I made here with the circles and that's how you use the golden ratio is finding those overlapping objects. So let's say I want to instead of having to draw over that and do all that, I could just take the shape builder tool. We're seeing a copy and paste cause I want to keep the circles as a reference, and I am going to do a fill on that and then just subtract it. And now I have my wing. Now I could make it the same color here and go ahead and keep these circles here for a reference guides. I could show people how I came up with that shape. And what's really cool is now that I have this have the shape I can find a way to baby position in our angle. It a little difference that matches up with the already existing circle. So you see this circle right around here? I'm gonna see if I can't just bring it down just a little bit so kind of overlaps and intersex. So at least there's some kind of connection with the other circles, so this looks like a hot mess. But what we'll do is we'll go ahead and you can always put these on different leg layers so you can toggle off your golden ratio circles and not affect the penguin. So let's see what we have here. So here's our penguin taking shape, and I decided to extend this white belly portion all the way up through the neck after looking at some reference photos of penguins. So it's really good to kind of check on a real photo just to kind of see uh, in terms of their anatomy, how it looks. So I just kind of did that, and I used the golden ratio is inspiration. I also switched out the color started to put some coloring into our icon If we wanted to add colors are gonna toggle on my golden ratio layer years I can talk a little on and off, and I made it a nice color That's gonna have a nice high contrast. So I can kind of see kind of what's going on here with all these different overlapping circles and what I did when I zoomed in here. You can kind of see my inspiration for doing some of the curves of the neck. So I use this circle to kind of be the curve all the way up and then used kind of curves to go down. So just kind of using the golden ratio already existing circles to create additional shapes . So there you have it also have a shadow here that I cast. That's just a little extra thing I did. And we did this in about 20 minutes or so. Eso not bad for a little icon and 20 minutes with a big help. Ah, from the golden ratio. And so a lot of times I'm gonna go ahead and lock this layer. Now it is have my golden ratio circles. What I want to do is I want to select by circles and you'll see this a lot done with Golden Ratio logos. And I'm in my stroke panel and I'm gonna click on dash line. So let's click on dash line It's gonna make him all dashed and we're gonna make it a much tighter dash. So let's go ahead and make it a two. And so you can kind of see when you see that they have the dashes and kind of make out the circles a lot easier. And I'm even gonna adjust the color just a little bit. There we go. So now people can have a better idea of kind of wear these intersecting circles ours. The dotted lines just kind of help guide the I a little bit better. So there you go. Just gonna add a little bit of color and pizazz and have a final presentation for a little penguin icon s. Oh, that's kind of the basics of how the golden ratio works. We're going to a pub practical local design project. Now we're gonna be doing at this Pacific calm. It's a gym and a spa. I'm gonna put a little client brief in the next lesson. So you kind of see everything we need to know. Before we tackle this logo, we're gonna do the entire logo design process using the golden ratio as our main driver, we're gonna be able to pick out typography and thought pairing. And lastly, we're gonna be applying it to products and doing final presentations. And then we're gonna take this logo and export all the files will meet for the client. We're gonna go through that kind of last half of the process that we didn't do in the coffee guild logo. We're gonna be able to export the files and work with that final logos. We can kind of see all the way to the end process. But you get to do with a different brand. So I'm really excited about this next one 32. Golden Ratio - Student Project: Are you ready for a student design challenge? This one will involve you creating a local design that will simulate a real world client project. Here's the client brief. The full name of the company is called Pacific Calm Health Club and Spa There, a lifestyle gym that offers both traditional gym services but also offers yoga classes and has a full service spa. Target audience is mostly women, with a focus on making them stronger yet less stressed, calm and ready to conquer life. They're both a gym and a spa and their main emphasis on reducing stress. Their tagline, which they'd like to have included in at least one version of the logo, is love yourself healthy. The client would like to see a version of the logo with it and a version without it, so they can use it in many different scenarios. They are located in the Pacific West coast of the United States and want to work that into the logo and brand. Somehow, whether it be drops, waves, ocean themes, they want something simple as well. Nothing that's too complex. They plan on offering a spa shop that would have the logo or logo mark on them, and they prefer to have a logo that contains assemble are just the logo mark of some sort that can stand alone on products if need be, you could post your project in the Q and A or community section of your class are posted right here on the exclusive student Facebook group. This will be a fun and unique project, as everyone will have the same client brief. It'll be interesting how everyone interprets the client brief and adds their own flair and creative style to the client. Good luck and have fun. 33. Golden Ratio - The wave Logo mark: Now we're ready to conquer a real practical client project. So you hopefully had a chance to review the client project you're now tasked with with creating this logo, and I can't wait to see what you come up with. I've already seen some really talented entries by some students, and I love to kind of look at those and review those. But anyway, I let's go ahead and go through my process of how I went through the same client challenge and we're gonna go ahead and draw what I thought would be my inspiration for this is the waves, because they're on their on the Pacific Coast. Let's focus on the waves. We can make these really calming waves. I think we can use the golden ratio occurs to kind of make a really nice calming wave. So it's gonna be kind of what I'm gonna be playing with here. So what I'm gonna do is instead of just trying to make waves with circles and trying to drag them around to create intersecting lines, what I'm gonna do is able to get my reference photo. But I'm also gonna, um, kind of draw ah, wave and then adapt the golden ratio to it. So it's got a kind of draw kind of a generic wave, and then we can go ahead and start adapting it. So I just went up Exel's dot com or anywhere you want to find some free photos and kind of downloaded this to kind of get some inspiration for the curve of the wave. Just something to look at while I'm drawing this way to get an idea of kind of emotion and the anatomy of a wave. So I'm gonna go ahead and get the pin tool. We're gonna go ahead and draw, so I'm just gonna draw a lot of times what to do. So if I have the pin tool, I can click and hold. Don't get some pretty nice curves that way. But if I start without with a curvature tool and get a lot better curves, so I have the curvature tool now instead of the regular pin tool. And look at that, I'm already able to create a really nice looking wave what I love about the coverage of tools that can add points in between to accentuate and get it into a sharper angle. I always go back and adjust anything I want to. Okay. And so, numbskull, switch back to the pin tool, and then I'm able to close the shape out. There's our first little wave. It's gonna go ahead and make that a fill when go back and we're gonna use the golden ratio to get it a lot better than what we have here. What I thought might be need is to kind of copy and paste this make this a different color . So let's kind of bring this in and see what kind of intercepting lines we can make. But we're just getting a really rough estimate. So I want to see the white on the top, but also kind of want to see a little bit here on the bottom. So you kind of see the little bit of lighting that comes down here. Okay, so that looks crazy. But what I want to do is I want the shape in between here, So I'm gonna make this a fill, and I'm gonna use the shape color tool, and I'm gonna punch out all this excess. So just holding down option and punching out, trimming it all up. So Now I have the outside in my wave and I have the inside of my wave. And one thing we can do is create a copy of this and kind of do kind of a negative space and have another little wave kind of punching out in the negative space because I think if you have to rolling waves, it really makes sense that it's an ocean. There's just way more than one wave will make it very obvious that this is Ocean Wave. I think the one thing one avoid is making sure it doesn't look too busy. And there's not too many angles or curves going on so we can make this white so we could kind of emulate that cut out. Or how that would look, just trying to find the right position once again that we're gonna use the golden ratio to really find out what type of placement will be good. According to this, waves of both waves will have some kind of connection with each other with the golden ratio . So I'm just gonna continue toe, figure out the placement of that, so let's go ahead and get that golden ratio. Applied times get a copy and paste this and start to do some application. And so if I change the sizes of the circles, I need to change them all at once. So this is when we can kind of get this bid on there. Okay, so now I'm already seeing kind of an opportunity, a couple of them to maybe see how this wave kind of. And I'm gonna go back up to the one we just copied and pasted. So you see this wave and how it just kind of ends sharply right there. It doesn't kind of have this Smooths is so smooth. And then down the hearing of its kind of sharp edges. And this little sharp edge right down here will not produce really well on printed materials and embroidery. You wanna have a little bit of a smoother cut out? So we're gonna do that using the golden ratio. We're gonna go down here, and we can use this circle right here on group this to maybe trim that and give it a nice circular cut on the bottom. And then up here, you can see ways where I can adapt this using the curvature tool to get a better match, so I can't even bring this all the way over here and same thing down here. We can crop that. So let's take this circle right here. I'm gonna go ahead and make it a different color so you can see which one I'm talking about . We're gonna be trimming this and I'm gonna get my shape over tool, and I'm just gonna trim it. Just like that. We made a nice trimmed shape. So having to redraw is very common. So you might get to a point where who crop that wrong or it's just you take away the circles and you're realizing that's not quite the effect I was going for. It's very common to kind of start over, so I kind of redrew the waves a little bit here to kind of have a more kind of top down or so it's not coming. The waves not crashing too far is kind of caressing, so just kind of showing you kind of my thought process here. Let's go ahead and adapt this symbol now to the golden ratio. So this one will be a little bit easier. And I'm gonna take that coverage a tool. And I'm gonna continue to adapt this to this circle and feel free a zoo always to take the pin tool and delete anchor points if you think there's too many or to add them if you need to really had a chance to move this into specific circles. And this is just a matter of me taking those golden ratio circles, duplicating them and kind of arranging them in a way where I wanted the curve to bend are one of the wave depend. So you notice that it had takes 123 for four of these circles was going make that a different color Were these circles to really kind of create the wave shape there and they're just overlapping. And I'm using where they overlap, took help, make corners and to help make points where they come to a point. And so now this is a hot mess. We got a lot of intersecting circles here, so I'm gonna select everything, go ahead and de select my wave, and I am going to change the stroke on this. I'm gonna add my dash lines. Let's go ahead and do a two point dash. See how that looks kind of reduced the weight on that and even making a little bit of opacity and a little bit transparent and then group them together. So now can really take a better look at all my intersecting areas, make any last adjustments, make sure everything is pretty precise with the golden ratio. You want to be precise. We're just gonna go around with the curvature tool, do some last tweaks and edits, okay, And I think we're ready. I think I'm really happy with that symbol. Ah, we can go ahead and remove our separator, really copy and paste it over to a new art board. And we can really start now to play around with color. We can also start to work with typography and arrangement to see if we can find some really good typography for the logos and a really nice tight base and you'll notice with the wave . I have the lighter color on the top to show highlights and kind of the darker inside of the wave is a darker shade of that same blue. But colors aren't really final. As we discovered in our first local design, um could actually turn this back into black and white while I work on the typography. And then we're gonna get toe, have a chance to pick color palettes and this we're gonna take ah and do a final client presentation where? Let's say we've already gone through the concept process. We've kind of gone through that together with the coffee grind logo. We're gonna take this a step further and after Klein approves it, presenting that final mock up where we choose the color palette and we present this and a really, really nice way to get that final go ahead to get those final files, that's a final step. After you have a logo approved, you send all the final files that were going to do. We're gonna go through that entire process. So let's go in here and try to get the right balance between typography and the logo. Mark 34. Golden Ratio - Work With Typography: have a fresh new illustrator document open and ready to play around with local balance, but also work out what typography we're gonna use. But 1st 1 thing that kind of helps me out is start to incorporate grids and to help them, you find this balance. So I'm just going to do my shortcut. I'm gonna be doing this a lot. Going to be doing my command and quote, Go ahead, do my shortcut. What I like to do is I like to kind of use these boxes to kind of line this up. There's some kind of order here, and I noticed, Don't feel like you have has to stretch all the way perfectly around the box. Not every logo markets going to do that, but leaves. It gives you kind of a point where you have a bottom and the top kind of a line and you have this little bit of extra on the end. And it's a very similar space here, so just is gonna be for overall layout of the logo. So I'm gonna go and toggle that offer now, just doing my shortcut and let's figure out the right typography for this. Let's go ahead to spell it out. I would like to do it in separate text boxes and get a good idea for size. This is this the default Mary add font and we can find a decent placement, so I'm gonna find the right type face first. Because certain typefaces stretch out longer than others, it's gonna mess up our balance. So let's find the typeface first. And then we could start Teoh. Incorporate that in terms of sizing, so type choices. I have a really cool guide. It's a font. Pairing guide is a downloadable resource. You can check it out. Kind of gives you some font pairing choices that I like. Of course, there's hundreds of different ones that look great. It's really up to you. But to some I've used in the past like pairing a san serif typeface with the Sarah and just kind of some no nose of kind of you never want to put to very similar local types or are typefaces together because then they don't They're not differentiated enough, and I think that's the key to font. Pairing is finding differentiation and contrast between your words so they could be read a separate words. So Pacific and then calm could be a little bit different or treated a little bit different . We could play around with that idea. So I'm gonna go with a kind of very standard, very skinny railway regular. So this is railway regular PSA San serif typeface, and we could be consistent. And if we're gonna do all lower case, let's make sure everything is consistent with lower case. And so this is when we really are gonna be copying and pasting and creating lots of different iterations. So this is when it gets a little fun and a little messy. So I'm gonna zoom out a little bit. I'm gonna end up having 20 or 30 of these things to kind of see what typeface is really starting to match with the icon. We have a very simple flat design. Very. There's not a lot of detail. There's not any drop shadows. So we want to kind of pick a typeface that's gonna emulate that. That's gonna be very simple. And I wouldn't even mind a thicker, tight face either, because we have this nice comes some pretty nice thick lines here with our wave, you know, there is a big, solid areas, so I wouldn't mind a big, chunky typeface or one that's a lot thicker in its weight. So let's do option and let's do this. We're just gonna hold down option and we're gonna go a little crazy here, Okay? So we can figure out different arrangements. We can have one and where it goes all the way across in one line, and we can also try it with caps and then we can keep going. Or we could try it with all caps so it could simply do that. But going to character going down to a little drop down menu, and I'm just gonna click on all caps there. It's kind of a way to do it. We can even take this and do all caps and do a staff to this call a stacked version they stacked on top of each other and we can even go further. Wouldn't with that, and we could do wide spacing. We'll do current in a little bit layer, so we want to have some white tracking or spacing between the characters. Let's try that. Do a generic kind of number. You can always find tune that later on, we can, uh, see if that works. We could even try a horizontal arrangement. Copy. Kind of. See how messy and quickness processes. We can close the gaps between that one. We could even make that a script typeface or some other type face. But we're gonna do font pairing a little bit later. So getting ahead of myself, we can close the spacing again. 20 You can even find a kind of a thicker typeface, so you can already see. We're starting to come up with some ideas here. Let's kind of fine tunes and fonts. I think the arrangements are really good. Let's do a couple more. Using this thicker arrangement, we can even put a line here kind of a dividing line. It helps divide the logo mark in the logo type just a little bit. It could also add a level like a little bit too much busy nous there. It really depends. It depends on how simple the logo type is, and if it needs some kind of separation from the logo mark. Sometimes it could work really well in some cases, but I always like to have an option where I'm trying it out. Maybe have a center alignment here. Let's kind of puts a really, really wide spacing here. And let's do a really dramatic 1200 points spacing between the characters. Maybe make that a thinner typeface just like that. Kind of checking some stuff out, saying what looks good trying to see if lower case looks good or often all upper, all caps, all capital looks good. I think we could maybe do something different with this arrangement. Maybe we can make keeping with the same typeface because I'm really playing with the idea of thickness and position. I'm not so much, uh, changing up the typeface because I'm just kind of getting an idea overall type layout and whether it's gonna be caps are all caps. So I think we're getting some really good options here. Lots of different combinations. And this is when I like to go in and have already spent maybe five minutes after I recorded the last section and just kind of messed around a little bit of thickness and trying out some different combinations. So, with down here, you can kind of see So you noticed this one right here So I want to talk a little bit about kind of weight of type and contrast between different words. So right now there's this same exact contrast between Pacific and a calm. They're both bold. They're both in the same way. They both have the same spacing between the characters, and it tends to kind of lose something. There's not a whole lot of characteristic to it, but as soon as we may be changed the contrast a little bit of some one of these arm. So in this case, we can make it a lighter weight and maybe make a little bit smaller and add a little bit of spacing. You start to see a lot of contrast between the two, and it starts to kind of, uh, pique your interest a little bit more. So see how that looks a little bit better. How that has that little bit of contrast. So you don't have to do contrast every time you have two words. It's not necessary. I notice a lot of time. If you have this arrangement, go ahead, type this out. A lot of people do this with logos will have it together as one word then contrast is very , very helpful when they do something like this. So notice how that contrast works really well to divide the words without actually having to have a space between them, so that could be helpful in some cases. So now let's take a look. Now that we have some really good contrast between all of these different ones and really good arrangements, I notice I have kind of a right alignment actually looks really good because you have this kind of flow from the right to the left. They kind of have that full O moving to the left for the wave. And you have this nice, strong anchor where you have this right alignment and I think that looks really nice just because it kind of pairs well with the iconography and looking at some of these. This has a really nice contrast this so far as I think, one of the stronger ones, because it's really, really readable when you put this wide spacing between upper case letters and looks really elegant, but also makes the word can go further distance, and it kind of helps bring more attention to the lettering and the company name, which is a very, very vital toe. Have that attention focused on the name, especially with the brand that's new and needs to get some brand representation and some acknowledgement. It's really good to get that name out there, So that's why I put the wider spacing another thing. I know a lot of students do this. They love to use white spacing with lower case lettering, and that isn't Let's do the same spacing we had before and it could work in some cases, especially with the thicker the typeface, that the better it works. But I noticed that all caps look a little bit more elegant, a little bit more mature. They're stronger. So you have a stronger character that goes all the way to the top of the cap height, um, and typography and it just works really, really well. So now that I have a chance to kind of look at all the options that I have in terms of lower case and upper case, I'm definitely feeling a draw toward the All Caps as opposed to having the all lower case here. I think it looks a lot stronger. I think it really brings a lot of emphasis to the name, and I know there several instances were using lower case letters brings a softness to the logo. And when you think about Pacific calm, it makes a lot of sense toe have some lower case since lower case or perceived as more gentle and soft. But I think in this case on the upper case is starting to work really well. But we were still not gonna close the door to using lower case if we need to, cause this one could be a really good strong contender as well. So I'm keeping all my options open. And this is where when you do client presentation like we did with the last logo in your submitting ideas, this is where, when you kind of help, help the client out by picking out what you think works best for the client and so picking maybe three of these different options, they may want to go with lower case. You wouldn't go with uppercase. It's always good to provide them with some variations to take a look at, especially when you get down to that final concept. So what did the coffee logo with three different concepts. We narrowed it down. At this point in this logo design we've already established the concept of the wave had that approved, and now we're trying to get that final logo concept approved. So we really get toe, explore typography and way more detail. Now that we don't have several concepts who just have this one wave concept, we can really focus focus on it. 35. Golden Ratio - Working With Typography - part 2: So I went ahead and I lightened all the type to match the logo Mark we have. So we kind of can get an idea of. I pretty sure I want to use color for the topography. So just doing a nice kind of darker grey instead of a harsh black, so I could get a good idea for what a color shade might look like. So right now, we're just using railway tight faces entire time. We haven't even gotten to the idea of font pairing or using two different typefaces yet. So what I do is I copied all of these and I put it in another document. So I have that sake. So if you ever want to go back and refer to these original ones, I can, because now we're gonna look into different typefaces. So now we're just using railway and let's go ahead and reduce all of these cause it's kind of crazy to change all of these up. Let's eliminate ones. We don't think you're strong, So I think there's not enough contrast in the weight is way too thin here on the upper right. If I zoom out on this upper right see right there. It's really hard to make out that type, so let's go ahead and eliminate that as an option. I remember saying this was pretty strong, So let's keep him. We're gonna keep him. I think the bottom right is really strong. I think the there's not enough spacing here between the characters and since it's all uppercase and it's also tight spacing, it makes it look almost angry. Makes it give it a more aggressive kind of styling. So I'm actually gonna eliminate that one as well. I think the dividing line. We have this really nice, simple, clean icon. I don't think we need a dividing line because I think it's pretty clear the division between the type and the logo Mark. So I'm just gonna eliminate that as an option. I think this one's too might be to horizontal. Um, you know, it might take up too much space to the right. Of course, we can always have a vertical and a horizontal version of the logo. I might keep him around, just as an option is gonna kind of took him away and, um, other other options. I think we lead to probably have more emphasis on Pacific rather than calm because we do have the wave and we're tying it back to the ocean. So I think the ocean and the wave. So I think the word Pacific needs to probably be the one that's bold, as opposed to calm because calm, we don't want to have that be a big, angry word either. We want to have that be soft and small, with lots of big spacing between it, so I can eliminate that as an option and have all these saves. So if I deleted, it's not a big deal. I think this looks good. I really like that smaller, calm there. So that's gonna hang around. And I think having there's not enough contrast between the lettering here, I'm just gonna go ahead, eliminate that I not a big fan of that one. I think the lower case, it doesn't make it a really strong Pacific comet. Kind of kind of wimpy, you know, I know lower case could be uses softness, but I'm just not really feeling Since this type is standing all alone in space, it probably needs to have a strong problems to be capital just in this case? Not always. And so here we are. We only have three left that will make it easy to find different typefaces. So here's the three we're going to find different typefaces for so you see how quick this whole process has been? It's been about 10 minutes. Were already making some great progress with our typography. So let's find a really good typeface. We're gonna keep those up top. And here we are. We're going to go ahead and scroll through and get a good idea for what type of tight face we want to go for. And so this is where we need to decide. Do we want to have a serif typeface? Ara san serif typeface? So tariffs, obviously a great for high end elegant brands. They can also look dated if they're used improperly, sand scarabs or modern. They're clean, you know, very contemporary. So it depends. This is where we're gonna figure it out. So let's figure that out. Let's pick a few serif typefaces kind of see what we're thinking of. Kind of See how that looks. Okay, So here's some serif typefaces. Let's try a couple more. So I'm not really feeling the serif typefaces has a nice elegance, but we really want something that looks good when the logo small, because this is gonna be on lots of products and yoga pants and water bottles. And we really want to make sure it's a nice, clear, clean, tight face. And sometimes with Sarah ifs, they can be great and beautiful, but they can also be very intricate and have small, thinner strokes. And Sarah ifs. And so it could be a little bit hard to really make out when you're zoomed really far out. So I think in this case, that's making me to side. Okay, let's stick with a San Serif typeface that'll make everything a lot easier. So now that we've determined that we're getting closer and closer to what we need, so now we know we're looking for a safe San serif typeface, so that's kind of that's got some character to. It's got to get some waves in the typography, you know, that's that's interesting. That's interesting. Oh, I can even try this as, ah, lower case just really quickly. But then again, it's very, very distinct, very different. And what we have is this really all these beautiful curves and the logo mark. And wouldn't it be nice to have a typeface that contrast that? So instead of all the smoothness, you don't want the typeface to compete with the local mark and you don't want the logo mark to compete with the typeface? It would be nice to have kind of a more cleaner presentation. So let me do our typical as a Sands black. What I love about As of Sands, it's It's very flexible. It's got just really nice, clean, chunky Wait, So let's try that out. So now that I'm kind of doing this a little bit mourn and trying to figure out what's ah San serif typeface I should use, I'm also starting to figure out eliminate more options. So right now, I think I'm actually gonna eliminate this left option. I'm thinking these two are starting to come out as the stronger one, and I'm really thinking having more contrast to that doesn't have as much contrast in terms of the the font thickness or weight. But this does so I'm more and more. I'm starting toe whittled this down and starting to really focus on this one a little bit more, but I'm not gonna eliminate that quite yet. Let's try a different San Serif typeface. Avenir. That's a nice clean one. Sometimes you gotta zoom in and kind of see the, um, the specific characteristics of the typeface, so that's gonna be way too thin to be practical, although it looks really beautiful sometimes when you run into a very thin type type face and you love it and you wish you could use it. But they only come and maybe one wait. Sometimes they come in other weights, and that makes life easy. But if they don't, you can always copy and paste it. And you can add a stroke and you can kind of thinking it up and you could go and do around cap. And you can also do around join, and you can think it it up just by adding a stroke to it. So there's some typography or typefaces that looked really great then, but they just don't have a thicker version. And so that's a little cheat that you could do. And they can always do path outlines stroke to make sure that your stroke doesn't change when you make it bigger And so this when it comes to fought pairing if you download that little font pairing cheat, cheat guide I do talk about how Sarah ifs Pair well, or since our Sarah's pair well, with San Sarah ifs and so same thing goes here. Perhaps a serif typeface might pair better with us Really nice. Um San Sarah, There we go. This one is Minion, I think, Minion, Variable concept. And this one is as of Sands. And so one thing I do notice when I look kind of zoom out that thicker San Serif really, really is kind of gonna be the right choice, because I could really make out Pacific even when I zoom all the way out here. So this is your really good way to check? You know, logo, That is to check its visibility by zooming out quite a bit. It really helps make need helps me make really good design choices and decisions. So with that said, I'm eliminating this. I'm eliminating those. We have our winner ding ding, ding ding. We have our winner, but they're still slot to do. When he didn't get the grid out, we're gonna talk on my grid We're gonna go ahead and start aligning this so we can get the right balance between the logo mark and the local type. 36. Golden Ratio - Using Grids: So let's really start to utilize our spirits here. I'm gonna go ahead and line some of this up to our grid. This will help us find the right spacing and the right balance for certain items. I'm gonna create outlines. I'm happy with this facing that'll just give me a little bit more control over the type. I could also select both elements and do a perfect center aligned for those. Doesn't those air now center aligned? So now we need to find the right balance for our little symbol here So I could put it in one box just like this. And then this takes up three boxes that takes up one box. So the local mark is 1/3 of the width of the type we could find out if that's gonna be good or if we need to make it bigger. That's fine. But that's it perfectly aligned to the grid. We can also put spacing here so we can have this rest on this bar and then move this up. So there's one row of boxes difference between the top of the bottom. And then there's two here, So why don't we bring this down we have, like one bar of spacing here in one bar of spacing. Here, bring that down the bottom of this particular box. It just kind of helping us Guidance. And when I zoom out, I think the type the typeface is too big or the typography is too big. Um, just assemble needs to be a little bit a little bit bigger. That's okay. We can always make this a bit smaller. Bring it back. Didn't have to go all the way on the bigger boxes. You could bring it down. Put two boxes space here and two boxes of space here. And not everything has to align to the bigger boxes. That's not a requirement. The grids air just to help their Not something you have to abide by perfectly. There's some optical adjustment you can always do manually to get the right balance. So when I zoom out, I think that looks pretty good. We got some good spacing there. Let's go ahead and make sure we have the same spacing. It's going have the tip of this, so we have the tip of this left side. Let's go ahead and take this and make it big enough where the right side balances, so that's taken up one width of a bigger square in terms of balance. I think that's looking good. Let's go ahead and toggle offer grids for right now. We'll need him again later. I think this strikes a good balance from what I'm looking going for. So now let's really, really hone in on our type choice. So we have our type choice. We're pretty happy. What I think I could do is Aiken soften the type characters and give him a little bit of a rounded edge. Like I've done a lot throughout this class. I just think it adds a little bit of a modern touch just softening those really sharp corners, especially since we have a wave. And this is a female kind of spawned. We want to kind of have a softness here because, you know, we decided to go away from the lower case, which has kind of a softness. So we really need to soften this this Ah ah, this thicker typeface. So I'm just gonna go It already created outlines. I'm just gonna kind of soften all the edges. Oh, you know what? I just did by accident, and this happens quite a bit as I made a little drop, a little water drop here out of the A And that's just when I saw from the corners. When did that soften the corners? It rounded that a kind of made a little water drop and out of the negative space there that that's a total accident. But I think that's definitely an element I would want to bring up to the client say, Hey, look at this, you know, And don't tell him it was by accident to tell him it was, You know, your creative awesomeness. That's what you want to tell them. So that's soften the type a little bit and let me go back and just reduced this just a little bit more. Notice how the sea characters in one box and the M is in one box, and they're both one over from the center square, so that that's good, so great. I think we're good with type, good with spacing, the balance. So now it's gonna be discovering color and color palettes, and then we're gonna get different arrangements because this is a great logo when you have lots of wide space to place it. But logo's always have to fit. And in these very awkward spaces, they have to spit on these really small social media spaces and square spaces on Instagram . We're gonna create a lot of different sizes and variations. And then finally, once we do the colors, we get all the different variations. We can send all the files, the client, and get those ready, and then we'll be done. 37. Golden Ratio - Adding Color: I'm gearing up, getting ready to get some color palettes going. I wanted to go ahead and make the other version of the logo that's gonna adapt to horizontal space to have a nice vertical logo. And now we need a burr horizontal logo. So this will be relatively simple. I'm just gonna do a left alignment here and took it over here. And once again, I told you, we're not done with grids quite yet. We're gonna go ahead and match this on the grid just like we did with the top one. But with a horizontal, we moved typography, So we need to make sure that looks good. I'm gonna put one box difference between the logo mark and the logo type, and we also want to have some good vertical spacing. So let's make that a bit smaller, and we wanna have maybe one box between the top of the P and the top of the wave and then one box below it's going make this a little bigger. Until we have that. I'm on color dot adobe dot com, and I'm gonna find a little bit of my my logo palette here. A little bit of an inspiration. This is the color wheel. Um, you've already comes. Have a few Resource is on the color wheel that you got on the theory lessons of the class. So far, we kind of know a little bit of the color harmonies. These are all the different color harmonies you can use, and I'd like to do a could do monochromatic, which would be nice. But I also want to try out some analogous colors because analysis analogous colors a really tight together on the color wheel. So they have a nice harmony that way. And I want to go down to the blues and the greens because we're dealing with waves. We're dealing with the Pacific Ocean. Tighten that a little bit. I think you could make him lighter or darker, but I do the middle one. They all kind of tend to come together or go together. So just trying to get some inspiration here is moving this around. We could bring in some purples. There's all sorts of there's other way. That's a really beautiful palate right there. I can see lots of jewel tones, kind of. I got a little purple in there as well what I love about this. It also gives you the hex codes which are right down there, which is great for digital or RGB environment for the web. And you could also go down here to color mode if I wanted to see if y que, which is what we're gonna end up needing. Our logo designed in is the scene. Why came out then you have all those there, and it gives you the sea wishes sign and the M, which is magenta. The why? Which is yellow in the K, which is black. It has all those numbers down this column for you. So it's just a really awesome tool. It's color dot adobe dot com. For those who have not checked out, it's totally free. By the way, you could also explore different trends as well. If you just want to kind of see what other people are doing and gets an inspiration that way, so you have fashion. You have graphic design illustration. You confined awesome color palettes that way, so that color palette looks really cool right there, kind of like the the sunset colors there. So that's something we can add to your library Let's take a look at this one right here. I'm gonna go ahead. I'm gonna do something a little bit easier. It's going to take a screenshot. I can also bring in these colors manually. If I wanted to. I can Also, if your Adobe Creative suite subscriber, you can save this to your library and you can call it out when you're in. Adobe Illustrator. There's also something new. If you have the Adobe creative cloud and you're able to have the most up to date software one of the benefits that has got vice new tools and an updated software there's also this new thing that you can click on. Go and click on this icon right here in your swatch panel, right there with the adobe color themes, and you could explore themes right into Adobe Illustrator. You don't have to go to the color dot adobe dot com, and you could do pretty much the same thing we did here and start applying those colors so you can save them to your library. So there's highlighting my colors and bringing this color palette in very nice cool color palette. You think cool colors. They're gonna be selecting these two and let's do our darker blue and let's try purple. And there's not enough contrast there between the purple and the blue, so we can just keep moving on something that does have, ah, higher contrast. So here, we're gonna do the same thing that we've been doing throughout. We're gonna make lots of copies. We're gonna go ahead and hold down option. You can also use inspiration photos as well, just like we did when we create our mood board. So now we can explore purple, and you don't have to stick with just these. You can continue to work in other color palettes. You go to explore and find a lot of ones that are already on here on This is just using adobe color themes panel. You can also do color dot adobe. If you have an outdated version and do not have, this is an option with an illustrator 38. Golden Ratio - Color - part 2: they're just really coming up a lot of different combinations based on some of the themes that I found and kind of combine a couple of different themes as well to try to find some right colors and some right color matches. I even brought in a photo to try to get some inspiration, but realized a lot of waves are a lot more naturally green than I anticipated in terms of the photography of them. So they kind of have almost like analogy a little bit of, ah, dirty water to kind of looked in what you would think when you think of water. So I decided to move a little bit less from the inspiration from the waves in the photo and a little bit more toward finding what I think are naturally pleasing combinations using these color themes and one really important thing to make sure that you do when you're starting to do color. You know, we transitioned out of working with typography and working with creating the local mark. We really want to make sure we are in the sea, and like a work environment, you can always see if you are on your little tab here up here, it will say, See him like a If it does not go to file, go all the way down to document color mode and just make sure that selected you might notice a little shifting of the colors that's very natural. It's a totally different color profile, but see him like a is what you used to print. So what I'd like to do is do all local designs in a print format, and it's a lot easier to switch it over to RGB once. Once we start getting all those files out, they need some digital ones, which the digital ones will be. RGB and all the print logo files will be and seem like a. They have to kind of have little seems a little complicated, but once we start exporting files, I can kind of go into a little bit more detail. So here's kind of some options we have. There's some I like more than others, I think kind of the lighter colors are more calm and inviting. I think these darker toned colors tend to be a little bit more harsh on on the I, and they don't really exude a sense of calm and peace. I'm gonna start eliminating the ones that I think might be a little too strong. I tried kind of get him getting some inspiration from photos. And I got a lot of greens out of out of water and waves and and I don't know about that. So I'm gonna kind of stick with the blues there. I'm gonna go ahead and get rid of the green and the blue. And so these air kind of ones that I'm left with and we could continue to figure out the right color. So I'm gonna spend another five minutes just tweaking color. You can even just do this by hand. You don't have to use anything over here. You can just double click on your swatch panel and just lighten it. Change that the shade in the tone of each one. Make it bringing a little more gray elements, or it could make it a more pure shade. You make it darker, so anything that, uh that you feel drawn to, So I'm gonna do that here for a few minutes. Try to find they're right color combination. So when it comes to color and logos, sometimes what you find when you have this kind of elaborate, really strong logo mark. Sometimes it's nice to have kind of a less dramatic tight face color. So for Pacific calm for this bottom one, I decided to do a neutral gray kind of a medium grey and go and double click that show. You kind of right there in the middle. Um, and that kind of brings out the color of the logo Mark better. Because when you have this, you have the the typeface and the local mark kind of fighting against each other for attention because they're they're both colorful. So with this, this really helps the viewer kind of look at the waiver, the crest of the wave a little bit more so just kind of. That's my kind of thinking by maybe choosing this bottom choice as my final. So there you have it. We have a vertical logo. We have a horizontal logo. We have a little small color palette going. What we need to do is we make me to make this local very adaptable to all environments before we're ready to send this. Let's say we get approval when they say I love it. So you would send them kind of the screenshot. You would put more detail. I'm gonna go ahead and attach as a downloadable resource. Um, kind of a little cheat sheet that I have of how I present my final local designed to a client when I'm presenting the color palettes just kind of helps show them how this logo can expand And how, um how How? Which color palette? Why I chose the Color palace is kind of a little guy that I said the client. So go ahead and attacks that. So you can see what I did with this other logo. That So let's say they approve it. They say Awesome presentation. I think this looks great. I'd like to see it on all environments, so they want to see it all white on a colored logo. They want to see it on a darker background. So that's exactly what we're gonna do right now. So have this nice big art board and I'm just going to hold down option and drag, and we're gonna adapt this to a darker theme. Were the first just do a neutral dark gray. So how is this going to look, let's go ahead and zoom in. This could be a simple We're just gonna make it white. And this is when we really start to figure out our color color pilot choices, you know, Are they gonna translate really well in the dark background and look at that. We could see how our color choices look really good on white, but on black, they look very muted. They look a little dull. And this is when we really configure out all this color palette stuff because we're not going to know if we only design on a white background how it's gonna look on a dark background. So let's tweaked these a little bit so they can still keep the same kind of contrast on the white. But it also looks good on the black, so it just might be just a little bit of tweaking, a little bit of lightning, just a little bit of light, lightening up for things. So I think that still looks good on that side. Notice the difference. I actually kind of like the top one a little bit better. It's gonna adapt all these, and I think it looks a lot better on the dark background, so it's really great one to do in color palette exploration to explore on both backgrounds . Please, please do because it'll it'll actually make you change the exact color shade quite a bit, just like we had to do. So there's kind of how it looks on a dark background weaken. Try a very colorful where start. Think about branding. We're moving a little bit outside of the logo signs starting to think about branding That's natural for any local designer. You might be the one doing the brand extension. I teach an awesome class where I take a brand. We create the low before it, just like we did here. But we keep going. We keep doing everything we do a product design. We do flyers. We do that. We just do the whole brand extension. So that's a fantastic classes called the graphic design mastery glass Um, the complete branding process. So if you're interested in keep going beyond what we did this in this class way beyond logo design. Starting to get more into the total branding package stuff. I highly highly recommend that class 39. Logo Design Presentations: So I created a little radiant using the freeform Grady Int tool right here in Adobe Illustrator's Kind of shifted some colors around here because I wanted to be able to test it down on a colorful background to see how it also translates because we also want to have a white version of our logo that's just pure one color and white. We need to make sure it works well there, too. That's how it would look in all white, kind of lose a little bit of the detail here by making it all white. But that's OK because he always use a little bit of a drop shadow there to indicate the bending of the way. I think that works pretty well there, and we just got to keep seeing how flexible our logo is. We need to now do a gray version, so let's go ahead and copy this a black and white gray version. So you know an easy way to do this is go up to edit edit colors, and I'm just going to be going down to convert to Grayscale. It'll convert everything to gray scale for me. I may need to go in and brighten up some colors or put a little bit more darker ink in there. So I think it adapts well to black and white. So that's great. It's good news. So you could see how we're putting it in different environments and it's doing well. So that's that's a good sign. So we have all these different environments that it works well on. And this is also what you want to present to The client is showing how flexible it is and that you thought about all the different scenarios because it's gonna be it could be embroidered. It could be printed on a metal sign. And you're gonna need to have all these different options of one color. You're gonna need to have it on a darker background. You need to have some full color detail person since well, so we've made a lot of progress. I'd love to kind of test this out, putting it on some products because in client presentation, that's also really good. But before we do that, we're gonna do a client presentation page. We're gonna pretty much get this all final. Let's get this in a position where we can present it to a client. We're gonna open up a new document. We're going to a series of 8.5 by 11 but or whatever kind of standard is in your country, we're going to an 8.5 by 11 inch document working to present. I would say that they've already approved the concept that they haven't seen it adapted and the final type choices yet. So we're gonna present them with both of these versions. The horizontal were put lots of white space between this. In terms of the presentation, we're gonna do the darker line first, and you could do your client presentations. However you'd like. I have that other downloadable resource to be kind of like how I did it there. I like to kind of explain a little bit about what they're seeing. It always kind of helps. This is what I have for one of the pages for my client presentation. And what's great about this is if you're doing this for a personal logo, you can always ah, have. This is a fantastic portfolio piece portfolio, pdf or just great images to put on your portfolio. So be thinking about that as well as you get to kind of constructing that a little design portfolio. So this is kind of one where I'm showing the flexibility of the logos. We have all the different backgrounds. We also want to present the color palette path, the hex codes. I borrowed this from my document that you can also download right here. So I just got a borrowed that so I could easily adapt everything so that we can present the local were also get a percentage and grids the same the same way we did with this logo. So I'm just gonna do my hex colors here. Just go ahead and do my adaptations. It also made these colors. I know a lot of people do that start getting a little bit more in their branding side of the local presentation. That's okay, that's all wrapped up together. Sometimes when you're a local designer, there's a logo palette wouldn't go ahead and load, and I like to kind of use some similar colors and my presentation that I have in the brand just to kind of be consistent since making that a lighter color. So if we used, we went out of her way to use the golden ratio logo. We also adapted this two grids, and I think it really shows a certain level of professionalism when we think about grids when we think about the golden ratio. And, of course, not every logo needs the golden ratio. But when you do, I think it really goes a long way and presenting your Llevo that you used a method used a proper process to make it look come up with what you did. You just didn't slap it together. There was a process. There was a formula, So definitely show that we're going to show the grid. I got this grid system from this over here right here, the downloadable resource. I was able to kind of copy and paste that grids a picture. If you ever want any of that stuff, you can easily grab it in that downloadable resource. You don't have to create it from scratch. That's need to make that a little bit darker. This grab our horizontal logo presentation, how we had a poor so there's so many ways you can show the flexibility logo in a logo mark presentation. So in this sample, we have a watermark So we had a nice, easy logo that can adapt to a watermark. And I think in this new logo I think we have that same chance to show that office. Well, I'm also there's other ways you can present it. You can actually put it on a T shirt in a couple of products as well and show the local application and working to do that, too. So let's do the watermark, and then we're gonna do some. We're gonna put on a water bottle, and we're also gonna put it on yoga pants and a couple other things, maybe a T shirt to kind of really show how the logo looks on products because that's really important when you're doing a local design is seeing it in real life. And then sometimes getting a really thing printed is not practical. But there's some awesome mock ups you can download Photoshopped mock ups that we're gonna use. So let's do the watermark and let's grab the grayscale version because I think that's gonna adapt to a watermark a lot easier than a color, and all we have to do is reduce the gray quite a bit so they could put this on the back of a letterhead and still read the type over. Top of it is usually watermarks. Have type on top of it. Make sure it's still illegible. We could just mark that as watermark. So there we have it. We have social media, We have a watermark. We have the golden ratio. The grid system are color. Palettes are adaptations on different backgrounds. I think if your logo fails some of these tests, you're gonna find out when you start to develop this particular presentation, you're going to find out if it doesn't work in a single color, you're gonna find out if it doesn't work in black and white and you're gonna find out if it doesn't adapt. Ah, well, is a watermark or a social media image? This is a great test to put your logo through. And as you work your logo through this, you're gonna be making some tweaks and changes to your logo for the better, so it becomes flexible. So next we're going to our final thing. We're gonna put this logo on products to see how it actually looks. So it can really present that in our portfolio presented to our clients and also test out the logo to see if it's worth continuing with the particular design 40. Using Mock Ups: Welcome to Adobe Photo Shop. We're now in Photoshopped, and I downloaded in a great template. Ancona. Go ahead. Put the link in the resource guide to lots of different resource is you can use to put your local on mock ups. And it's from graphic burger dot coms is, ah, yoga pants, which would be very fitting for the type of client that we have. And if you don't haven't messed with mock ups, I'm gonna do this 1st 1 slower so you guys can get a chance and learn how these work. So what we're gonna do is you go to see usually you'll see this little red highlights right here. This is how you know that's the layer you can modify with your logo. So I'm gonna double click or right here in this area. I'm not gonna double click on this mask is a layering mask. We're not have you to touch those. A double click right here on the red layer. It's gonna open up a new window and this is gonna load right here on this little built here . So I'm gonna load in our little logo. We're just gonna do our one color logo right here, because that's gonna work better without the type. We're just bringing in the logo, Mark. We're gonna make it kind of a size. We might need to go back and adjust it, and we'll do that just to test it out. That's what we're gonna do is we're gonna close this new tab that opened up and we're gonna It's gonna ask us to save it, so we're gonna save it. It's gonna odd. It's gonna run an algorithm. It's gonna run a script and it's gonna automatically adapt it to the mock up. So now we know that's a little bit big, So let's open it back up. Let's make it a lot smaller right there in the center. And let's go ahead and close it up. Save it and it's gonna automatically populate once again. I might want to make it a little bit smaller yet again. And hopefully this will be the last time. Make sure it's centered, right there is a little pink line. That's how I know it's centered. Close the tab, automatically populate. And now we can't even adapt it to some similar colors. So we go down here, you see the purple. You can always tell what layer layer you are on by toggle ing it on and off. So that is the belt. And this is the base, right? Here's we could make it all white pants if we want. We could even bring in some of our branded colors. And I got a hex code here so I can copy and paste my hex code and double click and bring that in here. Just gonna paste it right here in the hex code click OK, that could bring in our lighter color, and I think it might be be