Menu Design for Salad Bar using Adobe InDesign, Photoshop and Midjourney

1. About this class: Hi. Welcome to this delicious design course, where we will be crafting a bold, vibrant and totally appetizing salad bar menu from scratch. We will be using Adobe Photoshop, in design, procreate, and even a bit of generative AI magic with Mid journey and Adobe Firefly. Whether you are a design student, freelancer, or just hungry to level up your creative skills, this project will teach you how to go from a blank canvas to a fully polished print ready menu. We will start with the brief and research, sketch out early layout concepts, and dive into journey to generate some of the playful, illustrated elements that will give our menu its unique style. You will learn essential workflows in Photoshop for image prep and in design for layout design, including text formatting, styles, decorative touches and page structure. I will show you how to design every section of the menu from the Build Your Own salad guide to the beautifully composed bowls, including ingredients and nutritional information. You will gain confidence working with typography and hierarchy, using Procreate for hand drawn illustrative details, masking in Photoshop, smart layout techniques and in design, and tips on using AI generated images creatively and responsibly. By the end of this class, you will have your own multi page menu design packed with personality, flavor, and all the professional polish you would expect from a real world project. So grab your sketchbook and fire up your favorite Adobe tools. This is going to be fresh, fun, and full of design flavor. Let's make something delicious together. See you in the first lesson. 2. Introduction & Brief: As you can see, I have B hands open on my screen because we will be using a couple of inspiration from here. We will do a full design workflow for a menu design. So without wasting too much time, I'm just going to go quickly to my collections and boards, menu design. So I have a few of them collected here, but I also have a few of the inspiration that we will be using in Mila. Within the brief, you will find everything that you need to get started on this project. And I already have a lot of things here on this board, including the copy or an option for a copy that you can use for this menu, and also a couple of assets. So if I zoom out, you will see here on the right side after the inspiration, I actually went ahead and did a little bit of generation a session where I tried to create a few images that could be used for the menu. So this is for a salad bar, and I actually created these based on the copy that I will be using, which was also generated by Ched GPT. I just refined it a bit, but generally, both M Journey and Ched GPT did a really good job of assisting me with coming up with some assets and obviously just helping to put this brief together. And I don't see any harm in using AI for this just to experiment and just to practice design because even if you have the best assets to start the project, it still comes down to your creative ideas, how you put things together, how you create your layouts, the composition. So you can have the best assets to start with, but you can still end up having a very weak design. So that's the main aim here. And I might end up using these. I end up creating some new or maybe using some stock assets. We'll see how it goes. I intentionally didn't even do any sketches. So I again, have my iPad ready here. I just literally have like a wire frame for my thumbnail sketches. If I decide to do them, again, I might not, but this is obviously something that I would normally do for almost all projects. Do a couple of thumbnail sketches just to explore how I will place everything on the pages. I am just going to also show a selection of work from our students. That was done on another brief, a similar brief. This was also for a menu design. But this one was for a fish restaurant or a seafood truck restaurant with the brand name called Fishman or Fisherman. Someone called it Fishman, which is quite funny as well. But yeah, Fisherman, was the name. But you can see the amazing variety and quality of work that we get from our pro members, some very imaginative illustrations, obviously some branding that goes with it. So some students go the extra mile sometimes, and even though we don't specify it in the brief, we just ask for the menu, but they obviously get a bit carried away, and then they continue working on that project and expand it further, which is always a great thing to see. Here's another nice stylish design or this quirky one I zoom a little bit closer. I love how we have the fisherman character here and how we can see him fishing out with the hook one part like that box on the right. Very, very cool little design there. But yeah, you can see there's some very clever ideas and really nice functional designs. So one of the things that we always talk a lot about is, it's one thing to make a design pretty but it's also very important to make it functional. And that's also one of my aims in this workshop that I would like to focus on creating something functional where whoever is looking at the menu will be able to quickly find the different categories or options that they have, very quickly see the price differences. And in case of this salad bar menu, we will have the option for people to create their own salads. So that also has to be very clear, like what are the ingredients they can choose and what's the order in which they should tell that to the person serving them. So there's a lot of things that can make customer experience better. So to improve that, the designer can do a lot, and it's mainly about making the designs functional. Now another important thing to mention here is that although we will be designing a print menu or menu that can be printed, it will be in a format that can also be used on display. So digitally, if there's, like, a big TV or a couple of TVs or screens behind the people serving in the salad bar, it can also be used in that form. So both digital and print format. So I would like to, like, strike a balance for a design and layout that could work for either. And maybe obviously there might need to be a subtle changes in, like, text size and stuff like that, depending on what's the format and what the actual size. But generally, that's also one of the aims that I want to do. So not just print, but also think of digital setup. Okay, and mention that if you check out the brief, you will find the most important things written here, so details to include. So it needs to be an A four portrait or landscape orientation, unfolded, double sided print. So essentially, will be two sides of an A four format. And it will have to include the following things, the brand name, which is simply salad bar. But there is also a cool logan Let us eat. It's quite fun. HGPT came up with that. It's not me. And also these tagline or moto options that you can use, which could look really cool somewhere within the design. There's some really clever ones here. And then, obviously, the design has to include illustrations, and or photography, and you want to make it modern, clean and comfortable to read from a distance that's important, and you want to divide the menu into sections. So hierarchy is important visual hierarchy and create unity between the elements, so we have to pay attention to that. And then we have further down here, we have the menu options. So I created two or generated two. The first one is a bit more like a standard one that you would have a little bit more options in here for salads, and then a couple of smoothie options. So this is just very, like, standard, bit cliche type of menu. But then I also created one which is a little bit more quirky, and it has only five salad options or signature salads. But then there is also the option to build your own salad, and then there's the option to choose the base, the toppings, the protein, and how to dress it. And there's a couple of additional things like soups and signs and drinks. And I actually used this brief and used it to generate these images. So if you go for the second copy, then you will be able to use these images. And it is quite astounding how good meat journey is in putting together the ingredients. So I'm just going to read the ingredients for this. So this is the classic overachiever salad. This is the description of it. You know the type, always crisp, always balanced, always photogenic, fresh romain, cherry tomatoes, shredded carrots, cucumbers, croutons, dressed in our signature house vinaigrette. So, yeah, I mean, that's perfect. I don't think meat journey missed any of that here. So I think all the ingredients are displayed in a very aesthetically pleasing and appetizing way. But let's see this other one. Kale, yeah, is the name of this. Kale, quinoa, roasted chickpeas, sweet potatoes, dried cranberries, and toasted almonds with a tangy lemon tahini dressing. And it's incredible. You can correct me if I'm wrong, but I feel like all the ingredients are captured perfectly. They all look realistic. They look proportionally correct being next to each other. That's also something like in the iterations of generative AI image models, I've noticed that the proportions of certain ingredients wouldn't look right. Like a tomato would be it would be smaller than a berry, right? So, the tomato is just out of proportions. But in these cases, I think everything looks perfectly fine. And you can go along and look at the copy and look at these images, and you tell me what you think about it, but I feel like they look amazing. And if you haven't had lunch or depending where you are in the world, if you haven't had breakfast, I am sorry in advance because these images will make you really hungry. I just had my lunch, so I'm fine, but I got hungry, just looking at them when I was generating them. And look at this, as well. I had this idea. Again, I'm not sure whether I'm going to use this or not. But I am planning to utilize circular shapes for the design. It makes sense because balls, when you look at them, they are circular from the top. So that's what I thought, even the ingredients and everything else, I'm trying to display in this circular fashion, a top view circular setup. So even this avocado tos bytes is arranged in a circle, again, incredible thing that mid Journey could achieve and if you are interested about the prompts that are used, I can show those as well quickly on my screen. Even the juices or the smoothies are displayed from above. My favorite ones, these. So the other different things that you can use or you could choose from when you want to create your own salad are displayed here. So again, from the copy, I put ingredients in, and I can just show you the prompt for this. Let's see, like this one here. You can see the prompt on the right, top view photo of obviously all the ingredients, healthy ingredients arranged into a circle, white background. That's simple, as simple as it is. And then there is, for instance, like this, which has a lot more ingredients, and Mini still managed to pack them into a single image. Here, I start to notice the proportion issues like the avocado feels a little bit too small compared to everything else. Maybe the onions, actually, onions seem fine. Maybe the red dishes could be slightly bigger. But still, I think we can get away with that. But I just jump back to my board and I can show you, we have the protein options as well. And then I also tried to create a couple of interesting illustrations, more abstract. I really like this style of illustration. And obviously, it would take hours to do something like this. So for the sake of trying to pack in as much as I can into this workshop. I generated these already. And if we like this direction, visual direction, we can go ahead with this. Or, again, even if I don't go ahead with this, feel free to use these assets. These are slightly different. But yeah, there's another one here with avocados. I might generate some more of these if we need to. 3. Research & Inspiration: So one other thing that's very important and I wanted to mention when you do your research for a project, I normally like to divide my research into style references and actual competitor references. And what I mean by that is it's important to look for actual designs for very similar businesses. So in this case, salad bar menus, it's important to collect those. And you can see some of these examples here are actually salad bars. But at the same time, you shouldn't limit yourself to concentrate on that because what's more important or equally important is to find examples of styles, visual styles that you feel like would work for the brand. Of course, as a designer, you have the ability to then apply that style to whatever you are working with, whatever assets you are working with. So for instance, and this is why I wanted to explain because I've seen this before that when I look at the research of someone, one of our students, let's say, would focused too much and narrowed down their research too much on a very specific niche. While, for instance, in this case, although it's a salad bar menu, but you can find if you just broaden your search a bit, you can find really cool examples of menu designs. In this case, this is a um I believe it's a burger place, sandwiches and burgers, yeah. So you could say it's the opposite of a salad bar, but the style of it, both the menu and the branding, I really like. And I can imagine aspects of this being applied to our project. So this is what I mean that you shouldn't restrict yourself just looking at salad bars. Here's another really good example a noodle bar, once again, very similar. But again, it's more of a style reference. And here, the menu itself, I don't dig that much. It's a little bit boring, very repetitive to grid, too much focus on the grid. However, I love their branding. The sand nudes is so fun. But yeah, I really like how they've done their display their food as well. Again, the menu is not the best but yeah, mainly the branding in this one, I love. They've done a really good job with that. I'm trying to find references for aesthetics and direction. Again, this is a little bit hard to read G NGR juice bar and sandwiches. I love the style. I love the general feel and look of it. And I am planning to incorporate these quirky, slightly naive style illustrations or hand lettering. But, yeah, again, another really nice example. And then this one is quite cool as well. Once again, it's more of a style reference, but in this case, this is actually a salad bar, very cool menu, very clear hierarchy looks good. I think there was one more if I just go back, I believe, yeah, this is the last one. I added this one as well because I really like. Again, it's that naive illustration or, like, almost kids illustration of child illustration, very basic amateur, but still works. Because of its consistency and because of the way it's done. So yeah, even stuff like this, obviously, it's very trendy. A lot of identities are focusing on these, like, doodle like illustrations. But this goes even beyond the doodle. This is intentionally, like I said, very childlike. Like, I don't know how to say this. Like, all the line weights are changing. It's very messy and chaotic, but it works. It works when it's put together in a nice format. 4. Document Setup: I think it start to get started. By the way, we will mainly be working in in design, and I can already start preparing my document there. So I'm going to do a landscape orientation, A four size. I want two pages 20 margin and six columns. And I will use bleed as well because we are doing this for print, even though it's also for digital, but I will use a three millimeter bleed. Slug we won't need, so let's just create this. Okay, it worked. So let me just save this quickly. Let's put it in the salad bar workshop. Files, and let's save it as menu. Salad bar. Menu. Good stuff. Gutter is the space between the columns. It can be used for a couple of different things in editorial design, but generally, it would be the space or empty space between the columns. And to be honest, in this case, we might not even need the gutter, so that's something that we can adjust later in the layout margins and columns. So I can always come back here and I can even set it to zero like this. I'll see how I will use these guides. Because obviously if I press WD are not part of the design, they are just going to help me orientate and align things within the design. But generally, I was thinking of utilizing like the left side, the center, and the right. So dividing the design into three main parts would be useful, similar to a trifold brochure. And that's why I have six columns because I might want to divide each of those sections again in half. I can break it down even less. So we could even go further and have 12 columns if we wanted to divide it even more, but we will see how much of it we will need. And obviously, we have two pages, and we have a parent page. If we want to have anything repeated on both pages, we can put something there. So yeah, the margin I use 20 millimeters, by the way, yes. Maybe that's the one that you are asking for the gutter, I didn't change it. It was 4.2 millimeters, but we can just change it to 5 millimeters. The only thing if you change any settings on the option that I just showed margins and columns, it's important to make sure that you don't have any of the pages selected or select both pages and then change it because it will only apply to the currently selected page otherwise. So if you have both pages selected and you change the Gutter, it should update on both of them. 5. Sketching Concepts: I think it's a good idea to do some sketches. So let's jump over to my Milne board and open up the menu. Right, there's the menu. I'm going to put this here on the left side, and I'm going to have my iPad on the right side. Okay, so I already set up my wireframe, like I mentioned before, I'm using an iPad with an Apple pencil. By the way, most of the time when I'm creating my sketches, and I use a very simple layout, set up a layer, locket, which is my wireframe, and then within that I'm going to work. Now, the three things that we have to fit here Number one, we have five signature salads. So five salads. Okay. Then let's just move this up a bit. Then we have number two, we have the build your own salad bar, build salad. Section. And then we have the soups and sides. So if I scroll down here, soups and sides, soups and sides, number four is the drinks. Okay, so these are the four main things that we have to fit into the design. I'm going to just change my color to something different. Yeah, so when it comes to the layout itself, what I thought I'm going to do here with my wireframe is that I'm going to do quickly three variations, and I'm going to do, I'm just going to write it here. This is going to be the front and this is going to be the back of the design. Now, in terms of a digital format, this would mean that we have, obviously two separate screens. I am using a brush called the Elder brush. I'm not sure who is it from, but to be honest, Procreate has so many good brushes, and it doesn't really matter. Anything that works for you. I like this brush because it has the um feel of pencil. So yeah, it's like a six B pencil, a bit similar to that. It just feels a little bit more natural. Okay, now, let's think about this. So we have these five categories four categories. I feel like one option could be that we fit the five main salads on the front, and then we put everything on the second page. I feel like those five salads have to be really highlighted. They are like the signature dishes. So let's do one version like that. First of all, we would have the name up somewhere here. So menu, we can have it on the left side, and then we can have if we have the whole space for just those five dishes, we can come up with a couple of creative ways of doing it. So we could have, like, the boring layout of having the circles. By the way, if I press and hold in Procreate, we can create more nice round shapes like this. So we could create a layout where we have I mean, all of these elements laid out more like in a grid. So we can just duplicate this bit. So we could place them side by side like that. Now, because we have five of them, that's already not perfect for this layout, because we would have either three in one row and two in the second row. So it's not like a perfect grid. But we can try to create it this way. I'm going to see which one is best. So I'm just going to do duplicate with there, duplicate. I think we have one more here, and then one more time. Okay. So if we go for five salads displayed with their big images, we could put them in lots of different ways. This is obviously just a very quick and standard way of putting it. But we could move them and make them bigger, be on the sides like this and crop into them. It might lose some of the ingredients if we do this, but this could also work as an interesting layout. And I might explore that in a separate sketch. But for now, I feel like this is one of the options that we could go for. And the most important thing here to think about is if we do this, then how would we add the text? Now, one thing that we could do is to have the title or the name of each written in the same place. And consistency is important when it comes to menu design. So think about the functional aspect of the design. If you have it all consistently in the same place, it's easier for people to find them. Now, the ingredients should be fairly straightforward simply by just looking at the salads, but because we have this good copy here in the background, you remember we've seen it like roughly a paragraph for each of these, it would also be good to find a way to incorporate that in the design. So this is not something I need to come up with here in the sketch, and that's also something I would like to emphasize that your sketches are not for trying to replicate the final design. It's an exploration, ideation, anything that helps you to visualize and remind yourself of what you came up with is perfectly fine. It doesn't have to be resembling the final design. That's the whole point of creating thumbnail sketches. So don't waste too much time really refining your sketches because it's mainly for you. However, if you end up creating some nice sketches, of course, it's also good to include in your presentation. If you use the project in your portfolio, it's always good to show where the ideas came from and your thinking process. But, for instance, in this case, we just switch to a different color again. And then I feel like the ingredients could be added maybe on top of the design. I mean, on top of the circle, running around like this. And the good thing about this is that it would allow for less text or more text, depending on how much ingredients there is in a dish. So what I would make sure is they always start at the same place. So if it goes a little bit too down, it might be a little bit hard to read. So again, thinking of functional design, I think around 9:00 or 8:00 is where they should start, and then they can keep running in this direction. So obviously, it's a left to right reading direction. And by the way, the title can start at the name of the dish can start at 6:00 and then keep going up. But going back to this color that we use, by the way, if you double tap on your now, tap and hold on your color on the top right, it should switch to the previously used color. But yeah, so some designs might have the text going further. Just go to make my brush a bit thinner. While others will have less ingredients, so they only run up to there. We can obviously fill up the space here. We can have the motto written up here. We have a nice space here for text. I'm just going to make it look like there is some text there. And then we could also have maybe a cool little batch here with the lettuce eat. I'm just going to write that there lettuce eat. And that could also be in a circle or like a badge style. And then we can have some information here as well if we need but I would already fill in this page quite nicely. And then moving on, I'm going to draw the back of this design before I move on to the next idea. So let's pick this green one. So the back, like I said before, would be about building your own salad and then soups and the drinks. So here, if I scroll down a bit, we are now working with this segment of the copy. I feel like the build your own salad is very important. So either we can dedicate two thirds to that and one third to the soups and drinks. So what I think is divide the page into two thirds where we have this side for the build your own salad, and on the right side, we could have the drinks. So I think that's what I'm going to do on this version. So I will do soups and sides. Book, and then we do drinks. As simple as that. And then we have the built salad section. Now I'm not even going to go into thinking more about it, how I want to do it within that because that's generally already, like, laid out all the important segments or sections we talked about. So we have number one on the first page, and then we have the other three on the second page, simple as that. Okay, now, what other things can we do here? If I had time, I would normally do at least five to ten of these. So for both front and back, I would do variations. I'm just going to do maybe one more because you can already see what I would normally do. What I will do though is I will borrow one of these circles, and I'll bring it over here. Okay, so I'll bowl a salad bowl, and maybe this time we can explore what happens if we make them bigger. I'm also thinking yeah, I think big is good. And then let's just see if I place it being cropped, how would we be able to fit it in a clever way? If I created a clipping mask, we would be able to work even faster. I'm just going to do this quickly. So let's do one there, one here. They could even, like, completely be next to each other like that. Duplicate. If I have two at the bottom, like that, I think duplicate. We have space for all of them. And the last one. Notice how I'm trying to also make sure that I don't crop too much of the elements because I want to make sure that all the ingredients are visible. And if you remember the designs or the images that we generated, they have obviously some of these images have the ingredients or specific ingredients in just one corner of the dishes. So that's clearly important to keep in mind. I'm just going to come back here, select these top five of the images, group them together. Yep. And then flatten them. Sorry. Yeah, that's the one. And then let's just erase out these bits here. Again, I am not too worried about making this super tight. I'm just thinking of placement. So yeah, if I made them big, and that's one thing that in designing, it works really well, especially if you have really good images that you want to focus on those images. So scaling things up, making something very big can work really well. Usually it works well if you can contrast it with smaller elements. So why I think here we could do I'm going to use this blue color again just to change my color. Obviously, we would have to have the menu written somewhere, and by the way, would say salad bar menu. I don't have to write everything down in my sketch. Again, doesn't make sense. What I thought we could do, obviously, we have a big space here in the middle, which we have to think about how to fill. But what I can do is to have a little segment in the middle cropped out, and that's where we put the text, right? So that would be quite interesting. Look at the circles I'm drawing. For some reason procret Yeah, doesn't want to help me out. Okay. Again, we don't have to do this for all of them, but you can imagine already that we would just have a white circle overlaid on the center of these balls, and then we would add the ingredients there and the description and the name of the dishes. Now, the name of the dishes could even be further overlaid, having written like this with big letters. The only issue with that is that we would have to make sure, again, we don't cover up too much of the images, but because they are so big already, they should still have enough space to reveal what the dish is about. The only issue with this is that some of the names are quite long, like this one. So we might need to simplify this a bit. This one is called the I am trying to B Healthy salad. So if we were to go with this layout that might be very long, most of them are actually quite long, apart from Kalia. With Kalia, it would work really well. The classic over achiever, that is a little bit long as well. So for this example, I might have to simplify the names, maybe give them like a keyword that really separates them apart from the others. And then the more descriptive title could be in that bubble. Yeah, so we will see we will see if it works or not. But why would I use the center part? Well, we could have the motto written there. We can also have some smaller, like, ingredients floating around these dishes to make it look like it was on the same table, just laid out next to each other. I think that would work quite nicely. And then, to be honest, for the back the only thing that I would think of doing differently is how I separate the page. So if we think about how the first page was laid out in these big circles, maybe one thing that we could do for the second page is to try to replicate that somehow. So what we could do is perhaps use a big, like, semicircle. On the top, like that, which is for the build your salad section. And then for the soups and sides, we could use a circle. Again, we could think of doing a circle like this maybe. One section there. Let me just draw this better. Like a segment like that, and another segment there. Again, it goes with the same style that we have above. And then I will just write things in here. This is the billed salad section, soups plus drinks, no soups and sides, and then drinks. Okay. Yeah, so that's one other one. And you can see, one of the important things that I am keeping in mind is I want to have connection between these elements. So I want to make sure, I mean, the front and the back of the design. I want to make sure that this, the front and the back, either when it's looked next to each other, remember, again, it could be on two displays on the wall, they should really feel like they are part of the same thing. Again, the same thing here with this design, we would have to somehow bring the aesthetics and the the general feel of what we created here to the second page. And that could simply just be the colors and the fonts and like the proportions of things that we are using. But it could be also like an overarching theme that what I've been doing here of using these cropped circles that appear both on the front and the back, the really, like, big shapes that we unify the design. That would be interesting if we could do both of them, because that, by the way, is also something that I like to do. I I don't like to settle too much into one layout, before refining it completely. And it's also good to do that and present to the client a couple of options. At least I normally would do three variations. 6. InDesign & Image Creation: Okay, so let's jump into in design. Okay. First things first, I will set up my layers. I normally would work with a layer for the text. Actually, I will do a background layer first. Then I will create a layer for the text and then finally a layer for images. Now, the images, in this case, most likely will be under the text, so that will be the order of the layers. But many cases, you might need to end up creating a fourth layer wherever images overlap text if you ever want to do that. But normally this is the order that you want to place them. And we will be using paragraph styles for sure, so I will keep them up here. I will also pop in the character styles because we will be using those as well. The pages we already set up, so we don't have to worry about that. And I think that's it for now. By the way, it's just worth mentioning that you can also generate things directly within in design. You can use generative fill or the same thing that relies on Adobe Firefly within in design is the text to image model. I mean, you can see that if we use one of the prompts that I used in mid journey, just as an interesting experiment. One of these that I feel like is worked out really well like this one, we could try this out and create a frame, making it square format, drop the text in here, and then I'll say generate. I think that's all I need to set up. So this is the text to image Adobe Firefly feature within in design. The reason I'm showing this is because obviously, not all of you have access to Mid journey, and you can see it actually did a really good job. It's not bad at all like this one, in particular, looks really good. So yeah, they look realistic. In a way, you could even argue that might be even better than mid journey. So it's surprising sometimes how good firefly can be while in other cases, how bad it can be, but it's definitely worth experimenting with it if you need to generate assets. Although, of course, you can also look online for stock assets that are actually based on photographs, real photographs. If that's very important for the client, you have to obviously make sure you do that. But what I like to do is even if I end up using a generated image in my composition, I can just tell the client that if you like the way this looks, we can just have a day of photo shoot with your chef and then do these actual real photographs laid out in a similar fashion. So I think the amazing thing about generated images is that it is very useful for your client to understand what you are after without you spending too much time scouring the Internet, looking for actual stock photos, which, in most cases, like here, where we needed the specific ingredients just any ingredients. We wanted these ingredients, these specific greens to be laid out next to each other in a circular format. That would be very hard to find almost impossible because it's so specific. Again, coming back here, if we look at, for instance, the protein options, to make sure it's exactly these protein options that we had in the menu, are displayed in a circular design. I'm almost sure that you wouldn't find that exact example without you obviously having to put things together manually, and that could take a long time, and in the end, a client might change their mind and they don't even want that direction. So for exploration and quick iteration, generative AI is brilliant. Okay, so I'm just going to drop this here on the pasteboard. I just wanted to mention this that we have this option here, of course. 7. Image Workflow & Masking: What I'm going to do is to download these images. So first of all, I need these five images. So I will download original images, and I will drop these into my other folder where I'm working. So files, and I'm going to create a links folder and drop them in there. And I'm actually going to rename these and I'll call it signature salads. And yeah, I like that. Okay. Now we can drop them into in design. And in in design, you have this feature called greedy Pi If you click and drag and then you press right arrow a couple of times, you can place all of them in. I'm just going to place them in all at once. And then the first thing we will have to do is to get rid of their original background. And also, I'm just going to make sure that these are fitted within their frame. Like that, yeah. So let me just zoom a little bit closer. Okay. So first quick thing to do is to most these out. So that is not something that we currently have in design. It would be actually a very useful feature, but I don't believe they have that here yet. Most likely, they will bring it in. Generative expand is there, so we can expand images, but we can't remove the background quickly. So for that, I need to alter option, double click on the image, which will open it up in Photoshop, and there we have the removed background option. However, as you can see, it found the edges quite well, but because the ball is so similar to the background color, it still didn't do a good job. So I'm going to try using the circular selection. So Elliptico market tool. And let me just redo this. Click and Drag, and then with the space bar, you can actually even better. Let's just use a shape, the Ellipse tool set to path, and let's just draw this path. And then what we can do is to align it top and bottom. Like that. Drag this down a bit here on the top. If there's any details that come out of the bowl, we can obviously adjust that. But for now, I feel like that's quite close to what we need, and then we just turn this into a vector mask by command or control clicking on the mask icon. So that's going to create a vector mask, and then we just have to make sure that this is saved as a photoshop file. And then within in design, we just have to drop the Photoshop file version in to replace the JPEG. Boom. That's it. Okay. There was a subtle difference in the colors. I believe that's because in the original we had SRGB, and the new one, we have Adobe RGB. But anyway, we have now this one masked out. So let's just repeat the same thing quickly for these other ones. I'm going to alter option double click on this other image, withdraw again a path it doesn't have to be a perfect circle. And then let's just adjust it to the edges. Actually, before we do this, let's see if the removed background works here. Now, it still doesn't we just stick to our path and vector mask option. Because we are using a PSD file, I am not too concerned about making this perfect. It's just like a rough shape, and then we turn it into a mask, safe. You can always refine this later. That one is done. Let's drop it back in. Boom. Okay. And then we have to do it quickly with the other two. And here I can see already that we have a little detail coming out of the edges of the ball. So that is something that we have to account for with our mask. Let's see if I can fit this in here. By the way, if you have a path that doesn't seem to be working well, you can also go in and use the direct selection tool and adjust the handles to fit it even closer. Like here, you can see, I'm adjusting it like this already looks more closely fitted. I can also move that point a bit higher. That one feels in that space better. So yeah, if I want it to be more specific, I can do this adjustments and move that one out a bit. And at the bottom as well, we can fit this a little bit more in. Hopefully, this is a useful technique for everyone. But yeah, so what would I do here is I would first create a mask from this path, command, click on the mask, and then I would select the mask and reduce the density so I can see where the leaf is supposed to be. And then use the pen tool, set it to add or combine shapes, and just simply having that mask selected. It's important. The mask needs to be highlighted. You can draw over that missing part, and I can follow along the shape of that detail that comes out. And that's it. Just go around it, book, done. And then I will go back and increase the density, and it looks good. Let's see. Yeah, it looks great. Just showing it close up to everyone. So it's two shapes now within the mask. If I go back, there's one shape there and a big shape behind. All non destructive, obviously, because it's all vector shapes, and it's saved as a mask. So now we come back here, drop it in, pop done, and then I think we have two more to do that one doesn't seem to have any shapes outside of it. I mean, any out of bounds details we should be worried about, we need to worry about. Let's drag this down. Like I said, I'm not going to spend too much time refining this for now. Just get it roughly in place and then poop, save and close close and drop in here. This was number five. Yep, ready. And then number two is the last one. Shape, draw and line. And we are done. Oh, sorry. Musk. That's it. Save, close and bring in. Salad too. Okay, cool. So that was a little bit time consuming, but we still have to obviously set things up that way. 8. Typography Basics: We will now start to add the text. So I'm not going to worry about the font choices just yet, I worry about the placement first. So that's another thing that you can really waste a lot of time on choosing the right fonts. I am a firm believer of first setting up a layout is more important where things go, what sizes the text will take, and then think about the actual fonts. So in a way, I use like a placeholder text, even though the text itself is actually using already the copy that we work with, but the actual font choice comes later. That's almost like dressing up the text. That's the way I think about it, anyway. So I like to put the mannequins in place first and then the dresses. Okay, so salad bar menu. That's our title. Done. Let's make this bigger. Okay. We can decide how we want to put this. I'm going to just do it in two lines for now, and then I will align it to our margin just to see where the margin is. Yeah, the margin might be a little bit too big, but we'll see again later how that works out. I will probably make the menu already bigger. So let's just have a little bit more space here. Let's make the menu bigger, and I'm going to reduce the tracking. And now I'm just going to make the whole thing a little bit smaller. Okay, that's good. Whenever you resize text, you can use keyboard shortcuts in design, Command or Control Shift, full stop to increase to decrease the size. Alt or option up and down arrow is to change the leading. And also when you have things set up the right way, you can also use Command or Control Shift, drag a corner point to change the size also quickly. So we have the name up there. Now, if we go back to Milind, I just want to go back to a copy and remind ourselves, actually, not this one. Remind ourselves, the slogan was, Let us eat. But there's also these tag lines tossed with love, dress to impress and always ready to crunch or a crispy, crunchy wonderland where every bite is an adventure. Or, welcome to the wild side of salads, both fresh and totally delicious. I quite like that one. Welcome to the wild side of salads. Now, if we are going for a copy like this, we have to also think about how we can represent that in terms of styling. So if we want to go for a bit wild, we can maybe make our main typography a bit wild or maybe have some elements that maybe it's just like hand drawn lines that makes things look a little bit crazy. I think I'm going to go for this, and I will emphasize that. Equally, if I went for another copy where it says dressed to impress tossed with love. There maybe hearts could be elements that we would use dress to impress, again, something that emphasizes dressing up nicely. Here it's more about the bites, crunch and crispy. So each of these copies emphasize a specific angle, and that as a designer, you should and you have to emphasize and play with. Okay, I'm just going to do space there. Yeah. Already, I will remove the hyphens from this text to make sure it won't get hyphenated. I will make it bigger and then center it for now and maybe make it something like that. Okay. Now, don't worry about the font choices. Like I said, it's just a default font. Mini and Pro looks really bad or like, really boring. It's not bad. It's a very good font, but it just looks boring at the moment, but you will see how much it will improve once we find the right fonts to work with. But we just want to put things in place first. That's the most important thing. Where things go is more important. I'm going to have another copy somewhere with like tagline or this other slogan, the let us eat. And this one I will put in all capitals, no hyphens. So let's just put that somewhere at the bottom. Um I could always go in here or on the top right. We can find a place for it later. And then within in design, if someone goes to find more, you should be able to search for a font. I'm just going to do PhoenixN. Okay, let's just go into type Adobe Fonts. It's easier online, actually. It seems like it might not be Adobe fonts. I'm just going to search for it separately. Let's see if it's here. Ah, yeah. I found that one. Okay. So we can already have that one ready. But yeah, we'll come back to fonts later for now. 9. Incorporating design elements: Okay, let's jump back into in design. So we want to have, like I said before, these shapes on top of the dishes, cutting out from them. Probably I want to have around my space utilized. So I would just change the color to white. Okay. And then I want to make sure they are aligned in the perfect center of the shapes behind them. So I align and align like that. I just use the aligned center horizontally and vertically option. And then I will make sure that the same shape is duplicated for each of these other shapes here. Again, I will align center center like that. And then if I need to, I can move these two back where I wanted them to be. Okay. Now, already, I can see that in this case, the berries are getting lost a bit because they were more in the center of the dish, but they are still slightly visible, so I'm not too concerned. So I think it's okay for now. Then let me also just do something quickly. I realize that my text is not on the text layer, so I just going to select them and drop them on the text layer, and I will lock that layer for now. I will also lock my background layer so that I don't accidentally put things there. This shape can be on the images layer because it's connected to the images. So again, I'm going to align these to each other and then move it back down. Yep. That looks good. Now, here, this circle starts to end up being too close to the edge of the page. That could be an issue. So what I will try to do is to move this up a bit, like that. And then this can go a little bit to the left. Okay. Let's put one more of these up here. Again, align a line looks good. Then align a line on that one as well. Boom, boom, and then move it back up. Yeah, I think the plates can overlap a bit. Subtle overlap like that looks realistic. I think, something like that. Again, make sure it doesn't go too far to the edge. The box, at least that circle has to come down a bit more. I feel like to be closer to the margin. 10. Text Refinement: Okay. And then I can clog the images now and we will be working with the text. Certainly, that is an issue that it could look like doughnuts. But let's see how it will look once we have the text in. So I'm going to change the text size probably down to ten points for now, and then let's bring in the copy. So we have to go back to Monat, and we need the second copy. So let's start with this one. The classic overachievers copy. We have to also remember to make space for the prices. So first, this one, I will make the text even smaller like that. Center text would make sense. I don't like center text, but in this case, I think that makes sense. So I will just keep it like that. Or we could use actually a circle for our text. I guess. Again, I don't like setting text in a circle, but maybe in this case, we can make an exception. So if I use the same shape that we have here, that white shape, we could actually put the text inside that. So if I copy this text, and I use my type tool and click inside that shape, I can just put the text in there. And then what I would do in in design is press Commando Control B, B for I don't know, border. You can remember it from that. But that's the text frame options. Box actually probably makes more sense. Textbox, and then use the inset spacing. Probably you want to increase it up to 3 millimeters and then click Okay. You want to make sure the text doesn't have hyphenation, and we're just going to make the text smaller maybe seven points for now or eight points. Let's do seven points like that. And then I'm actually going to do one additional thing. I'm going to align it to the center like that. I think that looks quite good. Okay. Now, already, that's one thing that we could apply to all of these circles by creating an object style. So I go to Window menu object styles, and then create a new style while this one is selected. Alter option, click on the plus sign and then call it small circle textboxes. Called circular textbooks, apply style to selection. Okay. And then we can select all of these other ones and select the same style for them. Okay. Clear overrides. Yeah, it should work. And then let's just use the same copy, and I'm just going to quickly drop it into each of these just to see if it worked. Yes, it worked. Now I'm just going to bring in the copy from Milanat. So we have the second one, the kill, which is this one. Oh, there is something that didn't get the inside spacing doesn't seem to be working for some reason. Yeah. I just didn't refresh correctly. That's very strange. One of the quirks of in design. Never seen that before. But just go to update all of them quickly. Okay. So, this one is in already in the right place. We have to get the other one. Caesar you can't resist. Yep. Then we have the spicy situation salad. Drop that in and then the last one drop that in there. Okay. Cool. So I'm just checking the margins. Most of my text is within the margins, so that's fine. Apart from this one here on the left is a little bit too close to the edge, but this could be always moved higher a little bit. Just move away. Yeah. Now it's closer to the center. Okay. Now, we need to make sure we have space for the names of these dishes. And for this, like I mentioned earlier, we can explore different layouts. I thought of having the name overlaid on the image again. So I'm just going to use another circle, just an empty frame, a circle. And it would be useful to align it with that other shape behind it. So I would just align it like this for now, and I will put this on the text layer. It makes sense to have it there. And to be honest, all of these circles should be on the text layer as well. So I'm just going to hide this for a second, this circle. And I'm going to move these shapes because now we have them in those circles. They should actually be on the text layer, yeah. And that circle that I just created, I want to put on top. For now, actually, I will just do a separate layer. It will make more sense separating things. So these will be the salad names or dish names. Dish names, and I'll put that circle in there so I can lock this and the images as well. Okay. Now, this I remember was called Kill. I have this one selected. And then if I go on to the type on a path tool here in design, we can just click on I mean the circle and type in Ke. That's the title on the name. And what I'm going to do is just choose a font like Hevita is a font that we like to use a lot. Or Avenir is a good for now, or fat Frank is a good one as well. All of these could work quite nicely. I'm going to make it big and I will set it to white. And so we have to check whether it's going to be visible enough. And of course, when you use this feature, you will be able to move the start and end point around easily. So I normally would set the endpoint to be the bottom, so that's like 6:00. And then the start point can be moved around easily. Like, in this case, I feel like somewhere around here is a good start because the kale is there. But again, we could go back to the image itself and we can rotate it around. Just making sure we don't lose the sauce at the bottom. Yeah, something like that. Now come back to the text and now rotate it around a little bit again. Yeah, something like that. I feel like if all of the dishes just have two words, this styling could work, and it could be quite nice and interesting. We could reduce the opacity of these circles that are overlaid on the salad. If I go into the transparency of this object, we could do that. So if I just go to the because you can't do it with the tint, it has to be the transparency. Let's go into window. Object. Actually, it's not transparency. What is it called Hearing in design for the opacity, I forgot. Effects. That's the one. The effects panel. So having this selected, I want the feel opacity to be reduced, just to see how it looks. Not sure why it's not updating. Oh, I have the wrong layer selected. So it's not the images, the text layer, this one. So feel opacity reduced. I mean, it could be a good idea. It would work, but it's going to make the text hard to read. You could always have it slightly see through, like 90%. But to be honest, I'm not a big fan of doing that. You will see a bit more of the food, but like I said, we are not covering up important elements of the food. We see enough of the ingredients around the circle. So I actually prefer to keep it like this because when you look at this from a distance, I'm just going to make my screen bigger. Notice how seeing through the circle, doesn't really add much to the design. Obviously, you can see the whole ball now. So it looks a little bit less like doughnuts, but it just reduces the visibility or legibility of the text. So in terms of function, this is a disadvantage. So yeah, we could try other colors as well, but I like the simplicity of it the way it looked before. So I'm just going to go back to having it fully filled with white. We can explore different colors. That's actually quite a good idea. So if we were to have a color like, I don't know, uh, I like a blue color, and then obviously the text itself could be white, something like that. That is actually a better idea. I like that more. And of course, we could have something funky and interesting color. So if I go into, let's just do HSB, we can pick I could even pick colors from the dish itself, but I'm just going to pick something like a nice pastely color like this. I think that's already working a little bit better. I'm going to keep it like this for now and we'll come back to that later. But yeah, this is something that I already like a little bit more. We could experiment with different colors, maybe just keep it like that. Maybe make it a little bit darker. Only thing with this is we probably will need to use the same color for all of the circles. Otherwise, it can get a little bit too overwhelming. Or potentially we could use each I mean, have a pattern, white green white, green, white, something like that. And then if the text was set in green as well, it would create that pattern or continue that pattern in a circle. I will continue adding the titles on the names, the dish names. So let me just copy this text and move it over here. And try to align this with the other circle. So one circle and then the crunchy circle, align a line. And then we just lost the alignment in the center of that frame but for now. I'm going to keep it like this. I think that's fine. So this one is the original text here was, if we go back, it was Caesar, you can't resist. I'm going to ask Che GPT to help me. Let's just do give this salad ball dish a name made up of two words, two short words. Give me ten options. Let's see. Okay, Caesar crunch. Caesar crunch is good. Crisp royal is good as well. Hmm toga toss. I think I will go for Caesar crunch. I think that's quite nice. Yeah. Caesar crunch. Looks good. Now, again, I can already see that the text will be very hard to read in this format. So that's again, something that we will have to address. I can obviously move this text a little bit higher, maybe align it to the right. We can also check if we can adjust the image by rotating the image if it gets any more legibility. You see already here, it looks a bit better. Legibility. Notice how that detail that we worried about before moved up now. But of course, we could introduce a little bit of drop shadow. I am very keen on avoiding using drop shadows, but in this case, I think we could introduce it in a mild way. If you alter option, click on the drop shadow. You can have refinements on it. I will have zero distance, and I am going to have maybe the size a little bit bigger. Yeah, something like this. I think that's quite nice. So immediately, text looks better. So now we can just turn back the dish even in this direction or orientation. We can still read it. Yeah, I think that looks good. And then, of course, this can be saved as another object style. Remember that with in design, whenever you use opacity setup or an effect like dropshadow that needs to be saved as an object style, while paragraph style paragraph style just to show you doesn't include that option. So we have to save this both as a paragraph style, which we can already do now. I will save it, and I'll call it dish name, signature dish name or bowl. Yeah, let's just call it signature salad name. And apply style to selection. Yeah, that's fine. And once we have saved that one, we can go into styles, object styles. And I'm going to put this here in the bottom just so we can come back to it. And we want to also save this as the signature salad name, or we can just call it subtle shadow, and we can save it like that. By the way, if I include the paragraph style within the object style, so in a way, nesting it in there, it will be easier to apply. Now, for instance, if I select this one here, I can just choose this subtle shadow object style, and it automatically also applies the paragraph style. Just to demonstrate this, if I select that text and change the font to something else like that, having it selected, I just choose the subtle shadow object style and say clear overrides. Why is it not changing? Set it to none, and then that? Hmm. Not sure why it's not apply style and clear clear or all. Still not doing it. Not sure why. But I'm just going to go with both styles saved. Yeah, I was strange. Something I forgot to set up probably here. But, yeah, that's fine. Let's just put this quickly up here. I'm going to move the text down, and then We need the name for this one. So this was the third one. Did I put it in the right place? The other one? Yes, that's the casar crunch. That's fine. Kala. And this fourth one was the spicy situation. Spicy situation, we might be able to fit that in. Let's see if I move this down a bit. Yeah, I think that's okay. And it has already the shadow on it as well. Without the shadow looks like this. With the shadow looks like that. Yeah, I think it's okay. Looks good. And then we can have the last one. Now, this one will be slightly tricky because we need to fit the text at the bottom of the circle. I mean, it's not that tricky. You just have to be clever about it, how we do this. So what we need to do here and I'm going to show this on the side just to make sure it's easy to see what I'm doing. So the last salad name is called I am trying to be Healthy salad. I'm going to again, use Chad GPT and then say, I want just two words for this. These ingredients. White all bite, power leaf, berry boost, Zan Ball. I like that. Zan Ball. Let's just call it Zan Ball. Okay. So what I wanted to show, again, this is very strange. Why is it having the shadow of the It wasn't refreshing the shadow straightaway. So what I wanted to show here is that obviously, instead of having the text being upside down like that, we will have to write this in the other orientation. So what you need to do is to find this tiny little thing, I will move it in the other layer just so you can see it. This tiny little thing, which is the center point of the text and drag that inside. That's how simple it is. You just have to drag that inside. It's not very intuitive, but that's what you need to look for. Once again, this is the starting point of your text here. I'm going to put it on the left, and that's the endpoint of your text on the right. If I have enough space to see where that little shape is, that's the center point. That's what you need to drag inside. And once you drag it inside of the circle, then you will be able to align the starting and endpoint. I would normally go for something like this. Start point and endpoint. And, yeah, I don't know what's going on with the shadow. I'm just going to turn it back on again. But what you have to really be careful about using text on a path set in the inside of the shape is that it can look very messy because all the characters are dragged really close to each other. So the tracking gets messed up. There's two quick fixes for this. Either use Alter option key and then press right arrow a couple of times. And then you can also go in and manually conn things around a bit more. But what I like to do also is to use option or Alt Shift down arrow, which is baseline shift and move the text out all the way outside of the circle. And this way, you can even reset the tracking. So if I go into the tracking, I can just set it to zero, and we can actually reduce the tracking by alter option left arrow, something like that. You see immediately looks better. I'm just going to increase the space between the words. And custom track these characters a bit more. We fresh the shadow, and now we can go back onto the text, I mean, onto the image, and let's find a good spot for it. Somewhere like that, it looks quite good to me. So let's just save the work that we've done so far. Let's continue but actually, we have one more name we forgot to add. The classic overachiever. Well, again, that's a a mouthful. So I will have to ask Chat GPT to reduce that for us and make a two word version of it. Fresh fix is quite good. Chill crunch, classic bite. Classic bite, I like as well. Easy leaf even better. They are all really good. Easy leaf I like. So let's just do that. So let's copy this one. Let's rotate it around and then easy leaf. Good stuff. Align it a bit more, keep it in the margin, looking good. Nice. Now, by the way, for all of these, I use the same paragraph style, which will make it easy to update this. So if I want to go back and change the font, for instance, to Hevits another font I often use, you see how quickly we can update everything. And in this case, if we feel like it's too big, we can also update the size, that's the beauty of paragraph styles, see how quickly I could update everything and if we just take a look at this before and after. So that was the before and that's the after. I feel like this font is definitely more legible. So when compared to this one, This one is more legible, especially in this format. So I might actually stick to using this one. The other one has a little bit more character, though. So I mean, in these cases, another thing that I often do in in design is I actually create a variation paragraph style. So it's just a quick way of switching back and forth. If I go to save this one, actually, let's just go back to that one. So I duplicate this style. And I call it V two, or I can, let's just call it V two. And then I go back and change it to Hats. And I believe it was how much was it? Probably 28 points. So if I have all the dish name selected, I can now very quickly switch between the two. The only issue here is obviously because we use the different baseline shift on one of them. That's going to get messed up. So I'm not going to do this. It's just complicates things a bit. In case we didn't have it that way set up, it would be easy to switch back and forth. But I'm going to go with the second one for now, so it test and just reduce the size to there. And let's see if it fits everywhere. Maybe this one needs to come a little bit down. Not the ideal angle for it to be red, but yeah, for now, it should be okay. And then just update the shadows on all of them. Okay, now, before I forget, I will also change this shape here to the same color as that. Which what I want to do is save this as a swatch, let's just do this save at two swatches, and then we can select it from the swatches easily. It was this one. And then the text was set to white for now. Now, it would be important to choose the font that we want to use for the text, the body copy. 11. Pricing Text: And let's not forget about the price. So that's also something very important we have to make space for. So the price is just one of these. Let's do this first 1999. Okay. So I'm going to do just a price for now in a box. I feel like it would probably make sense to have it either at the bottom or above. For now, I'm just going to put it here at the bottom. And for this one, I think it would make sense to use the same font just in either the green or black. For now, I'm going to keep it black. And I'm still not set on this font, by the way. I'm just thinking out loud for the moment. So that could be a price. Again, if I switch to the other font Fat Frank, let's see how the numbers look on that one. That definitely looks better on the numbers. I like the numbers on this one better. So for now, I'm just going to keep it like that, and then let's do a white version of it as well, just so we can see and this kale was what was the price on that? Kale 1099. Mm hmm. Okay, I can already see one issue would be that if we keep the text centered, it's gonna leave a big gap here on the top. But what we could always do is to put maybe spice level there on the top with little like spice or chili icons. I think that would be quite good because like this fourth one is definitely very spicy. It could be a useful thing to indicate for these dishes. So that's all nutritional icons like it includes nuts, and I think that's very important. So it would be useful for that space. But so far, it's coming together. The decimos could be raised in the price. We can set them to, like, superscripts like that, and we can also bring them a bit closer with tracking or curing like that. For now, I'm just going to keep it like this because I mean, it can be subscript as well. It just goes a little bit too deep by default, but it can be obviously increase higher. We can, of course, also just make it smaller simply like that. Reducing the size might be enough. Actually, that's probably the best way of doing it. I think I did two steps going down, and I would probably increase the tracking a bit, something like that. I think that looks better. There's a lot of stylistic options we can do there, and I agree it's worth exploring, but just going to keep it like this for now, 12. Font Selection: And I'm going to continue choosing a font for this. So one font that I recently started using quite often is, let me just see if it's saved here. Yeah, it's the mascalero. It's quite a nice font. It's a seri font. It might be a little bit tricky to read in this regular format. But if we choose bold, I feel like that looks quite nice. It works quite well with this text. But let's see maybe demi bold will be enough. Not bad. Not bad. I'll just zoom closer just so everyone can see it better. I will replace this with the semicolon. I think it looks better that way. I think this font probably can go down to 6.5 in size because it's quite a bold big font. Yeah, I think that looks quite good. A little bit too much contrast between the serifs and, like, the thicker parts of the text. That's my only concern for small text. That's the only issue that we could have here. I'm going to see if this is a paragraph style anyway, and I'll call it let's call it description. Signature dish description. Yeah. So that's one option. Let's do a duplicate of this, duplicate this style and call it V two. Let's see another variant on that. So keeping it open like this, we can look for another font. I think another font that I could think of from the top of my head would be din. And let's see with dinvious it's a very nice, easy to read SunseFont we could probably use the regular version of it. Maybe Italic. Now Italic is hard to read. Demi might be good as well. Yeah, Demi is still good. So let's just click on that. Let's click Okay. And then now you can see what I meant when I create two separate paragraph styles, how easy it is to switch between the two. And we could actually test this on all of this text. So if I select all the circles, actually, we will have to have different style for the green one because that will have to be set in white. But at least for these three, I think I had the wrong thing selected. So the dish names is logged. This text is selected, that one, this one, and this one. So they are all using that or that. So from a distance, these are the two options. So that's one. I hate the fact that we can't undo in the full screen preview mode. I just have to switch back and forth. I feel like I'm going to go with the DN. I actually probably prefer that more. Although it would be good to have a nice contrast between the sensory font on the name on the dish name and then having a serif font on the description. But I just feel like it's more legible having the din version. I'm going to go with the din, but I'm going to create another paragraph style duplicate, and this should be based on the version two, and I'm just going to call it white. And I'll change the color of the text to white and then update the style. It's not letting me redefine the style, but why. Okay. I'll go in manually then character color white. Okay. That's it. And then for this one, as well, Oops. That's the wrong one. Just have to tidy up my layers a bit there. Okay. But now, let's think about choosing the font for the salad bar menu taxi on the top. Obviously, it would make sense to use one of these funds that we are already working with. Currently, we are actually using three different fonts, although the fat frank and the heavy test looks very similar. So we can get away using a different one if we prefer the numbers on one of them. Ideally, you would want to end up using a single font for that, but we could still introduce a different font for the more stylistic details like the main text. And I can't remember. I think it was called Phoenix, that font that we've seen before, which might not be available here because we installed it violin design was already open, which is also annoying sometimes doesn't update. Actually, maybe I have to analyse there. It's probably not going to work, but for now, let's just explore. If I were to use this, most likely would have it set in two separate frames, so I can experiment with it a bit more. Salad bar menu. That R is very hard to read, the lowercase R, so I probably replace that with apitR. Let's see. The N is also quite hard to read. The U is very hard both in capital and lower as looks like an N, which I don't like. So, maybe like this, it's better. Yeah, that's fine. Let's look at the S, lowercases. That's fine. Upper css and the B. Yeah, that's fine. Okay, so it's not bad but not the best font. I'm not 100% happy with this font, but for now, we can just explore if we were to use something like this, we could obviously use the color that we already settled on or at least started using for the backdrops. Either the menu can be that or the salad bar, probably that one makes more sense to use this color on salad bar menu. And we could have a little bit of an angle maybe on the menu like this, align it together, and then roughly align it to our margin. Or we can drag it more here to fill in this space a bit better. I'd see this in large size. Yeah. Not bad. Not bad. I'm not a big fan of the N and the U. That's my main concern with this font. So let's just explore one additional option. I am going to just simply duplicate these two. I'll group them together, duplicate, copy, and paste and close the original one or hide, sorry, not close. Let's move it up here. Okay. So of course, we could use Havits which we already established on the text, the title. Or maybe what we could do. Since I like the salad bar, maybe just the menu needs to be in havits. That way, it's a nice pairing of these two. Let's see. Just need to reveal a bit more of that. But in this case, I probably would want to keep it straight. And maybe this one can be on an angle a bit. Mm. Yeah, maybe something like that. Not sure about the angle. Maybe the whole thing can be on an angle because otherwise, there's just that uncomfortable negative space between the two. I think both of them needs to be on an angle if I want to go for that angle option, slightly diagonal variation on it, or we can have it going a bit right. This one Mmm looks a little bit better. Feels in the space a bit better, and potentially this could be moved a bit to the right as well, something like that. Yeah, so that's option one or option two. Yeah, you can even overlap the two on top of each other. Could work as well. The salad bar could be overlap, like if that was set on top, that's quite nice. But for now, just for functional design and legibility, I'm going to keep it separate. I'll rename the if it lets me. Design is not, it is. Title one, Title two, just so I can easily come back to it and rename it. I mean, find it. Alright. And then let's not forget to change this also to Din here in the middle. I don't think the Phoenix would work on this one. I'm just going to try, but I have a feeling that it will be very hard to read, although that has the most character. Doesn't have any dash lines. So I'm going to just use a full stop there and make it bigger. Let's see. Just quickly styling it up so we can have a better idea of how it would look like and maybe have an angle on it. It would be good to have a different angle than the title. But for that, I would have to move the dishes around a bit. F now, I'm just going to make this a little bit smaller and see if I can fit it in here actually just keep it like the same angle for now at least just a subtle angle like that. So the main question is, is that legible enough? Welcome to the wild side of salads, both fresh and totally delicious. I think it's legible enough, but I don't like the way it is sitting centered there in the center. I think what we need to do is to have this separated into two text frames. And then have a slightly different angle like this. I think that's already a little bit better. And maybe what we could do is the totally delicious could be even more emphasized. So bold, fresh, and then have a totally delicious. We could test this in all capitals. Let's see in all capitals. I think it looks quite good. And that can be, again, black, to have that variation, or maybe this word can be green again. And then a capital I mean, an exhumation mark. Yeah. I think that's quite nice and we can just move things around a bit. Yeah. Not perfect, but not bad either. Yeah, so it has a rhythm, black, green, black, green, same font that we used and introduced on the title. So there is unity, a nice contrast to the more structured general layout of circles. I wouldn't force having a circle again here. However, for the Let us eat, I think we could use the circle. So maybe using the same font that we already established here. I'm just going to do the Let us eat, probably eat in black. And lettuce in green. And then this could be put on a circle. I'm just going to do a quick circle here, an empty circle frame like that, and then just copy this text and put it on the thing with the type on a path tool. I love how in design always shifts the text around left the line. I'm going to keep this one as well on the pasteboard just in case I change my mind. And I'm conscious of the fact that this text is very close to the edge. So maybe what we can do instead of having it on a single path is to copy this text, take it out, duplicate this circle, and hide the other one for now. Put the text put that text in there, huh? Put that text in there. That's it. And then use the baseline shift. Something like that. It's not perfect, but for now, I think that will work, and the whole thing can be a bit on an angle as well, and maybe we can make it slightly bigger. I don't know why the text size is not resizing when I do this, and now it's resizing. That's. Probably doesn't have to be too big, something like that. Okay, let's take a look at the whole thing together. Again, I don't like the U in the letter. This bit I don't like, but not too bad. This part is a little bit hard to read F and the R. In some cases, I would manually draw over these details and refine it in a final design if I'm using a hand letter text like this. You can always obviously customize the design, but I think it's looking okay. 13. Decorative Elements: I would move on to the next page and try to do as much as I can there. I'm obviously aware of the fact that I didn't put all the prices in, but like I said, these are more minor details. And by the way, one additional thing that could look nice here is just some scribbles and some little details that we draw. Now, drawing within in design is not something that I recommend to do. So if you ever end up doing something like this, I recommend doing it in Photoshop instead. So just a quick thing I'm going to show here is that if I export this into Photoshop, or even in Procreate, actually, I would do this. I will export this onto my desktop, salad bar menu, yes, export. And then I'm going to add drop it onto my iPad. So let's just put that in there quickly. Salad bar menu. Yeah. And then add drop to iPad. And then I'm going to switch back quickly to my iPad on the screen, as well. I'll just put this into Procreate just so we can all see it. So Mm mm mm gonna bring up my iPad. Procreate. And then there it is. So, what I would do on a separate layer, I will lock this one. And on a separate layer, I make sure I use the same green, and I'm going to use the same brush that I used before I think would work quite nicely. So to add a bit more character, I would start doing things like little leaves like this that looks could be leaves, could be something else. Just adds a little bit of more character to the design. And then we can also do some I don't know, maybe zigzag lines could work. Yeah, I think zigzag lines will be nice. Following the shape of these dishes. And I'm intentionally doing it a bit wonky because I want to get that slightly childlike scribbles doodles effect that we've seen in some of the examples. We can also do I'm just going to do some additional lines here like that. That is quite nice. And then what else? Maybe we can do black as well, a few details in black. We could use some funky lines. I think that's what I'm doing here already. Maybe I'm thinking of something that would be easy to represent, but not too complex and not too specific. I mean, if we do little circles, it could work because we have so many circular elements. If I do little circles, and if we have enough of them, that could work quite nicely. Almost as if little ingredients are thrown around the design. I'm varying the shapes and sizes a bit. Let's just do a bit more of this color. A few more leaves here and there. This will be very rudimentary, but you can imagine it being developed with a little bit more time. Can't expect these to look amazing. But just as a sense of style, Again, the big circle, I don't think it's necessary. Probably that's it for now, I wouldn't go further. We could always add more details, but I think, again, if we just look at this without and with the details, I think it adds a layer of interest and liveliness to the design. And what we can do is we can export this without anything. So with transparency from here. So we just go to share and there's a PNG. And then I'll put it onto my computer, and then it should work. But I'm just going to drop this onto the desktop, salad bar workshop files, and then I'll just rename it, doodles, and put it in the Links folder, and then drop it into in design and put it on the background. I think for this, the background layer will be perfect. So let's just try to place it in like that. There it is. Good. Yes, we are looking good. Let's look the background. And let's do a full screen preview. Okay. So that's the front of the layout. Now, once again, small little details like the nutritional icons or spice level icons could be added here to add more detail. There could be a little bit more like the legend can be added there on the top of what those icons mean, which would make the whole thing a little bit more professional. We could have some additional information in these empty spaces. 14. Back Layout Design: Since I worked on the other sketch, I'm just going to bring it up quickly again, we had our other sketch here. Just bring it back on my iPad and then show it to everyone. So if you recall, we had this as the back layout for this version. I'm just going to focus on the connecting second page for this. So here I'm going to work in the background first, and I'm going to establish the backdrops. So first of all, I will use a circular shape and zoom out a bit. And I want to create a big circle, which will go at let's just fill this in with a color for now. Let's use that green that we created before. You can put that on the bottom there. That's one shape. We would have another shape here, and then we would have an even bigger shape on the top. But I will make sure it's a perfect circle. Something like that. And I'm not even bothered if it's not aligned perfectly in the center. I actually would make it clear that it's not even aligned, and these are also not perfectly symmetrical because we didn't have symmetry here. So we have an asymmetry, and I want to have that unity between the front and the back of the design. So yes, I want to keep that asymmetry going in here on the second page as well. And for now, I just keep these shapes the same color, but obviously we would want them to be looking different. So this top one would be the build salad part. And for this, I am going to bring in the images now. So let's bring in those images from Manate. We jump over to the ones that I already created. So I feel like the build your salad, and definitely I want to use these. I probably will go with this one for the toppings, I will go with let's go with this one, and for the protein, I will go with that one. These three, I'm going to download, and I will drop these into my other folder again, salad bar workshop, files, links. I will actually drop this in here just so I can access it quicker, and then let's rename this quickly. Rename, these are the toppings. And let's bring these in quickly to in design. And actually, before we even do that, I'm going to open them in Photoshop first. Let's see if remove background works here. It still doesn't work well. So I'm going to see if I can use the select color range. See if I can isolate it. Not really. Let's try the Quick Selection tool. Actually, we can start with select subject and then use the Quick Selection tool to refine the selection a bit and add the missing details. And this one here as well, again, I'm not too bothered about doing this to professionally now. That's fine for now. As the mask we have, maybe just paint over these parts quickly. I'm pressing or option key on the mask. To access the mask itself. So as one's done, let's do this. Remove background. Okay, that's fine. Let's save this, remove background. Okay, the only part here, I'm using my brush, paint back the cheese, save this. And then we have the three images. So drop the PSD files into indsign onto the images layer. Uh in design. One, two, three. Or if we go back, we can use the greedy fi feature again, just split it up into three. I use the arrows on my keyboard. That way, at least they are the same size. Okay. Yeah, that looks good. Good. And then we can this is the first thing people have to choose. This is the second thing people have to choose. And then the last thing they will have to choose is the dressing. So for the shape behind, I think we could just use a black but with a very low tint value. So like a subtle gray shape because these images are so nice, they stand out enough, just going to make them slightly bigger as well. And I intentionally overlap and come out of the frame like that. And then I'm going to start borrowing things from the first page, like the text. So I will do this copy I will use for the sections. So this copy, which we had here was build your own salad. I don't think we have to say bar, build your own salad. Again, I would probably go with varying the not sure if you need these dishes. Build your own salad. So forwards Mm hmm. More leading we need space there. And then I would probably, again, combine the two styles of text, just like in the front. So I would use that Phoenix text on this part. There is Phoenix. I'm just going to market favorites so I can find it easier. Yeah, I mean, in the first page, yeah, I think that's good. Build your own salad, can make this text bigger. And again, in this case, this will be green. And it's really high time I deleted all the unnecessary colors. I really bugs me when we have in the Swatch s panel, we have colors that we are not even using. So you can go in and drop down menu and just select all unused and then bin them. That's been planning to do that for a long time. And then let's do that. Okay. Yeah, something like that. I think that looks quite nice. Maybe this one can go a little bit even higher. I quite like that. We can even have a bit of curning here, separating them. This one can come a bit further out, so it doesn't overlap. You know, you now would use the capital R like before, that lowercase R doesn't look nice. And we can potentially have a bit of angle here as well like that with your own salad. Not sure. It feels very unbalanced at the moment. Maybe if this goes on the same line and make it smaller Let's see if this is lower case. Yeah. I'm not going to worry about it too much now, but yeah, it would require a bit more refinement. For now, I'm just going to keep it like that. And we can quickly add the keywords inside these circles. So the first one would be the greens, I think it was called, or base toppings protein. And for that, I will just use the same font, this heavitas font. So let's just add base toppings. Longer word, it doesn't fit as well, but maybe we can just divide it into two lines. Mm. I won't look that good. It has to be smaller like that. And then protein. I think we just have to use the same size on the first word as well. So let's just copy this here. Base. I'll just call it greens. That way, it's a little bit better. Okay. Obviously, we would have more copy here, so we would have this copy the feeling creative, which we could add with the other font, this one that we've been using. I'm just going to drop it in here. And let's see how it looks. Uh, Feeling creative customize your perfect ball of leafy goodness. So this could be probably feeling creative could be the color that we've been using. And then this whole text can be up here on the top, and probably it can be a single line. Like that. That's just the instruction. And then there could be more explanation of how it works. And of course, yeah, like here, it could actually explain all of this with the text. I'm just going to copy this and before I forget, let's just put use this. Actually, I can just use a text frame and then use the description version two, left aligned increase in size, and then I'm just gonna do for now. I'm gonna do a list and steps like this and a quick formatting here. I'm going to have between the paragraphs, some space. So there's this between paragraph option, maybe 4 millimeters, and we can have a highlight added on the instructions, the choose your base, pick four toppings. Those can be using a simple character style. I'm just going to set up a character style, call it green. Use the character color green. Okay. Come back here, create a new style for this, call it build salad text. And then within that, I'm going to go into nested styles and add the new nested style green. And I will say up to and not word, but a character. And that's the semicolon. And you see, it's already working. Click Okay. Done. Maybe just in the character style, I go back and I update the font family to bold. Let's see what's the thickest version of din? It's Extra bold. Okay, so we just go in here, basic formatting. It's actually easier if we choose din and then we can just choose Extra bold. Done. Okay. So let's go back, see this in full screen. And importantly, when you are using a paragraph style, in this case, let's go into bullets and numbering. We want to have a new list, List one, and then we want to continue from previous number that needs to be set up. That way we have the actual numbers written there. I will probably make this feeling creative bigger. And just put the text back here, customize. Feeling creative can probably be havita just to have two different text. I mean, fonts there might feel a little bit too strong, too powerful. Yeah, actually, I prefer it in the original format. I'm just going to make it slightly bigger, feeling creative, and then the text can come down here. Maybe this text can be slightly smaller or maybe we can just make it a bit more via like that. And then I'll rotate this a bit. Okay. And then the build your own salad can be much bigger. Okay. So once again, it is coming together. We can see how things are coming together. Our front layout, the front of the layout, I feel like is working quite nicely. Like I mentioned, a couple of little details ingredients. I mean, like the legend can help. But overall, I think we got the style quite nicely set here. And then we can already see how it could carry on to the second page. We would have the soup and sides, according to my sketch on the bottom left and the drinks on the right. We could just quickly pop in some of those images there. Let's see if I can find them. So we have maybe this avocado toast bytes. It's a very nice image. Let's just drop this in there quickly just so we have an idea of how it would look like. I will, let's see, remove background. How is it working? Not bad. Yeah, I can live with that. Let's save this and then put it into the links. This is sides. And then we just have to drop it into in design. And once again, the shape behind it, this would go on the images layer, but the shape behind it could be different color. It doesn't have to be this green or maybe the same green, but with a lower tint value like that. 15. Soup & Sides: So to move on, let's just use the same copy that we have up here. I'm just going to duplicate this, and let's just pop it here on the side for now just so we can see it better. And I'm going to use the copy that I generated in Chet GPT for this section. So this is the soups and sides. I'm going to select this and then drop it in here. It should remember the settings that we used, but I'm going to adapt this a little bit. So first of all, I'm going to change to bullets instead of number list. That's something we can find here in in design. And then I am going to use the switch between the character style and the rest of the paragraph by using the semicolon separation. And I think it's going to make sense to press Shift Enter just to create a soft return. Because if I press Enter, obviously, it's going to create a new bullet. I want to avoid that. So that looks good. Then let's do the same thing here as well and put the semicolon like that. Semicolon shift na. And that looks quite good already. Okay. So now we can bring this over here. And of course, you could save a version of this as a paragraph style. So it was the Build salad text. I could create a new style based on this, Alter option, click on the new icon, and then it's based on the Build salad text, but this is going to be the other options. Yes. And then click Okay. And I'm just going to press W just to see how this looks. I feel like somewhere there, it could work quite nicely. But when I see my margins, I want to actually stick to my margins and notice how I'm going to keep my bullets outside of the margin area. But probably this can come a little bit further down something like this, just because I'm aware of the fact that we will need the name or the title for the section or the subpad. And we can move this over here, maybe just turn it around a bit, just so we have more space. Yeah, that looks good. I didn't want to overlap these elements, these two images. Now, I don't want things like the three pieces to be separated. And for this, there is a very simple technique. Just have to go into the character styles panel, create a new style while nothing is selected. And then I'm just going to call this no break. It doesn't need to be based on anything. And under the basic character formats, you just want to turn on no break. Once you click Okay, now we can select what we don't want to be separated. And in this case, these three pieces and the price, we don't want to be separated, so I'm just going to say no break. The same thing here, I'm going to put no break on that way that always stays together no matter what I do. So of course, if there is space, it can go up one line, as you can see. But then immediately as soon as there is not enough width, it's going to separate it and move it down. Now, one thing I noticed here is that for some reason, we don't have enough space between these elements here or these paragraphs. There should be 4 millimeters there, but I'm just going to add this quickly individually here. So I'm going to increase that to four. And let's just double check our margin again. Yeah. So we probably want to drag this out a little bit more to the right. Actually, we don't have much space here. So we might need to drag this up. I don't want to go more than two lines over the original margin. But yeah, that is looking quite good. Now, since we have this image here, which has eight slices or pieces of these toasts or toasts, I'm just going to change this in the copy. Instead of four, I'm going to type in eight. And then let's just duplicate this text up here. I'm going to bring it down. And the title here is soups and sides. So we can probably use the same format, right, soups and there is no ensign in this font, unfortunately. So I either have to write it down like that. Or we can use that other font, which should have an ensign. Yes. So soups and sides. I think this is a little bit better like that. Now I'm going to make this one a little bit smaller, something like that, and maybe push it this way a little bit. Now, let's see if I change this total P, maybe Capital O, capital U, Yeah, that is still something that I'm not happy about. But this is probably a little bit better, and maybe we can have a little bit more spacing between the two. I mean, you can overlap these two if you want to, but I'm just going to keep it separate like this, and I'm going to give it a little bit different rotation. Not too much rotation is needed, something like that. Just a subtle. Angle like this. And again, I'm trying to stay close to my margin or at least utilize it. So I'm going to use the percent to be there, and then the S can go outside of the margin. Maybe this can go up a little bit like that. One thing here that I would want to avoid is to have a tangent created. So for instance, this P, aligning perfectly to the circle in the background would be not nice or like the S, stuff like that I want to avoid. I'm always making sure that I have a confident overlap between the elements like this is looking good. So let's go back a bit. Maybe it can go even a little bit further down, like. 16. Drinks: Now, since we have this already here, I'm just going to move it here on the right. And on that side, it's simply just going to say drinks. So for this, we will just use that first font and type in drinks, and D is probably going to work well. But we can check if we want to use R. Yeah, I think that's a little bit more legible. So let's just do this. I am going to move it here, and we can adjust the color of this because it's a bit too dense at the moment. I'm going to change that soon, but first we can also bring this text over here, and then let's drop the copy in there. Can we have three options? Let's just drop it in, and then I'm going to select this in the background, reduce the tint value on it. Something like that. So it's still darker than the one on the left, but not as dark as it was before. And then let's just do the same treatment again here. So I put the semicolon, shift return, and then drop the semicolon in there, shift return. And then I feel like that is looking good. Now, of course, we could make these bullets more interesting as well. So we could create unique bullets, illustrative bullets if we wanted to. But I'm going to keep it more simple in this case, and I'm just going to set it up like this for now. I feel like if we move the text here on the left and put the drink on the right and then have the text here might work better. But we will know better once we bring in the image that I was playing to use here. I already made a massa version of this lemonade. And just to go with the theme of seeing everything from above and this circular shape, I think this is going to work quite nicely. We can probably make this bigger. I'm going to use command or control shift drag. And we don't have to see all the elements for this to work. I want to also fill in that gap there on the right, and then let's just move the text, turn this around a bit, see what works best here. Maybe the lemon can be at the bottom. Yeah, that looks quite nice. Okay. Well it down a bit as well. I would prefer if the drink is going out of this boundary a bit, but that way, we might need to turn it this way a little bit. Mm hmm. That's not bad. Now we just have to squeeze the copy in. Yes, that's nice. And the word drinks can have a bit more space there like that. And then potentially these can also go up a little bit. So if I just move this one up here, the greens, let's just make a little bit more space down there. That I think works better overall. Mmm. And then the drinks can be slightly on a different angle as well. Like that. Maybe it's a bit too much. I will keep this almost straight like that. 17. Extra information section: Now, obviously, the biggest problem here at the moment is that we have quite a big empty space here in this section and also here. So that's the area where additional information could go. And for now, I'm just going to put some placeholder copy here on the text layer. So let me just lock everything else, create a frame and this one, just create that frame, and it should be not on the dishes, but on the text layer. And then let's make this text smaller, maybe eight points or even seven points, and then just use the type fill with placeholder text option. And let's make this light like that. Probably even smaller. It could be like five points. And then let's just do it again. Type, fill with placeholder text. Um we can have a paragraph in here. Let's just delete a little bit that. That could be used for placeholder copy. And we could actually use this image to have a text wrap around this. Now the way we do this is we go to Window Manu text wrap and choose the wrap around object shape feature. But in this case, we want to use the Alpha channel instead of same as clipping. So it will recognize the boundaries within the image. We just want to create an offset like 3 millimeters, and that's looking good. So if I select this text and do something like this, you can see how it's going to align itself around that text. So I'm just going to set that copy up like this. No one important thing if I just come back here to the text wrap is that we want to have only the left side used, or you can say largest area. That's going to avoid having those tiny little details separating. So notice this if I say left side or both right and left side, that's when we see this separating. But if I choose largest area, that's going to avoid having those small text separating. And for this text shape to work even better, we can even use justified with last line aligned to left. Text. Yeah, that is looking already much better. From a distance as well, that looks quite nice. So this could be used for information about the ingredients like nutritional advice and warnings about nuts and things like that. So I feel like that looks good already. We can just go in and say fill with placeholder copy, so have a little more text there, and we can just have another paragraph, drag this down a bit. It can even overlap outside. But now we have a very nice shape around here. I think that works really nicely. So let's see this in full screen. Yeah, I like that. And I feel like on this page, we just lost that text there, the title, and the reason for that is because there is obviously it's overlapping the image. It's too close to the image, so it's trying to wrap itself around the image. But to avoid that, we can select that text frame and press Commando Control B, B for box, and then we can just turn on Ignore text wrap. And C came back. We can also do the same thing here, ignore Text Rap just to make sure it won't affect those. I guess we can also do it on this one. Just to be on the safe side in case we start moving things around, and the rest, I think is fine. Okay, this page looks good now. I'm going to just save my work. Let's go back on the first page. You will probably notice that I edit the prices here for all the other salads. But now if I compare to the main differences that we don't have the hand drawn details on the second page, that's something that I'm going to still add there. 18. First Page Icons: First, I want to finalize this first page with some additional details. So one thing that I wanted to add here is the icons, which I have the place for. So I'm going to jump into Illustrator and notice that I also prepared these two little icons. So the chili, which is going to be used for the spiciness level and the nuts to show whether it contains nuts or not. Now, the best thing to do is to use these as actual Illustrator files placed into in design. But sometimes if you want to save time, you can also just copy paste vector graphics from Illustrator into in design. But if you do that, there's one important thing that you want to make sure that you first expand any parts. So if you use stroke, width on your elements. You want to avoid having to deal with that in design. So you just want to go expand, click Okay, and then you can even use the Pathfinder Unite option to create a single compound object from this. The same thing here, object, expand, Okay, and then unite. And that should work. Okay, now, let's see if I copy this and jump over here, I can drop it in and we will see how this looks. Let's just reduce the size, command control shift, drag. Yes, that looks good. And you will see why I prefer to use these small icons in this way. So just simply paste into in design. By the way, if I go into my links, you will see that this one doesn't even show up there, so it's not a link. It's completely embedded in here, which is an advantage. And also the good thing is I can actually change its color. Like that. So it works still like a vector object, similarly to how we would change it in Illustrator. But what I'm going to also do is to create a text frame for the icons. You will see why I'm going to do this. So I will go into the text layer. I believe, yeah, that's going to be the best place to work. So I'm going to log the dish names, and I'm going to create a text frame here. Actually, I will call this one icons. So I'll just create a new layer for them and lock everything else. Okay. So here, I will create a new block or text frame just like that. And then I'm going to select this image, which I believe is on the wrong layer now. So let's just move that up. So I cut this, that's Commando Control X and then paste into this box here. Now, it's too big, of course, so we will have to make it smaller. But essentially, once you do this, it's going to work as a character in text. But the text size changes won't affect it. So if I select this and change the text size, that's not going to affect it. Instead, we have to manually select it and resize it to the size that we need. Okay, that looks good. I just noticed that we probably lost an element there. Yeah. Now I have the right selection. That. That's good. Okay, now I bring back this shape here and try to align it with the circle. If I have my smart guides turn on, it might be easier. So I go to View Grids and Guides, Smart Guides. So now if I start dragging it, it should help me to see where the center point is. That's good. Okay. Now, this is what I wanted to achieve. If I just copy and paste, I can increase the amount of spiciness here. So we will probably have maybe three chilies is the spiciness level, the highest spice level. And we can decide whether we want these to be red. I feel like it would make sense for them to be red. So I'm going to add a new color. In the swatches, and I will introduce red. But this red I will make sure is a bit darker red, something like that. I don't want it to be too bright. Yes. And we can just assign this to that object. Make sure it's completely turned red. And let's take a look at this from a distance. Yeah, I feel like it looks good. Probably the icon itself is still a little bit too big, so I'm going to make it smaller. Again, that's just like the proportions of all the elements together. I don't want it to be too big and dominant. But this is looking nice. So this one is probably a single chili, and then we will need a special break character here that's Shift tab, which is the right indent tab. You can also go into type, insert special character, other right indent tab. And what this can do, I'm just going to copy this here on the right. That no matter how much text or in this case, icons you have in a text frame, they will always be on the left and the right side. So as you can see, this is a great way of setting up like the end and start point of a text frame. But I'm going to replace this, of course, here, so I will just delete that. And I am going to jump back into Illustrator, select our knot icon, and then bring it in here. It's a gigantic knot. So let's just make it smaller. Let's go closer. Okay. Like that. I obviously want to align to this other one. And ideally you would want to measure that the thickness of the lines is going to be perfectly aligned. I feel like something like that is going to work. And this probably can be black, or maybe we can reduce it down a little bit, so the tint can be reduced. So it's more like gray. Yeah, maybe gray is good. And I'm going to cut this again, select that part in the text and then paste. Okay, so that looks good. Let's zoom out. And let's see it like that. Now, we need to decide, of course, how are we going to handle this? So normally what I would want to do is if there is a chance of any nuts showing up in the ingredients, then this would turn red, or it would turn completely black or something that would make it obvious that it's there. Now, in this case, we can make it even more faint, so it's grade out. And it means that there is no nuts in it. Potentially, we could also simply just remove the nuts icon if we don't want it to be showing up there, yeah, I'm not sure which one would be better, but probably we don't want it to show up at all there. Yeah, I think that's a better setup. I actually went ahead and asked Chad GPT to tell me which of these salads would contain nuts or likely to contain nuts. And it's only the kale, yeah, the one that is going to have almonds in it. So for that one, we can have this setup, and I'm just going to move this over there. So this whole frame that we created here, we can drop over on this one. And then I already see the issue of the colors clashing a bit here, so we might need to update that swatch. But for now, I'm going to just do it like this. And the spiciness level on this one can be a single chili, I guess. Again, I have Ched GPT helping me out here. Yeah, all of them would be the same spiciness level by default. But this contains nuts as well. So what I'm going to do here is to set this to maybe white. So that way, it's very obvious. And then I am going to have this color updated. So if I just double click on this swatch, I want a color that's going to work well on this background. So yeah, we maybe want to have something like that. That looks quite good here, and we can check how it looks on white. Yeah, it looks good on white and on green. So you want to create a color that has enough contrast on both of these variations, both backgrounds. And then all I'm going to do here is to just reduce the distance between the two and align it back to the center of the circle and then maybe move it up a little bit. Okay. This looks good. Yeah. So it shows the spiciness level. Now, sometimes you might want to move and adjust a little bit. Instead of using the actual physical center point, I feel like this feels more centered, and then we can also do the same thing here. But like I mentioned before, I think it's just confusing if we have a knot icon in there. So instead, I'm just going to align this to the center. Let's Command or Control Shift C. And then we can use the same thing on all these other ones. So let's just drop one more up here. Again, align in the center, and this one should be centered as well as the text element underneath. Yeah, that's aligned to the center, nice. And then we can again just duplicate this over here, align to the center point of that shape. This should be aligned too. Maybe tia. And in this case, because this is the spicy situation salad, we can just copy and add four chilies there to make sure that shows more chilies, and then maybe this cesar crunch can be again, one, like that. Let's align this as well to the center. Nice. And then this one, I feel like is not aligned. Now it's in the center. Maybe here we can also add two chilies. Why not? And then I'm just going to extend this to both sides. Holding that altar option key. You can extend to both left and right side at the same time. Okay, so we have our little icons placed in. And whenever you use icons on a menu, it's important to have a legend to show what they actually mean. So I'm just going to use this text frame that we already have here that includes both of them, and then drop it up here on the top. Just move it up here. Okay. And in this case, I'm going to change this to black, just so we can see it. And then I am going to put this into two lines. And then maybe at the space there, at some break between them or space between them by using leading. And I just simply write spiciness level and then may contain nuts. And I think the text can be black in this case, just to follow the same setup. And then we can just use a tab also tab here. And then having this selected, I just go to type my new tabs, and then we just put the tab in here. So that goes exactly where I want it to. Yeah, that looks good. And then now I'm just going to select these images or icons and just adjust them a little bit, so I drag it down to be aligned to the center of these lines. Okay, that looks good. And yeah, we can probably make this a little bit smaller. Like that. And also, maybe we can just use a Italic. Yeah, Italic is fine. Mm hmm. That looks good. I just want to mention that this is also outside the margin area. But for smaller information like that, we can use that section. 19. Finishing Touches: Now, of course, we have more space to place it maybe here if we wanted to. But there's actually one additional thing that I wanted to do here as well. We still have some more information that I thought would be interesting to place in, like the calories, the protein, amount of protein, and whether it's for vegetarians or not and whether it contains gluten or not. Now, these could also be represented with icons. So that's the option. We could introduce more icons. But I thought I want to show you another way that we can do this. So if we want to use more copy for this, we could actually create an additional shape. And I am going to use a new layer once again for this just to make things easier. So this is going to be the more info layer. And then I'm going to actually draw the frame and then later align it. I will hold down the Shift key and create a bigger shape. Now, if you hold down the space bar, you can also move it around, something like that. When I move this around, I can align it with the smart guides on to make sure it's aligned to that center point. That looks good. And then using the type on a path tool instead of typing inside the circle, we will be typing on the circle. So I will just type there. And then the first thing that I want to do is calories. So this one is the easy leaf. The names are wrong here, but I know that was the first one that's 320 calories. So I will just type that in 320 al. Normally it's written like this, KCL. I'm just going to change the size of this text down to maybe ten points, and I want it to be, maybe Demi is going to be good. Let's take a look at this from a distance. Yeah, I like that. Looks quite nice. I'm not sure whether we want it to be in green or black, but for now, I'm going to keep it like this. And then I'm going to use this separator character to add more information. Then the next information is the protein in grams. I would just type protein six G, another separator character. Maybe this can be a lowercase and say proteins or just protein probably sounds better. Then I can just write Vigan and then contains gluten. Okay, let's take a look at this from a distance. Yeah. I like that. And just to go with our theme of green and black, what I will do here is I am going to change every second segment to black. So I start with green, then black, and then black again. So it's an alternating pattern. And I will actually make this shape as well or that separator also black. I think that way it works better, yes, has a nice rhythm to it. And then we just have to copy this whole frame over to these other shapes here. So if I get closer, let's try to align it and I move it. There it is. If it's too close, we can obviously make this shape slightly bigger. We just have to hold down all the three modifier keys. So command option shift on Mac or control all shift on PC. And drag it out a little bit to properly here. Let's take a look. Yeah, that looks good. I'm not going to change the text. I just want to make space for everything, so the text can always be changed later. I'm just going to rotate it a little bit here. That looks good. And then let's create another copy of this and align it with this other circle right there. Let's turn it around and by the way, when I resize these circles, the text size gets affected. It's very hard to notice it, but it does get affected. So that's just something that we will have to fix. And yeah, I want to make sure it's perfectly aligned. But in this case, the shape of the dish or that salad bowl is a little bit distorted. So I'm going to move this circle down a bit. Again, manually adjusting sometimes can help. In this case, I just use the arrows on the keyboard. Yeah, like that is good. My drawing might need to be updated here just to make sure it fits, but it still looks quite good and easy to read. And so in case of the text to make sure it is the same, I would just go back and adjust them and set them to ten points, all of them. Again, we could use paragraph styles for this to assure that they set up correctly. But for now, I'm just going to keep it like this. And then let's just duplicate this shape again, having the frames visible, I can move it and align it there to the center point. And here we need to set up the end and starting point manually. So we have to move the start point down here and the endpoint down there. Or we can just move the endpoint closer to where it actually ends. And that way, we can find the center point easier. So this is the center point. Let's drag that inside the circle like that. And then we can just keep dragging that until we have the alignment that we need. Or, of course, don't forget you can also just rotate the circle. And again, we need to make it slightly bigger I'm using the arrow keys as well to adjust it, and then that looks good. So it curves from left to right, like we need it. But instead of curving on the top, now it curves at the bottom. And, yeah, again, let's not forget to change the text size to ten points, go down, and then finally, we have this one here. Well, here it would be a little bit hard to squeeze in the information on that side. So most likely we have to put it on the top. And in that case, we can just come back to these icons, and probably we can just put these on the same line. So instead of two lines, what I'm going to do is put this up here. And set it up like that. Now, the tab, we can remove. And instead of tab, we can just rely on maybe two spaces. That's not the ideal way of doing this, but again, I'm just going to set it up quickly like that. Okay. And then let's just have another one of these circles brought up here. Align it first of all, to get as close as we can and rotate where it needs to be. And then let's adjust it manually, drag it up a bit. So we are aligning it to that curve and it looks good. I didn't change the size on it, so that should still be ten points. Great. Now, let's save this and let's take a look at it. Yes, I'm happy with all the information that we have here. So you can see that things are getting busier the more details you are adding. But still, I feel like it has a very good hierarchy. It's very clear where things are. So if I'm interested in one of these salads, I can very quickly find the important information or the relevant information. And there is consistency between the five images. So there is always the information in the same place using the same textile as well. And this repetition assures that we have a very clear visual hierarchy. Now, like I mentioned, the last bit here is that I would do a little bit of sketching here, and then we can call it a day. But since you've already seen how I do this on my iPad, I'm just going to speed things up and show you a time lapse instead. I 20. That's a wrap!: And that's a wrap. You just completed the salad bar menu design class. I hope you had as much fun working on this as I did putting it together. Now it's your turn. Take what you have learned and complete the class project by designing your own two sided menu. You can follow the same concepts or create something completely different a juice bar, a dessert menu, or whatever inspires you. When you're done, don't forget to share your project here on Skillshare. I always love seeing your creative work, and I will be checking in to leave feedback and celebrate your progress. If you enjoy this class, make sure to check out my other classes here on Skillshare from editorial design and vector Illustration to poster design, photoshop tricks, and using generative AI in your creative work. You so much for joining me. And until next time, keep designing, keep experimenting, and most importantly, stay creatively curious.