Quickly Batch Export & Package Logo Files for Clients in Adobe Illustrator

1. 1 Introduction: Hey, how's a gone? My name is Derek. I'm a graphic designer and a web developer. Today my my home office. And I'm gonna show you how to export your logo files, or it could be any file. But today we're in learn using logo vials and how to deliver them to apply it so that way they can have them in formats that they could actually use. You'll learn when and why to use formats like jpegs, PDF, EPS, AI. I know I'm missing a handful, but we'll show you all the different file types wide one, use them and when. Also show you how I deliver my logo files. Back in the day, I used to use something like this, the booklet, the poll open and it would have a CD that I'd made that I made with the logo, the icon. And basically just a quick little thank you pack that I'm given my clients, which was great. But now that everything's kinda moving away from CD, you can do custom thumb drives like this, or you can even just send the files digitally. So when we're all done here, you'll learn exactly how I package my files and deliver them. You'll learn how to expedite your workflow so that we can leverage our Borden illustrator to do everything one time and then Batch Export. And then of course, how I deliver my files to my clients. So let's dive in. 2. 2 Overview of My Logo Workflow: Alright, in this video, I want to show you is the end of what you're going to be seeing. So this is the our board that we're going to end up with. And I also want to show you the beginning thought processes for how I design a logo and the process of sending these comps to my clients. So it doesn't always start off this pretty usually what happens is I just kinda throw anything and everything that might be an idea onto the page. So here is some of the earlier stabs at this thing. Typically what happens is I'll make a new folder in my, there we go. I'll make a new folder in my assets folder called Ideas. And I'll just collect all kinds of ideas, all kinds of anything that looks even remotely interesting. Whether its in this case, I like the crest. In this case, I was looking at the different dragon shapes because the company's name is foul core. After the dragging from the NeverEnding Story. And the thought there was, how can I take something as complex as, you know, some of these potential icons or even a dragon itself and make it something more simplified. So first I start off with this. This was actually a sketch from the client what their initial thought was and how they wanted this. It is for gun company. So this circle is kind of mimicking the rifling of a barrel. So those are some ideas we had. And basically what I do is I just take all of these different photos. And basically when I start a new document, I just start dragging all these photos right into my document and then using them as inspiration for the design in your workflow might be very similar, might be completely different. So here are some, first looks at what is like, well, here's some ideas, right? And then it kind of grew based on client feedback to some other things which, you know, not bad, but the really not ideal for a logo, especially anything that would require two colors to show up in something that detailed, really wouldn't be a good solution. So we kind of kept pressing on. I even showed some of the other logo samples that I've done in the past just to kind of just remind myself, you don't keep it simple. So kept pressing on and finally arrived at, had the idea for the flame kind of symbolic of like a fire breathing, fire breathing dragon. And that's kinda how we ended up there. So now I just kind of kept exploring, kept playing, trying some different fonts and some different ways to show the icon, whether it was with the L here inside of some kind of enclosure. The client wasn't a huge fan of this fonts, so we kept pressing on. And we finally discovered something that they liked. We landed on something kind of like this. And then the next thing we are trying to decide was the word defenses are going to land completely centered underneath or kinda stack to the right. We're also kinda playing with the weights. And this is just kind of the fine, fine tuning of this. So basically this whole time as I'm sending comps my client, when I finally have a look that I'm happy with that I want to send them. Usually what I end up doing is in this case, let's say I want to send this to them. I would hit Command 0, which makes this, if you go to view right here, it fits the our board to the window, makes it as big as it can on the screen without clipping NER work. And since I'm on a Mac and hit Command Shift four and just click to drag. I am doing is I click the drag and then I hit the space bar. And if I hold down, haven't let go of the mouse yet, if I hold down the spacebar, I can move my selection anywhere I wanted. So I just get it close. And the reason why I do this way, I could go to File Save As or file export and send them an actual high res JPEG. But technically the client hasn't paid me for anything yet, and I don't want to send them anything high res that they can kind of run off with. I do have a deposit, but that's one concern if you're working with a client enough familiar with. And the other thing is sometimes it's nice to send a quick comp and in fact, the client that I'm working with now, we use the iMessage, have iPhones. So I'll literally open up my messages and I'll just drag and drop this right into the window and send it to them. So that's how I work with this client. Usually what I would do though, to make sure that my workflow is always the same. I'll find that screenshot that I just took on the desktop here. And I will go back to my logo files. I'll go to File sense anything in here the client has seen, if it's not in here, they haven't seen it. So under comps, These were the first looks at I sent so version one, version two, version three. Just press un until you find something that you both like, right? So basically take that screenshot here and I'll just drag it over to this tab. And then let go. And then I'll rename it by hitting the enter key. And then I'll type in the name Falco, our logo. Lets call this V nine, even though it's really not, but just whatever. That's how I would do it. And then we use a we use base camps for all of our project management. So we have projects in here for all of our clients and I would jump into that project for that client will just jump over here and the Michel's garage and add over my discussions. Hi client. Here's a new look at that logo for you. And then base camp, i can control who had emails. This message too, but it's just a sample. I don't wanna email anybody right now. And then I can select files from my computer. So I'd go over here to my Falco, your logo, come over here to my logo file file sent it was a comp and this was the most recent version. And you'll notice that my, my ordering here, it's because I've got this set to organized by the date added. So that way I can quit the see the most recent thing at the top, like open, add that here, and then I'll go ahead and post this message. And now they'll get an email notification and, or they can login to base camp and just see everything within the discussion thread. It's really cool. In fact, we have a whole nother course on how to use base camp. You could check out. And I'll give you details on that bus. Dive back in here. So that's how I would basically refine my logos. And this, this workflow could work with logos, with posters, with anything you're working on. Take a screenshot, send him a quick low-res comp. Again, it makes it easy because it's easier to email. It's not a really high high res file that's going to be really big descend. And it's also gonna again protect you in case, you know, they're not the most honest client they want to run with your work and not pay for it. So anyway, that's kind of my approach to setting up a logo and the workflow on the comp side of things. So in the next video, what I'm going to show you is how to move your final artwork once you've decided what that's going to be into a fresh file and then setting up your art boards so it helps you quickly export those files later. 3. 3 Moving Final Artwork to a New File: All right. In the previous video, I showed you a brief overview of how I would think through my logo. Or in your case, it could be any, any design files really take screenshots and then send them to clients for feedback. Now what we're gonna do is take the final artwork that we've finished and copy it over into a new file. So that way we don't accidentally copy anything else and you've our original thought processes. There is a lot of junk that ended up on these are boards here. We want to make sure that we don't accidentally copy any of that stuff over. We also want to send them a clean finalize package that they can send to anybody, whether it's a printer or maybe it's an embroider, if they're gonna get some clothing logos put on their, on their jackets are on polos or whatever. Maybe they're going to have pens made up or any kind of swag they wanna do. So now what we're gonna do is basically give them all of those assets. Okay, so let's go ahead and dive in first things first, let's make a new document. I would just hit Command N, or you can come up here to file new. Okay? Typically I work with letter size pieces of paper, so I tend to do that by default. So do 8.5 by 11. I'll make sure it's set to landscape and I'll hit OK. And that'll get me going on the first art board here. And I'm not a huge fan of reinventing the wheel. So usually what I'll do is go to whatever previous logo I've done in the past and I'll copy this Details panel in this case, I'm kind of cheating because I've already done this once, but I'm going to highlight all these details and hit command c. And I'll come back over here and I'll hit Command F to paste. And it's going to paste it in place exactly where I wanted to go. If for some reason, let's say I had another art board on your already. And it's really, really difficult to see, but depending on which one is selected, you'll get a really thin black stroke around the our board. Had this art board been targeted when I hit Command F, it's going to paste whatever I copied relative to the cardboard that selected. So I want to paste it in place in the exact same location as my other document here, I want to make sure that my branding with our company is consistent. So I copied it from here. I'm going to come over to my new document. Click once on the board, I want to paste it into and hit Command F. That's just the shortcut to paste in front. If you hit Command V is going to throw it on here just wherever it feels like it in no particular order. But Command F, we'll paste it in front. Or Command B, we'll paste it behind. Anyway, there's that. So that's how I would get this in here. Then I would continue to go through and I would rename the red colors are I'm sorry. Whatever the swatches are going to be, whether it's, you know, Purple Rain or whatever. In this case, they've already been named for me because like I said, I've done this once before. Then I would click once on this little thumbnail. Come over here and look at my color guide. I'm just going to reset my workspace just in the off chance you're not seeing that. So I'm gonna come over here and hit the little fly out menu. And then I'm gonna come over in my color panel at the little drop down and click Show Options. So now I can see all the CMYK values, okay? So with this selected What I'll do is hit Command Shift four, and that's the mac shortcut to take a screenshot. Now I'm gonna hold them control key. And what that does is when I let go, it copies it to my clipboard, instead of throwing it onto my desktop. Command V to paste this right on top here of my working space. And then I'll go through and I'll actually reassign these values based on this color. So I'm going to double-check this. It looks like my colors must have jumped based on what I sent here or I refine this and didn't change it. So if we look at this, usually what I'll do is I'll round up. So that looks like it's for right here is 98.4, so we'll just call it 98. Our yellow is 92 and our black, I'm gonna go ahead and leave it at 1%. The reason why it's kinda out of the scope of this project. But basically, if you have at least 1% of every color, if you ever use this to make a gradient. And you have a little bit of black or a little bit of every color you're gonna get are really smooth gradient from that light color to the dark. If not, what's going to happen is you'll get what we call banding, where you can actually see circles stepping from one color to the next. So that's why I keep at least 1% in their whenever possible, because it just gives you a much smoother color when you use it and blend it back and forth anyway. Okay, so there's that I would proceed to do the same thing with all these other colors basically coming over here, select my color, which my color values will change here, Command Shift four, drag and hold down Control, and then let go of my mouse. Now when I click back over here command V to paste. And then I would basically come through an update my values again there. I'll click once on this guy again, I'll double-click on my little thumbnail here to see what the hex value is. So I'll copy that hex value and paste it over here. Okay? And that's what I would do on all of these different. Let me try and say color chips. I'm gonna go up here to type change case, uppercase because i want for consistency. It's just the little details, right? Making sure everything looks the same. And then for black, I use a rich black. So I use 60% cyan, 40% magenta, 40% yellow, and a 100% black. And now I get a really true nice black in print. I set up my logo based fonts. What I'll do is I already know that the fonts that I used in this logo lets find the final version of this guy here. This top part is Franklin Gothic and the bottom part is Franklin Gothic medium. So what I'll do is I'll just type out the font name and then I'll also make sure that that font is selected. So that when the client can see if they ever need to recreate this, what font was used. So I'll go ahead and find all the final logos that we've created, a copy them. And I'll paste them on here. And I'm purposely not putting them in any kind of order so I can show you my workflow. I've gotta clear space, okay, so I'm gonna copy this stuff. Command C, Command F to paste it in place. Ok, so what I would do is I wanna make sure that everything's all lined up. So I'll select all of these of a Window. Align. Open up my Line palette and I'll make sure that I am aligning these two, the selection and not the our board. I don't want to jump in, snap to the our board. So hit selection. And now I can align these left, and then I can vertically distribute these so that way the spacing here is identical. Okay? So again, it's just little details. You don't have to do that, but it just looks a lot nicer when you get it on your art board. Okay. Then the other thing that we do that I do is something called clear space. And what clear spaces is, it lets you define how much space should be around your logo. So that way you're not accidentally putting other assets. Are things too close to your logo? You wanna give it room to breathe. Okay? So what I do to define clear space is little, just grab this guy up here. I'll drag down the copy, holding down Alt. And then typically I'll pick a letter or some element within the logo because that will always scale. If I always said clear space, let's pretend like if I say clear spaces, a half-inch well, a half inch on this size of Logo versus half inch on a much larger logo, it's going to change. It needs to be able to scale. So we're just going to use, in this case the letter f. So I'm going to use my direct selection tool to get the letter F. And I'm just gonna change the color so it obviously doesn't belong here. So we can just see that it's a different design element. And then I'll use that to define where are clear space should be. And the cool thing is, is if you do it right, when I scale it down by clear space, scales with it. So I'm going to throw that there. I'll drag a copy hold on the Alt key, hit our target, my Rotate tool, hold down shift so it rotates in 45-degree increments and align that to the flame of bringing a copy over here, hit R to rotate it. And the reason why it's snapping in place, which is important because you want it to snap and align, is because I've got the snap to point turned on along with smart guides. So just kinda helps me put it in place the first time. I'll drag another copy hit are rotate and you'll see if I don't hold down, shift it, it doesn't necessarily fall exactly. I want you to hold down the Shift key. And now I'll align this to the bottom here, k. And now I have essentially defined my clear space. So I'm going to hit the letter M to get my Rectangle Tool. And I'm starting to write out a rectangle. I'm at the space bar to move it up towards that f. Get it close to in place. Now let go the spacebar and drag the bottom. Ok. Shift x, swaps my fill on my stroke. And then I'm going to turn this into a dotted line here somewhere. What am I looking for? Stroke 1. Actually, we'll make it thinner. And I keep thinking I'm in Photoshop. So what we're going to actually do is kind of here to stroke, show options. And I'm going to turn this into a dashed line and we'll just do, let's say two to the 2 gap and I've got a stroke line. So just looks nice for the client to kinda see what our clear space is defined as. So that's how I define clear space. Hopefully that makes sense. And then again, just liven things up here so it lines up to the right side of this. So I'm gonna click once here, shift click this logo. Now without touching anything, I'm going to click one more time on this logo and you see gets a fatter stroke. The blue lines get thicker, which tells me that I'm aligning to this object. So now if I hit left, this object stays in place and this throws the left. Or if I hit Align right up here in my heads-up display, it aligns to the right. So that's how I would do that. Again, make sure you update your texts, but I've already written this for the Falco brand. And basically like at reiterate, clear spaces defined relative to the size of the logo, not as a border of a set distance, such as saying quarter-inch. In this case, we use the width of the letter f, So There's a clear space. Okay, so we've got our details page setup. What I'm gonna do is hit shift. Oh, I've got my art board tool. And I'm gonna go ahead and rename this to details. And that'll come in handy later. Now I'm gonna make another art board here. And actually I'm not even going to worry about the size yet because well, I'm gonna do is grab this logo that we have here. Shifting clip to drag a copy at the letter E to get my scale tool. And actually what you wanna do real quick, I hit the letter S, it returned. I wanna make sure that my scaling, that I'm actually scaling the strokes and effects. Because if that turned off, you can get some really, really weird things with your logos, it would actually go bigger. But without making your scaling, your strokes in your effects. That are S hit enter. I'm gonna make sure that's turned on. It is going to scale this in place here. And I apologize if I'm if I'm way over the top of your head with all the shortcuts and boring you to tears. I you shortcuts for everything and that's how you're gonna get faster. That's how you gonna be able to make more money in less time or get the jobs done quicker. And within budget, you gotta know those shortcuts. So everything I do is a shortcut. So I'm gonna drag this into place here. Shift, OK, it's my art board Tool and I'm just gonna snap this up in line there. I'll hit escape. And I'm gonna delete these f's. And I'm also going to delete that stroke DO put around it. Now I know that this logo is perfectly centered compared to the clear space that we've already predefined. And it's going to look perfect when I go to export this, I'm gonna hit Shift O. And up here you'll notice that I have toggled on move slash copy our work with our board. So with my art board tool selected, I'm gonna hold down the ALT key and start to drag and click, click and drag whatever. Now and I hold down the Shift key, it snaps it back in place so as I drag down, it'll keep it perfectly aligned with the, our board above it. Num Lego the mouse. And then let go my shortcut keys. And now I have an exact copy with my logo in the exact same spot, which is super cool because now I don't have to try and align these to the same size. Now, what I need to do, I have this red flame over here and I already know how I did it basically all I did was I selected this colour and this killer. I went to my pathfinder tool. And then I merge those shapes together. And I'm just gonna make sure that the light color and it is. Okay. So this is a logo for the two-color version. This is a logo for the three calibrations. We've got black, light red, dark red. So if we did a screen t-shirt that would technically counts three colors. This one counts as two colors. Now gonna do is hit shift o to get my our board tooling and click once on this our board. Hold down the Alt key. Click to start to drag. Now hold down the Shift key to snap it back in place. Ok, and then let go. So now with this logo, I'm just going to change this flame. I'm gonna select once hit the eye, the eye dropper, and then click on the rest of these black letters to make sure I got all one color black. Okay. So that's basically it for setting up your final files here. But we need to do now is actually get it ready for export. So in the next video, I'm gonna show you how I export the files. Specifically naming all of these are boards and how to batch process all of this in one shot so you can do it one time and have all the work done for you. Here we go. 4. 4 Exporting Files and Delivering to a Client: All right, now here comes the fun part of this whole thing. The whole reason why we painstakingly set out every piece of these art boards, the batch processing, to get these files out of the box, out of computer and to the client in a format that they can use. One thing that I noticed as I was preparing to record this video, I haven't saved this and yet, which is stupid and I do this all the time. I can't believe it how many times I forget to save, but always save your work. Command or Control S should be literally a nervous twitch that you do every second, basically saving your artwork. I can't tell you how many times I've lost artwork cuz you forget to save. And it happens whether it's a power failure or hard drive crash or something illustrator crashes, it happens all the time. So save your work religiously. So with that in mind, let's go ahead and save this. I'm gonna hit Command S. And since I haven't saved it yet, it just pops open the Save As dialog box, box. I'm going to jump over to my logo. And actually I don't want to confuse this with what I'm already doing, so I'm gonna go to my file sent. Then usually what I would do is make a final logo package. I'm going to make a new folder in here and I'll call it example logo package. So basically what you would call this as your logo final, so you know what to put in here. Ok. And then I'll call this file Falco or logo final ban. All go ahead and hit save. So at least I know that I've got this saved. Now let's go and do some housekeeping. I'm going to jump over here to find her. And I'm going to jump over to my Falco project, to the logo file sent. And I always structure my folders like this. I basically have every kind of file format that I know, either the printers or the clients will want. My font files, Illustrator, EPS, JPEG, PDF, and P and G. So real quick, the reason why you want an Illustrator file, it's native, It is the original illustrator format and so I like to keep that in there. I keep an original and outlined version and then I create an outline version. So that way if they don't have the fonts and their system will still see the graphics exactly how I intend to. I export an EPS because I've found that typically sign guys usually run an older software. They don't keep your software up to date as as frequently. And typically if they're older and they don't know the software as well, that it's not true everywhere but just where I am, that's what I've discovered and they always want EPS files. So I provide an EPS file, a JPEG I keep because it's a flat image and it doesn't require any special software to view. So anybody could see this in use this if they wanted to put it into a PowerPoint slide or something like that, I'll send them a print version and a web version. Print being in CMYK colour and much larger file size, web being in RGB color scheme, and a much smaller compressed file size. I'll send a PDF simply because. It keeps the vector data intact. So it's going to be a really, really crisp file. It's going to be a low, low file size. And then also, because the Adobe Reader is free, it's going to be something that's going to be supported in the road, let's say five years, ten years from now. Hopefully it's still a file format that they can open and not be locked out of their logo files. Then I'll do a PNG. And the reason why I do a PNG is because it supports transparency. So if you can see as I, as I hover over this, this black kinda shows through. So basically, this shape is completely cut out. There is no white box around it. Jpeg, although it's supported by everything, it does not support transparency, so it exports the white background with it, which is fine sometimes. But there might be a lot of times, a lot of applications where you want a transparent background. And so that's why I would ship a PNG. And then fonts. I'll typically shipped the fonts with the logo package. Now here's what we have to be careful though. Make sure you pay attention to licensing. Don't steal other people's work. Don't ship out a font that your client hasn't licenses themselves or hasn't purchased themselves for the project. I always make sure that we have licenses to use the fonts. So definitely be sure you're doing that. Ok, so with that in mind, I'm gonna go ahead and set up these folder so I'm ready to export to this final package. So I'm gonna do is hit Command Shift Enter and I get a new folder. I'm gonna type in AI from Illustrator files and I'm gonna hit enter. I'm gonna hit Command D to duplicate that, hit enter. And now I'm going to type in EPS, enter command D. And the reason why I'm copying this is it's just faster than let me show you real quick. If I hit return and I type in PDF and I hit Return again, if I hit Command Shift Enter to make a new folder, I'm still highlighted here, so it throws the folder inside of here. Alright, so basically vow speeding through this AND return and JPEG dash print Command D to duplicate it returned to rename JPEG. Web Command D to duplicate, returned to rename it P and G. Web Command D to duplicate returned or rename it P and G dash print. I feel like I'm missing one, maybe not all of the fonts file. So now that I clicked out in here, I'm gonna hit Command Shift N to make any folder that way. And we'll call this fonts. Now one thing that I've just recently started changing with my workflow and it's kinda out of the scope of this, but I used to rename it with the double asterisks, mostly just because it looks cool, but then it also put it up to the top. Right. Now, I'm just going to put an extra space. So my fonts come up to the top. The reason why is if somebody is opening this folder, I want them to see the fonts right at the top so they can install it, especially if you're a printer, they're familiar with doing it that way. That would have everything they need to assets right there to open these files and make changes if necessary. So I'll take this final AI folder and I'm sick or I'm sorry, file and I'll and I'll drag it right up into here. I'm going to double-click on this to open that file back-up. And typically what I do. As I'll save a version with all of these details stil editable type in case I need to change it or like you saw at the beginning of this project where I copy and paste it to the next one. I want to keep this editable, but I also want to make sure that I have a version that's outlined. So that way if somebody hasn't installed the fonts, it still shows up exactly how I want, especially right here where I've showed the logo base fonts. I don't want this to change or shift, let's say Times New Roman or Myriad Pro, because this Franklin Gothic and I want it to look like that. So I'm gonna do is hit command a to highlight everything. And then hit Command Shift O. That is the same as going to type. Actually hit Command Z to undo that CMC gotta type. And then down here to create, create outlines. What that does is it outlines all these shapes and they essentially become a shape instead of a font. So it doesn't need font to read that it's going to be comma-shaped. So now I'm gonna hit Command Shift S, And I'm going to rename this outlined. And now I know that this is the outline version of that logo. And I'll go ahead and hit save. And I typically leave this box alone with whatever the most current version is. You might find that a printer or somebody asks for a legacy format. Like I said, maybe they haven't updated since CSS3. So you can hit this little drop-down and ship them a CSS3 version that will hopefully make their computer not as grumpy, be able to see it and make the changes or print the project. Right. Now with that done, I am going to come back in here. I forgot one of the steps. So you're going to want to do, let's go back to our, our board tool. We're going to click on this, our board, and we're gonna call this three color. I'm going to click once on here, come up to my name and name this our board to color. And I'm gonna come down to this bottom are bored. Name this art board one color. And the reason for that is when on this next portion of this, the exporting process, as I export this, it's going to use those art board names and concatenate or add them to the end of this filename. The other thing I can do is come down here and our boards and make sure that I've got them sorted in the right order. So all my three color, first, my two-color and MR1 color. So if it wasn't an order, I can click and drag to realign these. Okay, this comes in really handy when I export the PDF. So that's gonna do is put my details page first and then my three color than the two color and then the one-color logo next. Okay. So let's go ahead and do that. Let's go ahead and hit file. Save as. Down here in the format, I'm gonna choose pdf. Combine my pdf file. I'm gonna go ahead and delete this outlined text up in the name. And now when I hit save, we can leave preserve illustrator editing on this one, that's fine with me. I'd save PDF. And the PDF file is actually going to have just one file and it's going to create separate pages for each our boards. So here's our main details, our board. And then as I scroll through, maybe there we go, we get our three color to color and our one-color logo. Alright, let's keep going. Now. I'm gonna go ahead and save the EPS version. So I'll go to File, Save As. I'll change this to EPS. I'll make sure my my EPS folder. And this time I'm going to make sure that I'm using my our boards that that is selected. I'm going to export all of them. And I hit save. Now it's going to batch export all of these. The cool thing with the EPS version is it actually spits out a separate file for each our boards. If a concrete EPS. I have my one color. And this is just a one color logo inside of here. Let's go ahead and open it up and take a look just to make sure. So this is an EPS file. As you can see, it's completely editable or maintains all of my points here that I could edit the logo width and there's nothing else in here. No other our boards, no other pieces of logo. So I can be very specific with what ascend to different people. I've got my Falco logo final and then my details. The difference here is if I click on the final, it literally is everything. All three or all four are boards. And if I click on the details, it's just that one Details Canvas. Okay. So there's my EPS files. Now. It's a little different when you go to export the jpegs in the P and G. So we're gonna come down here to file and then export. And as far as I know, there's not a shortcut for this, but you could definitely set one up if you wanted to in your preferences. So I'm gonna click on this export. I'm going to click on Use our boards. And we'll go ahead and dive right into the PNG files. So I'll click on PNG and we'll go ahead and do the print versions first. I'm going to do all of them export. And since it's for print, I want to keep my resolution high. And you could change it here or do a custom resolution. And then since as P and G, The whole purpose is to have transparency. So my background is that of being a white background. I want to change this to transparent Now hip, okay. And it's going to batch process all of those PNG files. It's going to give me those four files. When it's all done, I'll come over here and take a look just to make sure I did it right. So there is my one color to color, three color, and then my details page. And in perfect I can see the blur windows behind it so I know it's transparent. Now let's do the web version. So I'll come back up here to file export. Hopefully you're seeing a trend. We'll use our boards. Now, PNG for Web. Let's just pretend we didn't wanna do the details page since that was the first, are bored. But I would do is export our board number two through four. Leaving out the first art board, which is my details page. So I export changes to 72 for the web. Make sure transparent, still selected, hit OK. And when I jump over here to my web files, it spit out those three web versions, but it did not spit out the details page. So that's comes in handy if you ever want to spit out a specific, are bored. Alright, loads next the Sigel look, I'm pretty sure we've got PNGs, Don we've got the PDF done now all that's left are the JPEGS. So we'll come over here to JPEG and my drop-down menu, I'll use all the our boards instead of just the range. Now here's another thing. If you wanted to, you could hit. Let's say you had a bunch of our boards that could be one comma. And then 34 excluding our board number two, that's another way you could set that up. In this case, I want to do all of them were doing the JPEGS as do the print version. Since we're doing print, we want this in CMYK, will keep it at 300 DPI. And I will go ahead and embed this profile which will help the color stay. Hopefully the same no matter which printer or which computers being viewed from these profiles will help keep your colors the same across the board. So always use that one possible. I'll hit Export and now go to File Export. And this time I'm going to do the web version. Use our boards. Export changes from CMYK RGB again because we're on screen now, so it's red, green, blue. We're mixing light were not mixing ink. I'll change this to 72 dpi for the screen. And again, we'll embed this is a different profile is SRGB profile is more universals when you're on a Windows machine or on a Mac, the colors will look a lot closer to what they were intended to. Otherwise, colors tend to be more saturated on a Windows machine. And your client might be confused why you would choose a color that doesn't look like they're branding. So again, by embedding this profile, you're more likely to have it look how you expect it to on a different platform. So I'll hit OK. And now that'll spit out those files. So now we've got our Illustrator, EPS, PNGs, JPEGs, PNGs, PDFs, all the files that we could possibly want, and we are ready to go. The last thing you want to ship to them is the fonts. So there's a couple ways we could do this. The way that I typically do it is I just opened up the font book and then I search specifically for the fonts. So in this case it's Franklin Gothic. Franklin Gothic. I think it's just double-check. Franklin Gothic, heavy and medium. So we'll jump back over to font. Look, we've got Franklin Gothic right here. Let's see, there's medium. I'll click on that. I'll right-click Show in Finder. And there are my frame them gothic fonts. As we have going on here, I hit command c to copy it. I'll come back over here to fonts, hit Command V to paste. And we need to do that for the other weight as well, the medium weight. And so Franklin Gothic was medium, I need heavy. It's up here. And it was just the regular heavy fonts. So I'm gonna right-click show in Finder. And apparently that's all of the heavyweights, but that's okay. I hit command c to copy, and I'll go ahead and make a new folder just so that there's no confusion. Now paste it in there. So that is typically my workflow and how I would deliver all of the different file formats it could possibly be used for the project. The last step is to click on the whole package, the whole file folder, right-click. And then I'm gonna hit compress on a Mac, on a Windows machine. I'm pretty sure it's you right-click go to send to and then compressed or zipped folder. But either way you'll get this compressed file that then you can either email to your client. In this case, it's 14 megs that will probably email pretty well. You could use Dropbox or you send it. You could use the DVD or CD package like I showed you at the beginning video, something like that, or a USB drive. There's lots of creative ways here. Let me let me show you. For some of our clients, we email them thank yous. And these giant toolboxes and with our logo on the top here. Oh yeah. All kinds of chocolaty goodness usually will send them in files and all kinds of stuff. They tend to enjoy it. And I found that the happier you keep your clients are more likely to want to come work with you again. So that is how we do it over here, Mitchell's garage. And I think that about wraps it up. Hopefully you enjoyed these courses and your brain hasn't melted yet from all the shortcuts that I showed you. And I'd love your feedback. Feel free to reach out with any questions you might have, and good luck. Thanks.